some infos! As you probably noticed i can't update costantly the blog for many reason (i'm busy, problems with isp and pc, blogger and and so on... but when i can i'll try to share interesting stuff, fix problems and somethings like that...today some albums posted in the past years with some "addiction"(request-new stuff)... about comments..sorry if i don't answer quickly to you but trust me, i can't!
ok, let's go!
Good Thunder - Good Thunder(masterpiece hard prog 1972)
Thanks to my anonymous friend!
Heldon - Stand By (prog elet. 1979)
If you want electronic music with amazing guitar playing well this is it.One of the best electronic albums ever and for sure one of the best of the seventies.
Heldon - Un rêve sans conséquence spéciale
High Treason - High Treason (1969 hard psych)
Mystic Siva - Under the Influence
Turnquist Remedy - Iowa By The Sea (1970 psych)
Streetmark - Nordland(1976 ger masterpiece prog)
1:http://link-protector.com/703542/ (it shoul be fixed)
Violence Fog / Jerusalem - SWF-Sessions - Volume 6
“sometimes I wonder if I chose the right road or if I’m lost…” It has taken me quite a few spins to really absorb this Ohio band’s sophomore and final release. Like with the Black Cat Bones lp, continuous, strong bluesy overtones tend to drain me, my mind wandering off more so than with something hard or progressive to keep me riveted and rockin’ the place. I blame it on the unhurried methodical pace that envelopes three out of five blues-predisposed melodies, and as a result of that pace many of those pieces or ‘bassy plod over a slow emotional solo’ seem derivative of the last blue-based project I’ve heard. Either that or the blues influence they are playing with isn’t bursting with originality. Apparently the quintet’s 1970 debut, Declare, is heavier rock and less blues with both having wisps of psych meandering through them, but until I track it down all we have to go on is the self-titled lp. Mingling both musical worlds is the lp’s opener, a cover of Cream’s “World of Pain” with a beefier, elongated start, keyboard-laden mid-section and a short drum solo thrown in for good measure. This is just in time for the other cover tune on the original album, a more feverish version of “I Don’t Need No Doctor” by Ray Charles, which had already been reworked by Chocolate Watch Band and would be later by New Riders of the Purple Sage, Humble Pie and a slew of other bands. Fact of the matter is the few songs on this lp that are actually Whalefeathers’s own material sound like they could be refurbished tracks with longer instrumental nooks and additional ditties inserted here and there, especially the organ-ingrained “It’s a Hard Road (Back Home)” with its polite gospel-esque melody and chorus. From there the more soft-spoken “Bastich”, this time I believe a cover song by the oddball band Saint Steven, condones a ballad-like vocal approach that comes off rather one-dimensional and blah, then suddenly lights the way for more heartfelt sentiment as soon as the band finds the ignition switch. “Oh, Pretty Woman” is perhaps the liveliest and shortest track of the bunch with a clandestinely combative rhythm and some dominant soloing, meanwhile a somewhat spacey/psyche organ intro leisurely welcomes the more progressive “Shadows” to the family where keyboards and solos spin an imaginative web within each other. The bluesy aspect remains present, just not overwhelming me to sleep. As for the clean, unobscured vocals, only at the start of “Bastich” did I feel they failed to nail the sound, otherwise they merge with the music quite snugly. Chosen for bonus tracks are two from their debut, one being a less ecstatic, less surf n’ pop inspired, and less electrifying cover of Moby Grape’s “Omaha” and strange “Know Thyself”, a partially dreamy, keyboard-backed floater that slowly rumbles to a head toward the end with a moody solo, boisterous percussion and downright heavy guitar tone. Since literally half of the tracks are borrowed from different imaginations, it’s difficult to get a strong grasp on the band’s true songwriting ability, but if “Shadows” and “Know Thyself” are a foreshadow (in this case, since I haven’t heard the debut) to their talent, they should worry about covers like I worry about hippos in the Congo.
The Jaggerz We Went to Different Schools Together(1970 psych)
Morse Code - Procréation (1977)
Soho Orange - Soho Orange (1971 sco-heavy psych)
buon disco!veramente buono!stiamo parlando di un buon heavy psych con un buon "guitar work"..ci sono dei pezzi soft altri un po' più duri con riff belli tosti...manca quel quid per gridare al capolavoro ma buona aggiunta alla vostra collezione!
And some hard rock from spain uploaded by RESIDENT EVIL2!!!!
The Storm hailed from Sevilla and were acclaimed by audiences and press reviewers as one of the best rock bands from Spain. The combo was formed by the Ruiz Geniz brothers (Angel and Diego, on guitar and drums respectively) plus Luis Genil (organ) and José Torres (bass). Their debut album, originally released on Basf in 1974, is one of the Crown jewells of Spanish hard rock, and changes hands for a small fortune among collectors all over the world, especially since its inclusion in Hans Pokora's 'Record Dreams' books.This LP really rocks. It's high energy hard rock that follows the line marked by the big organ outfits of the era: Deep Purple, Atomic Rooster, Bram Stoker, Megatón, a.o. It has also a deep classic prog sound root, which reaches the top on 'Un Señor Llamado Fernández De Córdoba'. This is F*****g great!!!!!
The Storm (Spain 1974)
fronting one of the most impressive Spanish rock albums from the '70s. Astonishing blend of psychedelia, progressive, symphonic, folk, rock and jazz. The production of the album is amazing, and the in-your-face guitars by Eduardo will knock you out. A true masterpiece in his own right.
Is a really marvelous album, among the best ever released in Spain!
Eduardo Bort (1974) Spain.rar
BARON ROJO Rojo
Baron Rojo would be considered standard hard rock, but in 1982 these guys were the kings of metal in their homeland of Spain.
Baron Rojo have that classic heavy metal sound like the RODS and early RIOT but at times would have fit in nicely on the same bill as FOGHAT also, when they were tearing up the stage. Heavy guitars, crunchy riffs, pounding drums and melodic vocal melodies
I give you their first three cause I can't pick my favourite love them all.Sung all in Spanish but who cares its' the music its' always the music and the vocals add to it.
Baron Rojo - (1980)Larga Vida Al Rock And Roll.rar
Baron Rojo - (1982)Volumen Brutal.rar
Baron Rojo - (1983)Metalmorfosis.rar
This is just cool to have really diverse.Sherpa - Los Primeros Exitos de un Baron Rojo 1973-1977(real title)orSherpa - the First Successes of a Baron Rojo 1973-1977(English)Sherpa or Jose Luis Campuzano, as it is really called, is one of the great talents of pop and the Spanish rock. Before being important member of the group BARON ROJO(RED BARON), he recorded all a series of songs in solitaire. Sherpa has again released two fine CD's in the last couple of years check em out.
Sherpa - the First Successes of a Baron Rojo 1973-1977
THANK YOU MY FRIEND FOR THIS STUFF!!!
Rahmann - Rahmann(1980 zeuhl)
A classic of complex zeuhl prog, with added spice from Mahavishnu Orchestra and Arabic influences. Majestic, mysterious, powerful, beautiful, and the playing is flawless.
1 Atlanta 5:26
2 Nadiamina 6:23
3 Ab 8:00
4 Danse Sacrée 6:35
5 Leila 9:38
6 Mache Funèbre 5:00
7 Marche Funèbre (Bonus Track) 5:04
8 Danse Sacrée (Bonus Track) 10:13
9 Nadiamina (Bonus Track) 7:08
10 Atlanta (Bonus Track) 4:51
Sopwith Camel - The Miraculous Hump Returns From the Moon
Suntreader - Zin Zin (1973 Jazz prog)
Fleur De Lis - Facing Morning(1972 dnk psych prog)
Kin Ping Meh - No.2 1972(kraut hard rock)
You're ridin' shotgun with Babe Ruth... over land, to the Rio Grande. First Base comes up short of hitting for the cycle, but the group does go deep on the furious album opener, "Wells Fargo", making this disc well worth the price of admission. Cruising behind a killer riff, accented by a scorching sax solo and the killer vocals of lil' Jenny Hahn, Babe Ruth take a vicious swing on "Wells Fargo", as they head for the Mexican border. It's a wild six-minute and thirteen-second at bat, that results in a round-tripper. Touch 'em all! Toss back a healthy shot of tequila and chase it with "Wells Fargo" jacked to the max.
KNOCK IT BACK!
Eyes of Blue - In Fields of Ardath (psych 1969)
Sweet Smoke - Just a Poke (1970 uk psych prog)
This group of self expatriate Americans, was formed in Brooklyn, NYC, but it was after having settled near the Dutch/German border that through intense gigging they found the success that had eluded than in their native US; never a “Charts Band”, Sweet Smoke had nevertheless all the attributes to become a real Cult-Band; I don’t know their live recordings, but the studio ones are more than enough to give an idea of the live potential these guys must have had; Musical educated, and talented instruments and vocal improvisers who could easily found their way out of the ruts jams often fall in, these guys must have been true stage animals, and the dream “species” of any live audience;
The line-up for “Just a Poke” is Steve Rosenstein (rhythm gtr., perc. & vocals), Marvin Kaminowitz (lead gtr, vox), Michael Paris (tenor sax, recorder, vox & perc.), Andy Dershin (bass) and Jay Dorfman(drums, perc.) and the album was produced by legendary Kraut Rock producer Connie Plank, who apparently didn’t set any restrictive boundaries and left tapes rolling while the band’s inspiration flowed freely;
The album consists of two 16mn plus jams (on either side of the vinyl), group compositions without verses, chorus or middle-eights worries, a sort of:”-OK guys, let’s do our live set” thing; and the truth is it worked out pretty well;
Side A starts with melodic reminiscences of Quintessence (may well be a coincidence…), with the flute embellishing the vocal theme or soloing with feel as the band speeds up the tempo into a mid tempo jazz groove; after 4:00 things Rock-up with the guitarists crossing their rhythms, licks and solo bits, and constantly finding new riffs to take the jam into new directions; around 9:00 it’s the Doors’s “Soft Parade” that provides the inspiration, initially with vocals and then in a West Coast sounding jam with guitar solos; but than the fire slowly extinguishes and when they get back to the initial theme, they seem to have run out of tricks to keep things interesting and the track dies out without glory;
On “Silly Sally” the sax opens a swinging Rock jazz groove, with vocal diatribes and reminiscences of Tim Buckley’s “Greetings from L.A.”; parallel wah-solos accentuate the psychedelic vibe as a frenetic bass/percussions and drums engine fuels the groove; around 6:00 is time for a bass solo ( with some good will, in a vibe similar to the one found in Canned Heat’s Woodstock show) that lasts for about one minute until the drums take centre stage; drenched with the very common at the time phased effect and taking advantage of stereo panning it’s followed by the full band on a percussions only part, with cow bells, shaker, bongos et al; when the initial theme resumes around 12:00 its time for a sax solo; Paris has a nice feel and makes good use of effects and is capable of holding the groove until the well rehearsed final band climax;
Axis - Axis (1973 fra- prog)