Flaming Schoolgirls - The Runaways - 1980.

Year: 1980
Label: Cherry Red [UK]
Bitrate: 128 kb/s

1. Intro
2. Strawberry Fields
3. C'mon
4. Hollywood Cruisin'
5. Blackmail
6. Is It Day or Night?
7. Here Comes the Sun
8. Hollywood Dream
9. Don't Abuse Me
10. I Love Playin' With Fire
11. Secrets

http://rapidshare.com/files/213074052/ThR-_FlS.rar

The Best of The Runaways - 1987.

Year: 1987
Label: Polygram Records
Bitrate: 192 kb/s

1. Cherry Bomb
2. Blackmail
3. I Love Playin' With Fire
4. Born to Be Bad
5. Take It or Leave It
6. Queens of Noise [Live]
7. You Drive Me Wild [Live]
8. School Days
9. Wait for Me
10. Wasted
11. Don't Go Away
12. Waitin' for the Night
13. C'mon

http://rapidshare.com/files/212334364/ThRu.rar

Restless Night - Octopus - 1970.

Fantastic UK psychedelic pop progressive act who really took the "Sgt. Pepper"'s aura to another dimension. "Restless Night" was originally issued on the Penny Farthing label in 1970 and is a wonderful album full of 70's era - pop/psych themes and musical feelings. OCTOPUS blend superb fuzz guitar and organ work all wrapped up with some great lead vocals. This magical little album has been re-issued by "See for Miles" on CD with extra tracks off of their singles (also has been re-mastered). This album also does carry some very unique musical moments and is not in anyway a 100% carbon copy of the Beatles/Sgt Pepper, but realistically does come from the same genre... The parallels are there. The best tune IMHO on the album is the last one "Tide" which is also the longest (5:40) as it allows the instruments to really expand out a bit and gives a bit of symphonia to this psychedelic folk/prog masterpiece. IMHO this is an essential album. OCTOPUS's "Restless Night" is a masterpiece...

Songs / Tracks Listing
1. The River (4:26)
2. Summer (3:05)
3. Council Plans (3:37)
4. Restless Night (4:02)
5. Thief (3:38)
6. Queen and the Pauper (3:39)
7. I Say (1:54)
8. Johns' Rock (2:40)
9. Rainchild (3:05)
10. Tide (5:37)

Total Time: 35:44

+ 4 Bonus Tracks on GTR:
11. Laugh At The Poor Man (3:14)
12. Girlfriend (2:54)
13. The River - single version (3:23)
14. Thief - single version (3:37)

Total Time: 48:52

Originally named The CORTINAS, this mid-60's Hatfield quartet was discovered by The TROGGS' soon-to-be bassist Tony Murray and Nigel Olssen, destined to be Elton JOHN's regular drummer. It is Murray who eventually introduced the band to producer Larry Page, The TROGG's manager, and by 1968 OCTOPUS had earned a support spot to a promising young band called YES. They also got booked into the Marquee Club, toured Europe, shared the stage with HUMBLE PIE and STATUS QUO among others, and in 1970 released a first-rate pop album titled "Restless Night"; unfortunately, however, it failed to attract much enthusiasm outside their hometown. They stuck together for a while and then decided to split up in 1972. Their keyboard player John Cook later joined MUNGO GERRY whereas bassist Nigel Griggs and drummer Malcolm Green, both moving to Australia, eventually became members of SPLIT ENZ.

Thanks to PSYCHSPANIOLOS and CR.

http://rapidshare.com/files/357306868/Octopus.rar

Lucifer's Friend - 1970.

This German hard rock machine, with British belter John Lawton, (later of Uriah Heep) gave birth to one of the best heavy rock albums of the early 70's. From the screaming vocals of "Ride In The Sky" (with its brass opening reminiscent of Zeppelin's "The Immigrant Song" and an almost "thrash metal" riff) to the progressive/hard R&B of "Toxic Shadows", to the lumbering, Sabbathish doom of "Keep Goin", this album never lets up for a second. Fans of Black Sabbath, Uriah Heep, Deep Purple and Led Zeppelin must have this in their collection! Lawton is one of the best singers in hard rock, and the musicianship of the group is tremendous. Very heavy indeed for a 1971 release. The bonus tracks show the more mainstream, rock 'n' rollin' side of the band, but the instrumentals "Horla" and "Satyr's Dance" (taken from B-sides) really cook. Do yourself a large favor and check this one out.

1.Ride The Sky
2.Every Body's Clown
3.Keep Goin'
4.Toxic Shadows
5.Free Baby
6.Baby You're a Liar
7.In the Time of a Job When Mammon was a Yippie
8.Lucifer's Friend
9.Rock'n'Roll Singer
10.Satyr's Dance
11.Horla
12.Our World is a Rock'n'Roll Band
13.Alpenrosen

Play Loud! 320kbps.

http://rapidshare.com/files/76747855/LFlf.part1.rar
http://rapidshare.com/files/76758181/LFlf.part2.rar

Wise After The Event - Anthony Phillips - 1978. (flac)

Whereas Anthony Phillips' debut album The Geese & the Ghost was recorded piecemeal over a period of years, his sophomore set was cut in comparatively record time, a month in fall 1977, just as the first rave reviews for its predecessor hit the stands. It was an invigorating period and Phillips' confidence oozes out of every groove. Without departing from the proto-formula that established Geese among the year's most unexpected treats, Wise After the Event is a far more cohesive set, its highlights sprawling across entire tunes as opposed to the mere passages of before. It lacks, of course, the experimental edge of the earlier album — there is nothing here to eclipse the first time you heard "Chinese Mushroom Cloud," for instance. There may also be too many sensitive ballads cluttering things up — even the best can get a shade samey after a while. But the opening "We're All as We Lie" and the multi-textured title track are both career-enhancing classics, placing Phillips in the same kind of folky-art-prog middle ground as Roy Harper traditionally inhabited. And, as such, Wise After the Event emerges both wise and eventful.

I have loved this album since it was first released - of course I bought it because I am a Genesis fan. But this is something different. I got this and the "Geese" remasters at the same time. Over powering actually. "Geese" came out wonderful. "Wise After the Event" is absolutely stunning! Always a great album, this issue though is the definitive addition as the whole is heard as a single piece of music. The production is world class, and of course that's because of Rupert Hine. He's disgustingly talented. The song "What have you done to my little friends" has always brought tears to my eyes, but this addition is simply stunning.
I am so glad that Anthony sang this album himself. With no disrespect to the former singers on "Geese," Ant's voice folds into the music as was intended.
Superb offering.

FORMAT: FLAC (Image + Log + .Cue + Scans + 5% Recovery)
SIZE: 707 Mb
COUNTRY: UK

Track Listing:

CD1:
1. We're All As We Lie
2. Birdsong And Reprise
3. Moonshooter
4. Wise After The Event
5. Pulling Faces
6. Regrets
7. Greenhouse
8. Paperchase
9. Now What (Are They Doing To My Little Friends?)
10. Squirrel

CD2:
1. We're All As we Lie (link) (Romany's Aria Forwards)
2. Sleeping on an Interstellar Plane (Greenhouse Demo)
3. Paperchase (Instrumental Demo)
4. Birdsong (Instrumental Demo)
5. Moonshooer (CottageTapes Demo)
6. We're all as we lie (Cottage Tapes Demo)
7. Pulling Faces (Cottage Tapes Demo)
8. Squirrel (Instrumental Mix)
9. Wise After the Event (Instrumental Mix)
10. Magic Garden (Solo Piano Mix)
11. We're All as We Lie (7' Single Version)
12. Regrets (Piano Mix)
13. Chinaman (Basic Guitar)
14. Now What (Are They Doing to My Little Friends)? (Instrumental Mix)

http://hotfile.com/dl/16861652/9bac4e5/ANPH78.part1.rar.html
http://hotfile.com/dl/16868240/b3a4280/ANPH78.part2.rar.html
http://hotfile.com/dl/16875138/9692993/ANPH78.part3.rar.html
http://hotfile.com/dl/16882197/57657c0/ANPH78.part4.rar.html

or lossy:
http://narod.ru/disk/start/04.dl1se-narod.yandex.ru/14036808000/hd1234ea481f7174934d6e5cfc4abdd13/Anthony_Phillips1978_1.rar

The Geese and The Ghost - Anthony Phillips - 1976.

This is a piece of art. Maybe not in the sense of a big Beethoven opus or a great Coltrane recording, but in a sense of a great statement of ArtRock from a unique craftsman. Progressive music has been underrated during the last two dacades, but its artistry and imagination somehow trascends generations and reflects a spiritual and artistic urge to tell stories with musical color and imagination. Many Progressive albums are timeless and the work that made them real mirrors an impecable and focused search for creation.

After departing from Genesis almost seven years earlier in 1970, Anthony Phillips released his first solo record, "The Geese and the Ghost, in 1977, although Phillips wasn't the first member of the band to release a solo album (that honor goes to Steve Hackett, who beat Phillips to the punch, by releasing "Voyage of the Acolyte", in 1975). Upon the initial listening of "TG&TG", it would appear the lengthy "sabbatical" Phillips took would cause his musical skills to suffer from a case of "rustitis", but that's far from the truth. On the contrary, the lengthy absence helped him mature his craft, making "Geese..." perhaps one of the most underrated works in all of progressive rock. In practical hindsight, this is a work rich in progressive undertones, with classical influences dominating most of the selections. One listen to the title suites: "The Geese and the Ghost, Parts 1 & 2", will confirm this fact. Joining Phillips on this breathtaking journey, are Genesis mates Mike Rutherford and Phil Collins, whose vocal performances on "Which Way The Wind Blows?" and on "God If I Saw Her Now" are among the best of his career. Speaking of another above-mentioned (ex)-Genesis member, Steve Hackett, whose brother John makes an important contribution to "TG&TG" on flute. Another breathtaking contribution worthy of mention, is Anthony Phillips' vocal performance on another of the few vocal tracks, that being the melancholic "Collections", including the bonus track that closes the CD, the acoustic-driven "Master of Time (Demo Version)". Including the Genesis and solo albums "Wind & Wuthering" and Mike Rutherford's 1980 release "Smallcreep's Day" (on which Phillips guests), "The Geese and the Ghost" is the last true progressive masterwork on which both Collins and Rutherford would have the pleasure of recording before they (along with Tony Banks) would take Genesis in a different musical direction, and not 100% for the better on future releases - 1978's "...And Then There Were Three..." notwithstanding. Since "Geese..." is such a lush and complex work of art, it may take a few listens to grasp all its eccentricities. Catch this "Geese" (or "Goose") soon, before it migrates south, permanently! Oh, and this particular one is THE perfect companion with Steve Hackett's "Spectral Mornings", making both titles as must-haves for your Genesis library.

If you are an enthusiast of groups such as Gryphon, King Crimson, Heron, PFM, Renaissance or any other Progressive relic, you will not regret getting this album. Satisfaction guaranteed.

Songs / Tracks Listing

1. Wind-tales (1:02)
2. Which way the wind blows (5:51)
3. Henry; portraits from Tudor times: (12:11)
i) Fanfare 0:56
ii) Lute's chorus 2:00
iii) Misty battlements 1:15
iv) Henry goes to war 3:36
v) Death of a knight 2:33
vi) Triumphant return 1:46
4. God if I saw her now (4:09)
5. Chinese mushroom cloud (0:46)
6. The geese and the ghost: (15:40)
Part one 8:01 - Part two 7:39
7. Collections (3:07)
8. Sleepfall: the geese fly West (4:33)

Bonus track on Virgin release:
9. Master of time (7:37)

Total Time: 54:56

http://www.megaupload.com/?d=L6JO7RFO

What's Next - Frank Marino and Mahogany Rush - 1980.

This is another CD that I keep in my car because it sounds great cruising down the freeway...and easily one of the Top 10 greatest rock guitar albums ever recorded. And as I said it sounds great to hear "You Got Livin'" while you're stuck in traffic.

I had to weigh "What's Next" against the "Mahogany Rush IV" album as Frank's best because the latter is nearly as good (but in a very different style.) "What's Next" narrowly wins because everything on this album came together flawlessly:
Every song is just great; the production is world-class and simply the best Frank has ever done before or since; his vocals, which (like those of many other guitar-slingers) have never been his strong suit, are exceptionally strong here and perfectly suited for the over-the-top intensity of the material; and the three cover tunes - "Roadhouse Blues," "Rock Me Baby," and "Mona" - are perfect selections to compliment Marino's and are done so powerfully they fairly eclipse the originals.

But overall, the thing that really pushes "What's Next" into 'instant classic' territory is its incredible sense of upbeat, no-compromise, pedal-to-the-metal determination that forms its backbone. It starts with Frank's shout of "Yeah!" at the beginning of track one ("You Got Livin'"), climbs to a heady crescendo in "Something Is Coming Our Way," and doesn't let up until the final tag of "Mona".
Marino was in peak form on this album - you get the distinct impression that he was having a blast recording it - and the result sounds like one of those rare, single-take live sets that succeed in capturing fully the intensity of a concert (e.g. Eric Johnson's "Alien Love Child," Hellborg/Lane/Sipe's "Time Is The Enemy," or UFO's "Strangers In The Night".)

A couple of specific notes:
The harmonica in "Roadhouse Blues" is a perfect addition to the mix - Jim Zeller's playing is brilliant and gutsy and breathes new life into the tune;
The wah pedal is perhaps the single most widely-misused guitar effect in existence, but the point roughly 3/4 into "Something Is Coming Our Way" where Frank kicks in the wah is absolutely sublime. It's like an unspoken order to other guitarists to just throw their wah pedals on the scrap heap.
That track alone is ample reason to get this disc, but that's definitely not a statement to downplay the others - "What's Next" is top-notch from start to finish.

http://rapidshare.com/files/49728055/fmWN.part1.rar
http://rapidshare.com/files/49731532/fmWN.part2.rar

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