Dreams Fantasies & Nightmares:
An extremely rare Argentinian progressive album with lots of solo violin work, twin guitars and vocal arrangements. There's some great violin and guitar work on Siempre Encontrare Un Lugar and Noche De Sol has a notable riff and guitar solo.
While being strongly inspired by English progressive Hard Rock, Los Barrocos effectively created a high-energy music that is almost exclusively their own; at least, it's free of anything that would allow me to call its makers even followers of anyone else.
Their "Sin Tiempo Ni Espacio" is a pleasing echo of the distant past of the genre and is generally a pretty good and original thing, which will be an exciting journey at least for those who appreciate polymorphous Hard Rock with vivid progressive tendencies.
genre: psych pop
quality: lossless (flac, cue, log, coverss)
time: 48'26" size: 275 mb
The debut album by the British rock band Badfinger, released in early 1970 on Apple Records. Three tracks from the LP are featured in the film The Magic Christian, which also gives the album its title. However, Magic Christian Music is not an official soundtrack album for the film.
To capitalize on this gap, Apple Records released its own "pseudo-soundtrack". Apple combined the film's three Badfinger songs with four unreleased songs and seven older tracks released by the group when they were still known as the Iveys on the album Maybe Tomorrow, which had been quickly pulled off the market in 1969. The previously released Iveys songs were specially re-mixed for this album, significantly improving their sound quality in the process. One of them, "Fisherman", was also edited for this release.
The three tracks used in the film, "Come and Get It", "Rock of All Ages" and "Carry on Till Tomorrow", bear the strongest "Beatle connection". They were produced by Paul McCartney (the first was also composed by McCartney), and the strings on "Carry on Till Tomorrow" were arranged and conducted by Beatles producer George Martin. The other tracks on the album were produced by Tony Visconti (six songs, including both Iveys singles and the last recording made, "Crimson Ship") and Mal Evans (five songs). Badfinger's line-up on these tracks includes bassist/vocalist Ron Griffiths. Griffiths departed The Iveys shortly after the McCartney sessions in late 1969, prior to the name change from The Iveys to Badfinger, which led to his exclusion from the credits and pictures on the album (although Griffiths does appear on the picture sleeve for "Come and Get It"). Guitarist Joey Molland was eventually added as Griffiths' replacement, causing Tom Evans to move from guitar to bass, but Molland's addition came after the album art had been prepared, so only Pete Ham, Tom Evans and Mike Gibbins are pictured on the cover.
The album peaked at number 55 on the US charts.
genre: rock, psych
quality: lossless (flac, cue, log, covers, size: 342 mb)
AllMusic: B.B. Blunder's story is a most confusing one for such a short-lived and little-known band. The group was essentially an offshoot of the Blossom Toes, one of the best underground British rock acts of the '60s, noted for both their droll psychedelic pop and a heavier, dual-lead guitar-oriented sound. When the Blossom Toes broke up at the end of the '60s, guitarist Brian Godding and bassist Brian Belshaw continued to play together, sometimes in association with singer (and Godding's sister-in-law) Julie Driscoll. Eventually, Kevin Westlake, who had drummed on the Blossom Toes' first LP, joined them, and the trio recorded an album, with Driscoll helping out on vocals.
Although the group could have just as well been called Blossom Toes as B.B. Blunder, their sound was in fact significantly different than what they'd played on the Toes' albums. The songwriting was, well, loose, and unfocused. The record's principal attractions are the multi-layered guitars, which have a certain just-post-Abbey Road charm, with lengthy electric-acoustic passages bordering on jams. After it was issued as Workers Playtime in 1971, Reg King (formerly of mid-'60s cult mod band the Action) joined the group for live work. The enterprise was basically a non-starter, though. Westlake soon quit, new members joined (including Reg King's brother and fellow Action veteran Bam King), and the group fell apart by the end of 1971. To add to the confusion surrounding this none-too-tight aggregation, in 1989, their sole album was reissued under the title New Day by Decal, who attributed the recording to "Blossom Toes '70 (formerly B.B. Blunder)." This is why this none-too-interesting one-shot record also shows up in the Blossom Toes discography. ~ Richie Unterberger
genre: latin fusion
quality: lossless (flac, cue, log, covers, size: 300 mb)
wikipedia: Azteca was an American Latin rock/jazz fusion group formed in 1972, started by percussionists Coke Escovedo and his brother Pete Escovedo, who had just finished stints with Latin rock pioneering band Santana. Azteca was the first large-scale attempt to combine multiple musical elements in the context of a Latin orchestra setting, and featured horns, woodwinds, multiple keyboards, three vocalists, guitars, drums, and multiple Latin percussionists.
Onstage, the band consisted of between 15 and 25 members, and toured with acts including Stevie Wonder. Other notable Azteca alumni included vocalists Wendy Haas and Errol Knowles, guitarist Neal Schon, trumpeter Tom Harrell, bassist Paul Jackson, drummers Lenny White & John H. Brinck Jr., and percussionist Victor Pantoja. The group was also a musical starting point for Latin percussionist Sheila E. (the daughter of Pete Escovedo), who appeared with the band as a teenager. Two albums were released on Columbia Records, the self-titled Azteca (1972) and Pyramid of the Moon (1973), before the band split up.
On September 15, 2007, a number of the surviving members of Azteca performed together for the first time in more than thirty years in Hollywood, California.
aubreysmall.com: Aubrey Small formed in 1969 with a line-up that featured 5 part harmonies, twin guitars & flute which was quite pioneering for those times! Very soon they were attracting considerable interest in heady musical circles. Ronnie Scott’s Jazz Club took the band under their management followed by numerous regular sessions on BBC Radio 1’s “Sounds of the Seventies” for Bob Harris & John Peel. The band were soon performing at landmark venues such as London’s Marquee, Flamingo, Samantha’s, Thatched Barn at Chalk Farm & the Roundhouse with Ronnie Scott’s becoming their “second home”.
Record companies were fast becoming aware of the band’s growing reputation and within a short time a recording contract was signed as well as a publishing contract with Radio Luxembourg MD Alan Keen of Louvigny Marquee, for their songs. An album was released in 1971 followed by a single some months later.
Although the band were together only four short years, they created a legacy of interest with the people their music reached, which has lasted until the present day. Recently unearthed long lost recorded material was returned to the band, prompting them to tell their short but colourful story.
wikipedia: Attila was a short-lived heavy-metal band featuring a young Billy Joel. After The Hassles disbanded in 1969, Joel and Hassles drummer Jon Small formed Attila, a keyboards/drums duo a la Lee Michaels. Joel was then playing a distorted Hammond B-3 and the forceful percussions help to create some strange sounds, very very far from Honesty! The record was a total flop but is now beginning to attract the attention of some collectors.The new band's instrumentation was organ and drums, with Joel also handling the bass lines with a keyboard, similar to the Doors' Ray Manzarek. Joel and Small's creative partnership ended in 1970 when Joel ran off with Small's wife, Elizabeth, although this did not end their collaborations, as Small produced Joel's Концерт video as well as the Live at Shea Stadium performance.
Their only album, Attila, was released on July 27, 1970. Attila has been selected by AllMusic critics as one of the worst rock albums of all time. Joel himself has gone on record as describing the album as "psychedelic bullshit".
Billy Joel, Interview with Billy Joel by Dan Neer in 198: "End of the sixties, I was in a two-man group. We were heavy metal, we were going to destroy the world with amplification, we had titles like 'Godzilla', 'March of the Huns', 'Brain Invasion'. A lot of people think just came out of the piano bar... I did a lot of heavy metal for a while. We had about a dozen gigs and nobody could stay in the room when we were playing. It was too loud. We drove people literally out of clubs. 'It was great, but we can't stay in the club".
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Oldish Psych & Prog offers progressive psychedelic rock music mp3 lossless downloads