 genre: prog
state: brazil
quality: lossless (flac, cue, log, covers, 276 mb)
time: 45:11
progarchives:
This progressive rock group has been formed in São Paulo in 1970 by multi-instrumentalist Manito (former The Clevers and Os Incríveis), Pedrinho Batera (drums/vocals) and bass player Pedrão Baldanza. With this formation they released their excellent debut "Snegs" in 1975. Then the band went through a multitude of line-up changes, launched a self-titled album in 1977, comprising mainly funk music and opened for Alice Cooper at the Maracanãzinho Festival (Rio de Janeiro). Soon after the band has been dissolved.
Som Nosso De Cada Dia Nosso gained their biggest fame not so much with their two studio records but rather with their fantastic live performances. Hence it's most probably very much rewarding to get their live CDs released later on, especially the 2 CDs set "A Procura da Essência" containing lots of unreleased material, amonst others extracts from the ambitious suite "Amazonia", that were unfortunately never recorded in studio. At times their style can be referred to Italian bands like Banco or PFM, but their music showed as well a strong influence by American Jazz-Rock revealing some hints to English Space-Rock.
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 genre: psych
state: brazil
quality: lossless (flac, cue, log, covers, 224 mb)
time: 32:42
progarchives:
Som Imaginário (Imaginary Music) is a Brazilian band from the 70s. They joined together to support Milton Nascimento in his first record and shows. Their style comes from jazz, classic and rock until popular brazilian music and bossa nova, with strong Beatles influence. They recorded three albums in the 70s and an album live with Milton Nascimento in 1974 releasing them in a boxset in 1997, but it was limited edition. Famous people were Imaginary Music: Naná Vasconcelos, Robertinho Silva, José Rodrix, Toninho Horta, Wagner Tiso, Tavito and Marco Antônio Araújo. This last person recorded four very progressive albums later, but unfortunately died in 1986. The first and second Som Imaginário albums follow the psychedelic line with Beatles and pop influences. José Rodrix left the band, and Wagner Tiso (ex W-Boys jazz band) leaded the band for the new album. The third album "A Matança do Porco" (The slaughter of the pig) is an all instrumental album (with voices but no lyrics), following the fusion and symphonic direction. Some people prefer their first phase, others the third album.
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 genre: canterbury
state: uk
quality: lossless (flac, cue, log, covers, 395 mb)
time: 67:19
allmusic:
In 1969, Soft Machine were commissioned to provide music for a multimedia show at the Roundhouse in London. As Hugh Hopper writes in the liner notes, "they wanted a backing tape of suitably deranged and doomy sounds," and the group (augmented in parts by saxophonist Brian Hopper) delivered suitably abstract music that was high on improvisational challenge and low on melody. This 67-minute CD was compiled from music used in the show. It varies from off-kilter planetarium-type sounds (especially evident in Mike Ratledge's astral electric keyboards) to background-type instrumental jazz-rock to bordering-on-clamorous noisy improv (especially on the 32-minute "Spaced Four"). The sound quality is good, but this is, after all, work that was recorded as a supplement to a performance art event, with a different purpose in mind than home listening. As such, it has to be considered a marginal entry in the Soft Machine discography, of interest almost exclusively to major fans of the band. ~ Richie Unterberger
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 genre: rock, rhythm and blues, funk, country
state: uk
quality: lossless (flac, cue, log, covers, 619 mb)
time: 49:49+37:27
wikipedia:
Snafu is the first album by Snafu. It has an unusual funky tone for what is essentially an R&B band. The album was issued on the short-lived WWA record label, founded in 1973 by Black Sabbath manager Patrick Meehan
Situation Normal is the second studio album by SNAFU. Peter Solley's fiddle lends this album a curious Country and Western tone in places, unusual for what was essentially an R&B band. But the album still contains a short version of the classic "Lock and Key" with Micky Moody's distinctive slide guitar
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 genre: rhythm and blues, psych
state: us
quality: lossless (flac, cue, log, covers, 220 mb)
time: 50:58
Fuzz Acid & Flowers:
Originally known as The Nomads and based in Houston, Texas, this band issued two 45s under that name. They became known as Smoke in mid-1968. They later moved on to San Francisco where they gigged mainly at biker venues.
Led by John Orvis, who composed all their material, their music can best be described as "psychedelic boogie", epitomised by the nineteen minute M.C. Boogie on the first album and nine minute Greased Lightnin on the second. Loads of energy, jiving vocals, good guitar solos and powerful organ parts. The second album was produced by Jimmie Haskell, one of the best producers/arrangers operating in the California studios in the sixties. Beyer remained in California to play for Smith and Canned Heat and then in fellow Texan Gary Myrick's band. Phil Parker went on to play with the bluesman Shakey Jake Harris. ~ (Max Waller/Stephane Rebeschini)
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 genre: soul
state: us
quality: lossless (flac, cue, log, covers, 336 mb)
time: 50:58
Fuzz Acid & Flowers:
A West Coast band from Los Angeles whose sound was characterised by Gayle McCormick's great voice. She was from St. Louis originally. Both their albums were produced by Steve Barri. Most of the songs on their first album were cover versions and they are also well remembered for their version of The Weight in the Soundtrack to Easy Rider. Almost all of the material on Minus - Plus was written by well known sessionman Alan Parker and their keyboardist Larry Moss. Baby It's You got to No 5 in the U.S. Charts and Take A Look Around and What Am I Gonna Do were both minor hits peaking at No's 43 and 73 respectively. Gayle McCormick later went solo. Alan Parker, who'd previously been in Summerhill, later fronted his own band.
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 genre: psych
state: us
quality: lossless (flac, cue, log, covers, 230 mb)
time: 37:43
wikipedia:
Her first solo record is credited solely to Grace (she had previously recorded Sunfighter with Paul Kantner and Baron von Tollbooth and the Chrome Nun with Kantner and David Freiberg, both of whom co-produced Manhole). It was recorded in 1973, when Jefferson Airplane had stopped touring, and Jorma Kaukonen and Jack Casady were making the Hot Tuna album, The Phosphorescent Rat. All the members who would form Jefferson Starship in 1974 performed on this album, except for Papa John Creach. The album was conceived as a soundtrack to a movie, (noted by the title of the second track, "Theme from the Movie Manhole"), although there was no such movie made. Grace drew all of the artwork for the album, and wrote on the cover "Child Type Odd Art by Grace."
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 genre: psych
state: us
quality: lossless (flac, cue, log, covers, 357 mb)
time: 62:43
Fuzz Acid & Flowers:
Another significant collectable from the California rock scene that will interest readers. Not really a solo album at all, as Smith is backed by eight very capable musicians. Much of the music is instrumental, achieving a mystical and 'psychedelic' atmosphere, although there are a few more mainstream tracks and some nice bluesy guitar work in places. Interesting and a must for fans of psychedelia. The original pressing (especially with the amazing psychedelic poster) has skyrocketed in value in recent years; as such, the recent reissue is most welcome. It includes a bonus disc of material recorded by Stop, Bob's later band from the early seventies.
Prior to the Kent album, Bob was with Silverskin, and before that, Lid (not to be confused with The Lyd), who recorded an album in 1968 which remains unissued.
Don Preston was a member of Frank Zappa's Mothers Of Invention and Daryl Dragon was with The Dragons. Daryl worked on various projects with his brothers Doug and Dennis (Farm, A Sea For Yourself, et. al.) before finding fame and fortune as the 'Captain' in Captain and Tenille. Bob Smith continues performing locally in Florida and has finished a new recording, The Visit - Destiny 2000 From Bob Smith which he will make available on his own Southern Rose label. ~ (Vernon Joynson/Clark Faville w/thanks to Bob Smith)
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 genre: glam
state: uk
quality: lossless (flac, cue, log, covers, 356 mb)
time: 63:32
wikipedia:
Smile were a London-based blues rock band best known as the predecessor to renowned rock band Queen. The band was formed in 1968 by Brian May, who went on to become Queen's guitarist. It included Tim Staffell as singer and bassist, and later, drummer Roger Taylor, who also went on to play for Queen. They recorded only six songs and disbanded in 1970.
In 1968, Brian May, a student at London's Imperial College, and Tim Staffell formed a group when May placed an advertisement on the college notice board for a "Ginger Baker type" drummer, and a young medical student named Roger Taylor auditioned and got the job. Smile were signed to Mercury Records in 1969, and had their first experience of a recording studio in Trident Studios that year. Staffell was attending Ealing Art College with Farrokh ("Freddie") Bulsara, and introduced him to the band. Bulsara soon became a keen fan. ....
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 genre: heavy rhythm and blues, psych
state: spain
quality: lossless (flac, cue, log, covers, 680 mb)
misc.: '69-'78 compil
Scented Gardens of the MIND (another my Bible):
Smash formed in Sevilla in 1969 and soon caused a revolution in the local rock scene (paving the way for later local groups such as Gong, Galaxia and Triana).
Glorieta De Los Lotos (1970) contains basically a heavy blues sound, influenced by the recent British blues boom (and notably The Rolling Stones' Beggars Banquet and the first Led Zeppelin album). This was softened by vocal harmonies learned from The Beatles and some acoustic tracks in a folk-rock vein. Smash sometimes added vibes, harpsichord, violin and odd Spanish lyrics to make the tracks more interesting. "Sitting On The Truth'' and "Rock And Roll" sound more like loose jamming with aggressive guitars and screaming vocals. Indeed this album is quite strange and difficult to put in any particular category.
We Came To Smash This Time (1971) was divided between Gualberto's weird sitar excursions ("Behind The Stars") and the melodious but ordinary folk-rock of Julio Matito ("My Funny Girl"), adding some literally smashing hard-rock ("Well, You Know"). They all came together for the massive hard rock mayhem of "Fail Safe" (10:29), which equalled the agony of "Heiter Skelter". They went their separate directions in 1972, with Gualberto embarking on an exciting solo career. Smash came together again five years later in a slightly changed line-up. 25 minutes of new material was released on a split LP. Here Smash partly went back to their heavy blues-rock roots, but Gualberto's new interest in flamenco was also evident on certain tracks. The rest of the album was recorded by a flamenco singer.
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 genre: rhythm and blues
state: uk
quality: lossless (flac, cue, log, covers, 680 mb)
time: 42:29 + 37:39
wikipedia:
Small Faces is the debut album of the Small Faces, released in 1966. It includes the hit singles "Whatcha Gonna Do About It" and "Sha-La-La-La-Lee". The album was well received by music critics and fans alike and rose to number 3 on the UK album chart remaining at the top for several weeks.
The album was recorded at IBC Studios, Portland Place, London between June 1965 and February 1966. Glyn Johns was the studio engineer. In 1966, the Small Faces became the eleventh biggest selling artists of the year.
Jimmy Winston was asked to leave after the band's second single "I've Got Mine", released on 5 November 1965, failed to make the charts. He still appears on many tracks on this album, including joint writing contributions to "It's Too Late" and providing keyboards and vocals on various tracks. Winston's replacement, Ian McLagan, appears on the album cover and plays on various tracks as well.
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