Rockrula2

2009-04-24T18:26:00.007+02:00

This is some selection from xxxrockrula.
My old blog (xxxrockrula.blogspot.com) still work
(Invite Only).100GB are online.
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Last Posts on xxxrockrula :

John Mayall - Back To The Roots (1971)320kbps
Procol Harum - In Concert With The Edmonton Symphony Orchestra(1972)320kbps
Groundhogs - Scratching The Surface(1968)320kbps
Bo Diddley - Bo Diddley(1957) - Go Bo Diddley(1959)320kbps
Manfred Mann's Earth Band - Glorified Magnified(1972)320kbps
UFO - Force It (1975)320kbps
Gravy Train - Staircase To The Day (1974)320kbps
Jeff Beck - Beck-Ola(1969)320kbps

2008-06-04T19:42:00.001+02:00

Jimi Hendrix Experience - Electric Ladyland(1968)(2CD)

320kbps

Jimi Hendrix's third and final album with the original Experience found him taking his funk and psychedelic sounds to the absolute limit. The result was not only one of the best rock albums of the era, but also Hendrix's original musical vision at its absolute apex. When revisionist rock critics refer to him as the maker of a generation's mightiest dope music, this is the album they're referring to. But Electric Ladyland is so much more than just background music for chemical intake. Kudos to engineer Eddie Kramer (who supervised the remastering of the original two-track stereo masters for this 1997 reissue on MCA) for taking Hendrix's visions of a soundscape behind his music and giving it all context, experimenting with odd mic techniques, echo, backward tape, flanging, and chorusing, all new techniques at the time, at least the way they're used here. What Hendrix sonically achieved on this record expanded the concept of what could be gotten out of a modern recording studio in much the same manner as Phil Spector had done a decade before with his Wall of Sound. As an album this influential (and as far as influencing a generation of players and beyond, this was his ultimate statement for many), the highlights speak for themselves: "Crosstown Traffic," his reinterpretation of Bob Dylan's "All Along the Watchtower," "Burning of the Midnight Lamp," the spacy "1983...(A Merman I Should Turn to Be)," and "Voodoo Chile (Slight Return)," a landmark in Hendrix's playing. With this double set , Hendrix once again pushed the concept album to new horizons.Review by Cub Koda(allmusic.com)

CD1
1. And The Gods Made Love (1:21)
2. Have You Ever Been (To Electric Ladyland) (2:10)
3. Cross Town Traffic (2:24)
4. Voodoo Chile (15:02)
5. Still Raining, Still Dreaming (4:25)
6. House Burning Down (4:33)
7. All Along The Watchtower (4:03)
8. Voodoo Chile (Slight Return) (5:14)

CD2
1. Little Miss Strange (2:53)
2. Long Hot Summer Night (3:29)
3. Come On (Part 1) (4:12)
4. Gipsy Eyes (3:47)
5. The Burning Of The Midnight Lamp (3:42)
6. Rainy Day, Dream Away (3:41)
7. 1983... (A Merman I Should Turn To Be) (4:49)
8. Moon, Turn The Tides... Gently, Gently Away (9:53)

Part1

Part2

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2008-06-04T19:41:00.002+02:00

Fuzzy Duck - Fuzzy Duck(1971)

320kbps

A much sought-after classic of U.K. underground progressive rock and psychedelia, this was originally issued in a scarce edition of 500 back in 1971. The album reached legendary status by affiliation, as it features Mick Harnsworth of Five Day Week Straw People and Andromeda, and Roy Sharland, a keyboardist who later worked with the Crazy World of Arthur Brown and Spice. This album is classic keyboard-driven British progressive rock in the vein of Soft Machine and Caravan and is well-deserving of reissue. The Arkarma issue features four bonus tracks previously unreleased and excellent repackaging that surpasses the originals for quality.Review by Skip Jansen(allmusic.com)

1. Time Will Be Your Doctor (5:08)
2. Mrs. Prout (6:49)
3. Just Look Around You (4:24)
4. Afternoon Out (5:00)
5. More Than I Am (5:34)
6. Country Boy (6:05)
7. In Our Time (6:41)
8. A Word From Big D (1:42)
9. Double Time Woman (3:01)
10. Big Brass Band (2:59)
11. One More Hour (4:00)
12. No Name Face (3:03)

Part1
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2008-06-04T19:41:00.001+02:00

Nazareth - Play 'N' The Game(1976)

320kbps

Play 'N' the Game found Nazareth continuing in the AOR direction they established with Close Enough for Rock 'n' Roll. Like that album, it trades the driving rock that made the group famous for an experimental sound that toys with several different musical genres. For instance, "Down Home Girl" is a stab at Southern rock, and the group's cover of the Beach Boys classic "Wild Honey" slows down that song's tempo to create an effects-laden psychedelic atmosphere. Elsewhere, the group covers the hard rock bases with "Someone to Roll" and "Born to Love," a pair of energetic, guitar-driven rockers that would have fit in fine on Razamanaz or Loud & Proud. They also cross-breed the energy of these tracks with pop hooks on "L.A. Girls," a nimble bit of pop/rock fusion where speedy guitar riffs duke it out a with handclap-driven pop song beat. However, the undeniable highlights of Play 'N' the Game are its ballads: "I Want to Do Everything for You" is a promise of eternal love built on a swinging and pleasingly earthy bass groove and "I Don't Want to Go on Without You" is a moody tale of lost love that shows off Manny Charlton's ability to craft the soft but powerful guitar riffs necessary for a good power ballad. This album benefits from a more consistent overall sound than Close Enough for Rock 'n' Roll, but its shifts in tone are too abrupt for their own good, making the proceedings come off as a loose collection of songs instead of a fully conceived album. Despite this problem, Play 'N' the Game is an effective slice of AOR that will please the Nazareth fan base.Review by Donald A. Guarisco(allmusic.com)

1. Somebody To Roll (3:55)
2. Down Home Girl (5:04)
3. Flying (4:20)
4. Waiting For The Man (4:53)
5. Born To Love (3:58)
6. I Want To Do Everything For You (4:18)
7. I Don't Want To Go On Without You (3:46)
8. Wild Honey (3:04)
9. L.A. Girls (3:52)
10. Good Love (B-side)(bonus) (3:51)
11. I Don't Want To Go On Without You (Alternate Edit)(bonus) (3:23)
12. Waiting For The Man (Alternate Edit)(bonus) (6:12)
13. Somebody To Roll (Edit)(bonus) (3:30)
14. Born To Love (Edit Version)(bonus) (3:33)

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2008-06-04T19:40:00.001+02:00

Black Widow - Return To The Sabbath(1969)

320kbps

Few albums have undergone such a dramatic transformation in their fortunes as Black Widow's Sacrifice. Best known for so long on the strength of one track ("Come to the Sabbat") on an early-'70s CBS sampler, Sacrifice was for so long the guilty secret of a mere handful of prog fans that it felt like it might never be rediscovered. But it was and, today, no less than three full versions of the seven-song opus are available on CD, the original LP, a spellbinding live version recorded for German TV (with accompanying DVD!), and this, the band's initial 1969 demo. Cut while the group was still known as Pesky Gee!, and working toward the follow-up to its Exclamation Mark debut, it features additional vocalist Kay Garrett alongside the familiar Kip Trevor and, while the lyrics and arrangements are unchanged, there's an urgency to this performance that the vinyl simply cannot match. Added emphasis on sax and organ pushes things hard, while every song is taken just a few beats faster than listeners are accustomed to, to bring a delirium to the performance that is perfectly in keeping with the subject matter. Not even the presence of a little surface noise (the CD was mastered from acetate) can detract from the magnificence of the performance and, if you've spent the last however many years marveling at the Sacrifice that fans know and love, this one will take you even higher.Review by Dave Thompson(allmusic.com)

1. In Ancient Days (9:23)
2. Way To Power (4:08)
3. Come To The Sabbat (4:10)
4. Conjuration (5:52)
5. Seduction (4:40)
6. Attack Of The Demon (3:56)
7. Sacrifice (10:50)

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2008-06-04T19:39:00.001+02:00

Taste - Best of Taste(1969-1970)

320kbps

1. Blister on the Moon (3:26)
2. Leaving Blues (4:16)
3. Sugar Mama (7:15)
4. Same Old Story (3:33)
5. Catfish (8:04)
6. What's Going On (2:48)
7. Railway and Gun (3:38)
8. Morning Sun (2:39)
9. Eat My Words (3:47)
10. I'll Remember (3:02)
11. I'm Moving On (2:30)
12. If The Was Any Longer (2:10)
13. If I Don't Sing, I'll Cry. (2:40)
14. Born on the Wrong Side of Time (4:01)
15. Dual Carriageway Pain (3:13)
16. On The Boards (6:02)
17. It's Happened Before, It'll Happen Again (6:33)
18. Hail (2:35)

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2008-06-04T19:38:00.000+02:00

Message - The Dawn Anew Is Coming(1972)

320kbps

MESSAGE were a mix of British and German musicians whose debut album “The Dawn A New Is Coming” represents one of this music lovers favourite progressive rock recordings of 1972. Musically this album carries for me some allusions to that of NEKTAR I suspect mostly because of the presence of Taff Freeman and his mellotron on the album. This album carries a slight German underground vibe throughout with heavy rolling bass and drum overlayed with harmonic and clear guitar solos. Keyboards are used to mostly fill in the spaces and add atmospheres to the music. I love this albums characteristics and deep mood swings (even in mid flight) with some fantastic musical moments. If you were going to pick up one album this Christmas I would think this one would make the perfect present under the tree.Review by loserboy (progarchives.com)

1. Changes (3:39)
2. The Dawn Anew Is Coming (8:41)
3. Evil Faith And Charity (4:02)
4. Heaven Knows (9:50)
5. When I´m Home (7:43)

Here

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2008-05-06T19:02:00.002+02:00

Buddy Miles - The Best of Buddy Miles(1997)

320kbps

This superb anthology of Buddy Miles' work for the Mercury label includes the Jimi Hendrix-produced "Miss Lady" and "69 Freedom Special," renditions of Neil Young's "Down By the River" and Gregg Allman's "Dreams," and performances of "Them Changes" and "We've Got to Live Together." Review by Jason Ankeny(allmusic.com)

1. Train (4:53)
2. Miss Lady (4:50)
3. 69 Freedom Special (4:44)
4. Texas (7:59)
5. Them Changes (3:21)
6. Dreams (4:54)
7. Memphis Train (2:58)
8. Runaway Child (Little Miss Nothin') (5:01)
9. We Got to Live Together (11:57)
10. Joe Tex (4:59)
11. Don't Keep Me Wondering (2:01)
12. Midnight Rider (3:38)
13. Wholesale Love (2:41)
14. Down By The River (live version) (13:28)

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2008-05-06T19:01:00.002+02:00

Simon & Garfunkel - Bridge Over Troubled Water(1970)

320kbps

Bridge Over Troubled Water was one of the biggest-selling albums of its decade, and it hasn't fallen too far down on the list in years since. Apart from the gospel-flavored title track, which took some evolution to get to what it finally became, however, much of Bridge Over Troubled Water also constitutes a stepping back from the music that Simon & Garfunkel had made on Bookends -- this was mostly because the creative partnership that had formed the body and the motivation for the duo's four prior albums literally consumed itself in the making of Bridge Over Troubled Water. And, ironically, it all grew out of events that went back more than two years, to the hookup between Simon & Garfunkel and film director Mike Nichols on the movie The Graduate. The creative contact between Paul Simon and Nichols had yielded one monster hit ("Mrs. Robinson") and some rejections from the film ("Overs," "Punky's Dilemma"), and also a soundtrack that had greatly broadened the duo's audience; and it had introduced would-be actor Art Garfunkel to Nichols. And, suddenly, Garfunkel was involved in the shooting of Nichols' Catch-22, which took up most of his time for the better part of a year, and Simon was left to his own devices during his partner's absences. Thus, the close collaboration between the two, which had existed in this phase of their lives since 1965, was frayed not just at the edges but down to its very core. The very idea of a concept album such as Bookends had been, even if a concept could have been suggested, was thus out of the question.As it turned out, absent anything as powerful as the sustained first side of Bookends, much of the resulting material here is fine, albeit relatively lightweight: "Baby Driver" with its Jan & Dean-style harmonies and early-'60s rock & roll beat; the upbeat "Cecelia," utilizing the largest array of percussion ever heard on a Simon & Garfunkel song; the live rendition of the Everly Brothers' "Bye Bye Love"; and the reggae beat of "Why Don't You Write Me." Moreover, it was possible to discern a recurring theme on Bridge Over Troubled Water, but this was much more a reflection of the condition of the partnership than a conscious artistic statement -- where Parsley, Sage, Rosemary & Thyme had been built around middle-class teen and post-teen zeitgeist, and Bookends focused on the joys and dangers of growing old, Bridge Over Troubled Water had songs that quietly betrayed the fissures in the partnership: "The Only Living Boy in New York" was Simon's personal account of the isolation he felt on a creative level over Garfunkel's extended absence; "So Long, Frank Lloyd Wright" was a memorial to the architect, written for Garfunkel to sing, but it could just as easily be thought of as a farewell to his longtime collaborator Garfunkel (who had aspirations of being an architect); even "Why Don't You Write Me" was a song about lack of communication that seemed to slot into the division between the two partners.Bridge Over Troubled Water had a lot more in common with the Beatles' Let It Be album than with any prior Simon & Garfunkel release -- except that Simon, in reaching to the bottom of his song bag, along with Garfunkel and producer/engineer Roy Halee, in applying their arranging skills in this dire situation, came up with a transcendent album. The title track was the best example; by some accounts, Garfunkel had insisted that Simon sing "Bridge Over Troubled Water" on first hearing it. The piece evolved in their hands, however, and ultimately benefited from what many regard as the best recorded vocal performance of Garfunkel's career. Similarly, "The Only Living Boy in New York" was an obviously deeply personal song, but Garfunkel managed to add an extraordinary accompaniment to the composer's lead vocal. And there were places where the two were on the same page from the get-go, such as "El Condor Pasa." The overall effect was perhaps the most delicately textured album to close out the 1960s from any major rock act. Comparing other farewells of the same era, either to partnerships or the decade, the Beatles' Let It Be was a flawed, threadbare representation of the group's work, and the Rolling Stones' Let It Bleed, which marked the last musical contributions of Brian Jones and their last new work for their old label, was a nasty, unsettling statement. Bridge Over Troubled Water, at its most ambitious and bold, on its title track, was a quietly reassuring album; at other times, it was personal yet soothing, and at other times, it was just plain fun. Review by Bruce Eder(allmusic.com)

1. Bridge over Troubled Water (4:55)
2. El Condor Pasa (If I Could) (3:09)
3. Cecilia (2:55)
4. Keep the Customer Satisfied (2:38)
5. So Long. Frank Lloyd Wright (3:45)
6. The Boxer (5:13)
7. Baby Driver (3:17)
8. The Only Living Boy in New York (4:02)
9. Why Don't You Write Me (2:46)
10. Bye Bye Love (2:53)
11. Song for the Asking (2:00)
Bonus
12. Feuilles-O (1:45)
13. Bridge Over Troubled Water (4:46)

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2008-05-06T19:00:00.005+02:00

Greenslade - Greenslade(1973)

320kbps

Not long after the disintegration of Colosseum, Greenslade was born, with their inaugural self-titled album whetting the appetites of progressive rock fans worldwide. Dave Greenslade used the group to showcase his illustrious keyboard intricacies alongside Tony Reeves' bass guitar, Andrew McCulloch's predominant percussion work, and Dave Lawson's vocals, all of which made Greenslade a quintessential prog album. The attention almost never veers from David Greenslade's beautiful organ texturing, alternating between hard and delicate patterns while defining the album's pure progressive sound. Reeves' bass riffs are spatial and thorough, complimenting the keyboard runs when needed while falling in behind the music at the proper times. Although the three instrumental pieces ("An English Western," "Melange," and "Sundance") aim the spotlight straight at Greenslade, the vocal tracks are just as worthy. The lyrics are of a simple nature, unlike Yes' brand of fantastical poetry, and they adhere perfectly to the instruments, especially on the sincere "What Are You Doin' to Me." For this project and the rest of Greenslade's albums, Dave Greenslade exchanges the jazz-infused stylishness of his Colosseum days for the complexities of a progressive rock realm, and his transition ends up being faultless. Bedside Manners carries on with the same rich, keyboard-led sound, while another member from Colosseum, guitarist Dave Clempson, joins on for 1974's Spyglass Guest, in which the electronics were noticeably toned down. Review by Mike DeGagne(allmusic.com)

1. Feathered Friends (6:46)
2. An english western (3:27)
3. Drowning Man (5:50)
4. Temple Song (3:34)
5. Melange (7:29)
6. What Are You Doin' To Me (4:44)
7. Sundance (8:44)

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2008-05-06T19:00:00.004+02:00

Procol Harum - Something Magic(1977)

320kbps

Of course , this was the end of that band and punk was exploding int the faces of bands like these. This might have been better advised to release this in another era as the wind had changed and most the prog dinosaurs were looking up their arses (Works - ELP , Tales - Yes , Passion Play - Tull etc....) and this one is no exception. Pompous , bombastic , over- indulgent,pretentious & boring.... but this Procol album gets better marks than the other mentioned above because this sounds so naturally like ......Brooker. This is what the man was born to do , so he is less ridiculous than Emerson , Wakeman , Lord etc.....when going overboard.Review by Sean Trane(progarchives.com)

1. Something Magic (3:34)
2. Skating On Thin Ice (4:47)
3. Wizard Man (2:39)
4. The Mark Of The Claw (4:39)
5. Strangers In Space (6:08)
6. The Worm & The Tree (Part One - Introduction - Menace - Occupation) (7:50)
7. The Worm & The Tree (Part Two - Enervation - Expectancy - Battle) (5:29)
8. The Worm & The Tree (Part Three - Regeneration - Epilogue) (5:20)

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2008-05-06T18:59:00.002+02:00

Albert King - Thursday Night In San Francisco(1968)

320kbps

Recorded live in San Francisco in 1968, here's Albert King pretty much at the top of his game, blasting out tons of great guitar and singing his heart to an appreciative crowd of young hippies. With a tight four-piece road band backing him, King fires up his Flying V and slams down hard on material like Freddie King's "San-Ho-Zay," "you Upset Me Baby," "Call It Stormy Monday," "Crosscut Saw," and "Drifting Blues." This is one of two volumes from the same Fillmore stand and both are absolutely essential to any Albert King collection; in many ways, they're the perfect introduction to this blues giant.Review by Cub Koda(allmusic.com)

1. San-Ho-Zay (0:54)
2. You Upset Me, Baby (4:51)
3. Call It Stormy Monday (8:36)
4. Everyday I Have The Blues (4:16)
5. Drifting Blues (8:04)
6. I've Made Nights By Myself (6:44)
7. Crosscut Saw (3:48)
8. I'm Gonna Move To The Outskirts Of Town (7:40)
9. Ooh-Ee-Baby (7:34)

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2008-05-06T18:57:00.003+02:00

Derek & The Dominoes - The Layla Sessions: 20th Anniversary Edition(1970)

320kbps

This three-CD box did a lot of good for rock reissues, though not necessarily for the Layla & Other Assorted Love Songs album. It was the first high-profile reissue to treat rock with the same respect that scholars had long accorded jazz, going beyond the finished tracks to the outtakes and anything else usable that turned up in the vaults. Getting to that point, however, involved a mistake that compromised the most attractive element of the box, the remastering of the original album. Layla & Other Assorted Love Songs had been a vexation since the dawn of the CD era, its first issue marred by harsh textures and lots of noise, a result of the multiple overdubs on the original album. Then Polygram issued the Eric Clapton box Crossroads in 1988, which included a new remastering of "Layla" and the handful of other songs from the album; in the course of preparing that set, the producers stumbled upon the long-missing multi-tracks from the Layla album sessions. Thus, they had access to all of the outtakes as well as the raw material needed to remix the whole album. That was what they did on this box, rebuilding each song from its original multi-track session recordings on disc one, assembling various unused alternate masters of six of the songs on disc two, and filling up disc three with 76 minutes of studio jamming by the band, divided into four extended tracks. And the result of all of that work was more harsh criticism from the public and reviewers, who felt that the remixed album lacked the Phil Spector-ish Wall of Sound element that had made the original LP a larger-than-life experience. Still, the concept behind the box was sound, and it is possible for the real fan to appreciate the nuances of the playing on the original tracks as never before, and fascinating to hear, say, the newly exposed solo guitar part on "Anyday" or the layers of instruments throughout. The annotation -- featuring detailed recollections by the late Tom Dowd, who engineered the album -- told of precisely how intense, creative, and quick those recordings were. The producers even included copies of the tracking sheets for the individual songs, the notes by the engineer detailing which recorded tracks to use and how and where solos, vocals, guitar harmony, fades, and other elements of the song related to each other when assembling the finished songs. The jams are primarily for the hardcore fan, though they're not bad -- they're of a piece with (but much more interesting than) the "Apple Jam" tracks off of George Harrison's All Things Must Pass (which, coincidentally, comprised the sessions whence the Dominos were spawned). Clapton and Duane Allman take their playing in consistently interesting directions, with Bobby Whitlock's keyboards not far behind and Carl Radle and Jim Gordon providing a rock-steady rhythm section, even if little of the material is as attractive as the songs off of the finished album; besides, it's difficult to complain of being given the opportunity to hear two of the greatest guitarists in the world stretching out for over an hour of spontaneous playing. Each of the jams has a different beat and character, the first being rather blues-soaked, the second rocking harder, the third more laid-back, and the fourth delving into Booker T. & the M.G.'s territory. This set isn't the ultimate, enveloping experience of the Layla album that it could have been -- a couple of years later, Mobile Fidelity released a CD that captured the majesty of the original album much better, and at the end of the 1990s Polygram followed suit as part of the "Clapton Remasters" series -- but it is still a choice listening experience for any hardcore fan of Eric Clapton, Duane Allman or the Allman Brothers, or the Dominos.Review by Bruce Eder(allmusic.com)

Cd1 - Layla & Other Assorted Love Songs
1. I Looked Away (3:04)
2. Bell Bottom Blues (5:02)
3. Keep On Growing (6:21)
4. Nobody Knows You When You're Down And Out (5:00)
5. I Am Yours (3:35)
6. Anyday (6:35)
7. Key To The Highway (9:45)
8. Tell The Truth (6:39)
9. Why Does Love Got To Be So Sad (4:44)
10. Have You Ever Loved a Woman (6:55)
11. Little Wing (5:35)
12. It's Too Late (3:48)
13. Layla (7:05)

CD2 - Jams
14. Jam I (20:00)
15. Jam II (12:26)
16. Jam III (13:28)
17. Jam IV (12:04)
18. Jam V (18:24)

CD3 - Alternate Masters
19. Have You Ever Loved A Woman (Alternate Master #1) (5:58)
20. Have You Ever Loved A Woman (Alternate Master #2) (5:03)
21. Tell The Truth (Jam #1) (9:40)
22. Tell The Truth (Jam #2) (13:51)
23. Mean Old World (Rehearsal) (14:59)
24. Mean Old World (Band Version, Master Take) (3:39)
25. Mean Old World (Duet Version, Master Take) (3:54)
26. (When Things Go Wrong) It Hurts Me Too (Jam) (1:58)
27. Tender love (Incomplete Master) (2:44)
28. It's Too Late (Alternate Master) (3:50)

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2008-05-04T18:02:00.003+02:00

Uriah Heep - Look At Yourself (Deluxe Edition - 1971)

320kbps

The third time proved to be the charm for Uriah Heep: on Look at Yourself, the group perfects its fusion of heavy metal power and prog rock majesty, and the result is one of the best albums in the Heep catalog. The gauntlet is thrown down on the title track, a powerful rocker that layers its relentless hard rock attack with ornate vocal harmonies and quicksilver organ runs before climaxing with a tribal-sounding drum jam. The remainder of Look at Yourself presents an effective blend of gutsy guitar rock and organ-fueled prog excursions. In the rock arena, the gems are "Tears in My Eyes," a powerful rocker driven by an almost rockabilly-style riff that stops midway for a surprising vocal harmony break supported by smooth wah-wah guitar, and "Love Machine," a short, punchy slice of hard rock built on an infectious, stomping rhythm. However, the best track on the album is one of the more prog-oriented ones: "July Morning" starts with a pastoral organ riff, then builds into a heavy yet symphonic rock tune that divides its time between gentle acoustic verses and emotional, organ-fueled choruses before climaxing in a monstrous jam dominated by a swirling Moog synthesizer lead. Special note should also be taken of David Byron's vocal performance; his multi-octave, operatic style was no doubt an influence on later metal vocalists like Rob Halford. All in all, Look at Yourself is both one of Uriah Heep's finest, most cohesive albums and a high point of 1970s heavy metal. [The 2003 Deluxe Edition featured seven bonus tracks culled from studio session outtakes, alternate versions, and BBC sessions.]Review by Donald A. Guarisco(allmusic.com)

1. Look At Yourself (5:11)
2. I Wanna Be Free (4:01)
3. July Morning (10:32)
4. Tears In My Eyes (5:01)
5. Shadows Of Grief (8:39)
6. What Should Be Done (4:13)
7. Love Machine (3:42)
Bonus
8. What's Within My Heart (Out-Take From Look At Yourself Sessions) (5:24)
9. Why (Look At Yourself Out-Take) (11:18)
10. Look At Yourself (Alternative Single Version) (3:19)
11. Tears In My Eyes (Extended Version, Previously Unreleased) (5:38)
12. What Should Be Done (Out-Take, Original Studio Version) (4:26)
13. Look At Yourself (BBC Session, Previously Unreleased) (4:32)
14. What Should Be Done (BBC Session, Previously Unreleased) (3:26)

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2008-05-04T18:02:00.001+02:00

Johnny Winter - The Winter of '88(1988)

320kbps

1. Close to Me (4:35)
2. Rain (5:31)
3. Stranger Blues (4:08)
4. Ain't That Just Like a Woman (3:00)
5. World of Contradictions (4:20)
6. Lightning (5:43)
7. Looking for Trouble (3:58)
8. Show Me (4:46)
9. Anything for Your Love (4:05)
10. Look Away (6:00)
11. Mother Earth (5:51)
12. It'll Be Me (2:30)

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2008-05-04T18:01:00.002+02:00

The Yardbirds - Little Games Sessions & More(1967)

320kbps

In 1967, manager Simon Napier-Bell sold his interests in The Yardbirds to Herman's Hermits pop-svengali Mickie Most. This signalled a near-disaster in terms of musical quality and direction for the guitar-frenzied-experimental and pioneering Yardbirds. Coming off a very-well received US tour and a moderately-commercially successful but historically watershed single, "Happenings Ten Years Time Ago," the Yardbirds needed a sympathetic management and record company position; what they got instead was a slip-shod recording approach and a manager whose only interest was in the single - regarding an album as just an extended platter to market singles with.Jeff Beck had quit, but guitarist Jimmy Page was brimming with technique, sheer fuel and ideas to eagerly lead the Yardbirds with, but his intentions were squandered for the most part, and Keith Relf's interest in the band had started to fade. Recording sessions tended to be first-take or with luck, two takes with an eye on studio time charges and the management's desire to get product out as quickly as possible. The resulting album, "Little Games," was a collection of rushed-takes, demos, and material the band reportedly had not intended for public consumption. Still, the album cover was creative and in-between the sometimes nonsense lyrics and somewhat nasal vocals of Keith Relf, Page, McCarty and newly-inaugurated to the bass guitar Dreja were able to cook musically on several tracks. Sadly the superior music made by this edition of the Yardbirds was on singles and b-sides, the absolutely exquisite "Think About It" and "Puzzles" not appearing on the 12-inch album. While Mickie Most had his way with covers of "Ha Ha Said The Clown" and "Ten Little Indians" by Manfred Mann and Nilsson respectively, the band with the help of Peter Grant more or less self-produced the superior singles and even "Goodnight Sweet Josephine" had some nice licks.Upon the breakup of the Yardbirds into Led Zeppelin and the first incarnation of Renaissance, the sessions for "Little Games" collected dust until brushed off for this 36-track remastered much-expanded 2-disc set. It much better serves the Page-era band, but unfortunately a couple of tracks mentioned by Page in later interviews are missing. "Spanish Blood," a track featuring "Jim McCarty doing his Roger Moore impression on guitar" was apparently not found, or too damaged to recover. One or two other odds and ends also were not used. Still, it's great to have this out for a much better and clearer view of this period of the band, even with the made-up titles by the producer for some studio jams.

CD1
1. Little Games (Stereo Mix) (2:39)
2. Little Soldier Boy (2:44)
3. Puzzles (2:10)
4. I Remember The Night (3:03)
5. Ha Ha Said The Clown (2:30)
6. Ten Little Indians (Vocal) (2:15)
7. Goodnight Sweet Josephine (Ver 1) (2:45)
8. Think About It (3:45)
9. Smile On Me (3:21)
10. White Summer (3:59)
11. Tinker, Tailor, Soldier, Sailor (Vocal) (2:53)
12. 5 Glimpses (Version 1) (4:23)
13. Drinking Muddy Water (Stereo Mix) (2:54)
14. No Excess Baggage (2:39)
15. Stealing Stealing (2:37)
16. Only The Black Rose (2:50)
CD2
1. Little Games (Mono Mix) (2:24)
2. Ten Little Indians (Instrumental) (2:17)
3. Goodnight Sweet Josephine (Version 2) (2:44)
4. Henry's Coming Home [Together] (2:59)
5. Love Mum And Dad [Togeher] (3:50)
6. Together Now (3:05)
7. Shining Where The Sun Has Been (2:54)
8. "Great Shakes" (1:01)
9. You Stole My Love (2:57)
10. White Summer (Acoustic Version) (3:54)
11. Tinker, Tailor, Soldier, Sailor (Instrumental) (2:56)
12. L.S.D. (1:01)
13. Drinking Muddy Water (Mono Mix) (2:52)
14. De Lane Lea Lee (2:35)
15. Glimpses (Version 2) (4:20)
16. Never Mind (2:48)

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2008-05-04T18:01:00.001+02:00

Spooky Tooth - You Broke My Heart So I Busted Your Jaw(1973)

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1. Cotton Growing Man (4:40)
2. Old As I Was Born (4:42)
3. This Time Around (4:09)
4. Holy Water (3:29)
5. Wildfire (4:06)
6. Self Seeking Man (3:49)
7. Times Have Changed (3:53)
8. Moriah (6:25)

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2008-05-04T18:00:00.001+02:00

Double Trouble - Been A Long Time(2001)

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Double Trouble: Tommy Shannon (acoustic guitar, bass); Chris Layton (piano, drums, percussion).Additional personnel includes: Doyle Bramhall II, Dr. John, Lou And Barton, Eric Johnson, Susan Tedeschi, Jonny Lang, Malford Milligan, Willie Nelson, Kenny Wayne Shepherd, Charlie Sexton, Jimmie Vaughan, Reese Wynans, Gordie Johnson, Van Wilks, Denny Freeman, Mark Kazanoff, Bill Willis, Riley Osbourn, Tommy Taylor, Derek O'Brien.You have to give the late guitar legend Stevie Ray Vaughan's rhythm section credit for perseverance. Mitch Mitchell and Noel Redding, the rhythm section of the Jimi Hendrix Experience, never took it upon themselves to continue as a recording entity after their leader's passing. Of course, Double Trouble is buoyed on BEEN A LONG TIME by a host of famous friends who offer impassioned performances to occupy Vaughan's vacated frontman spot.Bassist Tommy Shannon and drummer Chris Layton are as rock-solid here as they ever were backing up their erstwhile leader. They don't spend much time looking back, either. BEEN A LONG TIME isn't really a blues album--rather, it's a bluesy rock album with a decidedly contemporary edge that owes little to Vaughan's sound. Jonny Lang, Susan Tedeschi, Charlie Sexton, and many others lend their voices and guitars to BEEN A LONG TIME, but Double Trouble can take the credit for putting (and keeping) the whole thing together.(cduniverse.com)

1. Cry Sky (5:16)
2. Turn Towards the Mirror (4:25)
3. Say One Thing (4:05)
4. Rock and Roll (3:07)
5. Skyscraper (4:27)
6. In the Middle of the Night (3:05)
7. She's All Right (5:22)
8. Groundhog Day (3:57)
9. In the Garden (3:43)
10. Baby, There's No One Like You (5:11)
11. Hidden Track (0:36)

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2008-05-03T16:55:00.001+02:00

Alvin Lee & Ten Years Later - Ride On(1979)

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German reissue of 1979 album from British blues/rock act. Combine live and studio recordings. Tracks include 'Too Much', 'It's A Gaz' and 'Ride On Cowboy', 'Ain't Nothin' Shakin','Scat Encounter' and more. 2000 release. Standard jewelcase.(cduniverse.com)

1. Ain't Nothin' Shakin' (5:32)
2. Scat Encounter (0:58)
3. Hey Joe (5:59)
4. Going Home (8:48)
5. Too Much (3:53)
6. It's A Gaz (4:03)
7. Ride On Cowboy (3:14)
8. Sittin' Here (4:00)
9. Can't Sleep At Nite (2:31)

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2008-05-03T16:53:00.001+02:00

David Bowie - Bowie at the Beeb (BBC Session 68-72)

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Some collectors might complain that the double-disc Bowie at the Beeb, the first official collection of David Bowie's BBC Radio sessions, isn't complete, yet they likely have bootlegs of this material. All other fans are in for a real treat. Spanning from 1968 to 1972, these recordings find Bowie, if not in his prime, at least at a peak, as he developed from a swinging Carnaby Street pop crooner to swaggering glam rock star. Bowie at the Beeb makes this era come alive. Opening with the lovely, florid "In the Heat of the Morning," the sessions spend time with David the Dandy before he delves into his dramatic heavy rock of the early '70s. That's where guitarist Mick Ronson made his public debut with Bowie at the session that comprises the middle of disc one. This is lean, powerful, terrific music, not as pummeling as The Man Who Sold the World, but it's slightly overshadowed by the session that concludes the first disc. It contains the bulk of rarities here, including the never-released "Looking for a Friend," a rollicking cover of Chuck Berry's "Almost Grown," a version of "It Ain't Easy" where Bowie trades verses with Geoffrey Alexander and George Underwood, and a performance of the exquisite "Bombers." After a pair of songs by just Bowie and Ronson, the second disc finds the Spiders From Mars forming and quickly hitting their stride. Since this disc is largely devoted to recordings from 1972, it's a bit more consistent than the first, and it results in a live Spiders album better than any yet officially released. Bowie at the Beeb may not be revelatory, yet this set is filled with wonderful music that deepens appreciation of Bowie's first great blast of creativity. Any true fan needs it in his collection.Review by Stephen Thomas Erlewine(allmusic.com)

Cd1
1. In The Heat Of The Morning (3:02)
2. London Bye Ta Ta (2:36)
3. Karma Man (3:00)
4. Silly Boy Blue (6:08)
5. Let Me Sleep Beside You (3:17)
6. Janine (3:24)
7. Amsterdam (3:18)
8. God Knows I'm Good (3:36)
9. The Width Of A Circle (5:21)
10. Unwashed And Somewhat Slightly Dazed (5:07)
11. Cygnet Committee (9:07)
12. Memory Of A Free Festival (3:18)
13. Wild Eyed Boy From Freecloud (5:55)
14. Bombers (3:19)
15. Looking For A Friend (3:34)
16. Almost Grown (2:44)
17. Kooks (3:32)
18. It Ain't Easy (2:51)
CD2
1. The Supermen (2:51)
2. Eight Line Poem (2:56)
3. Hang On To Yourself (2:50)
4. Ziggy Stardust (3:22)
5. Queen Bitch (2:59)
6. Waiting For The Man (5:24)
7. Five Years (4:24)
8. White Light/White Heat (3:48)
9. Moonage Daydream (4:58)
10. Hang On To Yourself (2:50)
11. Suffragette City (3:28)
12. Ziggy Stardust (3:24)
13. Starman (4:05)
14. Space Oddity (4:16)
15. Changes (3:29)
16. Oh! You Pretty Things (2:57)
17. Andy Warhol (3:14)
18. Lady Stardust (3:25)
19. Rock 'N' Roll Suicide (3:04)

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2008-05-03T16:52:00.000+02:00

Black Widow - III (1971)

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These guys have sometimes been described as a Black Sabbath-like band, and the name Black Widow itself invites a comparison. Yet if that had any validity at the start of their career, by this, their third album, they really sounded more like solid mid-level British prog rockers than satanic hard rockers. This is really closer to early King Crimson and Emerson, Lake & Palmer territory than Black Sabbath, given their lengthy, shifting compositions; stress on forceful organ and vocal harmonies; substantial jazz, classical, hard guitar rock, and folk influences; and the color supplied by Clive Jones' sax and flute. Not that Black Widow is that close to ELP and King Crimson, and the tunes on III aren't nearly as stick-in-the-brain as the songs penned by those two groups in their early days -- but they're respectable within that style. Perhaps some of their supposed satanic mindset is still evident in the opening three-part epic "The Battle," divided into The Onslaught, If a Man Should Die, and Survival sections. Otherwise that isn't evident, and occasionally the tunes are rather cheerful, as on "The Sun." The lack of annoying stentorian qualities in Kip Trevor's lead vocals removes this further from standard hard rock territory. There are even some traces of Crosby, Stills, Nash & Young to be heard in "Old Man," although it was a bad idea to end that tune with quotes from "Hey Jude."Review by Richie Unterberger(allmusic.com)

1. The Battle (10:54)
2. Accident (4:11)
3. Lonely Man (4:50)
4. The Sun (4:30)
5. King Of Hearts (6:40)
6. Old Man (9:11)

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2008-05-03T16:51:00.000+02:00

Triumvirat - Mediterranean Tales (Across The Waters)(1972)

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Triumvirat was from Cologne, Germany and recorded their debut album Mediterranean Tales (Across The Water) in january, 1972, in just 3 days. It is heavely influenced by The Nice, no doubt about it, but since the very beginning they had a proper personality. Those guys who try to pin them up as a mere ELP clone really don´t know what they´re talking about. The group in general, and Jürgen Fritz in parituclar, had their own sound and quite distintictive. Ok, in Miditerranean Tales that sound was still a bit green, relying a lot in their early influences, and yet, their music is different if you pay a little attention.The general sound is pleasant and interesting, showing some promises that were more than fulfilled by the time they released their second LP, the magnificent Illusions On A Double Dimple. Here the album is a little more dated, sounding a lot like many other keyboards driven bands of the time. Also it made clear that Fritz was no singer. Thank god the vocals duties are shared with bassist Hans Papen (who as not a great vocalist himself, but a lot better than Fritz!). The remaster version includes four extra tracks: two edit versions of Be Home For Tea and Broken Mirror, and two tracks recorded later that year and were only released as singles, Ride In The Night and Sing Me a Song. All four were realsed as A and B sides of singles at the time, the latter two a clearly attempt to reach a more pop market.Conclusion: a good debut for an unknown act at the time. The music still stands, but sounds a little dated, something that would not happen in the next four albums Triumvirat recorded after this one. Good, but definitly non essential.Review Tarcisio Moura(progarchives.com)

1. Across The Waters (16:37)
2. Eleven Kids (6:09)
3. E Minor 5 9 Minor 5 (8:03)
4. Broken Mirror (7:20)
Bonus
5. Be Home for Tea (3:38)
6. Broken Mirror (3:24)
7. Ride in the Night (4:28)
8. Sing me a Song (4:37)

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2008-05-03T16:49:00.002+02:00

Wigwam - Tombstone Valentine(1970)

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Released in 1970, WIGWAM's second album “Tombstone Valentine” uniquely stands on its own as not only a precursor to what was still to come but also a wonderful album bubbling over with soul searching folk/psych/prog leanings. The first few WIGWAM albums are truly wonderful and generally cover a wide range of musical ground. This album is a collection is 11 tracks with a heavy focus on folk-blues-rock songs giving at times allusion to the symphonic prog the later albums would explore. Hard to exactly peg down this album but definitely hear some PROCOL HARUM and a piece of maybe folk-era HOELDERLIN. "Tombstone Valentine" introduced us to new WIGWAM members Jukka Tolonen (guitarist) and bassist/composer Pekka Pohjola. WIGWAM were lead by both Jukka Gustavson (organ, piano) and vocalist England’s Jim Pembroke'. Overall this is an excellent album that showed WIGWAM in early form performing unconventional and original selection of folk/prog and clearly shows a young band searching for a chemistry that began to gel on this album.REVIEWER James Unger(progarchives.com)

1. Tombstone Valentine (3:07)
2. In Gratitude (3:49)
3. Dance Of The Anthropoids (1:07)
4. Frederick & Bill (4:27)
5. Wishful Thinker (3:46)
6. Autograph (2:40)
7. 1936 Lost In The Snow (2:13)
8. Let The World Ramble On (3:22)
9. For America (4:23)
10. Captain Supernatural (3:02)
11. End (3:36)

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2008-05-03T16:49:00.001+02:00

Rare Bird - Rare Bird (1969)

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Great, underrated debut by this British band that featured two keyboardists, a bassist (who also handles the vocals), a drummer, but no guitarist! Instead we get two guys handling the keyboards, Graham Field on organ, and David Kaffinetti on electric piano. The rest of the band was rounded by Steve Gould on vocals and bass, and Mark Ashton on drums. This is a historic album, for it marks the very first album to ever be released on the Charisma label. The band was said to have formed in October 1969, and to have this album released at the beginning of December 1969. Anyway, the album is best known for the song "Sympathy", which became a hit for them on mainland Europe. But you'll also find the band exploring some great prog rock such as "Beautiful Scarlet", "Iceberg", and "God of War". In between are shorter songs like "You Went Away", "Nature's Fruit", "Bird on a Wing", etc. There's a couple of songs I can live without, such as "Times" which sounds like really bad '50s music, but with the organ replacing the piano (Steve Gould tries so hard to be Little Richard here, it's not even funny, that style of music just isn't Rare Bird), and "Melanie", with lyrics a little too mushy for my liking. But the rest is a demonstration of what was great in the earliest days of prog rock.

01. Iceberg - 6:54
02. Times - 3:25
03. You Went Away - 4:40
04. Melanie - 3:29
05. Beautiful Scarlet - 5:44
06. Sympathy - 2:46
07. Natures Fruit - 2:36
08. Bird On A Wing - 4:18
09. God Of War - 2:49

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2008-05-02T22:29:00.000+02:00

Terry Reid - Self Titled(1969)

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Reid's initial pair of albums are very similar, and it's really a toss-up as to which one is better. If either rates a slight edge, it would be Terry Reid, as it finds his songwriting skills slightly more developed. The Donovan influence is again apparent on the cover of the Scotsman's "Superlungs My Supergirl," and "Stay with Me Baby" is another well-done blue-eyed soul showcase. As a songwriter, Reid still had a way to go, sounding better on the gentler, folkier numbers than the all-out power trio numbers. Such unfulfilled promise was understandable to a degree, as Reid was not yet 20 when this was released; unfortunately, he would never significantly expand on the promise of his first two LPs. The CD reissue on BGO adds four bonus cuts from the two rare non-LP singles he recorded in 1967 and 1968, prior to the issue of Bang, Bang You're Terry Reid.Review by Richie Unterberger(allmusic.com)

1. Superlungs My Supergirl (2:42)
2. Silver White Light (2:55)
3. July (3:33)
4. Marking Time (3:47)
5. Stay With Me Baby (4:12)
6. Highway 61 Revisited/Friends (8:00)
7. May Fly (3:43)
8. Speak Now or Forever Hold Your Peace (4:25)
9. Rich Kid Blues (4:15)
10. The Hand Don't Fit the Glove (2:57)
11. This Time (1:52)
12. Better by Far (3:30)
13. Fire's Alive (2:54)

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