Saturday, 8 September 2012
A must have on a saturday; a beer or three and Black Sabbath Live!! Black Sabbath - Reunion (Tremendeous Reunion Concert UK 1998) or (?) (Must be heard VERY LOUD)
Size: 203 MB
Ripped by: ChrisGoesRock
After the departure of vocalist Ozzy Osbourne in 1979, Black Sabbath's line-up slowly lost stability in late 1983 and never quite recovered. Following a couple of one-off reunions in 1985 and 1992, the original line-up of Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward got back together for good in 1997.
This 2-CD live album was put together from the first two shows after the reunion, at the Birmingham NEC. Along with live versions of tracks such as "Paranoid", "N.I.B.", "Black Sabbath" and "Iron Man", it also features two new studio tracks - "Selling My Soul" and "Psycho Man". This was the only new material to have been officially released by Black Sabbath post-reunion until three new tracks appeared on the post-Ozzy compilation Black Sabbath: The Dio Years in 2007. The two new tracks on Reunion were also released on a single CD in the USA.
Black Sabbath received their only Grammy award, Best Metal Performance, for the live recording of "Iron Man" from this album.
It was released as a digipak and in a standard 2CD jewel-case.
Though the band were considered legends by this time, this was the first "official" live album featuring Osbourne on vocals. 1980's Live at Last was not approved for release by the band.
Though it was conceived as a mere cash-in for the long-awaited return of the original Black Sabbath, 1998's Reunion is as close to an official live album as the band has had in their historic 30-year career. 1980's Live at Last was released without their permission, and 1982's Live Evil featured then-singer Ronnie James Dio. With this in mind, the band must be commended on the excellent quality of the recordings, which include their most enduring classics ("War Pigs," "Paranoid," "Iron Man"), as well as a few surprises ("Dirty Women," "Behind the Wall of Sleep"), and were culled from a series of concerts in their native Birmingham in December 1997.
The real key to this album, however, is the band's ability to avoid the most common pitfall of live recordings: speeding up the songs. This patience is crucial, since such Sabbath staples as "Sweet Leaf," "Black Sabbath," and "Snowblind" owe much of their unique personality and somber atmospherics to the band's trademark "snail's pace." "Children of the Grave" proves itself once again as one of the band's most dependable live favorites, and the massive riffs of "Into the Void" are simply timeless. The two brand new studio tracks are another treat for longtime fans, and while "Selling My Soul" is rather mundane, "Psycho Man" is absolutely incredible thanks to its slow intro and raging final riff.
01."War Pigs" – 8:28
02."Behind the Wall of Sleep" – 4:07
03."N.I.B." – 6:45
04."Fairies Wear Boots" – 6:19
05."Electric Funeral" – 5:02
06."Sweet Leaf" – 5:07
07."Spiral Architect" – 5:40
08."Into the Void" – 6:32
09."Snowblind" – 6:08
01."Sabbath Bloody Sabbath" – 4:36
02."Orchid/Lord of This World" – 7:07
03."Dirty Women" – 6:29
04."Black Sabbath" – 7:29
05."Iron Man" – 8:21
06."Children of the Grave" – 6:30
07."Paranoid" – 4:28
08."Psycho Man" (Osbourne, Iommi) – 5:18 [Studio]
09."Selling My Soul" (Osbourne, Iommi) – 3:10 [Studio]
Part 1: https://rapidshare.com/files/813623784/Black_Sabbath_Reunion.part1.rar
Part 2: https://rapidshare.com/files/1486667792/Black_Sabbath_Reunion.part2.rar
Part 1: http://uploadmirrors.com/download/AKN9QYUI/Black_Sabbath_Reunion.part1.rar
Part 2: http://uploadmirrors.com/download/SLJVHUEA/Black_Sabbath_Reunion.part2.rar
Size: 113 MB
Ripped by: ChrisGoesRock
Source: Japan 24-Bit Remaster
Orbisongs is an album recorded by Roy Orbison, released in 1965. It was his last album for Monument Records before he signed with MGM.
Although he shared the same rockabilly roots as Carl Perkins, Johnny Cash, and Elvis Presley, Roy Orbison went on to pioneer an entirely different brand of country/pop-based rock & roll in the early '60s. What he lacked in charisma and photogenic looks, Orbison made up for in spades with his quavering operatic voice and melodramatic narratives of unrequited love and yearning. In the process, he established rock & roll archetypes of the underdog and the hopelessly romantic loser. These were not only amplified by peers such as Del Shannon and Gene Pitney, but also influenced future generations of roots rockers such as Bruce Springsteen and Chris Isaak, as well as modern country stars the Mavericks.
Orbison made his first widely distributed recordings for Sun Records in 1956. Roy was a capable rockabilly singer, and had a small national hit with his first Sun single, "Ooby Dooby." But even then, he was far more comfortable as a ballad singer than as a hepped-up rockabilly jive cat. Other Sun singles met with no success, and by the late '50s he was concentrating primarily on building a career as a songwriter, his biggest early success being "Claudette" (recorded by the Everly Brothers).
After a brief, unsuccessful stint with RCA, Orbison finally found his voice with Monument Records, scoring a number-two hit in 1960 with "Only the Lonely." This established the Roy Orbison persona for good: a brooding rockaballad of failed love with a sweet, haunting melody, enhanced by his Caruso-like vocal trills at the song's emotional climax. These and his subsequent Monument hits also boasted innovative, quasi-symphonic production, with Roy's voice and guitar backed by surging strings, ominous drum rolls, and heavenly choirs of backup vocalists.
Between 1960 and 1965, Orbison would have 15 Top 40 hits for Monument, including such nail-biting mini-dramas as "Running Scared," "Crying," "In Dreams," and "It's Over." Not just a singer of tear-jerking ballads, he was also capable of effecting a tough, bluesy swagger on "Dream Baby," "Candy Man," and "Mean Woman Blues." In fact, his biggest and best hit was also his hardest-rocking: "Oh, Pretty Woman" soared to number one in late 1964, at the peak of the British Invasion.
It seemed at that time that Roy was well-equipped to survive the British onslaught of the mid-'60s. He had even toured with the Beatles in Britain in 1963, and John Lennon has admitted to trying to emulate Orbison when writing the Beatles' first British chart-topper, "Please Please Me." But Orbison's fortunes declined rapidly after he left Monument for MGM in 1965. It would be easy to say that the major label couldn't replicate the unique production values of the classic Monument singles, but that's only part of the story. Roy, after all, was still writing most of his material, and his early MGM records were produced in a style that closely approximated the Monument era. The harder truth to face was that his songs were starting to sound like lesser variations of themselves, and that contemporary trends in rock and soul were making him sound outdated.
Orbison, like many early rock greats, could always depend on large overseas audiences to pay the bills. The two decades between the mid-'60s and mid-'80s were undeniably tough ones for him, though, both personally and professionally. A late-'60s stab at acting failed miserably. In 1966, his wife died in a motorcycle accident; a couple of years later, his house burned down, two of his sons perishing in the flames. Periodic comeback attempts with desultory albums in the 1970s came to naught.
Orbison's return to the public eye came about through unexpected circumstances. In the mid-'80s, David Lynch's Blue Velvet film prominently featured "In Dreams" on its soundtrack. That led to the singer making an entire album of re-recordings of hits, with T-Bone Burnett acting as producer. The record was no substitute for the originals, but it did help restore him to prominence within the industry. Shortly afterward, he joined George Harrison, Bob Dylan, Tom Petty, and Jeff Lynne in the Traveling Wilburys. Their successful album set the stage for Orbison's best album in over 20 years, Mystery Girl, which emulated the sound of his classic '60s work without sounding hackneyed. By the time it reached the charts in early 1989, however, Orbison was dead, claimed by a heart attack in December 1988.
01."Oh, Pretty Woman" (Roy Orbison, Bill Dees)
02."Dance" (Orbison, Joe Melson)
03."(Say) You're My Girl" (Orbison, Dees)
04."Goodnight" (Orbison, Dees)
05."Nitelife" (Orbison, Melson)
06."Let the Good Times Roll" (Leonard Lee)
07."(I Get So) Sentimental" (Orbison, Melson)
08."Yo Te Amo Maria" (Orbison, Dees)
09."Wedding Day" (Orbison, Melson)
10."Sleepy Hollow" (Dees)
11."22 Days" (Gene Pitney)
12."(I'd) Be a Legend in My Time" (Don Gibson)
+ alot of bonus tracks
Size: 77.5 MB
Ripped by: ChrisGoesRock
Source: Japan 24-Bit Remaster
ACQUA FRAGILE were basically known as proteges of PFM. PFM produced both their albums, and (on this album only), they recorded for Numero Uno, same label PFM recorded for. The band was known for the vocals of Bernardo Lanzetti, who is basically compared to Peter GABRIEL and Roger Chapman, which sounds about right to me. Musically they get compared to GENESIS, without good reason, listen to "Morning Comes" and you'll know what I mean. There's "Science Fiction Suite", which is an acoustic piece often compared to CROSBY, STILLS, NASH & YOUNG, except, the vocals aren't as polished (given Lanzetti's harsh voice, as opposed to the mellow voices of CSNY).
Some of the other music sometimes reminds me of FAMILY, while "Three Hands Man" sounds more like the Italian prog you come to expect of the time. PFM often gets compared with, don't know why (other than the fact Lanzetti actually joined PFM when ACQUA FRAGILE disintigrated in 1975 - by which PFM was going a more fusion-oriented direction). The music of ACQUA FRAGILE isn't anywhere as meloncholy as many of PFM's best works are.
Also the original LP comes with a cover that folds in to a giant poster. A cool cover made all that much better because it folds out, and it makes owning the LP all that more worthwhile. While I find the album falls shorts of being essential, it's a nice album to have in your collection.
ACQUA FRAGILE formed in Parma, Italy in 1971. They are perhaps best known for the band that were to supply PFM's English singing vocalist Bernado Lanzetti, making his debut with them on Chocolate Kings.
Lanzetti with guitarist Gino Campanini and drummer Piero Canavera had played together in Gli Immortali. Joined on keyboards by Maurizio Mori and bassist Franz Dondi, formerly of I Moschettieri, who released a single in 1967, they shortly changed their name to ACQUA FRAGILE.
It was to be two years before their eponymous debut album saw the light of day, due to difficulty in finding a record company that would allow them to release it with English sung lyrics. Musically they bore a resemblance to GENESIS and GENTLE GIANT, with harmony vocals not unlike CROSBY, STILLS, NASH AND YOUNG, no doubt influenced by the time Lanzetti spent in the USA. Lanzetti's vocals have a similar feel to Roger Chapman of FAMILY and the album is skilfully played by the already at the time, well versed players. The plan to sing in English backfired as it wasn't well received in Italy and didn't receive a release abroad. Undeterred, their second album Mass Media Stars, released in 1974 saw the band treading similar musical territory and did receive a release in the USA.
Mori quit and was replaced by ex-THE TRIP keyboardist Joe Vescovi and shortly after a bigger blow came when Lanzetti left for PFM. The band soldiered on for a while longer bringing in former I TOP 4 and I DIK DIK man Roberto Facini. Lanzetti remained with PFM until 1980 followed by a successful solo career. He is now a member of MANGALA VALLIS. Canavera and Dondi went on to play with ROCKY'S FILJ and the ACQUA FRAGILE name has recently been reborn as the ACQUA FRAGILE PROJECT by Dondi. He is the only original member participating in the project.
01. Morning Comes (7:22)
02. Comic Strips (3:56)
03. Science Fiction Suite (5:54)
04. Song From A Picture (4:09)
05. Education Story (4:12)
06. Going Out (2:56)
07. Three Hands Man (8:07)
Size: 97.2 MB
Ripped by: ChrisGoesRock
Source: Japan SHM-CD Remaster
I TEOREMI was an Italian group that released one album in hard rock style in the beginning of the seventies. The line-up of the group was: Aldo Bellanova (bass), Mario Schiliro (electric guitar), Claudio Mastracci (drums) and Tito Gallo (vocals). Before the album the group had already released a single with a different vocalist Vincenzo Massetti. After the album the group members disappeared from the music scene except for the bassist Aldo Bellanova who later joined SAMADHI and recorded their only album with them.
The only album was released in 1972, the first really great year for Italian progressive. The music in this album is more like LED ZEPPELIN style hard rock but the overall sound is more progressive due to the imaginative rhythm section. The music highlights the electric guitar but it is actually the bassist that steals the show. The keyboards (piano) are featured in only one of the tracks. The vocals suit the music very well and are perhaps the strongest point besides the bassist. Not a very progressive album in the true meaning of the word but a good album nevertheless.
I Teoremi was an Italian heavy blues quartet that released their one and only album in 1972. It's notable for Aldo Bellanova's inventive bass playing, which propels many of the tracks like a Roman pile driver. Broadly speaking, the music on this album consists of hard rock with occasional progressive elements. The obvious standout track for prog fans is the 9-minute, riff- laden instrumental MARE DELLA TRANQUILLITA. In addition to being the longest of the album's 7 tracks, it's also the most adventurous and is the only one to feature keyboards. Demented piano and chorieform bass/drums provide the bedrock for guitarist Mario Schiliro to show off his considerable chops on some lengthy solos. There's a drum solo around the halfway point, but it doesn't outstay its welcome.
The sprawling IMPRESSIONE features superb shifts in dynamics, from its spaced-out guitar solo to the frenetic 6-string monologue that immediately follows. The pace slows a bit with NUVOLA CHE COPRI IL SOLE. Lord Enzo's impassioned vocals take centre stage here, ably supported by an intricate bass line and crunching guitar. QUALCOSA D'IRREALE is another highlight, with guitar and bass lines wrapped together like a pair of copulating snakes. Moments of respite are few and far between but the closing track, A CHI NON SARA PIU, contains some acoustic guitar of all things. It also has one of the album's best melodies. The remaining two tracks, PASSI DA GIGANTE and the instrumental IL DIALOGO DI UN PAZZO, are rather pedestrian in comparison to the other tracks.
I Teoremi is all about raw energy rather than subtlety and complex structures. Their album contains a couple of weak tracks, but otherwise the compositions are good. If you're in the mood for some good honest Blues-rock, featuring lengthy guitar solos and monstrous bass, then this should hit the spot nicely.
01. Impressione (7:25)
02. Mare Della Tranquillità (9:01)
03. Passi Da Gigante (4:13)
04. Nuvola Che Copri Il Sole (5:29)
05. Qualcosa D'Irreale (5:09)
06. Il Dialogo Di Un Pazzo (4:47)
07. A Chi Non Sarà Più (4:48)
Size: 107 MB
Ripped by: ChrisGoesRock
This album was the last version of Dalton and different than the one who made the previous album. "Argitari" has about two songs that are symphonic prog and the rest of the album is more prog folk and pop to my ears. It's a nice album featuring Italian vocals, acoustic guitars, flutes, keyboards, and laid back rhythm section. Most of the tracks are mellow with just a few rockers.
The harder songs have almost a Jethro Tull feel although I don't believe the playing here is to the level of Tull. The rest of the album reminds me of The Strawbs "Grave New World" album and maybe a little of the band Stackridge. There is even a cover of Dylan's "Blowin in the Wind" here with different lyrics written by Mogol.
An important note: This album was made while the band was disbanding and the flute player had already left. Thus the original vinyl version of the album was apparently missing some of the flute parts, a very key part of this album, and there were other serious production/mix related problems as well. Thus the original album was a bit of a disaster and was criticized accordingly. The new CD re-issue has fixed the production problems, and the original flautist has completed the missing flute parts and added them to this release. So the new version is the music the way it was originally intended to be heard. How cool!
The Vinyl Magic reissue is a beauty as usual, with a very heavy, gorgeous gatefold mini-LP sleeve, good sound, and an excellent booklet with photos, lyrics, and a band history. I can't claim this is a masterpiece but I do think it's a very interesting, unique album that's worth the money for Italian fans and for fans of the folk rock bands mentioned above who can handle Italian vocals. Four bonus tracks are also included.
The group was formed in 1972 by keyboardist Temistocle Reduzzi,Aronne Cereda on guitars, Alex Chiesa on flute, Rino Limonta on bass and Walter "Tati" Locatelli on drums, they released a very good debut album with "Riflessioni: idea d'infinito".
With a great use of flute and good guitar riffs, the album has some very good moments, like Idea d'infinito with some JETHRO TULL influences. The album has a very short running time of around 30 minutes but it moved the band to a moderate success. They even won the first prize in a swiss Pop Festival in Zurich.
Affinity to early UK prog is noticeable in the blues-influenced guitar riffs and leads, typically breathy and percussive flute lines, occasional stabs at (then) avant-garde electronic episodes based on Moog and a Mellotron.
After a single in 1974, "La donna e il bambino", the band had a line-up change with Reduzzi and flutist Alex Chiesa leaving to be replaced by keyboardist Giancarlo Brambilla and singer Massimo Moretti, but the second album "Argitari" (a title formed with the initials of the musicians' names) is considered by many on a lower level than their debut and is mainly built on acoustic guitar.
The band closed its career with a late commercial single in 1979.
Two band members, Temistocle Reduzzi and Aronne Cereda, were also involved in a pop opera released in 1975, PACIANA STORY, a mix of traditional folk and pop-rock with light progressive touches. The work is a concept about about a legendary Robin Hood like character from the Bergamo region and is quite nice.
Drummer Walter Locatelli formed Mo.Do.
2005 has seen a new CD reissue of Dalton's second album, Argitari, strongly enriched by new flute overdubs by original member Alex Chiesa, and a much better sound. [progarchives.com]
01. L'Impossibile è Possibile (3:00)
02. Hai Visto Il Sole? (3:37)
03. Ho Ritrovato La Mia Donna (3:37)
04. Argitari (3:36)
05. La Risposta (4:17)
06. Visione Di Una Notte D'Estate (4:45)
07. Odiarti No (4:28)
08. La Forza Di Dio (4:07)
09. Il Vuoto (3:47)
10. La Donna E Il Bambino (4:35)
+ Bonus Tracks
Size: 89.3 MB
Ripped by: ChrisGoesRock
This is the first Delirium's album, but for many people this is most of all the first album of Ivano Fossati, the Delirium's singer, guitarist and flutist that left the band after "Dolce acqua" was released and that is now one of the most influential and successful Italian singer-songwriters. Anyway, "Dolce acqua" is an amazing work: it's a kind of concept album about human feelings and the music is a mix of progressive, folk, jazz, classical influences and poetry.
Just the sound of the flute, then an acoustic guitar. "White houses kissed by a sun without light / Strange sun / Cosmic trains set off and don't come back anymore / From that sun. Hot shadows that burn the air above us / From that sun / Cold hands opening from our ruins / To that sun / The fear runs within me since I know / All that will remain of us is a bonfire. Spring, if you ever pass around here / You will bring with you a little part of me". The delicate opener "Preludio" is about "Fear" (Paura) and it's a dreamy ballad with the vocals of Ivano Fossati and Mimmo Di Martino that interact very well. Than the rhythm goes up with the following "Movimento I", about "Selfishness" (Egoismo). "I haven't got father / I haven't got mother / In my life I never loved anyone but me". "Movimento II" is about "Doubt" (Dubbio) and it's another ballad with poetic lyrics and a classical inspired outro. "To Satchmo, Bird and other unforgettable friends" is a jazzy instrumental chosen to represent "Pain" (Dolore).
Side two begins with the brilliant instrumental "Sequenza I e II", about "Hypocrisy and Truth" (Ipocrisia - Verità), introduced by an acoustic rhythm guitar and a with a catchy melody that melts into a weird jazzy sound after a short drum solo break. The following track "Johnny Sayre", delicate ballad with an interesting instrumental passage and change of rhythm , is about "Forgiveness" (Perdono). "Padre tu non sai l'angoscia del momento / In cui la ruota di quel treno fu su di me / E ti chiedo perdono.": the lyrics are an adaptation of Edgar Lee Masters' character Johnny Sayre from the "Anthology of Spoon River". "Father, thou canst never know / The anguish that smote my heart / For my disobedience, the moment I felt / The remorseless wheel of the engine / Sink into the crying flesh of my leg / As they carried me to the home of widow Morris / I could see the school-house in the valley / To which I played truant to steal rides upon the trains / I prayed to live until I could ask your forgiveness / And then your tears, your broken words of comfort! / From the solace of that hour I have gained infinite happiness / Thou wert wise to chisel for me: / Taken from the evil to come" (well, sometimes I think that poetry is music and vice-versa.). The following "Favola o storia del lago di Kriss" is about "Freedom" (Libertà): it's an acoustic ballad and the lyrics tell about a lake that would like to go out from its shores to explore the world of men. The final "Dolce acqua" is about "Hope" (Speranza), almost completely instrumental with a beautiful melody introduced by the flute and a "crescendo" with a good vocals and piano work: "The storm isn't gone yet / But I can see sweet water". The last one is perhaps the best track of the album.
On the CD version there's also a bonus track, "Jesahel", that was released as a single in 1972 (a very successful one indeed) and didn't appear on the original version of the album. It is the most known song of the band but it has nothing to do with the concept of an album that is one of most interesting in the progressive scene of the early seventies in Italy.
If you like this album I suggest check some of the solo works of Ivano Fossati (for instance "La pianta del tè", "Macramé" or "L'arcangelo"); though not exactly prog I think that the music of Fossati is worth listen to.
DELIRIUM is an important band in the history of Italian progressive rock music, having been active since 1970. They originally formed in Genoa during the late 1960s as I SAGITTARI and their line-up consisted of Ettore Vigo (keyboards), Peppino Di Santo (drums, vocals), Mimmo Di Martino (acoustic guitar) and Marcello Reale (bass). The later arrival of Ivano Fossati (vocals, keyboards, flute) completed the band, whose early musical style was a mix of the so-called Italian melodic tradition and UK progressive influences, in particular KING CRIMSON and COLOSSEUM.
Their first album, the rough-hewn ''Dolce Acqua'' (1971), was one of the earliest Italian progressive albums and is a conceptual suite with each of its eight movements being based on different human emotions. The album is mainly acoustic in nature and is dominated by Ivano Fossati, the prominence of whose flute has drawn comparisons with Ian Anderson. While ''Dolce Acqua'' undoubtedly has a strong folk atmosphere, Fossati's flute is really the only similarity with JETHRO TULL. It wasn't as successful as some of the other big Italian albums that were released in 1971, but the band enjoyed much better fortunes on the festival circuit. In 1972 they took part in the Sanremo song festival and had a massive hit single as a result of their televised performance. Fossati subsequently left to embark on a solo career and was replaced by English musician Martin Frederick Grice (vocals, flute, saxophone) who joined from THE BO BO'S BAND, a beat band that also included future members of AREA. DELIRIUM'S growing reputation was enhanced by further competition victories, television appearances and hit singles, but this commercial approach wasn't typical of the music on their albums.
After Fossati's departure and the arrival of Grice, DELIRIUM moved in a more progressive direction. Their second album ''Lo Scemo E Il Villaggio'' (1972) is notable for its blending of progressive and jazz music, and for Grice's liberal use of the saxophone. In spite of, or because of, this change of musical direction the album didn't enjoy the success it arguably deserved. Perhaps the public had expected another ''Dolce Acqua''. There was no such problem with their next release, ''Delirium III - Viaggio Negli Arcipelaghi del Tempo'' (1974). A work of great maturity that until recently was considered to be their masterpiece, it was also their most symphonic and progressive to date. DELIRIUM made use of a string section on this album and it also featured Mimmo Di Martino playing electric guitar for the first time. Further personnel changes ensued when Di Martino and Grice quit in 1975, Grice being replaced by multi-instrumentalist Rino Dimopoli. The revised line-up released a single but they lacked the motivation to carry on, due to the disinterest of the public and critics, and the band split in 1975.
Several former members (Dimopoli, Reale, Di Santo) attempted to revive the band in 1996 but the real reunion came about when Vigo, Di Santo and Grice got together and, through their new association with Black Widow Records, released the live album ''Vibrazioni Notturne'' in 2007. New members Fabio Chighini (bass) and Roberto Solinas (guitar) seem to have brought new ideas and freshness to the band, although their most recent studio album ''Il Nome del Vento'' (2009) begins with a reprise of a theme from ''Delirium III''. The twofold purpose of this is that it ends a 35-year journey while recreating the feel of the earlier period, albeit with a modern sonic twist. This outstanding album's musical style ranges from jazz to blues, from rock to classical, and even features an homage to VAN DER GRAAF GENERATOR. The text is by their old lyricist Mauro La Luce and in common with their previous albums there's a concept at work, with the wind of the album's title acting as a metaphor for the spiritual journey that leads to the personal growth of the individual.
DELIRIUM'S first three studio albums are available individually or as the budget-priced boxset ''71-75'', which also includes eleven singles. That boxset and ''Il Nome del Vento'' are recommended to fans of JETHRO TULL, KING CRIMSON, VAN DER GRAAF GENERATOR and GENTLE GIANT. [progarchives.com]
01. Preludio (Paura) (3:39)
02. Movimento I (Egoismo) (4:31)
03. Movimento II (Dubbio) (3:26)
04. To Satchmo, Bird and Other Unforgettable Friends (Dolore) (5:38)
05. Sequenza I e II (Ipocrisia - Verità ) (3:36)
06. Johnnie Sayre (Il perdono) (4:48)
07. Favola o storia del Lago di Kriss (Libertà) (4:22)
08. Dolce acqua (Speranza) (5:49)
Friday, 7 September 2012
Size: 108 MB
Ripped by: ChrisGoesRock
"Uno" is not the most beloved Italian prog album of all time but it is certainly one of the most important. Recorded in 1970, Panna Fredda's lone work is one of the earliest pioneers of the ISP genre, one of the trailblazers of the distinct style of festive experimentation that would characterize so many great Italian bands. It's really an overlooked title in the Italian progressive rock universe. Heavy and dark with a distinct baroque twist and an emphasis on exploration, "Uno" was right there with other first wave titles from Orme, The Trip, and Osanna. The origins of Panna Fredda (translates to Cold Cream) date back to 1966 Rome and the Italian beat when members were playing in a group called I Figli Del Sole. These nightclub gigs evolved into a 6-piece funk/R and B/brass outfit called Vun Vun. Reluctant leader and composer/guitarist/vocalist Angelo Giardinelli professed some boredom with the Italian scene of the time and wanted to move things to a rock quartet, but some touchy band politics and the mood of the local music scene stood in his way. He had to proceed covertly to form Panna Fredda behind the backs of the horn guys to realize his vision without hurting the feelings of friends. Not everyone in the group was convinced, thinking Angelo crazy for wanting to chase sounds that the public was not ready for. But there was no turning back: after hearing some albums a friend gave him from the likes of Vanilla Fudge, Hendrix, The Moodies, and Floyd, Giardinelli could not go back to playing it safe. The band made contact with a small label called Vedette who were looking for another hit machine to replace I Pooh, who were not delivering to the label's satisfaction. After landing an audition, Giardinelli relays an incredible story about how chance and an overheard conversation changed a "no thanks boys" to a record contract:
"Roby set us up an appointment with the Maestro Armando Sciascia from Vedette Records for a live demonstration, but after listening to it, he turned us down, claiming that it wasn't commercial enough. After he left we sat in his studio in silence, fuming. Our rage finally got the better of us, we couldn't hold it any longer and proceeded to vent, bitching about the incompetence and bureaucracy of the record labels, accusing him of being old fashioned and full of himself. Unbeknown to us, the studio we were in was linked to an inter-office monitoring system, apparently he had been listening in on our whole conversation. Suddenly we heard his voice on the loud speakers, One of you come up to my office, I need to speak to you!, all eyes were on me. As Giorgio mentioned in an earlier interview, we didn't really have a band leader, but whenever there was a problem or decision to be made they looked to me to do the dirty work. So I went. Here I was, a young hippie freak kid ready to give the music industry a piece of my mind, going up against not only a famous classical musician but a rich and well-dressed, respected gentlemen. His office was like something out of a movie, and foregoing formal pleasantries, he asked me to sit. Before I could open my mouth he had said: We're going to put out a single and see what happens. The Pooh (a famous Italian band signed to Vedette Records) aren't selling anymore and we need a new band. Then, he stood up, shook my hand and added My secretary will have you sign a form and you will receive a preliminary contract within the next week. The conversation was over. I got up leave and he stopped me, What's your name? he asked, Angelo I answered. Your band name is Angelo?. I realised we hadn't even begun to think of a band name. We'll change it I blurted out, Send me a list of names as soon as possible he told me, we may able to help out as well, I think you'll find we're not that old-fashioned after all." [as told to www.italianprog.com]
After this stroke of destiny Panna Fredda was ready to roll. The first single was written by popular Italian musicians of the day but found success which led to the first band-penned singles early in the summer of 1970. More line-up changes would ensue caused by military service and marriage but the band was stoked for the moment and began to record their full length album. The new Panna Fredda was determined to lay down the brash and inventive new material coming from Giardinelli despite the label's plea for commercial singles. The evening before their first session they stayed up all night nervously going over all the details of what they hoped to accomplish. The results would be an artistic success to the band, their fans, and the music press in Italy. But to their horror I would imagine, the label balked at releasing the album. Though ready to go in 1970, Vedette shelved their album and the band hit the road playing to enthusiastic crowds. The label finally succumbed to public pressure and put out the record in 1971 as the band continued playing some of the Italian festivals of the day. But the usual suspects had doomed the band. There was no promotion for the album, no second album offered, and eventually the band split up.
Musically "Uno" is a dark and mysterious treat bringing to my mind elements of Sabbath, Purple, Atomic Rooster, J.E.T., Hero, and Uriah Heep. Others have noted the nod to a track called "Heaven" from the first Gracious album and also Black Widow. The influence of English hard rock and blues-rock are impossible to deny, yet Panna Fredda were beginning the Italian progressive movement by taking those influences and running with them. Classical elements pervade the album along with some jazzy tidbits here and there. A certain Baroque sounds creeps along the edges at times whimsical and at other times quite disturbing, bordering on madness. The lyrics are equally dark and quite good, delving into "ancient folklore and classic literature traditions as well as popular culture" so noted in the CD booklet. "Uno" begins in a provocative manner with an oscillator sound going straight through your forehead before the ominous and heavy mix of electric guitar riffs are joined by rising and falling synth loops. Soon the riffs are joined by the glorious Hammond and thus begins the interplay between guitars, effects, and organ that will permeate much of the album. In "Fear" the drumming is deliberate which leads to another interesting point. Multiple drummers are featured due to personnel changes as well as Giardinelli taking a crack at the kit, allowing for some different qualities in the drum feel. Sometimes they are super-tight in these maniacal march-like beats and other times they are fairly sloppy. The vocals are of a high quality for the most part with some of that gregarious, gruff feeling that Italian fans appreciate. Brooding choired backing vocals are used in places to bring the dark subject matters the proper mood. Chunky and heavy power chords alternate with acoustic guitars in "Checkmate for King Lot" as the album gets more interesting. From this point on the musical themes can be downright schizophrenic at times, ranging from the light and whimsical to the sad, to the verge of insanity. It is the 10 minute "With the Wind and the Moon and Little Blue Chicks" where the climax is reached. Harpsichord of all things comes to the forefront presented with what I believe is distorted organs. This is some really interesting stuff here. It drops all pretenses for melodic rock and goes straight to avant-psych experimentation spiraling into a swamp of trippy effects that will disturb some listeners and thrill freak-out fans. We are somewhere between Marsupilami and pre-Atom Heart Mother Floyd in pursuing the daring. The first half of the last song "Waiting" continues the audio hallucinations before jumping back into some punchy organ rocking as if to bring you back from the previous track's place before ending. The real heart of the album is tracks 3-5 which just blow me away, while the first two tracks and the last one are just average quality.
The album is a typically short 33 minutes but the superb Vinyl Magic re-issue CD give you an impressive 6 bonus tracks to bring the total CD length to 51 minutes. While they lack the experimental boldness of the main album they are good quality sweet Italian pop of the day and quite melodic and enjoyable. The VM reissue is a sweet gatefold mini-lp sleeve with both Italian and translated English lyrics, along with decent period sound and an informative Bio booklet. I love the album cover. A simple slice of life, of the ordinary, eschewed by the strangeness of the pink color to kick it off just a bit, to put just a bit of unease into you. Also note the laundry angle that Dik Dik would touch on in the Donna album cover.a possible nod? "Uno" is not a perfect album. It is short and contains some mistakes and even off-tune playing in spots that was not corrected. But the daring nature and the fact that historically this was recorded two years before the classic period began makes Panna Fredda an essential listen for Italian fanatics. It is not essential to other 70s prog fans unless you tend to favor the rougher, slightly dated organ rock sound over the polished and perfect sounds that PFM or Genesis would soon present. Composition and execution of 3 stars for me on the surface, but being first historically matters to me and they get an extra bump for being on the first wave of the Italian classic period.
One of those legendary, but so obscure albums, "Panna Fredda Uno" is mostly based on a very effective guitar-keyboards interplay. The arrangements are great with lots organ and excellent guitar. Classical influences are evident, but the music contains a lot of melodic and a instrumental research. The voice is good, the lyrics original and the album has no weak points. A great album sometimes evoking EGG or CARAVAN!
Recorded in 1970, Panna Fredda's lone work is one of the earliest pioneers of the ISP genre, one of the trailblazers of the distinct style of festive experimentation that would characterize so many great Italian bands. It's really an overlooked title in the Italian progressive rock universe. Heavy and dark with a distinct baroque twist and an emphasis on exploration, "Uno" was right there with other first wave titles from Orme, The Trip, and Osanna. The origins of Panna Fredda date back to 1966 Rome and the Italian beat when members were playing in a group called I Figli Del Sole. These nightclub gigs evolved into a 6-piece funk/R and B/brass outfit called Vun Vun. Reluctant leader and composer/guitarist/vocalist Angelo Giardinelli professed some boredom with the Italian scene of the time and wanted to move things to a rock quartet, but some touchy band politics and the mood of the local music scene stood in his way. He had to proceed covertly to form Panna Fredda behind the backs of the horn guys to realize his vision without hurting the feelings of friends.
Not everyone in the group was convinced, thinking Angelo crazy for wanting to chase sounds that the public was not ready for. But there was no turning back: after hearing some albums a friend gave him from the likes of Vanilla Fudge, Hendrix, The Moodies, and Floyd, Giardinelli could not go back to playing it safe. The band made contact with a small label called Vedette who were looking for another hit machine to replace I Pooh, who were not delivering to the label's satisfaction. The first single was written by popular Italian musicians of the day but found success which led to the first band-penned singles early in the summer of 1970.
More line-up changes would ensue caused by military service and marriage but the band was stoked for the moment and began to record their full length album. The new Panna Fredda was determined to lay down the brash and inventive new material coming from Giardinelli despite the label's plea for commercial singles. The evening before their first session they stayed up all night nervously going over all the details of what they hoped to accomplish. The results would be an artistic success to the band, their fans, and the music press in Italy. But to their horror I would imagine, the label balked at releasing the album. Though ready to go in 1970, Vedette shelved their album and the band hit the road playing to enthusiastic crowds. The label finally succumbed to public pressure and put out the record in 1971 as the band continued playing some of the Italian festivals of the day. But the usual suspects had doomed the band. There was no promotion for the album, no second album offered, and eventually the band split up. [progarchives.com]
01. La Paura (6:02)
02. Un Re Senza Reame (5:06)
03. Un Uomo (4:56)
04. Scacco Al Re Lot (4:32)
05. Il Vento, La Luna E Pulcini Blu (9:58)
06. Waiting (3:08)
+ Rare Bonus Tracks
1. https://rapidshare.com/files/129406635/Panna Fredda.rar
Size: 83.2 MB
Ripped by: ChrisGoesRock
Another of the one shot Italian groups that while only putting out one album, they do leave us with a gem. Raccomandata Ricevuta Ritorno, Italian for Registered Letter with Notice of Receipt (thanks Raffaella!) mixed jazz, folk, and classical in an album that like many Italian classics like Palepoli and Dedicato A Frazz, was all over the place musically. If you like you prog complex and twisting this is an album you probably will enjoy. Unlike Osanna and Palepoli the accoustic guitar is featured here more than the electric guitar. Raccomandata Ricevuta Ritorno (RRR for short) put out a single album in 1972. The album did not live up to expectations sales-wise and Luciano Regoli and Stefano Piermarioli left to form Samadhi which also did one album before disappearing. Francesco Froggio Francica left to show up later with the groups Procession and Kaleidon. Several attempts to reform the group failed and RRR were left with this album, Per...Un Mondo Di Cristallo as their legacy.
As far as the album itself. Fans of Semiramis, Osanna, and Delirium should find the album to be very interesting. Musical twist and turns abound with great accoustic work, classy and flighty flute work, nice tasty heavy guitar, and a vocalist whose voice I really like though some have made it a point to say it is a weakness on the album. The first song, Nulla, for example gives an indication right from the start of what to expect. A dark minute long organ intro is followed by a short but beautiful flute and accoustic guitar melody before the manic drumming of Francica heralds a complete shift in mood and tempo and we go right into Su Una Rupe. Some inspired flute follows the drummerwith some accoustic piano pounding away .. then suddenly an accoustic guitar heralds the powerful voice of Luciano Regoli. I love his voice, able to project powerfully and yet handle soft quiet moments. The next song, Il Mondo Cade (Su Di Me), starts with a great accoustic guitar to start, and end the song with some cello and strings giving the song a rather dark feel. Nel Mio Quartiere has a great jazzy feel to it, with some nice saxophone in it. L'ombra is a real showcase for Regoli as he belts out some inspired lyrics against a manic rhythm. Un Palco di Marionett is the real gem on this album. With a gorgeous flute and accoustic guitar intro, when the drums, piano, and voice enter you find yourself taken away. Such wonderful and melodic prog as only the Italians could do it. Some piano ushers in a stylistic change as the tempo picks up with some guitar and a flighty flute. Some tasty e-guitar licks are thrown into the mix and you have another great example of what makes Italian prog so tasty. Lots of musical ideas that are put together with the attention to detail an artist would be proud.
This has been a great addiction to my Italian collection and would strongly recommend it to anyone who is exploring Italian prog past the big groups and '1st tier' of Italian albums. Why this album isn't in that tier... repeated listens have not answered that question. Definitely not essential but 4 stars is not a reflection of what I think of the album. A great album all the way through.
RACCOMANDATA CON RICEVUTA DI RITORNO (often shortened to RRR) formed in Rome, making their live debut in 1972. Like so many progressive bands in Italy in the seventies, they released one album and split up until an unexpected reformation in 2010.
Vocalist/guitarist, Luciano Regoli had played with IL RITRATTO DI DORIAN GRAY, and drummer Francesco "Froggio" Francica and flute/sax player Damaso Grassi spent some time in PANNA FREDDA. Their live debut was at the Villa Pamphili pop festival, and they became regulars on the festival circuit between 1972 and 73 until splitting up due to little interest in their album, "Per... Un Mondo Di Cristallo." Regoli and guitarist Nanni Civitenga then helped form SAMADHI. Francica, Grassi and keyboardist Stefano Piermarioli--without bassist Manlio Zacchia--recruited additional players (Roberto Gardin on guitar, Gianni Colaiacono on bass, Massimo Balla on sax and Mandrake playing percussion) and continued a while longer using the band name in a more jazz orientated direction. Unfortunately there is no recorded output of this line up. Francica would also play on "Fiaba," the second album from PROCESSION and later with KALEIDON. Regoli was later to drop out of music and became an artist.
"Per... Un Mondo Di Cristallo" was released in 1972 and like many great RPI albums drew its sound from many contrasting styles. This includes hard rock, jazz, classical, melodic pastoral and even eastern influences. There is a generous usage of flute, sax, keyboard (especially organ), and acoustic and electric guitar. Both the music and the subject matter (an astronaut who returns after a long voyage, discouraged by the horrible earthly scenes he observes from a cliff) call to mind the more adventurous RPI bands such as OSANNA, SEMIRAMIS and IL BALLETTO DI BRONZO, although not quite to their level in either quality or edginess. Still, this album is certainly one of the essential albums that should be found in any RPI collection.
In 2010 RRR unexpectedly reformed and released the acclaimed album "Il Pittore Volante." Musically it contains many of the musical elements that made their debut but with a more refined sound and some of the wilder elements smoothed over for a more accessible sound to a large extent. Joining Regoli, Civitenga and Gardin is drummer Walter Martino (IL RITRATTO DI DORIAN GRAY, GOBLIN and LIBRA). Some RPI heavyweight guests also appear, including Claudio Simonetti (GOBLIN) and Lino Vairetti (OSANNA).
01. Nulla (1:04)
02. Su Una Rupe (5:13)
03. Il Mondo Cade (Su Di Me) (6:47)
04. Nel Mio Quartiere (3:52)
05. L'Ombra (3:37)
06. Un Palco Di Marionette (10:05)
07. Sogni Di Cristallo (6:33)
Size: 89.3 MB
Ripped by: ChrisGoesRock
Definitely one of the best classic Italian albums I've heard so far. This one has it all: great beauty, emotional performances, thoughtful arrangements, and great playing. It just has that indefinable spirit and extra oomph that capture my heart.
This is a great album that is not well known but should be as I believe it to be in the first tier of Italian bands. It's a marvelous conceptual piece about a young person raised in a restrictive environment who eventually has to rebel against it all. Formed in the late 60s, Alusa Fallax had the typical Italian experience of releasing some singles, playing live mostly in the Italian festivals, recording their opus, and then eventually breaking up. It took Alusa longer than some to split but a second album was never released although they did work on material for a second album. The guys were accomplished and educated and eventually moved on to other things in the late 70s.
Conceived as a stage show concert, all of the songs are connected so you have two unique suites of music (really one on CD) that flow ridiculously well. This is not one of those albums you memorize quickly and thus it retains its excitement and its newness with each listen. It has a distinct avant-garde feel to it, more so than some of its peers. They do mix clever musical surprises but it never gets outright silly or juvenile, and while things do seem chaotic I have the feeling that the albums excursions were not only planned but agonized over. Nothing sounds like filler here and that's one of my benchmarks of a great album. Classical elements are mixed with rock and jazzy passages, acoustic instruments are mixed with electric seamlessly, vocals sections balance well with the instrumental ones. The playing is very capable but not flaunted for ego. The keyboards are prevalent and perfect here, the vocals are warm and passionate, and the quality guitars/bass/drums are accented by touches of flute, sax, and hand percussion. I love how the keyboards are layered on the first track, you have some in the foreground with these soft misty ones slowly rising and falling in the background.
Compared to some of the English heavy hitters and the top Italian acts like PFM, Orme, and Banco, this album may be less sophisticated in some ways and have lower sound quality due to the lower budgets. But what it lacks in those areas it makes up for in my view by being far more charming, sentimental, and intimate. In that way I would compare it to the splendid Apoteosi album. While not perfect, I find the sound to be adequate and definitely good enough not to detract from my enjoyment.
Keyboardist Massimo Parretti gives a nice interview in the CD booklet where he lists some of the bands influences as side B of Abbey Road, Jesus Christ Superstar, Debussy, Ravel, Stravinski, Varese, Santana, Chicago, ELP, Floyd, Tull, Genesis, The Who, Joe Cocker, Crimson, and APP. He also lets fly with a colorful and scathing review of the music industry from the mid 80s on and what he sees as the dismal quality of what was fed to the public.
Quite recommended to any lovers of adventurous classic symphonic music and absolutely essential to anyone putting together an Italian genre collection. The Vinyl Magic mini-lp sleeve CD reissue is a beauty with good sound and a nice booklet including the lyrics, some artwork, and the Parretti interview which is printed in Italian and English. Get the remastered version and play it loud many times. You will fall in love! [progarchives.com]
01. Soliloquio (2:58)
02. Non Fatemi Caso (4:28)
03. Intorno Alla Mia Cattiva Educazione (4:13)
04. Fuori di me,Dentro di me (3:03)
05. Riflessioni Al Tramonto (3:04)
06. Il Peso Delle Tradizioni (1:40)
07. Carta Carbone (3:36)
08. Perchè Ho Venduto Il Mio Sangue (1:43)
09. Per Iniziare Una Vita (4:20)
10. E' Oggi (3:05)
11. E' Così Poco Quel Che Conosco (2:32)
12. Ciò Che Nasce Con Me8 (4:12)
13. Splendida sensazione (5:45)
Thursday, 6 September 2012
mp3 able to read / write v2.4 tags
mp3 decoder faster at decoding
mp3 Lame updated to 3.99.5
Versions for bundled codecs linked to dBpoweramp release
dbshell and other shell DLLs - code signed
mp3 Lame possible to supply custom extra cli values, also displays on advanced the final cli
FLAC defaults to not map Comment, Conductor, also new TRACKTOTAL and DISCTOTAL tags are written
FLAC better handles custom multiple item tag values
AIFF able to decode id3v2.4 tags
CD Ripper - prevent auto run removed in Windows 7 (not needed any more as cds are not autorun by default)
m4a Codec updated, Apple open source codec, improved iTunes tagging
CD Ripper - code to stop multiple access to drive query at same time
CD Ripper - correct musicbrainz ngs mapping ' to '
mp3 decoder could lockup with corrupted streams
AIFF tag reading (if tag was smaller than chunk)
Fixed issue causing BSOD on systems with Intel Storage Matrix driver installed (actually is a bug in Intels driver...)
64 bit tag editor, if file cannot be written then says so
Configuration Property Handler, it was still changing the explorer tag pane for disabled extensions.
Size: 74.2 MB
Ripped By: ChrisGoesRock
Japan 24-Bit Remaster
This is actually The End after they changed their name in 1969. TB's first album and typical of their style; hard living rock with an American influence. Rough edged riffs and soulful, powerful vocals. Like The End the band were produced by Bill Wyman.
British hard rockers Tucky Buzzard formed in 1969, and during their five-year career together as a band, featured members David Brown (bass), Paul Francis (drums), Nick Graham (keyboards), Jimmy Henderson (vocals), Chris Johnson (drums), Terry Taylor (guitar), and Paul Kendrick (guitar, vocals).
The group is best remembered amongst hardcore Rolling Stones fans for the fact that former Stones bassist Bill Wyman served as producer (and played on) a few of their albums. Tucky Buzzard issued a total of four recordings -- 1969's Warm Slash, 1971's Coming on Again, plus a pair of albums in 1973, Alright on the Night and Buzzard -- before splitting up.
01. Mistreating Woman (2:55)
02. (She's A) Striker (3:15)
03. Fill You In (3:15)
04. Need Your Love (3:23)
05. Which Way, When for Why (7:52)
06. Burnin' (5:27)
07. Heartbreaker (4:33)
08. Sky Balloon (5:50)
09. Ain't Too Soon (4:30)
Size: 66.6 MB
Ripped by: ChrisGoesRock
Japan 24-Bit Remaster
Tucky Buzzard were a British Hard rock band formed in 1969 by three former members of The End.Band members were David Brown (bass), Paul Francis (drums), Nick Graham (keyboards), Jimmy Henderson (vocals), Chris Johnson (drums), Terry N. Taylor (guitar), Paul Kendrick (guitar, vocals). Tucky Buzzard produced a total of five albums between 1969 and 1973. The band are notable as their producer was Bill Wyman of the Rolling Stones.
Terry Taylor has worked on a number of musical compositions with Bill Wyman and has played with Bill Wyman in a number of his bands, Willy and The Poor Boys, Bill Wyman's Rhythm Kings, since Bill left The Rolling Stones. In 2006 Tucky Buzzard was featured in an article called Top 6 Classic Rock Bands You Never Knew You Didn't Know written by Dave White.
British hard rockers Tucky Buzzard formed in 1969, and during their five-year career together as a band, featured members David Brown (bass), Paul Francis (drums), Nick Graham (keyboards), Jimmy Henderson (vocals), Chris Johnson (drums), Terry Taylor (guitar), and Paul Kendrick (guitar, vocals). The group is best remembered amongst hardcore Rolling Stones fans for the fact that former Stones bassist Bill Wyman served as producer (and played on) a few of their albums. Tucky Buzzard issued a total of four recordings — 1969's Warm Slash, 1971's Coming on Again, plus a pair of albums in 1973, Alright on the Night and Buzzard
01. Can't Live Without It 3:49
02. Fast Bluesy Woman 3:36
03. Gold Medallions 4:34
04. All I Want Is Your Love 3:44
05. Rainbow Rider 4:26
06. Rudie Movie Star 4:02
07. Pictures 3:32
08. Last War 5:15