Alan Stivell – Reflets
Vinyl | LP Cover (1:1) | FLAC | 24bit/96kHz & 16bit/44kHz
Label: Fontana / 6312 011 | French Pressing | Release: 1970 | Genre: Progressive-Folk
Another must from Alan Stivell, is this album “Reflets”.
If I may give an opinion, this LP has among its top albums: excellent harp arrangements with electric instrumentation (guitar, organ, etc.), recording the year 1970. I mean we are facing that exquisite progressive sound of those years. In my walk to Stivell’s discography, I think the best of it ends up in his LP “Live in Dublin” (and I’ll rip, maybe in the next future). 😉
5 stars, no doubt.
SBB – Nowy Horyzont
Vinyl | LP Cover (1:1) | FLAC | 24bit/96kHz & 16bit/44kHz
Label: Polskie Nagrania Muza / SX 1206 | Polish Pressing | Release: 1975 | Genre: Progressive-Rock
I believe this was the first studio album they released back in 1975, although they did release “Pamiec” later the same year. I actually like this one better then “Pamiec”. I just feel they impliment a lot of good ideas on this album and for the most part they are all a success. Lots of experimental meandering and of course all three of these guys play like they’re from another planet, especially the drummer. “Na Pierwszy Ogien” has an amazing intro before steady drums take over with guitar soloing over top. Check out the drumming 3 minutes in ! A calm with piano follows. “Blysk” is uptempo as drums lead the way.The guitar is lighting it up big time a minute in. Some nice organ runs later. Piano ends it. “Nowy Horyzont” is the longest track on side one at 8 1/2 minutes. It opens with pounding drums and synths before a calm with gentle guitar takes over before a minute. It starts to build before 3 minutes. Nice bass. Great sound 5 minutes in as guitar, bass and drums all shine. Synths before 6 1/2 minutes and piano ends it.
“Ballada O Pieciu Glodnych” is experimental as we hear waves of sound with spoken words coming in. “Wolnosc Nami” is the 20 minute side long ending tune. We begin with an experimental intro with piano finally coming out of it. Vocal melodies 4 1/2 minutes in. Drums and a gorgeous soundscape take over 6 1/2 minutes in. This is so emotional, especially after what has gone on before. Some nice piano melodies 10 1/2 minutes as it calms right down. It gets experimental again then drums come pounding in at 13 1/2 minutes. It turns dark and ominous 15 1/2 minutes in as drums pound away (any excuse). A change after 17 minutes as piano arrives and tinkles away to the end of the song.
This was a pleasant surprise for me, it kept my interest throughout and it can be quite challenging at times.
progarchives.com
Side A
1. Na Pierwszy Ogień (Curtain Raiser) 3:15
2. Błysk (A Flash) 2:45
3. Nowy Horyzont (The New Horizon) 7:47
4. Ballada O Pięciu Głodnych (A Ballad About The Five Hungry Ones) 3:55
Side B
1. Wolność Z Nami (Freedom With Us) 20:00
Bass Guitar, Piano, Synthesizer [Moog], Vocals – Józef Skrzek
Guitar – Antymos Apostolis
Percussion – Jerzy Piotrowski
Download:
http://usenet.fun/2e79a55efcc0/SBBNowyHoryzontLPDVD.part1.rar (24-96)
http://usenet.fun/2f627a041ebe/SBBNowyHoryzontLPDVD.part2.rar
http://usenet.fun/2e79a55efcbe/SBBNowyHoryzontLPCD.rar (16-44)
or
http://usenet.fun/plzc61g5k612/SBBNowyHoryzontLPDVD.part1.rar.html
http://usenet.fun/zqgxwjxgvzew/SBBNowyHoryzontLPDVD.part2.rar.html
http://usenet.fun/ialt7nns5zz9/SBBNowyHoryzontLPCD.rar.html
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Ralph Towner – Solo Concert
Vinyl | LP Cover (1:1) | FLAC | 24bit/96kHz & 16bit/44kHz
Label: ECM Records / ECM 1173 | Release: 1980 | Genre: Acoustic-Jazz Fusion
Ralph Towner’s Solo Concert holds a special place in my ECM-adoring heart, for it was my introduction to a guitarist whose skills have since become staples of my listening life. Lovingly recorded in the open concert spaces of Munich and Zurich, Solo Concert is to the guitar what Keith Jarrett’s The Köln Concert is to the piano. It’s that good.
Towner’s own compositions make up the bulk of the album. The opening “Spirit Lake” is the most transcendent of these and exemplifies Towner’s craft as both technician and melodic wellspring. Notes drip from his 12-string with shimmering lucidity, dipping below every motif it can swing from as it blossoms into a brilliant flourish of an ending. What at first seems an abstract improvisational exercise in “Train Of Thought” reveals the instrument’s hidden voices, in which a pulsing bass lingers and harmonic clusters soar. The staggered melodies and banjo-like articulations of “Zoetrope” contrast superbly with “Chelsea Courtyard,” in which dissonant arpeggios lie in the grass, above which the clouds are so thin they’re barely visible, and motivations even more so. Still, the music offers more than enough provocation as nostalgias flit by the windows of our attention, the curtains of which Towner opens to let in the light of a half-remembered day.
Towner also lays his hands on a pocketful of sparkling covers. Of these, the two by John Abercrombie—“Ralph’s Piano Waltz” and “Timeless”—are notable for their use of thumbed anchors, which provide a ghostly counterpoint to wider runs in the upper registers. Lilting syncopations trade places with jazzier throwbacks, packing melodic energy into increasingly compact cells. Yet it is with “Nardis” (Davis/Evans) that Towner truly enthralls. Played on classical guitar, it is a vivid standout that jumps headfirst into its themes before unraveling them in a blissful wave. Towner’s deft harmonies and prowess at the fingerboard leap with the precision of synchronized swimmers about to clinch a gold.
This is an intelligently assembled program of complementary music that shows the depth and breadth of Towner’s abilities more than any single disc. My only complaint is the applause that breaks the spell of every piece when it ends. Then again, I’d have done the same had I been there.
If you’ve ever wondered just how high a guitar can fly, then here’s your plane ticket.
ecmreviews.com (more…)
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Mr. Bloe – Groovin’ With Mr. Bloe (1970)
Vinyl rip @ 24/96 | FLAC | Artwork | 744mb
Pop, Instrumental | 1970 UK LP | DJM DJLPS 409
Background
The tune “Groovin’ With Mr. Bloe” was written for the US studio group Wind, by Bo Gentry, Paul Naumann and Kenny Laguna. They released it as the B-side of their single “Make Believe” which, with Tony Orlando as lead singer, was a chart success in the US in 1969. According to co-writer Kenny Laguna:
“When “Make Believe”, the first Wind single was ready to be released, we needed a B-side. Our Buddah releases were known for their ridiculous B-sides, like A-side played backwards in order for the business dudes to copyright something with themselves as writers, even though they couldn’t write songs. We dusted off a backing track from a “Yummy Yummy”, “Chewy Chewy”, “Sugar Sugar”, “Money Money” wannabe song that was called something like “Bingo Bingo” and improvised a haphazard harmonica and melodica overdub for the B-side….”
Success in the UK
BBC Radio in the UK then unwittingly played the wrong side of the Wind single. It was heard by Stephen James, of Dick James Music, who wanted to release the tune in the UK but could not obtain the rights. He had the tune covered by other musicians including Elton John on piano, but did not like that version. It was then rearranged by Zack Laurence and re-recorded with Laurence replacing Elton John on piano.
The tune was released in the UK on 9 May 1970, reaching number 2 in the UK Singles Chart on 4 July, 1970. Zack Laurence then appeared to perform on Top of the Pops with the other musicians — Ian Duck (harmonica), Dee Murray (bass), Roger Pope (drums) and Caleb Quaye (guitar) who went on to form the band Hookfoot. The harmonica part is somewhat mysterious, and some sources credit it to Harry Pitch – the harmonica player who went on to perform the theme tune for Last of the Summer Wine. In total, “Groovin’ With Mr Bloe” spent 18 weeks on the UK chart. The lack of an obvious performer made it mysterious and it became a favourite of Morrissey who was then 11 years old.
The follow up single “Curried Soul”, failed to chart, and an album, also entitled Groovin’ with Mr. Bloe, was released in 1970 but flopped, leaving the act as a one-hit wonder.
Later uses
After the tune’s success in Britain, the original version of “Groovin’ With Mr. Bloe” was reissued in the US in August 1970, credited to Cool Heat. It reached #89 on the Billboard Hot 100.
“Groovin’ With Mr. Bloe” was used as the theme music to the 2009 BBC TV series, Oz and James Drink to Britain. It was also used in the early 1970s by Argentine television as the introduction music for football broadcasting.
“Groovin’ With Mr. Bloe” is also a lyric in the song, “I Was a Mod Before You Was Mod”, by the band Television Personalities. The B-side to Madness’ “Our House” single was “Walking With Mr Wheeze”, another instrumental with occasional scratch mix effects. The tune’s title was an asthmatic parody of “Groovin’ With Mr Bloe”. The song was partly recorded by The Fall in 2003, for a Peel session as the beginning of their song, “Green Eyed Loco Man”. The tune was covered on a B-side by Associates in 1990, and Robert Johnson and the Punchdrunks in 2002. Wikipedia.
Michael Hedges – Watching My Life Go By (Appearing “Woman Of The World”)
Vinyl | LP Cover (1:1) | FLAC | 24bit/96kHz & 16bit/44kHz
Label: Open Air Records / OA-0303 | Release: 1985 | Genre: Country-Folk
Following the success of Michael Hedges’ Grammy-nominated Aerial Boundaries, the guitarist took on a new challenge and released Watching My Life Go By, his first recording to feature the musician taking on vocal as well as instrumental duties. Subdued, almost uncharacteristically restrained, Hedges the singer/songwriter doesn’t quite live up to Hedges the avant-garde or self-proclaimed “violent acoustic” guitarist. This being the artist’s first attempt at a vocal recording, it is understandable that what amounts to a musical learning curve sometimes gets the better of him. But that is not to say that the music of this 1985 Windham Hill release is substandard in a general sense — quite the opposite, really. However, when compared to Hedges’ brilliant instrumental work, there exists only the slightest discrepancy. That being said, there are still moments worth mentioning on this release, chief among them being “Woman of the World” and “Streamlined Man.” Both of these tracks feature more confident vocal performances and very insightful lyrics. A bit of a learning experience, Watching My Life Go By might not be Hedges’ finest offering; however, the record still features plenty of great performances of heartfelt material.
allmusic.com
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Michael Hedges – Aerial Boundaries
Vinyl | LP Cover (1:1) | FLAC | 24bit/96kHz & 16bit/44kHz
Label: Windham Hill Records / WH-1032 | Release: 1984 | Genre: Acoustic-Fusion
It’s a pleasure to introduce one of the brightest members of the Windham Hill label, Michael Hedges. “Aerial Boundaries” is the most important works of this curious guitarist. I say curious about this strange way of playing the guitar, with a good friend called this way of playing as “percussive guitar” (for those strums and blows the lid, and use the guitar like a piano). In a clean technique in implementation, apart from playing a strange guitar called “harp guitar”. The album is very even with well-known pieces from his repertoire (the album that should be a fan of Hedges). A few days ago, reviewing Youtube submissions of this guitar player, I found that has a string of clones … but Hedges, is one.
Ah! and on top, is a great singer.
Jan Akkerman – Profile
Vinyl | LP Cover (1:1) | FLAC | 24bit/96kHz & 16bit/44kHz
Label: Sire Records Company / SAS 7407 | Release: 1972 | Genre: Progressive-Rock
What can a man do with a guitar?
Being referred to as one of the best guitarist on the globe this moment had to come: the ultimate guitar solo record. To be more specific: the ultimate guitar side of a record.
Side one is filled with the Fresh Air piece, roughly based on some strange concept I don’t understand really well. The sub-parts itself however correlate with their titles. The song opens with psychedelic keys played by Akkerman himself on Fender piano, a great atmospheric start. Soon the Wrestling to get out part begins and a non-melodic jazz extravaganza is about to unfold. The title being the best way to discribe Akkerman’s guitarplaying: it’s like a mad rage to do the extreme. You will hear sound you’ve never heard before and speed beyond the imaginable. The basslines by Bert Ruiter (Focus) and drums by the masterfull Pierre van der Linden guide us to the best of hard jazz/rock or heavy fusion (which do you prefer?). I love the groovin’ bassplaying. Fresh air – blue notes for listening is again a track with a title that doesn’t need no explanation when you’ve heard it. One of the few relaxing tracks of the album. Jan Akkerman drops the speed for atmospheric guitar play, reminding me a bit of Robert Fripp. This is a welcome piece of music between two storms. For after this we’ll get to hear some more Akkerman solo’s of mad musicianship. This is the best track Jan Akkerman ever recorded in my opinion.
Side two. I don’t listen to it very often but it is a midiocre collection of lute and blues songs which don’t mach at all. I’m not even goin to tell something about it.
Conclusion. Now.. can a one side record make a masterpiece. I think in this case it does. The Fresh Air suite is a progressive masterpiece, a Fusion end point (this is fusion in the extreme) and a guitar axeman track of the highest skill. One of my most important records in my collection. Five stars! (but just for side one).
progarchives.com (more…)
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Glass Harp – Glass Harp (Appearing: Phil Keaggy)
Vinyl | LP Cover (1:1) | FLAC | 24bit/96kHz & 16bit/44kHz
Label: Decca / DL 75261 | First Pressing | Release: 1970 | Genre: Psychedelic-Rock
One of the first Christian-themed pop/rock acts, Glass Harp included singer/guitarist Phil Keaggy, bassist Dan Pecchio, and drummer John Sferra. Formed in 1969 in Youngstown, OH, the group — a free-form power trio in the tradition of Cream, the Jimi Hendrix Experience, and fellow Buckeyes the James Gang — quickly developed a strong local following, and in 1970 they signed to Decca to issue their self-titled debut LP. Synergy followed a year later, but after 1972’s It Makes Me Glad Glass Harp disbanded; Keaggy went on to enjoy considerable success as a CCM solo act, while Pecchio later co-founded the Michael Stanley Band. Glass Harp’s original lineup came together for a reunion concert in 1988.
allmusic.com
About vinyl issues.
Enclosed paper inner sleeve has black & white silhouettes of the band members facing the other way on one side and lyrics printed on the other side
Back cover has 1970 date on the bottom and lists some detailed credits in the lower left corner, but is missing band member, roadies, viola & back cover photography credits present on the later 1971 pressing.
Many copies of these rarer 1970 pressings have a “Sample Copy” sticker on the back cover
This (Gloversville, NY) pressing has smaller print on the Decca rainbow label and the song times match up exactly with those displayed on the back cover (Identical to the 1971 Gloverville, NY pressing).
discogs.com
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Donovan – Fairytale (1965)
Vinyl | LP Cover (1:1) | FLAC | 24bit/96kHz & 16bit/44kHz
Label: MALS 867, Marble Arch Records / MAL 867 | Release: 1965 | This Issue: 1969 | Genre: Country-Folk
Fairytale is Donovan’s second album. It was first released in the United Kingdom on October 22, 1965 through Pye Records (catalog number NPL 18128). The U.S. version of Fairytale was released by Hickory Records (catalog number LPM 127 [monaural] / LPS 127 [stereo]) in November 1965 with a slightly different set of songs. Peter Eden and Geoff Stephens produced the album.
Fairytale finds Donovan evolving his styles further towards British folk, especially on songs such as “Summer Day Reflection Song” and “Jersey Thursday”. “Sunny Goodge Street” foreshadows the jazzy feel and descriptions of life in urban London that Donovan would continue to explore over the next two years. For release in the United States, Hickory Records added a cover of Buffy Sainte-Marie’s “Universal Soldier” and removed a cover of Bert Jansch’s “Oh Deed I Do”.
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Diane Dufresne - Turbulences (1982)
Vinyl | LP Cover (1:1) | FLAC | 24bit/96kHz
Label: RCA Victor / PL 37610 | Release: 1982 | Genre: Chanson-Pop
A popular French-language performer with a career that stretched out to nearly five decades, Diane Dufresne studied voice and art in Paris before returning to Montreal (her birthplace, born September of 1944) to start her career in music. Her debut in Montreal, in 1969’s Clemence Desrochers’ Les Girls, led to a collaboration with composer Francois Cousineau and lyricist Luc Plamondon (the latter of which would last through most of her career). Dufresne released her debut album in 1972, followed with quick second in 1973. A successful debut single, “J’ai Rencontre l’Homme de Ma Vie,” contrasted with a lukewarm reception of a performance opening for Julien Clerc in Paris the following year. Mixed reviews aside, Dufresne soldiered on, and her steady stream of mid-’70s full-length releases earned her a high place in the Quebec pop vocal scene. Her missteps in Paris were pushed aside with a triumphant return there in 1978 that would be captured on two separate albums. Along with her recording career, she also appeared on-stage in musicals and in television specials throughout the decade. She shifted focus in the ’80s, staging shows and ending her collaboration with Plamondon. The ’90s would find Dufresne returning to the stage as a solo performer, as well as a songwriter. She toured and performed in Canada and France, playing individual shows as well as making the odd festival appearance. She continued her work into the 21st century, winning many awards along the way.
allmusic.com
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The Incredible String Band – Earthspan (1972)
Vinyl rip in 24 bit/96 kHz | 810 Mb | FLAC tracks | Full LP Artwork
Reprise Records – MS 2122 (Original US) (1972) | Folk, Rock
TRACKLIST:
A1 My Father Was A Lighthouse Keeper
Backing Vocals – Mike Heron , Robin Williamson Lead Vocals, Acoustic Guitar, Songwriter – Malcolm Le Maistre Producer [Strings], Violin, Cello – Robin Williamson
A2 Antoine
Organ [Church], Vocals – Mike Heron
A3 Restless Night
Electric Piano, Arranged By [Horn] – Mike Heron Lead Vocals – Robin Williamson
A4 Sunday Song
Drums – Brian Davidson Lyrics By – Licorice McKechnie Oboe, Mandolin – Robin Williamson Vocals – Likky Vocals, Organ, Composed By – Mike Heron
B1 Black Jack David
Acoustic Guitar, Lead Vocals – Mike Heron Bass, Cymbal [High Hat], Handclaps – Stan Lee (4) Handclaps – Jack Ingram Mandolin – Malcolm Le Maistre Violin – Robin Williamson
B2 Banks Of Sweet Italy
Bass, Hardingfele [Hardanger Fiddle] – Robin Williamson Organ – Mike Heron Vocals – Likky Whistle – Malcolm Le Maistre
B3 The Actor
Backing Vocals, Electric Piano, Viola, Composed By – Robin Williamson Lead Vocals, Lyrics By – Malcolm Le Maistre
B4 Moon Hang Low
B5 Sailor And The Dancer
Guimbri, Flute [Chinese] – Robin Williamson Harmonium, Songwriter – Malcolm Le Maistre
B6 Seagull
Acoustic Guitar, Guitar [Electric], Lead Vocals, Organ [Hammond], Accordion – Mike Heron (2) Backing Vocals – Malcolm Le Maistre Bass – Likky Guimbri, Whistle – Robin Williamson
Supersister – Present From Nancy – 1970
Vinyl Rip in 24 Bit-96 kHz | Redbook 16 Bit-44 kHz | FLAC | Cue | SCANS | 728 MB + 197 MB
1970 / Genre: Prog-Rock – Canterbury Scene – Polydor – NL
Supersister was a band from The Hague, (Netherlands), playing progressive rock ranging from jazz to pop. The most predominant band members were Robert Jan Stips (keyboards, vocals), Sacha van Geest (flute), Marco Vrolijk (drums) and Ron van Eck (bass).
The band started as “Sweet OK Sister” in 1968 as a school band with singer and songwriter Rob Douw, who soon thereafter left. The remaining members continued as a more serious musical quartet under the name Supersister. Their style was progressive rock (in Canterbury Scene style) in which ‘Stips’ keyboard plays a dominant role. The album “Present from Nancy” is their enjoyable and sparkling debut; Enjoy this new upgrade rip!
Note > There are gapless tracks; gapless burning is essential to seamless play the album..
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Shankar – Vision (1984)
Vinyl rip in 24 bit/96 kHz | 870 Mb | FLAC tracks | LP Artwork
ECM Records – ECM 1261, ECM Records – 811 969-1 (Original GER) (1984) | Contemporary Jazz, Ambient
Tracklist
A1 All For You 6:36
A2 Vision 13:43
B1 Astral Projection 5:43
B2 Psychic Elephant 11:50
B3 The Message 7:32
Personnel
Flugelhorn, Trumpet – Palle Mikkelborg
Percussion, Tenor Saxophone, Soprano Saxophone, Bass Saxophone – Jan Garbarek
Violin [10-string Stereophonic Double], Percussion, Composed By – Shankar
Santana – Caravanserai (1972)
Vinyl rip in 24 bit/96 kHz | 1040 Mb | FLAC tracks | Full LP Artwork
Columbia – CQ 31610 (1972) (US, Quadraphonic) | Jazz-Rock, Psychedelic Rock
Side one
“Eternal Caravan of Reincarnation” (Tom Rutley, Neal Schon, Michael Shrieve) – 4:28
“Waves Within” (Doug Rauch, Greg Rolie, Carlos Santana) – 3:54
“Look Up (To See What’s Coming Down)” (Rauch, Rolie, Santana) – 3:00
“Just in Time to See the Sun” (Rolie, Santana, Shrieve) – 2:18
“Song of the Wind” (Rolie, Santana, Schon) – 6:04
“All the Love of the Universe” (Santana, Schon) – 7:40
Side two
“Future Primitive” (José Areas, Mingo Lewis) – 4:12
“Stone Flower” (Antonio Carlos Jobim, Santana, Shrieve) – 6:15
“La Fuente del Ritmo” (Lewis) – 4:34
“Every Step of the Way” (Shrieve) – 9:05
Personnel
Carlos Santana: lead guitar (2-4,8,9), guitar (5,6,10), vocals (6), percussion (1,8)
Neal Schon: guitar (1,3-6,8-10)
Gregg Rolie: organ (2-6,8,10), piano (6), vocals
Michael Shrieve: drums (1-6,8-10), percussion
José “Chepito” Areas: percussion, congas (7), timbales (2-4,6,7,9,10), bongos (8)
Douglas Rauch: bass (2-6), guitar (2,3)
Tom Rutley: acoustic bass (1,6,8-10)
James Mingo Lewis: percussion (1,8,9), congas (2-10), bongos (7), vocals (6), acoustic piano (9)
Armando Peraza: percussion (8), bongos (9)
Douglas Rodrigues: guitar (2)
Wendy Haas: piano (1,8)
Hadley Caliman: saxophone intro (1), flute (10)
Rico Reyes: vocals (6)
Lenny White: castanets (6)
Tom Coster: electric piano (9)
Tom Harrell: orchestra arrangement (10)
Michael Garrison – Images – 1986
Vinyl Rip in 24 Bit-96 kHz | Redbook 16 Bit-44 kHz | FLAC | Cue | No Log | Scans | 925 MB + 259 MB
1986 / Genre: Electronic – Progressive Electronic / Ariola Records – DE
A longstanding American exponent of sequencer-based music, Garrison has released over a half-dozen albums of high-energy electronics. Strongly influenced by European innovators like Klaus Schulze and Tangerine Dream, this Oregon-based artist enjoys propelling listeners into rhythmic travels along the space-time continuum. “The tracks on this album are not all consistent in quality, but there is enough to enjoy if you appreciate this genre!”
Note > There are gapless tracks; gapless burning is essential to seamless play the album..
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