 genre: hard, blues
quality: lossless (flac, cue, log, covers, size: 294 mb)
time: 40'05"
wikipedia:
John Nitzinger (Nit-Zinger) is a Fort Worth, Texas guitarist and songwriter. In the early 1970s, Nitzinger helped pen songs on five albums for the Fort Worth band Bloodrock. When Bloodrock 2 went Gold, Nitzinger signed a contract with Capitol Records and his first album, the self-titled Nitzinger, was released in early 1972. In 1973, his second Capitol album One Foot in History was issued. In 1976, a 20th Century Records album titled Live Better Electrically was issued. In 1980, Nitzinger formed the band PM with Carl Palmer, formerly of Emerson, Lake & Palmer and others, which released a single album, One P.M, on Ariola Records. In 1981, he joined Alice Cooper on the Special Forces tour, and plays on that album. He co-wrote Cooper's Zipper Catches Skin album. After coming off the road, he made a comeback after winning battles with health issues and today he delivers his message of clean life choices to hospitals, schools and prisons. He has since released a compilation of his greatest hits, Fingers In The Fan and the album, Didja Miss Me. In 2006, he released the album, Kiss Of The Mudman on his independent label, JTH Productions. In 2010, the album, "Kiss Of The Mudman" was picked up by SPV Records in Europe and released worldwide. He continues to crank out new songs and in 2012 completed two new albums, Bloodrock 2013 with Bloodrock lead singer, Jim Rutledge and Revenge with former lead singer of AC/DC, Dave Evans. Additionally, in 2012, the 90-minute DVD Documentary Feature, "Nitzinger - Tears From There To Here" was released. He is currently booking shows, creating new projects and continues to teach music lessons, workshops and Rock Camps on the East Side of Fort Worth, Texas
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 genre: psych, pop
quality: lossless (ape, cue, log, covers, size: 201 mb)
time: 33'41"
01. Rainbow Chaser 2:58
02. Please Believe Me 3:04
03. Lord Up Above 4:16
04. She's Lost It 5:01
05. Nova Sketch 1:55
06. Pentecost Hotel 3:16
07. I Need Your Love Tonight 3:41
08. Will There Be Me 2:21
09. Stadium 7:09
Written-By – Alex Spyropoulos (tracks: 1, 6), Cas Thomas (tracks: 8), Patrick Campbell-Lyons
Patrick Campbell-Lyons / guitar, vocals
With the assitance of:
Cas Thomas
Jade Warrior
Phil Dennis
Richard Thomas
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 genre: kraut
quality: lossless (flac, cue, log, covers, size: 233 mb)
time: 38'49"
Crack In the Cosmic Egg:
Eccentric and unique vocalist Walter Seyffer had fronted numerous bands during the 1960's. He claims to have established the Mannheim based Nine Days Wonder in 1966, then known as The Graves, who gradually transformed into Nine Days Wonder proper in February 1970. Walter got together an unlikely collection of musicians: a German (Henning), an Austrian (Mutschlechner), an Irishman (Earle) and an Englishman (Roscoe), to create a bizarre and fascinating rock fusion showing distinct Zappa and British underground rock influences.
Their debut LP, originally issued in a green foam rubber cover, but more widely known with the British Hipgnosis design, saw them present a music in the same field as Supersister or Moving Gelatine Plates, sans the Canterbury references. Nine Days Wonder were a distinctly Krautrock twist on the genre, radical, innovative and unpredictable. Featuring what was really only four tracks (two of them lengthy segued extravaganzas, full of bizarre unlikely diversions) Nine Days Wonder presented an exceptionally complex music featuring highly powered instrumentals, diversions into jazz fusion, high experimentation, and above all some of the most fascinating and eccentric songs on record. The vocal piece "Morning Spirit" has to be heard to be believed!
It's hardly surprising that the original Nine Days Wonder didn't last long, apparently falling apart during their first British tour. In fact Rolf Henning still lives in England to this day! Thus, searching for a new band, Walter met up with Michael Bundt's group Medusa, who agreed to join up and become a new incarnation of Nine Days Wonder. Paradoxically WE NEVER LOST CONTROL was very tame compared to the previous album, without the jazzy elements and instead being more richly textured and mellow progressive rock with hard-rock touches. It is still an excellent album though, when judged on its own merits.
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