 genre: rockabilly, proto punk
state: us
quality: lossless (flac, cue, log, covers)
time: 51:43 size: 254 mb
wikipedia
01. Rumble 2:27
02. The Swag 2:21
03. Raw-Hide 2:07
04. Dixie-Doodle 2:10
05. Ramble 2:15
06. Ain't That Lovin' You Babe 2:48
07. Jack the Ripper 2:22
08. The Black Widow 1:52
09. Big City After Dark 2:53
10. Run Chicken Run 1:57
11. The Shadow Knows 2:28
12. Deuces Wild 2:24
13. Hang On 2:27
14. Ace of Spades 2:23
15. I'm Branded 2:05
16. Batman Theme 2:01
17. Hidden Charms 2:42
18. Climbing a High Wall 4:02
19. Switchblade 3:14
20. Jack the Ripper (live) 4:45
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 genre: rock
state: uk
quality: lossless (flac, cue, log, covers)
time: 37:49 size: 232 mb
allmusic:
Shortly after the Bonzo Dog Band broke up in 1970, Neil Innes formed the short-lived band the World, also including ex-Bonzos bassist Dennis Cowan and future King Crimson/top session drummer Ian Wallace. Their sole album, Lucky Planet, was also issued in 1970, and stands up neither to the Bonzo Dog Band nor to the best of the music Innes would make in his solo career. While Innes is one of the best rock parodists, Lucky Planet -- like, in some ways, the Bonzos' own final 1960s album, Keynsham -- leans too much toward straight rock, and not often toward comedy. There's still much subtle humor in what's often a pastiche of late-'60s Beatlesque rock, but while subtlety is one of Innes' great virtues, perhaps the wit in these tunes is a bit too subtle to generate the kind of laughs you might expect. On casual hearing, in fact, they sound a little like run-of-the-mill 1970 British rock tunes, though close patient listening reveals "Angelina" to have an unusually heavy streak of self-pity; "9-5 Pollution Blues" as a droll take on white-boy blues-rock, complete with blatant Cream-like riffs; and the very Byrdsy "Lead Us" as a spoof on the youth culture's hunger for heroes. "Godzilla's Return" is so much an of-its-time prog rockish mélange that it treads the line between a satire and the real article. When reissued, the album has been billed to Neil Innes & the World, including a bonus track in a second version of "Come Out into the Open." ~ Richie Unterberger
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genre: prog
state: uk
quality: lossless (flac, cue, log, covers)
time: 40:28 size: 288 mb
wikipedia:
Relayer is the seventh studio album from the English progressive rock band Yes, released in November 1974 on Atlantic Records. It is their only studio album recorded with keyboardist Patrick Moraz in the band's line-up; he joined in August that year after Rick Wakeman left over differences regarding Tales from Topographic Oceans (1973) to pursue his solo career.
Following Wakeman's decision to leave the band, the remaining members proceeded to work on new material for Relayer. The group wrote and rehearsed new songs and proceeded to record in Squire's home in Virginia Water, Surrey. Relayer has the same format as Close to the Edge (1972), with one track occupying side one and two tracks on side two. The album saw Yes experiment with elements of funk and jazz fusion.
Upon release, Relayer helped continue the band's success in the mid-1970s, peaking at number 4 in the UK and number 5 in the US.
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 genre: heavy
state: uk
quality: lossless (wv, cue, log, covers)
time: 54:24 size: 339 mb
Tapestry of Delights:
An obscure progressive/heavy rock group whose debut album has few memorable moments but has become quite collectable because of the label it's on. The vocals are poor, the composition's weak and the playing is ponderous. The pick of a poor batch are I Really Do, Za Za Za Zilda (also released as a 45), Love's Desire and Oh Mariya, but all four were in a similar, rather flat, heavy rock style.
Album reissue includes five previously unreleased tracks from a second projected album which never saw daylight. The best of these was Strange Kind Of Magic, which had a good voodoo beat and some distorted guitar. Overall, they were stronger than the material on the original album. Cat's Eyes had some decent heavy rock guitar riffs. The CD featured three additional tracks to the album but I can only really recommend this to Zior and Black Sabbath fans.
Zior had their roots in Southend's early sixties R&B scene. Kevin Bonsor had previously been in a local R&B outfit, The Essex Five, and then classical/rock fusion outfit, Cardboard Orchestra. Pete Brewer had been in another Southend R&B band, The Night Riders. He and Bonsor were Zior's founding members recruiting Truba and Skeels (who'd once played in a London band called The Bum) via a 'Melody Maker' advert.
Zior did have a reputation as a wild live band. They were heavily into Black Magic and Satanic Mass etc. They recorded an album on the Beacon label, later in 1971, which was credited to Monument, though in fact it featured all four members of Zior.
Pete Brewer eventually ended up a successful musical instrument/equipment dealer in Southend. Skeels sells dress jewellery in his native Newcastle. Bonsor worked for many years as an engineer/producer at Tin Pan Alley Studios and also became a dee-jay in the late seventies, hosting 'Capital's Big Night Out' at 'The Lyceum' in London's Strand.
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 genre: fusion, psych
state: us
quality: lossless (ape, cue, log, covers)
time: 42:59 size: 270 mb
wikipedia:
The album features the final version of the Mothers of Invention, with George Duke, Chester Thompson, Ruth Underwood, Tom Fowler and Napoleon Murphy Brock.
The album features one of Zappa's most complex tracks, "Inca Roads". One of Zappa's heroes, Johnny "Guitar" Watson, guests on two tracks (flambe vocals on the out-choruses of "San Ber'dino" and "Andy").
01. Inca Roads 8:46
02. Can't Afford No Shoes 2:39
03. Sofa No. 1 2:39
04. Po-Jama People 7:39
05. Florentine Pogen 5:27
06. Evelyn, A Modified Dog 1:05
07. San Ber'dino 5:57
08. Andy 6:04
09. Sofa No. 2 2:42
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