Отправлено: 14.12.07 17:35. Заголовок: FreeFall: The Residents - Mark of the Mole, 1981 (RIO/Avant Prog) (+)
С регулярными выкладками не получается, поэтому долговременные проекты начинать больше не буду. Просто делаю здесь отдельную тему, где буду добавлять кой-чего (как было в журнале), когда появится время.
Отправлено: 14.12.07 17:37. Заголовок: Savage Rose (Denmark) - Wild Child, 1973 (+)
Мощная блюзово-психоделичаская группа с отличным вокалом и клавишными.
1. Wild Child 2. Stewball Was So Tired 3. A Las Cinco De La Tarde 4. Madhouse Wedding 5. Ain't My Baby Beautiful 6. Tarantula 7. Shoeshineboy Is Dead 8. Screams Of Captured Birds
Annisette - vocal Anders Koppel - organ, accordeon, clarinet Thomas Koppel - piano Per Frost - guitar Rudolph Hansen - bass Ken Gudmann - drums
Отправлено: 14.12.07 18:45. Заголовок: Спасибо большое, очень интересная группа(-)
alexpika
постоянный участник
Пост N: 685
Отправлено: 14.12.07 21:58. Заголовок: Могу предложить альбом Savage Rose - "In The Plain"-
hunter54
Пост N: 217
Отправлено: 14.12.07 22:30. Заголовок: С удовольствием скачаю(+)
Очень понравились и музыка, и вокал. Главное, 1973 год......
alexpika
постоянный участник
Пост N: 686
Отправлено: 15.12.07 01:08. Заголовок: В каком формате желаете? И куда заливать?
mw_1954
постоянный участник
Пост N: 266
Отправлено: 14.12.07 23:18. Заголовок: Ой, не знаю как и благодарить. "Шиповник" люблю давно, +
давно собираю. Всегда готов поделиться. Есть: Savage Rose - 1968 On the Plain - 1968 Travellin' - 1969 Refugee - 1971 Dodens Triumf (Триумф Смерти) - музыка для спектакля балета на льду - 1972 Keyseren Nye Klaeder - 1986. А вообще-то у них огромное множество альбомов в самых разных стилях: от психеделии и блюза до академической музыки. С уважением, MW
hunter54
Пост N: 218
Отправлено: 14.12.07 23:34. Заголовок: Было бы здорово, для меня эта группа открытие(+)
Вот легла сразу на душу и все.
Барин
Ветеран
Пост N: 2078
Отправлено: 16.12.07 08:22. Заголовок: Charlie Mariano - Adagio, 1995 (классика в джазовой обработке)
1 Adagio (Albinoni) 6:19 2 Prelude (Chopin) 4:56 3 Filles de Cadiz (Delibes) 5:39 4 En Aranjuez con Tu Amor (Rodrigo, Segura) 6:07 5 Symphony from the New World (Dvorak) 4:07 6 Pathetique (Beethoven) 6:13 7 I Pagliacci (Leoncavallo) 6:00 8 Aria from Bachianas Brasileiras No. 4 (Villa-Lobos) 4:54
Charlie Mariano - Saxophone Paul Shigihara - Guitar Mike Herting - Keyboards
Отправлено: 16.12.07 22:03. Заголовок: Magnum - Kingdom Of Madness, 1978
1. In The Beginning (7:52) 2. Baby Rock Me (4:05) 3. Universe (3:45) 4. Kingdom Of Madness (4:25) 5. All That Is Real (3:50) 6. The Bringer (3:58) 7. Invasion (3:22) 8. Lords Of Chaos (3:21) 9. All Come Together (4:52)
Bob Catley - vocals Tony Clarkin - guitars, vocals Richard Bailey - keyboards, vocals Colin Lowe - bass, vocals Kex Gorin - drums
Отправлено: 18.12.07 03:04. Заголовок: Та и я об ём, болезном+
Поумирали ссылки, архива не дождавшись
Барин
Ветеран
Пост N: 2081
Отправлено: 18.12.07 04:35. Заголовок: Как поумирали? (+)
Все на месте.
mogol
Пост N: 459
Отправлено: 18.12.07 05:10. Заголовок: Не все, к сожалению+
Все файлсендовские приказали долго жить. Кентербери и окрестности... Я понимаю, что это долго и неохота по новой. Помечтать-то можно...
mw_1954
постоянный участник
Пост N: 267
Отправлено: 17.12.07 12:16. Заголовок: Коллеги, обещанные четыре альбома Savage Rose.
Тут такое дело: альбомы доставались из разных источников, посему битрейт не везде высококлассный. Ссылки на Savage Rose: Savage Rose: ht_://sharebee.com/6fa7d490 Travellin': ht_//sharebee.com/bc4a12f4 Refugee: ht_//sharebee.com/7bad56e8 Dodens Triumf: ht_//sharebee.com/a224c704
ht_ замените на http:
Приятного прослушивания! На следующей неделе постараюсь подкинуть еще один альбом. С уважением, MW
Отправлено: 16.01.08 02:30. Заголовок: А нельзя ли выложить имеющиеся у Вас альбомы Savage Rose +
"Travellin', "Refugee", "Dodens Triumf" и "Keyseren Nye Klaeder" с битрейтом 320? Эту группу я очень люблю с 1969-го года после прослушивания альбома In the Plain. Заранее большое спасибо!
Барин
Ветеран
Пост N: 2082
Отправлено: 18.12.07 17:03. Заголовок: Glass Harp (USA) - Live at Carnegie Hall, 1971
1. Look in the Sky 2. Never Is A Long Time 3. Do Lord 4. Changes 5. Can You See Me
Phil Keaggy - guitar, lead vocals John Sferra - drums, vocals Daniel Pecchio - bass, flute, vocals
Отправлено: 19.12.07 21:02. Заголовок: Idris Muhammad - House of the Rising Sun, 1976, soul-jazz
1 House of the Rising Sun 4:48 2 Bahia 4:42 3 Hard to Face the Music 4:53 4 Theme for New York City (Based on Chopin's Prelude in E Minor, Op. 28) 3:32 5 Sudan 10:56 6 Hey Pocky A-Way 6:10 7 Pipe Stem 5:29 8 I Know You Don't Want Me No More 4:42
Idris Muhammad - Percussion, Drums David Sanborn - Sax (Alto) Michael Brecker - Sax (Tenor) Bob Berg - Sax (Tenor) Patti Austin - Vocals Joe Beck - guitar Sir Roland Hanna - Piano Don Grolnick - Piano Eric Gale - Bass David Matthews - Arranger, Conductor Creed Taylor - Producer Rudy Van Gelder - Engineer and others
Отправлено: 20.12.07 18:04. Заголовок: Wagner Tiso (Brazil) - Manu Carue: Uma Aventura Holistica, 1989 (+)
1 Baile Antropofago Transracial de Santa Cruz 4:03 2 Mandu Carara 6:35 3 Memoria (Pra Dona Walda) 4:32 4 Solfeggio/Manu Carue 5:45 5 Fantasia Holistica 6:01 6 A Lenda Do Boto 6:17 7 Alegria 2:40 8 Missa No Brasil 6:42
Отличный электорнный альбом от бразильского джазовоко музыканта. Но здесь джаза нет совсем.
1. Ma hra (9:00) 2. Smer Jihovychod (5:50) 3. Popinavy brectan (5:55) 4. Blues Modreho efektu (8:00) 5. Nova synteza (14:25) 6. Kingdom of life (4:00) 7. You'll stay with me (4:23) 8. Brothers song (2:20)
Vladimir Misik - vocals Radim Hladik - guitars Milos Svoboda - guitars Jiri Kozel - bass Vlado Cech - drums
Отправлено: 24.12.07 08:07. Заголовок: Ars Nova (Japan) - The Goddess of Darkness, 1996
1. Kali - Demolition and Massacre (9:21) 2. Fury - The daughter and the Simoon after the Simoon (4:24) 3. Morgan - The fate awaits Inevitable (11:41) 4. Isis-She Wakes the Dead (4:41) 5. The Gorgons - Never look at her Eyes (10:30)
Отправлено: 26.12.07 09:35. Заголовок: To All: Еще пять альбомов Savage Rose +
Уважаемые коллеги, как и обещал, еще несколько альбомов замечательной датской команды Savage Rose: In the Plain - 1968 - считается одним из лучших в их "психеделическом" периоде. Evening Child - !!!!!!!! Link: http://www.sendspace.com/file/deslpa Your Daily Gift - 1971 - тоже высоко ценится, но тут "подкачал" битрейт: 128. Возможно, кому-нибудь удастся выставить получше. Link: http://www.sendspace.com/file/7zbw4x Babylon - 1972 - "Шиповник" исполняет блюз! Причем, здорово! Link: http://www.sendspace.com/file/lokwa7 Keiserens Nye Klaeder - 1986 - Как можно определить? Европейский (не британский) арт-рок с элементами джаза, кабаре... Здорово! Link: http://www.sendspace.com/file/d06kto Manebarn - 1992 - Совершенно не похоже на то, что датчане делали раньше, но все равно - крайне интересно! Link: http://www.sendspace.com/file/44cyax
Всех поздравляю с наступающим Новым Годом и Рождеством! Желаю много новой (и старой) музыки!!!
С уважением, MW
Барин
Ветеран
Пост N: 2090
Отправлено: 29.12.07 07:20. Заголовок: Booker T. & The MG's - Green Onions, 1962
1 Green Onions 2:45 2 Rinky Dink 2:39 3 I Got a Woman 3:32 4 Mo' Onions 2:50 5 Twist and Shout 2:09 6 Behave Yourself 3:45 7 Stranger on the Shore 2:18 8 Lonely Avenue 3:25 9 One Who Really Loves You 2:22 10 You Can't Sit Down 2:46 11 A Woman, a Lover, a Friend 3:15 12 Comin' Home Baby 3:09
Booker T. Jones - Organ, Bass, Guitar, Keyboards Steve Cropper - Guitar Lewis Steinberg - Bass Al Jackson, Jr. - Drums
Отправлено: 02.01.08 07:11. Заголовок: Огромное спасибо! (-)
Барин
Ветеран
Пост N: 2091
Отправлено: 29.12.07 07:22. Заголовок: The Poppy Family Plus (Susan & Terry Jacks)
1 Poppy Family - Beyond The Clouds 2 Poppy Family - What Can The Matter Be 3 Poppy Family - Which Way You Goin' Billy 4 Poppy Family - That's Where I Went Wrong 5 Terry Jacks - I'm Gonna Capture You 6 Poppy Family - Where The Evil Grows 7 Poppy Family - No Good To Cry 8 Poppy Family - Good Friends 9 Terry Jacks - Concrete Sea 10 Susan Jacks - You Don't Know What Love Is 11 Terry Jacks - I'm Gonna Love You Too 12 Terry Jacks - Season In The Sun 13 Susan Jacks - I Thought Of You Again 14 The Hood (Terry Jacks & Tom Baird) - Cause We're In Love 15 Terry Jacks - If You Go Away 16 Terry Jacks - Rock And Roll 17 Terry Jacks - Christina 18 Terry Jacks - Holly 19 Susan Jacks - Anna Marie 20 Terry Jacks - You Don't Fight The Sea 21 Terry Jacks - Ghosts In Your Mind 22 Terry Jacks - Hey Country Girl 23 Susan Jacks - Twice As Strong 24 Susan Jacks - Evergreen 25 Susan Jacks - Forever
Отправлено: 13.01.08 21:20. Заголовок: Большое спасибо за S..
Большое спасибо за Sarolta Zalatnay!
mogol
Пост N: 508
Отправлено: 14.01.08 05:06. Заголовок: А какого года девушка?
Барин
Ветеран
Пост N: 2098
Отправлено: 14.01.08 07:03. Заголовок: А какого года девушка?
mogol пишет:
цитата:
А какого года девушка?
Сборник, 70-х, как я понимаю.
vtooz
Пост N: 72
Отправлено: 14.01.08 09:23. Заголовок: По моим данным 2007
Барин
Ветеран
Пост N: 2099
Отправлено: 14.01.08 15:53. Заголовок: 2007 (+)
Ну, если речь о годе выпуска CD, то 2007
vtooz
Пост N: 73
Отправлено: 14.01.08 16:40. Заголовок: Я думаю в 70 этого сборника не существовала и его+
выпустили именно 2007 скомпилировав из старых вещей с разных дисков и возможно даже не издававшихся. Такчто он 2007 года
Барин
Ветеран
Пост N: 2100
Отправлено: 14.01.08 17:02. Заголовок: Меня, к примеру, очень мало интересует, в каком году что выпустили, (+)
а волнует, в первую очередь, в каком году это было записано, полагаю, и вопрос относился именно к годам записи. А если уж отвечать именно по сути - то девушка 1947 года.
vtooz
Пост N: 74
Отправлено: 14.01.08 19:46. Заголовок: Насчет возраста девушки по Вашей ссылке на архив форума+
в венгерской теме есть информация о годе рождения и ссылка на фото в плейбое , где-то на пред-пред-последней странице
kve1
Пост N: 36
Отправлено: 14.01.08 16:11. Заголовок: Большое спасибо за Sarolta Zalatnay! Чудный сборник (-)
1. Parte Del Día 2. Silencio Marginal 3. Aniñada 4. Brumas En La Bruma 5. Milagro De Pueblo 6. Aves Rapaces 7. Mirando Adentro
- Emilio del Güercio / bass, vocals - Héctor Stark / guitar, vocals - Hugo González Neira / keyboards, vocals - Rodolfo Garcia / drums, vocals
Progarchieves: "AQUELARRE (meaning witches nocturnal meeting with the devil) was formed after the dissolution of the band ALMENDRA in 1970, as its bass player Emilio del Güercio and drummer Rodolfo Garcia joined up with guitar player Héctor Stark and keyboard player Hugo González Neira joined up. They performed in B.A.Rock II festival 1971, and their first studio album “Aquelarre” was released in 1972. It’s cover was drawn by the band’s bass player, who became graphic designer later. Their music is sophisticated psychedelic rock’n’roll with very impressionistic moments, artistic arrangements, surrealistic themes and they have a jazzy rhythm section. During next years they released three more albums, “Candiles” in 1973, and it’s cover is a painting of Goya, which name is the same as the bands name! Third and their most popular album “Brumas” was released in 1974. After this the band moved to Spain, and they released the album “Siesta” in 1975. After this they had a tour in Spain, but they didn’t get the success they searched, and in 1977 they had their goodbye concert in Argentina without González Neira, who stayed in Spain. After their dissolution Rodolfo Garcia joined TANTOR, and Emilio del Güergcio went to have a solo career."
Отправлено: 20.02.08 16:19. Заголовок: Electric Sandwich (Germany) - Electric Sandwich, 1972 - prog rock
1. China (8:07) 2. Devil's Dream (6:20) 3. Nervous Creek (5:07) 4. It's No Use to Run (4:03) 5. I Want You (5:27) 6. Archie's Blues (4:55) 7. Material Darkness (5:04) 8. On My Mind (3:24) 9. China (single edit) (3:05)
Jorg Ohlert / guitar, organ, keyboards Klaus Lormann / bass Jochen Carthaus / sax, Harmonica Wolf Fabian / drum
Отправлено: 29.02.08 05:48. Заголовок: Popol Vuh (Gemany) - Letzte Tage - Letzte Nachte, 1976
1. Der grosse Krieger (3:15) 2. Oh wie nah ist der Weg hinab (4:36) 3. Oh wie weit ist der Weg hinauf (4:30) 4. In deine Hдnde (3:00) 5. Kyrie (4:38) 6. Haram dei Raram dei Haram dei Ra (1:30) 7. Dort ist der Weg (4:30) 8. Letzte Tage ~ Letzte Nдchte (4:20)
- Florian Fricke / piano - Daniel Fichelscher / guitar, percussion - Djong Yun / vocals - Renate Knaup / vocals - Al Gromer / sitar - Ted De Jong / tamboura
1. Seven For Lee (8:51) 2. Seven Drones (4:25) 3. Remain So (4:48) 4. Terra Nova (16:52)* 5. C You Again (4:13)* 6. C.R.R.C. (14:00) 7. One Three Nine (6:33)
- Elton Dean / alto sax, saxello - Alan Gowen / electric piano, synthesizer - Hugh Hopper / bass guitar - Dave Sheen / drums
Со сканами обоих CD фигня получилась - все картонные/мини-LP кейсы я храню отдельно, в безопасном (чтоб не мялись) месте, а сами диски перекладываю в обычный пластик и кладу в кучу, предварительно отсканировав и распечатав зад-перед для наглядности. Так вот, в случае с Софтами место оказалось совсем безопасным. Короче, не нашел я его... Завтра еще пороюсь... А в сканах лежат отсканированные пумажки, которые я распечатал для пластиковых коробок.
Отправлено: 04.03.08 17:51. Заголовок: Благодарю за Wind! Сегодня уже срубаюсь +
а завтра с утра начну качать. Володя подскажи насчёт Soft Head - что играют? Кстати, не хватает твоих скромных жанровых подсказок Прог / Джаз-рок / Краут и т.д.
Барин
Ветеран
Пост N: 2143
Отправлено: 04.03.08 18:26. Заголовок: Да, сорри, лень моя. +
Но в принципе, рецензии на почти весь прог, что я выкладываю, есть на прогархивах. В двух словах, Софт Хип/Софт Хед группы из наследия Soft Machine, но играли не откровенный поп-джаз, которую SM выдавала к этому времени, а вполне приличный фьюжн.
Барин
Ветеран
Пост N: 2144
Отправлено: 05.03.08 05:14. Заголовок: Socrates Drank The Conium (Greece) - 5 CD set
Отправлено: 10.03.08 15:01. Заголовок: Stone the Crows - Ode to John Law, 1970
1 Sad Mary 6:53 2 Friend 6:28 3 Love 6:35 4 Mad Dogs and Englishmen 3:34 5 Things Are Getting Better 6:10 6 Ode to John Law 5:47 7 Danger Zone 6:21 8 Things Are Getting Better4:04
Maggie Bell - Vocals Les Harvey - Guitar John McGinnis - Organ, Piano, Keyboards Jimmy Dewar - Bass, Vocals Colin Allen - Percussion, Drums
AMG: "In a way, you have to feel sorry for Stone the Crows. All the elements were there for them to have been one of the major bands, up there with Zeppelin — they even had the same management. But even on this, their second and best album, they could never quite put everything together. Live, they were an incendiary act, with singer Maggie Bell and guitarist Les Harvey true stars. Somehow, though, once they entered a recording studio, the magic seemed to come off with the overcoats. That's not to say this isn't a good album. "Sad Mary," "Friend," and "Love 74" are all showcases for Harvey's excellent guitar skills, while "Things Are Getting Better" and a cover of Curtis Mayfield's "Danger Zone" let Maggie Bell shine in her best Janis Joplin style (although it's a shame bassist Jim Dewar has his considerable vocal talents muffled). The good time, neo folk-rock of "Mad Dogs And Englishmen" offers some light relief. The biggest problem, really, was the songs — the original material simply wasn't strong enough to establish them as anything more than a cult act working the British college circuit. A hit single, or even a huge album track, would have lifted them out of the more. On this disc, "Love 74" was as close as they came, but instrumentals in 7/4 time were never usually commercial blockbusters. The reissue on Repertoire appends the shorter single version of "Things Are Getting Better."
Отправлено: 13.03.08 18:24. Заголовок: Ой извини, в теме же всё написано ПРОГ РОК!
Большое спасибо! Скачивать, блин не успеваю Мега медленно отдаёт. Всё равно доберусь до всех альбомов. У тебя что не выкладка - то НОВОСТЬ для меня. Вот так собираешь, собираешь, думаешь - ну ничё себе сколько я уже знаю, сколько у меня есть - а нифига. Сколько мне ещё открытий чудных... впрочем это кто-то до меня уже говорил.
Барин
Ветеран
Пост N: 2151
Отправлено: 14.03.08 00:36. Заголовок: Pacific Gas & Electric - PG&E (Hard Burn), 1971
AMG: "The seeds of Pacific Gas & Electric were sown in Los Angeles back in 1966 when self-taught guitarist Tom Marshall formed Bluesberry Jam, whose ranks included drummer Charlie Allen. Allen turned out to be such a fine vocalist that he ended up becoming the frontman; his drum chair was filled by Adolfo de la Parra in 1968. Later that year, de La Parra left to join Canned Heat, replacing Frank Cook who then joined Bluesberry Jam. After adding guitarist Glenn Schwartz and bassist Brent Block later in 1968, the group changed their name to Pacific Gas & Electric.Their first album, Get It On, was released by Kent in 1968, but failed to make much of an impact. However, following their appearance at the Miami Pop Festival in late 1968, Pacific Gas & Electric signed with Columbia, who released Pacific Gas & Electric in 1969. Their next album, Are You Ready, supplied their first hit, the title track, which made it into the Top 20 in the summer of 1970. Despite this success, all the bandmembers left, forcing Charlie Allen to build a new Pacific Gas & Electric around him. Enter guitarist Ken Utterback, bassist Frank Petricca, Ron Woods on drums, Jerry Aiello on keyboards, trumpet player Stanley Abernathy, sax players Alfred Gallegos and Virgil Gonsalves, and percussionist Joe Lala. Around this time, the Pacific Gas & Electric Utility Company asked the band to change their name, which was shortened to PG&E, also the title of their 1971 album. They also appeared in and provided music for the Otto Preminger film Tell Me That You Love Me, Junie Moon starring Liza Minnelli.After 1972 or so, PG&E basically turned into a solo Charlie Allen vehicle. They released Starring Charlie Allen on Dunhill in 1973, then called it quits. "
1. Rock 'N' Roller's Lament 2. Recall 3. One More River To Cross 4. Death Row #172 5. Short Dogs And Englishmen 6. See The Monkey Run 7. Times Has Come, The (To Make Your Peace) 8. Thank God For You Baby 9. When The Sun Shines
Alfred Galleros - Tenor Ken Utterback - Guitar Virgil Gonsalves - Baritone Ron Woods - Drums Jerry Aiello - Organ Joe Lala - Congas, Timbales Charlie Allen - Singer Frank Petricca - Bass The Blackberries - Vocal Background
Progarchives: "Originally named The CORTINAS, this mid-60's Hatfield quartet was discovered by The TROGGS' soon-to-be bassist Tony Murray and Nigel Olssen, destined to be Elton JOHN's regular drummer. It is Murray who eventually introduced the band to producer Larry Page, The TROGG's manager, and by 1968 OCTOPUS had earned a support spot to a promising young band called YES. They also got booked into the Marquee Club, toured Europe, shared the stage with HUMBLE PIE and STATUS QUO among others, and in 1970 released a first-rate pop album titled "Restless Night"; unfortunately, however, it failed to attract much enthusiasm outside their hometown. They stuck together for a while and then decided to split up in 1972. Their keyboard player John Cook later joined MUNGO GERRY whereas bassist Nigel Griggs and drummer Malcolm Green, both moving to Australia, eventually became members of SPLIT ENZ. Their sole album is a fascinating specimen of early 70's pop with tinges of psychedelia, with musical phrases and choruses highly reminiscent of The BEATLES and TEN CC. Complete with the era's typical fuzz guitar and swirly organ, the album features short but catchy song-based melodies, a few bluesy jams and very strong vocals. The extremely rare original LP is no doubt worth a bundle but anyone interested in some fine pre-prog, 70's psych pop ought to seek out the 1997 CD release which contains several bonus tracks. You'll definitely be hooked by this OCTOPUS if you're a BEATLES, BADFINGER or TEN CC fan."
1. The River (4:26) 2. Summer (3:05) 3. Council Plans (3:37) 4. Restless Night (4:02) 5. Thief (3:38) 6. Queen and the Pauper (3:39) 7. I Say (1:54) 8. Johns' Rock (2:40) 9. Rainchild (3:05) 10. Tide (5:37) 11. Girlfriend (2:56) 12. Laugh at the Poor Man (3:14) 11. Laugh At The Poor Man (3:14) 12. Girlfriend (2:54) 13. The River - single version (3:23) 14. Thief - single version (3:37)
Tracks 1.2.5.11.12.13.14. Paul Griggs - Lead Guitar- Vocals. Nigel Griggs - Bass Guitar - Vocals. Rick Williams - Rhythm Guitar - Vocals. Brian Glasscock - Drums.
Tracks 3.4.6.7.8.9.10. Paul Griggs - Lead Guitar - Vocals. Nigel Griggs - Bass Guitar - Vocals. John Cook - Wurlitzer Organ - Piano - Vocals. Malcolm Green - Drums.
Fuzz Acid & Flowers: The New York bands album has blues and jazz leanings. The second side is the strongest containing two long tracks: the unbluesy U.S. Blues, an anti-war song with wild vocals and free-jazz sax and the jazzy psych Fruk Juice. Trevor Koehler was a member of Insect Trust and was just an assisting musician with this band playing on two of the album tracks.
1. Dedication 0:14 2. Harold Knows 4:09 3. Sleepy Blues 7:23 4. War 3:22 5. I Think It's Understood 3:07 6. U.S. Blues 8:26 7. Fruk Juice 16:12
LANNY BROOKS bs, vcls DION GRODY keyb'ds, gtr, vcls CRAIG JUSTIN drms TOM MILLER sax, vcls TREVOR KOEHLER sax
AMG: "This 1975 soundtrack made an impressive debut for Goblin, a legendary group of Italian soundtrack specialists. Originally known as "the Cherry Five," this quintet was commissioned by Italian director Dario Argento to create a soundtrack for his terrifying thriller Profondo Rosso. The resulting album took the group to the top of the Italian charts and helped them build a worldwide cult reputation. Profondo Rosso is an ambitious affair that blends jazz, prog rock, and heavy metal into an effective and totally distinctive style. The title track is an impressive exercise in dynamics, building tension as it moves back and forth between a quiet, intricate riff doubled on acoustic guitar and keyboard, with a full-blooded variation of that theme led by surging, gothic-sounding organ. Other highlights include "Death Dies," a frantic piece of jazz whose pounding piano riff was later sampled by Beck, and "Mad Puppet," an atmospheric excursion that slowly adds layers of keyboard to a hypnotic, serpentine bass riff. However, the cut that prog buffs will probably like most is "Deep Shadows," a frenetic slice of King Crimson-style jazz-rock that slows down midway for a dazzling mid-tempo section where a mesmerizing rolling piano line duels it out with snaky solos from the bass and electric guitar. All in all, Profondo Rosso is a powerful album that will appeal to both soundtrack fans and prog rock addicts. "
Borderline Books: "A highly-rated band who formed in Adelaide in 1965. Their diverse musical styles ranged from R'n'B to psychedelic rock to heavy rock. They were one of Australia's most popular bands of the sixties and their talent has continued to be recognised to this day. They formed out of the instrumental outfit The Mustangs who started playing raucous R'n'B material penned by their guitarist Mick Bower and took on vocalist Jim Keays at the same time. In early 1967 they moved to Melbourne and put out their eponymous debut album, which contained both sides of their first two singles to name some of its fine original material. It also contained a splattering of cover versions like I Feel Fine, Johnny B. Goode and My Girl. They started out as one of Australia's top R'n'B bands in the sixties and had moved into psych-pop territory towards the end of the decade. They had veered towards progressivism by the start of the seventies and Turn Up Your Radio in 1970 gave them their first and only Top 10 hit. This was pure pop, but on the flip side was Jam It Up, a Led Zeppelin-style heavy metal raver that didn't appear on album, until Raven included it on their 1987 Jam It Up! rarities album. By 1971 The Masters' had established themselves as one of Australia's finest progressive music acts. They were living in England in this era and that clearly helped keep them fully abreast of the latest trends. Their Choice Cuts album and Because I Love You 45 were both recorded at Abbey Road's No. 2 studio. The 45 gave them a No. 12 National hit. It was a strong song, superbly arranged and has stood the test of time well. The album could be termed hard progressive rock. Doug Ford's inventive guitar skills are in evidence on tracks like I'm Your Satisfier, Death Of A King and Song For A Lost Gypsy. Other songs which catch the ear are the haunting Michael, the latin-flavoured Rio De Camero, the pop classic Because I Love You and Our Friend Owsley Stanley III, which at times recalls the style of Jethro Tull (and is about the legendary U.S. underground manufacturer of L.S.D.). The same year The Masters' also released a live album, Nickelodeon. It was recorded just after they arrived back from England for an Australian tour in December 1970. It's notable for being one of the first live albums recorded in Australia, but in truth is disappointing. The better moments include a spirited version of Because I Love You and Doug Ford's Future Of Our Nation which features a series of his lead solo's. This track was issued as a 45 with a non-album cut, the folksy New Day on the flip. Much of the album was self-indulgent with the nineteen-minute version of Spooky Tooth's Evil Woman typical of the malaise. Now, ironically, the album is a sought-after rarity and has even been pirated, but if it's quality music you're seeking beware! However, their A Toast To Panama Red album, also recorded at Abbey Road studios the following year, was superb by contrast. Much of the material, as one would expect, was riffy hard rock with some great freaky guitar moments exemplified on cuts like The Lesson So Listen, Southern Cross, Melodies Of St. Kilda and The Answer Lies Beyond. However, there's plenty of variety too. Games We Play Parts 1 and 2 is heavily orchestrated and classical influenced б la The Moody Blues. The final cut Thyme To Rhyme was a lovely more reflective folksy number. Two cuts from the album, Southern Cross and Melodies Of St. Kilda, later resurfaced on Raven's Golden Miles CD. When the album was first released it sank without trace, now it's regarded in retrospect as a milestone in Aussie progressive rock. After releasing the album the band split up. Jim Keays went solo, Doug Ford and Colin Burgess were two thirds of a new trio in the U.K.. Glenn Wheatley pursued a future in band management. They did re-form in 1988, recording a new album Do What You Wanna Do. In 1974, Jim Keays compiled a 'Best Of' album for EMI Now That It's Over. It was a good selection of 45 'A' and 'B' sides and album tracks and came with enthusiastic liner notes from fan and writer Howard Lindley. A farewell 45, Rio De Camero/Thyme To Rhyme was also issued, but didn't sell well with no band to plug it. "
1. Rio De Camero 2. Michael 3. Easy To Lie 4. Because I Love You 5. Catty 6. Our Friend Owsley Stanley III 7. Death Of A King 8. Song For A Lost Gypsy 9. I'm Your Satisfier 10. Song For Joey(Part II)
Jim Keays - Vocals Tony Sommers - Guitar Doug Ford - Guitar Glenn Wheatley - Bass Colin Burgess - Drums
Отправлено: 26.03.08 15:07. Заголовок: Love - Forever Changes, 1967
"One of the best West Coast folk-rock/psychedelic bands, Love may have also been the first widely acclaimed cult/underground group. During their brief heyday — lasting all of three albums — they drew from Byrds-ish folk-rock, Stones-ish hard rock, blues, jazz, flamenco, and even light orchestral pop to create a heady stew of their own. They were also one of the first integrated rock groups, led by genius singer/songwriter Arthur Lee, one of the most idiosyncratic and enigmatic talents of the 1960s. Stars in their native Los Angeles and an early inspiration to the Doors, they perversely refused to tour until well past their peak. This ensured their failure to land a hit single or album, though in truth the band's vision may have been too elusive to attract mass success anyway.
Love was formed by Lee in the mid-'60s in Los Angeles. Although only 20 at the time, Lee had already scuffled around the fringes of the rock and soul business for a couple of years. In addition to recording some flop singles with his own bands, he wrote and produced a single for Rosa Lee Brooks that Jimi Hendrix played on as session guitarist. Originally calling his outfit the Grass Roots, Lee changed the name to Love after another Los Angeles group called the Grass Roots began recording for Dunhill. Love's repertoire would be largely penned by Lee, with a few contributions by guitarist Bryan MacLean.
Inspired by British Invasion bands and local peers the Byrds, Love built up a strong following in hip L.A. clubs. Soon they were signed by Elektra, the noted folk label that was just starting to get its feet wet in rock (it had recorded material by early versions of the Byrds and the Lovin' Spoonful, and had just released the first LP by Paul Butterfield). Their self-titled debut album (1966) introduced their marriage of the Byrds and the Stones on a set of mostly original material and contained a small hit, their punk-ish adaptation of Bacharach/David's "My Little Red Book."
Love briefly expanded to a seven-piece for their second album, Da Capo (1967), which included their only Top 40 hit, the corkscrew-tempoed "Seven & Seven Is." The first side was psychedelia at its best, with an eclectic palette encompassing furious jazz structures, gentle Spanish guitar interludes, and beautiful baroque pop with dream-like images ("She Comes in Colors"). It was also psychedelia at its most reckless, with the whole of side two taken up by a meandering 19-minute jam. It was still a great step forward, but by mid-1967, the band was threatening to disintegrate due to drugs and general disorganization.
The group was in such sad shape, apparently, that Elektra planned to record their third album with sessionmen backing Lee (on his compositions) or MacLean (on his compositions). Work on two tracks actually commenced in this fashion, but the shocked band pulled themselves together to play their own material again, resulting in one of the finest rock albums of all time, Forever Changes. An exceptionally strong set of material graced by captivating lyrics and glistening, unobtrusive horn and string arrangements, it was not a commercial hit in the U.S. (though it did pretty well in Britain) but remains an all-time favorite of many critics.
Just at the point where they seemed poised to assert themselves as a top band, Love's first and best lineup was broken up in early 1968, at Lee's instigation. Several albums followed in the late '60s and early '70s that, though credited to Love, are in reality Lee and backup musicians — none of whom had skills on the level of Bryan MacLean or the other original Love men. Lee largely forsook folk-rock for hard rock, with unimpressive results, even when he was able to get Jimi Hendrix to play on one track. The problems ran deeper than unsympathetic accompaniment: Lee's songwriting muse had largely deserted him as well, and nothing on the post-Forever Changes albums competes with the early Elektra records.
Lee released a solo album in the early '70s, and then put another Love together for one last effort in 1974, but basically Love/Lee (the two had in effect become synonymous) ground to a halt in the mid-'70s. Lee has sporadically recorded and performed since then without coming up with anything resembling a unified full-length studio statement, though some scattered live and studio recordings have appeared, including a 1994 single on the tiny Distortions label. "
"It wasn't a hit, but Forever Changes continues to regularly appear on critics' lists of the top ten rock albums of all time, and it had an enormously far-reaching and durable influence that went way beyond chart listings. The best fusion of folk-rock and psychedelia, it features Arthur Lee's trembling vocals, beautiful melodies, haunting orchestral arrangements, and inscrutable but poetic lyrics, all of which sound nearly as fresh and intriguing upon repeated plays. One of rock's most organic, flowing masterpieces, every song has a lingering, shimmering beauty, including the two penned by the band's other talented songwriter/guitarist/singer, Bryan MacLean."
1 Alone Again Or 3:16 2 A House Is Not a Motel 3:31 3 Andmoreagain 3:18 4 The Daily Planet 3:30 5 Old Man 3:02 6 The Red Telephone 4:46 7 Maybe the People Would Be the Times or Between Clark and Hilldale 3:34 8 Live and Let Live 5:26 9 The Good Humor Man He Sees Everything Like This 3:08 10 Bummer in the Summer 2:24 11 You Set the Scene 6:51
Arthur Lee - Guitar, Vocals Bryan MacLean - Guitar, Vocals John Echols - Guitar Ken Forssi - Bass Michael Stuart - Percussion, Drums
Progarchives: "The progressive folk project of the Scottish innovative sitar player Clem Alford. First album originally published in 1972 for Magic Carpet records. A dynamic mixture of original folk inventions, psych-Hindu sitar gems and gorgeous, omnipresent, accentuated female vocals (Alisha Sufit). Lyrically all the album is about east mysticism, love, spirituality, time of Creation and others fairy tales. The music itself is dancing, poetic combining simplistic folk guitar motifs to raga scales. For me it’s not as impressive as Alford’s instrumental works, probably due to the acoustic and really British -sounding folk sound…however the experience is rather unique and remains one of the best evocations of natural, spiritual Hindu-folk experience in music. A soft psychedelic flavour is floating all along the album. I would prefer a more discreet, dreamy voice on this album. Hopefully there are many convincing instrumentals on the long, epic & transcendent “Alan's Christmas Card" or the more rhythmical & possessed "Take Away Kesh". In a few words, various introspective folk songs and frenetic raga improvisations. In a minor way this is a classic and a must have for fans of prog folk’s exotic side! "
1. The magic carpet 2. The phoenix 3. Black cat 4. Alans Christmas Card 5. Harvest Song 6. Do you hear the words 7. Father Time 8. La La 9. Peace Song 10. Take Away kesh 11. High Street 12. The Dream 13. Raga
Отправлено: 01.04.08 02:41. Заголовок: Володя, спасибо за Franco Battiato!
Барин
Ветеран
Пост N: 2164
Отправлено: 02.04.08 06:09. Заголовок: Liza Minnelli - Liza with a "Z", 1972
1 Yes 3:16 2 God Bless the Child 2:59 3 Say Liza (Liza with a "Z") 3:15 4 It Was a Good Time 4:58 5 I Gotcha 3:47 6 Ring Them Bells 5:40 7 Son of a Preacher Man 3:22 8 Bye Bye Blackbird 3:58 9 You've Let Yourself Go 3:56 10 My Mammy 3:03 11 Cabaret Medley 9:52 12 Bows (Liza) :30
Отправлено: 02.04.08 07:52. Заголовок: Володя. я где-то год..
Володя. я где-то год назад выкладывал рип с Балкантоновского винила этого альбома, так вот - болгары изменили порядок песен: первая сторона стала второй и наоборот :) ... Прежде слышал "God bless the child" лишь в исполнении BS&T.
на http://smithland.nnm.ru/liza_minnelli_results_1989 с PET SHOP BOYS могу помочь со ссылками
Барин
Ветеран
Пост N: 2165
Отправлено: 06.04.08 21:32. Заголовок: The Ides of March - Common Bond, 1971
The Ides of March's second album was a more wide-ranging yet less consistent affair than their debut LP. On some of the tracks, they were obviously sticking to the Blood, Sweat & Tears-like format that had yielded their 1970 smash hit, "Vehicle." Jim Peterik has even admitted that "Superman," initially released as the follow-up single to "Vehicle" almost a year before Common Bond came out, was an attempt to rewrite "Vehicle," as per Warner Bros.' wishes (though they managed to quote the riff to Jimi Hendrix's arrangement of Bob Dylan's "All Along the Watchtower" in that track as well). Yet the album also contained the accurate Crosby, Stills & Nash imitation "L.A. Goodbye," which although it missed the Top 40 was a huge hit in Chicago. Bombastic MOR pop balladeering also got a nod with "Hymn for Her," CSN were again aped in "We Are Pillows," and the eleven-minute epic "Tie-Dye Princess" was the band's most progressive endeavor, kicking off with the timelessly dated couplet "Hail hail to the tie-dye princess, hail hail to the tie-dye queen!" All of the tracks from the LP have been reissued on the Rhino Handmade compilation Friendly Strangers: The Warner Bros. Recordings, which also has everything from their debut album (1970's Vehicle) and a few non-LP singles from the period.
1 Friends of Feeling 3:49 2 Ogre 4:14 3 L.A. Goodbye 2:51 4 Hymn for Her 4:03 5 Mrs. Grayson's Farm 5:19 6 Superman 3:01 7 We Are Pillows 3:14 8 Prelude to Freedom 0:26 9 Freedom Sweet 3:31 10 Tie-Dye Princess 11:38
Jim Peterik - Guitar, Vocals John Larson - Trumpet, Flugelhorn, Vocals Chuck Soumar - Harmonica, Percussion, Trumpet, Vocals Bob Bergland - Bass, Saxophone, Vocals, Falsetto Larry Millas - Bass, Flute, Guitar, Vocals Mike Borch - Drums, Vocals (bckgr)
Отправлено: 23.05.08 08:17. Заголовок: Ясно - я все нашёл - слушаю.....
Барин
Ветеран
Пост N: 2182
Отправлено: 04.06.08 15:05. Заголовок: Richie Allen (USA) - The Rising Surf, 1963 (Surf)
1 The Rising Surf 2:49 2 Surfer's Delight 1:49 3 Undercurrent 2:42 4 Foot Stomp U.S.A. 2:04 5 The Quiet Surf 2:16 6 Breakin' Out 1:50 7 Skeg-Along-Pete 2:43 8 Ground Swell 2:37 9 Push Off 2:22 10 Swanee River 1:56 11 Put It On 1:59 12 Rumble 2:45
Richie Allen - Guitar Plas Johnson - Saxophone Les Weiser - Saxophone Steve Douglas & the Rebel Rousers - Saxophone Rene Hall - Guitar Eddie Beal - Piano Ray Johnson - Piano Lincoln Mayorga - Piano Harper Cosby - String Bass Ray Pohlman - Bass (Electric) Sandy Nelson - Drums
1 Ballo in Fa Diesis Minore 19:55 2 Il Ciliegio 19:55 3 Nascita di un Lago 19:55 4 Il Poeta de Corte 19:55 5 Il Marinaio 4:10 6 La Pulce d'Acqua 4:10 7 La Sposa Rubata 4:00 8 La Lepre Nella Luna 5:02 9 La Bella Dama Senza Pieta 6:43
Angelo Branduardi - Violino, Chitarra, Flauto di Pan Gigi Cappellotto - Basso Elettrico Bruno De Filippi - Sitar, Armonica, Ocarina Massimiliano Di Carlo - Cetra Franco Di Sabatino - Tastiere Maurizio Fabrizio - Pianoforte, Chitarra, Chitarra Ottavino Roiberto Puleo - Buzuki, Slide Guitar Andy Surdi - Batteria, Percussioni Ospite - Luigi Lai alle launeddas
Отправлено: 08.06.08 06:47. Заголовок: Lena Horne & Gabor Szabo - Lena & Gabor, 1969 (Jazz/Vocal)
1. Watch What Happens 4:03 2. Something 3:11 3. Everybody's Talkin' 2:56 4. The Fool On The Hill 3:46 5. Yesterday When I Was Young 4:09 6. Rocky Raccoon 3:33 7. My Mood Is You 4:45 8. A Message To Michael 3:20 9. Nightwind 3:43 10 In My Life 2:56
Lena Horne - vcl Gabor Szabo - g Eric Gale - g Cornell Dupree - g Richard Tee - org Chuck Rainey - el-b Grady Tate - d Gary McFarland - arr,con
Отправлено: 09.06.08 14:55. Заголовок: The Incredible String Band - On Air, 1967-1973 (Folk Rock)
1 Dreams of No Return 5:31 2 Jane 4:21 3 Oh Did I Love a Dream 5:41 4 Black Jack Davey 3:39 5 Rends-Moi Demain 3:18 6 Little Girl 4:21 7 Sailor and the Dancer 2:50 8 1968 6:08 9 Log Cabin in the Sky 3:23 10 Dear Old Battlefield 3:08 11 Cold Days of February 6:58 12 Medley: Witches Hat/Koeeoaadi There/A Very Cellular Song 8:10 13 Koeeoaddi There 14 Very Cellular Song
Gerald Dott Graham Forbes John Gilston Mike Heron Jack Ingram Malcolm Le Maistre Licorice McKechnie Robin Williamson
1. That's What It's All About 2. Summertime Wintertime 3. Bedtime Story, A 4. Gun 5. Baby's Lost Love 6. Just Another Clown 7. Only Because You're There 8. Have You Heard the News 9. Linda 10. And I Like You 11. My Summer Song 12. It's a Sort of Magic 13. Weaver's Answer 14. Blow Blow Thou Winter Wind 15. Say Hello to Mrs. Jones 16. Morning 17. Seven Fishes 18. Autumn 19. Come With Me 20. Life Insurance 21. Sitting on a Bomb 22. When the Sun Is in Your Eyes 23. See Me Flying 24. Freud Fish
Clive Scott - keyboards, vocals Barrie Bernard - bass Tony Campbell - guitar Tony Britnell - saxophone Des Dyer - drums, vocals
1 Midnight Train to Georgia 4:38 2 I've Got to Use My Imagination 3:29 3 Storms of Troubled Times 3:44 4 Best Thing That Ever Happened to Me 3:45 5 Once in a Lifetime Thing 3:41 6 Where Peaceful Waters Flow 4:24 7 I Can See Clearly Now 4:28 8 Perfect Love 2:37 9 Window Raisin' Granny 6:09
Gladys Knight - Vocals Bubba Knight - Vocals William Guest - Vocals Edward Patten - Vocals
Отправлено: 12.06.08 14:47. Заголовок: The League of Gentlemen - Thrang Thrang Gozinbulx, 1980 (Prog)
Inductive Resonance Thrang Thrang Gozinbulx I Trap Boy At Piano Heptaparaparshinokh Thrang Thrang Gozinbulx II Christian Children Marching, Singing Ooh! Mr. Fripp Dislocated Minor Man Thrang Thrang Gozinbulx III Farewell Johnny Brill Inductive Resonance
Barry Andrews - organ Robert Fripp - guitar Sara Lee - bass guitar Jonny Toobad - drums
Отправлено: 13.06.08 05:39. Заголовок: Magic Sam Blues Band - Black Magic, 1968 (Electric Chicago Blues)
1 I Just Want a Little Bit 3:04 2 What Have I Done Wrong? 3:11 3 Easy Baby 3:57 4 You Belong to Me Magic Sam 4:07 5 It's All Your Fault 4:55 6 I Have the Same Old Blues 3:35 7 You Don't Love Me, Baby 3:32 8 San-Ho-Zay 3:57 9 Stop! You're Hurting Me 4:52 10 Keep Loving Me Baby 3:54
Magic Sam - Guitar, Vocals Eddie Shaw - Sax (Tenor) Mighty Joe Young - Guitar Lafayette Leake - Piano Mack Thompson - Bass Odie Jr. Payne - Drums Billy Stepney - Drums
Отправлено: 14.06.08 05:23. Заголовок: Nirgal Vallis (Mexico) - Y Murió la Tarde, 1985 (Prog Folk)
1. La espera (un ser llamado muerte) (5:34) 2. Y murió la tarde (9:47) 3. Alberich (1:06) 4. Hiperdulía al fracaso (3:52) 5. Memorias de un cometa (12:17) 6. Persistencia (3:55) 7. El tiempero (5:43) 8. Premonición (5:33)
José Luis Fernández Ledesma Q. - electric piano, synths, sequencers Ramón Nakash B. - violin Alejandro Schmidt R. - classical & electric guitars, bass + Claudio Martinez de Alba - vocals Rafael González - drums, acoustic & electric percussion
Отправлено: 15.06.08 05:29. Заголовок: Le Orme (Italy) - Anthology (L'Aurora delle Orme), 1967-1972 (Prog)
1. L'Aurora — 3:16 2. Irene — 2:39 3. Lacrime di Sale — 2:57 4. Finita la Scuola — 2:40 5. Casa Mia — 3:22 6. Fiori e Colori — 2:35 7. Tutto passera — 2:47 8. Summer Coming — 3:14 9. Era un Anno Fa — 3:02 10. Flowers and Colours — 2:46 11. Dovunque Andrai — 2:58 12. Blue Rondo a la Turk — 3:20 13. Concerto N.3 — 3:10
Aldo Tagliapietra, vocals, guitar Toni Pagliuca, keyboards Nino Smeraldi, guitar Claudio Galieti, bass Michi Dei Rossi, drums
CD содержит первую EP Le Orme плюс несколько неизданных синглов.
Отправлено: 16.06.08 14:56. Заголовок: Die Puhdys Solo : Dieter Birr-Intim / Dieter Hertrampf-Liebe Pur, 1986
1. Intim 2. So ist das Leben 3. Und sie trinken ihr Bier 4. Prinzenjagd 5. Siebenschlafer 6. Unser Kind 7. Liebesfantasie 8. Eine frei erfundene Geschichte 9. Eingehangt 10. Madchen aus Amsterdam 11. Gottin der Liebe 12. Liebe pur 13. Kalte Tage 14. Vogel aus Blei 15. Geheime Zeichen 16. So nah 17. Rock'n'Roll Ballerina 18. Das Eine und das Andere 19. Die Kugel rollt 20. Mein Gott 21. Ende meiner Einsamkeit
1 Captain Boogaloo 4:19 2 Over Rio 4:22 3 The Lone Ranger 2:54 4 No American Starship 4:55 5 Alto Loma Road 4:45 6 Cocobana Heaven 5:10 7 Constant Forest 2:16 8 Something at the Bottom of the Sea, Pt. 1: Stepping Stones 1:10 9 Something at the Bottom of the Sea, Pt. 2: The Roving Finger 2:01 10 Something at the Bottom of the Sea, Pt. 3: Stepping Rocks 1:15 11 Something at the Bottom of the Sea, Pt. 4 3:40 12 Captain Boogaloo 4:40 13 The Lone Ranger 3:19 14 No American Starship 4:52 15 Over Rio 4:21 16 Drift 3:09
Rupert Hine - lead vocals, keyboards, multilectras varium John G. Perry - bass guitar, vocals Trevor Morais - drums, percussion Mark Warner - guitars, vocals + Ray Cooper - percussion Morris Pert - percussion
1. Cosmic, Toilet Ditty 0:39 2. Caka Slow / Vertebrate Twist 4:20 3. Obsession sexuelle N°1 0:28 4. Galactic Sewer Song 4:03 5. Obsession sexuelle N°2 0:12 6. Red Noise Live au café des Sports 2:07 7. Existential-Import of the screw-driver eternity Twist 2:02 8. 20 Miror Mozarts composing on tea bag and 1/2 cup-bra 2:28 9. Red Noise en direct du buffet de la gare - 2eme partie 2:14 10. A la mémoire du rockeur inconnu 0:39 11. Petit précis d'instruction civique 0:35 12. Sarcelles c'est l'avenir 18:56
Patrick Vian - Guitars, Vocals Jean-Claude Cenci - Sax, Flute, Vocals Daniel Geoffroy - Bass, Vocals Philip Barry - Drums, Guitar, Vocals + John Livengood - Hammond Organ Austine Blue - Percussion
Отправлено: 19.06.08 14:35. Заголовок: Spirituals in Concert, 1990
In That Great Gettin' Up Morning, spiritual 4:03 Sinner, Please Doan Let Dis Harves' Pass 4:03 Over My Head I Hear Music, spiritual 6:43 Oh, What A Beautiful City! 2:43 Lord, How Come Me Here 4:36 I Believe I'll Go Back Home/Lordy, Won't You Help Me? 4:29 Ride On, King Jesus 2:40 Swing Low, Sweet Chariot 4:50 You Can Tell the World, spiritual 2:09 Scandalize My Name 3:30 The Great Day (The Sacred Harp, Philadelphia, 1860) 2:35 Oh, Glory, spiritual 4:15 Calvary/They Crucified My Lord 4:52 Talk About A Child 2:23 Gospel Train, spiritual 2:33 My God Is So High, spiritual 2:08 There Is a Balm in Gilead, spiritual 4:31 He's Got the Whole World in His Hands 3:35
Kathleen Battle - Soprano Jessye Norman - Soprano Nancy Allen - Harp Hubert Laws - Flute Sylvia Olden Lee - Piano Evelyn Simpson-Curenton - organ James Levine - Conductor
Отправлено: 20.06.08 14:39. Заголовок: Trad, Gras och Stenar (Sweden) - Trad, Gras och Stenar, 1970 (Psych/Space)
1. All Along The Watchtower (8:16) 2. I Can't Get No Satisfaction (11:07) 3. Sanningens Silverflod (3:53) 4. Tegenborgsvalsen (2:35) 5. All Makt At Folket (6:05) 6. Svarta Parla (5:19)
Bo Anders Persson - guitar, violin, flute, vocals Arne Eriksson - piano, cello, flute Torbjörn Abelli - bass, harp, flute Thomas Gartz - drums, harp, flute, vocals
Отправлено: 21.06.08 06:18. Заголовок: Unit 4+2 - Concrete and Clay/Unit 4+2, 1965/1969
1. Concrete And Clay 2. Sorrow And Pain 3. Couldn't Keep It To Myself 4. You'll Remember 5. 500 Miles 6. You've Lost That Lovin' Feelin' 7. Swing Down Chariot 8. Wild Is The Wind 9. The Girl From New York City 10. Cross A Million Mountains 11. Butterfly 12. I Will 13. Face In My Head 14. 3.30 15. Too Fast, Too Slow 16. Something I Can Believe In 17. (Living In) The World Of Broken Hearts 18. Loving Takes A Little Understanding 19. Booby Trap 20. I Can't Stop 21. You Ain't Going Nowhere 22. (You've Never) Been In Love Like This Before 23. Baby Never Say Goodbye 24. For A Moment 25. Fables 26. The Green Fields 27. I Won't Let You Down
Pete "The Count" Moules - vocals David "Buster" Meikle - guitar/vocals Howard "Lem" Lubin - guitar/vocals Tommy "Sweat" Moeller - piano/vocals Rod "Humble" Garwood - bass guitar Hugh "Pygmy" Halliday - drums
Отправлено: 22.06.08 04:41. Заголовок: Vita Nova (Multi-National) - Vita Nova, 1971 (Space/Psych)
ProgArchives: "VITA NOVA was founded by three musicians of a quite different origin, Eddy Marron (guitar, bass, vocals) who was born in Eastern Germany but emigrated to the west, studied concert guitar and already became a profi musician with twenty years, Sylvester Levay (keyboards) with hungarian parents but born in Serbia who could already take classical piano lessons as a young boy and Christian von Hoffmann aka Chris Hoff (drums) born in Switzerland which played together with Levay in the Ambros Seelos Band.
Because they were unhappy to play only music which other people claimed to hear they met Marron sometime at the beginning of the 70s with the intention to work out something new. With VITA NOVA (New Life) they got an adequate promising name for the new band and according to the latin title additionally an important aspect of their music was defined. Levay rented the Munich Union-Studios for some days in February 1971 where they could work out their 'progresssive' music without any constraint - unconventional because of the use of a Hohner Clavinet first of all. It have been hard times. Because they had to meet the obligations of their regular bands there was less time to sleep and only during the night and morning time a chance to join the studio. Lyrics were written by Levay's brother-in-law Adalbert Hayduk and performed in latin - another unconventional aspect of the band - similar to the band OS MUNDI on the album 'Latin Mass' reflecting the upcoming protest against ecological destruction.
The eponymous album is very experimental and blending psychedelic, jazz rock, symphonic and classical elements showing the high professional abilites of the VITA NOVA members. Consisting of 12 mainly short tracks it was released the same year by the austrian Life Records label with a limited edition of 500 copies. Being a rare and searched vinyl the band decided to republish the album. Despite the original tapes got lost a well-preserved LP was taken as the master. Penner Records, a forerunner of the german Garden Of Delights label, could present a digitally remastered version in 1995 with two bonus tracks which were originally produced for a planned single.
VITA NOVA never gave live performances. Apparently there have been no further intentions and therefore the band disappeared soon after the album recordings because every member began to reach for new experiences. Eddy Marron founded his own music school and could also attract attention with two DZYAN albums from 1973/74 and as a short-time member of MISSUS BEASTLY. Sylvester Levay is a wellknown composer who for example got a grammy for his song 'Fly, Robin, Fly'. Christian von Hoffmann actually has a music shop and is playing fusion music.
VITA NOVA delivered an unique eclectic sound at the beginning of the 70s and is worth of receiving attention"
1. Quomodo manet 2. Vita Nova inventions 3. Whirl wind 4. Istanbul 5. Sylvester 6. Wildman 7. Inventions finale 8. Heva-cleva 9. Adoramus 10. Sunt alteri 11. Adoramus finale 12. Tempus Est Bonus tracks on cd release: 13. Lacrimosa 14. Olymp 99
Eddy Marron - all guitars, solo vocals Sylvester Levay - vocals, vintage keyboards, Hohner clavinet, hybrid harpsichord Christian Von Hoffman - drums, vocals
Отправлено: 23.06.08 06:03. Заголовок: Andy Williams - Moon River & Other Great Movie Themes, 1962
1 Love Is a Many Splendored Thing 2:55 2 A Summer Place 2:37 3 Maria 3:42 4 Never on Sunday 3:01 5 As Time Goes By 3:10 6 The Exodus Song 3:16 7 Moon River 2:46 8 Tonight [From West Side Story] 2:37 9 The Second Time Around 3:22 10 Tender Is the Night 3:05 11 It Might as Well Be Spring 3:11 12 Three Coins in the Fountain 2:54
Отправлено: 25.06.08 05:47. Заголовок: Yu Grupa (Yugoslavia) - Uzivo Beograd '71, bootleg (Hard/Psych)
1 Najava (Zoran Modli) 2 Love Me Baby 3 Bio jednom jedan pas 4 Drveni most 5 Kosovski bozuri 6 Tatica 7 Ludi kamen 8 Mali medved 9 Nona 10 Lora 11 Mali Dzoj 12 Suzy Q (Boka Solo) Bonus Tracks - Studio Recordings 13 Lov na veštice 14 Mali bata za klavirom 15 Koke sa Islanda
какой размер файлов какая длительность и сопоставте с тем что это бутлерг мб это нормально
Барин
Ветеран
Пост N: 2206
Отправлено: 27.06.08 15:57. Заголовок: На диске 5 треков, п..
На диске 5 треков, потому что запись концертная и треки записаны кусками, без разбивки на композиции, по несколько штук одним блоком.
mamine
Пост N: 161
Отправлено: 27.06.08 20:58. Заголовок: Я тоже так в начале ..
Я тоже так в начале подумал,но побоялся какие нибудь песни пропустить.Спасибо за альбом.
Барин
Ветеран
Пост N: 2207
Отправлено: 28.06.08 05:24. Заголовок: Tri Atma Und Gyan Nishabda (Germany/India) - Sehnsucht Und Einklang, 1982 (World Fusion)
"A Fusion of indian rhythms and melody structures with european music, and the improvisation techniques associated with jazz and rock - Melodious, rhythmic, occasionally meditative and magical instrumental music - concertante instrumental pop music. State of the art" music without a philosophical background for a pleasant ambiente. Music for the soul and for the body.
Definitions concerning the music of a group which has remained true to its principles. Always in the peripheral zones of popular instrumental music, TRI ATMA has outlasted the seventies' Disco Wave, New Wave, New German Wave and the Anglo-Saxon pop of the 1980's. They cannot even be tied down to New Age Music, although admittedly original elements of this music direction can be discerned in their style; this is why precisely the supporters of this music trend, which has recently become so popular, are among their best friends.
This developement did not proceed without adjustments to the course. The initial recordings were still produced mainly with acoustic and analogous musical instruments and marked by Indo-European elements, while today the group works with the latest music computers and is moving away from the atmosphere of the East-West music marriage, heading towards open-future world music.
However, the acoustic guitars and tablas have remained as a permanent sound component. It is in particular the resulting tension between acoustic instruments and electronic which provides the unique aspect of this group, which is one of the few successful groups performing instrumental pop music."
Naturliche Liebe (5:07) Mikrokosmos (6:56) Grotte (3:42) O Moena (5:23) Neun Muscheln (4:48) Marchenberg (4:57) Esotera (5:05) Ruby Roy (3:42)
Jens Fischer - Guitar, Bass, Vocals Asim Saha - Tabla, Dholok, Lead Vocals Gyan Nishabda - Synthesizer, Vocals
Отправлено: 29.06.08 05:50. Заголовок: Ann Richards & the Stan Kenton Orchestra - I Hear Music, 1958 (Jazz/Vocal)
"Ann Richards was a better singer than she was often rated but her career fell short of its potential. She was self-taught on piano and started taking singing lessons when she was ten. Richards began singing professionally in the San Francisco Bay area and had a short stint with Charlie Barnet. Richards joined Stan Kenton's band for a few months in 1955; they were married and she was a part-time singer throughout their marriage (which lasted until 1961). When their marriage ended (a breakup that she never really recovered from), Richards recorded a few pleasing and swinging albums on her own for Capitol, Atco and Vee Jay; however, Richards' life became aimless, and she committed suicide at age 46."
1 Nice Work If You Can Get It 2 Fools Rush In 3 Out of This World 4 It Never Entered My Mind 5 I Hear Music 6 You Don't Know What Love Is 7 The Thrill Is Gone 8 Old Devil Moon 9 Speak Low 10 Black Coffee 11 Nobody Knows the Trouble I've Seen
Ann Richards - Vocals Stan Kenton - Piano Bill Perkins - Saxophone Stephen Perlow - Saxophone Bill Robinson - Saxophone Richie Kamuca - Saxophone Lennie Niehaus - Saxophone Sam Noto - Trumpet Bill Catalano - Trumpet Ed Leddy - Trumpet Phil Gilbert - Trumpet Kenny Shroyer - Trombone Jim Amlotte - Trombone Kent Larsen - Trombone Archie LeCoQue - Trombone Bob Fitzpatrick - Trombone Red Kelly - Bass Jerry McKenzie - Drums
Dreams, Fantasies & Nightmares: "Formed in 1969, this progressive Uruguayan group played high volume and primitively produced hard rock on their singles. Their album was more progressive with long guitar solos from Silva and rhythmic drumming from Pérez. The stand-out cuts are Solo Vey Despertando, notable for Silva's superb guitar, Ya and Mariana.
In their later years, their progress was blighted by line-up changes. Unfortunately, their album has not been reissued to date."
01. Cancion De Um Tiempo 02. Lograme 03. Manana 04. Nosotros Hoy 05. Ya 06. Solo Voy Despertando 07. Reflexion 08. Tenia Una Vez 09. Despiertas 10. Cuerpo 11. Nebulosa 12. Cuerpo (Alt.) 13. La Busqueda 14. Los Pesos 15. La Plaza 16. Maria Manana 17. De Mi Cerro 18. En La Ventana de un Bar
AMG: "This was the most controversial Tomita album, where he uses Holst's spectacular, mystical suite The Planets as a launching pad for what amounts to a simulated spaceship trip through the solar system. Hence the title The Tomita Planets, which did not deter the Holst estate from trying (unsuccessfully) to pull this recording off the market at the time. When Tomita sticks to what Holst wrote, he follows every turn and bend of the score, save for a big cut in the last part of Jupiter and an eviscerated Uranus that nearly disappears altogether. Moreover, the music — especially Venus — often does lend itself to an electronic space flight fantasy, with Tomita's arsenal of phase-shifting, flanging, pitch-bending, envelope following and reversing choral effects and more on full display. It's the stuff between movements that provoked the purists — the campy simulated mission control communications and electronic blastoff prior to Mars and the "noises" of space flight scattered throughout (including a nasty asteroid belt between Jupiter and Saturn). The most questionable idea was that of playing Jupiter's grand central theme on a tinkly electronic music box as a way to open and close the record — which some will find satirical, others touching, still others tasteless. Indeed, Tomita seems to have it in for British pomp; when this theme is played within the context of Jupiter, he interrupts it with electronic chatter between mission control and the spaceship. Ultimately, The Tomita Planets is still good electronic fun, and it launched a series of space-themed concept albums by this electronic astronaut."
1 Mars, The Bringer of War 10:55 2 Venus, The Bringer of Peace 8:38 3 Mercury, The Winged Messenger 5:24 4 Jupiter, The Bringer of Jollity/Saturn, The Bringer of Old Age 17:25 5 Uranus, The Magician/Neptune, The Mystic 9:45
AMG: "The definitive Parliament-Funkadelic album, Mothership Connection is where George Clinton's revolving band lineups, differing musical approaches, and increasingly thematic album statements reached an ideal state, one that resulted in enormous commercial success as well as a timeless legacy that would be compounded by hip-hop postmodernists, most memorably Dr. Dre on his landmark album The Chronic (1992). The musical lineup assembled for Mothership Connection is peerless: in addition to keyboard wizard Bernie Worrell; Bootsy Collins, who plays not only bass but also drums and guitar; the guitar trio of Gary Shider, Michael Hampton, and Glen Goins; and the Becker brothers (Michael and Randy) on horns; there are former J.B.'s Fred Wesley and Maceo Parker (also on horns), who were the latest additions to the P-Funk stable. Besides the dazzling array of musicians, Mothership Connection boasts a trio of hands-down classics — "P-Funk (Wants to Get Funked Up)," "Mothership Connection (Star Child)," "Give Up the Funk (Tear the Roof off the Sucker)" — that are among the best to ever arise from the funk era, each sampled and interpolated time and time again by rap producers; in particular, Dr. Dre pays homage to the former two on The Chronic (on "The Roach" and "Let Me Ride," respectively). The remaining four songs on Mothership Connection are all great also, if less canonical. Lastly, there's the overlapping outer-space theme, which ties the album together into a loose escapist narrative. There's no better starting point in the enormous P-Funk catalog than Mothership Connection, which, like its trio of classic songs, is undoubtedly among the best of the funk era."
1 P-Funk (Wants to Get Funked Up) 7:41 2 Mothership Connection (Star Child) 6:13 3 Unfunky UFO 4:23 4 Supergroovalisticprosifunkstication 5:03 5 Handcuffs 3:51 6 Give Up the Funk (Tear the Roof off the Sucker) 5:46 7 Night of the Thumpasorus Peoples 5:10 8 Star Child (Mothership Connection - promo radio version)
George Clinton - Vocals Raymond Davis - Vocals Clarence "Fuzzy" Haskins - Vocals Calvin Simon - Vocals Grady Thomas - Vocals Boom - Horn Michael Brecker - Horn Randy Brecker - Horn Joe Farrell - Horn Maceo Parker - Horn Fred Wesley - Horn Glen Goins - Guitar, Vocals Gary Shider - Guitar, Vocals Michael Hampton - Guitar Bernie Worrell - Synthesizer, Keyboards Bootsy Collins - Bass, Guitar, Percussion, Drums, Vocals Cordell Mosson - Bass Gary "Mudbone" Cooper - Percussion, Drums, Handclapping Ramon Tiki Fulwood - Percussion, Drums Jerome Brailey - Percussion, Drums Debbie Wright - Handclapping Sidney Barnes - Handclapping Pamela Vincent - Handclapping Reginald Rasputin Boutte - Handclapping Bryan Chimenti - Handclapping Archie Ivy - Handclapping Taka Khan - Handclapping
Отправлено: 03.07.08 05:49. Заголовок: Freddie Hubbard - Rose Tattoo, 1983
AMG: "Recorded for the Japanese label Baystate and long unavailable outside of the Asian market, Rose Tattoo remains one of Freddie Hubbard's most obscure sessions, but admirers of the trumpeter's early-'80s return to his musical roots will find much to appreciate here. Backed by pianist Kenny Barron, drummer Joe Chambers, bassist Cecil McBee, and tenorist Ricky Ford, Hubbard maintains a serene, feather-light approach across the set, often muting his trumpet to further bolster the mellow groove — his solos float with the beauty and elegance of monarch butterflies, soaring in and out of standards like the opening 'When You Wish Upon a Star' and 'Embraceable You.'"
1 When You Wish Upon a Star 2 Poor Butterfly 3 My Romance 4 Embraceable You 5 Rose Tattoo 6 Time After Time 7 My Foolish Heart
Freddie Hubbard - trumpet Ricky Ford - tenor sax Kenny Barron - piano Cecil McBee - bass Joe Chambers - drums
Отправлено: 04.07.08 05:25. Заголовок: Split Enz (New Zealand) - Second Thoughts (Art Rock)
AMG: "After Mental Notes failed commercially, the band left for England to rework the tracks with Roxy Music's Phil Manzanera producing. Second Thoughts is an eccentric album filled with the theatrics that gained the band its early notoriety. Mainly new versions of old songs, the album adds some new tracks such as the brilliant "Late Last Night" and "Woman Who Loves You." Released in America and the U.K. as Mental Notes with a modified cover."
1 Late Last Night 4:04 2 Walking Down a Road 5:28 3 Titus 3:16 4 Lovey Dovey 3:08 5 Sweet Dreams 5:07 6 Stranger Than Fiction 7:06 7 Time for a Change 4:06 8 Matinee Idyll (129) 2:57 9 The Woman Who Loves You 6:55
Phil Judd - Guitar, Mandolin, Vocals Eddie Rayner - Keyboards Jonathan Michael Chunn - Bass, Piano (3) Tim Finn - Vocals, Piano (6) Noel Crombie - Percussion, Spoons Robert Gillies - Trumpet, Saxophone Paul Emlyn Crowther - Drums + Miles Golding - Violin Ian Sharp - Cello Phil Manzanera - Producer
Отправлено: 05.07.08 06:45. Заголовок: Jacques Brel (Belgium) - Les bourgeois, 1962
AMG: "Singer/songwriter Jacques Brel created and performed a catalog of literate, thoughtful, and theatrical songs that brought him a large, devoted following in France. His audience eventually extended internationally, making him a major influence on English-speaking writers and performers including Leonard Cohen and David Bowie, while translations of his songs were recorded by a wide range of performers from the Kingston Trio to Frank Sinatra.
Born in Brussels, Belgium, on April 8, 1929, Brel was the son of Romain Brel, who worked in an import-export firm, but later became co-director of a company that manufactured cardboard cartons, and Elisabeth (Lambertine) Brel. He began playing the guitar at the age of 15. After quitting school, he took a job in his father's plant in August 1947. During this period, he became increasingly interested in music, beginning to perform while a member of a church youth group and starting to write his own songs. In 1952, he first performed on local radio, and in February 1953 he was signed by Philips Records, which released his debut single, "La Foire"/"Il Y A," in March. Its modest success led to professional bookings locally and, soon, a move to Paris, where he built up a following in the clubs. In July 1954, he made his first appearance at the prestigious Olympia Theater in Paris, followed by his first French tour, and at the end of the year Philips released his debut album, a nine-song, 10" LP called Jacques Brel et Ses Chansons. More touring followed, and he achieved a commercial breakthrough in 1956 when his song "Quand On N'A Pas Que l'Amour" (later adapted into English as "If We Only Have Love"), released on an EP, became a hit, reaching number three in the French charts. His subsequent LP releases were Jacques Brel 2 (1957), Jacques Brel 3 (1958), and Jacques Brel 4 (1959).
In 1960, Brel earned a U.S. release with American Début on Columbia Records, a compilation of Philips tracks. In France, he switched from Philips to the recently formed Barclay Records in March 1962, his first LP release for the label being the live album A l'Olympia 1962, followed by his first studio album in four years, Jacques Brel Accompagne Pas François Rauber et Son Orchestra. After performing mainly in French-speaking territories, he was becoming a star worldwide and touring internationally much of the year. In February 1963, he made his U.S. performing debut at Carnegie Hall in New York. American poet and singer Rod McKuen began writing English lyrics to Brel's songs, and the Kingston Trio recorded "Seasons in the Sun," McKuen's version of a song Brel had titled "Le Moribond," on their Time to Think LP in 1964. That year in France, Jacques Brel, Vol. 6 and another live album, Olympia 64, appeared.
In 1965, Reprise Records licensed tracks from Barclay for a U.S. release called Jacques Brel, and Brel returned to Carnegie Hall on December 4. In 1966, Damita Jo recorded "If You Go Away," McKuen's version of the Brel composition "Ne Me Quitte Pas," and it reached the charts. The wistful song, with its alternating happy and sad lyrics and lush melody, became a pop standard recorded by dozens of singers, including Tom Jones, Frank Sinatra, and Neil Diamond. Also in 1966, Judy Collins put an English-language version of Brel's "La Colombe" ("The Dove") on her In My Life album (Joan Baez covered the same song the following year on her album Joan), and Glenn Yarbrough sang "The Women" ("Les Biches") on his LP The Lonely Things. Philips Records, meanwhile, weighed in with an American Brel compilation, The Poetic World of Jacques Brel.
Brel announced his retirement from concert work in 1966, giving a final series of shows in Paris at the Olympia in the fall, but after that he had six months of performances internationally to fulfill. These included appearances in the U.S., where Reprise issued Encore, another compilation drawn from Barclay, and Vanguard Records had Le Formidable Jacques Brel. His last concert came on May 16, 1967. He was not, however, retiring from other kinds of performing: he continued to record, his next LP appropriately being titled Jacques Brel '67 (though it turned out to be his last new studio album for a decade); he starred in his first feature film, the non-musical drama Les Risques du Metièr, before the end of the year (with nine more movies to follow through 1973, some featuring his music); and he also turned to the legitimate stage, translating and taking the leading role in a French production of the American musical Man of la Mancha that opened in Brussels on October 4, 1968, and moved to Paris, where it ran from December until June 1969. (A cast album was released.)
Overseas, meanwhile, his name was given greater prominence by a New York stage production in which he did not appear, an off-Broadway revue of his songs that, keying off of speculation about his decision to stop touring, was called Jacques Brel Is Alive and Well and Living in Paris. It opened at the Village Gate in Greenwich Village on January 22, 1968. Songwriter Mort Shuman and playwright Eric Blau had translated Brel's lyrics more closely than McKuen, conveying in English the pathos and wit of his story-songs, and the effect was overwhelming — the revue played nearly 2,000 performances, becoming one of the longest-running off-Broadway shows in history. Columbia Records released a double-LP box set of the complete show as an original cast album. The revue was revived on Broadway, in 1972 and 1981, and off-Broadway in 2006, and it was turned into a film in 1975, with Brel himself making a cameo appearance. The success of Jacques Brel Is Alive and Well and Living in Paris increased Brel's profile in English-speaking countries. In England, American expatriate Scott Walker's recording of "Jackie" (aka "La Chanson de Jacky") from the show hit the charts the month before the New York opening, reaching the Top 40. (Marc Almond's revival, drawn from his tribute album Jacques, made the British Top 20 in 1991.) "Jackie" was included on Walker's debut solo LP, Scott, which also featured Brel's "Mathilde," "Amsterdam," and "My Death" ("La Mort"), and Walker also put Brel songs on his subsequent albums Scott 2 (1968) and Scott 3 (1969). Other British Brel fans included David Bowie, who released a version of "Amsterdam" as a B-side single in 1973 while also performing "My Death" in concert, and the Sensational Alex Harvey Band, which titled an album after Brel's song "Next" ("Au Suivant") in 1973. In the U.S., Judy Collins recorded "Marieke" for her Whales & Nightingales album in 1970; Frank Sinatra put "I'm Not Afraid" (a McKuen lyric for "Fils De") on the B-side of a single in 1971; Dionne Warwick scored a chart entry with "If We Only Have Love" in 1972; and at the end of 1973 Terry Jacks released a revival of "Seasons in the Sun" that hit number one in both the U.S. and the U.K., followed by a chart entry with his version of "If You Go Away."
Brel himself, meanwhile, continued to appear in French films, making his screenwriting and directorial debut with Franz in 1972 and memorably taking his final starring role opposite stone-faced Lino Ventura in Edouard Molinaro's 1973 black comedy L'Emmerdeur (released in the U.S. with the title A Pain in the A-), which was remade in 1981 with Jack Lemmon and Walter Matthau as Buddy Buddy. In July 1974, having bought a yacht, Brel set off on what was intended to be a circumnavigation of the globe. But in October, while in the Canary Islands, he was diagnosed with lung cancer. He went to Brussels for an operation to remove part of his left lung. After recovering, he returned to his boat and continued on his journey. In November 1975, he reached the Marquesas Islands, where he decided to stay. He returned to France in July 1977 to record a new album, Brel, issued in November. The LP became a massive hit, reportedly selling 650,000 copies on its first day of release and eventually topping two million copies. Suffering a recurrence of cancer, Brel again returned to France in July 1978 for treatment, but he died three months later at the age of 49. In France, Brel's reputation as one of the major singers and songwriters of the 20th century is secure. In the English-speaking world, his influence is limited by the language barrier and by his musical taste in traditional pop and cabaret, rather than the predominant style of the second half of the century, rock. Nevertheless, his lyrics, delving into personal, dark, and adult subjects, are in keeping with the trend toward frankness and seriousness of popular songwriting from Bob Dylan on and even anticipate that trend. As such, Brel is something of a French older brother to the likes of Dylan, Leonard Cohen, and all the confessional singer/songwriters who followed them. At the same time, his work, as translated into often bowdlerized English (especially in the McKuen versions), has extended his influence as a songwriter across genres. In addition to those already mentioned, the list of performers who have recorded Brel's songs is an amazingly broad selection of rock, pop, jazz, and country artists, including Karen Akers, Shirley Bassey, Acker Bilk, Ray Bryant, Glen Campbell, Ray Conniff, John Denver, Dion, Celine Dion, the Fortunes, Robyn Hitchcock, Shirley Horn, Julio Iglesias, Jack Jones, Cyndi Lauper, Brenda Lee, Ute Lemper, Vera Lynn, Al Martino, Paul Mauriat, Helen Merrill, Ronnie Milsap, Nana Mouskouri, Olivia Newton-John, Freda Payne, Pearls Before Swine, Mitch Ryder, the Seekers, Dusty Springfield, Bobby Vinton, Andy Williams, and Nancy Wilson. "
Les Bourgeois Les Paumes du Petit Matin Le Plat Pays Zangra Une Île Madeleine Bruxelles Chanson sans Paroles Les Biches Le Caporal Casse-Pompon La Statue Rosa Il Neige sur Liege Pourquoi Faut-Il que les Hommes s’Ennuient?
Отправлено: 05.07.08 08:35. Заголовок: Спасибо,Володя!Обилие незнакомых имён просто поражает!+
Ну просто нет возможности всё скачать!Хотел бы спросить,Володя,у тебя нет такой пластинки - PETER YARROW - PETER?Год,если не ошибаюсь 1972.
Барин
Ветеран
Пост N: 2215
Отправлено: 05.07.08 17:36. Заголовок: Не, нету, его сольны..
Не, нету, его сольные вообще ни разу не попадались.
Барин
Ветеран
Пост N: 2216
Отправлено: 06.07.08 03:41. Заголовок: The Plastic People of the Universe (Czech Republic) - Kolejnice duni, 1977-1982 (RIO/Avant Prog)
ProgArchives: "This collection of tracks come from various source between 77 and 82 (this is the eighth chapter in the Globus International series on the PPOTU) and but does not include the album Passion Play, the album following the “famous” Egon Bundy’s Happy Hearts Club Banned , which was the only album of theirs that managed to sneak through the Iron Curtain and get a release in France (only there, unfortunately). The group was still enduring police repression and some members spent up to 18 months in the Party’s jails, while their manager will spend more than 8 years of his life in there for his RnR beliefs. Led by the powerful and scary-looking (a completely broken and deformed nose gracing the centre of this hairy shagged face) saxman Vrastislav Brabenec and the no less impressive and hairy (but less ugly) violin player Jiri Kabes. Leading off is the 28 minutes-long 100 Bodies (a recount of a Warsaw Pact massacre ending the Spring Of Prague and we are in a typical minimal Velvet Underground and Can groove where the band improvises over a slowly evolving beat, even if the “song” has four different stages and sometimes interesting chord changes. The 20-mins Dopis Magorovi is much the same as its predecessor with some really insane digressions into madness, notably through the piano and the violin, but also through the myriad of artistes fighting the regime in one way or another. There is even one line yelled by anarchist and avant-garde script and playwright (and future president by popular acclaim after the communist regime fell) Vaclav Havel. An absolutely astounding track!
The following 8-min+ Phil Esposito track is a weird (even stupid) vocal montage depicting the Philadelphia Flyers hockey player and his exploits in beating up the Czechoslovak team in the final of the 76 Canada Cup over quasi-African musical chaos and chants. While rather funny and amusing at first, this track will not stand much repeated listening without hitting your nerves. Between the Czech team won that cup and the writing of this silly if hilarious track, I suppose that they made it 2 – 0. After such a silly session, Metastaze (you’d think these guys had a jail wish, uh ;-) is an absolute delight with the delicate and inventive drum beat being surfed upon by the brass instruments and a jumpy bass, the whole thing having a delightful Eastern Gypsy-jazz flavour without being overpowering, but dying in an ugly sax death throe. Probably one of the band’s best moments in their long provocative career, but this track was certainly more challenging than “derangesome”.
The short title track is another track reminiscent of those many groups (past but mostly future) that made a specialty of that Gypsy-Jazz or Jazz-Manouche. The closing Socialne Blizci (social XXX) is yet another piece like the preceding two, and by now, the group was in full swing into its proggiest years.
This collection is certainly one of the country/continent’s most important release as it is the not-so silent witness of the fight against totalitarianism and this comes from one of the most politically-engaged groups ever: Plastic People Of The Universe. Essential and outstanding stuff."
Отправлено: 07.07.08 05:38. Заголовок: Enrico Rava (Italy) - Il Giro Del Giorno in 80 Mondi, 1972 (Free Jazz)
Wikipedia: "Enrico Rava (born August 20, 1939 in Trieste, Italy), is a jazz trumpeter. He originally played trombone, before changing to the trumpet after hearing Miles Davis. His first commercial work was as a member of Gato Barbieri' s Italian quintet in the middle of the 1960's; in the late 1960' s he was a member of Steve Lacy's group. 1967 Rava moved to New York City. He has played with artists such as Carla Bley, Jeanne Lee, Paul Motian, Lee Konitz and Roswell Rudd.
In the 1970's and 1980's he worked with Pat Metheny, Michel Petrucciani, John Abercrombie, Joe Henderson, Richard Galliano, Miroslav Vitouš, Andrea Centazzo, Joe Lovano, Gil Evans and Cecil Taylor.
With trumpeter Paolo Fresu, Rava recorded a series of four CDs on the influence of Bix Beiderbecke, Louis Armstrong, Chet Baker, and Miles Davis (Bix, Pop, Shades of Chet, Play Miles Davis). Also of note are his recordings Rava, L'Opera Va' and Carmen; his own interpretations of operatic arias and overtures. In 2001, he founded a new quintet with pianist Stefano Bollani, and toured with Gato Barbieri and Aldo Romano. In the trio Europeans he is working with German bass-player Eberhard Weber and Swiss percussionist Reto Weber."
1 C.T.'s Dance 5:29 2 Back to the Sun 5:09 3 Xanadu 4:32 4 Attica 2:24 5 Il Giro del Giorno in 89 Mondi 7:11 6 To Start With 5:13 7 Olhos de Gato 3:15
Enrico Rava - Trumpet Bruce Johnson - Guitar Marcello Melis - Bass Chip White - Drums
Отправлено: 08.07.08 06:26. Заголовок: The Mandrake Memorial (USA) - Puzzle, 1970 (Psych)
"The Mandrake Memorial came together sometime in the late 60's in Philadelphia. This talented bunch has released three excellent albums between 1968-1970, quite an impressive output in creative terms. Any collector of 60's Psychedelia will tell you that Puzzle, Mandrake's ambitious third and final album, is regarded today as one of the greatest psychedelic albums.
Stylistically similar to some of the Boston bands of that era (Ultimate Spinach in particular), Mandrake Memorial's digging into complex trippy Psychedelia has in a way anticipated progressive rock.
From the opening track 'Earthfriend Prelude' and throughout this magnificent artistic album, Puzzle blends tripped out orchestral experimentation with quasi-religious music. Fusing drum crescendos, whispers, weird effects and choirs, with a high degree of instrumentation, we're talking about an ambitious early concept album."
1. Earthfriend Prelude 2. Earthfriend 3. Just A Blur (Version 1) 4. Hiding 5. Just A Blur (Version 2) 6. Tadpole 7. Kyrie 8. Ocean's Daughter 9. Volcano Prelude 10. Volcano 11. Whisper Play 12. Bucket Of Air 13. Children's Prayer 14. Puzzle 15. Just A Blur (Version 3) 16. Something In The Air 17. Musical Man
Craig Anderton - Guitar Randy Monaco - Bass, Vocals Kevin Lally - Drums
Отправлено: 09.07.08 05:19. Заголовок: Steve Harley & Cockney Rebel - In Pursuit Of Illusion (Live In Bremen 27-1-76) (Glam)
AMG: "In the hierarchy of '70s punk and new wave-influenced singer/songwriters, Graham Parker inevitably takes a backseat to the likes of Elvis Costello and Joe Jackson, despite predating (and perhaps inspiring) them both. Steve Harley isn't even an afterthought. While Harley's roots lie in the ill-defined glam rock scene of the early '70s his quirky blend of pop and rock peppered generously with cynicism and hyperbole isn't too far removed from those who succeeded him. So it could be said that he not only takes a backseat to the under appreciated Parker, he is invariably forced to sit on the hump. This is not a reflection of Harley's music, but merely an indicator of the popularity that has eluded him. Thanks to films like The Full Monty and Saving Grace a renewed interest in his music has taken place. His biggest hit "Make Me Smile (Come up and See Me)" has adorned the soundtrack of those two pictures. This album recorded live in Bremen, Germany in 1976 features that song as well as his other more recognizable pieces, like "Mad Mad Moonlight" and "Here Comes the Sun." Some extended and improvisational jams ("Sling It") add a dimension to his music that is generally absent on his studio recordings from the same period. Like many of the Burning Airlines releases which are derived from obscure live performances, the sound quality is lacking clarity and balance but doesn't necessarily detract from the excitement and energy inherent in the respective live shows"
1. Mad Mad Moonlight 2. Make Me Smile (Come Up And See Me) 3. Red Is a Mean Mean Colour 4. Here Comes the Sun 5. Sweet Dreams 6. Psychomodo 7. Sling It 8. Sebastian
Steve Harley - guitar, vocal Lindasay Elliot - drums, percussions Jim Cregan - lead guitar George Ford - bass Stuart Elliot - drums Joe Partidge - guitar Duncan MacKay - keyboards
AMG: "Progressive rock outfit Gypsy began its existence as the Minneapolis-based pop band the Underbeats, formed in 1964 by guitarist James Johnson, bassist Doni Larson, and drummer Tom Green. With the subsequent addition of singer/guitarist Enrico Rosenbaum, the group regularly performed throughout the Twin Cities circuit, scoring a handful of local hits including "Footstompin'," "Annie Do the Dog" and "Book of Love." Keyboardist James "Owl" Walsh was recruited after Johnson was drafted for military service in 1969; upon his discharge, Johnson returned to the Underbeats lineup, and the quintet relocated to Los Angeles soon after, where they landed a gig as the house band at the famed Whiskey-a-Go-Go. Rechristened Gypsy, they began pursuing a heavier, more complex sound inspired by the rise of British progressive rock, though often compared to the music of Santana. After replacing Green with drummer Jay Epstein, the band signed to the Metromedia label, issuing their self-titled double-album debut in 1970 and earned considerable FM airplay with the tracks "Gypsy Queen" and "Dead and Gone." Larson and Epstein exited Gypsy prior to recording the follow-up, 1971's In the Garden, cut with bassist Willie Weeks — who later resurfaced in the Doobie Brothers — and drummer Bill Lordan. Randy Cates assumed bass duties for 1972's Antithesis, Gypsy's first album for new label RCA; however, upon releasing 1973's Unlock the Gates, the group dissolved, reforming just long enough to play the Super Jam '77 concert at St. Louis' Busch Stadium. A year later Walsh formed a new Gypsy lineup, issuing The James Walsh Gypsy Band on RCA to little notice; in 1996 — once again the sole original member — he assembled another Gypsy unit, releasing 20 Years Ago Today. While Lordan went on to play with Robin Trower, Rosenbaum died September 10, 1979 after a long battle with drug abuse; he was just 36 years old." "Though nothing else on Gypsy's debut album came quite up to the standard of the opening number, the whole album is enjoyable for connoisseurs of jazzy progressive rock. That opening number, "Gypsy Queen," was the band's musical and commercial highlight, an organ-driven and harmony-laden blast of great progressive pop. Elsewhere on this album, the band blends Santana-like guitar and organ riffs with vocals and arrangements reminiscent of early Chicago in their better moments. Much of this is first-rate, and if "Gypsy Queen" weren't on this album, cuts like "The Vision" or "Standing in My Loneliness" would still make it worth having. The ensemble work is so impressive that it's hard to single out a particular player for praise, though James "Owl" Walsh's keyboard playing is particularly inventive. In retrospect, it's hard to believe that this debut didn't make a bigger splash when it was first released. Gypsy's work has held up very well compared to most albums from this era, and is still a delightful listen."
1. Gypsy Queen Part I (4:21) 2. Gypsy Queen Part II (2:33) 3. Man of Reason (2:59) 4. Dream If You Can (2:48) 5. Late December (4:12) 6. The Third Eye (4:55) 7. Decisions (8:16) 8. I Was So Young (4:00) 9. Here In My Loneliness (3:10) 10. More Time (5:35) 11. The Vision (7:30) 12. Dead and Gone (11:07) 13. Tomorrow Is The Last To Be Heard (5:48)
Enrico Rosenbaum - guitar, vocals James Walsh - keyboards, vocals James Johnson - guitar, vocals James Epstein - drums Doni Larson - bass Preston Epps - percussion Jimmie Haskell - string arrangements
Отправлено: 11.07.08 06:00. Заголовок: The Young Lions, 1960 (Jazz/Hard Bop)
AMG: "Irvin Shaw wrote the novel The Young Lions from which this post-to-hard bop all-star band took their name, launching the moniker of a generation of Wynton Marsalis-led followers in the '80s. Wayne Shorter on tenor sax, Frank Strozier on alto sax, Lee Morgan on trumpet, Bobby Timmons on piano, Bob Cranshaw on bass, and either Louis Hayes or Albert "Tootie" Heath on drums comprise the original Lions, a one-shot band who set the standard for the Blue Note-Riverside-based players who would follow in their path. There's a true democratic, shared value and responsibility evident in every sonic phase of this recording, but it is Shorter who wrote all the material. His "Seeds of Sin" is a sweet, swinging shuffle full of original harmonic thought. "Scourin'" displays a head-nodding swing inspired by quarter-note walking bass courtesy of the unflappable Cranshaw, and wondrous sax-trumpet unity. Timmons' huge, funky piano chords lead to all three horns strutting joyously in melodic agreement during "Fat Lady"; the solos perfectly display the individualism of Shorter's piquant tenor, Morgan's brash trumpet, and Strozier's slightly strained alto before a brief trading of fours with the unidentified drummer. Shorter's tenor is up front, with Morgan on the second melody and Strozier following along for the tightly structured "Peaches & Cream," which is not a team effort until the very last note. Over 11 ½ minutes, "That's Right" proffers an easy, bluesy 12-bar swing in a jam vehicle, with Timmons as pied piper, the horns shouting out in unison, chord punctuations from the pianist, and doo wop accents for the solos. Morgan uses a mute, and Shorter's tenor is fluid as a country stream. There are three alternate takes: A fourth try of "Seeds" is five seconds longer and not only sweet, but a little sour; on a third rendition of "Scourin'," the 35-second bass intro is omitted as Shorter's tenor digs right in and less unison is evident; and with an extra 24 seconds, the third taping of "Fat Lady" only differs in solo content. This is a classic, and one every modern jazz fan should have. The liner notes, written by Cannonball Adderley, are also priceless; they discuss the "glorification of mediocrity," a rip on Dick Clark, country-pop, comformity, and railing against modern jazz naysayers. The notes also include other poignant observations that still ring true today. Interesting reading, ultimately interesting music."
1 Seeds of Sin (5:42) 2 Scourn' (5:56) 3 Fat Lady (5:00) 4 Peaches and Cream (6:50) 5 That's Right (11:35) 6 Seeds of Sin (5:46) (alternate take) 7 Scourn' (6:15) (alternate take) 8 Fat Lady (5:23) (alternate take)
Lee Morgan - trumpet Wayne Shorter - tenor sax Bobby Timmons - piano Louis Hayes - drums Albert "Tootie" Heath - drums Frank Strozier - alto sax
Progarchives: "Amon Duul were a huge musical collective that had a spectacular appearance in a tv-show in 1968. Before they put out their first album they split though, and one half set off to form Amon Duul 2 (see there). The others kept the name Amon Duul and in 1969 published the first Krautrock album ever, "Psychedelic Underground". It was very badly produced, and the music consisted of long improvisations, but after this album no other band needed to have an inferiority complex. Their second official album "Paradieswärts Duul" (1970) is much better produced and has a folky touch. The albums "Collapsing - Singvögel Ruckwärts", "Disaster" and "Experimente" stem from the same session as "Psychedelic Underground" and are of similar nature; they were published after the band had split up already. "
1. Special Track Experience No. 1 (4.30) 2. Special Track Experience No. 2 (0.32) 3. Special Track Experience No. 3 (5.17) 4. Special Track Experience No. 4 (2.28) 5. Special Track Experience No. 5 (2.41) 6. Special Track Experience No. 6 (1.11) 7. Special Track Experience No. 7 (5.47) 8. Special Track Experience No. 8 (2.11) 9. Special Track Experience No. 9 (3.45) 10. Special Track Experience No. 10 (1.42) 11. Special Track Experience No. 11 (1.54) 12. Special Track Experience No. 12 (1.24) 13. Special Track Experience No. 13 (3.49) 14. Special Track Experience No. 14 (2.48) 15. Special Track Experience No. 15 (1.29) 16. Special Track Experience No. 16 (5.10) 17. Special Track Experience No. 17 (0.50) 18. Special Track Experience No. 18 (2.06) 19. Special Track Experience No. 19 (6.29) 20. Special Track Experience No. 20 (1.07) 21. Special Track Experience No. 21 (2.46) 22. Special Track Experience No. 22 (3.08) 23. Special Track Experience No. 23 (2.33) 24. Special Track Experience No. 24 (1.08)
Angelica Filanda - Vocals, Percussion Helge Filanda - Congas, Anvil Ella Bauer - Vocals, Percussion Rainer Bauer - Guitar, Vocals Ullrich Leopold - Bass Peter Leopold - Drums Uschi Obermaier - Percussion Wolfgang Krischke - Piano, Percussion
AMG: "Delaney & Bonnie's brand of soul-rock was firmly in place by the time of this 1969 album, the only one they recorded for Stax. Their following albums would gain greater exposure, but there's not much difference between this record and those subsequent efforts, except perhaps that this is more soul-oriented and less rock-oriented. That's not too surprising considering that members of Booker T. & the MG's are playing on most of the cuts, though a few were done in Hollywood with Leon Russell on keyboards and Carl Radle on bass. The material was a mixture of original songs and compositions from top Stax writers such as Steve Cropper, Isaac Hayes, and David Porter, though generally the songs weren't as grittily powerful or memorably hook-laden at the best stuff to come out of Stax in the late '60s. The cover of "Piece of My Heart" was bound to pass relatively unnoticed in the wake of Janis Joplin's wrenching hit cover of the song (with Big Brother & the Holding Company), and "Hard to Say Goodbye" seems like an attempt to push their sound in a slightly poppier direction, though not at all a bad one."
1 It's Been a Long Time Coming 2 We Can Love 3 Everybody Loves a Winner 4 Just Plain Beautiful 5 Pour Your Love on Me 6 A Right Now Love 7 My Baby Specializes 8 Things Get Better 9 Hard to Say Goodbye 10 Piece of My Heart
Delaney Bramlett - Guitar, Vocals Bonnie Bramlett - Vocals William Bell - Vocals Eddie Floyd - Vocals Isaac Hayes - Vocals Booker T. Jones - Keyboards Bobby Whitlock - Keyboards, Vocals Steve Cropper - Guitar Donald "Duck" Dunn - Bass Al Jackson, Jr. - Drums
Progarchives: "Highly recommended for all music buffs! Whether or not you like prog, this CD is accessible to most people (I think) and it could be a good entry point to the band. Almost all tracks are excellent except: “Do You Care”, “Want You To Be Mine” (too poppy and boring), “Who’s Fooling Who” and “Rain in May”. “Starlight Dancer” is wonderful. It has a very melodic opening, influenced heavily by a classical music. This song indicates the trademark of Kayak music, I think. “Phantom of the Night” is another excellent track with touchy melody and tight structure; great orchestration. “Anne” has a nice opening choir and good happy mood music. I like the use of pan-pipe sound (may be produced thru keyboard). Well, I don’t want to elaborate into greater detail – just buy the CD and enjoy the easy listening prog music produced from this CD."
1. Lyrics (3:40) 2. Mammoth (2:55) 3. See See the Sun (4:11) 4. Wintertime (2:50) 5. We Are not Amused (3:00) 6. Chance for a Lifetime (2:45) 7. Still my Heart Cries for You (4:33) 8. Do You Care (2:55) 9. Starlight Dancer (4:53) 10. Want You to Be Mine (3:30) 11. Ruthless Queen (4:49) 12. Phantom of the Night (5:01) 13. Anne (4:08) 14. Spetters (3:24) 15. Periscope Life (3:24) 16. Total Loss (4:12) 17. Seagull (4:10) 18. The King's Enchanter (2:25) 19. Who's Fooling Who (3:42) Extra tracks: 20. Rain in May (3:37)
Ton Scherpenzeel - keyboards, backing vocals Pim Koopman - drums, percussion, backing vocals Max Werner - lead vocals, mellotron, drums, percussion, backing vocals Cees Van Leeuwen - bass Johan Slager - guitars, backing vocals Bert Veldkamp - bass, backing vocals
Отправлено: 15.07.08 06:19. Заголовок: Joy Bryan - Joy Bryan Sings, 1957 (Jazz/Vocal)
AMG: "Joy Bryan only made two albums in her career and that is a real pity for she was a subtle and talented jazz singer. This CD reissue brings back her earlier date, a septet outing arranged by Marty Paich and including such fine sidemen as trumpeter Jack Sheldon, altoist Herb Geller and Bob Enevoldsen on valve trombone, clarinet and bass clarinet. Bryan performs a dozen standards with the most unusual selections being "Down the Old Ox Road," "Mississippi Mud" and a rare early vocal version of "'Round Midnight." Excellent music."
1. I Was Doin' All Right 3:00 2. 'Round Midnight 3:13 3. My Shining Hour 1:50 4. When The World Was Young 3:56 5. Mississippi Mud 3:13 6. My Heart Stood Still 2:45 7. You're My Everything 2:31 8. When It's Sleepy Time Down South 3:48 9. Swinging On A Star 3:11 10. What Is There To Say 2:35 11. Down The Old Ox Road 3:07 12. I Could Write A Book 2:07
Joy Bryan - Vocals Bob Enevoldsen - Clarinet, Clarinet (Bass), Trombone (Valve) Herb Geller - Clarinet, Sax (Alto) Ronnie Lang - Clarinet, Sax (Alto), Sax (Baritone) Jack Sheldon - Trumpet Marty Paich - Piano Red Mitchell - Bass Mel Lewis - Drums
Отправлено: 16.07.08 07:03. Заголовок: Dr. Z (UK) - Three Parts To My Soul, 1971 (Prog)
Progarchives: "DR. Z. is an obscure early 70's English trio whose LP version of their only album now fetches in the 3-digit price range (only 80 copies were sold at the time, the rest of the pressings were trashed by their record company). A cd version of the album, released by Vertigo in 1991, features a couple of extra tracks.
The dominant mood of the album ("Three Parts to my Soul") is set by a percussive harpsichord that is alternately majestic and militaristic – imagine the sound of a Keith EMERSON harpsichord concerto if Carl PALMER matched him note for note on a kettle drum. The lyrics, dealing with occultism and the evil of man, are far better written than the music, which sounds rather clumsy and awkward to our modern ears. At its most inventive and textured, the album is a fine example of early 70's prog at its darkest. It has simple rhythms and the music is peculiarly obsessive, with very long piano and organ solos, baroque melodies and satanic lyrics.
Strictly for serious collectors of dark, early 70's curios willing to overlook a highly mangled production."
1. Evil Woman's Manly Child (4:47) 2. Spiritus, Manes et Umbra (11:51) 3. Summer for the Rose (4:32) 4. Burn in Anger (3:25) 5. Too Well Satisfied (5:49) 6. In a Token of Despair (10:31) 7. Lady Ladybird (2:46) 8. People in the Street (3:08)
Keith Keyes - piano, harpsichord, organ and vocals Bob Watkins - drums & percussion Rob Watson - bass guitar
Отправлено: 17.07.08 06:15. Заголовок: Dr. John (USA) - In The Right Place, 1973 (R&B)
AMG: "Dr. John finally struck paydirt here and was certainly In the Right Place. With the hit single "Right Place Wrong Time" bounding up the charts, this fine collection saw many unaware listeners being initiated into New Orleans-style rock. Also including Allen Toussaint's "Life," and a funky little number entitled "Traveling Mood," which shows off the good doctor's fine piano styling, and with able help from the Meters as backup group, In the Right Place is still a fine collection to own."
1 Right Place, Wrong Time 2:55 2 Same Old Same Old 2:43 3 Just the Same 2:53 4 Qualified 4:50 5 Traveling Mood 2:51 6 Peace Brother Peace 2:50 7 Life Toussaint 2:31 8 Such a Night 2:57 9 Shoo Fly Marches On 3:17 10 I Been Hoodood 3:14 11 Cold Cold Cold 2:37
Mac Rebennack - Organ, Percussion, Piano, Vocals Allen Toussaint - Guitar, Keyboards, Tambourine, Vocals (bckgr) Gary Brown - Horn, Sax (Alto), Electric Saxophone Art Neville - Organ, Keyboards Leo Nocentelli - Guitar David Spinozza - Guitar George Porter, Jr. - Bass Ziggy Modeliste - Drums Ralph MacDonald - Percussion Jessie Smith - Vocals (bckgr) Robbie Montgomery - Vocals (bckgr) The Meters - Rhythm Bonaroo - Horns
AMG: "Nosferatu is the first of three scores for silent horror movies the French group Art Zoyd recorded between 1989 and 1997. Friedrich Wilheim Murnau's classic Nosferatu served as the first guinea pig and it worked wonderfully. This happened at a time when performing new music over screenings of silent films had yet to become a trend in avant-garde circles (in the mid- to late '90s), although this particular film was enjoying a revival of sorts (metallers Helstar released an album by the same title in 1989). The group managed to remain true to Murnau's chef-d'oeuvre while delivering a genuine Art Zoyd platter. The lineup is the same as for 1987's Berlin, but the ideas have matured. Taking a cue from the previous album's "A Drum, a Drum," the music includes vocal passages, some sung by Thierry Zaboitzeff in a low, gravely, hellborn voice, others being pre-recorded children's choir parts. The 60-minute suite follows the film scene by scene, but it stands marvelously well on its own. Keyboards are definitely dominating the sound, with touches of cello and saxophone added for an extra Gothic feel. Often fast-paced and exhilarating, the music consists of interlocking rhythmical motifs on keyboards punctuated by orchestral cues, percussion, or acoustic instruments. Melodies are few; the grandeur and drama rarely let go. The CD is rounded up by the three-part, 17-minute "Vorgänge," ballet music for the Salzburg Vorgänge Bewegungstheater. If you don't notice the track number on the CD player, you'll think you're still in Nosferatu. This album is generally more inspired, varied, lively, and less-complacent than Faust and Häxan, Art Zoyd's two other film soundtracks. Highly recommended, even to those who despise the group's post-1983 output."
1. L'oeuf du serpent (3:40) 2. L'agent Renfield (3:17) 3. Le voyage de Harker (4:03) 4. Le matin (1:40) 5. Le château (4:14) 6. Nosferatu (2:42) 7. L'oeuf du serpent II (3:00) 8. Rumeurs (2:35) 9. Rumeurs II (2:56) 10. Anaphase (4:08) 11. Le maitre arrive (2:24) 12. Rumeurs III (2:39) 13. Les docteurs (2:28) 14. La peste (3:14) 15. Livre des vampires (1:47) 16. Anaphase II (4:38) 17. Le maitre est mort (3:23)
Отправлено: 19.07.08 06:14. Заголовок: Sun Ra - The Futuristic Sounds of Sun Ra, 1961 (Free Jazz)
AMG: "Sun Ra's only release for the Savoy label is a gem. Recorded in October of 1961, this is probably the first recording the Arkestra made after arriving in New York. As such, you're dealing with a smallish Arkestra (seven main instrumentalists, joined by vocalist Ricky Murray on "China Gate") that's still playing the boppish, highly arranged music characteristic of the Chicago years (1954-1961). Ra sticks to acoustic piano for the entire session, but various percussion instruments are dispersed throughout the band, giving a slightly exotic flavor to some of the tunes. John Gilmore plays bass clarinet on a couple tunes (as well as some great tenor solos), and Marshall Allen's flute playing is excellent, as always. This album was produced by Tom Wilson, who also produced the first Sun Ra LP, Jazz by Sun Ra (1956) for the Transition label, later reissued by Delmark as Sun Song (Wilson later went on to sign the Mothers of Invention to Verve and "electrified" Bob Dylan). With the exception of "The Beginning," all the tunes are very accessible. This is one to play for the mistaken folks who think the Arkestra did nothing but make noise. Excellent."
1 Bassism 4:09 2 Of Sounds and Something Else 2:55 3 What's That? 2:17 4 Where Is Tomorrow? 2:51 5 The Beginning 6:32 6 China Gates 3:24 7 New Day 5:53 8 Tapestry from an Asteroid 3:04 9 Jet Flight 3:16 10 Looking Outward 2:52 11 Space Jazz Reverie 4:54
Sun Ra - Piano Ricky Murray - Vocals John Gilmore - Clarinet (Bass), Sax (Tenor), Bells Marshall Allen - Flute, Sax (Alto), Sax (Tenor), Bells Pat Patrick - Sax (Baritone), Bells Bernard McKinney - Trombone, Euphonium, Bells Ronnie Boykins - Bass, Bells, Double Bass Willie Jones - Percussion, Drums
AMG: "The debut album from Stackridge consists of nine curiously light folk-tinged tracks, with elements of progressive rock cropping up here and there in the friendly Canterbury style. Their music takes on the classic storytelling route, but is bolstered and heightened by instruments like violins, flutes, cellos, trumpets, and the distinct sound of the harmonium played by Andrew Creswell-Davis. Both James Warren and Creswell-Davis take turns at singing such merry lyrical excerpts as "40 missing floorboards, 50 frantic far-out mice below," sounding attractively waggish and peculiarly quaint in doing so. Without coming off as overly Celtic or far too English, Stackridge culminates the humor and the essence of figurative devices and lays them out within the field of woodwind and stringed instruments. With barely any percussion, songs like "Percy the Penguin" and "The Three Legged Table" carry out their jovial entendres to the eloquence of hand-plucked piano strings and a trio of trumpets. Their refined singing style helps each song render its own character and eccentricity when added to the numerous instruments. The albums that followed such as Friendliness and The Man in the Bowler Hat housed the same poetic components as their first release with the music sounding more progressive and slightly commercial. "
1. Grande Piano (3:23) 2. Percy the Penguin (3:42) 3. Three Legged Table (6:49) 4. Dora the Female Explorer (3:48) 5. Essence of Porphyry (8:05) 6. Marigold Conjunction (5:00) 7. West Mall (2:27) 8. Marzo Plod (3:07) 9. Slark (14:08)
Andy Creswell-Davis - guitar, keyboards, vocals, bass Michael “Mutter” Slater - flute, vocals Mike Evans - violin, cello Billy “Sparkle” Brent - drums James Warren - vocals, guitar
Отправлено: 21.07.08 07:01. Заголовок: Peter Tosh (Jamaica) - Legalize It, 1976 (Reggae)
AMG: "After years of being overshadowed by Bob Marley, Peter Tosh left the Wailers to pursue a solo career. Released in 1976, Legalize It is a bold statement that Peter Tosh had arrived and was a creative force in his own right. Although he explores some issues of spirituality, this is Tosh's most lightweight album in the sense that it is his least political. This is not meant as a criticism — in fact, Tosh's playfulness and joy ("Ketchy Shuby") only add to the album's charm. He does make political statements (the title track celebrates and promotes the use of marijuana), but they are done with a sense of humor and a melodic infectiousness that belie his sincere concern for the issues. Tosh incorporates many instruments and mixes slower ballads with upbeat grooving tunes. The album's highlight is "Why Must I Cry," a multi-layered song (co-written with Bob Marley) that conveys a sense of personal failure when fighting an uphill battle, whether it be against injustices of the world or within the confines of a relationship. Legalize It cemented Tosh's position as a giant in reggae, and the album is one of the best albums of the genre."
1 Legalize It 4:35 2 Burial 3:54 3 What'cha Gonna Do? 2:25 4 No Sympathy 4:35 5 Why Must I Cry 3:08 6 Igziabeher (Let Jah Be Praised) 4:37 7 Ketchy Shuby 4:53 8 Till Your Well Runs Dry 6:09 9 Brand New Second Hand 4:03
Peter Tosh - Guitar, Keyboards, Vocals Robbie Lee - Harmonica, Harp Donald Kinsey - Guitar Al Anderson - Guitar Tyrone Downie - Keyboards Robbie Shakespeare - Bass Aston Barrett - Bass Carlton "Carlie" Barrett - Drums Rita Marley - Vocals Judy Mowatt - Vocals Bunny Wailer - Vocals
AMG: "With regular collaborator Anna Nacher as the featured vocalist on a number of this album's tracks, while bassist Gulinski appears as well, Atman takes a slight turn to a more rocking side of things on Tradition. Admittedly, it's 'more rocking' by degrees than anything else, but even if the only strong rhythm on the opening "39 I Ching" comes from Gulinski's bass, the core trio's intense performance is still a wonder to hear. Nacher's sometimes keening, sometimes cool vocals make it that much more compelling, getting Tradition off to a fine start. Other combinations of Nacher and a touch more brusque rock power surface on "Tensegretty" and other numbers. Otherwise, the hushed, powerful sense of drama and mystery from Personal Forest remains paramount, with crystalline guitar (and other stringed instruments) leading the way, especially on the album's lengthy centerpiece "The Talking Meadow (Story)." The band's focus on 'deep ecology' continues unabated throughout the album, with one number called "Lullaby for Rainbow Warrior," after the bombed flagship of Greenpeace. Similarly, such titles as "The Theatre of Mist" (with a marvelous series of performances on many instruments, from miniharmonium to Slovakian pastoral fujara) and the two enveloping numbers "Natural Landscapes" show Atman as focused as ever on both their work and inspiration. An especially inspired number here is a cover of Jimi Hendrix's "Third Stone from the Sun." Given a brisk, quick reading from the performers, with percussion provided by bells and gong and a mix of acoustic and electric guitars both, it takes the elements of unearthly majesty from the original and gives the old warhorse one of its best reinterpretations in years. Tradition concludes with a live improv jam, "Kosovo," a short piece that incorporates everything from near-complete silence to clattering percussion, feedback and Nacher's wailing."
1. 39 I Ching 04:34 2. The Theatre Of Mist 06:54 3. Third Stone From The Sun 03:32 4. Natural Landscapes (1) 02:56 5. Free-P 03:44 6. Tensegretty 04:08 7. The Talking Meadow (Story) 16:15 £1.50 8. Natural Landscapes (2) 02:42 9. Lullaby For Rainbow Warrior 03:24 10. The North Of The World 04:36 11. In Your Head (Dust) 01:40 12. The (Live) Theatre Of Mist 07:32 13. Kosovo 03:12
Anna Nacher - Guitar, Vocals Marek Styczynski - Vocals, Zither, Bells, Tambor, Fujara, Flute, Darabouka, Ceramic Drum Marek Leszczynski - Dulcimer, Vocals, Bells, Rattles Piotr Koleck - Guitar, Baby Toys Tomasz Radziuk - Bass Tomasz Gulinski - Vocals, Miniharmonium, Gong
Отправлено: 23.07.08 05:44. Заголовок: Glenn Miller Goes to War!, 1944
1 In the mood 2 Stardust 3 Tuxedo junction 4 Now I know 5 String of pearls 6 Poinciana 7 Long ago and far away 8 Is you is or is you ain’t my baby? 9 Great day 10 Moonlight serenade (theme)-I sustain the wings 11 Caribbean clipper 12 Now I know 13 Salute to the aerial reconnaissance photographers 14 Miller Medley: Songs my mother... 15 Join the W.A.C. 16 There are yanks
Progarchives: "The English band KALEIDOSCOPE (not to be confused with American band KALEIDOSCOPE which existed at the same time and played basically psychedelic rock too) is an almost forgotten band from the late sixties and early seventies.
The band started its recording activities in 1967 as KALEIDOSCOPE, but the band was formed back in 1963 with the name THE SIDEKICKS and changed to THE KEY later. In the beginning, the line-up was Eddie Pumer on guitar, Steve Clark on bass and Danny Bridgman on drums, but they later needed a new vocalist and Peter Daltrey joined (he played keyboards too). They played local venues and released singles, but when they signed a contract with Phillips, they changed the name of the band and started playing their own psychedelic rock compositions instead of the covers they used to play before. The combination of Pumer's musical arrangements and Daltrey's lyrics was the main power of the group.
In 1967 was released their first album, 'Tangerine Dream'. The album comprises fine psychedelic songs with experimentations and arrangements like many of the top psychedelic and early progressive bands from that age (THE BEATLES, PINK FLOYD, THE MOODY BLUES). They got lots of airplay and recorded many BBC sessions, but didn´t sell well. They eventually released more singles, like 'Jenny Artichoke', which was a success, but sold poorly, and another album, 'Faintly Blowing'. It was released in 1969, showing a progression of it's predecessor in terms of sound. Although still psychedelic, the compositions were getting more progressive. The album unfortunately failed to chart.
They released a final single, 'Balloon', before changing the name to FAIRFIELD PARLOUR and becoming totally progressive oriented. The band didn't achieve success and they were unlucky at the time, failing to chart and having problems (including some sabotage) in all great gigs they had, including the famous Isle of Wight, which they were the responsibles for the 'Theme Song' of the festival (released under the name of I LUV WIGHT).
WHITE FACED LADY was their last album, recorded in 1971 partly with the help of Mike Pinder, from THE MOODY BLUES. The album was a conceptual double-album with many orchestral arrangements. The band had a deal with Vertigo at that time, but the responsible quit Vertigo and moved to CBS. So they were to release it on CBS, but CBS refused to release their album and it stayed shelved for twenty years, being released in 1991 by a label they created just to release the album, Kaleidoscope Records, under the name of KALEIDOSCOPE, although recorded under the FAIRFIELD PARLOUR encarnation of the band. The band split in 1972 due to the lack of results and luck (they were offered less than 20 dollars to play the last gigs). So this was the end of this great psychedelic and progressive rock band which had talent to be one of the major progressive rock acts of their age but died prematurely due to bad luck in the crucial moments. It is highly recommended because they were one of the first progressive rock bands that evoluted with the genre and made a fantastic work, mainly their excellent conceptual album 'White Faced Lady'."
(Fairfield Parlour) From Home to Home, 1970 Aries In My Box Bordeeaux Rose (Original) By Your Bedside Soldier Of The Flesh I Will Always Feel The Same Free Emily Chalk On The Wall The Glorious House Of Arthur Monkey Sunnyside Circus The Drummer Boy Of Shiloh Just Another Day Caraminda Song For You I Am All The Animals Bordeeaux Rose (New version) Baby, Stay For Tonight Eye Witness Let The World Wash In
Peter Daltrey - vocals, piano, mellotron, harpsichord, organ, tambourine Eddy Pumer - vocals, classical, acoustic twelve string and electric guitars, mellotron, organ, harpsichord Steve Clark - bass guitar, flutes Dan Bridgeman - vocals, drums, pedal tympany, tubular bells, tambourine, bongos
White-Faced Lady, 1971 Overture Broken Mirrors Angel's song: "Dear Elvis Presley..." Nursey, Nursey Small song - Heaven in the black row Burning bright The matchseller The coronation of the fledgling All hail to the hero White-Faced Lady Freefall Standing Diary song: The indian head Song from Jon Long way down The locket Picture with conversation Epitah: Angel
Peter Daltrey - vocals, keyboards Eddie Pumer - guitar Steve Clark - bass, flute Dan Bridgeman - drums
AMG: "Kaleidoscope were arguably the most eclectic band of the psychedelic era, weaving together folk, blues, Middle Eastern, and acid more often and seamlessly than any other musicians. The California group were formed under the nucleus of multi-instrumentalists David Lindley and Chris Darrow in the mid-'60s. Adding fiddle, banjo, and various exotic string instruments such as the oud and saz to the traditional rock lineup, Kaleidoscope complemented their experimental sounds with taut and witty (if lyrically eccentric) songwriting. Other important members were Solomon Feldthouse, who specialized in the Turkish-style instruments, and Chester Crill, who, to make documentation just that much more difficult, sometimes used odd pseudonyms like Fenrus Epp.
With the exception of their mawkish forays into old-timey music, Kaleidoscope's work holds up well. Their first three albums were their best, highlighted by the lengthy tracks "Taxim" and "Seven-Ate Sweet," which are groundbreaking fusions of Middle Eastern music and rock. Kaleidoscope were a popular live act, even incorporating some flamenco and belly dancers into their performances. But in commercial terms their very eclecticism probably worked against them. Hit singles, too, were a difficult proposition for such a versatile group to get to grips with, although several of their 45s were pretty good. One of the best, "Nobody," was a most unusual fusion of R&B and psychedelia that found the group backing veteran rock and blues greats Larry Williams and Johnny "Guitar" Watson.
Kaleidoscope's eclecticism may have been a by-product of numerous personnel changes throughout the last half of the '60s that would make the construction of a family tree a most unwieldy task. Darrow, in fact, only lasted a couple of albums; in 1970, shortly after their fourth album, they split up. Several of the group's more important contributors reunited for an album in 1975 (although Lindley played only a small part); there was another reunion record in 1988."
1 Lie to Me 2:10 2 Let the Good Love Flow 2:10 3 Killing Floor 2:44 4 Petite Fleur 3:29 5 Banjo 3:37 6 The Cuckoo 4:15 7 Seven-Ate Sweet 11:37
David Lindley - Banjo, Guitar, Violin, Vocals Solomon Feldthouse - Clarinet, Guitar, Vocals, Jumbus Fenrus Epp - Violin, Keyboards Stuart Brotman - Bass, Vocals Paul Lagos - Drums, Vocals Max Buda - Harmonica Templeton Parcely - Organ, Violin, Vocals
Отправлено: 26.07.08 05:27. Заголовок: Jethro Tull - Live 1970, Carnegie Hall N.Y
1 Nothing is Easy 4:22 2 My God 7:10 3 With You There to Help Me 9:56 4 A Song for Jeffrey 3:23 5 To Cry You a Song 6:13 6 Sossity, You're a Woman 2:15 7 Reasons for Waiting 4:07 8 We Used to Know 4:00 9 Guitar Solo 8:23 10 For a Thousand Mothers 4:13
Ian Anderson - flute, mouth organ, claghorn, piano, vocals, harmonica, mandolin Martin Barre - electric guitar, marimba John Evans - piano Glenn Cornick - bass Clive Bunker - drums, hooter and charm bracelet
Отправлено: 27.07.08 06:49. Заголовок: Dinah Washington - Newport '58 (Jazz/Vocal)
1. Lover Come Back To Me 2. Crazy Love 3. Send Me To The 'Lectric Chair 4. Me And My Gun 5. Back Water Blues 6. Backstage Blues 7. Julie & Jake 8. All Of Me
1-5 Dinah Washington - vocals Blue Mitchell - trumpet Melba Liston - trombone Harold Ousley - tenor sax Sahib Shihab - bariton sax Wynton Kelly - piano Paul West - bass Max Roach - drums
6-7 The Terry Gibbs Sextet: Urbie Green - trombone Don Elliott - mellophone, vibraphone Terry Gibbs - vibraphone Wynton Kelly - piano Paul West - bass Max Roach - drums
8 Dinah Washington - vocals The Terry Gibbs Sextet
Отправлено: 28.07.08 06:57. Заголовок: The Residents - Mark of the Mole, 1981 (RIO/Avant Prog)
AMG: "After Eskimo, the band's attempt to sonically recreate Inuit tales through sound, the Residents began to undertake a similar project that would color the rest of their career. The Mark of the Mole trilogy would result in three albums and a world tour that would nearly bankrupt the band and Ralph Records, and cause (rumor has it) two of the original members to leave the band. It was also the beginning of the band's desire (often detrimental) to broaden their scope, to construct long concept albums, or imagine series of albums that would never be completed. Mark of the Mole imagines a race of mole workers who live underground and worship darkness and work (they're the heroes). When a flood forces them to flee their home, they migrate across the desert to the land of the Chubs, who subjugate them and cause war to break out. This is some of the grimmest, most discordant, rough hewn music the band has set down on record, with a grinding piece called "It Never Stops" summing up the tone of the record perfectly. Perversely, there is much to enjoy in this trip to the group's dark side, and the album's resolution truly feels like a breath of fresh air."
1. Voices of the Air (2:55) 2. The Ultimate Disaster (8:54) 3. Migration (7:15) 4. Another Land (4:42) 5. The New Machine (7:16) 6. Final Confrontation (9:47)
Joan Cashel - vocals Penn Jillette - vocals Nessie Lessons - vocals The Residents - arranger Jeanette Sartain - vocals Annie Stocking - vocals The Residents
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