King Crimson - In the Court of the Crimson King (1968 uk classic progressive rock - 2009 edition with 5 bonus tracks - Wave audio format)

The single most influential album of progressive rock ever released
Released in 1969, this incredible album by King Crimson not only established a new genre of music (progressive rock), but single-handedly established the different models subsequent prog bands would follow. In short, all of the elements that characterize prog (especially ensemble virtuosity) came together in one place on this album. Many musicologists (including this prog-obsessed biologist) regard In the Court of the Crimson King as the single most influential album of progressive rock ever released.
The band members on this album include Robert Fripp (electric and acoustic guitars); multi-instrumentalist Ian McDonald (saxophone, flute, piano, organ, mellotron); unbelievably good drummer Michael Giles; Greg Lake (bass, vocals); and last but not least Pete Sinfield (lyrics). All of the musicians are excellent and set new standards for ensemble virtuosity that would be taken up in earnest by the major English prog bands including Yes, Genesis, ELP, Gentle Giant, Van der Graaf Generator, and Jethro Tull. I should note that the influence of King Crimson was not just restricted to England and spread throughout continental Europe, particularly Italy - listen to any early PFM album (1972-1974) for proof.
The pieces on the album cover a broad spectrum of styles, moods, tempi and dynamics ranging from all out rave-ups to delicate passages comprised of just flute and soft cymbal work. The opening track 21st Century Schizoid Man features blistering riffs played in unison by several musicians and at breakneck speeds. There are sections of this piece that are vaguely reminiscent of the furious pace of be-bop jazz. In stark contrast to this all-out assault is the quiet and contemplative piece I Talk to the Wind, which showcases Ian on the flute. Epitaph is my favorite piece out of King Crimson's entire recorded output and features (in all its glory and splendor), the mellotron with string setting. This instrument, with its haunting and sweeping textures, lends this piece (and the album) an emotional sophistication that is truly something to behold. The 12'13" Moonchild is an odd piece that is more of a sound collage than anything else. Specifically, it opens with a brief and somber guitar passage and Greg on vocals, which then gives way to a very experimental and "free-form" instrumental passage that features various percussion instruments and delicate guitar parts (they verge on "noodling"). In fact, there are moments where the "noodling" gives way to sections of near silence. The opening flourish of the closing track The Court of the Crimson King breaks the listener out of the reverie induced by Moonchild, and is structurally somewhat similar to Epitaph - just like Epitaph, it features a ton of mellotron with some great ensemble work and is pretty haunting.
With regard to this particular iteration, the sound quality is excellent and is perhaps better than the other versions out there. (By Jeffrey J.Park - Massachusetts, USA)

King Crimson - 21st Century Schizoid Man


Tracks Listing
01.21st Century Schizoid Man
02.I Talk to the Wind
03.Epitaph
04.Moonchild
05.The Court of the Crimson King
06.Moonchild 2009 mix (Full version)
07.I Talk to the Wind (Alternate take - Duo version)
08.I Talk to the Wind (Alternate Mix)
09.Epitaph (Backing track)
10.Wind Session (from album session recordings)

Credits
Robert Fripp: guitar
Greg Lake: bass guitar, lead vocals
Ian McDonald: reeds, woodwind, vibes, keyboards, mellotron, vocals
Michael Giles: drums, percussion, vocals
Peter Sinfield: words and illumination

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Repost - Czar - Czar (1970 uk hard progressive and psychedelic sunbeam remaster edition with 08 bonus tracks - Wave audio format)

The story of the making of the Czar lp started in 1969 when Tuesday's Children were asked by Philips Records to make an album. The line up of the band was then Mick Ware on guitar, Paul Kendrick on bass guitar, Bob Hodges on Hammond organ and Derrick Gough on drums. Tuesdays Children had already recorded a single for Philips which had been released on the Mercury label and staff producer Brian Shepherd was designated to work with the band.
The recording sessions started on the 17th January 1969, there were 12 in total, the final session being on the 27th February 1970. All the sessions took place at the Philips headquarters studio at Stanhope Place, near Marble Arch London.
Although Brian Shepherd was the nominal producer of the album, he did not attend many of the sessions and the two engineers, Dave Voyde and Roger Wake did the production in conjunction with the band. They are credited as 'Production Engineers' on the LP sleeve and whilst they looked after the technical side of the recording, it was left up to the band themselves to arrange the music in the way that they wanted.
The first songs that were recorded were covers, which included long version of the Byrds '8 Miles High'. After a couple of verses this went into a long improvisation section that included Mars from the Planets Suite by Gustav Holst. This had been a highlight of the live set but although this song was finished it was not included on the album, there are probably two reasons for this: the estate of Holst wouldn't let anyone release different versions of his music, and secondly, Philips wanted an album of original material.
One day in the spring of 1969 the band were round at Paul Kendrick's parents house in Leyton when Paul mentioned that he had written and recorded some songs. Both Paul and Mick Ware had bought stereo reel to reel tape recorders on which it was possible to bounce tracks which meant that you could multitrack, although there was significant loss of quality if you did it more than 4 or 5 times.
Anyway we sat and listened to Paul's songs and liking what we heard we decided to rehearse and record some of them. Armed with this original material we then went back into the studio and continued to record. .
As 1969 progressed Paul wrote more songs which we recorded, Mick Ware was also busy and we recorded his song 'Today' later in the year. The band was also performing a lot, still as Tuesdays Children, and although some of the sessions were 3 hour mixing or vocal sessions, some of them were all nighters when the studio was not being used by anyone else, which gave us the freedom to experiment and also for me to use any of the hired instruments that were in the studio at the time ie. Mellotron, harpsichord, celeste.
We did perform all the songs on the album live, although I had to make do with just Hammond organ and electric piano on stage. One of our specialities was 3 part harmony vocals (we all sung except Derrick Gough), and we spent a lot of time in the studio on the vocals. Most of the vocals are double tracked, in those days you would lay down one vocal track and then sing another over the top of it which thickened up the vocal sound as the second track would be slightly out of synch. with the first.
Eventually we got to the end of 1969 and the band had completed most of the album, we had also decided to change the name and relaunch the band as 'Czar'. We felt that 'Tuesday’s Children' was too 'poppy' and as we were heading in a new direction, a new name was needed to go with the new music and image. the first gig as 'Czar' was at Londons' Marquee Club in Wardour Street on 17th January 1970, and although we still had a couple of gigs booked as Tuesday’s Children, after that we became known as Czar.
Unfortunately in January 1970 Derrick Gough decided to quit the band and we held auditions for a new drummer on 15th February 1970 at Bells Studios in Ilford, Essex (by Bob Hodges - Keyboards).


Czar - Tread Softly On My Dreams


Tracks Listing:
01.Tread Softly On My Dreams
02.Cecelia
03.Follow Me
04.Dawning Of A New Day
05.Beyond The Moon
06.Today
07.Day In September

Bonus tracks:
08.Ritual Fire Dance (LP out-take)
09.Oh Lord I'm Getting Heavy (45 A-side)
10.Why Don't We Be A Rock and Roll Band- (45 B-side)
11.(She's A) Lady Of Love (demo)
12.I'll Try Hard (demo)
13.Good Morning Sunshine (demo)
14.Oh Darlin' (demo)
15.I Laid It On The Line (demo)

Credits
Del Gough: drums
Bob Hodges: keyboards, vocals
Paul Kendrick: bass, vocals
Mick Ware: guitar, vocals

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Catharsis - Le Bolero Du Veau Des Dames - (1975 french progressive rock - Wave audio format)

Le Bolero Du Veau Des Dames (76) is the first album of new material for Catharsis since Pop Poèmes of 73, because the following two releases (32 Mars and Illuminations were both recorded in 71 along Masq, their debut album. This album stands a bit apart in Catharsis' discography as there are only of the four usual members (the other reappearing for the following year's S'Aimer Et Mourir. Replaced by members Claude and Michel (no last names given), the quartet probably signed their most symphonic oeuvre (although I've not heard half their albums) and arguably sounded the least like Floyd, although there are still some strong hints. BTW, don't be fooled by the vol 5 on the Spalax Cd reissue, this is their seventh album. . Although an organ-dominated sound, Catharsis' music sounds a tad different, as Bocquet's organ is a Farsifa, rather than the usual Hammond. Right from the first notes of Falace' you'll see easily that you are in a very different kind of musical realm. Some tracks like Melba still have a Floydian streak, but most include a fair bit of very tasteful brand of symphonic rock between Camel and Genesis. As with all Catharsis albums LBDVDD is hardly clocking around the 30 minutes mark. . The best track of the album is clearly the 10-mins title track, which spends all its duration throughout, changing through a myriad of moods and ambiances much like a better version of Camel (and even sometimes close to Caravan and Genesis) and French compatriots Carpe Diem. Also among the better tracks is Docteur Pleu, which has some delightful spacey sounds as well as some near-orgasmic breathing over a not-so steady beat, before breaking into a very Genesis-type of close. The weaker track would be Tango, with its staccato rhythm, but even then this is a stretch call it bad. . Catharsis might just stand as one of France most singular groups, this album is probably their proggiest (in the light of symphonic prog) and it seems that Catharsis has forgotten a bit their psych roots and developed a stronger symphonic sound. .


Catharsis - Le Bolero Du Veau Des Dames


Tracks Listing
01.Palace (5:39)
02.Tango (2:45)
03.Docteur Pleu (6:02)
04.Styx (3:07)
05.Melba (5:10)
06.Le Bolero du Veau des Dames (10:31)

Credits
Roland Bocquet : Farfisa Organ, Piano, Vocals
Charlie Eddi : Percussions, Vibraphone
Claude : Guitar, Sitar
Michel : Bass Guitar

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Salamander - The Ten Commandments (1971 uk progressive - FLAC)

Christianity and rock'n'roll make very strange bedfellows indeed but be aware it's the former who has done most of the serenading and flirting. Of those mainstream artists who have dallied with a spiritual agenda (Beatles, Dylan etc) it's only those large enough to take the commensurate 'hit' from the invariably disastrous musical results that have survived.

Marketing gurus appear to be on the horns of a dilemma when it comes to selling rock with a Christian orientation, and Salamander were on a hiding to nothing as a new and untried act attempting to get a foothold OUTSIDE of the pearly gates.

'Prelude Incorp. He Is My God' - This is a very impressive and memorable opener which starts appropriately enough with a devotional chapel organ before leading into the main theme arranged for full orchestra and overlaid with an exotic 'quivering' guitar lead.

John Cook is a very fine and inventive drummer who enhances the developmental aspects with some tasteful fills and subtle ride cymbal work throughout. (Way to go John boy) The pace briefly quickens thereafter into a somewhat (heavily medicated) 'Crazy World of Arthur Brown' groove featuring Benson's wide array of mouth watering Hammond textures. This is followed by a haunting strings backdrop to Dave Titley's plaintive and tender guitar.

The sung passage not surprisingly, has an oratorical feel underlined by some very impressive backing vocal counterpoint. Although the piece is not overly complex by the standards of the prog rock it prefaced, it is brilliantly constructed and paced by arranger Bob Leaper.

The only fly in this anointment is the latter's occasional lapse into those cheesey 'James Last' mannerisms that also rear their ugly head on similar work by the Moody Blues at around the same era. Those of you old enough to remember the theme tune for the TV documentary series 'World in Action' will get a whiff of that in places here.

'Images' - Nice Leslie speaker 'siren' effects on this and more than a trace of 'Hush' by Deep Purple in the rhythm employed but not overtly derivative as the tune is truly memorable and original. Titley displays what a wide range of vocal timbres he has command of with a rasping blues inflection (or is it someone else singing and the reviewer is too dumb to refer to the sleeve notes ?) One of those nice 'false ending' devices is exploited towards the end to good effect.

'People' - Although the production is horribly dated, that has never been an obstacle to a strong melody and sympathetic harmonic support eg the Beatles 'Yesterday' would still be a damn fine song even if rendered by a flat footed Bolivian nostril flute marching band. (think I'm drinking too much coffee) This is beautiful (Full stop)

'God's Day' - Things take a downward turn here with a paean to the Sabbath that sounds just a bit too cheerful for its own good. The melody is decent and well sung but is spoiled by some 'Trumpton Fire Brigade Brass Band' horn writing.

'Honour Thy Father and Thy Mother' - Simple and brief instrumental modest in its scope that carries an echo of Leo Sayer's 'When I Need You' (hardly an unqualified endorsement certainly, but so much of what we remember we profess to dismiss, without acknowledging its durability)

'Kill' - Reference points might include the organ sound and feel of Bob Dylan and the Band plus the arrangements of Van Dyke Parks heard on the more credible work by Brian Wilson. Unfortunately a good song is rather undermined by the adolescent 'gravitas' of a spoken narrative that drags us down into the twee realms of a school production of 'Joseph and the less than Amazing Monochrome Dreamcoat'.

'Thou Shalt Not Commit Adultery' - If Giles, Giles & Fripp had been god fearing souls with a better grasp of pop songcraft, they may have delivered something like this. Beautiful flute weaves its way throughout a finely woven tapestry of harmonized strands of melody. Brilliantly sung and enhanced by some restrained strings and subtle hand drum percussion. The best hippy camp fire song ever written to put out the flames of passion.

'Steal' - Bit of a no brainer in the moral lexicon really ? but an exquisite Hammond sound and a nagging riff that lives long in the memory afterwards. This may be the best song on the album as the electric band and the orchestral instruments are perfectly balanced with the latter injecting a thrilling little strings glissando at periodic intervals. Great tune and topped off with Benson's Vincent Crane impersonation on an economical solo which is interrupted by a startlingly ethereal strings dissonance. Very spooky.

'False Witness' - These guys were obviously big fans of 'The Crazy World of Arthur Brown' and early 'Deep Purple' as this has that sort of vibe but it fails to really go anywhere after a promising start. Ultimately it serves as a vehicle for an excellent short guitar solo from Titley, who otherwise contents himself with brushing up on a very convincing Dave Davies of the Kinks impersonation.

'Possessions' - Flecks of 'Cream' are visible on a decent tune but the specter of our old unvanquished foe 'James Last' hovers like a white bearded bird of prey over the arrangement.

Much of the music on this album is excellent and there are very few points in its duration where you ever get the impression of being preached at. So full marks to the lads for that (by ExittheLemming).


Prélude Incorporing He's My God's:


Track List:
01. Prélude Incorporing He's My God's (7:15)
02. Images (3:24)
03. People (2:50)
04. God's Day (2:27)
05. Honour thy Father and thy Mother (1:38)
06. Kill (3:31)
07. Thou Shalt not Commit Adultery (3:07)
08. Steal (4:20)
09. False Witnwess (3:54)
10. Possession (3:15)

Salamander:
*Alister Benson: organ, vocals
*Dave Chriss: bass
*John Cook: drums
*Dave Titley: lead vocals, guitar


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Chaplin Harness - II (1969 us, psychedelic, progressive rock with jazz/blues elements, gear fab 2010 release - MP3 320k and FLAC)

My first memory of the Chaplin Harness legend was from about ten years ago. I had a collector friend from overseas ask me if it was possible to obtain a copy of the test pressing. Not aware of what it was, I was intrigued. He explained to me that it was a "local" band who had made a psychy, funky album in 1969 that was never released except in a few test pressings.



Word spreads fast in the vinyl collector world! I checked with a few friends and they had heard of it but no one had a copy. Time passed and I forgot about it until two years ago when another friend Dan told me about the band and sent me a CD. On my first listen, I knew I had to release this on the Void label. I loved the LP! It was psychy, funky, bluesy, and even a bit progressive as well.



Dan also put me in touch with the main man in the band, Phillyjazz legend Rick lannaconne. Rick has played all over the world with some of the legends of the genre. While he was with Chaplin Harness in the late 60's, the band played frequently with all of Todd Rundgren's Philly area bands- Woody's Truckstop, The Nazz as well as opening for many big bands as they passed through town.



Musically, the album has a wide range of delights to offer. I have to say that I love Ray Bozarth's vocals, bluesy and powerful. Sadly, Ray left this world about 30 years ago. The big song on the album "Dit Dewey Man", also released as a 45, has a great funky feel to it. The band had a gift for the hook and the riff for sure.

from CD Liner Notes

Tracks

1. Magic Is Everywhere (Bozarth, J. Mingori, Monroe, Vespe, Fanelli) - 4:52

2. Old Man (Bozarth, J. Mingori, Monroe, Vespe, Fanelli) - 2:53

3. Tears (Bozarth, J. Mingori, Monroe, Vespe, Fanelli) - 2:13

4. In My Dream (G. Mingori, Monroe) - 5:07

5. Jack (J. Mingori, Monroe, Vespe, Fanelli, Tiberi, Argentina) - 12:22

6. Dit Dewey Man (Alt.), (Bozarth, lannacone) - 2:54

7. Baby I Know (G. Mingori, Monroe) - 4:06

8. Lay In My Bed (Bozarth, J. Mingori, Monroe, Vespe, Fanelli) - 2:15

9. Time (G. Mingori, Monroe) - 2:40

10.Tears (Bozarth, J. Mingori, Monroe, Vespe, Fanelli) - 1:56

11.Harness (J. Mingori, Monroe, Vespe, Fanelli) - 1:14

12.George (Vespe) - 0:45



Chaplin Harness

*Raymond Bozarth - Vocals

*Edward Monroe - Guitar

*William Vespe - Drums

*Joseph Mingori - Keyboards

*Nicholas Fanelli - Bass

*Rick lannaconne - Guitar

*Geri Mingori - Vocals

*Joe Mingori - Keyboards

*Phil Argentina - Bass

*John Tiberi - Keyboards

*Greg Hayes - Keyboards



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Finch - Beyond Expression (1976 netherlands progressive rock - MP3 320K and Wave audio format)

Finch’s second album rounds off some of the sharp edges, but it’s no less adventurous than the debut.



The 20-minute “A Passion Condensed” will probably stand for all time as their defining masterpiece, its mood changes and structural layers revealing themselves after many attentive listens.



Each passage merges easily into the next, showing Finch at the top of their game, each member completely dialed-in and making this huge piece work.



There are times when one is almost tricked into thinking that it is Focus playing rather than Finch, so and so their Dutch counterparts have obviously been a big influence.



In particular the interplay between Joop’s complex guitar work and Cleem’s keyboard runs is very reminiscent of work of Jan Akerman and This Van Leer.“Scars On The Ego” smashes through next, standing as their heaviest-ever track.



Based around a riff that feels like pure epic metal, the middle of the song settles into a hypnotic cosmic caress before erupting in a fury of sparks and fire (thanks to the wailing punishment keyboardist Cleem Determeijer and guitarist JoopVan Nimwegen dish out to their instruments).



While the title of third track “Beyond The Bizarre” would seem to indicate a wilder ride ahead, it is simply 14 minutes of typical Finch.



It bounces between mellow and manic, highlighted by a joyous lightning-speed workout from the stringed instrumentalists.



About 2/3 of the way through the song they break into a cosmic interlude which sounds so much like a section from Yes’s ‘Close To The Edge’ that you’d swear you were at a Yes concert.



But credit to Finch – 'Yes' are a band that anyone would like to be mistaken for.

Beyond Expression is not as direct as their first album, nor as refined as their third, but this second album can probably be considered the most challenging and diverse of the three Finch albums.









A Passion Condensed:





Track List:

01. A Passion Condensed

02. Scars On The Ego

03. Beyond The Bizarre



Personnel:

*Cleem Determeijer - keyboards

*Beer Klaasse - drums

*Joop Van Nimwegen - guitars

*Peter Vink – bass



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A Band Called O - Oasis - (1975 Uk classic rock blended progressive rock - Vinyl rip - Wave audio format)

In 1975, they released their second album, Oasis. They had one track "There Ain't Nothing I Wouldn't Do" on a single to promote their tour with Sassafras and Randy Pie as the "Hot On The Tracks" package. Musically it found the group teamed with producer Nicky Graham. Clearly interested in courting a larger audience, material like the funky 'Amovin'', 'Foolin' Round' and 'Fine White Wine' found the band working in a more commercial mid-1970s AOR genre. With all five members and producer Graham contributing to the writing chores, the set wasn't bad. Powered by some nice lead vocals from Pickford, the collection was tuneful and occasionally fun (check out 'Bird of Paradise'). Powered by some jumpy synthesizers the group composition 'Take Your Time' showcased a mild progressive feel. Similarly. complete with a pretty melody and weird reggae mid-section 'Sleeping' offered up a nod to their progressive roots and was probably the most atypical of the ten songs.





A Band Called O "Amovin"





Tracklist

01. Amovin' (3:44)

02. Foolin' Round (4:31)

03. Sleeping (5:20)

04. Morrocan Roll (2:41)

05. Fine White Wine (3:46)

06. Take Your Time (3:12)

07. Bird Of Paradise (4:11)

08. Ice (2:12)

09. That's Up (3:17)

10. Some People (5:46)



Credits

Pix - Lead Vocals, Guitar

Craig Anders - Lead Guitar, Slide Guitar

Derek Ballard - Drums & Percussion

Peter Filleul - Electric Piano, Clavinet, Synthesizer, Vocals

Mark Anders - Bass Guitar



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The Aynsley Dunbar Retaliation - Dr. Dunbar's Prescription-Blue Whale-Remains To Be Heard (1969-1970 uk blues, progressive rock - 320K and WAV)

The first CD is a 2 for 1 that has Aynsley Dunbar Retaliation's second album Dr. Dunbar's Prescription and The Aynsley Dunbar's new band Blue Whale.



The Second CD is Aynsley Dunbar Retaliation's last album Remains To Be Heard



The Aynsley Dunbar Retaliation's second album was much the same as their first, offering competent late-'60s British blues, given a slightly darker cast than was usual for the style via Victor Brox's somber vocals.



Like their debut, it was dominated by original material, and as on its predecessor, the compositions were rather routine blues-rock numbers, though they benefited from arrangements by highly skilled players.



The best of these tracks were the ones that utilized Brox's gloomy, almost gothic organ, if only because it made them stand out more among the company of the many similar bands recording in the prime of the British blues boom.



Otherwise the main fare was straightforward blues-rock that was well played, but rather average and forgettable, the most distinguished ingredient being Dunbar's hard-hitting, swinging drums.



If only because it has some original songs that were better than anything on the first album ("Fugitive," "Till Your Lovin' Makes Me Blue," and "Tuesday's Blues," the last of which has some songwriting and guitar work quite similar to Peter Green's late-'60s style in those departments), it's a slightly better listen, though not up to the standards of somewhat similar groups like Fleetwood Mac and John Mayall & the Bluesbreakers.



Blue Whale veered more towards progressive rock with lots of improvisation. It includes four long tracks written by the band's vocalist Paul Williams and a version of Frank Zappa's Willie The Pimp. The best track is It's Your Turn.



Although the Aynsley Dunbar Retaliation broke up in late 1969 after their third album, singer Victor Brox was convinced by manager Bryan Morrison to assemble a posthumous fourth LP.



Unfortunately, Remains to Be Heard came close to being the Aynsley Dunbar Retaliation in name only.



For drummer-founder Dunbar is only on four of the ten tracks, and the rest include contributions by various musicians who weren't in the group, among them Brox's wife (singer Annette Brox), drummer Keith Bailey (who played with Graham Bond for a while), and some African drummers.



The material isn't up to the group's usual standards either, with three of the tracks being leftovers from their third LP, 1969's To Mum, From Aynsley and the Boys; cut by the quartet of Dunbar, Brox, guitarist Jon Morshead, and bassist Alex Dmochowski, the recordings had been left off that record since they were cut prior to Tommy Eyre (who appears on all of that LP's tracks) joining the band.



Sadly, even some of the tracks with Dunbar aboard aren't up to snuff; you know an outtake should remain an outtake when it begins with the lyric "be my monkey woman, I'm gonna be your monkey man" (as "Invitation to a Lady" does), though "Downhearted" is a worthy effort in the downer-blues-with-organ style that was perhaps the group's strongest suit.



Many if not all of the post-Dunbar recordings sound kind of like demos and/or unfinished songs in progress, and none sound especially worthy of future attention, except maybe for the brooding, jazzy "Toga" (with violin, wordless hummed vocals, and African-tinged percussion), though even this seems like a sketch with lyrics that have yet to be filled in.



It all adds up to a sad and unrepresentative end for a worthy group, desirable only for completist collectors.











Dr. Dunbar's Prescription/Blue Whale:

01. Change Your Low Down Ways

02. The Fugitive

03. 'Till Your Lovin' Makes Me Blue

04. Now That You've Lost Me

05. I Tried

06. Call My Woman

07. The Devil Drives

08. Low Gear Man

09. Tuesday's Blues

10. Mean Old World

11. Willing To Fight

12. Willie The Pimp

13. It's Your Turn

14. Days

15. Going Home



The Aynsley Dunbar Retaliation Personnel:

*Alex Dmochochshi - Bass

*Aynsley Dunbar - Drums

*John Moorshead - Lead Guitar, Vocals

*Victor Brox - Vocals, Guitar, Keyboards, Horns

*Tommy Eyre - Keyboards



Blue Whale Personnel:

*Aynsley Dunbar - Drums

*Peter Friedberg - Bass Guitar

*Ivan Zagni - Lead Guitar

*Paul Williams - Vocals

*Roger Sutton - Lead Guitar

*Charles Greetham - Saxaphone

*Edward Reay-Smith - Trombone







Remains To Be Heard :

01. Invitation To A Lady

02. Blood On Your Wheels

03. Downhearted

04. Whistlin' Blues*

05. Keep Your Hands Out

06. Sleepy Town Sister*

07. Fortune City*

08. Put Some Love On You*

09. Bloody Souvenir*

10. Toga*

11. Warning

12. Cobwebs



Personnel:

*Aynsley Dunbar - Drums (* Not Present on these tracks)

*Alex Dmochowski - Bass Guitar

*John Morshead - Lead Guitar

*Victor Brox - Piano, Organ, Vocals, Percussion

*Annette Brox - Vocals (tracks: A4, B1 to B5)



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Rumple Stiltzken Comune - Wrong From The Beginning (1977 swiss prog rock - FLAC)

The following is taken from the CD booklet:



Rumple Stiltzken Comune was founded by guitarist Luciano Storari, keyboardist Claudio Zaniolo and singer Claudio Adorni in October 1973, in the Italian speaking border town of Chiasso, Switzerland.



Our progressive rock was accompanied by light shows, mime, ballerinas, costumes and surprises.

Adorni eventually left the band to pursue artistic photography, and this brought about significant changes to the band.



New members were brought on board: bass player Umbro Barbarossa, Ezio Costantini on drums, singer Mauro Marangoni, and soundman and effects Mauro Zanoli.



On the album cover, there are the various practice sites. The colored photo was the last practice site situated in the middle of the forest on top of a hill! This is what inspired us to name the band "Rumple Stiltzken"--we were in the forest as the dwarfed old man was, and when we played music, the event felt as though it were magical!



The reason for including "Comune" was that there was quite a following of groupies that were always among us wherever we went, be it to practice sessions, concerts, restaurants, etc. How could we not include them in the band? They were like family!



In 1977 we released "Wrong from the Beginning," which was recorded in Lugano, Switzerland and mixed in Milan, Italy. In the year 2000, the album was remixed and remastered in Orlando Florida by Digital Domain. Our music talked about fairness, kindness, goodness and things like these.



So this is a band from Switzerland, speaking Italian, singing in English, and receiving most of their influence from English bands.

Worth the effort to find. (by Todd Dudley from proarchives)



Track List :

01.Flipping

02.Wrong From The Beginning

03.To Be Or Not To Be

04.The Closed Boy



Personnel :

*Umbro Barbarossa - bass, acoustic guitar

*Ezio Constantini - drums, percussion

*Mauro Marangoni - vocals, twelve-string guitar

*Claudio Zaniolo - vocals, keyboards

*Luciano Storari - lead guitar, electric and acoustic guitars

*Mauro Zanoli - everything that concerns sound and light effects



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Dillinger - Dillinger (1974 canada progressive, jazz, blues rock - 320K and WAV)

Dillinger (not to be confused with the reggae band of the same name) was a Canadian progressive band from Toronto, Ontario.

The band's debut self-titled album was originally released on the Daffodil Records label in 1974.

The album contains three original songs composed by the band and a superb cover of the song "Nature's Way," originally done by Spirit on The 12 Dreams of Dr Sardonicus album.

Dillinger's music is a complex, guitar-and-organ fronted progressive sound which moves from jazz to blues and features a variety of instruments including piano, synthesizers, flute, sax, acoustic and electric guitars bass, and percussion.

In places the band sounds like Santana, while in other places like Iron Butterfly or Emerson, Lake & Palmer.

Dillinger has a unique sound for a Canadian band that attracted more attention in Europe than it did in North America.

With long songs and drawn-out solos, Dillinger is more or less one of your typical early-'70s progressive bands, nothing special, but nonetheless interesting and typical of the genre.

This release by Unidisc is a straight reissue of the original album at a budget price and contains no bonus tracks.



People:


Track List:
01. People
02. City Main
03. Nature's Way
04. Live and Return

Personnel:
*Jacques Harrison - Keyboards, Vocals , Sax, Flute, Accordion
*Robert Harrison - Drums, Percussions
*Paul Cockburn - Guitars
*Terry Bramhall – Bass

[ Rip and Scans by LARRY ]
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Alphataurus - Alphataurus (73, italian prog rock, japanese remastered SHM CD edition - FLAC)

One of the most incredible treasures of the many released in Italy during the seventies.

Alphataurus was a very talented (and obscure) band made of five elements arounf the main figure and role of Pietro Pellegrini on piano, organ, moog, vibraphone and spinet.
The musicianship is at highest peaks, very captivating and convincing.
It combines varied arrangements from harder ones to the most italian classic symphonic others. Pellegrini was after also with Riccardo Zappa.

The uniqueness of the band is demonstrated also by the wonderful and original cover artwork. The elegant papersleeve Vinyl Magic 1995 remastered cd was designed by Adriano Marangoni. A dove with olive tree's little brench in his bill, is throwing bombs over a fantastic world.
Maybe an extraterrestrial planet ... in the distance other doves over a town.
Near them, an impressive nuclear explosion.

The internal papersleeve cd remaster contains a large black.and-white photo of the five band's members who seem to watch curiously to what's happening to that parallel world.
Do not trust of people who preach peace if they usually justify violence their friends (ot themselves) committ.
I know what I mean.

By the way, the opener track "Peccato D'Orgoglio" (Sin of Arrogance) is an outstanding 12,25 minutes long opener.
A darker intro.
A sort of presage or profesy regarding what it's going to happen!
Special mention has to go for the vocals provided by Michele Bavaro.
It seem to listen to album such as Palepoli, of another memorable band: Osanna.
There a great role for the electric guitars.
Keyboards, even though having preminent importance as it soon happens on italian prog scenario, are not as "dictatorial" as they usually do.

These peculiarities are evident in the second track "Dopo L'Uragano" (After the Hurricane). Another convincing opus in the similar sad and dark vein which seems to be the trademarck of the first Alphataurus' release.

"Croma" is, without any doubt the most original and prog work on the album.
Many shifting mood and uptempos, strong and powerful keyboards.
It is interesting that the band, in the liner notes, stated: "Album recordings were made only with the instruments of the band's members. They have not used orchestra for any of the the five tracks or its part".

"La Mente Vola" (Mind's Flying) is another long piece that took immidiately all my attention. I've got a strange feeling about it :
it seems really recorded in the recent years.
Just look to rithm' section and structure of the song.
A very modern arrangement, well performed.
My favourite one, more intimate and sweeter than the previous three.
The vocals are wonderful and poetic, regarding man who understands the importance of praying God: "...above there there is Someone..."!
Impressive charisma and fine work on vibraphone provided by Pellegrini!!!
My favourite track of the all.

"Ombra Muta" (Mute Shadow) : for the fifth time I can open my ears to pleasure.
Fine and melodic structure with flash of harder and captivating electric guitar and keyboards!! With the usual dark temper.

All in all, Alphataurus appears to be, with no doubt, a real italian masterpiece.
Obvious that I recommend you all to buy it.

For me it is on the top ten of the best of the best of all the italian contribution to progressive world! (by Andrea Cortese from progarchives)

Track List :
01.Peccato D´Orgoglio
02.Dopo L'Uragano
03.Croma
04.La Mente Vola
05.Ombra Muta

Personnel :
*Michele Bavaro - vocals
*Alfonso Oliva - bass
*Pietro Pellegrini - keyboards
*Giorgio Santandrea - drums, percussion
*Guido Wasserman - guitar

[ Thank you DR BELL OTUS for sending this post ]
[ Vinyl Artwork by Dr Bell Otus]
[ Rip and scans made by torrents ]
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Jump - Jump (1971 us progressive rock - 320K and WAV)

This progressive pop-rock quartet was led by lead guitarist / vocalist Dennis Tracy, along with lead vocalist / organist Scott Thurston, bassist Mark Spiwak and drummer Don Gorman.

They’d met on Sunset Strip in Los Angeles one night, and quickly found management in the shape of The Doors right-hand man Bill Siddons (who had time on his hands while The Doors were on hiatus following the recording of LA Woman.)

After a week’s rehearsals, they signed the Janus (asubsidiary of Chess) at the Beach House in Santa Monica, California, and Flew to San Francisco to cut an album at the legendary Wally Heider’s Studios before they’d so much as played a gig.

Overseen by Fred Catero – famed for his work with Bob Dylan, Santana and others – the Sessions took three weeks (and were filmed by UCLA film Student Reed Hutchinson, though it has yet to resurface).

Their first gig was in front of 5000 people at the San Bernardino’s Civic Aufitorium. Following the album’s release on the Janis label in the summer of 1971, they undertook two nationwide tours, including a performance at the massive week-long Celebration of Life festival in Macrea Louisiana that June.

Despite a strong commercial sound (and a German release for the LP on Bellaphon), the split later the year over musical direction (Thurston and Spiwak favored a more traditional rock/blues sound, while Tracy was more interested in classic songwriting).

After the split, Tracy embarked on a solo career, including a 1974 album on which he was backed by Thurston and Spiwak, meanwhile, became a leading Session Musician and long-time member of Iggy Pop and Tom Petty’s bands.



Track List:
01. Love Wit Chu Mama
02. No News
03. Here I Lie With You
04. Your Heart Can Find You A Song
05. Such A Lover
06. Having A Wonderful Time
07. Close As Touch
08. Enough Of This Circus
09. Bank Of Love
10. Change, We Are All Alive
11. Life, Leave Us Part As Friends

Personnel:
Dennis Tracy - Lead Vocals, Guitar
Scott Thurston - Lead Vocals, Organ
Mark Spiwak - Bass
Don Gorman – Drums, Vocals

[ Rip and Scans by LARRY ]
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Christmas - Heritage (1970 canada psychedelic and progressive rock - MP3 320K and WAV)

Christmas was formed in 1969 in Oshawa, Ontario, Canada, out of the ashes of the cult underground psychedelic band Reign Ghost.

In July 1970, Christmas released an independent self-titled debut that brought some media attention to the band and a contract with the Daffodil Records label.

In December 1970, less than six months after the release of the debut, Christmas released their debut Daffodil Records album entitled Heritage.

Christmas was comprised of vocalist and multi-instrumentalist Bob Bryden, bass Tyler Raizenne, drummer Rich Richter, and Robert Bulger on guitars, all of whom were still in their teens.

The album gathered good reviews and was well received by critics but it was not commercially viable because the long songs and hard rock sound.

It became an instant favorite in the underground music scene just about everywhere but in Canada.

Despite the international response to the album, Heritage proved to be the last release by the band under the name Christmas due to management problems and difficulty with the direction of the next album.

Consequently, Christmas broke up in late 1971 only to resurface the following year, lineup intact, under the name the Spirit of Christmas.

In the late '80s and '90s, the original Heritage album became a highly sought after collector's item, especially in the U.S.A. and Europe because of the band's unorthodox style and progressive influences.

While the original Heritage album contained ten songs in the heavy rock progressive style of music, this reissue features an extra four bonus tracks. This reissue by Unidisc has been digitally mastered and the original artwork has been kept.



Heritage:


Track List:
01. Zenith (Instrumental)
02. Rise Up
03. Goin' To Oklahoma
04. Something Borrowed
05. Point Blank (It Scares Me)
06. Zephyr Song
07. Bustin' Out Tonight
08. Blues On An Iceberg
09. April Mountain
10. Heritage
11. A Part Of Our Heritage
12. Don't Give It Away (Long Version)
13. Farewell Sweet Lovin'
14. I'm A Song (Sing Me)

Personnel:
*Bob Bryden - Guitar, Keyboards, Vocals
*Robert Bulger - Guitar
*Tyler Raizenne - Bass
*Helge "Rich" Richter - Drums

[ Rip and Scans by LARRY ]
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Sleepy John - Sleepy John (1970 us blues, progressive & psychedelic rock - MP3 320K and WAV)

This album’s music was made in 1970 – it’s therefore not surprising that you don’t find raging power metal here, but rather relaxed yet still often unbound heavy rock with fiery guitars – and organ music – as evidenced by the totally exploding end part of “River”, the opening track.

The disc’s sound does not conform to today’s standards, but it is lively and honest, and you get the feeling that the band is standing right next to you.

Sleepy John was still operating on the threshold of the psychedelic bands of the 60’s to the hard rock of the 70’s.

Extensive, mind-bending jams and solos that rob you of your senses are as much part of the repertoire as are straight-line-like, aggressively driven moments of penetrating melodies.

Especially the often ecstatically whirling drummer is absolute ear candy, yet only a small part of the whole experience.

The pieces are playful, but flow forward naturally and stay reconstructable. A few freaky parts here and there do not interrupt the flow.

Even when the guitar does not sound badly distorted, the ardent way in which it is worked evokes a sense of immense power.

Every so often the fuzz box is turned on and a sizzling distorted sound sneaks in and cuts right into your belly.

After two hard rock pieces, every band needs a break, so a ballad, heavy on melancholy and furnished with rich organ arrangements is just the right thing.

Even here are moments where the band steps up the drama by increasing the volume, but these moments then give way again to softly floating passages.

Or, take note of the frenzied leads in the absolutely crazy instrumental middle passage of “Dragons” which produce an almost hypnotizing effect.

Hard rock is not the only style aid here; threads of softer, swinging songs with a somewhat fluid expression are also weaved in.

That’s the way it was back in 1969/70 – to not think and compose one-dimensional, but to create a salient point in the material to unify it.

When you compare this band to current mainstream rock music, you should – your face distorted with disgust – turn your naked ass to today’s modern, uninspired plastic shit, to say it bluntly.

Today, they either use demented screaming, bored droning on or whining. In contrast, take the almost floating “Seasons” where the middle part integrates passages which sound like Eastern European folk music and psychedelic heavy rock, and the band ability to change back and forth without missing a beat.

That song alone has more diverse passages than many bands have in their entire discography: It swells, becomes highly intensive and brings you toward ecstasy, flows into more floating moments, falls into playful parts with twisted bridges, then mysterious and dark, then rocks and culminates in a scream and fiddling guitar after the folk music-like middle. Wow, I gotta sit down.

The song “Losing my plow“. A song placed somewhere between Country and Slapstick, “Losing my plow”, follows. Hard-core rockers with blinders on are probably screaming now, but as a comedic interlude I find it rather refreshing.

In their playful way, Sleepy John fall in with high-class bands. They continually add ideas that make for very diverse material -- this naturally requires a certain level of immersion on the part of the listener.

I think it’s fair to say that for hard rock fans listening to this disc is like running a gauntlet.

There are bluesy interludes that are so mischievous that they take on a parodic character – yet, the band does this with such honesty and authenticity which makes it very believable People who dare go near such a multi-layered band with a like CD should add Sleepy John and their so-named debut-CD to their shopping list.

It’s truly great fun to listen to the four young men’s performance.

Unfortunately, Sleepy John never had the good forture of a regular publishing then, only in 2004 the US Label Gear Fab burnt the two recording sessions from the 70’s into a CD.

The result speaks for itself. Liner and booklet are nicely done, with band history and illustrations. And with 73 minutes it’s not too short.



River:


Track List:
01. River
02. Al Capa Strong
03. Nothing
04. Dragons
05. Prelude to a Dream
06. Seasons
07. Losing My Plow
08. Hard Workin' Woman
09. I Just Happen to Be (In Love With You)
10. Monday Blues
11. You Say
12. Trying to Fly
13. Blue Sky
14. Cowboy
15. Searching for the World

Personnel:
*David Lee - Hammond organ and Vocals
*Frank Trowbridge - Guitar and Vocals
*Jim Bartlett - Bass
*Tom Williams - Drums

[ Rip and Scans by LARRY ]
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Clark-Hutchinson - A=Mh2 Exp (1969 uk blues, progressive & psychedelic rock - extended edition - MP3 320K and WAV)

As virtuoso musicians and members of Sam Gopal's Dream, Clark-Hutchinson (Andy Clark and Mick Hutchinson) were well-known to regulars at legendary London clubs such as UFO and Middle Earth when they decided to branch out as a duo.

Recorded in two intense overnight sessions in May 1969, A=MH2 is a scorching blend of jazz, raga, blues and psychedelia that has long been established as one of the key recordings to have emerged from the UK psychedelic underground.

It's presented here as a 2CD set, together with their March 1969 recording debut, an unreleased collection of acid blues that features some equally stunning musicianship.

The package comes complete with detailed notes and previously-unpublished photos, making it the most comprehensive edition of this groundbreaking music ever assembled.



Impromptu in 'E' Minor:


CD1:
01. Improvisation On A Modal Scale
02. Acapulco Gold
03. Impromptu In 'E' Minor
04. Textures In 3/4
05. Improvisation On An Indian Scale

CD2:
01. Bad Loser
02. Crow Jane
03. Can't Carry You
04. Seymour's Boogie
05. Put You Down
06. Someone's Been At My Woman
07. Make You
08. Summer Seemed Longer

Personnel:
*Mick Hutchinson – Lead, Bass, Rhythm Guitar, Bongos, Piano, Timpani and Flute
*Andy Clark – Bass Drum, Maracas, Bagpipe chanter, Piano, Organ, Tenor & Alto Sax, Gong, Rhytum Guitar, Flute and Voice

*With Walt Monahan (Bass) and Franco Franco (Drums) on Disc 2

[ Rip and Scans by LARRY ]
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Petrus Castrus - Mestre (73 portuguese prog rock 2CDs - Wave audio format)

A year ago I had to write the biography of Petrus Castrus, having only listened their albums a pair of times, but a few days ago I had the chance to buy "Mestre" for a couple of bucks, being that nobody knows them in my country and the store owner was desperate to get rid of the album.

Before the guy noticed the treasure he had, I grabbed the album and for the last two days I have been almost hypnotized by the wonderful music and specially because the excellent lyrics based in the poems by Bocage, Alexandre O'Neill, Ary Dos Santos, Fernando Pessoa and Sophia de Mello Breyner Anderson, adapted to this album as a reaction of the dictatorship that Portugal was suffering for decades.

It's true that "Mestre" is not as Symphonic as Petrus Castrus second album "Ascenção e Queda", but the eclectic approach and naïve sound is simply delightful, being that they almost cross all the spectrum of sub-genres existing in the early 70's, but without the touch of arrogance that we are used in most talented and versatile Prog musicians of those days, as if the band members were not conscious of their real value.

The album is opened by "Mestre" with a simple but effective piano intro followed by very nice vocals in the beautiful Portuguese album, a Psyche Hammond backup makes us return to the wonderful 60's, something that can be explained in the fact that Portugal was many years behind Europe in musical terms because the illegal Government was unfriendly with Rock. Melancholic and gentle flows from start to end as if this guys were expert musicians and not newbies releasing their debut album.

"Patria Amada" is a radical change, still rooted in the late 60's but this time incredibly eclectic, because the Keith Emerson style of José Castro blends with the music reminiscent of the late Beatles, two incompatible styles that blend perfectly in one track.
"Porque" starts with a beautiful vocals - piano duet that soon is followed by a soft drumming, the gentle music collisions with the aggressive political oriented lyrics which are only interrupted by piano explosions, this time in the vein of Rick Wakeman, very nice track.

"País Relativo" is another Psyche song with an excellent acoustic guitar work, nothing complex or extremely elaborate, but the beauty of the song relies precisely in the simplicity. At this point I can't help finding many similarities between Petrus Castrus and the Peruvian band Traffic Sound, something not so strange being that both countries had a similar realty on those days.

"Macaco" is a short interlude that sends us back to te 20's with an impeccable Foxtrot performance and works as a preparation for "S.A.R.L." a magnificent song in a perfect Santana style, the Latin percussion blends perfectly with the aggressive guitar and vocals with a completely Psychedelic Hammond, not precisely original but still very good track.

"Pasargada" starts soft and gentle with a very nice piano used to enhance the vocal work, but this time the lyrics are completely aggressive against the Government, something that makes me wonder why they were banned only for three months, being that not many Dictators use to forgive those who are so clearly against the "status quo". As the song advances the piano gets more and more strong, making of this song a real gem.

"Velho Avarento" is a classic Rock & Roll song that seems taken from another album, simple but effective.

"Tiuahuanaco" is the name of the next track, something strange because it's the name of a Peruvian Pre-Inca culture, but at the same time could explain the similarities I mentioned before with a Peruvian band, being that probably they had their eyes and their ears placed in this part of South America.

"Historia do Azul do Mar" is an incredible song with the keyboards sounding as a clavichord, creating a Renaissance atmosphere with very beautiful vocals tha flows gently until the organ retakes the Psychedelic atmosphere, the transition between the first classical oriented section and the aggressive finale is perfectly done, in such way that the listener takes the radical change as something natural.

The album is closed buy the 43 second track "So Mais Nada" that works as a short acoustic guitar and vocals epilog that completes the concept of the album with a touch of nostalgia and suffering.

"Mestre" is a hard to rate album, because it's not particularly complex or transcendental in the sense we are used to, but the naïve beauty of the music and the intelligent lyrics are enough for me, so four solid stars for a very good album with a distinctive and unique sound. (by Ivan Melgar M from progarchives)

Track List :

CD 1 (Mestre, 1973)
01.Mestre
02.Pátria Amada
03.Porque
04.País Relativo
05.Macaco
06.S.A.R.L.
07.Pasargada/Saudades Do Rio Antigo
08.Velho Avarento
09.Tiahuanaco
10.História Do Azul Do Mar
11.Só Mais Nada

Bonus Tracks
12.Agente Altamente Secreto
13.Pouca Terra


CD 2 (Morte Anunciada Dum Taxista Obeso, 2000-2005)
01.Sonhar Com Leões
02.Não Cobiçarás (A Mulher Do Próximo)
03.Toni, O Estripador
04.Quando O Challenger Explodiu
05.A Verdade Desportiva
06.Dedo No Gatilho
07.Urgência Hospitalar
08.Amor E Ódio
09.Seita Violenta
10.Perder Um Filho
11.Esperança De Vida (Idade Mérdea)
12.Chamei Por Ti
13.Cervantes Não Existe
14.Morte Anunciada Dum Taxista Obeso
15.Saudades Dum Chato
16.Confesso Que Errei

Personnel :
*Pedro Castro - bass guitar, 6-string guitar, 12-string guitar, vocals, chorus, kazoo
*José Castro - piano, xylophone, vocals, chorus
*Rui Reis - piano, organ, harpsichord
*Júlio Pereira - electric guitar, 6-string guitar, bass guitar
*João Seixas - drums, percussion
*José Mário Branco - xylophone on "S.A.R.L."
*Urbano Oliveira - drums, percussion on "Agente Altamente Secreto" and "Pouca Terra"
*Pedro Wallenstein - bass guitar on "Agente Altamente Secreto"
*Luís Filipe Castro - electric guitar on "Seita Violenta"

[ Rip and Scans (CD & Vinyl), by DR BELL OTUS, except booklet Scans made by torrents and sent by Mclehast ... thanks man ]
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