Size: 134 MB Bitrate: 256 mp3 Ripped by: ChrisGoesRock Artwork Included Source: Japan SHM-CD Remaster Demolition was the first studio album by British heavy metal band, Girlschool. It was released in Europe on Bronze Records in 1980, with the catalogue number Bronze BRON 534. Vic Maile produced. Singles lifted from the album were "Emergency"/ "Furniture Fire" (non-album track), "Nothing To Lose"/ "Baby Doll" and "Race With The Devil"/ "Take It All Away". The tour included high-profile support slots to Black Sabbath and Uriah Heep. The definitive CD version is considered to be that issued by Castle subsidiary Sanctuary in 2004, with bonus tracks. It had previously been issued on a 2-on-1 CD in the UK, coupled with Hit and Run.
NB The album as such did not get a US release but in 1982 Stiff Records released an album titled "Hit and Run" that was actually a compilation of "Demolition" and the band's second album, Hit and Run. The track-listing for this US-only release was "Hit and Run"/ "Watch Your Step"/ "Race With The Devil"/ "Yeah Right"/ "Not For Sale"/ "Future Flash"/ "C'mon Let's Go"/ "The Hunter"/ "Kick it Down"/ "Take It All Away". "Race With the Devil" is a cover song originally performed by a band called The Gun. One of the first all-girl rock bands, Girlschool distinguished themselves for their aggressive hard rock sound. After supporting Motorhead on tour, they signed with Bronze Records in 1980 and released their classic Demolition album. Their first single, "Demolition Boys" (which for once turned the tables on sexist rock & roll tradition by objectifying the boys), would also be their most successful. Alternating lead vocal and guitar duties, Kelly Johnson and Kim McAuliffe also lead the band through "Race with the Devil," "Nothing to Lose," and the scorching "Emergency." 01."Demolition Boys" – 3:39 02."Not for Sale" – 3:31 03."Race With the Devil" – 2:51 04."Take It All Away" – 3:43 05."Nothing to Lose" – 4:30 06."Breakdown" – 3:05 07."Midnight Ride" – 3:16 08."Emergency" – 2:50 09."Baby Doll" – 4:13 10."Deadline" – 2:54 Bonus tracks: 11."Take It All Away" (single version) – 3:12 12."It Could Be Better" (single version) – 2:55 13."Nothing to Lose" (demo version) – 3:47 14."Not for Sale" (demo version) – 3:30 15."Furniture Fire" – 3:00 (B-side to "Emergency" single) 16."Take It All Away" – 3:32 17."Breakdown" – 3:24 18."Demolition Boys" – 3:02 19."Nothing to Lose" – 4:23 Tracks 16–19 are a BBC radio session, broadcast on The Friday Rock Show on August 1st 1980. These tracks had not been available commercially before.
Size: 101 MB Bitrate: 256 mp3 Ripped by: chrisGoesRock Artwork Included Source: Japan 24-Bit Remaster Entertainment! is the debut album by English post-punk band Gang of Four, released in September 1979. This album was released on EMI in the UK and on Warner Bros. in the U.S.. The music on the first album shows clearly the influence of punk, yet also incorporates funk and less-obvious influences of reggae and dub, similar to other bands at the time such as Public Image Ltd., Pere Ubu, and The Pop Group. As with these other influential post-punk bands, the bass is mixed much more prominently than it typically is in rock or punk. The album has attracted praise from rock musicians. Flea of the Red Hot Chili Peppers stated that the first time he heard the record, "It completely changed the way I looked at rock music and sent me on my trip as a bass player." In 2003, the album was ranked number 490 on Rolling Stone magazine's list of the 500 greatest albums of all time. In March 2005, Q magazine placed the track "At Home He's a Tourist" at number 52 in its list of the 100 Greatest Guitar Tracks.
The album's artwork was designed by band members Jon King and Andy Gill, typical of their DIY approach. The cover depicts an "Indian" shaking hands with a "cowboy" in three heavily processed versions of the same image, the faces are reduced to blobs of red and white—that is, to the stereotypical racial colours. A text that winds around the images reads, "The Indian smiles, he thinks that the cowboy is his friend. The cowboy smiles, he is glad the Indian is fooled. Now he can exploit him." In this way, it approaches themes of exploitation, but taken with the lyrical content of the album, it may also point to simplistic depictions of ethnic, social or political conflict in the media as "cowboys and Indians". The album's back cover depicts a family whose father says, "I spend most of our money on myself so that I can stay fat", while the mother and children declare, "We're grateful for his leftovers". On the album's inner sleeve, small photographs depicting scenes shown on television are interlaced with text illustrating what the band suggests are the misleading subtexts of media presentation: "The facts are presented neutrally so that the public can make up its own mind"; "Men act heroically to defend their country"; "People are given what they want". 01."Ether" – 3:52 02."Natural's Not in It" – 3:09 03."Not Great Men" – 3:08 04."Damaged Goods" – 3:29 05."Return the Gift" – 3:08 06."Guns Before Butter" – 3:49 07."I Found That Essence Rare" – 3:09 08."Glass" – 2:32 09."Contract" – 2:42 10."At Home He's a Tourist" – 3:33 11."5.45" – 3:48 12."Anthrax" – 4:23 Bonus 13."Outside the Trains Don't Run on Time" – 3:27 14."He'd Send in the Army" – 3:40 15."It's Her Factory" – 3:08
Size: 72.5 MB Bitrate: 256 mp3 Ripped by: ChrisGoesRock Artwork Included Source: Japan SHM-CD Remaster The album marked Sinatra's return to #1 on the pop album charts in the mid-1960s, and it consolidated the comeback he started in 1966. Combining pop hits with show tunes and standards, the album creates a balance between big band and pop instrumentation. The single "Strangers in the Night" also reached #1 on the pop single charts, while "Summer Wind" would slowly become a classic, used for television commercials and mood-setting entrances by the 2000s. At the Grammy Awards of 1967 Sinatra garnered two Grammy Awards for his efforts on this album, including the Record of the Year for the title track "Strangers in the Night", as well as Best Male Vocal Performance for the same song. (He also won a further Grammy award that same year, the Album of the Year for A Man and His Music). Ernie Freeman's arrangement of the title track won him the Grammy Award for Best Arrangement Accompanying a Vocalist or Instrumentalist. This is the final album Sinatra performed with long-time arranger/conductor Nelson Riddle and his orchestra. Strangers in the Night has been certified platinum for 1 million copies sold in the U.S. It is the only "regular" Sinatra album to achieve this mark (the others to do so have been greatest hits/compilation albums, Christmas albums, or the end-of-career "Duets" albums).
Also, this album has been released as a "Deluxe Edition" on January 26, 2010. Including 3 bonus tracks (2 recorded tracks of "Strangers in the Night" and "All or Nothing at All" performed at the Budokan Hall from 1985, and an alternate take of "Yes Sir, That's My Baby"). Strangers in the Night marked Frank Sinatra's return to the top of the pop charts in the mid-'60s, and it consolidated the comeback he started in 1965. Although he later claimed he disliked the title track, the album was an inventive, rich effort from Sinatra, one that established him as a still-viable star to a wide, mainstream audience without losing the core of his sound. Combining pop hits ("Downtown," "On a Clear Day [You Can See Forever]," "Call Me") with show tunes and standards, the album creates a delicate but comfortable balance between big band and pop instrumentation. Using strings, horns, and an organ, Nelson Riddle constructed an easy, deceptively swinging sound that appealed to both Sinatra's dedicated fans and pop radio. And Sinatra's singing is relaxed, confident, and surprisingly jazzy, as he plays with the melody of "The Most Beautiful Girl in the World" and delivers a knockout punch with the assured, breathtaking "Summer Wind." Although he would not record another album with Riddle again, Sinatra would expand the approach of Strangers in the Night for the rest of the decade. 01."Strangers in the Night" (Bert Kaempfert, Charles Singleton, Eddie Snyder) – 2:25 02."Summer Wind" (Heinz Meier, Hans Bradtke, Johnny Mercer) – 2:53 03."All or Nothing at All" (Arthur Altman, Jack Lawrence) – 3:57 04."Call Me" (Tony Hatch) – 3:07 05."You're Driving Me Crazy!" (Walter Donaldson) – 2:15 06."On a Clear Day (You Can See Forever)" (Alan Jay Lerner, Frederick Loewe) – 3:17 07."My Baby Just Cares for Me" (Donaldson, Gus Kahn) – 2:30 08."Downtown" (Hatch) – 2:14 09."Yes Sir, That's My Baby" (Donaldson, Kahn) – 2:08 10."The Most Beautiful Girl in the World" (Richard Rodgers, Lorenz Hart) – 2:24 Bonus tracks: 11."Strangers in the Night" - 2:14 live performance at the Budokan Hall, Tokyo, Japan, April 18, 1985 12."All or Nothing at All" - 3:40 live performance at the Budokan Hall, Tokyo, Japan, April 18, 1985 13."Yes Sir, That's My Baby" (Alternate Take) - 2:17
Size: 94.8 MB Bitrate: 256 mp3 Ripped by: ChrisGoesRock Artwork Included Source: Japan 24-Bit Remaster Chris Britton's rare solo album sounds much like you would expect if you're familiar with his very occasional singing and songwriting outings within the Troggs. It's fairly pleasant psychedelic-tinged late-'60s British pop/rock, delivered with understated, almost laconically sly vocals. Plenty of the period trimmings of British psych-pop (sometimes echoing those found in the Troggs' own gentler efforts) can be heard: chirpy Baroque-tinged string arrangements, harpsichord, hints of Eastern exotica, buoyant romantic lyrics, melodic acoustic folky guitar, the odd vaudevillian flavor, Swinging London brass, and the like. There's also Britton's own version of a song the Troggs had recorded for a flop 1969 single, "Evil Woman" -- the only tune here, in fact, that Britton didn't write himself (and a notably inferior version to the Troggs' own). In common with many solo efforts by important-but-secondary figures within major bands, however, the material's not outstanding enough to demand attention beyond that band's hardcore faithful. As records within that category go, however, this is above average, so Troggs freaks won't be disappointed.
As guitarist for the Troggs, Chris Britton made important contributions to the raw British Invaders' sound with his crunchy, wiry style. Though Reg Presley was the Troggs' principal lead singer and songwriter, Britton also took occasional lead vocals and wrote a bit of material on their records, the odd primitive buzzing psychedelia of "Maybe the Madman" and the sultry midtempo rocker "Say Darlin'" (both used on 1968 B-sides) being the highlights in that respect. It's not even too well-known by many big Troggs fans that Britton did an obscure solo LP in 1969, As I Am. A varied batch of period British psychedelic pop songs, sung by Britton in his idiosyncratic, diffidently cool and amused style. Very rare psychy folk by Troggs' guitarist. Chris Britton himself, described the LP sleevenote, as "an ego trip", but mercifully it is never self obsessed, bloated, contrived or maniacal. It is fascinating, it is a fascinating colection of a dozen self-penned songs (plus one cover version), but as with most "ego trips", it was ignored by the record buying public. A public not sufficiently curious to investigate the undoubted talents of the Troggs' guitarist - despite the sleeve's hype: "Chris Britton of The Troggs". But then the public weren't interested in solo releases by Reg Presley or Ronnie Bond.
The LP opens with 'Sit Down Beside Me' a great track now finally getting some exposure. 'Will It Last' is harpsichord popsyke, very English indeed. Next up is 'That Was The Time', a Kinks-ish acoustic ballad. The vocal performance is very Ray Davies-like. 'No Sense In Fighting', the only really duff track on this LP, is a bluesy Dylanesque bore. 'Maybe Time Will Change Me' is again, like the late 60s Kinks: nice ballad pop. One of the highlights of the album is 'Fly With Me', Let the music hypnotise Explore the underlying rise And fall with me Fly to the moon above Fly on the wings of love It's free Dance through the mountain streams See just how wild your dreams can be... -- which are delivered in the very best & feyest UK manner, sit atop a very classy funky pop groover, augmented with some swirly sitaresque guitar breaks. Very very nice. 'If You Really Care' is a Kaleidoscope-like (think 'A Lesson Perhaps') folky acoustic piece, with a mildly trippy vibe. 'Run And Hide' is pretty good: Tourquise style pop, let down only by a flat lead vocal. 'How Do You Say Goodbye' is sparkling strings pop a la Honeybus, and wouldappeal to many I'm sure. 'Sleep My Love' is another harpsichord-lead ballad. 'Why Did I let You Go' is gentle, soulful and again acoustic. The version of 'Evil Woman' herein, is probably one of the most extraordinary. Featuring jazzy sax, fuzz and brass, it really is a splendid track. The pensive closer, 'Learn How To Love Life And You'll Be Living' is a hippie ballad, somewhat tainted by a country-blues influence, which features tweet tweet bird song sound effects. 01. Sit Down Beside Me 02. Will It Last 03. That Was The Time 04. No Sense In Fighting 05. Maybe Time Will Change You 06. Fly With Me 07. If You Really Care 08. Run And Hide 09. How Do You Say Goodbye 10. Sleep My Love 11. Why Did I Let You Go 12. Evil Woman 13. Learn To Love Life You’ll Be Living
Size: 93.1 MB Bitrate: 256 mp3 Ripped by: ChrisGoesRock Artwork Included Source: Japan 24-Bit Remaster Although Chad & Jeremy's Second Album was not released in the U.S., there's not much reason for collectors to sweat out trying to find the LP, as all of its tracks did come out in some form stateside. In fact, Second Album had nearly the same contents as the duo's second American LP (titled Sing for You, and, confusingly, not at all the same as the British LP called Sing for You, which was their first U.K. long-player). The only differences between Second Album and the U.S. Sing for You are that Second Album has a few songs not on the American counterpart, two of which ("Now and Forever" and "Too Soon My Love") had already appeared in the U.S. on the Yesterday's Gone album, the other of which ("It Was a Very Good Year") would soon appear on an American B-side, and subsequently on U.S. album compilations.
And naturally, in this transatlantic mishmash, the American Sing for You has two songs which don't appear on Second Album, "Donna Donna" and "From a Window," though they'd already appeared on the British version of Sing for You. The musical merits of Second Album were, naturally, similar to those of the American Sing for You: no big hits, but generally likeable lightweight British Invasion music, though the songs that actually verge on cheery British Invasion rock ("My How the Time Goes By," "Now and Forever," "Too Soon My Love," "Only Those in Love") are far better than the covers of popular standards ("The Girl From Ipanema," "It Was a Very Good Year") and the bossa nova-cum-folk on their cover of Ian & Sylvia's "Four Strong Winds." If you do want to hear everything from Second Album in the original order, try to find the reissue compilation Sing for You/Second Album, which combines the first two albums and five additional tracks on a single-CD release. Chad & Jeremy are an English singing folk rock duo originating in the 1960s, comprising Chad Stuart (born David Stuart Chadwick, 10 December 1941, Windermere, Cumbria) and Jeremy Clyde (born Michael Thomas Jeremy Clyde, 22 March 1941, Dorney, Buckinghamshire). They were part of the British Invasion, a large influx of British rock and pop musicians to the American music scene. The duo's first single, "Yesterday's Gone", for the Ember Records label, which was arranged by John Barry, was their only UK hit.[1] However, Chad & Jeremy's strings-backed sound held a greater appeal in the United States, where World Artists Records released their early 1960s strain of commercial folk music.
Their second single, "A Summer Song", hit #7 on the Billboard Hot 100 in 1964. Follow-ups included "Willow Weep for Me" (a 1930s song that was recorded by Paul Whiteman and Billie Holiday; with Chad & Jeremy's cover version climbing to Number 1 on the Easy Listening chart) and on Columbia Records in 1965, "Before and After" reached the Top 20. In total Chad & Jeremy had seven US Top 40 hits between 1964 and 1966. In February 1966, the British music magazine, NME, reported that the duo had applied for US citizenship. The magazine commented that as potential US citizens, they would be eligible for military service, and that they had no wish to end up defending their adopted country in Vietnam. However the practicalities of constantly renewing US work permits was problematical. In the fall of 1967, they released the album, Of Cabbages and Kings. This psychedelic album sold poorly, as did the 1968 follow-up, The Ark. The duo also made several television guest appearances. In back-to-back sitcom appearances, they first played fictional singing duo The Redcoats (Fred and Ernie) on the February 10, 1965 episode of the TV sitcom Dick Van Dyke Show that satirized Beatlemania. The following week they appeared on the Patty Duke Show as unknown British singing duo Nigel & Patrick, performing "A Summer Song", "The Truth Often Hurts the Heart" and "Yesterday's Gone". They appeared as itinerant actors in That's Noway, Thataway, a January 1966 episode of the comedic western Laredo, which was intended as a pilot for their own spin-off series. The duo appeared as themselves in the December 1966 episodes The Cat's Meow and The Bat's Kow Tow of the television series Batman, in which the guest villain was Julie Newmar as Catwoman. Clyde appeared in 1966 as a bachelor contestant on The Dating Game where he won. Stuart voiced Flaps the vulture in Disney's 1967 film The Jungle Book. In 1968 they composed,recorded and released music to the film soundtrack of Three in the Attic, the music soundtrack was released in the US on Sidewalk Records In 1983, Chad & Jeremy reunited to record the album Chad Stuart & Jeremy Clyde for the MCA-distributed Rocshire Records label. Plans for a second reunion album in 1984 were well-advanced when the label folded. The duo starred in the West End production of Pump Boys And Dinettes from 1984–1985, before returning to the US in 1986 for a nostalgia tour with other British Invasion artists. In 1987 they performed in short residencies at both Harrah's Casino in Lake Tahoe, and the Reno Hilton before again breaking up. In 2003, PBS reunited Chad & Jeremy in the 60s Pop-Rock Reunion special, which also prompted a tour the next year. They have been touring ever since. In 2008, the group released Ark-eology, an album featuring re-recordings of their 1960s hits and selected cuts from their original albums. In September 2010, Chad & Jeremy marked 50 years of performing together with a limited-edition CD entitled Fifty Years On. They performed at the Sundance Film Festival in Park City, Utah in January 2009. Jeremy Duncan and his brother Chad in the comic strip Zits are namesakes of this duo. 01. What Do You Want with Me 02. My Colouring Book 03. If You've Got a Heart 04. No Other Baby 05. Now and Forever 06. Too Soon My Love 07. The Girl from Ipanema 08. Four Strone Winds 09. Oaly Those in Love 10. You Know What 11. Sleep Little Boy 12. My How the Time Goes By 13. It Was a Very Good Year 14. Lemon Tree 15. Early in the Morning 16. Your Mother's Out of Town 17. The Nearness of You 18. Only for Young
Size: 160 MB Bitrate: 256 mp3 Ripped by: ChrisGoesRock Artwork Included Source: Japan 24-Bit Remaster Crispian St. Peters (5 April 1939 – 8 June 2010) was an English pop singer and singer/songwriter best known for his work in the 1960s, particularly his 1966 hits, "The Pied Piper" and "You Were on My Mind." Early career He was born Robin Peter Smith in Swanley, Kent and attended Swanley Secondary Modern School. He learned guitar and left school in 1954 to become an assistant cinema projectionist. As a young man, he performed in several relatively unknown bands in England. In 1956, he gave his first live performance, as a member of The Hard Travellers. Through the late 1950s and early 1960s, as well as undertaking National Service, he was a member of The Country Gentlemen, Beat Formula Three, and Peter & The Wolves. Decca label While a member of Beat Formula Three in 1963, he was heard by David Nicolson, an EMI publicist who became his manager. Nicholson suggested he use a stage name, initially Crispin Blacke and subsequently Crispian St. Peters, and deducted five years from his client's age for publicity purposes. In 1964, as a member of Peter & The Wolves, St. Peters made his first commercial recording. He was persuaded to turn solo by Nicolson, and was signed to Decca Records in 1965. His first two singles on this record label, "No No No" and "At This Moment", proved unsuccessful on the charts.[1] He made two television UK appearances in February of that year, featuring in the shows Scene At 6.30 and Ready Steady Go! In 1966, St. Peters' career finally yielded a Top 10 hit in the UK Singles Chart, with "You Were on My Mind," a song first recorded in 1964 by the Canadian folk duo, Ian & Sylvia, and a hit in the United States for We Five in 1965. St. Peters' single eventually hit #2 in the UK and was then released in the US on the Philadelphia-based Jamie Records label. It did not chart in the US until after his fourth release, "The Pied Piper", became forever known as his signature song and a Top 10 hit on both sides of the Atlantic.
Under manager David Nicolson's tutelage the shy star was momentarily transformed into arrogance incarnate and astonished the conservative music press of the period by his suggestion that he had written 80 songs of better quality than those of The Beatles. Other stars were also waved aside as St. Peters announced that he was better than Elvis Presley: "I'm going to make Presley look like the Statue of Liberty . . . I am sexier than Dave Berry and more exciting than Tom Jones . . . and the Beatles are past it". Outraged readers denounced him in letters columns. However, St. Peters' comments were meant to be tongue-in-cheek as he explained in an interview by Douglas Antreassian entitled "Then and Now - Britain's Pied Piper Sets The Record Straight." "The Pied Piper" had been recorded in 1965 by its writers, Steve Duboff and Artie Kornfeld, as The Changin' Times, but it was St. Peters' version in 1966 that was the hit, reaching #4 on the Billboard Hot 100, and #5 in the UK. No subsequent release would ever match the success of "The Pied Piper," although its success helped boost "You Were on My Mind" into the US Top 40. Thereafter St. Peters was remembered more for his idle boasts than his music. Although his next single, a version of Phil Ochs' song "Changes," also reached the charts in both the UK and US, it was much less successful. In 1967, St. Peters released his first LP, Follow Me, which included several of his own songs. One of them, "I'll Give You Love," was recorded by Marty Kristian in a version produced by St. Peters, and became a big hit in Australia. St. Peters' album was followed by his first EP, Almost Persuaded, yet by 1970, he was dropped by Decca. "You Were on My Mind" was featured in the 1996 German film Jenseits Der Stille.
Crispian St. Peters never seemed to really find a style of his own, and his rather low-key career has seen him release light rockabilly, pure pop, country-rock, and folk-rock singles, one of which, 1966's "The Pied Piper," was an international hit and anchored Follow Me when it was originally released that same year. That entire album is included here, along with six period bonus tracks, including an interesting attempt from 1967 to make Phil Ochs' "Changes" into a folk-rock anthem, an attempt that probably came a year or two too late to really click with the public. Follow Me is a pleasant enough folk-pop album, with a few standout tracks like the Byrds-ish "So Long," the Buddy Holly-like "Jilly Honey," and St. Peters' cover of Sylvia Tyson's "You Were on My Mind" (a much bigger hit in a version by the We Five) achieving gentle grooves that work pretty much in the vein of "The Pied Piper." Nothing to crow about here (even with guitarist Jimmy Page on board), but it was to be St. Peters' high point, and in retrospect, deserves to be. 01. Your Love Has Gone Saint Peters 3:41 02. Jilly Honey Saint Peters 2:16 03. When We Meet Saint Peters 3:33 04. My Little Brown Eyes Saint Peters 2:45 05. It's a Funny Feeling Saint Peters 1:53 06. So Long Saint Peters 3:31 07. You Were on My Mind Fricker 2:43 08. But She's Untrue Saint Peters 3:09 09. Goodbye to You Saint Peters, Smith 2:41 10. Willingly Cochran, Saint Peters 3:45 11. Without You Auld, Saint Peters 2:19 12. That's the Way I Feel Gordy, Robinson, Saint Peters 2:22 13. That Little Chain Saint Peters 2:36 14. The Pied Piper Duboff, Kornfield 2:33 + 15 Bonus Tracks!
Size: 73.8 MB Bitrate: 256 mp3 Ripped by: ChrisGoesRock Artwork Included Source: Japan 24-Bit Remaster In Your Mind is a 1977 album by Bryan Ferry. It was his fourth solo album and the first consisting entirely of original songs: the first two had been cover albums, the second concluding with an original song, the third a collection of B-side and EP material consisting of cover versions. As Ferry's first solo all-original LP effort, released after Roxy Music were on a four-year hiatus, it was supported by an extensive tour. With Roxy Music set aside for the time being, Ferry took the solo plunge with an album of totally original material. As such, the underrated In Your Mind makes a logical follow-on from Roxy's Siren, especially since usual suspects — Thompson, Manzanera, Wetton, and many more — assist him in the brief eight-song effort. While lacking early Roxy's long-gone freakouts In Your Mind still burns more fiercely than both the later solo and group albums, at least on certain tracks - like Siren, it balances between rockier and smoother paths, most often favoring the former.
Ferry's lyrics remain in his own realm of intelligent, romantic dissipation, and are some of his best efforts. The strong opener "This Is Tomorrow" starts with Ferry and keyboards before moving into a big, chugging full band arrangement and a wistful chorus: "This is tomorrow callin'/Wish you were here." When Ferry aims for a calmer mood, rather than stripped-down melancholia, he lets everyone play along. Sometimes the arrangements almost swamp the songs, but "One Kiss'" combination of female backing vocals, sax, and straight-up rock for instance, make it a great woozy, end-of-the-night singalong before the bars close. There are a few blatant misfires — "Tokyo Joe" has the chugging, dark funk/rock beat down cold, but the lyrics play around too much with Asian stereotypes (and let's not mention the opening gong and all too obvious attempts at "atmosphere" via the strings). On balance, though, In Your Mind remains the secret highlight of Ferry's musical career, an energetic album that would have received far more attention as a full Roxy release. 01."This Is Tomorrow" – 3:40 02."All Night Operator" – 3:08 03."One Kiss" – 3:35 04."Love Me Madly Again" – 7:26 05."Tokyo Joe" – 3:55 06."Party Doll" – 4:32 07."Rock of Ages" (Bryan Ferry, Chris Thomas) – 4:31 08."In Your Mind" – 5:18
Size: 84.9 MB Bitrate: 256 mp3 Ripped by: ChrisGoesRock Artwork Included Source: Japan 24-Bit Remaster The Road to Ruin is a 1970 album released by husband and wife John and Beverley Martyn. It was the second (and last) album released as a duo. Island persuaded John Martyn to resume his solo career as they believed that the public was more interested in John as a solo artist rather than as part of a duo. John and Beverley Martyn's classic album from 1970 has been digitally remastered and expanded with 1 Previously Unreleased Demo recorded at Sound Techniques, Chelsea - August 1970. This album is John and Beverly's follow up to Stormbringer. In much of the same manner as that album, here Martyn recruited Pentangle member Danny Thompson on bass (who would end up playing on most of Martyn's albums over the ensuing years). John went solo again after this album after Beverley had given birth to their second child.
Sometimes all you will need to say is "This is a John Martyn record" and people will comprehend. Though "Solid Air" may be one of his best and most popular excursions, too many of his albums have been virtually ignored. Released in 1970, John was at the time concerned with the album's lack of spontaneity and it's obvious that he wasn't pleased with the whole idea of overdubs. Hence the best songs are those relying on John's guitar playing. "Parcels" is a nice tune flavoured with some classic JM guitar work, "New day" features Danny Thompson's first appearance together with Martyn and "Give us a ring" was originally meant for Nick Drake. Though John's music may seem complicated and experimental it is never hard to digest. He always ads a natural flow to it and his singing is great. If you are hesitant about buying it since it's more of a collaboration you should reconsider. In hindsight it's an important album in Martyn's catalogue and though it's neither "Solid Air" nor "Bless the Weather" it's still a very enjoyable album. 01."Primrose Hill" (Beverley Martyn) 02."Parcels" 03."Auntie Aviator" (John & Beverley Martyn) 04."New Day" 05."Give Us A Ring" (Paul Wheeler) 06."Sorry To Be So Long" (John & Beverley Martyn) 07."Tree Green" 08."Say What You Can" (John & Beverley Martyn) 09."Road to Ruin" Unreleased track: 10."Here I Am"
Size: 69.7 MB Bitrate: 256 mp3 Ripped By: ChrisGoesRock Artwork Included The Groundhogs were a British blues band founded in late 1963, which toured extensively in the 1960s and continued in existence sporadically to the present day. A skeleton in the closet of guitarist Tony McPhee, who led this psychedelic band in 1966-67 between the first and second editions of the Groundhogs. Herbal Mixture featured McPhee, bassist Pete Cruickshank (who also played in the pre- and post-Herbal Mixture lineups of the Groundhogs), and drummer Mike Meekham. The original Groundhogs, who had recorded a few very obscure R&B singles in the mid-'60s, had disbanded in early 1966; after a stint with Truth and some session work, McPhee launched Herbal Mixture. The band was probably his least blues/R&B-oriented project, drawing more from early British mod and psychedelic influences. And their surviving recordings aren't that bad; lighter and more melodic than anything else McPhee did, they have considerable period charm. A couple of non-hit singles resulted, the best of which, the lazy anti-work ode "Machines," has been anthologized on some compilations of rare British psych. Some other unreleased material was recorded during the era (some of which surfaced on a 1996 CD reissue) before Herbal Mixture called it quits in late 1967, after which McPhee returned to his blues roots with a reformed lineup of the Groundhogs. The band's blues credentials were recognised when they backed John Lee Hooker and Champion Jack Dupree on their 1960s tours of Britain. The line-up for their first album, Scratchin' the Surface, released in 1968, consisted of Tony McPhee as singer and guitarist, bassist Peter Cruickshank (born 2 July 1945, Calcutta, West Bengal, India), Ken Pustelnik on drums (born 13 March 1946, on a farm near Blairgowry, Angus, Scotland) and Steve Rye on harmonica. They remain one of the lesser known yet critically regarded bands of the late 1960s and early 1970s blues rock groups. Later album releases such as Thank Christ For The Bomb (May 1970); Split (March 1971); and Who Will Save the World? The Mighty Groundhogs (March 1972) are powerful rock albums which share a common achievement of all reaching the top 10 of the British album charts. "Split" reached number 5 , spent 27 weeks in the album chart and achieved gold record status. A further pinnacle in their career was supporting the Rolling Stones on their 1971 British tour at the personal request of Mick Jagger. They released an album of their live set on the Stones tour which was recorded at Leeds University and called "Live at Leeds". All these albums and live shows were performed by the classic power trio of Cruickshank, McPhee and Pustelnik.
Originally breaking up in 1976, they came back as a largely live act less than a decade later with a different line-up. At times in the 1990s, McPhee alternated two line-ups, one with a second guitarist. After years of performing, and recording for a loyal cult audience, McPhee left the band in 2004 in order to perform acoustically leaving fellow original members Cruickshank and Pustelnik to continue as The Groundhogs Rhythm Section. This line up has recently been augmented by a new frontman, Eddie Martin, the internationally known British blues artist, who will now be playing in the psychedelic / blues / rock style Groundhogs fans are familiar with. This CD features Sixteen Tracks from the Rich Musical Past of Both Herbal Mixture and their Illustrious Predecessor, the Groundhogs. Both Line-ups Featured the Combined Talents of Tony Mcphee and Pete Cruickshank. This CD Has Been Specially Remastered and Includes Rare Archive Photographs, Together with a Complete History of Both Bands. 01. Rock Me Baby - 1965 (The Groundhogs) 02. Shake It - 1965 (The Groundhogs) 03. Someone To Love - 1965 (The Groundhogs) 04. Hallelujah - 1965 (The Groundhogs) 05. I'll Never Fall In Love Again - 1966 (The Groundhogs) 06. Over You Baby - 1966 (The Groundhogs) 07. Please Leave My Mind - 1966 (Herbal Mixture) 08. Love That Died - 1966 (Herbal Mixture) 09. Something's Happening - 1966 (Herbal Mixture) 10. Tailor Made - 1966 (Herbal Mixture) 11. Over You Baby - 1966 (Herbal Mixture) 12. Machines - 1966 (Herbal Mixture) 13. Please Leave My Mind Take2 - 1966 (Herbal Mixture) 14. Tailor Made Take2 - 1966 (Herbal Mixture) 15. Love That Died Take2 - 1966 (Herbal Mixture) 16. Love That Died Take3 - 1966 (Herbal Mixture)
Size: 89 MB Bitrate: 256 mp3 Ripped by: ChrisGoesRock Artwork Included Source: Japan SHM-CD Remaster Ceremony was a 1970 album by progressive UK rock band Spooky Tooth in collaboration with French electronic and "found-object" composer Pierre Henry. The album takes the form of a church service. Part of the early-'70s British hard rock scene, Spooky Tooth grew out of the bluesy VIPs and prog-rock group Art and consisted of vocalist Mike Harrison, keyboardist/vocalist Gary Wright, guitarist Luther Grosvenor, bassist Greg Ridley, and drummer Mike Kellie. The group built a following through countless gigs and recorded its debut album, It's All About, in 1968. Spooky Two became their most successful album in the U.S.; afterwards, Ridley left to join Humble Pie and was replaced by Andy Leigh.
Following 1970's Ceremony, Wright left to form Wonderwheel, while Grosvenor took the name Ariel Bender and joined Stealers Wheel and later Mott the Hoople. The addition of three members of Joe Cocker's Grease Band — Henry McCullough, Chris Stainton, and Alan Spenner — was not enough to keep the band afloat, and Spooky Tooth broke up after The Last Puff in 1970. A reunion in 1973 with Wright, Harrison, and future Foreigner guitarist Mick Jones produced several LPs, including the moderately successful You Broke My Heart So I Busted Your Jaw, but personnel shifts and a lack of top-notch material ended the project in 1974. Wright went on to a successful solo career, scoring pop hits like "Dream Weaver," and Mike Kellie later joined the punk-pop Only Ones. 01."Have Mercy" – 7:52 02."Jubilation" – 8:27 03."Confession" – 6:53 04."Prayer" – 10:52 05."Offering" – 3:22 06."Hosanna" – 7:37
Size: 177 MB Bitrate: 256 mp3 Ripped by: ChrisGoesRock Artwork Included Source: Japan SHM-CD Remaster Wah Wah Rec Can Am Des Puig : Supersonic SoundsThe Book of Am part I,& Part 2 (SP/UK/F, 1970-1977)***** A couple years ago a group member of ‘Book of Am’ contacted me, because I once airplayed the 1998 Synton bootleg reissue of the 'Book of AM' album. He told me how he was surprised at the collector’s interest, and that this was not the name of the group, which was actually Can Am des Puig*, while Book of Am was the album title, and how he wished that he would be able to re-release the album as it was intended, together with the illustrated book and with the second never released album. About a year ago this publication was announced on the Gong homepage, and I inscribed myself immediately, but it took over a year before the album finally was released. I can imagine why, because it must have cost a fortune to make photo masters of the delicate watercolour paintings. I can only say that the expensive price is worth the purchase. It has an introduction in English, Spanish and Catalan. The original group name seemed to have been left out now so as not to confuse anyone. The background story : After having settled down in Ibiza after their studies, Juan Arcocha and Leslie MacKenzie decided to go on a kind of spiritual quest, looking for a creative source of inspirations. The last stop of their long journey was Bodh-Gaya in India, in December 1973, where the Tibetans prepared New Year celebrations with the Daila Lama. It was the place where Siddhartha became the Buddha some 4000 years ago. It seemed to be the same ideological destiny point for any foreigners with similar goals. They met a Mexican improvised revolutionary music group led by one Alberto Ruz, Icelanders led by Gerhardt of Ice, who made illustrations with poetry, based upon Moslem, South American and Greek thoughts, and Brother John, who was specialized in Christianity and Zen. For them it seemed as if religions and philosophies of the whole world came gathered together in a summit of an experience. Back in Ibiza they wanted to transmit their collected visions, which led to an etched book, ‘Garland of Visions of the Absolute’, based upon an obscure poem that was the basis of Advainta Vedanta (experiencing the non-dualistic reality). The times were right and the book sold well. So in 1975 they started a second book based upon three parts : morning, afternoon and evening, with 25 etchings, and texts based upon a collection of poems and songs they found representable as examples of what inhabited common ideas in religions and some other group philosophies. The texts were collected along their travels and from a research session at the Warburg Institute in London. The first idea was, to accompany the art with song improvisations on guitar, flute, suji-box and drum. The book was finished mid 1977, but the colours were too subtle that they said in Madrid they couldn’t print it. Disappointed they returned home via Deia, where Robert Graves had lived since 1929, trying to meet him, because a Welsh poem “Song of Amergin” was in this book and the group had liked his version in “The White Goddess”, and refered many times to it. At the place there was held a meeting with musicians, where Daevid Allen turned up. Daevid told him about his work with Soft Machine, about Gong, presented his partner and artist Gillie Smyth, and the Banana Moon studio. He loved the idea of making a record of the book of Am, and the group quickly took the opportunity. Guests were Patrick on 12-string guitar, Stephanie Shepard and Pat Meadows (not mentioned in the liner notes) on flute, Phil Shepherd on percussion and some vocals, and Lally Murray on voice (not mentioned on the published LP). At the end of the session two Gong enthusiasts from UK also participated: Jerry C. Hart and Tony Bullocks, together with Catalan singer Carmetta Mansilla, a trio that joined their weekly improvisation sessions and became part of the group. Daevid sold them cheaply a 4-track recorder. At that stage Jean-Paul Vivini, came to the group with a synthesizer. From January to March 1978 they recorded two open real tapes of 45 minutes each. The recordings were produced in a logic order to accompany the etchings. Daevid also took care that the first album found a publisher that printed the first master by the end of that year. They didn’t come to publish part 2, or to go further that part II of the morning section because of family obligations. Perhaps we can still expect in the afternoon and evening times of their lives the continuing of this project ? I surely hope that the release and recognition of their hard work now becomes or is like their midday experience. The songbook : The 144 paged book can be read partly and vaguely as a story but can more be seen as a source of inspirations with some common themes that holds them together. I’m glad to see how most texts refer to the inspiration of music and a definition and spiritual/religious context of music. Just a few texts are more vaguely ideas that they wanted to take with them as some/luggage on their travel/quest, while a few other stories sound like experiences on a journey, within the triple context of morning/afternoon/evening. Visually it has something of William Blake’s poetry with drawings and engravings. -(William BLake also showed his uniting mystic visions on religious and human-spiritual themes, of which some of his work now and then was partly put into music as well)-. This is more like an amateur form of the kind, with clearly structured lines and forms, associated from known or less known drawings and sources and compilations of their own invention. The texts that come from Welsh (book of Taliesin, Mabinogion) and British origin (British Edda, R.Graves, W.Blake), and come from Ancient Egyptian (book of the dead, papyrus of Ani, pyramid texts, book of breathings), Hermetic, Chassidic, Greek (Hesiod theogony, Aeneid), Icelandic (Edda), Biblic, Tibetan Buddhist (songs of Milarepa), Indian (poems of Kabir, Tantric yoga, Upanishads, Abharva Veda), Babylonic and Zoroastrian (Nuyaishes), Taoist and other sources, while the etchings also contain herbal associations. This whole collection looks for a timeless, inspiring and commonly uniting source. The art book in this way can work also inspiring for any future musical inspirations, for who knows any followers who can try something similar, based upon this book. All the necessary background notes and references were added on additional pages.
The music : CD1: The most beautiful tracks for me are each time, the openers of sections, or the openers of a spiritual energy of a strong focus, amongst more improvised tracks that are more slowly and continually still developing, ie open ended in some way. “The Book of Am” starts with the harmonic singing of “Am” (where Om can be expected), followed by the beautiful “The Song Of AM”, a song which introduces the songbook.* This track is comparable to Incredible String Band, and has a beautiful, delicate dreamy melancholic sphere, with flute and guitar improvisation, and female angelic vocals, a track, alone, making it worth checking out the album, followed by a well fitting “the song of the void” (from Papyrus of Ani). Several of the following tracks are in a simpler and more improvised style compared to the aforementioned ISB, and with a different focus and interest. “Fire” is free improvised, with ethereal female vocals and electronic effects, becoming air-like thin. After “The Cauldron”, and by the time of “O Keeptress” (a track collected from the Icelandian poet Gernardt of Ice -mentioned before in the introduction-), this trio of songs by the same vocalist, gives an impression of being a bit too sparsely arranged ; they might have sounded nicer with just a bit more arrangement on them. A welcome change is the very beautiful first song of Morning, “As the wind blows” (Tagore) with tampura, tabla and guitar improvisation, with very self-unfolding energy, and with beautiful heartfelt, celebrative vocals that are like an ode to life. This is followed by the beautiful “Hear the voice of the bard” (W.Blake) with a melancholic singing-with-heart, by Juan Arcocha, with a similar vocalic focus as on the previous “Song of Am” and perhaps “Song of the void”. The song accompanied by delicate 12-string guitars picking with bits of echo, fit also beautifully with the original engraving by the songbook artist. This is followed by the next tampura droning track, “I am that living Soul” (pyramid texts), (comparable in style to “As the wind blows”). The tampura’s Indian droning core is combined with rhythmic, more earthly coloured hand percussion, which in combination and with additional flutes, make a perfect harmony with the higher region territories to which the vocals sing to, as a beautiful homage with spiritual-life-energy. CD2: This sphere unfolds further on “Who can be muddy” (Lao Tse), with acoustic guitars, and vibrating electronic music, and vocals, “Musical of the Spheres” (orphic tablet), and “Hermes”, the last track is once more with male vocals, followed by "Taliesin Bardic Lore" (a track which is accidentally not listed as a title on the track list page). All these tracks have a similar, delicate and beautiful quality. But also, "Enchanted Bard", which is accompanied by acoustic and amplified guitar, tampura and a bit of electronic touches, is truly enchanting. It comes into the condition of an almost too perfect moment, which is taken into a continuum for a while. "The White Lion on the Mountain" is one of the so many songs by the enlightened Milarepa, here completely newly invented into a psychfolk/acid folk teritory. "I streched Forth" (Thomas Aquinas) is the most psychedelic track, in an Indian raga mode (voice, guitar, flute, percussion). "Love’s Strength" has even more percussion, is almost ritualistic, and with the additional electronica gets a pretty weird avant-garde, atmospherical touch. Only one track of the third section of the book, 'Afternoon', was recorded, which is "I am Yesterday", a text taken from the Egyptian Book of the Dead. This seems to be a very poetic text with deeper contexts, referring to some hermetic principles.
I was amazed by this second’s album's overall quality, which sounds like a more consistent, enjoyable album even, compared to the already great first record. I'm really glad that with this book it isn't missed, at least not by those who can afford it, and are quick enough to order, or by all the usual blogs related thieves who find one collector who doesn't care to share the music. In this case the album will still remain a bit obscure. This is a limited Edition of 2x500 copies, packaged in a hardcover book with 2 vinyl LPs or 2 cd's. * I asked for a confirmation of Jerry Hart, to ask if I remembered it well. He answered me : "Can Am des Puig means 'House of Am on the Hill' in Catalan. It's the name of Juan and Leslie's house in Ibiza and was also the adoptive name of their rented house in Deia, where we recorded the album. (Can = house, Puig = hill or mountain, hence the 'Puig Mayor' in Mallorca is the highest mountain on the island. BTW, Puig is pronounced 'pooch'). While we were never a 'band' as such and never played gigs or any public performances, attributing the music to the house where the music was played and recorded is very appropriate." [Review from Internet] Part I 01. Introduction (1:10) 02. The Song Of Am - Dawn (4:41) 03. The Song Of The Void (3:04) 04. Come Unto Me (1:15) 05. The Song-Ship Journey's West (2:33) 06. Fire (4:09) 07. The Cauldron Of Regeneration (3:50) 08. O Keeptress (7:02) 09. Homage To Ra (6:47) 10. As The Wind Blows (2:55) 11. Hear The Voice Of Bard (2:58) 12. I Am That Living Soul (4:09) Part II 01. Who Can Be Muddy (6:49) 02. Favours Of The Muse (1:46) 03. The Music Of The Spheres (4:27) 04. Hermes (3:52) 05. Taliesin (5:02) 06. Enchanted Bard (7:20) 07. The White Lion Of The Mountain (6:06) 08. I Stretch Forth (4:39) 09. Love's Strength (4:02) 10. I Am Yesterday (4:10)
