Buckingham Nicks - Deluxe Edition - 1975.

A 21 track expanded album collection and including a very comprehensive and informational twelve page color booklet and printable disc label.

Tracklist:
01 - Crying In The Night
02 - Stephanie
03 - Without A Leg To Stand On
04 - Crystal
05 - Long Distance Winner
06 - Don't Let Me Down Again
07 - Django
08 - Races Are Run
09 - Lola (My Love)
10 - Frozen Love
11 - Crying In The Night (Single Version)
12 - Dont Let Me Down Again (Mono Single Edit)
13 - Sorcerer
14 - Garbo
15 - Cathouse Blues
16 - That's Alright
17 - Candlebright (aka Nomad)
18 - Without You
19 - Lola My Love (Live)
20 - Races Are Run (Live)
21 - Rhiannon (Live)

This collection begins with the ten tracks that comprise the self titled album from Buckingham Nicks, their only commercially released album. While the album saw several vinyl issues, spurred on in part by curiosity after Mac became hugely successful, it has never seen any legitimate commercial release in the digital age. Lindsey Buckingham and Stevie Nicks own the full rights to the album and have come close to releasing it several times. Sources close to the pair state that Stevie very much wants it to be released but that Lindsey is the reluctant party.
The source for these tracks as they appear here is the original DLedin 16 bit vinyl rip of the album. This effort is considered to be one of the few consensus “must haves” in the crowded internet music trading pool. This is due not only to the fact that the album has never been released on CD (some bootleggers have made quite a bit of money as a result), but also because the quality of DLedin’s work here is
magnificent. It is significantly better than any of the myriad for profit bootlegs that have materialized over the years. In fact, as bold of a statement as it may seem, there is ample evidence to suggest that a commercial CD release from the original master tape would fail to live up to the lofty aural standard set by the “needledrop”. First off, original album producer Keith Olsen stated that when preparing the digital master for an aborted 1999 release of the work, it was
necessary to bake the master reel due to oxide flaking of the tape. This statement could lead one to assume with some probability that even ten years ago the analog master had suffered some deterioration. Even more compelling evidence can be found by way of two tracks that have seen commercial distribution. The first s “Stephanie” from the promotional compact disc “Lindsey Buckingham Words and Music”. The second is “Long Distance Winner” which appeared on Stevie’s “Enchanted” box set. Please find those tracks and compare them to their corresponding offerings here. The results will speak for themselves.

Tracks eleven and twelve are Galemark vinyl rips of two BN singles. The first,
“Crying in the Night”, is more than a simple remix. The original session for the album track is retained, but is augmented with at least two extra guitar tracks from Lindsey (and/or perhaps session ace Waddy Wachtel) and some additional backing vocals. As a result, the song takes on a more aggressive nature that belies the
album’s laid back SoCal feel. The second single included here is “Don’t Let Me Down Again”. This one is not a rerecording or remix, but simply a single edit which relieves the track of twenty seconds of soloing at the end, making it more “radio friendly”. This drop came from a white label promo 45, having the stereo edit on one side and a mono fold down on the flip side. The mono is chosen here to present the song in it’s full 1970’s AM transistor radio glory!

The next six tracks are demo recordings which have circulated extensively under the misnomer “The Coffee Plant Demos”. This title is in reference to a small storeroom in the San Francisco coffee plant of Lindsey’s father, where they installed a used Ampex four track recorder. “Sorcerer” and “Garbo” are widely reported to have
been written after the couple moved to Los Angeles, and the tapes themselves have several characteristics that allude to them having multiple points of origin.

Speaking of foreshadowing, the last three tracks of this set are fascinating in large part for the way in which they point to the future. This small live set remarkably is not the only live recording that exists of Buckingham Nicks, but is far and away the one with the best quality. Even with a good basic tape to work with, Galemark still had a lot of remastering work to do. The tape suffered many dropouts, not just the fine and complete type, but also large patches of tape where there was mal-alignment, causing fluctuations in the frequency curve. These were corrected or minimized as much as possible.

rapidshare.com:
http://lix.in/-6df48b

Thanks to Quality Dave.

Never Before - The Byrds - Compilation.

The Byrds' early demos recorded at World Pacific Studios by Jim Dickson in 1964 were (I think) first released on "Preflyte" (1969), revealing wonderful things like `You Showed Me' that should have been re-recorded for the first or second albums.

But "Never Before" was the first album to open Columbia's vaults and offered a tantalizing hint of the treasures to be found there. Subsequently these treasures were richly explored on the Boxed Set, and additional gems have come to light on the Expanded Edition reissues of the original albums.

I still have fond memories of "Never Before," and if it were available today at a reasonable price would probably pick it up. However, all or nearly all of its contents are now available elsewhere -- with improved mixes at that -- so you would have to be a pretty dedicated collector to pay top dollar for this.

Though I no longer own "Never Before," the following is to the best of my recollection what is here. Where I am unsure of something I've said so -- and will update this if I can nail a questionable track down.(All references to the Boxed Set are the first [1990] box)

(1) 'Mr. Tambourine Man'
This is a stereo mix of the original monaural single version, which runs 2:16 compared to the 2:29 album mix. (I think both versions are from the same take.) This "Never Before" track is on the Boxed Set; see the Boxed Set reviews if interested in my take on it.

(2) 'I Knew I'd Want You'
The "Never Before" contents list describes this as a "new stereo remix," which implies it is a remix of the Columbia release and not one of World Pacific Studios demos. This song was the flip of the `Tambourine Man' single, so I suspect this stereo remix is also from that single, made at the same time as the `Tambourine Man' stereo remix above.

I can find nothing matching this track's description on the Expanded "Tambourine Man" album or anywhere else. Whatever this is, it appears to remain unique to "Never Before"

(3) 'She Has A Way'
Available on the Boxed Set and Expanded "Tambourine Man".
Boxed Set booklet: "Although this track was first recorded by Jim Dickson as an acoustic demo, this superior second version, using the electric 12-string for the instrumental hook, was recorded during the "Mr. Tambourine Man" LP session, but remained unreleased until its appearance on "Never Before"."

(4) 'It's All Over Now, Baby Blue'
This 1965 unreleased single is available in monaural on the Boxed Set and in stereo on the Expanded "Turn!" album.

(5) 'Never Before'
Available as `The Day Walk' on both the Boxed Set and Expanded "Turn!" album.
Boxed Set booklet: "`The Day Walk' was the original working title of the track later renamed `Never Before' by Gene Clark for the Murray Hill release. This version [Boxed Set] is from the original eight-track master and is presented here for the first time ever in beautiful wide stereo."

(6) 'Eight Miles High' [alternate]
This "previously unreleased" alternate version is probably the same RCA alternate as the bonus track on Expanded "5D" album.

(7) 'Why' [alternate take]
This "previously unreleased" alternate take is a bonus cut on the Expanded "5D" album.

(8) 'Triad'
On the Boxed Set and Expanded "Notorious Byrd Brothers" album. Boxed Set booklet: "This cut, surviving from the Notorious sessions, was the last Byrds recording made with David Crosby's involvement before his departure from the original group."

(9) 'It Happens Each Day'
On the Boxed Set and Expanded "Younger Than Yesterday".
Boxed Set booklet: "org. release "Never Before". Remixed from the original eight-track master, this track is presented here [Boxed Set] for the first time in beautiful wide stereo."
(Too bad this great track was bumped for `Mind Gardens' on "Younger Than Yesterday.")

(10) 'Lady Friend'
This version is apparently still unique to "Never Before" -- though that is not necessarily a good thing.
"All Music Guide To Rock" says of this: "...'Lady Friend,' one of Crosby's best compositions, is ruined by a ham-fisted drum track overdubbed in the 1980s (it was restored to its original version on the Boxed Set)".

Boxed Set booklet: "Remixed from the original eight-track master, this [Boxed Set version] is `Lady Friend's' first appearance in wide true stereo with no additional overdubs."

I think the Boxed Set mix is also used on Expanded "Younger Than Yesterday" and "Essential Byrds". For those who are interested, the original monaural single seems to be on the import album, "The Byrds: Definitive Collection".

(11) 'I Know My Rider'
On the Boxed Set and Expanded "5D". Boxed Set booklet: "Remixed from the original eight-track master for its inclusion here [Boxed Set] in wide true stereo. `Rider' was an out-take from the "5D" Lp sessions."

(12) 'Why' [single version/ stereo mix]
There is a different stereo mix of the 'Why' single on Expanded "5D"; unlike this one, it is faithful to the monaurel mix and is by far the one I prefer.
This "Never Before" mix is on the Boxed Set, where the booklet describes it as "45 version" and "Remixed true stereo version from "Never Before"." (See Boxed Set reviews for a description of this mix and why I do not prefer it.)

(13) 'She Don't Care About Time' [Unreleased Single version]
This version of 'Time' was the flip side of the unreleasd 1965 single 'Baby Blue'. This track is monaural with opening countdown on the Boxed Set, and in stereo without countdown on Expanded "Turn!".

(14) 'Flight 713' [instrumental]
My memory of this track fails me so I can't confirm this but... I suspect this is the instrumental listed as `John Riley - instrumental version 1' on Expanded "5D".
"All Music Guide To Rock" describes the "Never Before" track as "a taut, almost jazzy piece."

[CORRECTION 5/11/06: Johnny Rogan's book "Timeless Flight Revisited" says 'Flight 713' "was discovered at the end of the studio tape for 'Get To You'." This places it in the "Notorious Byrd Brothers" sessions, making it a different work entirely from "5D's" 'John Riley' instrumental. Since 'Flight 713' is not a bonus cut on the Expanded "Notorious" CD, it is apparently still unique to "Never Before". Rogan calls it: "An effective instrumental that might have been developed into a strong song ... a welcome glimpse into McGuinn and Hillman's post-Crosby studio tinkering." Rogan also explains why I don't remember this track: I owned the original vinyl album, and this is among the bonus cuts later added to the CD version.]

(15) 'Psychodrama City'
Available on Boxed Set and Expanded "5D".
Boxed Set booklet: "Remixed from the original eight-track master [for the Boxed Set], this version, actually in demo form, contains the full guitar intro which was deleted from the "Never Before" release. It is also presented for the first time in wide stereo."

(16) 'Don't Make Waves' [Single Version/Stereo Mix]
Title song for movie of same name, this was the flip of the single 'Have You Seen Her Face'. It is a bonus track on Expanded "Younger Than Yesterday."

(17) 'Moog Raga'
Available on Expanded "Notorious Byrd Brothers."

http://sharebee.com/5d4122d2

Released - Jade Warrior - 1971.

It isn't easy to define the music of Jade Warrior. At times they sound like Jethro Tull, but they often venture into jazz-fusion, & then again into an ethnic influence involving primitive percussion sounds,& just to totally confuse matters they sometimes drift into an oriental love ballard.The sheer diversity of their music & the fact that they arose from 1970,[& being well ahead of their time], made them somewhat unique & they remain so even to this day.
Those familiar with an early style called acid rock will enjoy the way-out electric guitar style of the late Tony Duhig especially on the track "Minnamoto's Dream". The Jethro Tull likeness can be heard from the beginning on "Three-Horned Dragon King" the opening track,& again on "Eyes on You",-but there the similarity with other bands ends-,while the beautiful "Bride of Summer" & "Yellow Eyes" have a tranquil far eastern air. The light rock song "Reason to Believe" provides a not so serious interlude before the 14 minute long "Barazinbar" which has an exotic African sounding rhythm that becomes totally hypnotic until it dissipates into a free jazz-like jam, & to round the album off with a bizzare twist "Minnamoto's Dream" reoccurs with a lightly different ending.
It would be fair to say that about half of this album rocks,in the style of the early seventies,and I mean IT ROCKS, the rest of the music is a unique blend of jazz & ethnic influences as well as some oriental themes & a touch of psychadelic. This amazingly diverse & musically rich combination was produced largely by the band's three main members during their early years,Jon Field's flute & percussion,& Glyn Havard's vocal's & bass, together with Duhig's guitar made Jade Warrior a group apart from most other bands at a time when many musical barriers were being broken.
I recommend "Released" as an introduction to Jade Warrior & to anyone wanting to hear a fine example of the band's earlier work.

Track Listings

1. Three horned Dragon King (6:09)
2. Eyes on you (3:05)
3. Bride of Summer (3:19)
4. Water curtain cave (6:28)
5. Minnamoto's dream (5:30)
6. We have reason to believe (3:50)
7. Barazinbar (15:00)
8. Yellow eyes (2:51)
9. Minnamoto's Dream (???)

Total Time: 46:12
Line-up/Musicians

- Tony Duhig / guitar
- Jon Field / flute, congas, percussion
- Glyn Havard / vocals, bass
- Dave Conners / alto & tenor saxes, flute
- Allan Price / drums

http://sharebee.com/a47d9e9e

For Girls Who Grow Plump In The Night - Caravan - 1975.

Caravan welcomed back original keyboardist David Sinclair after his short stint with Matching Mole. Bassist Richard Sinclair left at this time, though, dissatisfied that the rest of the band did not want to continue in the jazz-rock vein of Waterloo Lily. Sinclair was replaced by John Perry (Spreadeagle). Thus, the path was cleared for Caravan to return (for an album, at least) to the basic sound that they had patented with In the Land of Grey and Pink. According to the liner notes, Caravan fans in the early 1970s were a particular lot (even the innocuous newcomer, violist Peter Geoffrey, was greeted by the fans with a mixture of suspicion and hostility); they knew what they wanted and it wasn't jazz fusion. I'm partial to the direction the band took on Waterloo Lily, but I do think that For Girls Who Grow Plump in the Night is another very good Caravan album. It was the last record, though, of the group's most creative period (though far from the last to feature a lame pun).
In fact, For Girls Who Grow Plump in the Night may well be Caravan's most consistently listenable album for me — there's not a single weak track, by my estimates. Every tune seems candy-coated with catchy vocal melodies and the music — the band's most rock-oriented to date — is full of hooks and is quite economical for a band that liked to stretch things out. The "L'Auberge Du Sanglier" suite is weighed down some by the strings and it occasionally labors through its winding 9:46, but that's really the worst I can say. For Girls... is also the most guitar-dominated of any previous Caravan album, contributing to its "rock" feel and also giving it a west-coast (U.S.) jam-band quality in spots. The harmonized "Hoedown," for instance, reminds me of nothing so much as Moby Grape's barn-burning "Hey Grandma." Some of this late-'60s vibe is present elsewhere, like "Surprise, Surprise," and the choruses of "C'thlu Thlu." Everything else is pretty much what fans of earlier Caravan came to know and love.

The 2001 remaster of this album contains over thirty minutes of additional material; unfortunately, all of it is just alternate versions or demos of the music already on the album.

Tracklist:
1. Memory Lain, Hugh/Headloss — 9:19
2. Hoedown — 3:10
3. Surprise, Surprise — 3:45
4. C'thlu Thlu — 6:10
5. The Dog, The Dog, He’s At It Again — 5:53
6. Be Alright/Chance of a Lifetime — 6:38
7. L'Auberge Du Sanglier/A Hunting We Shall Go/Pengola/Backwards/A Hunting We Shall Go (Reprise) — 9:46
8. Memory Lain, Hugh/Headloss (US Mix) — 9:18
9. No! ("Be Alright")/Waffle ("Chance of a Lifetime") — 5:10
10. He Who Smelt It Dealt It ("Memory Lain, Hugh") — 4:43
11. Surprise, Surprise — 3:15
12. Derek's Long Thing — 11:00

total time 78:51

http://rapidshare.com/files/112525499/CARAFOR.rar

The Soft Machine - Selftitled - 1968.

1968 isn't so long ago is it ?

Surviving thus far and having enjoyed more than a passing
association with the Canterbury music scene I seem
to remember Soft Machine with fond affection.
(At my advanced age an old Wolf cannot be quite sure!)

In many ways they were quite unique.

To have their debut album restored to human consciousness
will be a big thrill to all those jaded hippies and bohos
who are still able to gaze upward to the stars and dream.

This was fiercely uncompromising music for those unafraid to listen.
Intelligent; droll; a tad bonkers and very, very English.

'A Certain Kind' finds Bob Wyatt reaching for those top
notes as though his life depended on it. Mr. Ratledge's
churchey organ (A Lowrey Holiday De Luxe no less - and it
was a brave man who chose one of those over a Hammond
I can tell you !!) brings gravitas to the warmly
affecting arrangement. Mr Wyatt also reminds us what a
truly inventive and epic drummer he was.

'Joy Of A Toy' finds life for the first time here (it's
spirit re-emerged a year or so later in Kevin Ayers'
debut solo album of that same name) and gives a small glimpse
of what was to emerge later in the band's progressively
distilled and refined improvisatory methods.

'So Boot If At All' is the kind of jam that many others
(myself included !) were attempting to emulate in garages all
over the kingdom but delivered here with far greater imagination
and alacrity than most of us could ever have hoped to muster.
The drum solo (!!!) is manfully sustained.

'Pricilla' is a strangely fragile one minute lounge-jazz out-take.
There and gone almost as if it hadn't quite existed at all.

Tiny sketches like this crop up elsewhere.
'Plus Belle Qu'une Poubelle' and 'Box 25/4 Lid'
are both willfully obfuscating miniatures.

The additional inclusion of 'Love Makes Sweet Music'
(Soft Machine meets The Monkees !) and the Zappa-esque
'Feelin', Reelin', Sqealin'' are an absolute hoot of a bonus.

Chas Chandler and Tom Wilson's production skills have also
stood the tests of time and emerged with dignity intact.

To have heard 'We Did It Again' (another quasi-Motherly Invention)
is nothing short of an absolute joy !

If you have even just the smallest spirit of adventure
I entreat you to give this wonderful album a listen.

The rewards are rich.

Highly recommended.

01."Hope for Happiness" (Brian Hopper, arr. Robert Wyatt / Mike Ratledge / Kevin Ayers) – 4:21
02."Joy of a Toy" (Ayers / Ratledge) – 2:49
03."Hope for Happiness (reprise)" (B. Hopper, arr. Wyatt / Ratledge / Ayers) – 1:38
04."Why Am I So Short?" (Hugh Hopper / Wyatt) – 1:39
05."So Boot If At All" (Ratlege / Ayers / Wyatt) – 7:25
06."A Certain Kind" (H. Hopper) – 4:11
07."Save Yourself" (Wyatt) – 2:26
08."Priscilla" (Ayers / Ratledge / Wyatt) – 1:03
09."Lullabye Letter" (Ayers) – 4:32
10."We Did It Again" (Ayers) – 3:46
11."Plus Belle qu'une Poubelle" (Ayers) – 1:03
12."Why Are We Sleeping?" (Ayers / Ratledge / Wyatt) – 5:30
13."Box 25/4 Lid" (Ratledge / H. Hopper) – 0:49

http://uploadmirrors.com/download/1JUFE34J/Soft%20Machine.rar

Local Anaesthetic - Nirvana - 1971.

Nirvana had been around the London music scene since the late 60's, creating psychedelia albums of cult status. By the time of recording Local Anaesthetic, Nirvana had slimmed down to a one man project - founder Patrick Campbell-Lyons. In the original album notes that accompany the CD he states that this album marked the real birth of Nirvana, although it was 'mentally un-balanced'. It was released on the Vertigo label, and if you are familiar with the Vertigo band Gracious, then you'll have an idea of how this album sounds. It's composed of 2 tracks, although the second has been broken into it's 5 component parts on the CD track listing. The first track 'Modus Operandi' has been built up from various musical snippets, similar in approach to the first Gracious album. A soft flute passage will suddenly jump into a boogie rock piece, and then cut to some harpsichord, with no real musical theme connecting any of the different elements. This doesn't necessarily have to be a criticism if the different elements grab your attention, but too much of the music in Modus Operandi just passes you by. It should also be said that Patrick isn't a great vocalist. Again not necessarily a criticism in itself, as some of my most favourite singers from the 70's didn't exactly fit the normal classic vocalist role - but the sections with lyrics feel as if they bog down the inventiveness of some of the instrumental passages.

And this theme continues into the second track Home. It starts with some fabulous almost voodoo sounding congo drums. Then stops. And a harpsichord comes in for no obvious reason, followed by Patrick on vocals again. Unfortunately the greater use of vocals and a more structured song based approach actually makes Home the weaker of the two tracks, in my humble opinion.

Tracklist:
1. Modus Operandi (16:15)
2. Home (19:12)

http://rapidshare.com/files/80203690/nir-la.zip.html

Upon Reflection - The Dawn Anthology - Heron.

This 2CD set is truly fantastic. A relatively unknown folk band from England with acoustic guitars, keyboards, and the occasional harmonica and acordian. This is a group of hippies with beautiful voices who made just beautiful music. Nothing to change the foundations of music, but the sunshine and the love for the song is oozing out of this beauty.

Appearently, after the band had got a recording deal, they went into a studio to record a single, and hated the experience. They were used play in much more relaxed and organic settings. So to record their album, they got a mobile recording unit and some good friends and family members, and have set out to record an album in a field on a sunny day. This album, self titled, was released in 1970, and sounds like a timeless classic. Imagine Bert Janech's Pentangle recording with Devendra Banhart circa Nino Rojo, using Crosby Stills and Nash circa their first album for the harmonies, and the aesthetics of Simon & Garfunkle circa Parcley, Sage, Rosemary and Thyme.

You can defenitely hear that this was recorded out in a field and not in a studio. the sound is dirty in all the right places, and includes the sounds of birds chirping.

The first CD of this anthology includes this beautiful album, a 4-song EP from 1971, and some nice outtakes. The 2nd CD contains the group's sophomore and final album, Twice The Nice & Half The Price (the album's title reffers to it being a double album, which was sold for the price of one). It was also recorded in a field, but with a less acoustic setting. There is an extra guitarist, who plays a "clean" electric (plugged straight to the amp with no distortion), and in some songs, there are even some basic drums. This album defenitely holds some precious pearls as well, and is a truly beautiful sunday music, even if it falls a bit short comparing to the pure and simple magic of the first album.

This anthology, 2 CD's which includes the band's two albums, their EP and some outtakes (including the first recordings in the studio), and is the complete output of this short-lived, long-forgotten, but magestically simplistic and timeless band. Many years later the original band members have returned to that field and played a reunion concert which was recorded and released, though I still haven't heard it.

http://rapidshare.com/files/196501060/Upon_Reflection-_The_Dawn_Anthology_Disc_1.rar
http://rapidshare.com/files/196534121/Upon_Reflection-_The_Dawn_Anthology_Disc_2.rar

Happy Halloween! Kiss - The Lost Alive II Album - 1977!

Kiss - The Lost Alive II
1977-04-04, Budokan Hall, Tokyo, Japan, Silver Master Lost Alive II
Exc Soundboard @ 320 Kbps

Every KISS fan knows that Alive! and Alive II weren't 100% live, there was a lot of studio dubbing involved. But this album, The Lost Alive II, is truly KISS live. It was intended to be the official Alive II album but for some reason was shelved and a year later the well-known studio-polished Alive II album was released. This recording also has a different set-list than the official Alive II album. Here you get live recordings of Take Me and Do You Love Me? as well as Cold Gin and Rock N Roll All Nite, which were on the first Alive! album. Perhaps the coolest inclusions are the four demo versions of side 4. They're very close to the finals but some of the solos and background vocals are different. Enjoy and PLAY LOUD!

01 - Detroit Rock City
02 - Take Me
03 - Ladies Room
05 - Makin' Love
06 - I Want You
07 - God Of Thunder
08 - Cold Gin
09 - Beth
10 - Shout It Out Loud
11 - Rock N Roll All Nite
12 - Larger Than Life
13 - Rocket Ride
14 - All American Man
15 - Anyway You Want It
16 - Rockin' in The USA

RAPIDSHARE:
http://rapidshare.com/files/26005716/Kiss_-_The_Lost_Alive_II_Album_1.zip
http://rapidshare.com/files/26009790/Kiss_-_The_Lost_Alive_II_Album_2.zip

Frank Marino & Mahogany Rush - Live - 1978.

Mahogany Rush wasn't as huge a name in 1970s hard rock/heavy metal as Led Zeppelin, Black Sabbath or Deep Purple, but the power trio commanded a loyal, good-sized following and provided its share of five-star albums. One of them is this live album, which was recorded during a U.S. tour in late 1977 and came out on vinyl the following year. Mahogany knew how to burn on stage, and this excellent LP really captures the vitality of its 1970s concerts. No one who is seriously into hard rock and metal should be deprived of hearing singer/guitarist Frank Marino let loose on live versions of "Dragonfly," "Electric Reflections of War" and "The Answer." The band is equally captivating on sweaty performances of Jimi Hendrix's "Purple Haze," Chuck Berry's "Johnny B. Goode" and Muddy Waters' "I'm A King Bee." Some fans were disappointed because Live is a single LP instead of a two-LP set-many of the gems that Mahogany performed on stage in 1977 were omitted. The band cites space limitations as the reason, although one suspects that licensing restrictions had something to do with what was and wasn't included. But while Live may not be the perfect document of Mahogany Rush on stage in the 1970s, it is consistently rewarding and is enthusiastically recommended to hard rockers and metalheads.

On a Personal Note:
The year is 1978, and it is ten minutes before I have to be in senior year high school home room. I am out in the school
parking lot in my '68 Chev Nova, listening to music. I'm listening to Frank Marino and Mahogany Rush Live. My best friend Rob is next to me in his Plymouth Fury, blasting out the same cassette. Across the parking lot, Billy L. is also playing this
cassette at top volume. In my high school class, in my social circle, this was THE album to own. We had all gone to see Aerosmith that year and Mahogany Rush opened for them and blew them, and us, away. Aerosmith seemed so stale and formulaic after we had seen Mahogany Rush almost tear the roof off the auditorium. They were just amazing, so exciting and fast and loud and hard, savage, and cool. So then about ten of us went out the next day and bought this cassette and listened to it constantly. The music here is just awesome, starting with a blistering The Answer (which has a guitar solo that should make any guitarist weep and finishing with an astonishing version of Purple Haze. I got to see Mahogany Rush a few more times in concert and they were always great. They always embarassed the headliners. I saw them open for Nazareth and after Mahogany Rush, Nazareth basically put me to sleep. After seeing Marino stalk the stage, Nazareth just seemed so tame and timid. So, when I
listen to this CD, it just always brings back so many memories of being young, sitting or standing in a hot, crowded auditorium with my friends, watching Marino work out on his guitar as Jim Ayoub played his drums as hard and fast as he could. Purple laser lights pierce the clouds of smoke that envelope us, and we didn't even know at the time that we were having the time of our lives. Now I'm a middle aged workaholic father of two and experiences like that are probably behind me for good. But, I can still listen to this CD and snatch a little of that feeling
back again.

http://link-protector.com/324529/

Dimestore Medicine - Bob Dylan - 1965-1966 Demos and Outs.

Dimestore Medicine
Year of Release: Unkown
Label: Wild Card
Catalog Number: 65

"Collection of 1965/66 studio outtakes. Also contains Don't Look Back performances and Les Crane show including full 15+ minute interview (it's a riot). Great to have it all in once place though. ABSOLUTELY ESSENTIAL! "
" Xlnt package from the folks who brought us the Genuine Basement/Bootleg/Live series. Much of it is familar but it's all top notch, quite a few sound quality upgrades, especially Phantom Engineer and I Wanna Be Your Partner. A real must have, especially for electric '65-66 nuts lik emyself."

Tracklisting:
Disc One
01: Phantom Engineer (1)
02: Sitting On A Barbed Wire Fence (1)
03: I Wanna Be Your Lover (2)
04: Can You Please Crawl Out Your Window? (3)
05: If You Gotta Go, Go Now (4)
06: I Don't Want To Be Your Partner (2)
07: She's Your Lover Now (5)
08: Visions Of Johanna (6)
09: Desolation Row (7)
10: From A Buick 6 (3)
11: Jet Pilot (2)
12: Number One (3)
13: Lunatic Princess Revisited (1)
14: Midnight Train
15: Can You Please Crawl Out Your Window? (7)
16: Visions Of Johanna (6)
17: Tombstone Blues (3)
18: Queen Jane Approximately (3)
19: Like A Rolling Stone (1)

Disc Two
01: Subterranean Homesick Blues (4)
02: You Don't Have To Do That (4)
03: I'll Keep It With Mine (4)
04: It's All Over Now Baby Blue (4)
05: Love Minus Zero/No Limit (4)
06: She Belongs To Me (4)
07: To Ramona (4/30/65, Sheffield) (8)
08: The Lonesome Death Of Hattie Carroll (5/10/65, London) (8)
09: Love Minus Zero/No Limit (5/6/65, Newcastle) (8)
10: It Ain't Me, Babe (5/10/65, London) (8)
11: It's All Over Now, Baby Blue (5/10/65, RAH, London) (8)
12: It's All Over Now, Baby Blue (9)
13: It's Alright Ma (I'm Only Bleeding) (9)

Sources:
(1) Highway 61 sessions - NY, June 15/16 1965
(2) First Hawks session - NY, October 20, 1965
(3) Highway 61 sessions - NY, July 30, 1965
(4) BIABH sessions - NY, January 15, 1965
(5) Blonde On Blonde sessions - January 21, 1966
(6) Second Hawks session, NY - November 30, 1965
(7) Highway 61 sessions - NY, August 2, 1965
(8) Don't Look Back; UK tour, 1965
(9) Les Crane TV show, NY - February 17, 1965

http://lix.in/-5e5bd6

Pampered Menial - Pavlov's Dog - 1975.

Pampered Menial was the first album from Pavlov's Dog, a band produced by Murray Krugman and Sandy Pearlman, the duo behind Blue Oyster Cult. The seven men in this group are revealed in the gatefold holding "Horace," a dog, while three engravings from 1849 by artist Robert Vernon make up the front, back and inside cover. Those paintings are striking, and though the music, mostly written by vocalist David Surkamp, tries hard, it just isn't as captivating as the package which surrounds it. Surkamp sounds like a chick singer, something that wasn't quite in vogue yet — Journey and the Mickey Thomas Starship wouldn't happen for another four years, not until 1979, and even Thomas' hit with the Elvin Bishop Group was a year away, male vocalists were singing in lower registers at this point. With song titles like "Theme From Subway Sue" and "Of Once And Future Kings" the identity that a Blue Oyster Cult maintained was missing here. "Subway Sue" sounding very much like the 80s version of Mott, the band after Ian Hunter took his leave. If you thought Mott's high pitched vocals were out of place and annoying, check out Surkamp's strange warbling. The band itself isn't half bad. "Episode's mellotron, courtesy of Doug Rayburn and Siegfried Carver's violin, provide more than adequate sounds. Carver's sole composition, "Preludin," comes off as one of the best tracks, perhaps because it is an instrumental version of progressive rock that Triumvirat and early Journey were exploring, But when David Surkamp's vocals kick in again on the next tune, like Pavlov's experiments, it makes the listener want to break things, including this record. "Julia" is a mediocre lyric and ok melody, just destroyed by the vocalist who composed it. If this were an instrumental group, the music would be much easier to take. The band provides elegant rock, majestic drums by Mike Safron, additional keyboards by David Hamilton augmenting Rayburn's mellotron and flute, and solid 70s production from Krugman and Pearlman. Lead guitarist Steve Scorfina co-writes a beautiful piece with vocalist Surkamp in "Late November," but its perfection is marred by the whining sounds of the frontman. It is really sad, as there seems to be much potential here, drummer Michael Safron's "Song Dance" another highly creative number. A & R man Mark Spector had some kind of ears, what he was thinking here is anyone's guess. The solid riffs, the wonderful blend of sounds, all destroyed by David Surkamp's forced vocals which sound like some experiment by Pavlov gone awry. The Mott band from Shouting & Pointing infamy should have been put on a stage with Pavlov's Dog to see which act could clear the room first. "Fast Gun" is another solid progressive tune, but without the polish of a Brad Delp or Steve Perry, it just didn't stand a chance. Columbia Records should re-issue an instrumental version of this disc via their Legacy series, the music deserves it.

Tracklisting:
1. Julia
2. Late november
3. Song dance
4. Fast gun
5. Natchez trace
6. Theme from subway Sue
7. Episode
8. Preludin
9. Of once and future kings

http://rapidshare.com/files/114915756/PD_-_PM__320kbps_by_staricco.rar

In The Land of Grey and Pink - Caravan - 1971.

I guess if there was one album to totally represent the quintessential Canterbury progressive rock album of all times one would have to look to "In The Land Of Grey & Pink". David Sinclair's wandering keyboard solo's dominate this album with it's wild collection of prog, jazz and psychy elements. Of course the most talked about CARAVAN track "Nine Feet Underground" (22 Mins) epic track adorns the second side of this masterpiece. Once again GENESIS' producer David Hitchcock was brought in to engineer this album with CARAVAN (so too was "Waterloo Lily"). What I still find amazing is that at the time of release (1971) this album did not ever reach any mentionable UK or USA chart position, unlike neighboring albums like TULL's "Aqualung" (4), SOFT MACHINE's "3rd" (18) or CRIMSON's "Larks Tongues In Aspect" (20). The funny thing is that I personally rate "In The Land Of Grey And Pink" in the same lustrous light as those other great albums. In fact I read somewhere that only last year this album finally reached gold status! Without a question the first few CARAVAN albums are killer prog rock and need to be in your collection.

Studio Album, released in 1971

Songs / Tracks Listing
1. Golf girl (5:05)
2. Winter wine (7:46)
3. Love to love you (and tonight pigs will fly) (3:06)
4. In the land of grey and pink (4:51)
5. Nine feet underground: (22:40)
- Nigel blows a tune
- Love's a friend
- Make it 76
- Dance of the seven paper hankies
- Hold grandad by the nose
- Honest I did!
- Disassociation
- 100% proof

Total Time: 43:28

Bonus tracks on remaster (2001):
6. I Don't Know Its Name (6:12)
7. Aristocracy (3:42)
8. It's Likely To Have A Name Next Week (7:48)
9. Group Girl (5:04)
10. Disassociation / 100% Proof (8:35)

Line-up / Musicians
- Richard Sinclair / bass guitar, acoustic guitar, vocals
- Pye Hastings / electric. guitars, acoustic guitar, vocals
- David Sinclair / organ, piano, mellotron, harmony vocals
- Richard Coughlan / drums, percussion
- Jimmy Hastings / flute, tenor saxophone, piccolo
- David Grinsted / cannon, bell, wind

http://rapidshare.com/files/291070809/Caravan_2nd.rar

Thanks chris H!

We Say Goodbye...Again!

The hardest part of any friendship is when it's time to say goodbye. As much as we might like things to stay the same, change is an inevitable part of life. The universe may seem huge and the rift between friends on opposite sides of the world may seem a great distance. There are many tools available with which we can communicate, but even without these tools there is a secret that only real friends know, and it is this. All the mountains and valleys in the world cannot separate friends whose hearts are as one.

You and I will meet again,
When we're least expecting it,
One day in some far off place,
I will recognize your face,
I won't say goodbye my friend,
For you and I will meet again”

Vaya Con Dios Our Friend!

A Good Friend's Melody

The time soon comes for parting,
And our time is at an end,
The rest of your life is starting,
And we have no time at all to spend.

You knew one day you'd have to go,
But thought you'd have more time.
We can't reverse time's one-way flow,
But at least you'll have this rhyme.

You had your shining moments,
Upon this life's darkened stage,
And in my book of wonderments,
You'll never be just another page.

Like the exploding of a star,
You've changed us in and out,
Your light will travel with us far,
Past when all other lights go out.

Canada Dry - The Rolling Stones - Oct. 2nd, 1997 Edmonton, Alberta!

Commonwealth Stadium, Edmonton, Canada
Ocotober 2, 1997

Label : A Vinyl Gang Product
Catalog : VGP 206

Disc 1
01. Opening
02. Satisfaction
03. It's Only Rock n' Roll
04. B#*ch
05. Let's Spend The NIght Together
06. Rock And A Hard Place
07. Sister Morphine
08. Anybody Seen My Baby
09. 19th Nervous Breakdown
10. Out Of Control
11. Gimme Shelter
12. Miss You
13. Band Introductions

Disc 2
01. All About You
02. Wanna Hold You
03. Little Queenie
04. Crazy Mama
05. The Last Time
06. Sympathy For The Devil
07. Tumbling dice
08. You Got Me Rocking
09. Honky Tonk Women
10. Start Me Up
11. Jumping Jack Flash
12. You can't Always Get What You Want
13. Brown Sugar

Format : MP3
Bitrate : 320 Kbps
Artwork included

I have had the great pleasure of seeing the Stones in my hometown twice this concert being the second occasion. The night air was chilly and the stage set up gargantuous to say the least. The Stones ran through their setlist with an almost conveyor belt ease dropping in songs from every major period of their career.

I can't think of enough superlatives to describe the show! It was incredible, awesome, phenomenal, over the top! Our seats were outstanding - row five on the floor just to the right of center stage. How totally amazing it was to see them so close up - unforgettable!!!

The Stones kicked off the show with the usual numbers; "Satisfaction", "IORR",
"B#*ch","Let´s Spend..."and "Rock And A Hard Place".At this point it was clear that also the Stones,especially Mick, were on a good mood too. Mick thanked us all and told us that the night was not as cold as he had expected. Well, he had all the lights to warm him up...
We also got to hear "Crazy Mama", the second song performed on the satellite stage, instead of Let It Bleed. The CyberVote winner was my absolute favorite Stones song, Gimme Shelter...I was so thrilled to hear them play it live, and Lisa Fischer's voice...WOW!

AND...we got to see the much-anticipated propane cannons - which shot huge flames about 50 feet into the air during Jumpin' Jack Flash.

A very strange and interesting crowd that night. I guess for 60,000 people out to watch a then 30 year old band that should be assumed. My guess is 25% of the people there hadn't been to a concert since their kids were born. 10% of those had dragged their kids out to this show. 50% hadn't been to more than one show a year since they were still popping zits. About 1 in 2 patrons were impaired beyond belief. 24 % were out to enjoy the evening. My friends and I were there for the music. We felt outnumbered. And yes, if you're doing the math, we did make up 1% of the crowd. (hyperbole alert!)

Now while oil may be rising back to an all-time high, concert etiquette has got to be at an all-time low. And getting worse. Let me give you a short-list of the annoyances:

Your ticket has a section, row number and seat...it's not rocket-science to figure out where you're supposed to be sitting. If you don't know where your seat is, recognize that I don't work here and really don't give a sh*t if you find it, except to get you away from me.

While the patron in front of you may like beer, it's unlikely they use it as a cologne. If you can no longer keep your beer in the cup, it's time to stop drinking.

If you're gonna clap, get rhythm.

If you're gonna sing the words out loud, get laryngitis.

It's about $130 cheaper to chat with your girlfriend/boyfriend/bunkmate/significant other/hooker on hire OUTSIDE the venue, than inside. And you'll hear just as much. I'll hear more.

If you talked through the song, don't clap. You're not fooling me and you're only expanding your disrespect to the artist.

By now you might be wondering why this surly b*astard even bothered to head out on that chilly fall evening. Well, I like the music and have great respect for The Stones. To paraphrase Denis Leary; you see this scar on my wrist? I got that when American Idol hit the air.

OK but did I enjoy the show that cold evening long ago?
Hell yes...and I would go again in a second!

http://www.gigasize.com/get.php/230879/CanD_F_CD_1_FLAC.zip
http://www.gigasize.com/get.php/3198268711/CanD_F_CD_2.zip

Artwork:
http://www.gigasize.com/get.php/231840/CanD_Art_Front.JPG
http://www.gigasize.com/get.php/231838/CanD_Art_Back.JPG
http://www.gigasize.com/get.php/231841/CanD_Art_Inner.JPG

Catholic Boy - Jim Carroll Band - 1980.

Rest in Peace, Jim
I am very sad to let you know that Jim Carroll died on September 11, 2009.

This disc is as difficult to classify as its main architect is. Is this a Punk disc? If so, then what's the keyboard guy from Blue Oyster Cult doing playing on a couple of the songs? Is it a straight early 80's Rock album? Not with scorching guitar sounds, unconventional vocals and brutally "street" New York subject matter like this. Is it some sort of hip-hop precurser? No way, although reporting on life in the seedy urban jungle, as this disc does constantly, later became a rap music hallmark. And this Jim Carroll guy--confessional author? bowery poet? former junkie? lead singer of a smokin' band? This disc gives an emphatic "all of the above" answer to these questions. The disc occupies a rare stand-alone subcategory in the Rock world that defies further pigeon-holing, and its intensity and drive make it one of the best things to ever crawl out of New York in the past 22+ years.
Jim's singing is actually 80% Lou Reed-style speak-singing (mostly in tune with the music) , with about 20% of Bob Dylan's "Blonde on Blonde" era phrasing and tendency to change the pitch upward at the end of a phrase thrown in for good measure. The words matter to Jim: his voice is mixed up front, and he speak-sings clearly to make sure you get what he's written. He even repeats the entire lyrics of "Three Sisters" and "People Who Died" twice. The words are funny, thought-provoking, harrowing, surreal and sometimes disturbing. There are lots of strange vignettes taking place on the lower side of New York life. There are clever double meanings and quoteable rejoinders. There are no 'We're Gonna Rock Tonight' songs, no songs about cars, no 'I Want You, Baby' songs--the disc is nearly free of Rock cliches. Here's a witty example of his writing from the song "Three Sisters"---read this and think about whether he's describing a woman, or whether just maybe this 'Miranda' refers to the rights that the police are required to advise to suspects:"Though I don't understand her/I love my sister,her name is Miranda/the boys from Uptown, they can't stand her/ the more she denies them, the more they demand her/ but she just wanna lay in bed all night, reading Raymond Chandler".
The music is clearly Punk-influenced, but this isn't a total screaming thrash-fest, as American early 80's Punk had become. The two-guitars-bass-drums lineup are augmented at times by the afore-mentioned keyboards and even a sax on "City Drops Into the Night". "Day and Night" sounds positively mainstream with its female backing vocals, slow tempo and sythesizer wash, and almost seems out of place with the rest of the material--like maybe the record company wanted a song to promote as a single. The grittier sounds of the guitars prevail in most songs. The tempos are fast, the soloing miminal, and the production packs a solid whallop. "City Drops Into the Night" seems to be about twice as long as it needed to be to make its point, but other than this minor lull, the disc demands your attention and is hard driving right up the the final abrupt cutoff at the end of "Catholic Boy". The match with the lyrics/vocals is exceptionally good.
This is an overlooked but highly recommended disc from the dawn of the 80's that is sure to provide you with riveting listening material for years to come. It's a must for Manhattan-ites and those planning to visit.

"Wicked Gravity" (Jim Carroll) – 4:56
"Three Sisters" (Carroll, Terrell Winn) – 3:19
"Day and Night" (Carroll, Allen Lanier) – 2:22
"Nothing Is True" (Carroll, Brian Linsley) – 3:29
"People Who Died" (Carroll) – 4:59
"City Drops into the Night" (Carroll, Steve Linsley, Brian Linsley) – 7:23
"Crow" (Carroll, Terrell Winn) – 3:02
"It's Too Late" (Carroll, Wayne Woods) – 3:04
"I Want the Angel" (Carroll, Brian Linsley) – 2:49
"Catholic Boy" (Carroll) – 3:03

http://www.megaupload.com/?d=5BSPPYKL

The Orient Express - Self Titled - 1969.

Here's another group from the sixties focusing on exploring the sounds of India and the Middle East. While it's well past a cliche to be doing that, especially by 1969, these folks do it quite well. The Orient Express grabbed a few ethnic acoustic instruments and modal ideas, and set out melding it with the 1967 vintage of the San Fran psych rock ballroom sound (with a hint of Syd Barrett's Floyd too). Along with the sitars, this band tries to play most of the guitar parts as f they are sitars too. Most of the tracks manage to work themselves into a whirling dervish-like frenzy. It's mostly instrumental, but we do get vocals from a fellow that sounds like he's channeling some of the less cuddly Hindu gods.

The first three tracks all work on the wild, strobe lit, sound quite amazingly, while the echoing canvas of "Birds Of India" takes a little more leisure, occasionally slipping into polyrhythmic insanity. "Caravan Of Silk" sound like the perfect music for enter an evil lair in some twisted low-budget (but great) adventure film, and "Azaar" eventually pulls out all the stops for a full frontal assault. Strangely enough the most pop friendly tracks appear near the end, with "For A Moment" and "A Little Star" sounding like tracks tailor made for the left-of-center, freakier radio stations (did AM radio have left of the dial?). With "Cobra Fever," we get a nice come down track along, which could end up in the aforementioned adventure film as the villain is plotting our hero's doom.

There's something mildly exploitative sounding about the Orient Express, but they tend to work up such a head of steam that I really don't care. It's like exotica for the turned on crowd.

Originally from Europe this band moved to the States. Guy Duris was actually born on the Left Bank and later met Golesorkhi, who had been decorated by the Shah of Iran for his drumming and was interested in applying Eastern rhythms to Western music, in Iran. They met Bruno Giet, a Belgian pilot and guitarist, in Paris while travelling around Europe. Soon the three members headed for America and settled in New York's East Village initially but ended up in California where their album was recorded. It's powerful Eastern-influenced psychedelia similar to Kaleidoscope.

Particularly fine examples of their marriage of Eastern and Western music are Train To Bombay and For A Moment. This album is highly recommended. They did not release any singles on Mainstream.
This act should not be confused with Liz Damon's Orient Express, who were from Hawaii and played cabaret music. They issued one album Liz Damon And The Orient Express (Anthem) 1970, and at least three singles: Loneliness Remembers/Quiet Sound (Anthem 51005) 1970, All In All/Walking Backwards Down The Road (Anthem 51006) 1970, and 1900 Yesterday/You're Falling In Love (White Whale ).
Fuzz Acid & Flowers
Highly recommended. Turn on the light show and trip.

01.Fruit of the dessert
02.Dance for me
03.Layla
04.Bird of India
05.Train to Bombat
06.Caravan of silk
07.Azaar
08.For a moment
09.Impulse (42 Drums)
10.A little star

http://www.mirrorcreator.com/files/0LLB2Y95/Orient_Express.rar_links

Shredder - Wackers - 1973.

Shredder began as a side project for head Wackers Bob Segarini and Randy Bishop, but morphed into a full-fledged Wackers album and, ironically, probably the one that best captured their freewheeling live spirit. It also scored their sole hit, Day and Night, which leads off the record. A rollicking end to a true rock ‘n’ roll band.

The Wackers' third album (recorded in 1973 after the band had relocated to Montreal from California) has a distinctly British pop sensibility, both in Randy Bishop's faux-camp vocals and its stripped-down production. "Eventually, Even You Even ... Full DescriptionMe" sounds both like early David Bowie and a template for the Britpop explosion of the 1990s, while the tropical textures of "The Beach Song" recall mid-period Kinks, and "It's My Life" rivals the Raspberries in its pure unashamed pop exuberance.

Recording information: Montreal, Canada (1973).

The Wackers: Kootch Trotchim (guitar, bass guitar); Ernie Earnshaw (drums); Randy Bishop, Robert Segarini, J. P. Lauzon.

Additional personnel: Jerry Mercer (drums); Jack Schaefer, Frankie Hart.

Rolling Stone: "SHREDDER mixes charm and snafu but ends with the best faux-David Bowie ballad of '73, 'Last Dance.'"

Day & Night
Hey Lawdy Lawdy
I'll Believe in You
Put Myself to Sleep
Eventually, Even You Even Me
Coming Apart
It's My Life
Beach Song
Buck Duckdog Memorial Jam
Last Dance

www.megaupload.com/?d=LSRAQJAJ

Wackering Heights - Wackers - 1971.

Guitarist and singer/songwriter Bob Segarini formed the Wackers in 1970 in Montreal, Canada. The artists he pulled together for this new group were guitarist, keyboardist, and bassist Randy Bishop; pianist and guitarist Michael Stull; bassist and guitarist Bill Trochim; and drummer Spencer Earnshaw. After three years, the lineup lost Stull, and drummer Gerry Mercer was brought in to help out. All of the members came into the act with plenty of experience. After recording four albums, the group called it quits in 1974.

The Wackers completed their debut album, Wackering Heights, in 1971 under the Elektra label. Two more albums followed, Hot Wacks and Shredder, each a year apart. In 1974, the group's last year together, Wack 'n' Roll was recorded. That fourth album, created during the slow death of the Wackers, was never to have a release date. Some of the tunes from the group during it lifespan include "I Don't Want My Love Refused," "White House," "No Place for the Children," "Body Go Round," and "Country Queen."

After the group fell apart, each of the members went on with a career in music. Lead singer Bob Segarini stepped into the world of solo performing and recorded several albums of his own.
Produced by Gary Usher of Byrds fame, the Wackers’ 1971 debut was out of step with the heavy (Led Zep) and heavily produced (Pink Floyd) fare in fashion at the time, full of jangly guitars, three-part harmonies and rock ’n’ roll attitude. The predictable result: mediocre sales but great critical acclaim! And, boy, does this record sound good now! I had the vinyl of this wonderful album. Great, great rock and soaring harmonies.

1 Travelin' Time Bishop, Coolidge, Segarini 2:53
2 Body Go Round Segarini 2:58
3 Don't Be Cruel Blackwell, Presley 2:59
4 Country Queen Bishop, Segarini 3:17
5 Strangers Bishop, Segarini 3:29
6 Don't Put Down the Singer Bishop 3:17
7 I Don't Want My Love Refused Segarini, Stull 2:48
8 White House Stull 3:39
9 I Like Bishop, Bishop, Segarini 2:07
10 On the Way Up Bishop, Segarini 3:26
11 Such a Good Thing Bishop, Segarini, Stull 3:14
12 No Place for the Children

http://rapidshare.com/files/174281078/753_Wackers_-_Wackering_Heights__1971_.rar

Love Heals - The Complete Recordings - Colours - 1967.

Colours launched onto the scene in 1968 with a stunningly glorious Psychedelic masterpiece of L.A studio wizardry. A super group before the name was coined, Colours was the brainchild of Gary Montgomery and Jack Dalton, two hard-working, former Motown songwriters who also penned songs for The Turtles, Nino & April and The Moon. This magical mystery tour-de-force of Psychedelic Beatlesque pop also features the talents of Derek & The Dominos bassist Carl Radle. This first-ever CD issue of their long-out-of-print albums (Colours and Atmosphere) is supplemented by long-lost '67 Dalton & Montgomery recordings cut just months before they formed Colours. 1969's Atmosphere features former Beach Boy David Marks around the same time he was a member of The Moon, another band with many connections to Colours. The 16-page colour booklet also includes rare, unpublished photos and comprehensive liner notes that feature the participation of original band members.

I bougnt the LP when it first came out, played it to death, and then spent the next FORTY YEARS searching for it, in LP, cassette, CD, whatever. It never appeared.And then, miracle of miracles, out comes the REAL CD. This was exceptional pop music, and the extensive liner notes will clue you in to the whole history. This is intelligent pop - great arrangements, harmonies and melodies.

I'm taking it with me to the desert island!

From album Colours (1968):
01.Bad Day At Black Rock, Baby - 3:26
02.Love Heals - 2:36
03.Helping You Out - 3:00
04.Where Is She - 2:25
05.Rather Be Me - 3:37
06.I'm Leaving - 2:47
07.Brother Lou's Love Colony - 4:29
08.I Think Of Her (She's On My Mind) - 2:12
09.Lovin' - 1:39
10.Cataleptic - 2:08

`67 Dalton & Montgomery (bonus tracks):
11.Don't You Realize - 1:55
12.Tommorrow's Women - 2:06
13.All At Once - 1:42
14.Right Or Wrong - 1:51
15.She'll Be The One - 2:36
16.She Just Wanted Kisses - 2:07

From album Atmosphere (1969):
17.Angie - 3:17
18.God Please Take My Life - 6:05
19.When Will You Be Coming Home? - 2:28
20.I Tried To Make You Love Me Last Night - 3:31
21.Grey Day - 3:54
22.Smillin' In Toronto - 4:09
23.Hyannis Port Soul (Lost You To The Wind) - 2:18
24.Run Away From Here - 1:59
25.It's Time To Tell You - 4:04
26.Announcement - 1:56
27.I'll Be Your Friend - 2:17
28.You're High - 2:37

Colours:
*Chuck Blackwell (drums, percussion)
*Jack Dalton (guitar)
*Rob Edwards (lead guitar)
*Gary Montgomery (keyboards)
*Carl Radle (bass)

http://lix.in/-53274c

password: xara

Thanx to phrock!

Miss Butters - The Family Tree - 1968.

A Classic of West Coast Psychpop. And a Much Sought after Gem....after The Breakup of San Francisco Garage Groups the Brogues ("Ain't No Miracle Worker"), Most Members Went on to Quicksilver Messenger Service....bassist Bill Whittington Formed the Family Tree with Bob Segarini of the Ratz and the Enigmatic Lee Michaels....the Latter Soon Dropped Out, and a Couple of Innovative Singles for the Mysterious La Based Mira Label Brought them to the Attention of Not Only RCA, but Sunbury Music's Dick Campbell and his Friend and Big Hope, Harry Nilsson....with Input from Harry (At this Time Being Hailed as a Genius by the Beatles Nd Writing Songs for Everyone from the Monkees and the Turtles on Down) the Band Embarked on the Semi-conceptual Album "Miss Butters"....an Amazing Semi-lost Gem of West Coast Psychpop Genius on a Par with Harry Nilsson's Own Records of the Period. Miss Butters is a lost classic from the 60s. It's an amazing record, really, and the real, first rock opera that got lost in the rush of releases of the day. It tells the story of Miss Butters, from birth without a father (He had died out on his farm, before he had a chance to hold his baby girl in his arms) to death (Miss Butters passed away, and we were instructed to write a card) and in between, growing up, becoming a teacher (Mrs. McPheeny would have wanted it that way) and losing in love. It's got great harmonies and nice flashy touches of orchestration.

Tracklist:
1.Birthday/Dirgeday
2.Melancholy Vaudeville Man
3.Any Other Baby
4.Sideshow
5.Mrs. McPheeny
6.Butter's Lament
7.Simple Life
8.Slippin' Thru My Fingers
9.Nine To Three
10.Lesson Book Life
11.Nickelodeon Music
12.Miss Butters
13.The Underture

http://www.megaupload.com/?d=T8Y95WDL

Cellophane Symphony - Tommy James and The Shondells - 1969/70.

Cellophane Symphony, credited to Tommy James & the Shondells, came only seven catalog numbers after the Crimson & Clover album, but oddly got a Top Ten hit in between the four hits that the earlier disc spawned. "Sweet Cherry Wine" is as good a pop song as one will ever hear, hitting the Top Ten in April of 1969, five months after "Do Something to Me" and five months before "Sugar on Sunday," both from Crimson & Clover (though it was the Clique who clicked with their version of "Sugar on Sunday"). This beautiful song, "Sweet Cherry Wine," is the epitome of peace, love, and '60s understanding, with a sound that is very much like TJ's own version of "Sugar on Sunday." The radio attention to a single on the highly experimental Cellophane Symphony is equally extraordinary because the album is very much like Tommy James doing his own Sgt. Pepper's Lonely Hearts Club Band. There are oddities, like side one's closer, "Papa Rolled His Own," which could be "When I'm Sixty Four" meets "You Know My Name, Look up the Number"; two Beatles offbeat ditties; and the almost as wacky "On Behalf of the Entire Staff & Management," which ends side two. In between is some lovely pop music, which one finds after they trip their way through the amazing nine and a half minutes of the title track. The instrumental song "Cellophane Symphony" is early Pink Floyd meets "20,000 Light Years From Home" when the Stones gave Satanic Majesties Request. It is the only title credited to the entire band, followed by two of five Ritchie Cordell/Tommy James co-writes: the poppy and excellent "Makin' Good Time" and the beautiful "Evergreen." Covered in keyboards and acoustic guitar, "Evergreen" is Tommy James being the folky and the pop star, a unique look at this underrated and important artist. It's a perfect setup to "Sweet Cherry Wine," which is the standout track, the subtle intro exploding into a chorus of the best type of anti-war sentiment: "Let's just get along." Pete Lucia writes two songs with James, one being the amazing "Changes," which opens side two, while Mike Vale helps James on "Loved One," making this a very special collection of ten songs wrapped up in a stunning black-and-white psychedelic cover of a hatch shell, empty benches, and cool '60s photography. Though Tommy James is all over the book Bubblegum Music Is the Naked Truth, he is beyond just an artist who hit with that genre. He's an artist whose value is evident on his country album, My Hed, My Bed, and My Red Guitar, as well as other catalog treats, like this disc with its strong compositions "Loved One," "The Love of a Woman," and the Richard Grasso/Tommy James hit that is a true pop classic, "Sweet Cherry Wine."

A1 Cellophane Symphony (9:37)
A2 Makin' Good Time (2:41)
A3 Evergreen (2:07)
A4 Sweet Cherry Wine (3:57)
A5 Papa Rolled His Own (1:46)
B1 Changes (5:36)
B2 Loved One (4:02)
B3 I Know Who I Am (3:25)
B4 The Love Of A Woman (4:29)
B5 On Behalf Of The Entire Staff & Management (3:53)

http://www.megaupload.com/?d=A5V5RWOS

Crimson and Clover - Tommy James and The Shondells - 1969.

Crimson and Clover is a highly underrated album. Not until recently has it begun to garner the recognition it deserves as a forgotten classic. Hopefully someday Crimson and Clover will be mentioned in the same breath as such classic albums as Odessey and Oracle ,Pet Sounds and Forever Changes (Now let's not go overboard!!!). If you honestly dig psychedelic guitars and swirling, distorted keys, pick up a copy of Crimson and Clover on vinyl while they are still fairly cheap. You will be in for a rockin' good treat!

Tracklisting:
A1 Crimson & Clover (5:26)
A2 Kathleen McArthur (2:41)
A3 I Am A Tangerine (3:25)
A4 Do Something To Me (2:28)
B1 Crystal Blue Persuasion (4:01)
B2 Sugar On Sunday (3:19)
B3 Breakaway (2:45)
B4 Smokey Roads (2:39)
B5 I'm Alive (3:12)

http://www.megaupload.com/?d=CKIMRTFJ

Emitt Rhodes - Self-Titled - 1970.

"With My Face On The Floor"
"Somebody Made For Me"
"She's Such A Beauty"
"Long Time No See"
"Lullabye"
"Fresh As A Daisy"
"Live Till You Die"
"Promises I've Made"
"You Take The Dark Out Of The Night"
"You Should Be Ashamed"
"Ever Find Yourself Running"
"You Must Have"

Hawthorne, CA, native Emitt Rhodes made his first mark in the music world in 1967 as the leader of the baroque pop band the Merry-Go-Round. The band achieved some marginal success with the Rhodes-penned "Live" and "You're a Very Lovely Woman," recording one album of Magical Mystery Tour-inspired pop. When the band broke up in 1969, Rhodes set up a home studio in his parents' garage and began his solo career, engineering and playing all instruments himself. The strength of his initial demos, now showing a strong Paul McCartney influence, helped him get signed to ABC/Dunhill. His critically acclaimed, self-titled debut managed to break into the Top 40 in 1971, but pressure from his record company forced him to rush-release a follow-up, Mirror, the same year. Mirror was predictably a lesser effort, barely charting. By the time of the third album, 1973's Farewell to Paradise, Rhodes was running into legal problems with ABC, since he was unable to fulfill his contract, which demanded he deliver a new album every six months. Disillusioned, he retired from the performing side of the business, working instead as an engineer and studio operator for Elektra/Asylum. Though he never released an album since Farewell to Paradise, he continued to write and demo new songs.

Although this probably wasn't meant to be, this album is Emitt Rhodes' definitive statement. Soon after disbanding the Merry Go Round (of "Live" fame) Rhodes scored a solo deal with Dunhill. Rather than recording with a band or using studio musicians (which he did with his first "solo" album American Dream), the multi-instrumentalist decided to build a small, primitive home studio and record the entire affair there, "At Home." The results are, in a word, staggering. Tracks such as "With My Face on the Floor," "Someone Made For Me," and the entire album as a whole showcase Rhodes' genius, and in the end, the songs are probably what most Beatles-maniacs wanted to hear from Paul McCartney's debut album. Rhodes' individuality shines through despite this; the album is a true classic of the period.

Rhodes recorded the album in his home studio. At the time, union rules required that recordings released on major labels must be recorded in proper studios, so the fact that this was a home recording could not be mentioned on the cover. The runout groove of the original LP release on Dunhill Records contained a decorative banner proclaiming, "Recorded at Home." Rhodes wanted to call the album Homecooking, but Dunhill decided to title it Emitt Rhodes.
Rhodes recorded the instruments on a four-track recorder and then approched Dunhill, who gave him a contract. He transferred the four-track instrumental recordings to an eight-track recorder to add the vocals on the four additional channels (and using a better microphone).
The album reached number 29 on the Billboard album chart. The single "Fresh as a Daisy" just missed the top forty. Billboard later called the album one of the "best albums of the decade". The song "Lullabye" was featured in the film The Royal Tenenbaums.
Get it - you won't be disappointed! A true masterwork!

http://rapidshare.com/files/111334412/EmittRhodes.rar.html
Thanx to PPOD.

The Open Mind - selftitled - 1969.

The band was formed in the mid 1960s by four musicians from Putney, South London.
Initially named The Drag Set, they released a little-known single in February 1967"Day and Night"/"Get Out of My Way".

Shortly thereafter, they changed their name to The Open Mind and in July 1969 released a self-titled LP which has since become a highly sought-after collectible.

This band produced one of the finest UK psychedelic albums, which is excellent throughout and hardly contains a bad track.

The music is characterised by some particularly strong psychedelic guitar work and good vocals.

It's impossible really to pull-out particular tracks as highlights - they're almost all equally good.

Fortunately this album was re-released and this has made this classic piece of 60’s Freakbeat much more accessible to collectors of 60’s psychedelia.

The reissue includes their second rare 45 release, which unlike the first wasn't taken from the album and is superb. A blistering 45 with tasty psychedelic fuzz guitar work.

The band, however, is best known for its druggy August 1969 single, "Magic Potion", which did not appear on the album but included in this CD release.

Tracklsting:
01.Dear Louise
02.Try Another Day
03.I Feel the Same Way Too
04.My Mind Cries
05.Can't You See?
06.Thor the Thunder God
07.Horses and Chariots
08.Before My Time
09.Free as the Breeze
10.Girl I'm So Alone
11.Soul and My Will
12.Falling Again
13.Magic Potion [*]
14.Cast a Spell [*]
15.Day and Night [*]
16.Get out of My Way [*]
[*] 45' single releases

The Open Mind:
Mike Brancaccio: Guitar/Vocals
Timothy De Feu: Bass
Phil Fox: Drums
Terry Martin: Guitar/Vocals
*Jon Anderson briefly sang in the band but left before the recordings to form Yes.

http://lix.in/-4a27ee
password: xara

Thanx to phrock!

Space Hymns - Ramases - 1971.

Pop-psych clashes with acid drenched madness to create a superb album of hippy rock with moogs, sitars and guitars to the fore!

There are many rumors and legends regarding Ramases and his wife, Sel; they were from another planet and departed Earth soon after their second album, Glass Top Coffin, was recorded; Ramases believed he was the reincarnation of the ancient Egyptian god; Ramases eventually killed himself in the 90's. With a bunch of stories like these, there was only one label crazy enough to produce this first Ramases album--Vertigo, and they did. With some of what was to become 10CC backing them, Ramases and his wife, who had been struggling to break into the late 60's psychedelic singles market, recorded the first fully-formed realization of his religious/environmentalist/alien vision. It remains today a wholly successful (albeit predictably strange) venture, and if it doesn't fully live up to the bizarre mythology Ramases invented for himself, it's still interesting and compelling to listen to as an artifact from different days.

Spacey sound effects fade into audibility at the beginning of "Life Child," followed by a grooving acoustic guitar riff. When the band kicks in, it really starts grooving, and when the bassist cranks up the overdrive on his amp, it downright rocks. Ramases bitingly spits out a list of humanity's failings as stewards of the earth, mockingly but sadly referring to us all as "life child." After this opener, you know you're in for a pretty entertaining trip. "Oh Mister" is a lot folkier, with Sel's vocals in the background more noticeable. Hand drums give this one a nice groove, and though the lyrics aren't substantial, they reinforce the first track's implication that Ramases is an observer from afar, trying to make sense of the way human civilization works, and why we do the self-contradictory things we do--probably the most fascinating and dominating concept of the entire album. "Oh Mister" also introduces a couple of the elements of Ramases' sound that get a little grating eventually--Sel's vocals are a bit rough; she often sings in unison with Ramases in a nasaly voice, which makes me wish she'd either not sing, or at least pick out a simple harmony part to soften it up a bit. The other thing is that many of the lyrics on the album are repetitions of the same line, which can sometimes seem a bit boring and lazy, though sometimes it works to great effect.

"And the Whole World" is a really hippie-folk apocalyptic ballad, not unlike the Bee Gees' "I Started a Joke," reaching some surprisingly emotionally accessible heights. "Quasar One" seems to be a hymn to the "home world," and features some gnarly backing from the inventive studio musicians. "You're The Only One" is blasted by another review here, since the lyrics repeat "You're the only one, Joe, the only one" over and over. Yeah, if you're not listening closely this is simply annoying. But in the context of Ramases' conceptual framework, the song eerily illustrates that feeling we all get sometimes--the feeling that you are the only one who is really alive, really real--with a creepy immediacy that makes it one of the most effective cuts on the album. The modal, chant-style "Molecular Delusions" is a pretty ominous depiction of Ramases' quite interesting belief that "We are most probably existing on a molecule inside the material of, perhaps, a living thing in the next size up," though it's repetitive and seems to go on a bit too long.

"Balloon" is moderately catchy folk-rock (which didn't stop the single version from disappearing immediately), and "Jesus" is the kind of generic hippie-Christian folk rock (complete with some really un-adventurous rhymes) that you wouldn't really expect from an alien. The album's closer, though, "Journey To The Inside," is one of the most interesting and trippy tracks, full of spacey synthesizers, pulsing with energy. It ends in turbulence, with clips of Ramases extolling some of his mystical beliefs.

In the end, Space Hymns is a very rewarding experience, full of interesting sounds (thanks to the very creative backing of the studio musicians, which adds many layers to the singer's songs) and some excellent ideas. I wish more of it rocked as hard as "Life Child," which ends up being one of the strongest songs on the album--at the very beginning. It's best listened to closely, on headphones or a decent stereo--otherwise, it may seem less interesting, subtly compelling, and sonically-detailed than it actually is. Repertoire's reissue is typical of their sound and packaging quality--excellent remastering, a beautiful digipak booklet with a small poster of the awesome church/spaceship cover art, and 4 bonus tracks, none of which are essential, as is usually the case with bonus tracks. Recommended for adventurous folk rock fans, and people interested in weirder prog and spacey 70's music. Maybe someday Repertoire will release Ramases' second album, Glass Top Coffin, which has never seen CD reissue...we can only hope and wait.

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