 genre: pop, psych
state: peru
quality: lossless (flac, cue, log, covers)
time: 47:39 size: 317 mb
Dreams Fantasies & Nightmares:
Comprised of members of Traffic Sound and Laghonia, We All Together were clearly influenced by The Beatles and mainstream pop. The Peruvian band's first album comprises fine covers of Badfinger's Carry On Til Tomorrow and The Walker Brothers' Walking In The Rain. Cover versions are outnumbered by their own compositions, though. Particularly ear-catching are It's A Sin To Go Away, with its fine echoed vocals and backwards guitar, but the Beatlesque pop of songs like Children, Tomorrow, Hey Revolution and Why is also well worth a listen.
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 genre: folk, prog, psych
state: uk
quality: lossless (flac, cue, log, covers)
time: 77:01 size: 322 mb
Tapestry of Delights:
This duo hailed from Rochdale. Clayton was a part-time painter and poet. Milne was a Physical Education instructor and talented multi-instrumentalist.
Their album was a fine amalgam of folk, hard rock and psychedelia and is the most sought-after and expensive collectors' item associated with the Dandelion label. Highlights included the Eastern-influenced Siderial, the semi epic The Way Ahead and there's considerable musical contrast too between the hard rocker Willow, which has great vocals and guitars, and the gentle, acoustic style of Angie. Recommended listening. The band later evolved into Tractor.
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 genre: prog, fusion
state: uk
quality: lossless (ape, cue, log, covers)
time: 47:30 size: 322 mb
allmusic:
The band's second album, released a few scant months after their debut, found Darryl Way and co. still edging away from the Curved Air ideal, without doing anything to truly alienate that band's loyal followers. Indeed, there were moments throughout Wolf's career when they sounded more like the original Air than that band's current incarnation ever could. Of course it's the mad violin that best confirms the similarities, but one can only dream of how dramatic this band could have been had they only reached a wider audience. Listening to Saturation Point is like walking a tightrope, a taut, nerve-bending ride that takes you from the eccentric peaks of "The Ache" and "Two Sisters" (combined, one of the greatest album overtures of the year), to the boleric attack of "Toy Symphony," a cut that raises the specters of Caravan and ELP, even as it shakes off comparisons with anything else. This was indeed the peak of Wolf's musical career, an album that snagged all the high points from its predecessor, then mashed them with the experience that the live show brought into reach. ~ Dave Thompson
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 genre: heavy prog
state: belgium
quality: lossless (flac, cue, log, covers)
time: 66:56 size: 421 mb
progarchives:
Belgian Heavy Progressive band Waterloo, comprising Dirk Bogaert (lead vocals, flute), Gus Roan (guitar), Marc Malyster (organ), Jacky Mauer (drums) and Jean-Paul Janssens (bass) were formed in the autumn of 1969, out of the ashes of Brussels-based blues-rock power trio Adam's Recital and Ghent's Today's Version.
The band's only album, 'First Battle', containing photography shot within the Waterloo Battlefield Museum, was released under the French 'Vogue' label in February 1970, with a pressing run of only 'several thousand copies', with the album only being distributed in Belgium. A more elaborate version of the track 'Meet Again' was released as a single however, leading to a subsequent album release in Portugal, under the 'Roda' label.
Although a 40 date tour followed, including the opportunity to support 'Family', and an opening slot at the 1970 Ghent festival, the band's demise was initiated by Marc Malyster's departure, to work on other side projects. Although he was replaced by John Van Rymenant who as a saxophonist, brought to the band a jazzier emphasis, the demos for 1972's follow-up release 'The Youngest Day' remained unreleased, as the band parted amicably.
Waterloo's debut album would appeal to those who enjoy a more Eclectic feel to their music, with Heavy Progressive undertones. The album clearly demonstrates the band's ambition to mix rock, jazz and classical influences into an ambitious personal repertoire; their musical formula being built around Dirk's flute and vocals, and Gus's integration of jazzy harmonies into a classical/ prog rock structure.
If you enjoy early Jethro Tull, Blodwyn Pig, the eclecticism of early King Crimson and the organ soundscapes of Keith Emerson, then this album would be highly recommended. ~ Jared Butcher
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 genre: funk
state: us/uk
quality: lossless (flac, cue, log, covers)
time: 42:17 size: 248 mb
wikipedia:
Eric Burdon Declares "War" was the first of two original albums by eclectic funk band Eric Burdon and War, released on MGM Records in April 1970. It peaked at number 18 on record charts in the USA, number 50 in the UK, and number 7 in Australia. The back cover includes this declaration: "We the People, have declared War against the People, for the right to love each other". The album received a gold record award.
Side one
01. "The Vision of Rassan" - 7:40
"Dedication"" – 2:33
"Roll On Kirk" – 5:07
"Tobacco Road" - 13:44
02. "Tobacco Road" (John D. Loudermilk) – 3:47
"I Have A Dream" – 6:39
"Tobacco Road" (Loudermilk) – 3:58
Side two
01. "Spill the Wine" – 4:38
02. "Blues for Memphis Slim" - 12:27
"Birth" – 1:31
"Mother Earth" (Peter Chatman) – 2:46
"Mr. Charlie" – 3:05
"Danish Pastry" – 3:18
"Mother Earth" (Chatman) – 2:28
03. "You're No Stranger" – 1:55
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 genre: rio, avant
state: france
quality: lossless (flac, cue, log, covers)
time: 44:51 size: 268 mb
Light in th Attic:
“The ancient fathers of post-rock? The least skillful prog band ever? The answer is somewhere in between: through obsessive symphonies Wapassou show that there is no clear mark between depressive madness, cold fever, and music making.” —Mutant Sounds.
Lest we startle you with excited pronouncements of how good this album is, we’ll force ourselves to be matter of fact. With their first album, legendary French art-rock band Wapassou found a distinctive musical voice: long and well-developed melodies, rhythmic support from organ—no bass and drums! (more on that later)—prominent violin parts, and guitar doubling-up as a rhythm instrument. They often conjure up something akin to what it might have sounded like had John Cale and Stereolab formed a band in 1974, when this album was released. The five tracks (actually seven, as the singles tracks are equally intriguing) are highly original, always varied and inventive; spacey and ethereal, but steeped in post-psychedelic rock. Although Wapassou are noted for playing without a rhythm section, two of the most striking songs on this album have bass and drums. Why some enterprising dj hasn’t created a chill mix from the drum track and provocative vocals on ‘Chatiment’ (guitarist Karen Nickerl murmuring about the cigarettes she has consumed and that she is a killer, ‘Je suis l’assassin,’ in the midst of the pulsing drone of the band), we don’t know. The 13+ minute long ‘Trip’ is a revelation: the first two minutes will think you stumbled into the Cocteau Twin’s ‘Victorialand’; the band then jam for six and a half minutes before they drop one of the trippiest ethereal breakbeat grooves you’ll ever hear; the last two minutes of solo sitar are sonic lysergia of the highest quality. A unique style throughout, with slight nods to groups like Amon Düul, Popol Vuh, Czar, Caravan, and Ash Ra Tempel.
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 genre: prog
state: germany
quality: lossless (ape, cue, log, covers)
time: 68:48 size: 521 mb
misc.: unreleased studio and live tracks from 1971-1978
Crack in the Cosmic Egg:
Originating from Frankfurt-am-Main, circa 1969 Waniyetula's roots step back to the beat band The Empty C. They started (as many bands did) as a covers band, gradually developing their own material over time. The earliest document of their existence captures the original trio of Heinz Kühne (guitar, vocals), Hermann Beckert (bass) and Thomas Goerdten (drums), with two tracks featured on the CONCERT '71 album, documenting a battle of the bands type competition, which Waniyetula won.
By 1973 they had taken on new drummer Siegfried Setzer and Norbert Abels (keyboards) formerly of the Oberusel band Tortilla Flat. In fact drummers came and went, and a new songwriting talent Richard Kersten joined, changing the musical direction of the band somewhat. This line-up recorded the album NATURES CLEAR WELL under the direction of Dieter Dierks, which gained release first in the USA under the band name Galaxy. Due to the album's success, at least for a while Waniyetula attempted to re-market themselves locally as Galaxy. But then, when Richard Kersten left to join the Beatles Revival Band, it was decided that the focus of the Galaxy sound had been lost and they reverted to Waniyetula!
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 genre: heavy prog
state: uk
quality: lossless (ape, cue, log, covers)
time: 44:10 size: 302 mb
progarchives:
In the late sixties, bassist Steve Hawthorn came up with an idea to fuse rock and jazz. By 1969, he'd formed Walrus, an eight-piece monster (the band's roster in the tradition of large orchestral groups would fluctuate many times throughout Walrus's short career) and the band toured heavily around the London area.
In June of the same year, Walrus was picked up by Decca Records, handed some money, and told to produce an album. Their self-titled debut was released in December [though technically a 1970 release] on Decca's Deram label with Hawthorn on bass along with John Scates on guitars, Barry Parfitt on keyboards, Nick Gabb's & Roger Harrison's drums, the vocals of Noel Greenway, and Don Richards, Roy Voce & Bill Hoad on various brass instruments, the track "Who Can I Trust?" being pushed as the single.
However, the outfit was not to be. Another album was never realized and by 1972, despite having attained a large and faithful live following, the band split up. Among the many Walrus alumni, only occasional percussionist Ian Mosely went on to musical success, becoming a member of Marillion.
Although Hawthorn's dream was for Walrus to become a fusion of jazz & rock, the band's style is more reminiscent of orchestral early blues a la Jethro Tull or Room. However, it is progressive blues with the lengthy jams of Tull mixed together with the chaos of Amon Duul II and a touch of early King Crimson to keep everyone sane. A rare treat for fans of early 70s classic prog. ~ Whistle
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 genre: prog
state: germany
quality: lossless (flac, cue, log, covers)
time: 38:16 size: 223 mb
Crack in the Cosmic Egg:
Strongly inspired by the likes of Quicksilver Messenger Service, Jefferson Airplane, Grateful Dead, etc., the Berlin band Walpurgis hit blues rock and West Coast American styles against space music reasonably successfully.
On their sole album QUEEN OF SABA, they opened with the aptly titled "Disappointment". But, from thereon, despite a cranky vocalist, it gets better and better, and the guest appearance of Jürgen Dollase (of Wallenstein) fills the sound out nicely, later taking the music on to Ash Ra Tempel and Agitation Free realms.
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 genre: prog, country
state: uk
quality: lossless (flac, cue, log, covers)
time: 41:30 size: 267 mb
wikipedia:
Wally, led by the singer-songwriter Roy Webber, was an English progressive rock band, which originated in Harrogate, Yorkshire, in the early 1970s.
Their debut album, Wally, released in 1974 was co-produced by Harris, along with Rick Wakeman who had seen one of the band's warm up gigs before the Roundhouse final.
After its release the band, now managed by Brian Lane, best known as the manager of Yes, embarked on a series of tours taking in most of Britain, Japan and the United States. They supported Yes at a headline London concert at the Alexandra Palace and also made an appearance on The Old Grey Whistle Test. On their second album, Valley Gardens, Nick Glennie-Smith replaced Paul Gerrett on keyboards. However by that time continual touring had taken its toll, and the band eventually split after Atlantic decided to cut their losses and pulled the plug.
In 1975, the band performed in Japan, as the backing band of French singer Michel Polnareff.
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 genre: sympho prog
state: germany
quality: lossless (flac, cue, log, covers)
time: 42:47 size: 233 mb
01. Rory Blanchford 9:27
02. Grand Piano 2:14
03. Silver Arms 9:39
04. The Marvelleous Child 6:14
05. Song of Wire 7:51
06. The Cosmic Couriers Meet South Philly Willy 7:22
All music & lyrics by Jürgen Dollase.
Jürgen Dollase – Grand Piano, Mellotron, Synthesizer, Vibraphone, lead vocals, producer
Bill Barone – guitar
Dieter Meier – bass
Harald Großkopf – drums, percussion
Joachim Reiser – violin
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Rolf Dollase – flute
Torpid Little Hamlet Choir – choir
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 genre: art pop
state: us
quality: lossless (flac, cue, log, covers)
time: 37:23 size: 212 mb
wikipedia:
The third solo album by singer songwriter Scott Walker.
Upon release in 1969, it met with slower sales than his previous albums, as pop audiences struggled to keep pace with Walker's increasingly experimental approach. The dense lush string arrangements by Wally Stott seemed to evoke a Vegas-style lounge crooner atmosphere, but one tinted with surreal drones and touches of dissonance.
Since its release, it has been regarded by many of Walker's fans as a favourite.
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