Size: 135 MB
Bitrade: 256
mp3
Ripped By: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Here in America, Earth & Fire is completely unknown, and if you ask most Americans, they'll either give you a blank stare or say something like "You don't mean Earth, Wind & Fire?" (which is obviously a completely different group, an American R&B/soul/funk band). In Holland, they were able to rack up a bunch of hit singles (many of them not available on any non-compilation albums) and release great prog rock albums in the process. I first got exposed to Earth & Fire as a kid when my dad bought the LP of To the World of the Future (1975), since none of my family ever been to Holland, my dad bought that album either mistaking them for Earth, Wind & Fire, or simply liked the futuristic '70s artwork (he wasn't exactly the most musically informed person out there). Of course by that point, the band was starting to explore disco, but still hadn't quite abandoned prog.
In 1970, the band released their self-entitled debut. And just to let everyone know, the one with the Roger Dean cover is not the original pressing, that was a 1971 UK pressing on the Nepentha label, and of course that's the cover used for the German Repertoire label CD reissue, as well as the newer Japanese reissue. The original Dutch LP was released on Polydor/Medium (has the same familiar red Polydor label, with the "Medium" logo under the "Polydor" logo) and featured a gimmick matchbox cover, which shows a picture of the band, and when you fold open the cover, you see matches, and a list of the songs. This album is less polished than their following (ie. Song of the Marching Children, Atlantis) and there's plenty of that late '60s psych elements still left. The band consisted of female vocalist Jerney Kaagman, with twin brothers Chris Koerts on guitar and Gerard Koerts on organ and flute, with drummer Ton van der Kleij and bassist Hans Ziech. This album managed three hits, "Seasons", "Ruby is the One", and "Wild and Exciting".
1.
http://uploadmirrors.com/download/A9W3KVUW/Earth___Fire.rar
.
Size: 92.6 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Dulcimer consisted of Dave Eaves and Pete Hodges on vocals and guitar, and bassist Jem North. Finding a mentor in the form of producer/manager Larry Page (yes, the guy who was behind The Troggs), 1971 found the trio signed by the small UK Nepentha Records (Mercury acquiring American distribution rights). Produced by Page, the trio debuted with 1970's oddly titled "And I Turned As I Had As a Boy". Best described as acoustic folk-rock, Hodge and Eaves-penned material such as "Pilgrim from the City", "Morman's Casket" and "Fruit of the Musical Tree" is full of pretty melodies and a weird series of mideaval and mythological lyrics (check out the bizarre "Ghost of the Wandering Minstrel Boy").
1.
http://uploadmirrors.com/download/UC1NEARD/Dulcimer.rar
.
Size: 114 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Imagine a cross between the latin rock of Santana and the funky progressions of Sly Stone and thats where you'll find Demon Fuzz" -From th tour promo notes in 1970
Messed-up funky jazz from an obscure early 70s UK group and an album that really lives up to its trippy cover! The tracks are all long and stretched out with lots of organ, sax, and spaced out drums and the overall style is a mix of dub-heavy funk, Afro jazz, and a bit of jazz rock jamming! There's a bit of vocals on the album, but overall most of the set is instrumental in a really right on and progressive style thatis great. This is the kind of record that always got passed by in the 80s when everyone was looking for hard James Brown grooves, but which is very much in fashion now with the blunted funky crowd.
1.
http://uploadmirrors.com/download/1BH5PP5C/Demon_Fuzz.rar
.
Size: 103 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster
Perfect Strangers is the eleventh studio album by Deep Purple, released in October 1984. It represents the first album recorded by the reformed, and most successful and popular, 'Mark II' line-up.
It was the first Deep Purple album in nine years, and the first with the Mk II lineup for eleven years, the last being Who Do We Think We Are in 1973. Ritchie Blackmore and Roger Glover arrived from Rainbow, Ian Gillan from Black Sabbath, Jon Lord from Whitesnake, and Ian Paice from Gary Moore band.
Eight years after the funk infused Come Taste The Band had closed the fourth incarnation of Deep Purple the money was just too good to resist the demands for a classic MkII reunion. Gillan ceased his Sabbath jaunt, Blackmore and Glover returned from Rainbow duty, Lord quit Whitesnake and Paice returned to his rightful place behind the Purple drum kit as Deep Purple returned with the prophetically titled Perfect Strangers. The eventual release had one of the worst covers ever and just smacked of low budget but the big question was whether they could reproduce the magic of Machine Head, In Rock and Fireball.
The tension created in the build up to the opening track Knocking At Your Back Door is just superb. That intro both immediately recalls the old MkII era and tantalises the listener laced as it is with anticipation. Can you imagine the spine-tingling effect this would have had as you sat down to listen to the first time to the recorded fruits of the reunion? Gillan is straight away in fine voice on this classic piece of Purple which also boasts clever lyrics and a typically Ritchie Blackmore solo. Jon Lord is very much to the fore on the organ heavy Under The Gun although the track itself bares more resemblance to Rainbow and surprisingly captures flavours of both early and latter styles of that band although of course with Gillan providing the words there’s no hint of dungeons and dragons. Nobody Home is the only track credited to all five members with everything else going down to the Blackmore/Gillan/Glover trio and the big question is whether its a true five way collaboration or a five way compromise. I can’t make my mind up but whether they agreed or gave in they have produced a decent track with some great work once again by Lord. Mean Streak is a quality slab of hammond heavy rock and roll and is perhaps a distant descendant to Black Night in many ways closing a very strong first side of the comeback opus.
1.
http://uploadmirrors.com/download/1GCMFUFG/Perfect_Strangers.rar
.
Size: 80.3 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
The Rise and Fall of Ziggy Stardust and the Spiders from Mars (often shortened to Ziggy Stardust or simply Ziggy) is a 1972 concept album by English rock musician David Bowie. It peaked at number five in the United Kingdom and number 75 in the United States on the Billboard Music Charts. A concert film of the same name directed by D.A. Pennebaker was released in 1973.
The album presents, albeit vaguely, the story of "Ziggy Stardust," the human manifestation of an alien being who is attempting to present humanity with a message of hope in the last five years of its existence. Ziggy Stardust is the definitive rock star: sexually promiscuous, wild in drug intake and with a message, ultimately, of peace and love; but he is destroyed both by his own excesses of drugs and sex, and by the fans he inspired.
In interviews, Bowie has said that the real-life inspiration for Ziggy was chiefly Vince Taylor, though the lyrics hint at Jimi Hendrix ("played it left hand ... jiving us that we were voodoo") and the character was likely a composite. Bowie claimed that the name came from a tailor's shop in London called Ziggy's. He later told Rolling Stone it was "one of the few Christian names I could find beginning with the letter 'Z'." "Stardust" comes from one of Bowie's labelmates, a country singer named Norman Carl Odam, The Legendary Stardust Cowboy.[14] Bowie covered a Legendary Stardust Cowboy song, "I Took a Trip (On a Gemini Spaceship)" thirty years later on Heathen.
Production
The Ziggy Stardust sessions began just a few weeks after Hunky Dory was released. The first song recorded for the album, the cover "It Ain't Easy," was recorded in September 1971. The first session in November produced "Hang on to Yourself," "Ziggy Stardust," "Rock 'n' Roll Star" (later shortened to "Star"), "Moonage Daydream," "Soul Love," "Lady Stardust," and "Five Years."
Also recorded during the November Ziggy Sessions were two more cover songs intended for the as-yet untitled album. They were Chuck Berry's "Around and Around" (re-titled "Round and Round") and Jacques Brel's "Amsterdam" (re-titled "Port of Amsterdam"). A re-recording of "Holy Holy" (first recorded in 1970 and released as a single, to poor sales, in January 1971) was initially slated for Ziggy, but was dropped in favour of "Rock 'n' Roll Suicide." "Round and Round" was replaced by "Starman" and "It Ain't Easy" replaced "Amsterdam" on the album's final running order. All three were eventually released as b-sides.
"Velvet Goldmine," first recorded during the Hunky Dory sessions, was also intended for Ziggy, but was replaced by "Suffragette City." RCA released it in 1975 as the b-side to the UK re-release of "Space Oddity" after having it remixed and mastered without Bowie's approval.
After recording some of the new songs for Sounds of the 70s with Bob Harris (which appear on Bowie at the Beeb) as the newly-dubbed Spiders from Mars in January-February 1972, the band returned to Trident. They recorded "Starman," "Suffragette City," and "Rock 'n' Roll Suicide" by the end of the month.
"Starman," released as a single in April (and not intended for the final album at first), has never appeared in its original "loud" mix on CD. It differs somewhat in that it "features a subdued 'morse code' section between the verse and the chorus" compared to the original released in 1972. "Starman"'s b-side, "Suffragette City," was mastered for the album with a three-note coda leading in from "Ziggy Stardust" to make the songs sound linked. They were never played as such by Bowie in concert.
Recorded and released during the ensuing Ziggy tour were two other songs. The first, "John, I'm Only Dancing," was recorded at Trident in late June and released (in the UK only) in September. "The Jean Genie," recorded at RCA Studios in New York in early October at the start of the American tour, was released in the U.S. in November. The song was remixed for Aladdin Sane.
Rock keyboardist Rick Wakeman was given the opportunity to play keyboards on the album but Rick opted to join the progressive rock group Yes instead.
Plot
The album was intended by Bowie to serve as the soundtrack and musical basis for a stage show and/or television production telling the story of Ziggy Stardust. As well as the songs on the album, Bowie also intended songs such as "All the Young Dudes", "Rebel Rebel" and "Rock 'n' Roll With Me" (the latter two later recorded for Diamond Dogs) for this realization of the Ziggy story. In a Rolling Stone interview with William S. Burroughs, Bowie outlined the full plot of the Ziggy Stardust story:
1.
http://uploadmirrors.com/download/1LFUBVTK/Ziggy_Stardust.rar
.
Size: 177 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster
Wah Wah Rec Can Am Des Puig :
Supersonic SoundsThe Book of Am part I,& Part 2 (SP/UK/F, 1970-1977)*****
The most expensive Japanese Mini LP CD so far...
A couple years ago a group member of ‘Book of Am’ contacted me, because I once airplayed the 1998 Synton bootleg reissue of the 'Book of AM' album. He told me how he was surprised at the collector’s interest, and that this was not the name of the group, which was actually Can Am des Puig*, while Book of Am was the album title, and how he wished that he would be able to re-release the album as it was intended, together with the illustrated book and with the second never released album. About a year ago this publication was announced on the Gong homepage, and I inscribed myself immediately, but it took over a year before the album finally was released. I can imagine why, because it must have cost a fortune to make photo masters of the delicate watercolour paintings. I can only say that the expensive price is worth the purchase. It has an introduction in English, Spanish and Catalan. The original group name seemed to have been left out now so as not to confuse anyone.
The background story :
After having settled down in Ibiza after their studies, Juan Arcocha and Leslie MacKenzie decided to go on a kind of spiritual quest, looking for a creative source of inspirations. The last stop of their long journey was Bodh-Gaya in India, in December 1973, where the Tibetans prepared New Year celebrations with the Daila Lama. It was the place where Siddhartha became the Buddha some 4000 years ago. It seemed to be the same ideological destiny point for any foreigners with similar goals. They met a Mexican improvised revolutionary music group led by one Alberto Ruz, Icelanders led by Gerhardt of Ice, who made illustrations with poetry, based upon Moslem, South American and Greek thoughts, and Brother John, who was specialized in Christianity and Zen. For them it seemed as if religions and philosophies of the whole world came gathered together in a summit of an experience.
Back in Ibiza they wanted to transmit their collected visions, which led to an etched book, ‘Garland of Visions of the Absolute’, based upon an obscure poem that was the basis of Advainta Vedanta (experiencing the non-dualistic reality). The times were right and the book sold well. So in 1975 they started a second book based upon three parts : morning, afternoon and evening, with 25 etchings, and texts based upon a collection of poems and songs they found representable as examples of what inhabited common ideas in religions and some other group philosophies. The texts were collected along their travels and from a research session at the Warburg Institute in London. The first idea was, to accompany the art with song improvisations on guitar, flute, suji-box and drum. The book was finished mid 1977, but the colours were too subtle that they said in Madrid they couldn’t print it. Disappointed they returned home via Deia, where Robert Graves had lived since 1929, trying to meet him, because a Welsh poem “Song of Amergin” was in this book and the group had liked his version in “The White Goddess”, and refered many times to it. At the place there was held a meeting with musicians, where Daevid Allen turned up. Daevid told him about his work with Soft Machine, about Gong, presented his partner and artist Gillie Smyth, and the Banana Moon studio. He loved the idea of making a record of the book of Am, and the group quickly took the opportunity. Guests were Patrick on 12-string guitar, Stephanie Shepard and Pat Meadows (not mentioned in the liner notes) on flute, Phil Shepherd on percussion and some vocals, and Lally Murray on voice (not mentioned on the published LP). At the end of the session two Gong enthusiasts from UK also participated: Jerry C. Hart and Tony Bullocks, together with Catalan singer Carmetta Mansilla, a trio that joined their weekly improvisation sessions and became part of the group. Daevid sold them cheaply a 4-track recorder. At that stage Jean-Paul Vivini, came to the group with a synthesizer. From January to March 1978 they recorded two open real tapes of 45 minutes each. The recordings were produced in a logic order to accompany the etchings. Daevid also took care that the first album found a publisher that printed the first master by the end of that year. They didn’t come to publish part 2, or to go further that part II of the morning section because of family obligations. Perhaps we can still expect in the afternoon and evening times of their lives the continuing of this project ? I surely hope that the release and recognition of their hard work now becomes or is like their midday experience.
1.
http://uploadmirrors.com/download/PIAQJYHD/Can_Am.rar
.
Size: 144 MB
Bitrate: 256
mp3
Ripped By: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster
Another lost band that deserves more attention as their music can be categorized under progressive rock boundary. Well, I got this CD couple months ago altogether with another lost band ODIN, but got no chance to review their album yet. ODIN actually has been featured in this site long time ago but I just found CZAR last night. Thanks to Max and the Admin Group of Progarchives that have made it featured in this website!
CZAR music is I think a blend of Procol Harum, The Beatles and Pink Floyd (Syd Barrett era) or I would simply say it’s a psychedelic prog rock. In terms of structure, their music is quite straight forward like typical rock music structure. Melody-wise there are some similarities with classic band at their generation (late sixties and seventies). The composition comprises the use of keyboard / mellotrons / organs that represent the tradition of early prog music. Even though the sonic quality is not top notch, but it’s still quite OK with my ears. Even this kind of sound has its unique nuance to indicate the early prog era. Overall, CZAR music is accessible to most listeners. For those who followed the early inception of prog music in the rock music industry in the seventies, this is an excellent addition to any prog collection, I would say.
The band’s line-up consist of : Del Gough (drums); Bob Hodges (piano, mellotron, organ, harpsicord, vocals) , Paul Kendrick (bass, vocals) and Mick Ware (guitar, vocals ). You may not be familiar with any musician in this band. Probably they are no longer a musician nowadays.
Let’s have look in great detail …
“Tread Softly on My Dreams” opens the album with an intro part that is 99.99% similar (or I can say it “the same”) with Procol Harum’s “Homburg”. Well, it’s unclear to me which came first as I learned from my discussion with progheads that actually Procol Harum did not also make the melody by their own and this “Homburg” was heavily influenced (or probably “adopted”) from a classical music. I do not know about it yet as I’m not an explorer of true classical music. But it only happens at the intro part and some repetition in the middle of this track. Overall this is a good track.
“Cecelia” flows in the vein of psychedelic with heavy use of organ throughout the tune. This organ has mainly characterized this song – or even all CZAR music is heavily characterized by the sound of organ. The music flows relatively flat and simple with some accentuation of nice and very seventies organ style. The stricture is simple, using duet voice line with some variations or harpsicord sound. The drummer Del Gough has made good contribution. The guitar solo is simple but really stunning especially combined with the rhythm section of this track. It’s truly the “seventies music” man!! For those who like psychedelic, you might love this track. It’s an excellent track. This track passes the test on duration of any prog tune that by rule of thumbs were defined as 7-8 minute. It’s probably a wrong number but that’s what happened in the seventies.
1.
http://uploadmirrors.com/download/8WORXKGP/Czar.rar
.
Size: 85.6 MB
Bitrate: 256
mp3
Ripped By: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
San Jose, California, 1964. Local rock'n'roll band the Squires has the good fortune of hooking up with Irish native John "Sean" Byrne, fresh from playing with Dublin beat group, the Scorpions. Though Byrne has written a song that the group, now renamed Count Five, completely believes in, it is to be rejected over the course of the next couple of years by several record labels, including Capitol and Fantasy. But after impressing deejay Brian Lord at a local fraternity party, Count Five audition at the old Decca Studios in Los Angeles, where the band is informed by manager Sol Ellner that they have finally landed a recording contract. The song is released as a single by new label Double Shot, and becomes a smash hit (Top 10 in October of 1966), propelling the group to dizzying new heights. Yet after much fanfare, including tours with the Beach Boys, Byrds, and Dave Clark Five, an appearance on American Bandstand, and the release of a full LP, Count Five turns down a million dollars worth of bookings to stay in school. That's right . . . a million. In 1967 dollars!
The song that launched Count Five on its way, of course, was Psychotic Reaction, a classic rave-up that firmly entrenched the band in the pantheon of garage rock legends. Though, in a recent interview for 60sgaragebands.com, Byrne denied the notion that the song was influenced at all by the Yardbirds, it's difficult after one listening not to associate the two. One thing that cannot be denied, however, is the fact that Psychotic Reaction is one of the most endearing singles of the 1960s garage band explosion. (By Mike Dugo)
01. Double Decker Bus
02. Pretty Big Mouth
03. World
04. My Generation
05. She's Fine
06. Psychotic Reaction
07. Peace Of Mind
08. They're Gonna Get You
09. Morning After
10. Can't Get Your Lovin'
11. Out In The Street
12. Teeny Bopper, Teeny Boppe (Bonus Track)
13. You Must Believe Me (Bonus Track)
14. Contrast (Bonus Track)
15. Merry-Go-Round (Bonus Track)
16. Declaration Of Independence (Bonus Track)
17. Revelation In Slow Motion (Bonus Track)
18. Mailman (Bonus Track)
1.
http://uploadmirrors.com/download/0T8GG3GI/Count_Five.rar
.
Size: 81.6 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
The Japanese progrock band COSMOS FACTORY made a sery of albums in the Seventies with every time another sound. I prefer their debut-album "An Old Castle Of Transylvania" (1973). The long title track (around 20 minutes) is a mind blowing blend of psychedelia and progrock with great build ups and eruptions, very compelling with strong hints from early PINK FLOYD but the swirling movements also brings the long live tracks from URIAH HEEP, DEEP PURPLE, IRON BUTTERFLY, VANILLA FUDGE and Krautrock like early JANE and ELOY on my mind.
It contains sumptuous keyboard play including heavy floods of Hammond organ and Mellotron along biting guitar. The interplay between guitar and organ is like "Set the controls for the heart of the sun" from PINK FLOYD. The other songs are also loaded with Hammond and Mellotron, a real 'keyboard nirvana' for the fans of 'vintage keyboards'.
1.
http://uploadmirrors.com/download/8W6IRIF4/Cosmos_Factory.rar
.
Size: 136 MB
Bitrate: 256
mp3
Ripped By: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Hmmm how to describe the wonderful sounds of Comus. First, leave all your preconceptions of what prog-folk is at the door please. This album is very far removed from the gentle folk of Gryphon, Tull or the Strawbs. This is an all-together different beast. Yes, a beast of an album, a persona it screams right form the get-go with it beastly cover. Comus' 1971 prog-folk masterpiece, "First Utterings" is probably one of the scariest albums you will ever listen too. Don't let the folk tag fool you, this is better described as the soundtrack playing in a maniac's schizophrenic head as he rapes and tortures victims in the forest. This almost completely acoustic album (full of violins, acoustic guitars, and oboes etc..) ranges from pastoral folk music to King Crimson like instrumental malevolence (but acoustic), all in the same song.
The album opens with the chilling pagan tribute to the Roman God "Diana". (Comus is in fact the name of another Greek God, and of a famous John Milton poem). The song features haunting, ethereal female chanting and high pitched male lead vocals, backed by bongo-like percussion and some gorgeous (if terrifying) violin work. The song, both musically and lyrically, really manages to capture the feel (I would assume) of a pagan festival/ritual on the dark moors of old England. A real masterpiece of a song, which sets the scary, yet beautiful mood of the album very quickly. "the Herald" is less enchanting then "Diana", but more traditional English-folk and has some truly beautiful moments in its rather scattered 12-minute duration. The song grows more frantic towards the end, but never builds to much, rather unfortunately. Comus are master of the slow buildup (like King Crimson), as you'll see later in the album. "Drip Drip" is the album's highlight in my opinion. Beginning with some laid back plucking, the song slowly builds up to an all out folk freak out. "Drip Drip" has the album's scariest lyrics, detailing a forest murder (with such lyrics as:
1.
http://uploadmirrors.com/download/0GH20UMM/Comus.rar
.
