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a perfect place for rock music

Updated: 2018-03-18T12:17:46.045+01:00


TEN YEARS AFTER - Alvin Lee & Company (@flac)


Alvin Lee & Company is an album released in 1972 by Ten Years After on their old record label Deram after they had switched to Chrysalis Records. It consists of songs that didn't make it on the older records and a few alternative versions of old songs.

1. "The Sounds" - 4:13
2. "Rock Your Mama" - 3:02
3. "Hold Me Tight" - 2:20
4. "Standing at the Crossroads" (Elmore James, Arthur Johnson)- 4:03
5. "Portable People" - 2:15
6. "Boogie On" - 14:31
7. "Spider in My Web" - 7:19
8. "Hear Me Calling" - 3:48
9. "I'm Going Home" - 3:37

* Alvin Lee - guitar, vocals
* Chick Churchill - organ
* Ric Lee - drums
* Leo Lyons - bass

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NUCLEUS - Solar Plexus (1971) @flac


Ian Carr was working on this project even before the birth of Nucleus, as this was some kind of musical grant from England's Art council and under the patronage of Keith Winter (who incidentally will toy away with a VCS3 on these recordings). But as Carr was composing on a piano, it became clear to him that only Nucleus musicians could play what he was writing. If Ian Carr had only written 5 of 18 tracks over the two first Nucleus albums, he writes all of the material here

The project was to have two totally different themes, toy/expand them and then fused them altogether in the final track. However ambitious this was (especially for the times), this is only partially successful (IMHO) but also produces some great moments. The two themes are presented in the first tracks as Elements I & II, than the first one becomes very funky jazz rock in the second track and in the fifth track and the other element is developed in track 3 (with a great bowed double bass to start of and very subtle eastern music influences to follow) and 4 (Spirit Level is close to Free Jazz but fear not, nothing as Harsh as in KC's Moonchild or Providence, as it stays relatively wise).

But both elements are to be fused into Snakehips' Dream to last for the 15 min+ with an eerie ending on the afore-mentioned VCS3. There are some lengths in the developments and some repetitions, but overall this is yet another great Nucleus recording.

Studio Album, released in 1971

Track Listings

1. Elements I & II (2:12)
2. Changing Times (4:44)
3. Bedrock Deadlock (6:52)
4. Spirit Level (9:20)
5. Torso (6:12)
6. Snakehips Dream (15:16)

Total Time: 44:36


- Ian Carr / trumpet, flugelhorn
- Karl Jenkins / oboe, Baritone Saxophone, E-piano, piano
- Brian Smith / Tenor Saxophone, Soprano saxophone, flute
- Chris Spedding / guitar
- Jeff Clyne / bass, contrabass
- John Marshall / drums, percussion

Guest musicians:
- Kenny Wheeler / trumpet, flugelhorn
- Harry Beckett / trumpet, flugelhorn
- Tony Roberts / Tenor saxophone, bass clarinet
- Ron Matthewson / bass
- Chris Karan / percussion
- Keith Winter / synthesizer

LINK: h!!p://


SAINT JUST - Saint Just (1973) @wv


Hailing from Naples, Italy, Saint Just was initially the trio of singer Jane Sorrenti, guitarist/bassist/singer Antonio Verde, and saxophonist Robert Fix. They envisioned a much grander sound than they could create alone, and thus for their 1973 debut self-titled album, they brought in keyboardist Mario D'Amora, drummer/percussionist Antonio Esposito, and guitarist Gianni Guarracino. This lineup was evidently unstable, for by the time they recorded the La Casa Sul Lago album the following year, only Sorrenti and Verde remained, although Saint Just itself had expanded to a quintet. And even in this form, the group didn't remain on the scene long; not surprising considering the members were pulling in several different directions at once -- improvisational jazz, folk, and classical. Saint Just's two shortest numbers, the delicate "Dolci Momenti," and the folky, fairground flavored title track, wisely didn't mix and match their genres. On the rest of the album, however, the band created extended (each over six minutes long), segmented songs, which provided the space required to explore each style in turn. The epic, ten minute "Il Fiume Inondo'," for example, smoothly slips from classical into folk, then picks up speed and force spinning into improvisational jazz (with stunning work from D'Amora). There's a clean break before the band then launches into prog rock, with the electric guitars and organ now coming to the fore, before the piece returns to its classically styled opening. Each song seems to hold a single musical theme, which undergoes dramatic variations as the piece progresses, with Fix key to the improv jazz segments, and Verde and D'Amora to the classical/folk/prog sections, with Sorrenti adding another stylistic layer on top. On the highly experimental "Trieste Poeta di Corte," she even sallies forth into Yoko Ono territory. Extraordinarily deft arrangements hold the pieces together, allowing the band to sound like escapees from the Canterbury scene one minute and a top-notch jazz unit the next. However, with Fix's departure, and the arrival of a new group of musicians, Saint Just's sound would alter dramatically

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Studio Album, released in 1972

Track Listings

1. Il Fiume Inondo (10:43)
2. Il riveglio (6:16)
3. Dolci Momenti (3:16)
4. Una Bambina (8:02)
5. Trister Peota di Corte (6:19)
6. Saint Just (3:58)

Total Time: 38:34

- Jenny Sorrenti / vocals
- Antonio Verde / classical guitar, bass
- Robert Fix / saxophone
- Mario D'Amora / piano, organ
- Tony Esposito / drums
- Gianni Guarracino / electric guitar

LINK: h!!p://

EAC, log,cue,wv,scans

BRIAN AUGER OBLIVION EXPRESS - Live Oblivion Vol.1&2 (@flac)


Brian Auger (born 18 July 1939, Bihar, India), is a jazz and rock keyboardist, who has specialized in playing the Hammond organ.

A jazz pianist, bandleader, session musician and Hammond B3 player, Auger has played or toured with artists such as Rod Stewart, Tony Williams, Jimi Hendrix, Sonny Boy Williamson, Led Zeppelin, Eric Burdon and others. He has incorporated jazz, early British pop, R&B, soul music and rock, and he has been nominated for a Grammy.

In 1965 Auger formed the group The Steampacket, along with Long John Baldry, Julie Driscoll, Vic Briggs and Rod Stewart. With Driscoll and the band, Trinity, he went on to record several hit singles, notably a cover version of David Ackles' "Road to Cairo" and Bob Dylan's "This Wheel's on Fire", which was featured on Dylan Covered. In 1969 Auger, Driscoll and Trinity appeared performing on the national telecast of "33⅓ Revolutions Per Monkee".

In 1970 he formed Brian Auger's Oblivion Express, shortly after abandoning the abortive "Wassenaar Arrangement" jazz-fusion commune in a small suburb of The Hague. The Oblivion Express served to cultivate several musicians, including future The Average White Band drummers Robbie McIntosh and Steve Ferrone, as well as guitarist Jim Mullen. Likewise, in 1971 he produced and appeared on Mogul Thrash's only album. Two members of that band, Roger Ball and Malcolm Duncan, would also go on to form the Average White Band.

In 1989, Auger was musical director for the thirteen-part film retrospective series "Villa Fantastica", made for German TV. A live recording of the series, Super Jam (1990), features Auger on piano, Pete York on drums, Dick Morrissey on tenor saxophone, Roy Williams on trombone, Harvey Weston on bass guitar, with singers Zoot Money and Maria Muldaur.

Auger toured with blues rocker Eric Burdon in the early 1990s, and recorded the live album Access All Areas with him in 1993. After several projects, including albums with family members, he reformed the Oblivion Express in the late 1990s, with a line-up that eventually featured both his son and daughter.

The Oblivion Express was revived with a 2005 recording and subsequent touring. The group featured Brian Auger, his son Karma Auger on drums, his daughter Savannah Auger on vocals, and Derek Frank on bass.

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GRATEFUL DEAD - Live Dead 1969 (Remaster) @flac


Among the finest of rock's live documents, LIVE DEAD is a snapshot of the Grateful Dead circa 1969, applying the free-jazz lessons of John Coltrane to their finely-tuned, manic, and flowing boogie. It was the first released piece of evidence that the live Dead were a wholly different, multi-headed animal than the one that recorded in the studio. LIVE DEAD was also the culmination of the group's evolution into what'snow considered the vintage San Francisco sound--having perfected it, the Grateful Dead would soon leave it for fresher musical pastures.
While each of LIVE DEAD's selections calls to mind a specific trick from up the band's sleeve, the opening four songs (later dubbed "the holy quartet" by Deadheads) best indicates the Dead's burning trajectory. "Dark Star" lays out a wide-open musical terrain, allowing the band to leap anywhere from its minimalist-riff launching pad and its two verses of T.S. Eliot-inspired psychedelic prose. Here, it is a dark-hued and majestic sea of ambience and intensity. "St. Stephen" explodes like a shiny metallic cloud-burst, Bob Weir's fervent vocals carrying it like a holy torch. "The Eleven", a thunderous fury of a composition based on "The Twelve Days Of Christmas" and played in 11/4 time, continues the rumbling. By the time Pigpen ends the continuous sermon with a raucous sci-fi-R&B take on Bobby "Blue" Bland's "Turn On Your Lovelight", the Dead have seemingly sailed every corner of their musical universe and crash-landed with aplomb.

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LINK: h!!p://


RANDY CALIFORNIA - Kapt. Kopter And The (Fabulous) Twirly Birds - 1972 (,flac)


First, the Jimi thing. Randy California may have influenced him, rather than vice versa. In _Jimi Hendrix Electric Gypsy_, we read about how a young California runaway played in a band with Hendrix for a little while. His name was Randy Wolfe. Since there were two Randy's in the band, Jimi called them Randy Texas and Randy California. The latter went on to form Spirit with Ed Cassidy. Shortly after Jimi's death, Randy C. turned solo, letting his guitar playing burn more than it had in the jazzier Spirit. His first solo album, "Kaptain Kopter and the Fabulous Twirly Birds", is as devout a testament to Hendrix's music as has ever been waxed.

LINK: h!!p://


LUCIFER'S FRIEND - Lucifer's Friend (1970) @flac


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 1970 release.

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LINK: h!!p://


THE SOFT MACHINE - Jet-Propelled Photographs (@flac)


The latest available CD version of a title which has been repackaged and retitled several times over the last 30 years. Recorded in London in April 1967 and produced by the legendary Giorgio Gomelsky, these nine demos feature the original Soft Machine lineup of Robert Wyatt, Kevin Ayers, Mike Ratledge, and Daevid Allen. Although not intended for release, these rough but accomplished performances show the band at their most pop- and song-oriented. Not far removed from Syd Barrett-era Pink Floyd, the jazzy chord changes, unpredictable bursts of scat singing, glib free-association lyrics, ominous buzzing organ, and Robert Wyatt's soulful rasp convey the freewheeling abandon and giddy high spirits that characterized the best early British psychedelia.

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LINK: h!!p://


AUDIENCE - The First Audience Album (1969) @flac


This London quartet recorded their debut album with the large label Polydor (Phillips), but for some reason the record got pulled from the stores soon after its release and is now a much sought-after collector’s item. The album had received a first Cd reissue with the German TRC, but for some reasons, the album was only lasting some 28 minutes. Released again nowadays, the full album is present as well as three bonus tracks, but I am not positive of the legitimacy of this release or its label. Nevertheless it is nice to hear Audience’s debut even if we are far from their next two albums, which are masterpieces of the British proto-prog scene. The lest we can say is that this album is a bit naďve (is that really a flaw) and lacks a bit musical direction (on the other hand, this…), but holds enough charm to allow its weaknesses go easily forgiven.

Audience developed a blues-derived proto-prog that had two main characteristics, guitarist Howard Werth’s voice (which can sound like VdGG and Gnidrolog’s voices) and Keith Gemmell’s many wind instruments. Tracks like the opening Banquet (this has the power of future records), the superb Heaven Was An Island (with its great percussive intro leading to a sizzling sax and wild lyrics), the dreamy Maiden’s Cry (plaintive yet riveting with its sax approaching VdGG’s Jackson), the solemn Leave It Unsaid and a first version of House On The Hill are all excellent tracks indicating the greatness of their future oeuvres.

Other tracks like Poet (cool flute), Waverley Stage Coach (too bluesy), River Boat Queen (weird, not unpleasant but highly surprising with its strings in the background), Harlequin (a bit of a filler), the forgettable and brassy Too Late etc. are slightly weaker

The three bonus tracks do not really hinder the album’s running (except for the closer that is really not of good recording quality - and its origin not explained), but do not add much in value either as they do not range in their better tracks. But in some ways they are related to the song Ebony Variations from their second albums by presenting an underlying jazz facet that surfaces now and again.

Yes this debut is hardly representative of Audience’s blistering and sizzling hard-bluesy prog of their future Friend’s Friend’s Friend and its better-known successor House On The Hill. But if you loved those two albums enough, this one will also please you because the nascent Audience sound is there, with their power musical powers waiting to be unleashed. Because of this album’s quick disappearance from the market, you will find many of the ideas getting a second chance (under different names mostly) over the following two albums, making this album sounds sometimes like a demo.

LINK: h!!p://


AL KOOPER - I Stand Alone & You Never Know Who Your Friends Are (@ flac)


Two landmark albums by legendary multi-instrumentalist, producer and solo artist Al Kooper. Few american musicians have pursued a more diverse or more fascinating career than Kooper. As well as playing organ on Bob Dylan's timeless 'like a rolling stone', having formed Blood Sweat & Tears and produced Lynyrd Skynyrd, Kooper has issued a dozen solo albums. 'i stand alone' (his debut lp, 1968) incorporates soul and pop, jazz and classical elements, making for a seamless and enjoyable whole. As well as covers of 'hey, western union man', 'coloured rain' and 'blue moon of kentucky', Kooper excels with classy originals 'i can love a woman' and 'right now for you'. 'you never know who your friends' are (1969) ups the ante with the brassy 'magic in my socks', the swooping, soulful 'loretta (union turnpike eulogy)', the joyous pop-rock of the title track and extraordinary covers of motown tunes 'too busy thinking about my baby' and 'i don't know why i love you'. Kooper maintains a busy touring and recording schedule to this day and, as all music guide states, he "remains a formidable performing talent, and one of the most inspired and intelligent people in rock music".

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Link: h!!p://

ABSTRACT TRUTH - Silver Trees & Totum (1970) @flac


Abstract Truth (they shunned the prefix of "the" because they didn’t want to sound dogmatic) was the brainchild of one Kenneth Edward Henson (dubbed Ken E Henson by David Marks).

The band Abstract Truth existed only for a very short time, but it was a time of super-creativity. They exploded on to the Durban music scene early in 1969, released 2 studio albums during 1970 (as well as a compilation in the same year!) and, after numerous line-up changes, imploded in 1971.

Tracks from the lone 2 albums by short-lived fuzzy folk/jazz-tinged psych rock combo Abstract Truth -- both from 1970 and combined on a single CD! Abstract Truth managed to spin a pretty sweet and adventurous sound of trippy lyrics, peppering their base of straightforward rock underpinnings with more exotic flavors of flute and sax, hand percussion, and Eastern melodic flourishes! The tunes are a mix of freewheeling, but still catchy original tunes and adapations of established tunes.

LINK: h!!p://

EAC, log, cue, flac, scans 600dpi

Poor is the man!!!


Most of the 2009 (the rest of the year) uploads will be contributed by my dear friend Poor whose taste in music is already legendary... Thanx POOR!!!

Cuby & Blizzards - 3 Originals + 1 (Box 1) @flac


Cuby & the Blizzards are a Dutch blues group that started in 1964. Right from the start they were a big hit in the Netherlands. This band is completely different from another Dutch band in the same time period, Peter & the Blizzards.

In 1967 they toured with Van Morrison (in lieu of his band Them), played with Eddie Boyd, scored a hit with Window of my Eyes and received an Edison award. That year, John Mayall stayed at their farm and the next year they regularly played with the 'king of British blues' Alexis Korner.

The line-up of the band changed regularly, but founders Harry Muskee (vocals) and Eelco Gelling (guitar) remained at the core of the band, despite regular unsuccessful attempts to form other bands. Herman Brood was the pianist shortly in 1967 (which kick-started his career) and again in 1976.

The spelling of the name varies, with 'Cuby' also written as 'QB' and the ampersand (&) also written as 'and' or '+' and the 'and sometimes left out. The spelling 'Cuby + Blizzards' was used on the first albums.

4 albums on 2 CDs

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LINK: h!!p://
Tx Poor!!!

Carlos Santana & Buddy Miles Live (@flac)


For those who love the tradional Santana and are acquainted with the deep-hearted rythm and blues of Buddy Miles this recording represents the combined talents and exhausting efforts of these two great artists into one exhilirating, energized hour of music. The quality of the recording is phenominal; an adventure worth downloading...

1 Marbles - 4:18
2 Lava - 2:13
3 Evil Ways - 6:36
4 Faith Interlude - 2:12
5 Them Changes - 5:51
6 Free Form Funkafide Filth - 24:53

Link; h!!p://

EAC,log,cue,flac,some scans
Thanx Poor!!!

JULIE DRISCOLL - 1969 (@ape) 1971


Surely every album is a labor of love, many are love letters, but few besides Julie Driscoll's 1969 can lay claim to actually being a love affair. Back home after an exhausting series of tours with Brian Auger & the Trinity, Driscoll began composing on her own, then handed a demo of her ongoing work to her manager/producer Giorgio Gomelsky. Impressed, he played it to the eponymous leader of the Keith Tippett Group whose own debut album Gomelsky was currently producing. Tippett was entranced, and Driscoll was equally so when she saw the Tippett Group perform soon after. The pair immediately began working on Driscoll's album together, with Tippett arranging a trio of the songs, contributing piano to half the set, as well lending Driscoll the Tippett Group's brass section. It was a merry affair, also bolstered by guest appearances from Chris Spedding and Blossom Toes. But it was the electricity between Tippett and Driscoll that fired the entire set, for his presence lingers even on the songs he took no part in. The pair married the following year, and the frisson of their meeting is self-evident here as their blindingly different musical styles meld into one before our very ears."Walk Down" shows not the compromises made, but the new directions found, as Tippett embraces Driscoll's folky sound, his breathtaking arrangement shifting between her adulation of folk and rock and his adoration of Stax-styled R&B and free-form jazz. This is true genius at work (and the song Driscoll chose as her wedding march). That was a declaration of love, "Those That We Love" was pure passion, as Tippett's piano and celesta ever so sinuously and sensually interweave themselves around Driscoll's acoustic guitar. And "A New Awakening" was shouting their shared love to the whole world, across another brilliant Tippett arrangement. On this song, Spedding and the band rock their hearts out, while the brass blast out in big-band jazz style overhead. "Leaving It All Behind," in contrast, blends together both traditional and free-form jazz, soul-fired horns, and Driscoll's own acoustic guitar. Tippett, who played on the piece, incorporate segments of one of his own compositions from the Tippett Group's album into the piece. The quartet of numbers without Tippett all have a lovely introspective, yearning quality to them, as if Driscoll is whiling away the time until her love returns home. That feeling is particularly noticeable on the musing "Lullaby" and the caught betwixt and between in "The Choice," whose lyrical indecision will be soon overthrown by Driscoll in real life. To hear this album is to walk into this pair of lovers' private world. But one never feels like one's intruding, so eager are Driscoll and Tippett to share not just their emotions but the musical meeting of their minds.Musicians :Brian Belshaw Guitar (Bass), VocalsMark Charig CornetJeff Clyne BassJim Creegan Guitar, Guitar (Electric)Elton Dean Sax (Alto)Bob Downes FluteJulie Driscoll Guitar (Acoustic), Arranger, VocalsNick Evans TromboneBrian Godding Guitar (Electric), VocalsCarl Jenkins OboeBud Parkes TrumpetBarry Reeves DrumsChris Spedding Guitar (Bass), Guitar (Electric)Keith Tippett Piano, Arranger, CelesteDerek Wadsworth TromboneLink: h!!p://,log,cue,ape,scans[...]

Taste - Live At The Isle Of Wight (@APE)


"It is impossible to convey to anyone who never heard "Taste" on stage how such totally opposed, combative, feuding, contentious, brawling,individually brilliant young musicians could blend into such a perfect gestalt of mind and music whose power, rage, and compassion was both anguish sheer unadulterated delight. The closest we may ever come to understanding and tracing the development of this unique three headed hydra - who became for me and many others one of the greatest live rock/blues in the late 60's -e arly 70's is here in this unprecedented live classic and previously unreleased work. however, for the six tracks recorded here, demonstrate a band at the peak of its abilities. Gallagher's guitar is razor sharp, the bass and drums are interlocked in a perpetual rolling struggle, whilst Gallagher's guitar particularly on "sinner boy" is simply stunning. Get it on your cd' player and get wild with "Taste".

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Track Listings
1. What's Going On?
2. Sugar Mama
3. Morning Sun
4. Sinner Boy
5. I Feel So Good
6. Catfish

LINK: h!!p://


BUDGIE - Never Turn Your Back On A Friend (@flac) 1973


Originally released in 1973 on MCA, Budgie's third record, Never Turn Your Back on a Friend, was another slab of the band's signature plodding metal sound. Although they were never more than a cult band in the U.S., Budgie's popularity flourished in their native England, yet their influence was eventually felt by many notable American bands (Metallica, Soundgarden, Alice in Chains, etc.). The mammoth riffs created by guitarist Tony Bourge are definitely on par with Black Sabbath riff master Tony Iommi, while vocalist/bassist Burke Shelley's voice is a cross between Robert Plant and early Geddy Lee. Drummers came and went (this would be original member Ray Phillips' last recording), but you'd never guess there would be a defection soon, judging from the tightness and interplay displayed on this album. One of their best-known tracks, "Breadfan" (later covered by Metallica), kicks off the album with rapid, almost speed metal, while the epic "Parents" closes the album sans the heavy metal thunder (the band chooses a more mid-paced and acoustic sound). The group also became notorious for coming up with profound (yet lighthearted) song titles, such as "In the Grip of a Tyrefitter's Hand" and "You're the Biggest Thing Since Powdered Milk." Recommended to anyone who finds solace in the metal forefathers (Sabbath, Zep, Hendrix, etc.).

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Tracks :
1 Breadfan 6:10
2 Baby Please Don't Go 5:30
3 You Know I'll Always Love You 2:15
4 You're the Biggest Thing Since Powdered Milk 8:50
5 In the Grip of a Tyrefitter's Hand 6:29
6 Riding My Nightmare 2:42
7 Parents 10:25

LINK: h!!p://


BULDOZER - Pljuni istini u oci (@flac) 1975


"BULDOŽER was formed in early 1975 in Ljubljana, present Slovenia, when an avant-garde singer/songwriter Marko Brecelj joined the band SEDEM SVETLOBNIH LET ("Seven Light Years") led by guitarist and lead vocalist Boris Bele. Apart from them, the original line-up included keyboardist/composer Borut Činč, bassist Andrej Veble, lead guitarist Uroš Lovšin and drummer Štefan Jež.

They released their debut album "Pljuni istini u oci" in December 1975 to shocking reactions of the public and music business authorities due to its twisted black humor filled with sarcasm, satire and touching "sensitive" issues of drugs or pornography. They also utilized the Zappa-like stage freak-out performances and ridiculed some generally accepted morals of the so-called socialist state of Yugoslavia. The cover sleeve of this album was designed as a magazine sheet (similar to JETHRO TULL's "Thick As A Brick") filled with funny and ridiculous social vignettes and some pornographic cartoons. After the first circulation was sold out, the recording label PGP RTB refused to print more copies.

In 1976 they recorded the second album "Zabranjeno plakatirati" but due to their label's policy (the band had to modify their lyrics if they wanted to release the record) it was released only in late 1977, when they joined their hometown label Helidon. In the meantime, the rhythm section changed, so the bassist Vili Bertok and drummer Tone Dimnik participated in studio sessions. Brecelj left the band in 1979 to pursue solo career, while Bele-led BULDOZER embraced then popular punk and new wave aesthetics to gain enormous popularity across ex-Yugoslavia.

First two albums "Pljuni istini u oči" and "Zabranjeno plakatirati" are essential for avant-prog listeners who like slightly psychedelic moments with Hammond organ and "acid" guitar solos. Their lyrics and performance are quite anarchic and close to RIO movement. "Izlog jeftinih slatkiša" is a diverse collection of more accessible songs ranging from punk aggressiveness to pure psychedelic moments, while "Noč" presents a refreshed band of the 1990s that is also worth checking out. (SSF)

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LINK: h!!p://
EAC, log,cue,flac,full scans
Thanx POOR!!!

DAEVID ALLEN - Eat Me Baby I'm A Jelly Bean (@flac)


"Daevid returns to his roots with this fresh bebop album on which he sings some of his favourite classic jazz standards with a powerful, grooving, eloquent and emotional quartet of master jazz musicians including Gong's Didier Malherbe and master drummer N'dugu Chancler. The playing is of the very highest standard and Daevid's new and re-written lyrics are pure alien. Just joyful throughout.I still think Salt Peanuts could have been sung as Flying Teapot! Flying Teapot!Read Daevid's CD booklet notes :Daevid AllenEat Me Baby Booklet Notes: Daevid Allen15th October, 1998THANX POOR!!!In 1955 I was sweet seventeen, living in Australia & profoundly into bebop. My heroes were Thelonius Sphere Monk, Sonny Rollins, Charlie Mingus & of course Bird, Diz & Miles. Maybe for a true black culture purist it was politically incorrect but I also enjoyed Dave Brubeck & Paul Desmond, Gerry Mulligan and Stan Kenton. And then there were also the early vocal scat singers like Roy Kraal & Jackie Cain and the outrageous Woody Herman Big Band.One day in a Melbourne second hand records box I discovered a strange album that was to be a future psychic signpost pointing to a luminous green planet called Gong. It was a Sun Ra Cosmick Arkestra album.Every night I drifted off to sleep to the sound of Kim Bonython's late jazz program on ABC radio & it was on one of these shows that I first heard of a singer named Bobby Troupe. His album sported arrangements for four assorted saxophones- a gorgeous thick sound -quite radical for mid fifties ears. It was not until much later that I realised he had penned the famed hit: 'Route 66'.Bobby had also rewritten the words of the songs to suit himself, a true free spirit & worthy role model. I was particularly amused by his version of I CAN'T GET STARTED & it stayed in my mind for years. T'was only natural that, 42 years later, I should in turn rewrite his version to suit myself & include it amongst my tributes to my musical mentors.IN 1997 I was a nifty fifty nine & passing thru a summery LA on my way to a Gong tour of Europe, Japan, USA & UK. Our US agent Shawn Ahearn had set up a gig for his Japanese jazz singer wife Sami Kaneda at Steamer's jazz cafe and she and her band (which included ex Miles Davis drummer: Ndugu Chancler & a spectacular russian classical pianist turned jazzman: Eugene Maslov) were running hot!Spontaneously invited by Sami to sit in for a couple of songs I found an instant rapport with the band. I flashed that if ever I was to do an album singing jazz standards as a tribute to the music that had put me onto my life path, this had to be the band to do it with. So I called my friend & designer Peter Hartl in Austria & asked if he would lend me the loot to leap the first hurdle. He was sweetly cool. Go!So two days later we met at the Stagg Street studios at Van Nuys and with a second Austrian, the renown jazz producer: Franz Putsch at the controls, magic immediately happened. By the end of the afternoon we had the whole album down.Several vocals were finished then but others would be rewritten & thus resung. Space was allotted for Didier Malherbe's sax parts to be added at the end of the US Gong tour. The results were my delight. As I caught my plane for London I was over the bananaluna...Two months later there was spare evening during the Gong tour for Didier's sax parts but no money to pay the studio. To my profound relief, Dr Wolf Thandoy the eminent motorologist lent us the lolly bless his parts. Didier (whose musical roots were exactly parallel to mine) was in his elemental. The final step was to add the a[...]

The History Of Rock And Roll (Video)


Serving as an introduction for neophytes and a refresher course for experts, The History of Rock and Roll is a mammoth and, when considered on its own terms, frequently successful undertaking. The series, which was first presented in 1995, consumes some 578 minutes, with 10 episodes (there are no bonus features) spread out over five discs. Its pedigree (executive producers include Quincy Jones, while respected writers Peter Guralnick and Greil Marcus are listed as consultants) is impressive, as is its scope, beginning in the pre-rock days of bluesman Muddy Waters and boogie woogie master Louis Jordan and continuing through the death of Kurt Cobain and the birth of the Lollapalooza festival in the mid-1990s. Along the way, dozens of big-name performers (with the notable exception of the Beatles) are on hand to lead us through the story.Episode One: Rock `n' Roll Explodes* With or Without You - U2* Wild Think - Jimi Hendrix* Money Honey - Elvis Presley* Born to Run - Bruce Springsteen* Billie Jean - Michael Jackson* Shut `Em Down - Public Enemy* I Just Want to Make Love to You - the Rolling Stones* Got My Mojo Working - Muddy Waters* Hey, Good Looking - Hank Williams Sr.* That'll be the Day - Buddy Holly* Mama, He Treats Your Daughter Mean - Ruth Brown* Caldonia - Louis Jordon & the Tympani 5* Shake, Rattle & Roll - Big Joe Turner* I Got a Woman - Ray Charles* Bo Diddley - Bo Diddley* Blue Monday - Fats Domino* Maybellene - Chuck Berry* Reddy Teddy - Little Richard* Tutti Frutti - Little Richard* Rock Around the Clock - Bill Haley & the Comets 2008Episode Two: Good Rockin' Tonight* Roll Over Beethoven - Chuck Berry* Lucille - Little Richard* How Much is that Doggy in the Window - Patti Page* Hound Dog - Elvis Presley* Don't Be Cruel - Elvis Presley* Blue Suede Shoes - Carl Perkins* Whole Lotta Shakin' Going On - Jerry Lee Lewis* Oh, Boy! - Buddy Holly & the Crickets* Bye Bye Love - the Everly Brothers* Only the Lonely (Know How I Feel) - Roy Orbison* At the Hop - Danny and the Juniors* Words of Love - Buddy Holly* Calendar Girl - Neil Sedaka* You've Lost that Lovin' Feeling - the Righteous Brothers* Be My Baby - The Ronettes* Searchin' - the Coasters* Stand By Me - Ben E. King* The Twist - Chubby Checker 2008Episode Three: Britain Invades, America Fights Back* Twist and Shout - the Beatles* I Get Around - the Beach Boys* The Way You Do the Things You Do - the Temptations* Don't Let the Sun Catch You Crying - Gerry & the Pacemakers* House of the Rising Sun - the Animals* Needles and Pins - the Searchers* Around and Around - the Rolling Stones* Satisfaction - the Rolling Stones* I'm Into Something Good - Herman's Hermits* A World Without Love - Peter and Gordon* You Really Got Me - the Kinks* As Tears Go By - Marianne Faithful* You Can't Hurry Love - the Supremes* Do You Believe In Magic? - The Lovin' Spoonful* Good Lovin' - the Young Rascals* Turn! Turn! Turn! - The Byrds* Creeque Alley - Mama and Papas* Can't Explain - the Who* Carrie-Anne - the Hollies* Keep on Running - the Spencer Davis Group (featuring Steve Winwood)* Paint It Black - the Rolling Stones[...]

Masters Apprentices - Choice Cuts + Toast To Panama Red (@flac)


2 original classic Aussie MASTERS APPRENTICES albums on 1 CD

This album is great from start to finish. Master's Apprentices' early albums are good 60's beat, but "Choice Cuts" and "Toast to Panama Red" hold their own with any early 70's hard rock bands, bar none. Progressive, mammoth riffs, great melodies. Definitely worth listening and worth the five star rating ( A Toast To...)

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LINK: h!!p://


Partet (@flac)


bossa/jazz/blues band from Split, CroatiaPartet - a non-specified number (par --> couple, few) of people playing together (quartet, quintet, fewtet, coupletet --> Partet). A band from Split, Croatia which performs wide stylistic spectrum of music - jazz, blues, bossa nova, country. The first concert was held in the Puppet Theater in Split 26th 12. 2006. Since then the band regularly performed in various combinations. In addition to the musicians who play today, Partet has cooperated also with Nilla Axelsson - violin, Zvonimir Matić - bass guitar, a keyboard player Darko Aljinović and Sinisa Kovacic - Mr. Chemistry on the alto saxophone.Band members:...Jasenka Markov Anterich (vocal, flute)Graduated her flute studies in 2003. in the class of prof. Ana Domančić - Krstulović at the Arts Academy University of Split. In 2008 completed training for the Baroque flute (traverso) at the Scuola di Musica Antica di Venezia by prof. Stefano Bet. She engaged in singing in "The Skelligs", where she also played tin whistle and flute. She is a member of jazz band SplitMinders. ...Goran Cetinich - Kocha (guitar, vocal) He plays acoustic guitar by selflearned special fingerpicking style. Since year 2000 played with band "3C", between years 2004 & 2006 he played with band Skelligs (traditional Irish Music). He is the active member of the cult band Otprilike Ovako and has been colaborated with many other bands (Black Cat Bone, Little Pigeons Forhill Blues, Lokva...). ...Ivan Bozicevich (piano) Composer, arranger, organist, jazz musician. After initial piano studies, joins the composition class of A. Obradović at the Belgrade Faculty of Music. Graduates in 1984, earns a Master's degree in 1989. Until 2001 occupies a teaching post for Harmony, Counterpoint and Analysis there and at the Academy of Arts in Novi Sad. Since December 2001 lives in Split, Croatia, as a free-lance artist....Nenad Bego (bass) Born on May 13, 1957, in Split, Croatia. His musical education began at the age of 7, and his career as a professional musician started at the age of 17, playing the bass guitar and double bass with the groups "Delfini", "Anima Singers", "Split Quintet" and "Pro Arte".While working at the Faculty of Electrical Engineering in the early 80s, Nenad combined his interests in the electronics and music, at that time he began working as a studio producer ("Osmi putnik"), as well as a studio musician. During the 80s he played with the bands "Tutti Frutti", "Zivi zid", "Kineski zid" and "Josko Banov orchestra"In the end of the 80s his spiritual aspirations shifted him abroad. At that period Nenad had intensively cooperated with "Gauranga Bhajan Band", accepted the spiritual name Narasimhavapu das, and took brahmana initiation in Mayapur, India in 1992. During the war in Croatia, he founded the Vedic Center in Split. He also became a member of the Croatian Navy Orchestra, until its partial disbandance after the war.During the second half of the 90s Nenad continued his concert activities and recorded as a member of backing bands for Tedi Spalato, Zorica Kondja, Meri Cetinic, etc. In the period after 2000, he opened his own studio, and played as backing musician for Giulliano, Marjan Ban and Lvky.Today Nenad plays in bands "SplitMinders", "The Aliens" and “Partet”. The rest of the time he composes his own music. During his career, he took part in approximately 1000 pop-rock, jazz and classical concerts, innumerous gigs, and recorded more than 1000 minutes of published music....Andrej [...]

Leonard Cohen - The Essential Leonard Cohen 2 CD (@flac)


"This two-disc retrospective traces the Canadian bard's musical maturity from poet and novelist who sang a little to multidimensional artist whose oracular vocals and increasingly rich arrangements are every bit as compelling as his verse. Even when Cohen came to prominence through the 1960s songcraft of "Suzanne" and "Bird on a Wire," the "folksinger" tag never really fit. Later highlights ranging from the deadpan drollery of "Tower of Song" and "Everybody Knows" to the apocalyptic anthemry of "First We Take Manhattan" and "Democracy" suggest that other labels might be more appropriate: cabaret surrealist, spiritual gadfly, sensual prophet, agent provocateur. Cohen chose the selections, drawing more than half of the 31 tracks from three landmark albums--his 1967 debut Songs of Leonard Cohen, 1988's I'm Your Man, and 1992's The Future--along with four from 2001's Ten New Songs. The collection justifies its title as deep as it goes, though it's a shame that Cohen's commercial profile couldn't justify the more elaborate box set his artistry warrants (one that would at least include lyrics and musician credits). Those who sample the consistently inspired music here might come to the conclusion that everything Cohen records is essential.

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Disc one
1. "Suzanne"
2. "The Stranger Song"
3. "Sisters of Mercy"
4. "Hey, That's No Way to Say Goodbye"
5. "So Long, Marianne"
6. "Bird on the Wire" (misspelled as "Bird on a Wire" on tracklist)
7. "The Partisan"
8. "Famous Blue Raincoat"
9. "Chelsea Hotel #2"
10. "Take This Longing"
11. "Who By Fire"
12. "The Guests"
13. "Hallelujah"
14. "If It Be Your Will"
15. "Night Comes On"
16. "I'm Your Man"
17. "Everybody Knows"
18. "Tower of Song"

Disc two
1. "Ain't No Cure For Love"
2. "Take This Waltz"
3. "First We Take Manhattan"
4. "Dance Me to the End of Love" (live)
5. "The Future"
6. "Democracy"
7. "Waiting for the Miracle"
8. "Closing Time"
9. "Anthem"
10. "In My Secret Life"
11. "Alexandra Leaving"
12. "A Thousand Kisses Deep"
13. "Love Itself"

LINK(s): h!!p://

Santana 3 (Legacy Edition 2006) 2CD @flac


Reissued for the second time, the newly minted Santana III: Legacy Edition augments the original album with a trio of previously unreleased studio tracks, the edited single No One to Depend On, and the entirety of Santana’s performance at the Fillmore West on July 4, 1971. While it’s true that Santana III truly didn’t break new ground, which undoubtedly explains why it frequently receives less attention than Abraxus, it was a logical extension to as well as a refinement of the ensemble’s surreal blend of heady instrumental jams, soulful pop, and titillating Latin-bred percussion, all of which was tied together by the prismatic sound of Carlos Santana’s expressive, liquid crystal guitar. With the funky, rhythmic drive of Batuka providing liftoff, Santana and his ensemble immediately settled into a high-flying groove that, thanks the seamless flow of one track into the next, endured for the entirety of the 41-minute affair. Whether shifting from the sultry shimmer of Taboo into the riveting tumultuousness of Toussaint L’Overture or from the steamy, jazz-imbued sensuality of Guajira into the ecstatically writhing Jungle Strut, the songs coalesced around their churning cadences to become something greater, and taken in full, the collection invoked a primal, spiritual force that connected Heaven with Earth.Each of the recently discovered studio jams (Gumbo, Folsom Street — One, and Banbeye) featured on Santana III: Legacy Edition serves as a reminder of the startling shamanic power that lay at Santana’s fingertips as well as the telepathic communication that fueled his band’s epic sojourns. Good as these tracks are, however, the real highlight of the collection is the cohesive concert performance that fills the set’s second disc. Although five of its 11 songs have been available for awhile — Batuka, Jungle Strut, and Gumbo appeared on the 1998 edition of Santana III, while Incident at Neshabur and a cover of Miles Davis’ In a Silent Way were featured on the 1972 compilation Fillmore: The Last Days — hearing them in their proper context is an enlightening experience. Employing the framework of his third outing as a template, Santana and his ensemble tore through the material with a vengeance, alternating furiously percolating passages with moments of quiet beauty that frequently foreshadowed the jazz-fusion-oriented path upon which the group would soon tread. In doing so, he magically carried his audience across the cosmos while giving the mighty Fillmore West a fittingly transcendent sendoff.After the release of his fourth endeavor Caravanserai, which essentially launched a new phase of his career, the quality of Santana’s studio output declined. Always eager to explore new ground, he frequently pushed his material in array of new directions, but too often, his albums were either too spotty and inaccessible or too enamored with whatever the current trends of popular music happened to be. Although he also never failed to kiss the hand of God via his communal concert performances, his recordings almost unarguably never again came close to the capturing the raw emotion and intoxicating brilliance of his initial albums, of which Santana III is a prime example.LINK: h!!p:// - CUE - LOG - FLAC (separate) - SCANS[...]

Funny Valentine!!!


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Have a funny Valentine!!!