Brian Auger - Language Of The Heart (2012)

Year: 2012 (CD 2012)
Label: Ghostown Records (US)
Style: Jazz Rock, Art Rock (Hammond organ)
Country: Hammersmith, London, England (18 July 1939)
Time: 43:11
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

Brian Albert Gordon Auger (born 18 July 1939) is an English jazz rock and rock keyboardist who specialises in the Hammond organ.
Auger has worked with Rod Stewart, Tony Williams, Jimi Hendrix, John McLaughlin, Sonny Boy Williamson, Eric Burdon, and CAB. He has incorporated jazz, early British pop, R&B, soul music, and rock into his sound. He has been nominated for a Grammy Award.
In 1965, Auger played on "For Your Love" by The Yardbirds as a session musician. He was brought in to play the Hammond organ, but settled for the only available keyboard, the harpsichord. That same year, Auger formed the group The Steampacket with Long John Baldry, Julie Driscoll, Vic Briggs, and Rod Stewart. Due to contractual problems there were no official recordings made by the band; nevertheless, nine tracks were laid down for promotional use in late 1965 and released as an LP in 1970 in France on the BYG label. They were released on a CD by Repertoire Records in 1990 (licensed from Charly Records) as well as 12 live tracks from Live at the Birmingham Town Hall, February 2, 1964. Stewart left in early 1966 and soon thereafter the band broke up.
(en.wikipedia.org/wiki/Brian_Auger)

01. Autoroute (06:24)
02. Seasons (05:10)
03. Venice Street Fair (05:39)
04. Flying Free (06:21)
05. Hymn to Morning (07:25)
06. Language of the Heart (05:23)
07. Ella (06:45)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Aerosmith - Draw The Line [Japanese Ed.] (1977)

Year: December 9, 1977 (CD Oct 9, 2013)
Label: Sony Music (Japan), SICP 30371
Style: Hard Rock
Country: Boston, Massachusetts, U.S.
Time: 35:17
Format: Flac Tracks 16/44,1 kHz
Size: 237 Mb

By 1977, Aerosmith had released four studio albums, the two most recent – Toys in the Attic (1975) and Rocks (1976) – catapulting the band to stardom. However, as the band began recording its next album, Draw the Line, their excessive lifestyle, combined with constant touring and drug use, began to take its toll. "Draw the Line was untogether because we weren't a cohesive unit anymore," guitarist Joe Perry admitted in the Stephen Davis band memoir Walk This Way. "We were drug addicts dabbling in music, rather than musicians dabbling in drugs."
Although the LP would sell well more than a million copies in fewer than six weeks after its release, in 2014 Perry would refer to it as "the beginning of the end" and "the decay of our artistry."
It was recorded between June–October in an abandoned convent near New York City. The portrait of the band on the album cover was drawn by the celebrity caricaturist Al Hirschfeld.
(en.wikipedia.org/wiki/Aerosmith)

01. Draw The Line (03:23)
02. I Wanna Know Why (03:09)
03. Critical Mass (04:52)
04. Get It Up (04:02)
05. Bright Light Fright (02:20)
06. Kings And Queens (04:55)
07. The Hand That Feeds (04:23)
08. Sight For Sore Eyes (03:55)
09. Milk Cow Blues (04:15)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

The Graham Bond Organisation - The Sound Of '65 & There's A Bond Between Us [2LP on 1CD] (1965)

Year: 26 February 1965 / 10 December 1965 (CD 1999)
Label: BGO Records (UK), BGOCD500
Style: Blues Rock, British Invasion, Jazz Rock
Country: United Kingdom
Time: 75:50
Format: Flac Tracks 16/44,1 kHz
Size: 365 Mb

The Graham Bond Organisation (GBO) were a British blues/blues rock group of the mid-1960s consisting of Graham Bond (vocals, keyboards, alto-saxophone), Jack Bruce (bass), Ginger Baker (drums), Dick Heckstall-Smith (tenor/soprano saxophone) and John McLaughlin (guitar). They recorded several albums and further recordings were issued when the group's members achieved fame in jazz rock. On original releases, the spelling of the band's name varied between the British "S" and the American "Z".
At the start of the British rhythm and blues boom the Graham Bond Organisation earned a reputation for playing aggressive R & B with prominent jazz and blues. Bond was the primary songwriter but encouraged the other musicians to contribute material, including Dick Heckstall-Smith's "Dick's Instrumental" and Ginger Baker's "Camels and Elephants", in which the drummer explored ideas he eventually developed into his signature piece "Toad". Jack Bruce's harmonica-driven version of Peter Chatman's "Train Time" would become a staple in Cream's live performances.
The first commercial recording by the original lineup of the Graham Bond Organisation was released under the name of singer Winston G. (real name Winston Gork). A protege of expatriate Australian impresario Robert Stigwood, Winston had launched his career under the pseudonym "Johnny Apollo". In early 1965 both Winston and the Graham Bond Organisation were part of Stigwood-promoted UK package tour headlined by Chuck Berry (on which Stigwood incurred heavy losses). Since they shared management, the Graham Bond Organisation backed Winston on the Parlophone single "Please Don't Say" / "Like a Baby"; the A-side was credited "Arrangement directed by Graham Bond" and the B-side "Arrangement directed by Ginger Baker". The band signed for Decca Records who released their dynamic version of the Don Covay composition "Long Tall Shorty" in 1964, backed with "Long Legged Girl" ("Long Tall Shorty" had been popularised by US singer/organist Tommy Tucker). Their best-known single, and the second released under their own name, was "Tammy" (Jay Livingston/Ray Evans) / "Wade in the Water" (trad. arr. group), recorded on 4 January 1965 at Olympic Sound Studios, London (EMI Columbia DB 7471, 29 January 1965). The track also appeared on their debut album The Sound of 65 (EMI Columbia, March 1965).
(full version: en.wikipedia.org/wiki/The_Graham_Bond_Organisation)

01. Hoochie Coochie Man (03:13)
02. Baby Make Love To Me (01:52)
03. Neighbour Neighbour (02:40)
04. Early In The Morning (01:50)
05. Spanish Blues (03:05)
06. On Baby (02:42)
07. Little Girl (02:15)
08. I Want You (01:45)
09. Wade In The Water (02:41)
10. Got My Mojo Working (03:11)
11. Train Time (02:24)
12. Baby Be Good To Me (02:35)
13. Half A Man (02:06)
14. Tammy (02:49)
15. Who's Afraid Of Virginia Woolf? (02:05)
16. Her Me Calling Your Name (02:37)
17. The Night Time Is The Right Time (03:01)
18. Walkin' In The Park (03:30)
19. Last Night (03:00)
20. Baby Can It Be True? (05:04)
21. What'd I Say? (04:16)
22. Dick's Instrumental (02:33)
23. Don't Let Go (02:43)
24. Keep A'Drivin' (02:04)
25. Have You Ever Loved A Woman? (04:53)
26. Camels And Elephants (04:43)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Steve Tibbetts - Steve Tibbetts (1977)

Year: 1977 (CD 1995)
Label: Cuneiform Records (US), 55009
Style: Jazz Rock, Acoustic, Progressive Rock
Country: Madison, Wisconsin, U.S.
Time: 34:40
Format: Flac Tracks 16/44,1 kHz
Size: 183 Mb

Steve Tibbetts (born 1954) is an American guitarist and composer. He views the recording studio as a tool for creating sounds. Most of his albums include percussionist Marc Anderson.
Steve Tibbetts is the debut album by Steve Tibbetts, recorded in 1976. Eventually released by Frammis Records in 1979, the CD was reissued by Cuneiform in 1995.
The New Rolling Stone Record Guide wrote that Tibbets "uses a few too many cliches, [but] proves that he has the talent to make those cliches work." The Billboard Guide to Progressive Music called the album "a classic of instrumental psychedelic progressive music from the unlikely region of grassroots middle America."
(en.wikipedia.org/wiki/Steve_Tibbetts)

01. Sunrise (04:14)
02. The Secret (04:49)
03. Desert (04:39)
04. The Wonderful Day (02:21)
05. Gong (01:43)
06. Jungle Rhythm (05:37)
07. Interlude (01:52)
08. Alvin Goes To Tibet (04:16)
09. How Do You Like My Buddha? (05:04)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Mahavishnu Orchestra - The Inner Mounting Flame [MFSL-CD] (1971)

Year: November 3, 1971 (CD 1999)
Label: Mobile Fidelity Sound Lab (US), UDCD 744
Style: Jazz Fusion, Progressive Rock
Country: New York City, U.S.
Time: 46:26
Format: Flac Tracks 16/44,1 kHz
Size: 292 Mb

The Inner Mounting Flame is the debut studio album by jazz-rock fusion band Mahavishnu Orchestra. After their formation, the group performed several gigs before they entered the studio to record their first album featuring all original material written by guitarist John McLaughlin. The album is credited to both Mahavishnu Orchestra and John McLaughlin.
Reviewing the album for JazzTimes in 1998, Bill Milkowski said:
One is struck by the grandiose reach of the quintet that dared to call itself an orchestra. Pieces like "Meeting of the Spirits" and the fragile, acoustic "A Lotus on Irish Streams" are like classically-inspired suites in miniature. But it was numbers like "Noonward Race", "Vital Transformation" and especially "Awakening", fueled by Cobham’s smoldering intensity on the kit and McLaughlin’s raging, distortion-soaked guitar lines, that really grabbed rock crowds. More ethereal pieces like "The Dance of Maya", with its odd time signatures and arpeggios, and the haunting "You Know, You Know", a drum feature for Cobham, helped to create a kind of mystique about the Mahavishnu Orchestra that was wholly unprecedented for its time.
In a retrospective review for Allmusic, Richard S. Ginell wrote that The Inner Mounting Flame "is the album that made John McLaughlin a semi-household name, a furious, high-energy, yet rigorously conceived meeting of virtuosos that, for all intents and purposes, defined the fusion of jazz and rock a year after Miles Davis' Bitches Brew breakthrough".
(en.wikipedia.org/wiki/The_Inner_Mounting_Flame)

01. Meeting of the Spirits (06:51)
02. Dawn (05:15)
03. Noonward Race (06:29)
04. A Lotus on Irish Streams (05:40)
05. Vital Transformation (06:16)
06. The Dance of Maya (07:17)
07. You Know, You Know (05:07)
08. Awakening (03:28)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Weed (Ken Hensley) - Weed (1971)

Year: 1971 (CD 2006)
Label: Piper Records (Estonia), 077
Style: Hard Rock, Psychedelic Rock
Country: Germany
Time: 31:31
Format: Flac Tracks 16/44,1 kHz
Size: 200 Mb

Call it whatever you want: a lost German hard rock underground classic, a label attempt to cash in on a scene, or simply a way for Ken Hensley to fill his back account in between Uriah Heep albums and tours (I’m partial to that last one)…Weed the band and Weed…! the album is still a fun obscure rocker that benefits from being a one and done deal: there were already enough bands - like Heep - doing this better, and my enjoyment of the album really stems from Hensley’s involvement and how this compares to his writing and performance on Look at Yourself which would follow soon after. Still, it has moments of that early hard rock with shades of progressive and psychedelia that I go crazy for, so if that’s your bag as well this is an album worth tracking down.
A few second into the opening track “Sweet Morning Light” and you can immediately hear the similarities to what Uriah Heep were dishing out. Prominent organ, interesting baseline that doesn’t keep to the guitar or the drum beat, and Hensley’s voice giving a great bluesy rock and roll grit to the track. The rest of the band were comprised of a german band called Virus as well as drummer Peet Becker, who was a rising star in the German rock scene at the time. But by most accounts Hensley wrote the songs, sang them, and provided the majority of guitars as well as keyboards. This is something he had done earlier with an earlier band called The Head Machine and their album Orgasm in 1969. Putting intent and authorship aside, it’s hard not to fall into how deep and dark the music gets here. From the stomp of “Sweet Morning Light” it moves to the acoustic “Lonely Ship” with harmonized falsetto vocals and some beautiful acoustic playing nicely speed across the soundstage.
(full versuon: consumethetangible.com/2024/08/06/weed-weed-1971/)

01. Sweet Morning Light (05:53)
02. Lonely Ship (03:18)
03. My Dream (06:38)
04. Slowin' Down (04:37)
05. Before I Die (03:49)
06. Weed (07:14)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

David Darling (Jan Garbarek, Collin Walcott) - Cycles (1982)

Year: Recorded: November 1981, Oslo, Norway (CD 1992)
Label: ECM Records (US), ECM 1219
Style: Jazz, Contemporary Classical
Country: Elkhart, Indiana, U.S. (March 4, 1941 - January 8, 2021)
Time: 46:27
Format: Flac Tracks 16/44,1 kHz
Size: 209 Mb

Cellist David Darling has had a long, if sporadic, association with ECM, quietly forging—either under the guise of solo artist or buried in an album’s roster—some of the label’s most lyrical atmospheres. With Cycles, however, Darling magnified his sound-world through the inimitable talents of Jan Garbarek and Collin Walcott in a space both selfless and uniquely his own. Add to that the astonishing pianism of Steve Kuhn and the depth of Arild Andersen on bass, and you get what is, to this listener at least, one of ECM’s finest celestial alignments.
While I am tempted to give my usual track-by-track impressions, here the album’s title clues us in on another way me might listen to it: that is, as an ever-roving caravan without need of maps or guides. As it stands, Cycles is a bubble of possibility that only expands with every listen. In its opening strains, we kneel atop a cliff of unraveling. Darling’s needlepoint brings light to fullest dark, breathing through Walcott’s tabla and Garbarek’s shawm-like expectorations. Those fluid horsehairs sing like portals, beginning and ending in the same draw. Harmonies linger as afterthoughts of infinite space. From nebulae to star and back to billowing gauze, the music flows into rivers of light—quiet, intense, forgiving. Grooves flicker into life, voices settle into afterlife. Cello and sitar sing into one another, while Kuhn’s wafting fragrances remind us of what it felt like to be on Earth.
Were I to single out one track, however, from this multivalent exhalation, it would have to be “Fly,” a brooding intertwining of cello and saxophone that is a Mt. Everest in the ECM landscape. Garbarek emits some of his most satoric playing here, floating ever skyward. He is a lantern hung in the clouds, a riddle whose denouement only reveals further mystery.
The stellar playing throughout is only enhanced by the sound. The engineering on Cycles is pristine beyond measure and raised the bar of the label’s usual auditory standards. To prattle on any more would ruin the effect. Suffice it to say: don’t miss this one.
(ecmreviews.com/2011/11/08/cycles/)

01. Cycle Song (07:10)
02. Cycle One: Namaste (04:11)
03. Fly (09:25)
04. Ode (06:55)
05. Cycle Two: Trio (05:30)
06. Cycle Three: Quintet and Coda (07:52)
07. Jessica's Sunwheel (05:21)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Dusty Springfield - A Girl Called Dusty [8 bonus tracks] (1964)

Year: 17 April 1964 (CD 1997)
Label: Mercury Records (Germany), 534 520-2
Style: Oldies, Pop
Country: London, England (16 April 1939 - 2 March 1999)
Time: 56:31
Format: Flac Tracks 16/44,1 kHz
Size: 349 Mb

Dusty Springfield had been a member of the girl group The Lana Sisters from 1958 to 1960, and the folk-pop trio The Springfields from 1960 to 1963 (in the latter case with her brother Tom Springfield). While on tour in the US in the early 1960s she was exposed to soul music, which was to have a profound impact on her subsequent life and career. Although The Springfields were moderately successful, with songs such as "Island of Dreams", "Bambino" and "Silver Threads And Golden Needles" (a No. 16 US country hit), their style of music limited the wide range of material that Dusty Springfield wanted to sing. Therefore, in 1963, Springfield decided to begin a career as a solo singer.
Her first single, "I Only Want to Be with You", was actually recorded while still a member of The Springfields, and was released one week after their final concert. The song was a success in both Britain and the US and led to the recording of A Girl Called Dusty which was released in 1964. The album contained a mix of mostly straightforward pop songs and a few Motown influenced numbers, such as "When The Lovelight Starts Shining Through His Eyes", "Will You Love Me Tomorrow" and "Mockingbird". It also marked Springfield's first collaboration with well-known songwriters Burt Bacharach and Hal David, as well as Gerry Goffin and Carole King, whose songs Springfield continued to record for the rest of her career.
At the time, A Girl Called Dusty was not released to the US market. Instead, Philips released a compilation of singles and tracks recorded for the album as Stay Awhile/I Only Want To Be With You. It was named after her first two singles, which had been Top 20 hits in the US. Later in 1964, Philips released Dusty, a second version of A Girl Called Dusty with a different track listing and different tracks.
In January 1994, while recording her album, A Very Fine Love, in Nashville, Springfield began to feel ill. When she returned to England a few months later, her physicians diagnosed her with breast cancer. She received months of chemotherapy and radiation treatment, and the cancer was found to be in remission. In 1995, in apparent good health, she set about to promote the album, which was released that year. By mid-1996, the cancer had returned, and despite vigorous treatments, Springfield died on 2 March 1999, aged 59, in Henley-on-Thames, Oxfordshire.
Springfield's funeral service was attended by hundreds of fans and people from the music business, including Elvis Costello, Lulu, and the Pet Shop Boys.
(en.wikipedia.org/wiki/A_Girl_Called_Dusty)

01. Mama Said (02:14)
02. You Don't Own Me (02:30)
03. Do Re Mi (02:23)
04. When The Lovelight Starts Shining thru His Eyes (03:07)
05. My Colouring Book (03:03)
06. Mockingbird (02:34)
07. Twenty-Four Hours From Tulsa (03:07)
08. Nothing (02:29)
09. Anyone Who Had A Heart (03:11)
10. Will You Love Me Tomorrow (02:40)
11. Wishin' And Hopin' (02:56)
12. Don't You Know (02:53)
13. I Only Want To Be With You (alternate mix) (bonus track) (02:42)
14. He's Got Something (bonus track) (02:50)
15. Every Day I Have To Cry (bonus track) (02:30)
16. Can I Get A Witness (bonus track) (02:46)
17. All Cried Out (bonus track) (03:05)
18. I Wish I'd Never Loved You (bonus track) (03:40)
19. Once upon A Time (bonus track) (01:57)
20. Summer Is Over (bonus track) (03:44)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Tamam Shud - Evolution (1968) Goolutionites And The Real People (1970) [2LP on 1CD]

Year: 1968 / 1970 (CD 2002)
Label: ???? Records (Australia), TSCD04
Style: Psychedelic Rock, Progressive Rock
Country: Newcastle, New South Wales, Australia
Time: 78:42
Format: Flac Tracks 16/44,1 kHz
Size: 506 Mb

Tamam Shud are an Australian psychedelic, progressive and surf rock band formed in Newcastle, New South Wales, in 1964. The initial line-up were known as The Four Strangers with Eric Connell on bass guitar, Dannie Davidson on drums, Gary Johns on rhythm guitar and Alex "Zac" Zytnik on lead guitar. At the end of that year Johns was replaced by Lindsay Bjerre on guitar and vocals as they trimmed their name to The Strangers. By late 1965 they had become The Sunsets. They took the name Tamam Shud in late 1967 after replacing Connell with Peter Barron on bass guitar. The group released two albums, Evolution (1969) – after which Tim Gaze replaced Zytnik on lead guitar – and Goolutionites and the Real People (1970) before disbanding in 1972. After a lengthy hiatus they reformed in 1993 to release a third album, Permanent Culture in 1994, but disbanded again in 1995. Beginning in 2008 the group worked together periodically on new material: it took eight years to complete their fourth album, Eight Years of Moonlight (January 2016).
(en.wikipedia.org/wiki/Tamam_Shud)

01. Music Train , Evolution (06:37)
02. I'm No One (02:06)
03. Mr. Strange (02:31)
04. Lady Sunshine (04:37)
05. Falling Up (02:46)
06. Feel Free (03:09)
07. It's A Beautiful Day (02:51)
08. Jesus Guide Me (03:51)
09. Rock On Top (02:46)
10. The Slow One And The Fast One (06:55)
11. Too Many Life (02:57)
12. Goolutionites (and the Real People) (01:04)
13. They'll Take You Down On The Lot (03:37)
14. I Love You All (03:42)
15. Heaven Is Closed (09:07)
16. A Plague (05:10)
17. Stand In The Sunlight (02:41)
18. Take A Walk On A Foggy Morn (02:18)
19. Goolutionites Theme Part 1 (03:18)
20. Goolutionites Theme Part 2 (03:53)
21. Got A Feeling (02:36)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Brian Auger & The Trinity - Befour (1970)

Year: Recording July & December, 1969 (CD 1998)
Label: Disconforme SL (Andorra), DISC 1006 CD
Style: Progressive Rock, Classic Rock, Art Rock
Country: United Kingdom
Time: 46:39
Format: Flac Tracks 16/44,1 kHz
Size: 307 Mb

Brian Auger and his band outdo themselves on this extraordinary album, which boasts playing that is both passionate and of virtuoso caliber, and encompasses just the right repertory. From the opening of the soaring rendition of "I Wanna Take You Higher" through the jazzy interpretation of Gabriel Faure's Pavane, the Albinoni-based Adagio per Archi e Organo, the impassioned rendition of Traffic's "No Time to Live" (sung by lead guitarist Gary Boyle), and the smooth interpretation of Herbie Hancock's "Maiden Voyage" (featuring some elegant lead playing by Boyle before Auger's organ moves into the foreground), Befour delivers superb musicianship, crossing the lines between jazz and rock with touches of soul and even some lingering traces of psychedelia. The one fully experimental track, "Listen Here," which was cut in a single take of nine minutes and 22 seconds, is a hard, pounding piece driven by Boyle's jagged lead guitar and showing off the band augmented by three additional drummers (Mickey Waller, Barry Reeves, and Colin Allen) and an extra bassist (Roger Sutton) -- it reminds one somewhat of the kinds of experiments that the Nice sometimes attempted a lot less successfully. "Just You and Me" is a worthy finale to the original album, a hard-rocking showcase for each of the players.
(allmusic.com/album/befour-mw0000175821)

01. I Wanna Take You Higher (05:08)
02. Pavane (03:49)
03. No Time to Live (05:27)
04. Maiden Voyage (05:02)
05. Listen Here (09:25)
06. Adagio Per Archi E Organo (03:30)
07. Just You, Just Me (06:26)
08. Rain Forest Talking (bonus track) (04:06)
09. Pavane (Demo Version) (bonus track) (03:43)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

National Health - Complete [2CD. all three studio albums plus bonus tracks] (1990)

Year: 1990 (CD 1990)
Label: East Side Digital (US), ESD 80402/412
Style: Progressive rock, Canterbury scene
Country: Canterbury, England
Time: 79:02, 79:25
Format: Flac Tracks 16/44,1 kHz
Size: 526, 526 Mb

National Health were an English progressive rock band associated with the Canterbury scene. Founded in 1975, the band featured members of keyboardist Dave Stewart's band Hatfield and the North and Alan Gowen's band Gilgamesh, including guitarists Phil Miller and Phil Lee and bassist Mont Campbell as original members. The band was named after Stewart's National Health spectacles. Bill Bruford (previously of Yes and King Crimson) was the initial drummer, but was soon replaced by Pip Pyle. Campbell was replaced by Neil Murray and then John Greaves. Alan Gowen left the group before its first album (although he appeared on it as a guest musician), but returned for their final tours, replacing Dave Stewart, who resigned after their second album. Amanda Parsons sang with the group in its original lineup but also appeared on the first album only as a guest; the group never had another full-time vocalist, although Richard Sinclair appeared a few times as a guest vocalist, and Greaves sang on one track of the second album and occasionally in concerts. Guitarist Phil Miller was National Health's only constant member.
They toured extensively and released their first album, National Health, in 1978. Although it was created during the rise of punk rock, the album is characterized by lengthy, mostly instrumental compositions. National Health continued performing live until winter 1980, but disbanded without recording another album.
After the May 1981 death of Gowen, the Queues lineup of Stewart, Miller, Greaves and Pyle reunited to record the album D.S. Al Coda, a set of compositions by Gowen, most previously unrecorded. The original albums and additional archival material have subsequently been released on CD.
The intro of National Health's "Binoculars" was used as a sample on American rock band Deftones' "Black Moon".
(en.wikipedia.org/wiki/National_Health)

01. Paracelsus (01:45)
02. Tenemos Roads (14:34)
03. Brujo (10:18)
04. Borogoves (Excerpt From Part Two) (04:12)
05. Borogoves (Part One) (06:35)
06. Elephants (14:31)
07. The Bryden 2-Step (For Amphibians), Part 1 (08:54)
08. The Collapso (06:18)
09. Squarer for Maud (11:50)

01. Dreams Wide Awake (08:50)
02. Binoculars (11:45)
03. Phlakaton (00:08)
04. The Bryden 2-Step (For Amphibians), Part 2 (05:33)
05. Apocalypso (06:50)
06. Portrait of a Shrinking Man (05:35)
07. T.N.T.F.X. (03:12)
08. Black Hat (04:52)
09. I Feel a Night Coming On (06:37)
10. Arriving Twice (02:22)
11. Shining Water (08:53)
12. Tales of a Damson Knight (01:56)
13. Flanagan’s People (05:20)
14. Toad of Toad Hall (07:26)

CD1:     UploadyIo      DailyUploads

CD2:     UploadyIo      DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Soft Machine - Noisette [Live] (1970)

Year: 4 January 1970 (CD January 18, 2000)
Label: Cuneiform Records (US), rune 130
Style: Jazz Rock, Progressive Rock, Canterbury Scene
Country: Canterbury, England
Time: 73:25
Format: Flac Tracks 16/44,1 kHz
Size: 444 Mb

Recorded January 4, 1970 at Fairfield Hall, Croydon, England, this was the first show performed by the short lived 1970 quintet version of the band and is taken from the same concert as “Facelift” on Third.
Noisette features the rest of the concert, & showcases a band in transition from their earlier psychedelic/ progressive sound towards the jazz rock sound of Third & Fourth. It features the quintet performing versions of material from their 1st two albums as well as material not available on their studio albums.
Mastered directly off of the 50 year old 15ips master tapes, this release boasts superb live sound for the time period, & includes rare, unseen photos and liner notes by Aymeric Leroy.
(cuneiformrecords.bandcamp.com/album/noisette)
Steve Feigenbaum (founder of Cuneiform Records) continues to expand the breadth of the Soft Machine legacy by finding gold in long forgotten tapes. His latest audio treasure spotlights a brief five-piece incarnation of the band upon completion of a mainland European tour. Lyn Dobson is the uncomfortable melodic element in this transitional line-up which is only documented here in these ten songs. The set opens with a spirited rendition of Mike Ratledge’s “Eamonn Andrews,” which was previously only found on the BBC archives disc. Drummer Robert Wyatt is under some restraint in this performance when compared to his drumming on Cuneiform’s last release, Virtually. His only real chance to break out vocally is on the segued version of “Moon in June” as the piece shifts into Hugh Hopper’s piece “12/8” which appears here for the first time. Then Dobson appears to take the soprano sax lead as Elton Dean provides the accompanying alto sax part (as they also do on “Hibou, Anemone and Bear”). The surprise piece in the almost 75 minute set is the rave up on “We Did It Again” from the band’s first album. The piece opens with a Wyatt drum solo and quickly builds into a brash jam which servers as a strong closer for a show. What’s Rattlin’s Aymeric Leroy timelines the detailed events which led up to this live performance at Croydon Fairfield Hall in January, 1970. This recording serves as another living testament to the jazz genius of the ensemble as they anxiously await discovery by a new set of eager jazz acolytes. Noisette should hold up easily as the archive release of the New Year.
(expose.org/index.php/articles/display/soft-machine-noisette-4.html) Review by Jeff Melton, 2000-05-01

01. Eamonn Andrews (12:15)
02. Mousetrap (05:24)
03. Noisette (00:37)
04. Backwards (04:47)
05. Mousetrap (reprise) (00:25)
06. Hibou, Anemone and Bear (09:21)
07. Moon In June (06:55)
08. 12/8 Theme (11:24)
09. Esther's Nose Job (14:59)
10. We Did It Again (07:14)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

The Hollies - Greatest Hits [2CD] (2003)

Year: 24 March 2003 (CD Mar 24, 2003)
Label: EMI Records (UK), 7243 582012 2 2
Style: Rock, Pop Rock
Country: Manchester, Lancashire, England
Time: 78:31, 77:06
Format: Flac Tracks 16/44,1 kHz
Size: 507, 511 Mb

The Hollies are an English rock and pop band formed in Manchester in 1962. One of the leading British groups of the 1960s and into the mid-1970s, they are known for their distinctive three-part vocal harmony style.
The Hollies are one of the few UK groups of the early 1960s, along with the Rolling Stones, who have never disbanded and continue to record and perform. In recognition of their achievements, the Hollies were inducted into the Rock and Roll Hall of Fame in 2010.
(wikipedia.org/wiki/The_Hollies)

 

01. I'm Alive (02:27)
02. Sorry Suzanne (03:01)
03. Here I Go Again (02:21)
04. On A Carousel (03:13)
05. King Midas In Reverse (03:09)
06. Look Through Any Window (02:16)
07. Blowin' In The Wind (Nash Version) (04:11)
08. The Air That I Breathe (04:12)
09. Pay You Back With Interest (02:42)
10. I've Got A Way Of My Own (02:14)
11. Stay (02:13)
12. The Very Last Day (02:58)
13. We're Through (02:15)
14. Carrie Anne (02:56)
15. Magic Woman Touch (03:19)
16. I'm Down (04:11)
17. Gasoline Alley Bred (03:55)
18. I Can't Let Go (02:27)
19. Sandy (4Th Of July, Asbury Park) (04:10)
20. Long Cool Woman In A Black Dress (03:18)
21. Stop Stop Stop (02:51)
22. If I Needed Someone (02:21)
23. Dear Eloise (03:05)
24. Long Dark Road (04:16)
25. I Can't Tell The Bottom From The Top (04:17)

01. He Ain't Heavy, He's My Brother (04:21)
02. Bus Stop (02:55)
03. Jennifer Eccles (03:01)
04. The Day That Curly Billy Shot Down Crazy Sam Mcgee (04:27)
05. Too Young To Be Married (04:01)
06. Listen To Me (02:39)
07. Just One Look (02:30)
08. Searchin' (02:24)
09. (Ain't That) Just Like Me (02:09)
10. Yes I Will (02:56)
11. What's Wrong With The Way I Live (02:00)
12. Lonely Hobo Lullaby (04:14)
13. Daddy Don't Mind (03:37)
14. The Baby (03:56)
15. Hey Willy (03:33)
16. Son Of A Rotten Gambler (04:07)
17. Write On (04:51)
18. Star (03:39)
19. Boulder To Birmingham (03:58)
20. Soldier's Song (04:01)
21. The Woman I Love (03:37)
22. How Do I Survive (04:00)

CD1:     UploadyIo     DailyUploads

CD2:     UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Nazareth - Play 'n' The Game [Japanese Ed. 5 bonus tracks] (1976)

Year: 13 November 1976 (CD May 17, 2006)
Label: Air Mail Archive (Japan), AIRAC-1207
Style: Hard Rock, Classic Rock
Country: Dunfermline, Fife, Scotland
Time: 57:55
Format: Flac Tracks 16/44,1 kHz
Size: 371 Mb

PLAY ‘N’ THE GAME is an enjoyable and varied collection of songs that are more upbeat and playful than their two prior releases. While there is a bit less of the plodding hard rock riffing these Scots are known for, the songs they’ve chosen here make for nice Album Rock fare. It’s a nice change after the moodier CLOSE ENOUGH FOR ROCK ‘N’ ROLL, which was released earlier in 1976.
The record opens with the catchy and incessant riffing of “Somebody To Roll”, which is easily a highlight. This is followed with an amusing rendition of the Butler/Leiber song “Down Home Girl”, which The Rolling Stones covered back in 1965. The lyrics here hardly seem that they would be a flattering come on for any Southern girl. (“Lord I swear, the perfume you wear is made out of turnip greens” / “And every time that I kiss you girl it tastes like pork and beans”.) “Flying” is a fairly standard Nazareth ballad and probably one of the less memorable moments. The original first side of the record ends with the thumping bass groove of “Waiting For The Man”, which is a rare, but interesting funk experiment. Maybe John Deacon was listening to this bass line when he came up with "Another One Bites The Dust" a few years later? They are melodically different, but both have a similar groove.
“Born To Lose” is an up-tempo hard rocker that finds the band returning to their trademark sound, if just briefly. The Joe Tex cover “I Want To (Do Everything For You)” is a slow, pulsing R&B shuffle that works surprising well for them and play live for many years. “I Don’t Want To Go On Without You” finds the band playing much in the same vein as “Love Hurts” and possibly trying to recapture that magic again. It’s a nice track, but not quite on the same level. The Beach Boys cover “Wild Honey” is a catchy pop/rock tune that works alright, but not something I’m likely to cue up on its own. Ending the album is the Nazareth penned “L. A. Girls” that is another less memorable song that tries to be catch and is punctuated with hand claps.
Nearly half of this record is cover songs, which leads me to wonder whether the band lacked their own material or just wanted to have fun with this album. I will admit that it’s that element of playfulness that I enjoy about this record, even if doesn’t rock quite as hard as RAZAMANAZ or HAIR OF THE DOG. Overall, it’s an enjoyable collection of songs, if not always a consistent one.
(sputnikmusic.com/review/68179/Nazareth-Play-N-The-Game/) Review by Robbit. August 15th, 2015

01. Somebody To Roll (03:54)
02. Down Home Girl (05:03)
03. Flying (04:20)
04. Waiting For The Man (04:53)
05. Born To Love (03:58)
06. I Want To Do Everything For You (04:18)
07. I Don't Want To Go On Without You (03:46)
08. Wild Honey (03:03)
09. L.A. Girls (03:56)
10. Good Love (03:52)
11. I Don't Want To Go On Without You -Alternate Edit Version- (03:24)
12. Waiting For The Man (Alternate Edit Version) (06:13)
13. Somebody To Roll (Edit Version) (03:31)
14. Born To Love (Edit Version) (03:36)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Thin Lizzy - Bad Reputation [6 bonus tracks] (1977)

Year: 2 September 1977 (CD 2011)
Label: Universal Music (Germany), 2772693
Style: Hard Rock, Classic Rock
Country: Dublin, Ireland
Time: 57:22
Format: Flac Tracks 16/44,1 kHz
Size: 378 Mb

For me this is where the Thin Lizzy story really hits it’s stride in every sense. Phil Lynott had honed his song craft skills so sharp they can cut without even being unsheathed, while the band’s performing skills are simply second to none. I once heard somebody say that they felt Prince was so talented that he could do whatever he wanted to musically. Hear, hear, and I must stress that in 1977, Thin Lizzy was a similar proposition.
Kicking of with the regal and visionary “Soldier Of Fortune,” it become clear Lizzy were so far ahead of their metallic time it would take everybody else years to catch up with them. With seemingly no effort, he band peel of this mournful but determined tale with the ease and posture of people so good at their metier that they barely have to try. Good enough to make you cry, this is a true classic. It’s also a tad forlorn for an album opener, and thus the band blast back with the ballsy title song next, a fast, short and tough number that warns about the perils of high living, and friends, if you’re going to listen to anyone on this subject, Thin Lizzy are the guys to pay heed to.
Lynott’s own high living and it’s price are in full frontal concern on “Opium Trail,” a terse and desperate number that reveals the tragic and twisted honesty of the man’s writing. And then…”Southbound.” This lyric of dead cities and dejected hope is another Lizzy landmark, not only due to it’s tragic lyric, but the inventive playing and arranging that fuel this one are truly moving. “Dancing In The Moonlight,” a hit for the band overseas is clever, bouncy, catchy, and so totally un-metallic that people have been caught bitching on websites that it proves Lizzy was not a metal band at all (insert expletives and harsh slang about body parts here). I must say that the album’s remainder is not quite as strong, but damn, fool! When you’ve got three of the best heavy metal songs ever written on one side of a single album, you must feel good about it.
Sad to say, the sun was setting on the band commercially at this point, and an increased reliance on drugs and drink would really start to eat away at Lizzy’s wiring in the years to come. Even more impressive then, that as these weights crushed down on the band, they would still make a few of their best albums ever. Now, that’s impressive.
(metal-archives.com/reviews/Thin_Lizzy/Bad_Reputation/4447/) Review by brocashelm, April 21st, 2006

01. Soldier Of Fortune (05:17)
02. Bad Reputation (03:08)
03. Opium Trail (03:57)
04. Southbound (04:26)
05. Dancing In The Moonlight (It's Caught Me In Its Spotlight) (03:26)
06. Killer Without A Cause (03:33)
07. Downtown Sundown (04:08)
08. That Woman's Gonna Break Your Heart (03:25)
09. Dear Lord (04:27)
10. Killer Without A Cause (BBC Session 01/08/1977) (03:42)
11. Bad Reputation (BBC Session 01/08/1977) (02:48)
12. That Woman's Gonna Break Your Heart (BBC Session 01/08/1977) (03:27)
13. Dancing In The Moonlight (It's Caught Me In Its Spotlight) (BBC Session 01/08/1977) (03:21)
14. Downtown Sundown (BBC Session 01/08/1977) (03:53)
15. Me And The Boys (Soundcheck) (04:17)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile