Wednesday, 6 October 2021

Asoka - Asoka (1971)

Year: 1971 (CD 2005)
Label: Mellotronen Records (Sweden), MELLOCD 019
Style: Hard Rock, Rock
Country: Malmo, Sweden
Time: 75:05
Format: Flac Tracks 16/44,1 kHz
Size: 503 Mb

01. Psykfoni For Ekogitarr Och Poporkester (02:11)
02. Ataraxia (03:28)
03. Leave Me (03:34)
04. Svensson Blues (03:27)
05. 1975 (03:47)
06. If You Feel (04:25)
07. Tvivlaren (04:37)
08. I'm Trying (06:15)
09. Psykfoni For Ekogitarr Och Poporkester (02:51)

Bonus Tracks: "Take Off"

10. The Seeker (03:54)
11. At El-Yago 9-3 (01:58)
12. Ohio (05:22)
13. Mama (04:35)
14. Southern Comfort (06:46)
15. I Need Your Love (04:45)
16. Another Kind Of Love (03:52)
17. Take Off Jam (09:10)

Asoka71-Asoka-book-2 Asoka71-Asoka-book-4 Asoka71-Asoka-book-5 Asoka71-Asoka-book-6 Asoka71-Asoka-book-7 Asoka71-Asoka-book-8

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Monday, 4 October 2021

Led Zeppelin - Led Zeppelin II [Vinyl Rip] (1969)

Year: 22 October 1969 (LP 1969)
Label: Atlantic Records (UK), K 40037
Style: Hard Rock
Country: London, England (1968–1980)
Time: 41:25
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

Led Zeppelin, British rock band that was extremely popular in the 1970s. Although their musical style was diverse, they came to be well known for their influence on the development of heavy metal. The members were Jimmy Page (b. January 9, 1944, Heston, Middlesex, England), Robert Plant (b. August 20, 1948, West Bromwich, West Midlands), John Paul Jones (original name John Baldwin; b. January 3, 1946, Sidcup, Kent), and John Bonham (b. May 31, 1948, Redditch, Hereford and Worcester—d. September 25, 1980, Windsor, Berkshire).
Initially called the New Yardbirds, Led Zeppelin was formed in 1968 by Jimmy Page, the final lead guitarist for the legendary British blues band the Yardbirds. Bassist and keyboard player Jones, like Page, was a veteran studio musician; vocalist Plant and drummer Bonham came from little-known provincial bands. The group was influenced by various kinds of music, including early rock and roll, psychedelic rock, blues, folk, Celtic, Indian, and Arabic music. Although acoustic and folk-based music was part of the band’s repertoire from its inception, it was the bottom-heavy, loud, raw, and powerful electric style that gained them their following and notoriety early on; their first two albums included many of the songs that prompted Led Zeppelin’s categorization as a precursor of heavy metal. The heaviness of songs such as “Dazed and Confused” and “Whole Lotta Love” was created by Bonham’s enormous drum sound and through Page’s production techniques, in which he emphasized drums and bass, resulting in a sonic spaciousness that has kept the records sounding fresh years after they were made. Page and Jones also wrote most of the band’s music, while Plant contributed lyrics and some musical ideas. Although Page was responsible for the majority of their signature riffs (the short, repeated musical ideas that often structure a song), Jones wrote the riff for the celebrated “Black Dog” and several other songs. Jones also contributed much to the arrangement of songs. Page’s guitar solos were based primarily on melodic ideas derived from the blues scale (“Heartbreaker” is a good example), and he is especially known for creating multiple, simultaneous guitar parts—a kind of guitar orchestra—in such songs as “Achilles Last Stand” and “The Song Remains the Same.” Page is considered one of rock’s guitar heroes, but, because he was more interested in creating a distinctive mood and sound on a recording than in displaying his virtuosity, he frequently chose not to include a guitar solo in Zeppelin songs.
Plant’s voice rounded out Led Zeppelin’s sound. Exaggerating the vocal style and expressive palette of blues singers such as Howlin’ Wolf and Muddy Waters, Plant created the sound that has defined much hard rock and heavy metal singing: a high range, an abundance of distortion, loud volume, and emotional excess (“Whole Lotta Love” is a classic example). Plant was, however, capable of a broader stylistic range, including tender ballads (“The Rain Song”) and songs showing the influence of Indian and Arabic vocal styles (“Kashmir”).
Led Zeppelin’s best-known song is “Stairway to Heaven”; its gentle acoustic beginning eventually builds to an exhilarating climax featuring a lengthy electric guitar solo. This combination of acoustic and electric sections was typical for Page, who from the band’s beginning was interested in juxtaposing what he called “light and shade.” The song appeared on the band’s fourth and most famous album, released untitled, which showed only four runic symbols (intended to represent the band members) on the cover and had the mystical, mythological lyrics to “Stairway” printed on the inner sleeve. The sense of mystery and ritual that this created became an important part of the band’s image. They kept their distance from the press and were uninterested in catering to the singles market. Moreover, “Stairway” and several other songs were of epic length by rock standards, and concert improvisations stretched some songs to triple the length of their studio versions.
Thanks in part to their manager, Peter Grant, the band enjoyed phenomenal commercial success throughout the 1970s. While Led Zeppelin never received the kind of critical acclaim or mainstream acceptance accorded the Beatles or the Rolling Stones, their influence on rock music has been prodigious. They are regularly cited as the progenitors of both hard rock and heavy metal. Their sound has been imitated by bands from Black Sabbath to Nirvana. They also inspired hard rock bands to include acoustic elements in their music and were among the first to experiment with Indian and North African music. Page’s style—both his solos and riffs—has served as an important model for most rock guitarists, and Bonham is often cited as the model for metal or hard rock drumming.
Led Zeppelin disbanded in 1980 after Bonham’s accidental death. The group re-formed for short, one-off performances in 1985 (the Live Aid benefit), 1988 (Atlantic Records’ 40th anniversary concert), and 1995 (the band’s induction into the Rock and Roll Hall of Fame). Much more momentous was the group’s full-blown concert in London in December 2007 to honour Atlantic’s cofounder Ahmet Ertegun, at which Bonham’s son, Jason, played the drums. Although the Recording Academy had honoured Led Zeppelin with a lifetime achievement award in 2005, the group received its first Grammy Award in 2014 for Celebration Day (2012), a live album derived from the 2007 reunion show. In 2012 Led Zeppelin was named a Kennedy Center honoree.
(britannica.com/topic/Led-Zeppelin)

01. A1 Whole Lotta Love (05:30)
02. A2 What Is And What Should Never Be (04:46)
03. A3 The Lemon Song (06:20)
04. A4 Thank You (04:46)
05. B1 Heartbreaker (04:13)
06. B2 Living Loving Maid (She's Just A Woman) (02:37)
07. B3 Ramble On (04:31)
08. B4 Moby Dick (04:21)
09. B5 Bring It On Home (04:18)

Led-Zeppelin69-Two-front-LP Led-Zeppelin69-Two-front Led-Zeppelin69-Two-back Led-Zeppelin69-Two-label Led-Zeppelin69-Two-inside

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Anonymous - Inside the Shadow & No Longer Anonymous (2 LP's On 1 CD) (1976 & 1977)

Year: 1976 & 1977 (CD 2000)
Label: Aether Records (U.S.), #0009
Style: Pop Rock, Folk Rock
Country: Indianapolis, Indiana (U.S.)
Time: 73:55
Format: Flac Tracks 16/44,1 kHz
Size: 509 Mb

Anonymous were an American folk-rock, psychedelic band from Indianapolis. The musical group originally consisted of Ron Matelic on vocals, and guitar; Marsha Rollings on vocals; Glenn Weaver on vocals, guitar, and bass, and John Medvescek on drums.
The band's origins lay in the psychedelic roots of singer/guitarist Ron Matelic and drummer John Medvescek, who were formerly members of the mid-1960s garage band Sir Winston and the Commons. Following the band's breakup they continued to performed on weekends, with assistance from songwriter Jim Spencer. In the 1970s, they informally recruited a pair of friends in the form of singer Marsha Rollings, and second guitarist and bass player Glenn Weaver, to participate in those weekend jam sessions.
In 1976 the Milwaukee, Wisconsin-based A Major Label offered Matelic a solo recording contract. Matelic accepted the offer, but insisted on bringing along his friends, ultimately electing to release the resulting material Inside the Shadow, under the randomly chosen name 'Anonymous'. The album was recorded in under two weeks using The Music Factory's 8-track facility. After the album was released they began practising for live performances, by adding another guitarist, Justin Garriot, and Greg Reynolds joining, replacing departing bass player Weaver. However Rollings and Garriot eventually decided to leave, leaving the rest of the band to form a new band called J. Rider, named after one of the songs on the album Inside the Shadow.
Only 300 copies of that album were ever pressed, and is now considered a prized collectors item. It was reissued by A Major Label in 1981 but with different cover art.
(en.citizendium.org/wiki/Anonymous_(band)

In the last 10 years, a lot of "lost" albums have been re-discovered through CD re-issues. Consequently, albums that once came and went, with little notice, are being hailed as "highly influential" and "forgotten classics". With their Marin County style psychedelic guitar sounds, soaring vocal harmonies, and music that ranges from heavy rockers to folksy ballads, these two albums could have been mislaid Jefferson Airplane albums. A perfect soundtrack to the Summer of Love. So why have they not taken their place amongst classics like Surrealistic Pillow? It probably had a lot to due to the fact that they were first released 9 and 12 years after the Summer of Love. In an age of Kiss, the Bay City Rollers, and disco, this kind of music just did not cut it with the masses. Listening to these albums now, some 25 years later, we can forget about the context and times in which they first came out, and appreciate them for what they are: some fine, psychedelic folk rock.
Formed from the ashes of the late 60's garage-psych band Sir Winston and the Commons, Anonymous were a four-piece studio band from Indianapolis. Adding a fifth member, Justin Garriot on guitars, they prepped for live performance, but when Garriot left, along with singer Marsha Rollings, the remaining three members, Ron Matelic on vocals and guitars, Glenn Weaver on guitar and bass, and John Medvescek on drums continued under the new name, J-Rider. Both units recorded a single album, both of which are now available on one CD.
Inside the Shadow is the lighter, and better, of the two; a nice blend of vocal harmonies, guitar hooks, heavy psych and acoustic, Byrds style guitar work. No Longer Anonymous continues the tradition, eschewing mellower moments for a harder edged sound. The song writing here isn't quite a strong as on the Anonymous album, and Marsha Rollings harmony vocals are missed.
I would hardly call these albums "highly influential". They were too past their time to have any impact on contemporary or subsequent music. But are they "lost classics"? Lost, yes. Classics? Perhaps not. They are, however, an enjoyable listen for fans of this brand of music, and certainly worth picking up if you've grown overly familiar with your old Jefferson Airplane albums and want something new to listen to.
(aural-innovations.com/issues/issue17/anonmous.html)

01. Who's Been Foolin' (03:17)
02. J. Rider (04:27)
03. Up to You (03:18)
04. Shadow Lady (05:56)
05. Pick Up and Run (04:55)
06. We Got More (05:06)
07. Sweet Lilac (04:19)
08. Baby Come Risin (09:09)
09. We Got More (J. Rider) (07:37)
10. One Sided Lover (J. Rider) (04:49)
11. Pike River (J. Rider) (04:51)
12. Kiss of Your Soul (J. Rider) (06:05)
13. High Roller (J. Rider) (02:48)
14. Sunday's Hero (J. Rider) (07:12)

Anonymous76-77-back-in Anonymous76-77-back Anonymous76-77-book-1 Anonymous76-77-book-2

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Saturday, 2 October 2021

Argent - Argent & Circus (2 LP's On 1 CD) (1970 & 1975)

Year: 1969, 1975 (CD 21 June 2005)
Label: Wounded Bird Records (US), WOU 6525
Style: Rock, Psychedelic Rock, Classic Rock
Country: London, England
Time: 77:26
Format: Flac Tracks 16/44,1 kHz
Size: 503 Mb

Argent (1970):
The first Argent album sounds uncannily like the Zombies in their Odessey period - little surprise, considering that Rod Argent and Zombies ex-bassist Chris White (which acted as 'contributing' member to the new band) produced it and wrote seven songs out of ten; the other three are credited to Argent's 'second best' member, guitarist Russ Ballard. While the record has been severely underrated by the critics, I must frankly say that there ain't even a single bad cut on here - all the songs are short, crisp, melodic, and catchy as hell. Seriously, on a general level I can't even start to think of how to complain about this record; melody-wise, it's immaculate. I guess the main flaw of the record is that it is a bit too Zombie-sounding: the flowery, shining pop formula of Odessey is followed to a tee, except that the overall mood is a bit darker, most probably due to the presence of Ballard: an impressive guitarist, he was all too eager to display his gritty chops, but on this particular release Rod still manages to keep him in the background, not allowing any of the songs to turn into contemporary heavy metal fiestas, a thing that would occur from time to time in latter days. On the other hand, Ballard is a terrific singer - his range and ability to change key is impressive, and on some tracks he even manages to remind one of Colin Bluntstone, which pumps the Zombie nostalgia even further.
Circus (1975):
The first of the two Ballard-less albums, for which as much as two guitarists (John Grimaldi and John Verity) were required. Maybe the fact that he had to be replaced by two players could be flattering for Russ, but on the other side, at least we don't have any more danger of the guy going ahead and penning another 'God Gave Rock'n'Roll To You'. Yet on another side, though, both of those guitarists kinda lack personality... they're just there and that's that. They're playing decent solos and decent guitar riffs from time to time, but it's clear they weren't really supposed to be much more than sidemen, contributing their sonic effects merely to provide a counterpoint for Argent's Hammond organ, piano, Fender Rhodes, Hohner electric piano, Moog, Mellotron, and vocals (okay, John Verity also sings, but it's not like I notice that a hell of a lot of times).
(Full Review: starling.rinet.ru/music/argent.htm)

Argent (1968):

01. Like Honey (03:16)
02. Liar (03:14)
03. Be Free (03:53)
04. Schoolgirl (03:22)
05. Dance in the Smoke (06:19)
06. Lonely Hard Road (04:23)
07. The Feeling is Inside (03:51)
08. Freefall (03:21)
09. Stepping Stone (04:39)
10. Bring You Joy (04:13)

Circus (1975):

11. Circus (03:50)
12. Highwire (09:05)
13. Clown (05:54)
14. Trapeze (08:53)
15. Shine On Sunshine (04:10)
16. The Ring (01:18)
17. The Jester (03:39)

Argent70-Circus75-book-1 Argent70-Circus75-book-2

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Kate Bush - Never For Ever [Vinyl Rip] (1980)

Year: 7 September 1980 (LP 1990)
Label: Balkanton Records (Bulgaria), BTA 125 40
Style: Rock, Art-Rock
Country: Bexleyheath, Kent, England (born 30 July 1958)
Time: 37:38
Format: Flac Tracks 16/44,1 kHz
Size: 229 Mb

Kate Bush CBE (born 30 July 1958) is an English singer, songwriter, musician, dancer and record producer. In 1978, aged 19, she topped the UK Singles Chart for four weeks with her debut single "Wuthering Heights", becoming the first female artist to achieve a UK number one with a self-written song. Bush has since released 25 UK Top 40 singles, including the Top 10 hits "The Man with the Child in His Eyes", "Babooshka", "Running Up That Hill", "Don't Give Up" (a duet with Peter Gabriel), and "King of the Mountain". All 10 of her studio albums reached the UK Top 10, including the UK number one albums Never for Ever (1980), Hounds of Love (1985), and the compilation The Whole Story (1986). She was the first British solo female artist to top the UK album charts and the first female artist to enter the album chart at number one.
Bush began writing songs at 11. She was signed to EMI Records after Pink Floyd guitarist David Gilmour helped produce a demo tape. Her debut album, The Kick Inside, was released in 1978. Bush slowly gained artistic independence in album production and has produced all her studio albums since The Dreaming (1982). She took a hiatus between her seventh and eighth albums, The Red Shoes (1993) and Aerial (2005). Bush drew attention again in 2014 with her concert residency Before the Dawn, her first shows since 1979's The Tour of Life.
Bush's eclectic and experimental musical style, unconventional lyrics, and literary themes have influenced a diverse range of artists. She has been nominated for 13 British Phonographic Industry accolades, winning for Best British Female Artist in 1987, and has been nominated for three Grammy Awards. In 2002, Bush was recognised with an Ivor Novello Award for Outstanding Contribution to British Music. Bush was appointed a CBE in the 2013 New Year Honours for services to music. She was nominated twice for induction in the 2018 and 2021 Rock and Roll Hall of Fame.
(en.wikipedia.org/wiki/Kate_Bush#Studio_albums)

Kate Bush: Piano, Arranger, Keyboards, Vocals, Producer, Harmony Vocals, Fairlight CMI, Yamaha CS-80
Paddy Bush (older brother of Kate Bush): Harmonica, Mandolin, Balalaika, Bass Vocals, Sitar, Vocals, Background Vocals, Koto, Banshee, Saw, Mando, Delius
Roy Harper: Vocals, Background Vocals
Ian Bairnson: Guitar, Bass vocals (ex Alan Parsons Project)
and many many more...

01. A1 Babooshka (03:22)
02. A2 Delius (02:51)
03. A3 Blow Away (03:35)
04. A4 All We Ever Look For (03:50)
05. A5 Egypt (04:13)
06. B1 The Wedding List (04:17)
07. B2 Violin (03:16)
08. B3 The Infant Kiss (02:56)
09. B4 Night Scented Stock (00:48)
10. B5 Army Dreamers (02:58)
11. B6 Breathing (05:27)

Kate-Bush80-Never-For-Ever-front-LP Kate-Bush80-Never-For-Ever-label Kate-Bush80-Never-For-Ever-front Kate-Bush80-Never-For-Ever-back

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Thursday, 30 September 2021

Ginger Baker - At His Best [Vinyl Rip, 2xLP] (1972)

Year: 1972 (LP 1972)
Label: Polydor Records (USA), PD-3504
Style: Rock
Country: London, England (19 August 1939 - 6 October 2019)
Time: 32:21, 31:38
Format: Flac Tracks 16/44,1 kHz
Size: 215, 207 Mb

Peter Edward "Ginger" Baker (19 August 1939 – 6 October 2019) was an English drummer and a co-founder of the rock band Cream. His work in the 1960s and 1970s earned him the reputation of "rock's first superstar drummer", for a style that melded jazz and African rhythms and pioneered both jazz fusion and world music.
Baker gained early fame as a member of Blues Incorporated and the Graham Bond Organisation, both times alongside bassist Jack Bruce, with whom Baker would often clash. In 1966, Baker and Bruce joined guitarist Eric Clapton to form Cream, which achieved worldwide success but lasted only until 1968, in part due to Baker's and Bruce's volatile relationship. After briefly working with Clapton in Blind Faith and leading Ginger Baker's Air Force, Baker spent several years in the 1970s living and recording in Africa, often with Fela Kuti, in pursuit of his long-time interest in African music. Among Baker's other collaborations are his work with Gary Moore, Masters of Reality, Public Image Ltd, Hawkwind, Atomic Rooster, Bill Laswell, jazz bassist Charlie Haden, jazz guitarist Bill Frisell and Ginger Baker's Energy.
Baker's drumming is regarded for its style, showmanship, and use of two bass drums instead of the conventional one. In his early days, he performed lengthy drum solos, most notably in the Cream song "Toad", one of the earliest recorded examples in rock music. Baker was an inductee of the Rock and Roll Hall of Fame as a member of Cream in 1993, of the Modern Drummer Hall of Fame in 2008, and of the Classic Drummer Hall of Fame in 2016. Baker was noted for his eccentric, often self-destructive lifestyle, and he struggled with heroin addiction for many years. He was married four times and fathered three children.
(en.wikipedia.org/wiki/Ginger_Baker)

01. A1 Let Me Ride (1970 Ginger Baker's Air Force 2) (04:22)
02. A2 Had To Cry Today (1969 Blind Faith) (08:48)
03. A3 I Don't Want To Go On Without You (1970 Ginger Baker's Air Force 2) (03:54)
04. B1 Do What You Like (1970 Ginger Baker's Air Force) (15:16)
05. C1 Da Da Man (1970 Ginger Baker's Air Force) (07:16)
06. C2 Sweet Wine (1970 Ginger Baker's Air Force 2) (03:38)
07. C3 Well All Right (1969 Blind Faith) (04:25)
08. D1 Can't Find My Way Home (1969 Blind Faith) (03:18)
09. D2 Aiko Biaye (1970 Ginger Baker's Air Force) (13:00)

Ginger-Baker72-At-His-Best-front-LP z-Ginger-Baker72-At-His-Best-400 Ginger-Baker72-At-His-Best-back Ginger-Baker72-At-His-Best-label1-4

LP1

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LP2

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Bad Company - Rough Diamonds (1982)

Year: August 1982 (CD 1982)
Label: Swan Song (USA), 7 90001-2
Style: Rock
Country: Albury, Surrey, England
Time: 38:45
Format: Flac Tracks 16/44,1 kHz
Size: 238 Mb

Three years is a long time between albums, but Bad Company’s Rough Diamonds — their first LP since 1979’s Desolation Angels — only makes one wish the band had stayed away even longer. Next to such mid-Seventies scorchers as “Can’t Get Enough” and “Good Lovin’ Gone Bad,” the witless, Free-style blues-rock shuffles and bloodless boogie tunes that make up this LP are embarrassing.
There are a few uncut gems here. “Electricland” actually opens the album on a promising note, with Simon Kirke’s tight drum trot pushing up against the song’s dark mood and Paul Rodgers’ chilling coyote howl. And “Cross Country Boy” sounds absolutely energetic, sandwiched as it is between an antique Chuck Berry stroll (bassist Boz Burrell’s “Ballad of the Band”) and a sluggish country-blues travelogue (guitarist Mick Ralphs’ “Old Mexico”).
But whereas Bad Company used to reinvest Sixties electric Anglo-blues cliches with energy and conviction, Rough Diamonds simply finds the group underlining those cliches in dull funk outings (“Untie the Knot”) and lame blues (“Nuthin’ on the TV”). In fact, the only cutting thing about this album is the cover’s serrated edge.
(rollingstone.com/music/music-album-reviews/rough-diamonds-185461)

Rough Diamonds is the sixth studio album by the English rock band Bad Company. The album was released in August 1982. Rough Diamonds, like its predecessor, Desolation Angels, was recorded at Ridge Farm Studio in Surrey, England in March and April 1981 and engineered by Max Norman (famed for his work with Ozzy Osbourne).
It was the last album by Bad Company's original line-up and the most recent studio album to feature Paul Rodgers. The sessions were rough going from the beginning. First, their manager, Peter Grant, withdrew from view after the death of Led Zeppelin drummer, John Bonham in 1980. Then, on another occasion, a fistfight broke out between Paul Rodgers and Boz Burrell, the two bandmates restrained by Mick Ralphs and Simon Kirke.
The album's opening track, "Electricland", written by Rodgers, was the album's biggest hit. Rodgers' "Painted Face" also received substantial airplay on rock stations. The album became the original line-up's worst-selling album, reaching a disappointing No. 26 on the Billboard album charts in 1982. The album was remastered and re-released in 1994.
(en.wikipedia.org/wiki/Rough_Diamonds_(album)

01. Electricland (05:29)
02. Untie The Knot (04:11)
03. Nuthin' On The TV (03:48)
04. Painted Face (03:28)
05. Kickdown (03:37)
06. Ballad Of The Band (02:14)
07. Cross Country Boy (03:02)
08. Old Mexico (03:51)
09. Downhill Ryder (04:14)
10. Racetrack (04:47)

Bad-Company82-Rough-back Bad-Company82-Rough-book-1 Bad-Company82-Rough-book-2

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Tuesday, 28 September 2021

Abacus - Everything You Need, Midway (2 albums) (1972, 1973)

Year: 1972 / 1973 (CD 2004)
Label: Progressive Line (Australia), PL 600
Style: Prog Rock, Rock
Country: Germany
Time: 78:15
Format: Flac Tracks 16/44,1 kHz
Size: 505 Mb

German progressive rock band Abacus released four albums during the early '70s; a self-titled debut in 1971 was followed by Everything You Need and Just a Day's Journey Away the following year and Midway in 1974.
(allmusic.com/artist/abacus-mn0001483695/biography)

ABACUS is surely a big name for everyone interested in rock music. The band formed in 1971 made their breakthrough at the Germersheim rock festival, where ABACUS drew not less applause from the 300,000 visitors than PINK FLOYD, SANTANA or ELP which appeared on stage as well. Jurgen Wimpelberg takes on himself to play keyboards, guitars, drum programming as well as vocals.
After a lengthy absence from the recording scene, German band are back with a new album, "Fire Behind Bars". They develop Pop melodies into a wide instrumental manner, with gorgeous neo-classical and symphonic sequences. In a vein near GENESIS, GREENSLADE or PINK FLOYD. ABACUS offers a modern and attractive Progressive Rock music.
(progarchives.com/artist.asp?id=468)

01. Anyway We Can (Song For H.) (04:28)
02. Slide Away (04:48)
03. Ivan Hood The White Knight (03:47)
04. Things We Do (06:11)
05. Everything You Need (20:18)
06. Let's Face The Voices And Dance (03:23)
07. Including Revelation (01:17)
08. Me And You (04:23)
09. 11 Farden (02:08)
10. (You're Not) The One I Love (03:44)
11. For The Moment (Unaware) (02:39)
12. Be Beholding (03:46)
13. Herman The German (03:17)
14. Here We Go (03:27)
15. Midway (10:31)

Abacus72-Everything-Midway-back Abacus72-Everything-Midway-book-2 Abacus72-Everything-Midway-book-1

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Thursday, 23 September 2021

Gary Moore - Live At The Marquee [Vinyl Rip] (1983)

Year: 21 September 1983 (LP 1993)
Label: SNC Records (Russia), SNC-0081
Style: Hard Rock
Country: Belfast, Northern Ireland, UK
Time: 50:59
Format: Flac Tracks 16/44,1 kHz
Size: 335 Mb

One of British rock’s greatest secret weapons, Gary Moore has never received the attention or props that he deserves as one of the Emerald Isle’s wildest and most talented guitarslingers. It is certainly not his immense skills that have prevented him from gaining more than a token stateside audience, although his penchant for skipping from project to project might provide some reasons for his obscurity. After fronting the early ’70s British blooze-rock outfit Skid Row, Moore banged out hard rock with Thin Lizzy, flirted with jazz/fusion as a member of Colosseum II, and played on solo albums by folks like Cozy Powell and Greg Lake. Moore’s own solo efforts have run the gamut from heavy metal to improvisational jazz to hardcore blues. For all of his genre hopping, Moore might be pegged as a dilettante but for the fact that no matter the style of music, he plays it so damn well...
Live At the Marquee is taken from a 1980 show captured at London’s Marquee Club and is probably as good a representation of Moore’s six-string skills as one might find. Although this critic personally prefers the blues bashing Moore practiced during the ’90s, the metal-tinged rock and jazzy fretwork found on Live At the Marquee is nevertheless impressive. Fronting a band that includes journeyman MVP drummer Tommy Aldridge, the Irish guitar wizard runs through a set that includes the hard-driving title cut from his 1979 solo album, Back On the Streets and the wonderfully sublime “Parisienne Walkway,” Moore’s first U.K. hit. “Run To Your Mama” rocks with a rabid ferocity, Moore’s lightning-quick runs highlighting an otherwise generic “kiss-off” song while “You” plays like melodic new wave pop. The soaring, operatic “Nuclear Attackv and the thrash-and-bash instrumentation of “Dallas Warhead” (with Aldridge’s manic drum solo) close out Live At the Marquee with a proper showing of Moore’s heavy metal skills.
(thatdevilmusic.com/2019/09/archive-review-gary-moores-live-at.html)

01. A1 Back On The Streets (05:31)
02. A2 Run To Your Mama (05:22)
03. A3 Dancin (05:36)
04. A4 She's Got You (07:07)
05. B1 Parisienne Walkways (07:45)
06. B2 You (04:24)
07. B3 Nuclear Attack (04:54)
08. B4 She's Got You (10:17)

Gary-Moore83-Live-At-The-Marquee-label Gary-Moore83-Live-At-The-Marquee-front-LP Gary-Moore83-Live-At-The-Marquee-front Gary-Moore83-Live-At-The-Marquee-back

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Bloodrock - Bloodrock (1970)

Year: March 1970 (CD 2010)
Label: Dogtoire Records (Russia), DGTR010915
Style: Hard Rock, Rock
Country: Fort Worth, Texas, U.S. (1969–1975)
Time: 48:15
Format: Flac Tracks 16/44,1 kHz
Size: 309 Mb

1969 saw the first rumblings of heavy metal with debut releases from bands likes of Mott the Hoople and Grand Funk Railroad. Bloodrock, a Texas-based quintet, also released their debut during this time (and like Grand Funk Railroad, they were managed and produced by Terry Knight). Bloodrock may not be as well remembered today as the aforementioned groups, but their first release remains a cult favorite among fans of hard rock. Their sound is reminiscent of Deep Purple, with electric guitar and organ dueling over a throbbing beat. However, Jim Rutledge's gruff, whiskey-throated vocals lend a rural tinge to the group's music that sets them apart. As expected for a heavy metal band, the songwriting themes tend to be pretty ominous: "Double Cross" is a gleeful hymn to revenge, and "Timepiece" recounts the final thoughts of a death row prisoner about to be sent to the gallows. The band doesn't always know when to edit their jams ("Timepiece"), and some of the songs feel more like a collection of riffs than fully thought-out compositions ("Wicked Truth"), but the group's powerful attack helps smooth over the rough spots to make an engaging slab of proto-metal. The album's highlights are the final two songs: "Fantastic Piece of Architecture" uses a combination of Doors-like funereal organ and piano to create a creepy atmosphere, and "Melvin Laid an Egg" blends pile-driving riffs with gentle bridges of piano, and harmony vocals to bring its surreal lyric about a freak-show-dwelling capitalist to life. Overall, Bloodrock lacks the crossover appeal to win fans outside of its cult reputation, but it remains an interesting listen for those interested in the development of heavy metal.
(allmusic.com/album/bloodrock-mw0000176093)

01. Gotta Find A Way (06:32)
02. Castle Of Thoughts (03:25)
03. Fatback (03:21)
04. Double Cross (05:15)
05. Timepiece (05:58)
06. Wicked Truth (04:46)
07. Gimme Your Head (02:43)
08. Fantastic Piece Of Architecture (08:46)
09. Melvin Laid An Egg (bonus track) (07:24)

Bloodrock70-Bloodrock-CD Bloodrock70-Bloodrock-back-in Bloodrock70-Bloodrock-back Bloodrock70-Bloodrock-book-1 Bloodrock70-Bloodrock-book-2

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Tuesday, 21 September 2021

Rory Gallagher - Rory Gallagher (1971)

Year: 23 May 1971 (CD July 25, 1996)
Label: TDK Records (Japan), TDCN 5593
Style: Blues Rock, Blues, Rock
Country: Cork, Ireland (March 2, 1948 - 14 June 1995)
Time: 47:44
Format: Flac Tracks 16/44,1 kHz
Size: 292 Mb

William Rory Gallagher (2 March 1948 – 14 June 1995) was an Irish blues and rock guitarist, singer, songwriter, and producer. Born in Ballyshannon, County Donegal, and brought up in Cork, Gallagher formed the band Taste in the late 1960s and recorded solo albums throughout the 1970s and 1980s. His albums have sold over 30 million copies worldwide. Gallagher received a liver transplant in 1995, but died of complications later that year in London at the age of 47.
(en.wikipedia.org/wiki/Rory_Gallagher)
Rory Gallagher's 1971 solo debut picks up where Taste's final album On the Boards left off; it is a solid album that is tightly focused on delivering some original tracks that reflected more of Rory as an artist than his raucous, blues-rock signature. Rory's solo debut births songs that meant more than being more skeletons for his incisive Strat picking; "Laundromat", "Hands Up", and "Sinner Boy", arguably three of Rory's best songs, distinctive riffs that were early concert favourites, but the album's ballads were some of Gallagher's strongest. "For the Last Time," "Just the Smile" and the acoustic "I'm Not Surprised" mixed strains of Delta blues with strong melodic sensibilities into songs of rare poignancy, especially for an artist who was best known for his scorching leads. In this respect Gallagher was an early model for Eric Clapton, whose solo career followed a similar path. Interestingly, Gallagher seems rather restrained throughout his debut, holding back the fret-burning in favor of strong songs. He opens up on the album's jazzy, seven-minute finale "Can't Believe It's You" which even features an alto sax, an instrument Gallagher all but abandoned on later albums. "Gypsy Woman"'s slashing slide guitar and vocals sound as impassioned any other track; shuffle "It Takes Time" isn't quite as impressive but still shows how comfortable Gallagher is with straight blues.
(rateyourmusic.com/list/JustGeorge93/rory-gallagher-and-taste-albums-ranked-and-reviewed-best-to-worst/)

01. Laundromat (04:39)
02. Just The Smile (03:41)
03. I Fall Apart (05:12)
04. Wave Myself Goodbye (03:31)
05. Hands Up (05:25)
06. Sinner Boy (05:04)
07. For The Last Time (06:34)
08. It's You (02:39)
09. I'm Not Surprised (03:38)
10. Can't Believe It's True (07:17)

Rory-Gallagher71-Gallagher-back Rory-Gallagher71-Gallagher-book-1 Rory-Gallagher71-Gallagher-book-12

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