Wednesday, December 31, 2008

Pink Floyd-The First Singles(Reupload)

Pink Floyd-The First Singles @320

1 Arnold Layne
2 Candy And A Currant Bun
3 See Emily Play
4 Scarecrow
5 Apples And Oranges
6Paint Box


See Emily Play

Saturday, December 27, 2008

King Crimson-Larks Tongues In Aspic

Info By Wiki:
Larks' Tongues in Aspic is a 1973 album by the British progressive rock group King Crimson. This album is the debut of King Crimson's third incarnation, and features original member and guitarist Robert Fripp and new members John Wetton (vocals, bass), David Cross (violin, mellotron), Jamie Muir (percussion), and Bill Bruford (drums), as well as lyricist Richard Palmer-James. The album sees the band incorporate into its sound violin and also various exotic percussion instruments, including sheet metal and mbiras. The title was invented by percussionist Jamie Muir and is meant to signify what he heard in this album's music: something fragile and delicate (larks' tongues) encased in something corrosive and acidic (aspic).

The album opens with a long experimental instrumental piece titled "Larks' Tongues in Aspic, Part One." After that there are three vocal pieces, "Book of Saturday", "Exiles" and "Easy Money." These are followed by two more instrumentals, "The Talking Drum" and "Larks' Tongues in Aspic, Part Two." The instrumental pieces on this album have strong jazz fusion influences, and portions have an almost heavy metal feel. The angry, angular mood of this album is largely credited to the influence of Béla Bartók

King Crimson-Larks Tongues In Aspic @320
1 Larks Tongues in Aspic Part One
2 Book of Saturday
3 Exiles
4 Easy Money
5 The Talking Drum
6 Larks Tongues in Aspic Part Two

Source: Torrent

Friday, December 26, 2008

The Jimi Hendrix Concerts-A Collection Of His Most Exciting Concerts (Reupload)


The record industry probably has no greater sin on its conscience than the artistic and commercial rape of Jimi Hendrix. Unofficial releases of old hack studio sessions with Curtis Knight and the Isley Brothers dogged him during his lifetime. Since his death in 1970, "greatest hits" reruns, concert and studio-outtake compilations and a virtual torrent of pre-Experience dross have flooded the marketplace. Precious few of them have shown even a fraction of the care and imagination Hendrix diligently applied to record making.
At first glance, The Jimi Hendrix Concerts seems a noble attempt to right a few of those wrongs. Unlike other live Hendrix albums, bootlegs excepted, this set attempts to simulate a complete Hendrix concert performance with selections taken mostly from a 1968 stand at San Francisco's Winterland with the original Experience. Yet for all the incendiary rage and manic daring with which Hendrix attacks his guitar on nowclassic blasts like "Fire" and "Voodoo Chile (Slight Return)," this album is hardly "a collection of his most exciting performances," which is how it's billed on the back cover. For starters, producer Alan Douglas has put these tracks through a studio ringer that compresses the Stratocaster shriek that shook the world into a seductively muted sting. Where "Little Wing"–with its high cathedrallike grace and serenading melody – should sing, it merely shrugs, the dulled edge of Hendrix' guitar aggravated by the moping pace of the Experience. And compare the slightly glazed guitar tone of the breathless opener, "Fire," with the savage, unretouched bite of "Johnny B. Goode" on the now deleted Hendrix in the West.
More significant, The Jimi Hendrix Concerts finds Hendrix, a year after Monterey, already caught between his rock & roll muse and the hard place of stardom. His frustration with the "wild man of rock" image is evident in the rote recitation of his Monterey show-stopper, "Wild Thing." He introduces a London 1969 take of "Stone Free" as a "blast from the past," opening up the song in an extended solo that falls back on familiar licks and feedback grandstanding before dissolving into a blustery Mitch Mitchell drum break. There are moments when he breaks gloriously free. "I Don't Live Today" explodes in metallic shards of guitar and feedback flames, Hendrix painting white-noise abstractions with a stupefying harmonic logic. "Are You Experienced" is rich in dissonant grandeur, an electrifying example of Hendrix' orchestral manipulation of high volume and harmonic overtones. His inventive blues expansions get ample space in "Bleeding Heart," and the soul at the heart of it all hits a locomotive peak in the passionate finale, "Hear My Train a-Comin'."
On the whole, this is a marked improvement over previous "official" live issues, and occasionally it approaches his real genius. But the emasculating postproduction and sometimes confused performances are a distorted mirror of Jimi Hendrix' true achievements. The Jimi Hendrix Concerts, for all its good intentions, is not the real experience

The Jimi Hendrix Concerts @320
1. Fire
2. I Don't Live Today
3. Red House
4. Stone Free
5. Are You Experienced?
6. Litte Wing
7. Voodoo Chile
8. Bleeding Heart
9. Hey Joe
10. Wild Thing
11. Hear My Train a Comin'
12. Foxey Lady


Wednesday, December 24, 2008

Country Joe-Save The Whales

From Album Paradise With An Ocean View released on October 1976


Info By Wiki:

Lee, who had lived in Los Angeles since the age of five, had been recording since 1963 with his bands, the LAG's and Lee's American Four. He'd also produced a single, "My Diary", for Rosa Lee Brooks in 1964 which included Jimi Hendrix on guitar.[1] A garage outfit, The Sons Of Adam, which included future Love drummer Michael Stuart, also recorded a Lee composition, "Feathered Fish". However, after viewing a Byrds performance, Lee determined to join the newly minted folk-rock sound of the Byrds to his primarily R'n'B style. Soon after, he formed The Grass Roots with guitarist John Echols (another Memphis native), bassist Johnny Fleckenstein and drummer Don Conka. Byrds roadie Bryan MacLean joined the band just before they changed their name to Love, spurred by the release of a single by another group called The Grass Roots.

Love started playing the L.A. clubs in April, 1965 and became a popular act. At this time, they were playing extended numbers such as "Revelation" (originally titled "John Lee Hooker") and getting the attention of such luminaries as the Rolling Stones and the Yardbirds. The band lived communally in a house once owned by horror actor Bela Lugosi, and their first two albums included photos shot in the garden of that house.

Signed to the Elektra Records label, the band scored a minor hit single in 1966 with their version of Burt Bacharach's "My Little Red Book". In the meantime, Lee had dismissed Conka and Fleckenstein, replacing them with Alban "Snoopy" Pfisterer and Ken Forssi (from a post-"Wipeout" version of The Surfaris). Their debut album, Love, was released in May 1966, and included "Signed D.C" and MacLean's "Softly To Me". The album sold moderately well and reached #57 on the album charts.

In August, 1966, the single "7 and 7 Is" became their highest-charting at #33. Two more members were added around this time, Tjay Cantrelli (aka John Barberis) on woodwinds and Michael Stuart on drums. Pfisterer, never a confident drummer, switched to harpsichord.

Their musical reputation largely rests on two albums issued in 1967, Da Capo and Forever Changes. Da Capo, released in January of that year, included rockers like "Stephanie Knows Who" and "7 and 7 Is," and melodic songs such as "¡Qué Vida!" and "She Comes in Colors". Gone were the Byrds influences and jangly guitars, replaced by melodically airy art-songs with predominantly jazz and classical influences. Some critics derided it as a one-side album, with the six songs on Side One contrasting markedly with the lack of focus displayed on the other side, which was devoted entirely to the rambling, unfocused, 19-minute "Revelation". Cantrelli and Pfisterer soon quit the band, leaving it as a five-piece once again.

Forever Changes, released in November 1967, is a suite of songs using acoustic guitars, strings and horns that was recorded while the band was falling apart as the result of various abuses. Producer Bruce Botnick originally planned to record the entire album with session musicians backing Lee and MacLean but after two tracks had been recorded in this way the rest of the band were stung into producing the discipline required to complete the rest of the album in only 64 hours. Writer Richard Meltzer, in his The Aesthetics of Rock, comments on Love's "orchestral moves", "post-doper word contraction cuteness" and Lee's vocal style that serves as a "reaffirmation of Johnny Mathis". Forever Changes included one modest hit single, the MacLean-written "Alone Again Or", while "You Set the Scene" went on to receive airplay from some progressive rock radio stations. By this stage, Love were far more popular in the UK, where the album reached #24, than in their home country, where it could only reach #154. Love, did, however, have a strong following in the U.S. at the time among cognoscenti of the cutting edge.

MacLean, suffering from heroin addiction, soon left the band, as did all the other members except Lee. Echols and Forssi also fell prey to the ravages of heroin addiction and disappeared from the scene. Arthur Lee and a reconstituted Love continued to record fitfully until the late 1970s before finally disbanding. The new version of Love, which included Jay Donnellan and Gary Rowles on guitars, Frank Fayad on bass, and George Suranovich on drums as well as Lee, played in a style very different from the band's previous line-up.

After spending six years in prison in the 1990s for firearms offences, Arthur Lee began to play Love's classic songs in concert by reuniting with the members of Baby Lemonade. In the early 2000s, co-founder of Love and original guitarist Johnny Echols rejoined his partner, Arthur Lee, in this line-up and performed as "Love with Arthur Lee and Johnny Echols". This reformed group toured for several years, frequently performing Forever Changes in its entirety.

Bryan MacLean died in Los Angeles of a massive heart attack on December 25, 1998, while having dinner with a young fan who was researching a book about the band. He was 52. Arthur Lee died in Memphis, Tenn., on August 3, 2006, of complications from leukemia. He was 61.

The Album
is the eponymous debut by the Los Angeles-based band Love. Twelve of the album's fourteen tracks were recorded at Sunset Sound Recorders in Hollywood on January 24-27, 1966. The remaining two tracks ("A Message To Pretty" and "My Flash On You") come from another, undocumented session.

One of the first rock albums issued on then-folk giant Elektra Records, the album was anchored by the group's radical reworking of the Burt Bacharach-Hal David song "My Little Red Book" which had guitar riffs that gave Syd Barrett some inspiration to write the Pink Floyd song "Interstellar Overdrive" which is on Pink Floyd's album The Piper At The Gates Of Dawn, the anti-drug anthem "Signed D.C." (allegedly a reference to one-time Love drummer Don Conka), and the poignant "A Message to Pretty". The stark instrumental "Emotions" is used uncredited in Haskell Wexler's 1969 film Medium Cool as a recurring theme.

"My Little Red Book" was featured over the final credits of the movie "High Fidelity" in 2000 starring John Cusack and Jack Black

Love-Love @320

1 My Little Red Book (Mono Mix)
2 Can't Explain (Mono Mix)
3 A Message To Pretty (Mono Mix)
4 My Flash On You (Mono Mix)
5 Softly To Me (Mono Mix)
6 No Matter What You Do (Mono Mix)
7 Emotions (Mono Mix)
8 You I'll Be Following (Mono Mix)
9 Gazing (Mono Mix)
10 Hey Joe (Mono Mix)
11 Signed D.C. (Mono Mix)
12 Coloured Balls Falling (Mono Mix)
13 Mushroom Clouds (Mono Mix)
14 And More (Mono Mix)
15 My Little Red Book (Stereo Mix)
16 Can't Explain (Stereo Mix)
17 A Message To Pretty (Stereo Mix)
18 My Flash On You (Stereo Mix)
19 Softly To Me (Stereo Mix)
20 No Matter What You Do (Stereo Mix)
21 Emotions (Stereo Mix)
22 You I'll Be Following (Stereo Mix)
23 Gazing (Stereo Mix)
24 Hey Joe (Stereo Mix)
25 Signed D.C. (Stereo Mix)
26 Coloured Balls Falling (Stereo Mix)
27 Mushroom Clouds (Stereo Mix)
28 And More (Stereo Mix)
29 Number 14
30 Signed D.C. (Alternate Version / Previously Unissued)



Sunday, December 21, 2008

Free-All Right Now (Isle Of Wight Festival 1970)

Source: Emule


Thursday, December 18, 2008

Amazing Blondel-England

Info By Wiki:
John Gladwin and Terry Wincott had both played in a loud "electric" band called Methuselah. However, at some point in Methuselah concerts, the duo would play an acoustic number together: they found that this went down well with the audiences and allowed them to bring out more of the subtlety of their singing and instrumental work. They left Methuselah in 1969 and began working on their own acoustic material.

Initially their material was derived from folk music, in line with many of the other performers of the time. However, they began to develop their own musical idiom, influenced, at one extreme, by the early music revivalists such as David Munrow, and the other extreme, by their childhood memories of the Robin Hood TV series, with its pseudo-mediaeval soundtrack by Elton Hayes.

The band was named after Blondel, the musician in the court of Richard I. According to legend, when Richard was held prisoner, Blondel travelled through central Europe, singing at every castle to locate the King and assist his escape. This name for the band was suggested by a chef called Eugene McCoy who listened to some of their songs and commented: "Oh, very Blondel!" and they began to use that name. They were then advised to add an adjective (in line, for example, with the Incredible String Band) and so they became "Amazing Blondel".

Their first album The Amazing Blondel was recorded in 1969 and released by Bell Records. It was directed by legendary session guitarist Big Jim Sullivan. At about this time, Eddie Baird (who had known the other members at school) joined the band. Following what Baird described as "a disastrous 'showbiz' record signing", Amazing Blondel were introduced, by members of the band Free, to Chris Blackwell of Island Records and Artists. Blackwell signed them up to Island, for whom they recorded their three defining albums, Evensong, Fantasia Lindum and England.

In Baird's words (in a 2003 interview) the band "adored recording". They recorded the Island albums in the company's Basing Street Studios which, at that time, was the source of some of the most innovative independent music in Britain.

They toured widely, both in their own concerts and as a support act for bands such as Genesis, Procol Harum and Steeleye Span. On stage, they aimed at technical precision of the music and versatility of instrumentation (with most concerts involving the use of some forty instruments) interspersed with banter and bawdy humour. However, there was a conflict between their managers' desires to organise ever more demanding tour schedules and the band's own wish to spend more time writing material and working in the studio. In the end, this led to the departure of John Gladwin (who had written most of their material) from the band in 1973, and the remaining two members decided to continue as a duo, although they shortened the band name simply to Blondel. In this new format, they went on to record several more albums with a number of guest musicians, including Steve Winwood and Paul Kossoff.

By the end of the 1970s, with Punk being the largest selling music genre and with folk losing popularity, Baird and Wincott stopped performing under the Blondel name. John Gladwin reinherited the name and began to tour universities with bandmates, and former session players for the original Blondel, Adrian Hopkins and Paul Empson. This line-up had originally been billed as "John David Gladwin's Englishe Musicke".

The original band reformed in 1997 and produced a new album Restoration. They have since played at venues across Europe in the period 1997–2000. As of 2005, Terry Wincott has recently had a successful heart bypass operation, which curtailed the band's plans for future concerts.

In 2005, Eddie Baird played two concerts in a duo with acoustic guitarist and singer songwriter Julie Ellison and is currently working on a collaboration with Darryl Ebbatson, called "Ebbatson Baird".

Amazing Blondel-England @320
1. Seascape
2. Landscape
3. Afterglow
4. A spring air
5. Cantus Firmus to counterpoint
6. Sinfonia for guitar and strings
7. Dolor Dulcis (Sweet Sorrow)
8. Lament to the Earl of Bottesford Beck



Wednesday, December 17, 2008

Traffic-Best Of

Traffic-Best Of @320

1. Paper Sun
2. Heaven Is in Your Mind
3. No Face, No Name, No Number
4. Coloured Rain
5. Smiling Phases
6. Hole in My Shoe
7. Medicated Goo
8. Forty Thousand Headmen
9. Feelin' Alright
10. Shanghai Noodle Factory
11. Dear Mr. Fantasy



Sunday, December 7, 2008

Black Widow-The Ultimate Sacrifice

Info By Wiki And M.C Strong's "The Great Rock Discography"

The band originally formed in 1966 as Pesky Gee.
They released their debut album Sacrifice in 1970.Perhaps better known than their music was the band's use of occult references in their music and their live performances, which were made more controversial with the mock sacrifice of a nude woman. These acts at time were very shocking but now a common use in the underground music scene Black Metal. The band attracted further controversy by consulting infamous witch Alex Sanders for advice.

Controversy aside, Sacrifice reached #32 on the UK Albums Chart.The band also performed at the Whitsun Festival at Plumpton, UK and at The Isle of Wight Festival 1970. By 1971, the band had moved away from its darker occult imagery in an effort to gain a wider audience, which was unsuccessful. Having replaced Bond and Box with Geoff Griffith and Romeo Challenger, Black Widow released the self-titled Black Widow album in 1971 and Black Widow III in 1972 (by which time Gannon had left, replaced by John Culley) to general disinterest before being dropped by CBS Records. The band recorded a full-length album, Black Widow IV, later in 1972 without a recording contract. It was not released then due to the band breaking up, shortly after replacing lead vocalist Kip Trevor, with another singer known as Rick "E" (born Frank Karuba; formerly of 'Plum Nelly').The album was finally released in 1997 on the Mystic Records label


Jim Gannon - Guitar
Zoot Taylor - Keyboards
Clive Jones - Saxophone
Kip Trevor - Guitar,Vocals
Bob Bond - Bass
Romeo Challenger - Drums(Later Helped Form Showaddywaddy)

Black Widow-The Ultimate Sacrifice @320

Remastered reissue of 1970 debut album with bonus tracks
1. In Ancient Days
2. Way to Power
3. Come to the Sabbat
4. Conjuration
5. Seduction
6. Attack of the Demon
7. Sacrifice
8. In Ancient Days (Demo Bonus Track)
9. Come to the Sabbat (Demo Bonus Track)
10. Conjuration (Demo Bonus Track)
11. Seduction (Demo Bonus Track)
12. Sacrifice (Demo Bonus Track)