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Hush, the original vinyl album recorded by Sydney group Extradition, remains one of the most rarest albums released by an Australian artist. Prices several years ago were above $100, but unlike many other albums of the early seventies, this album is not rock nor blues orientated. Instead it mixes folk, traditional folk with avant garde ideas, yet remains very listenable, even to this day. Having been to several folk festivals over the past few months, I can attest that several of their songs reflect the influence of English folk, particularly when vocalist Shayna Karlin takes on lead vocals: she has a classic, clear vocal sound reminiscent of Sandy Denny of Fairport Convention, although other scribes suggest Pentangle and Incredible String Band might also be other comparison reference points.
I also hear nuances of Steeleye Span. However it is the creative input from Colin Campbell and Colin Dryden that pushes the normal boundaries of folk towards more less travelled paths. On tracks like Original Whim, drummer Robert Lloyd, uses unusual percussive instruments and rhythms, without losing the interest of the listener. Lloyd later became more interested in World music, which he explored at the time in 1971, before World music became a recognised genre. The band also used unusual instruments such as a harmonium (on the classical instrumental Minuet) or the sitar sounding vina on A Woman Song. Other instruments include bamboo flute, glass chimes, harpsichord and gongs. This re-issue of the original album includes 6 bonus tracks, all from a live recording of the band in concert. For my money two of these constitute the best tracks on the album. Honeychild and In the Evening are a traditional folk song and the latter is a cover, in the blues folk idiom.
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Widely cited as one of the most important private press releases in all 1970s psychedelia, D.R. Hooker's The Truth might actually be one of those obscure lost gems that's worth the customarily inordinate amount of interest such period pieces are afforded. D.R. Hooker was a man slightly askew with his time: from the robes he wears on the cover to the quasi mystical lyrics, he's very much connected to the hippy era, and given that this album was recorded in 1972, in a time post-Charles Manson, he was brave to associate so strongly with all the imagery pertaining to cults. Musically, Hooker looks beyond the parameters of the hippy movement, dipping into a more ambitiously studio-oriented sound than Hooker's half-troubadour, half-prophet image on the sleeve might suggest.
The noisy, fuzzy elements are particularly effective, and surprisingly intricate in their arrangement and recording. 'Forge Your Own Chains' takes this to an extreme, expertly deploying advanced loungey jazz figures with an onslaught of brass. This all sounds far more ambitious and accomplished than the vast majority of private press releases that tend to emerge, and there's certainly a strong case to be made for this record being one of those precious few curiosities from the private press movement to feel like more than a kitsch comic aside. Well worth your investigation.
01. The Sea
02. Fall In Love
03. A Stranger's Smile
04. Weather Girl
05. This Thing
06. Forge Your Own Chains
07. I'm Leaving You
08. The Truth
09. The Bible
10. Falling Asleep
Bonus: (From the album "Armageddon" 1979)
11.Hello
12.This Moment
13.Free
14.Winter
15.A Tornamented Heart
16.Kamala
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Sounding like a blend of Jefferson Airplane and the Doors, Bow Street Runners was a Fayetteville, North Carolina-based psychedelic band who released one eponymous album in limited quantities on B.T. Puppy Records in 1970. While the group was ignored at the time, Bow Street Runners became a collectible item among psychedelic aficionados during the '80s and '90s.
Flushed from Fayetteville, North Carolina-where they thought they could remain comfortably obscure-by our release of their only album, the Runners have recently re-surfaced. Issued in ultra-limited quantity by B.T. Puppy in 1970-and now changing hands for sums more familiar to NASDAQ-this is an other-worldly blend of sweet female blotter acid harmonies, hypnotic Farfisa and high-octane fuzz guitar histrionics.
Using the trippy, folky rock of Jefferson Airplane and eerie, organ-driven soundscapes as a foundation, the Bow Street Runners may not have many original ideas in their head, but that's part of their appeal. Their lone, eponymous album is filled with attempts at hippie mysticism and menacing, swirling fuzzy psychedelia, yet the group has neither the inclination or the talent to turn it into something original. Nevertheless, the group is somewhat distinctive in the ways its attempts fail -- "Spunky Monkey" is an aimless and slightly ridiculous blues jam, "Eating from a Plastic Hand" has a silly, ominous minor-key melody and, best of all, "Watch" sounds like Ringo Starr fronting the Doors. It doesn't make for good or provocative music, but as a late-'60s artifact, it's fascinating.
One of the headiest albums on the BT Puppy label a really fuzzed-up sound that's underground psyche at its best! The group have a pretty dark feel overall and even when the vocals get a bit sweet, there's an undercurrent of sadness which is followed through even more strongly on other tracks that have the guitars playing at a heavier level, especially on a few tracks that have a slight bluesy undercurrent. The titles do a good job of setting the scene and they include "Steve's Jam", "Eating From A Plastic Hand", "Rock Fish Blues", "Push It Through", "Spunky Monkey", and "Leaving Grit America"...
Issued in ultra-limited quantity in 1970 and now changing hands for sums more familiar to NASDAQ, this is an other worldly blend of sweet acid harmonies, hypnotic Farfisa and high-octane fuzz guitar histrionics...
01. Electric Star
02. Watch
03. American Talking Blues
04. Leaving Grit America
05. Another Face
06. Eating From A Plastic Hand
07. Rock Fish Blues
08. Push It Through
09. Spunky Monkey
10. Steve's Jam
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Pete Bailey's banshee vocals, Dave Mitchell's howling guitar and Doug Tull's cosmic thud made Josefus the uncontested Lone Star state hi-decibel heavyweight champ. Deadman, their hideously rare first longplayer-joined here by the previously unreleased original version of the album-is a bare-knuckled slugfest with the devastating wallop of a Texas tornado. Never before seen photos, new liner notes and 14 killer tracks all taken from the original masters complete this definitive Josefus package!
There are two sides of good music on this Josefus LP Dead Man. The one song really makes having this album worthwhile is the seventeen minute and twenty-nine second title track.
I went to the bands website briefly and they stated on the homepage how they were surprised with the continuing popularity of their music. I am not. They played with a lot of energy and sweat. Cranking out good vibes with hard rocking fuzz and psychedelic tunes was part of their makeup and design as a well-known Texas rock band.
The sound on the album is quite good, and considering all the different formats available in CD, it stands up quite well. I can only imagine what one of their concerts was like picture a sea of hippies tripping out and guys in jeans and t-shirts guzzling down beers while women danced, bumped and grinded their way through the night. This kind of music probably worked people into a state of frenetic energy. They reminded me fondly of hard rocking and hard working bands like Grand Funk.
Music this good always has a place in my collection; it does not pull any punches. This is rockin music that barrels in straight attcha like a speeding bullet now, that is my kind of band.
01. Crazy Man - 3.39
02. I Need A Woman - 4.23
03. Gimme Shelter - 4.06
04. Country Boy - 3.13
05. Proposition - 4.45
06. Situation - 1.56
07. Dead Man - 17.28
Bonus:
08. Aristotle [early recording 1967] - 2.38
09. I Love You [early recording 1969] - 2.29
10. Get Off My Case [Live 1969] - 3.53
11. Louisiana Blues [Live 1969] - 8.23
12. Light in Heaven [Live 1969] - 4.16
13. Hard Luck [Reunion 1979] - 3.46
14. On Account Of You [Reunion 1979] - 6.23
15. Let Me Love You [Reunion 1979] - 2.42
16. Big Time Loser [Reunion 1979] - 3.27
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The album is virtually a second Deep LP and almost identical in style. A Million Grains Of Sand and My Rainbow Life are two of its better tracks. Some of the other material can arguably described as rubbish, or brilliant. It's now a minor collectors' item and has been reissued several times. My Rainbow Life was also done by Third Bardo and it has therefore been surmised that they were yet another of Rusty Evans' 'projects'. This was not the case as you'll read later in the Third Bardo entry. Filling The Gap includes a different version of A Million Grains of Sand that Rusty recorded at a later date as Marcus.
A great little record of hippie freakout experimentalism -- almost like some of the weird bits you'd find in the ESP catalog from some of the sub-Fugs rock groups of the time! The songs have a very trippy nature, mixed with a bit of politics ("draft beer, not students") -- and the album's produced with lots of cool effects that make the guitars go wild, the voices sound spooky, and which introduce some sound snippets and a small bit of electronics! The whole thing's definitely a "Freak Scene" overall -- the kind of tripped-out album that somehow sounds even better today than it did a few decades back. Titles include "The Subway Ride Thru Inner Space", "My Rainbow Life", "The Center Of My Soul", "Mind Bender", "Grok", and "Watered Down Soul". CD also features the bonus track "A Million Grains Of Sand".
01. A Million Grains Of Sand (2:69)
02. Interpolation: We Shall Overcome (3:58)
03. Rose Of Smiling Faces (4:24)
04. Behind The Mind (2:28)
05. The Subway Ride Thru Inner Space (2:72)
06. Butterfly Dream (1:64)
07. My Rainbow Life (2:83)
08. The Center Of My Soul (2:43)
09. Watered Down Soul (2:61)
10. Red Roses Will Weep (2:32)
11. Mind Bender (2:45)
12. Grock! (1:63)
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This Superb Blend of Psych-pop and Experimental Acid Rock Originally Appeared on One of the Rarest Mainstream Lps. Strong, Melodic Songwriting, Well-established Collector's Grail the Legendary Mainstream Label in 1969. Recorded by a Bunch of Canadian Musicians Who'd Fetched Up in New York, it Received No Airplay Or Promotional Support and was Soon Deleted, but Has Gone on to Become One of the Most Sought-after Major Label LPs of the Period. Enjoyable from Start to Finish.
Whether you like what Bob Shad and Mainstream did in the late 60's it a matter of opinion. Not sure if some of the label releases would have gotten on a major label, but Mainstream offered us some unusual music mixed with more recognizable bands like Big Brother and the Holding Company and Amboy Dukes.
Stone Circus deserves better than Mainstream-really. It has everything of the period, good songs and vocals, fuzz workouts, organ swirls. Man, there were worse-lots worse. These transplanted Canadians went to NYC to seek their fame. Choose the name Funky Farm, got signed by Mainstream/Bob Shad. He changed their name to Stone Circus (not a bad move)and this LP went the way of most of the Mainstream artists. They did release "Mr. Grey" as a single. Perfect song for the times, but with no promotion, nothing happened.
Stone Circus were more than adequate musically. Lyrics are of the time; questions about life and other people's personalities. Jazzier Doors-y opener "What Went Wrong" reminds of Buffalo Springfield's "Pretty Girl Why" and those Classic Four songs. "Adam's Lament," more instrumental than not, is a downright funky look at the happenings in Eden! Aforementioned "Mr. Grey" fits along side S.F. Sorrow. It features a growl-y fuzz bass and takes off into a Ray Manzarek-like break. "Blue Funk" is one of the best tracks here. Smart lyrically, driving bass, and a dreamy little chorus: "you're a blue funk in a green frame. You're a mad monk with a million saints." Along with "Mr. Grey," "Sara Wells" intriques. Sounding like Strawberry Alarm Clock, with a bit more production, this could have been a hit. "Inside Out Man" is "Nowhere Man" four years later.
Every album in the 60's had its 7 minutes plus extravaganza-Stone Circus is no exception with closer "People I Once Knew." Winding itself up with a spoken intro, we are then treated to a major fuzz freakout. It has its moments, but imagine the riff from the Byrds "So You Want To Be a Rock and Roll Star"-only twice as fast. With no nuance or atmosphere, the riff drives you to distraction. The lead and organ breaks are inventive if a little long winded. Arising and descending bass riff break things up creatively. I do believe the more you hear this album, the better it gets. Make to be listened to in the spirit that it was made.
01. What Went Wrong
02. Adam's Lament
03. Mr. Grey
04. Blue Funk
05. Carnival of Love
06. Sara Wells
07. Inside-Out Man
08. Camino Real
09. People I Once Knew
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A Massachussefts outfit whose album is full of interesting and quite imaginative pop/folk-rock, obscure enough to have been reissued. Apart from a cover of Tim Hardin's Hang On To A Dream, all the songs were penned by Paul Applebaum. It's certainly worth hearing.
In an effort to compete with the success RCA Victor and other labels were having with San Francisco based bands, the mid-1960s found Mike Curb and MGM Records signing virtually every New England band they could lay their hands on. In their efforts to market the Bosstown Sound, Curb and company somehow managed to miss one of Massachusetts more talented outfits - The Art of Lovin'.
Built around the talents of singer/guitarist Paul Applebaum, bassist Johnny Lank, sax player Barry Tatelman, vocalist Gail Winnick and drummer Sandy Winslow, 1968 saw the band signed by the small Detroit-based Mainstream Records. Released later in the year, "The Art of Lovin'" made for one of the year's more interesting debuts. Curiously, for years I'd read reviews that labeled this album as being folk-rock oriented. It's not. That said, the first time I spun the collection I was left with the nagging feeling I'd heard it somewhere before. The second time around, the comparison instantly dawned us. Powered by Applebaum's pseudo-psychedelic material and Winslow's crystalline voice, stylistically tracks such as 'What the Young Mind Says', the rocker 'Take a Ride' and 'Good Times' bore more than a passing resemblance to early Jefferson Airplane. Imagine the Airplane having elected to abandon some of their more strident moves in favor of a slightly more commercial orientation and you'll get a good feel for the LP. At the other end of the spectrum, harmony rich tracks such as 'Daily Prayer' sounded like The Mamas and the Papas having abandoned their chirpy top-40 orientation. Simultaneously catchy and quite commercial, it's easy to see why this album is valued so highly by collectors. The funny thing is that it gets better each time I go back and listen to it.
Shortly after the album was released Winslow suffered a schizophrenic episode that left him in and out of care for the next 30 years. In spite of his fragile mental health, he managed to attract national attention through his scratchboard art. Sadly, in October 2002 he died after a brief bout with cancer.
We were a bunch of kids who loved creating music in a time that was ripe for psychedelic pop. We spent most of our time working on the tunes in the bass player's basement. A tape was sent to Mainstream records through a friend and we got signed, much to our surprise. A month later we were in NY recording. The entire album took 20 hours to record at A&R Studios. It was a fantastic experience. We had a ball doing the "rock star" thing, well, at least in our heads.
I guess we were one of the projects that Mainstream was hoping to sell off if our music could show some limited success, as they had done with Big Brother and the Holding Company and the Amboy Dukes. Unfortunately, the album didn't do that well, although Billboard red-starred us, and described us as a cross between the Mamas and Papas and Jefferson Airplane. Quite a compliment, and totally unexpected.
We didn't play out too much. We opened for Mountain once at a club in Boston, and otherwise did a few local gigs. We disbanded shortly after the LP came out. Most of the members headed off to college, and felt that the band was an enjoyable endeavor, but not so much of a commitment that they would put off a college education, etc.
It was a great experience, and I admit that I am still amazed that the album generates interest, 40 years later. [rateyourmusic.com - RDTEN1]
01.Paul's Circus
02.What The Young Minds Say
03.You´ve Got The Power
04.Take A Ride
05.Good Times
06.Daily Prayer
07.The First Time
08.You'll Walk Away
09.(How Can we) Hang On To A Dream
10.State Of Mind
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Although virtually nothing is known of Growing Concern, their only album (Mainstream, 1968) is an enjoyable piece of West Coast psychedelic pop. The opening track 'Hard, Hard Year' sets the tone for the album: it opens with melodic guitar work, which is joined first by bass, then by excellent keyboards; it also features beautiful female vocal harmonies from group members Bonnie MacDonald and Mary Garstki. 'Edge Of Time' features excellent lead guitar work, as does 'Tomorrow Has Been Cancelled'; 'A Boy I Once Knew Well' is a folky lament, which again features fine vocal harmonies, keyboards, and guitar work. Overall, quite a good blend of folk rock, pop, and psychedelia. The album is brilliantly recorded, and is of a consistently high musical quality. The band surely deserved a better fate than the obscurity to which they were consigned by the bizarre business practices of the Mainstream label.
Although formed primarily as a blues label, Mainstream Records released a number of interesting psychedelic albums in the late 60s. Some of the better of these include Bohemian Vendetta, The Jelly Bean Bandits, Orient Express, and The Growing Concern!
From Bonnie MacDonald:
As a member of the Growing Concern I am very gratified and more than a little surprised that our album has resurfaced after so many years. We were a Chicago based group and could’nt have been more different in our musical styles.
We had everything from the Elvis greaser vocalist, old Italian wedding organist, factory worker guitarist and of course me with a preppie background. The others were simply fine musicians. Mary Garstski was a beautiful rather small quiet girl that could belt out a song like I never could! I don’t think that anyone, including the group , really appreciated the original songs that Ralph, Dan and John wrote. It’s nice to see that they have finally been brought to light.
My voice was softer and melodic than what you would normally find in a psychedelic(PSYCHEDELIC MAN) group. Sorry ,you had to there. Bob Shad did get us into the studio to record not once but twice. Once in Chicago and once in New York. Unfortunately there was a slight distraction called the Viet Nam war that took our wonderful guitarist and drummer away before we went to New York and the group just did’nt work without them.
The whole experience was a blast! Who would have thought that I would be immortalized as a rocker from the coolest generation ever! Far out! I have tried to reach the other members of the group but have not been able to find them.If anyone knows how to find any of them please e-mail me. Still rockin’ – and not in a chair yet. BJM
“This self-titled album by The Growing Concern curiously first saw the light of day in 1969 on Bob Shad’s Mainstream label, an imprint more familiar to jazz and blues fans than devotees of psych/pop. Shad, who had worked as an A&R man for Mercury, Savoy and Emarcy in the ’50s, working with the likes of Sarah Vaughan, Blue Mitchell and Curtis Fuller, had the fortune to sign the then-unknown Big Brother And The Holding Company, whose contract, along with that of the band’s vocalist Janis Joplin, Shad wisely sold for a not-insignificant sum to Columbia.
Perhaps Shad thought he was going to repeat his commercial triumph with The Growing Concern. However, the band was a different proposition altogether with its emphasis on beautiful vocal harmonies and fantastic guitar and organ work rather than the Joplin-dominated R&B of Big Brother. Consequently, Shad only allowed the group into the studio on a single occasion, dropping them from the label after this, their eponymous debut. All in all, this is a fine album.”
01. Hard Hard Year (L. Ramsford)
02. Edge of Time (Dan Passaglia)
03. Tomorrow Has Been Cancelled (John Pedley - Ralph Toms)
04. A Boy I Once Knew (John Pedley - Ralph Toms)
05. All I Really Want (Dan Passaglia)
06. Mister You're a Better Man Than I (M. Hugg)
07. What Kind of Life (Dan Passaglia)
08. Other Side of Life (Fred Neil)
09. I Know a Girl (Dan Passaglia)
10. Sit Down I Think I Love You (Stephen Stills)
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The debut album of Un Biglietto Per L'Inferno (A Ticket To Hell) is an amazing cocktail of spontaneous musical energies and poetry. You can hear here some echoes of Deep Purple, Jethro Tull and PFM but there's no plagiarism and the musicians seem to have shaped their own style trying to capture the energy of their live acts. The song-writing of the singer and flutist Claudio Canali is excellent and the lyrics draw some bitter reflections about the hypocrisy of the world. There are many changes of rhythm and mood but all the tracks are in someway bound together as in a long suite, as in a long way down on a "stairway to hell".
The opener "Ansia" (Anxiety) begins with a delicate sound of organ and guitar, then the rhythm becomes more varied and nervous; Claudio Canali's vocals come in at the end of the track introducing the "subject" of the album. The lyrics describe the feeling of uneasiness and apprehension that comes up from a "sad and infamous life spent in murdering and stealing" and the desperate quest for a saviour, for someone who can ease the pain and give hope. Charlatans, merchants, prophets or priests, it doesn't matter. A good prologue to the next track!
The lyrics of "Confessione" (Confession) describe a dialogue between a killer and a friar. The music is full of energy and rage, with "shades of Deep Purple" melting in "tarantella" and passages with flutes "à la Jethro Tull". The singing of Claudio Canali is definitely convincing and his voice seems almost trying to find a reason for the wind of violence that was blowing so strongly in the Italy of the early seventies. "Listen to me, friar / I don't know if I committed a sin / I killed a bastard who wanted cover his dirty past by means of his money / Trying in this way to cheat his fate. Listen to me, friar / And tell me if you call it a sin or a noble act / I steal some money of a rich gentleman / Just to give something to eat to a dying man". But in this album there's no much room for hope and the verses with the answer of the friar are just a dark prelude to the tragic epilogue of the fifth track: "I can't save you from the eternal fire / You have just a ticket to Hell"! This song is the trademark of the band.
Good organ work introduces "Una strana regina" (A strange Queen). The music is a blending of church-like music, Jethro Tull influences, hard rock and Italian folklore. Claudio Canali's vocals seem to be drenched in pessimism while the dialogue between the killer and the friar continues. "A strange queen rules on the Earth / She lives in castles formed by every street / She changes her dress every evening / Her name is hypocrisy. Let's hope that our God from the hereafter can see and forgive us for our impiety".
"Il nevare" (The Snowing) is another great track, with some almost "bluesy" passages and a soaring electric guitar in the forefront. Claudio Canali defined this track as a "laic prayer" and the lyrics seem to invite to meditation and introspection suggesting that, even in a life where hypocrisy and evil rule, you can find joy just contemplating the nature and the snow falling down. "Heavy snowflakes felt down that day / They wet my eyes / Lost in the light / Lost in the effort of knowing, of seeing / How much pure joy from a simple snowing. Far away a bell-tower reminded of a prayer / Over the roofs ancient shadows were celebrating the evening". In my opinion this is one of the best moments of the album.
The long and complex "L'amico suicida" (The suicidal friend) is highly dramatic. The lyrics are autobiographical, inspired by the suicide of a Canali's comrade-in-arms during the military service. "Around your body there's a halo of death.": Canali's vocals are dark and full of commotion, the music flows powerful and melancholic along more than 13 intense minutes. "There was a long rumble of sound, and it seemed to him that he was falling down a vast and interminable stairway. And somewhere at the bottom he fell into darkness. That much he knew. He had fallen into darkness. And at the instant he knew, he ceased to know." Well, just a little quote from Jack London's novel Martin Eden that in my opinion fit perfectly with the conclusion of this "epic"..
Before the end of the album, there's still room for a nice short instrumental reprise of "Confessione". In the whole, I think that this is definitely an essential work in an Italian prog collection. [progarcives.com]
o1. Ansia (4:16)
o2. Confessione (6:32)
o3. Una Strana Regina (6:12)
o4. Il Nevare (4:37)
o5. L'Amico Suicida (13:20)
o6. Confessione (strumentale) (3:32)
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Stray were originally formed an amazing 37 years ago at a school in West London when four 14-year-old pupils decided to form a group. Calling themselves "Stray", the band managed to get regular bookings playing mostly soul and R&B covers until guitarist Del Bromham started writing original material which was in a heavier and more psychedelic style. In 1968 they became the youngest band ever to play at the famous 'Roundhouse' and two years later, still only 17 and 18 years old, signed with 'Transatlantic Records'. The first album, Stray is widely regarded as one of the most accomplished debut albums ever, particularly from such a young band.
Primarily a live band, the group still managed to release a new album a year for the next five years, increasing their output to two albums in 1976. The first five albums catalogued a band maturing and experimenting with brass, strings and more complex arrangements with the third album, Saturday Morning Pictures, being the undoubted pinnacle of Stray releases, displaying a maturity that was far in excess of most teenagers. A line-up change in 1975 saw Pete Dyer replace original vocalist Steve Gadd and the band signing to 'Pye Records' with whom they eventually released a three further albums which, with the exception of the excellent Stand Up And Be Counted, never really captured earlier glories. However, in the late 1970s, Stray found themselves out of place amongst the up-and-coming punk and new wave scene playing their last concert in December 1977.
1973-released fourth album from London-based heavy prog/ blues/ proto-metallers, a major influence on the Stoner and Doom movements many years later. Includes the classic 'Oil And Fumes And Sea Air' and 'Hallelujah' (no relation to Deep Purple, Leonard Cohen, Can or Happy Mondays tunes of the same name).
01. Changes
02. Come On Over
03. Alright Ma!
04. Oil Fumes & Sea Air
05. Gambler
06. Hallelujah
07. I Believe It
08. Pretty Thing
0. Soon As You've Grown
10. Leave It Down To Us
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Thin Lizzy is the first studio album by Irish hard rock band Thin Lizzy, released in 1971.
Thin Lizzy were originally conceived as a power trio in the image of Cream and the Jimi Hendrix Experience, but Eric Bell lacked the charisma of these groups' guitarists, forcing vocalist/bassist Philip Lynott to take center stage from day one. Despite his already poetic, intensely personal lyrics, Lynott was only beginning to develop as a songwriter, and the band's unfocused, folk-infused early efforts are a far cry from their mid-'70s hard rock glory. Recorded on a shoestring budget, their self-titled debut is surprisingly mellow; many songs, such as "Clifton Grange Hotel" and "The Friendly Ranger of Clontarf Castle," sound confused and unfinished. Quiet ballads like "Honesty Is No Excuse," "Eire," and "Saga of the Ageing Orphan" abound, while supposed rockers such as "Ray-Gun" and "Return of the Farmer's Son" fall remarkably flat. In fact, Lizzy only bare their claws on "Look What the Wind Blew In," a gutsy rocker that hints at things to come. Four bonus tracks (originally released as singles) were added to this CD reissue, and of these "Things Ain't Working Out Down at the Farm" is quite memorable, while the mournful "Dublin" contains Lynott's first great lyric.
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https://rapidshare.com/files/2445065208/Lizzy1.rar
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Popol Vuh might have had originality not to feel the influence by other music at first of the debut too much. These flows might originate the fact that there were not so many elements of straight Rock in the part of a nucleus musical Florian Fricke.
Part of opening sound natural as one of expressions of existence of Popol Vuh for Florian Fricke and music character exactly. The expression to which an electronic element at first of the debut is taken might have started making those natural elements recur by introducing an electronic sound. The introduction of an electronic sound might have given a futuristic impression in a musical situation of Germany at that time.
Various bands that took the introduction of an electronic sound might have stared at space and the area involved to the directionality of the created expression. To describe an exactly Popol Vuh natural part and a philosophical part, music might have been created by original directionality.
The part of the description, the expression, and the flow of the theme might have had an often philosophical element and a religious expression. The flow of the band that started the recurrence to acoustic with this album would be groping and, of course, be an act of nature. Getting rid of from the introduction of an electronic sound might have had the impression of the restriction for the band. The introduction of the philosophical theme seen as a guess since this album might have expanded the width of the directionality of the band oppositely. It might be advanced with one space meaning already.
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https://rapidshare.com/files/3735048124/Popol_Vuh3.rar
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Size: 91.8 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
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The Low Spark of High Heeled Boys marked the commercial and artistic apex of the second coming of Traffic, which had commenced in 1970 with John Barleycorn Must Die. The trio that made that album had been augmented by three others (Ric Grech, Jim Gordon, and "Reebop" Kwaku Baah) in the interim, though apparently the Low Spark sessions featured varying combinations of these musicians, plus some guests. But where their previous album had grown out of sessions for a Steve Winwood solo album and retained that focus, Low Spark pointedly contained changes of pace from his usual contributions of midtempo, introspective jam tunes. "Rock & Roll Stew" was an uptempo treatise on life on the road, while Jim Capaldi's "Light up or Leave Me Alone" was another more aggressive number with an unusually emphatic Capaldi vocal that perked things up on side two.
The other four tracks were Winwood/Capaldi compositions more in the band's familiar style. "Hidden Treasure" and "Rainmaker" bookended the disc with acoustic treatments of nature themes that were particularly concerned with water, and "Many a Mile to Freedom" also employed water imagery. But the standout was the 12-minute title track, with its distinctive piano riff and its lyrics of weary disillusionment with the music business. The band had only just fulfilled a contractual commitment by releasing the live album Welcome to the Canteen, and they had in their past the embarrassing Last Exit album thrown together as a commercial stopgap during a temporary breakup in 1969. But that anger had proven inspirational, and "The Low Spark of High Heeled Boys" was one of Traffic's greatest songs as well as its longest so far. The result was an album that quickly went gold (and eventually platinum) in the U.S., where the group toured frequently.
The Low Spark of High Heeled Boys is the sixth album by English rock band Traffic, released in 1971. As with other Traffic albums, The Low Spark of High Heeled Boys featured different forms and offshoots of rock including jazz rock, progressive rock, as well as classic rock and roll. The title of the album was suggested by the actor Michael J. Pollard. The album features the hit "Rock & Roll Stew (part 1)" and the FM hit, "The Low Spark of High Heeled Boys." This is the only original Traffic album to feature two lead vocals by Jim Capaldi ("Light Up Or Leave Me Alone" and "Rock & Roll Stew"). His only other full lead vocal on a Traffic studio album was "Dealer" from Mr. Fantasy.
"Light Up Or Leave Me Alone" was covered by noted jam band Phish.
Critical retrospectives on the album varied widely. Allmusic was overwhelmingly positive in their assessment, praising the variety brought by the non-Winwood/Capaldi compositions and the power of the lengthy title track, and claiming the album "marked the commercial and artistic apex of the second coming of Traffic". In contrast, Robert Christgau saw the album's only merit is that it occasionally isn't "devoid of intellectual thrust" and focus. Pop Matters offered yet another viewpoint, calling it "an album that’s easy to listen to over and over, but one that seldom shows up on “best of” lists." They commented that most of the songs are highly understated and require multiple listens to appreciate.
01."Hidden Treasure" – 4:16
02."The Low Spark of High Heeled Boys" – 11:35
03."Light Up or Leave Me Alone" (Jim Capaldi) – 4:55
04."Rock & Roll Stew" (Ric Grech, Jim Gordon) – 4:29
05."Many a Mile to Freedom" (Steve Winwood, Anna Capaldi) – 7:26
06."Rainmaker" – 7:39
Bonus:
07."Rock & Roll Stew Parts 1 & 2" (Grech, Gordon) – 6:07
Note: This track is the most complete version of the original studio performance and is presented here with no interruption. The original album version fades out earlier. This recording was also edited into the 2 sides of the "Rock & Roll Stew" single. The original Part 1 (side 1 of the single) was an edit (with shortened instrumental break) of the album version. The original Part 2 (side 2 of the single) was a jam that extended past the album version's fadeout. This is also the version of "Rock & Roll Stew" that's featured on the Gold compilation.
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https://rapidshare.com/files/3935780021/Traffic.rar
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Size: 278 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
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Source: Japan SHM-CD Remaster
Vagabonds of the Western World is the third studio album by Irish hard rock band Thin Lizzy, released in 1973. It was the band's last album with original guitarist Eric Bell and the first to feature the artwork of Jim Fitzpatrick.
After achieving a reluctant Top Ten hit with a rock version of the traditional Irish pub ballad "Whiskey in the Jar," Thin Lizzy began work on Vagabonds of the Western World -- their third, and ultimately last album for Decca Records. The single's surprise success gave the band bargaining power to demand more money and time to record, resulting in their first sonically satisfying album. The environmentally-conscious R&B of "Mama Nature Said" kicks things off with Eric Bell leading the way on slide guitar.
The overblown "The Hero and the Madman" and the tepid "Slow Blues" threaten to derail the proceedings, but all is well again when the band break into their first bona fide classic "The Rocker." Brimming with attitude and dangerous swagger, Lynott sets the tone as drummer Brian Downey explodes into life for the first time on vinyl. Lizzy's Irish heritage permeates the title track, and the beautiful "Little Girl in Bloom" is absolutely flawless, featuring Lynott, the poet, in top form. In many ways, Vagabonds actually rocks harder than Lizzy's next album, the soulful Night Life -- often considered the band's first "important" record. And with the inclusion of four non-LP singles, including the aforementioned "Whiskey in the Jar," this package becomes even more appealing.
Disc 1:
01."Mama Nature Said"
02."The Hero and the Madman"
03."Slow Blues" (Downey, Lynott)
04."The Rocker" (Bell, Downey, Lynott)
05."Vagabonds of the Western World"
06."Little Girl in Bloom"
07."Gonna Creep Up on You" (Bell, Lynott)
08."A Song for While I'm Away"
09."Randolph's Tango"
10."Broken Dreams"
11."The Rocker" (Single version)
12."Here I Go Again"
13."Cruising in the Lizzymobile" (Bell, Downey, Lynott)
14."Little Darling"
15."Sitamoia" (Downey)
16."Slow Blues" (1979 Overdubbed and remixed version)
17."Randolph's Tango" (Radio promo edit)
18."Whiskey in the Jar" (Promotional edited version)
Disc 2:
01."The Rocker" (BBC Radio One in Concert)
02."Things Ain't Working Out Down at the Farm" (Lynott) (BBC Radio One in Concert)
03."Slow Blues" (BBC Radio One in Concert)
04."Gonna Creep Up on You" (BBC Radio One in Concert)
05."Suicide" (BBC Radio One in Concert)
06."Vagabonds of the Western World" (BBC Radio One John Peel Session)
07."Gonna Creep Up on You" (BBC Radio One John Peel Session)
08."Little Girl in Bloom" (BBC Radio One Rock On Session)
09."Sitamoia" (Downey) (BBC Radio One Bob Harris Session)
10."Little Darling" (BBC Radio One Bob Harris Session)
11."Slow Blues" (BBC Radio One Bob Harris Session)
12."Showdown" (Lynott) (BBC Radio One Bob Harris Session)
13."Black Boys on the Corner" (BBC Radio One John Peel Session)
Part 1: https://rapidshare.com/files/1316044045/Lizzy__Vagabonds.part1.rar
Part 2: https://rapidshare.com/files/3789921221/Lizzy__Vagabonds.part2.rar
or
Part 1: http://uploadmirrors.com/download/1RIJEHNY/Lizzy__Vagabonds.part1.rar
Part 2: http://uploadmirrors.com/download/0CRWWE4L/Lizzy__Vagabonds.part2.rar
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