Saturday, 16 March 2019

Pilsner - Autosuggestion (High-Energy Rock US 1998)

Size: 64.6MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included

The sound of popular music in the 1990s has been varied and eclectic--but high-energy Rock’n’Roll never goes out of style! 

With that in mind, Rob Tabachka (guitar/vocals) formed Pilsner in 1996 with Ted Williams (bass), Kevin Hoffman (guitar) and Joe Wainwright III (drums). Influenced by rockers like Iggy and the Stooges, the Ramones, Motorhead, and Johnny Thunders, the band laid down a self-titled, four-song demo showcasing their inspired mix of punk, blues, and heavy metal. 

The recording was well-received in the U.S.;  single “Shot to Hell” appeared on the soundtrack to Marc Johnson’s 1997 independent film Leaving Scars. (Sure to be a cult-classic!) 

It wasn’t long before Get Hip Recordings added Pilsner to their roster, releasing the song “Monster Inside My Head” on a split single with fellow Pittsburgh punks Liverball (GH-204). 

The two remaining cuts debuted on the acclaimed Pittsburgh compilation CD Iron City Punk Vol. 2 (Ripe Records, #002, 1997), which includes tracks by internationally renowned Pittsburgh punks Submachine and Anti-Flag and Get Hip labelmates Steel Miners. 

With the word on the street, Get Hip is ready to unleash Pilsner’s full-length debut Autosuggestion on the world. It’s not an understatement to say that Pilsner fuckin’ ROCKS! So for those about to (rock), we salute you!

Rob Tabachka: Vocals, guitar 
 Ted Williams: Bass, backing vocals 
 Kevin Hoffman: Guitar 
 Joe Wainwright III: Drums 
 Additional drums: Matt Forbes 

01. I'm Going Mad   01:57
02. Teenage 505   03:20
03. Monster Inside My Head   02:31
04. Fish Song   03:29
05. Shut Up!   00:59
06. Laughter   03:54
07. Bring Down the Power   02:53
08. Highway 095   02:45
09. Shot to Hell   02:14
10. Fight Back   03:42
11. Voodoo Drinkin' Blues   03:54

1. Pilsner
2. Pilsner
3. Pilsner

Crypt Trip - Rootstock (Bluesy Retro Hard Rock US 2018)

Size: 94.9 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Artwork Included

What do you get when you combine the styles of Grand Funk Railroad, The James Gang, and Black Sabbath? Something pretty similar to the Texas trio known as Crypt Trip and their sophomore full-length release Rootstock. While their debut self-titled album from 2014 treaded much more into stoner/doom territory ala vintage Black Sabbath and Blue Cheer, this latest release injects a healthy dose of psychedelia, blues, and classic rock tones into their hard hitting yet groove laden attack. 

The band are comprised of Ryan Lee (guitar, vocals, keyboards), Cameron Martin (drums, vocals), and Sam Bryant (bass), and they've written eight exciting, hard rocking tunes here that are well worth your attention. "Heartslave" kicks things off in fine fashion, a psych drenched blues rock jam with some killer guitar tones, and that segues into the uptempo rocker "Boogie No. 6", a tune that seems straight out of a time capsule from 1970. 

The crystalline wah-wah comes out on the gorgeous "Aquarena Daydream", bringing up images of Robin Trower but the sublime electric piano adds a nice proggy/psychedelic touch, and there's a nice jam at the end that's almost like a midnight session between the Allman Brothers and Grand Funk. "Rio Vista" is barnstorming hard rock, again conjuring up vintage James Gang with its sizzling guitar licks and beefy bass lines, and Bryant's fat bass again is the driving force on the meaty "Natural Child" alongside Lee's awesome wah-wah soaked riffs...think Grand Funk's first three albums and you know what you are in store for here. Fantastic stuff. 

"Tears of Gaia" ups the speed a bit for a raucous rocker that approaches metal, complete with some neat time changes and plenty of acrobatic riffs & drumming, while the more psych drenched closer "Soul Games" is prefaced by the brief instrumental "Mabon Song", both fantastic cuts that show additional sides to the band.

It's incredible to hear both Crypt Trip's debut and this release, as they almost sound like two different bands, but each are great examples of what this hot trio have to offer. Rootstock is a rewarding and truly enjoyable trip back to the days where heavy rock was in its infancy, and psychedelia and blues both played a significant part in its maturation. Highly recommended stuff here, and I personally can't wait to hear more from this band.

In 2016 Crypt Trip released a short EP featuring 3 incredibly groovy, vintage rock songs. ‘Mabon Songs’ was a short demonstration of quality songwriting and originality but more importantly, my first introduction to Crypt Trip. The band seemed to have come out of nowhere and after playing this 14-minute EP on repeat, I was in desperate need of more material. The big question was, is there ever gonna be more Crypt Trip? Yes, there, IS! Two years later and Mabon Songs gets revived into ‘Rootstock’, together with five completely new songs. The new material blends in perfectly with the previously released songs and a diverse full-length record is the result. 

The band follows a classic recipe of retro sounds, long jams, and bluesy hard rock but manages to stay creative and pull-off an original sound. The songs contain a lot of energy and sound like they could have been recorded live, but at the same time seem to be carefully thought through. The rhythm and lead section are following each other closely through ever-changing parts and clever hooks. Well performed vocal-parts and solos by Ryan take the lead and alternate endlessly through-out the record.

The opening track builds pressure before firing away on full speed as the blues-rock power trio that is Crypt Trip. They give everything they’ve got which makes ‘Heartslave’ a great introduction into the record and definitely gets you warmed up for more. Punchy blues licks, lots of wah and epic soloing set the tone and continue into ‘Boogie No. 6’, just to release the gas a little in ‘Aquarena Daydream’ for a piece of mellow psych-rock. The band lets you drift for a couple minutes but puts you back both feet on the ground halfway through the song to warm you up for ‘Rio Vista’, which is a great rock ‘n roll song.

After all the new material it’s time for a small trip to the past into Mabon Songs which are the next 3 songs in the queue. All three of them are absolutely brilliant songs so the excuse to listen to them again is almost as good as the fact that there are new songs to accompany them. ‘Natural Chylde’ used to be my absolute favorite of Mabon Songs and still is a strong competitor for this title in Rootstock. It’s catchy and immediately gets you grooving.

The band blasts through ‘Tears of Gaia’ just to close Mabon Songs with, the ‘Mabon Song‘, a short, chilled out instrumental track played on acoustic guitar. It’s a great track that adds a nice change to the record and shows they can also handle a different dynamic. “Rootstock” is closed off by “Soul Games“, which is the 5th new track added to the album. They don’t get back up to full-speed anymore after cooling down, but the track is definitely a worthy ending to this 40-minute masterpiece.

Overall Rootstock is an incredible release with eight songs that are all different but at the same time equal in quality when it comes to production, songwriting, and execution. Just give it a spin already and have a nice Crypt Trip!

   Crypt Trip are
Ryan Lee: Guitar, Vocals, Elec. Piano
 Cameron Martin: Drums, Vocals, Perc.
 Sam Bryant: Bass

01. Heartslave  05:19
02. Boogie No.6  04:18
03. Aquarena Daydream  06:02
04. Rio Vista  03:17
05. Natural Child  06:46
06. Tears Of Gaia  05:08
07. Mabon Song  01:42
08. Soul Games 

1. Crypt Trip
2. Crypt Trip
3. Crypt Trip

Saturday, 9 March 2019

Madder Lake - Stillpoint 1973 & Madder Lake - Butterfly Farm (Australian Progressive 1974)

Size: 193 MB
Bitrate: 320
Ripped By: ChrisGoesRock
Artwork Included

This is album review number One Hundred and Ninety in the series of retro-reviews of both vinyl and CD albums from my collection.

The series is called Cream of The Crate and each review represents an album that I believe represents significant musical value, either because of its rarity, because it represents the best of a style or styles of a music or because there is something unique about the music, the group or the particular production. The first fifty reviews were based on vinyl albums from my collection, with the following fifty on CD albums from my collection. Links to all these reviews can be found at the bottom of the page. 

Time to pull another Aussie album from the Crate, and this week and when this album came out, it caused a little stir, with some saying it was a mighty progressive album, and others saying it was full of "fillers". Personally, I believe that overall is was groundbreaking in it's particular genre.

The group is Madder Lake and this is a vinyl album and is titled - Stillpoint. It was released on the Mushroom Records in 1973 and has the identifying code of MRL 34915. It only has 7 tracks. It was rereleased on CD in 2009 by Aztec Records.

Madder Lake has its genesis with 2 young students at what was then, Swinburne Institute of Technology and were playing in their band, San Sebastion in and around Melbourne, with limited success.

Originally a covers band, some time between mutating from San Sebastian to Madder Lake, they began to introduce original compositions, being switched on enough to recognise that strictly covers bands had limited appeal, and lifespan.

With the rise and rise of a new wave of British progressive rock music, the guys were particularly drawn toward groups such as Traffic and King Crimson and by late 1970 the decision was made to become known as Madder Lake. The term is most widely interpreted as being a crimson based special water paint - but in the growing "head sub-culture", it was seen as a reference to alternative psychedelia - and certainly the names of the tracks that quickly followed in the next year or so, seemed to reinforce this.

This form of the group saw Mick Fettes on vocals, Jack Kreemers on drums, Brendan Mason on guitar, Kerry McKenna on bass and John McKinnon on keyboards. With Melbourne based Michael Gudinski looking out for new acts to present to the public in this developing music genre, and Madder Lake looking to establish themselves wider than pubs, the match was made and by 1973 following them being they were the opening act at the inaugural 1972 Sunbury Pop Festival, they became the headline act!

In February of that year they released their first single with the unlikely title of Goodbye Lollypop, which struck a chord in the groups growing band of followers and it went to number 15 in Melbourne and cracked the top 40 Australian singles chart. Things were rocketing along for the group and they supported The Rolling Stones at their Melbourne concerts at the Kooyong Tennis Centre. 

In April '73 Mushroom released their classic debut album, Stillpoint. This album was recorded at TCS Studios in January and March and produced by John French. It was another breakthrough success for the band and provided Mushroom with their first gold record. It reached #11 nationally and #2 in Melbourne, where they had become one of the top live draws. The album is beautifully framed by Drak's wonderful cover illustration, which complemented the music in much the same way as Roger Dean's famous covers for Yes. The distinctive Madder Lake logo, designed by Ian McCausland, completed the package.

In August another track from Stillpoint was released, and it showed the group had lost non of their penchant for evocative names, being 12 Lb Toothbrush, which fast became one of the groups most recogniseable tracks. By this time John McKinnon had been replaced by Andy Cowan, in what would be the first of quite a few membership lineup changes over the next few years.

In 1974 the group released its second album - Butterfly Farm. It was received with far less enthusiasm and it seems that significant momentum had been lost and in fact by 1976, after more membership changes, the band didn't fold as much as go into a hiatus, in fact over the years several hiatus's and it was in 1975 that many believe the real "crunch" came.

According to the Madder Lake website - "Madder Lake returned to Melbourne and leaped into the project, drastically curtailing live gigs (and thus their income). Through a friend, they were able to use an empty pub in the dockland area of Port Melbourne as a regular base in which to write, arrange and rehearse the new music. They made several tapes for the project, including a full preliminary demo made on 4-track at the ABC studios in Perth. It's not known if these ABC tapes have survived, but the band at least do have a cassette copy (although the quality is necessarily limited). Around 90 minutes of songs and linking music was composed, a rough set of working lyrics had been written, and according to Mick the project was more than ready to hand over to Measham for the next stage, the orchestral arrangements .

Unfortunately, this was the point at which Brave New World became one of the great "lost" works of Australian rock. Mushroom's initial interesting in the project rapidly cooled, Measham's concert commitments kept him away and as it dragged out over months, the band saw the writing on the wall, and it was eventually shelved. Because it was written to be performed as single piece, the band only ever played it live once in its entirety, although one favourite segment was preformed at gigs as a stand-alone piece for a while.

The combination of the Madder Lake's innovative music and the Brave New World book leaves you wondering what might have been. We hope that some of the Brave New World demos will find a public release in the future, and it's also possible that, with the advent of new computer technology, it might be possible for the group to realise the work electronically in the future.

Stung by the failure of this ambitious project, the band limped on through 1975, but the various forces acting on them were tearing the formerly close-knit group apart. Lack of record company support, financial pressure, the grind of five years' constant gigging, internal stresses and the hazards of the rock'n'roll lifestyle were all taking their toll. As Mick ruefully observes:
"We just hit a brick wall at a million miles an hour ... in those times you were just on a merry-go-round, and you just went on it in concentric circles until you reached the centre, and then it spat you out It wasn't just us -- it happened to so many people."

Things came to a head at the end of 1975. While on a trip to Sydney, Mick Fettes, who was very much the voice and face of Madder Lake, decided he had had enough, and one night before a gig at the Bondi Lifesaver he quit the group."

The group has resurfaced several times over intervening years and reissued with bonus tracks, Stillpoint on 10 October 2008 and Butterfly Farm on 24 March 2009. Fetes who had come and gone and come and gone rejoined the band and in 2009, Madder Lake were Andy Burns on keyboards, Fettes, Kreemers, Mason and McKenna.

In 2013 they released the critically acclaimed album 'World', their first album in 39 years. and in December of that year, Mick Fettes once again retired and was replaced by Ian Ferguson ex-RJSS, Carson and the Blue Dukes on lead vocals.

Original Members:
* Mick Fettes — vocals 
* Jac Kreemers — drums 
* Brenden Mason — guitar 
* Kerry McKenna — bass guitar, guitar 
* John McKinnon — keyboards, vocals 

01. Salmon Song 8:23
02. On My Way to Heaven 3:52
03. Helper 5:07
04. Listen to the Morning Sunshine 5:11
05. Goodbye Lollipop 3:36
06. Song for Little Ernest 4:31
07. 12-lb. Toothbrush 6:02

08. Bumper Bar Song (B-Side) [bonus track] 4:42
09. 12-lb. Toothbrush (Single Version) [bonus track] 3:51
10. Country Blues (B-Side) [bonus track] 2:43
11. Down the River (Live at Sunbury) [bonus track] 6:14
12. 12-lb. Toothbrush (Live at Sunbury) [bonus track] 8:18
13. Bumper Bar Song (Live at Garrison) [bonus track] 5:50
14. When Is a Mouse (Live at Garrison) [bonus track] 5:38

Madder Lake - Butterfly Farm (Australian Progressive 1974)

Size: 120 MB 
Bitrate: 320
Ripped by: ChrisGoesRock
Some Artwork Included

The 1974 follow up to their startling debut 'stillpoint' is another progressive rock gem another chapter in the story of one australia's best bands of the seventies. This, their last lp (excepting their legendary "lost" album 'brave new world.we're still searching.') again featured a striking cover from roadie / artist drak and was lavishly packaged in a gatefold sleeve and insert (artwork faithfully created for this release). Musically, 'butterfly farm' continues in the same "psychedelic blues" vein as its predecessor and features the mighty 'ride on fast' along with some amusing adlibs (on the live at sunbury version of 'lizards') from singer mick fettes! Aztec have added two subsequent non-lp singles and a live track from sunbury and the garrison as bonus tracks!  

Madder Lake was one of the most original and distinctive of the "new wave" of Australian groups that emerged around 1970. They were also an important and popular part of the of the emerging Melbourne music scene. It's unfortunate that they're only known for their extant recordings -- their two excellent 1970s Albums and one "Best Of.." compilation. They were one of the first bands signed to the Michael Gudinski co-owned Mushroom Records which released their debut single, "Goodbye Lollipop" in February 1973, followed by the album Stillpoint in August. This contained their most recognisable single, "12lb Toothbrush". Their second album Butterfly Farm was released in April 1974, they left Mushroom after their last single, "I Get High" appeared in July 1976. A compilation album The Best of Madder Lake was released by Mushroom Records in 1978.

San Sebastian was a part-time rock band formed by Swinburne Institute of Technology (now Swinburne University of Technology, Hawthorn campus) Graphic Design students in 1968, including Kerry McKenna on bass guitar and Brendan Mason on guitar.By 1969 the line-up was McKenna, Mason, Mick Fettes on vocals, Jack Kreemers on drums and John McKinnon on keyboards, they were playing cover versions for the pub circuit.[1][2] Original material was introduced and, by late 1970, band members were leaving their tertiary studies to fulfil their bookings.

With a repertoire of progressive, psychedelic, blues music they changed their name, in early 1971, to Madder Lake—madder lake is a crimson-coloured water-based dye (alizarin) mixed with alum and used in painting. The Melbourne-based line-up of Fettes, Kreemers, Mason, McKenna and McKinnon were picked up by Michael Gudinski's booking agency, Consolidated Rock.

Madder Lake were influenced by British progressive rock acts, Family, Traffic and King Crimson.They were the opening act at the inaugural Sunbury Pop Festival in January 1972. As their popularity increased, they were one of the first band's signed to the Gudinski co-owned Mushroom Records in late 1972.

By 1973 they were a headlining act at the 1973 Sunbury Pop Festival, where they actually followed immediately after the hapless Queen, who were booed and bottled offstage ("The crowd wanted us" reckons Mick!) and Mushroom Records' first release was their debut single, "Goodbye Lollipop", in February. The single peaked at #15 in Melbourne  and made the Australian singles Top 40. Mushroom Record's first album release was the ambitious triple-live, The Great Australian Rock Festival - Sunbury 1973, which was released in early April, and included two Madder Lake tracks.

Madder Lake's debut album, Stillpoint followed in August, which peaked at #13 on the Australian albums chart, it spawned their most recognised single, "12lb Toothbrush" written by band members, Fettes, Kreemers, McKenna and McKinnon.

McKinnon had been replaced on keyboards by Andy Cowan (who was introduced to the band by future 'Skyhook' Bob Starkie - another former schoolmate of Brendan and Kerry's), by the time the album and its related single had been released. In 1974, the band recorded their second album, Butterfly Farm which was released in April but the album and its related singles had less critical and commercial success than earlier work.

British conductor, David Measham, who had worked with Rick Wakeman on his Journey to the Centre of the Earth, was based in Perth, Western Australia from 1974. He commissioned Madder Lake for a theme piece on Aldous Huxley's science fiction novel Brave New World, but the project stalled when funding from Australian Broadcasting Corporation (ABC) was cut-back and Measham's other commitments intruded. Cowan and Fettes left Madder Lake by late 1975, Fettes formed Bandicoot with comedian, Shane Bourne.

Fettes was initially replaced by Colin Setches on vocals but when McKinnon returned in early 1976 he took up vocals in addition to keyboards, meanwhile Ian Holding replaced a departing McKenna on bass guitar and the band recorded their last single, "I Get High" and left Mushroom Records. McKenna returned, now on second guitar, and Tony Lake joined on vocals but soon left. Although not formally disbanding, Madder Lake subsequently had numerous periods of low activity. Fettes returned in April 1978 for touring and Mushroom released their compilation album, The Best of Madder Lake in May, a new album was planned but Fettes left again in January 1979.

Madder Lake resurfaced with three tracks on The Mushroom Evolution Concert live album, to celebrate the record company's tenth anniversary in 1982. They returned to touring in 1996 and appeared on Mushroom 25 Live: The Concert of the Century released in 1998, after which Gudinski sold his interests in Mushroom to Festival Records. Madder Lake's two studio albums have been re-issued by Aztec Music with bonus tracks added, Stillpoint on 10 October 2008 and Butterfly Farm on 24 March 2009. As of May 2009, Madder Lake are Andy Burns on keyboards, Fettes, Kreemers, Mason and McKenna.

01. Rodney's Birthday
02. Mothership
03. Booze Blues
04. Ride On Fast
05. One Star And The Moon
06. Butterfly Farm
07. Slack Alice
08. Back Seat Song

09. It's All In Your Head (Single A-Side, November 1974)
10. I Get High (Single A-Side, July 1976)
11. Rodney's Birthday (From 'Garrison: The Final Blow Unit 1', October 1973)
12. Lizards (From 'Highlights Of Sunbury '74', May 1974)

Part 1: Madder Lake 1
Part 2: Madder Lake 2
Part 1: Madder Lake 1

Part 2: Madder Lake 2
Part 1: Madder Lake 1
Part 2: Madder Lake 2

Thursday, 28 February 2019

Raw Material - Selftitled (Progressive Hardrock UK 1970)

Size: 108MB
Bitrate: 320
Ripped by ChrisGoesRock
Artwork Included
Source: SHM CD Remaster

Super rare UK progressive from the late '60s. Leaning in a psych direction with Doors like keyboards, 'Tull like flute, long tracks, quality vocals, varied instrumentation etc.This was Raw Material's self-titled maiden voyage in the studio, they would release one more album in 1971 titled Time Is. The sound created on this album was not as intense or complex as their second outing but it is a glimpse at what they would become. 

This music was progressive but will most likely be looked upon as pre-progressive (i.e. Yes, Pink Floyd) by most fans and critics. Colin Catt, the vocalist and keyboard player, set the tone for the band with his trilling vocal style and Jon Lord/Deep Purple influenced keyboard playing. 

Although this album has some of the fusion and jazz elements present, it is not a prevalent as their second album. Rock seems to be the foundation that everything else stems from on their freshman outing. It remains as a fine example of early prog-rock with the use of the flute, sax and harp. Although this may not be the best album that you have heard from that period of time it is good and worth checking out.

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Raw Material is a British band that released two albums in the ealy 70's that are now highly collectible. The group consist of your standard prog quartet plus frontman Mike Fletcher on wind instruments. They developped a slighly jazz-tinged progressive rock so typical of that era and their debut album had some great moments (the longer tracks on side1) but was also partially flawed but ends in a bizarre poem recitation to string arrangements. 

Most progheads will prefer the much more even Time Is.. Rare album that appeared on the RCA prog label called Neon records. This album (with the line-up augmented by a second guitarist Harewood) was much more 70's-sounding and left loads of space for instrument interplay and hold many fine moments that every proghead looking for rare late proto-prog should investigate.

Highly obscure and criminally underrated, British outfit Raw Material may not have exactly set the world alight with the two albums they released at the beginning of the 1970s, yet both do fully deserve their place in the gilded pantheon of 'lost classics'. A self-titled effort, the first Raw Material release (barely) saw the light of day in 1970, pretty early in progressive rock's development, but thanks to a chicken-livered label and complete-and- utter apathy from the days music press this was an album cruelly doomed to fail right from the start. 

However, whilst 'Raw Material' may have sunk without trace when first released, the same cannot be said for the album's 21st century CD reissue, which has happily re-ignited interest in the forgotten group(so much so that the Relics imprint have re-released the album on limited-edition vinyl!). And boy do they deserve it. Blending elements of psychedelia, organ-baked blues, jazz-tinged rock, folksy meanderings and lysergic- dipped pop, 'Raw Material' is indeed a fascinating set, featuring an eclectic brew of styles that somehow manage to hang convincingly together. 

The album also has a strange, atmospheric tone that lends a seriously cosmic ambience to proceedings, especially on the mystic opener 'Time & Illusion' which brings to mind both 'Meddle'-era Pink Floyd and King Crimson during their more aggressive moments. Add the pacey, blues- inflected raunch of 'Fighting Cock', the sparse, dreamy acid-pop of 'Future Recollections' and 'Traveller Man's flute-doused fusion and you have a genuinely exciting album that constantly surprises with it's stylistic invention and gutsy playing. 

Nowadays, of course, original vinyl copies fetch a small fortune on the collector's circuit, and for once the reputation of the record is matched by the music it contains. 

They may have been summarily ignored in their own time, but life has a funny way of turning the tables on almost everyone and everything, and thankfully the raw deal dealt to 'Raw Material ' has finally come full circle. An excellent slice of jazzy, cosmic prog, this comes very highly recommended indeed.

- Colin Catt - lead vocals, keyboards
- Mike Fletcher - saxophone, flute, vocals
- Dave Green - guitar 
- Phil Gunn - bass, guitar 
- Paul Young - drums, percussion

01. Time And Illusion (7:30)
02. I'd Be Delighted (5:06)
03. Fighting Cock (3:48)
04. Pear On An Apple Tree (2:58)
05. Future Recollections (3:54)
06. Traveller Man (6:13)
07. Destruction Of America (2:20)

Bonus tracks: 
08. Bobo's Party (3:12)
09. Hi There Halleluja (2:45)
10. Days Of Fighting Cock (3:07)

1. Raw Material
2. Raw Material
3. Raw Material

Monday, 11 February 2019

Zed - Desperation Blues Deluxe (Good Hardrock US 2019)

Size: 192 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Some Artwork Included

We spent almost 2 years writing these songs, playing them out and honing them until we felt we were ready to lay them down in the studio. We were looking around to find the best studio as well as the best partner to help produce the songs, and we met Tim Narducci when we played a show with his band. He approached us about recording us and when we met and discussed we saw it was a natural fit. 

He got what we were trying to do right off the bat. So we entered Sonic Room Studios / Audio Voyage Studios in June of 2012 and finished the recording in August. Tim and the rest of us then spent the next month and a half mixing and finding the right sound of the album. Lastly in November and December we got it mastered by Bruce Somers in LA. We're pretty proud of this album and we think you will dig it. 

Desperation Blues hits the street May 21st, 2013. Pre-order now and get it a week before the rest of the world, in addition to an immediate download of the lead single "Please".

Zed is a heavy stoner influenced hard rock band that formed in 2007, in San Jose, Ca. However, the band has played together in and out of different projects since 1998, which is why their chemistry together is unparalleled. 

Zed has released a brand new video to go along with thee track “Skin + Bones” from their re-release of ‘Desperation Blues Deluxe.’ 

Along with the album, a special bonus 10 inch that includes recordings of Zed from their early years will be added. ‘Desperation Blues Deluxe’ arrives on the kick ass record label, Ripple Music January 18, 2019.

Discussing the deluxe album re-release with a clutch of rare early demos, the band stated: “This album rocks. Period. People really started taking notice when we self-released it back in the day, which is great because we had put our souls into writing, recording and getting the word out. 

It was a completely DIY effort, and that’s a big part of who we are, coming from the underground punk/hardcore/metal scene, where if you wanted something done, you did it! And to make this re-issue even better, we added the best songs from the demo that became our first album “The Invitation,” which was as DIY as it gets, recording in our rehearsal space with borrowed mics but still sounding great! 

We are stoked that Ripple wanted to get this music out to a larger audience. Its time to shine is now.”

The retro riffs in the song bring back that classic feel but with a modern touch. Pete Sattari’s vocals resonate as he simply sings “yeah” getting you amped for the song to kick it up a gear. 

Mark Aceves’ bass lines are smooth and sultry bringing everything together for one kick ass track of stoner groove and retro rock n roll. This track is just the tip of the iceberg for Zed, make sure to pick up the reissue of ‘Desperation Blues Deluxe’ on January 18th via Ripple Music.

Zed is:
Pete Sattari- Guitar,Vox
 Sean Boyles – Drums
 Greg Lopez – Guitar
 Mark Aceves – Bass

01. Please 04:19
02. Skin + Bones 05:22
03. Killing Machine 04:10
04. Desperation Blues 03:58
05. Crawl Back to You 03:56
06. More 04:32
07. Rain 06:46
08. The Empty Quarter - Settle The Score 05:58
09. The River 07:15

Tracks from their "Invitation" EP
10. Leave Me Alone - Bonus Track 04:38
11. Lunatics and Liars - Bonus Track 04:23
12. HALO - Bonus Track 03:57
13. A Drug - Bonus Track 03:49
14. How Long - Bonus Track 04:14
15. Somebody - Bonus Track 03:50
16. The River - Bonus Track 06:59

1. Zed
2. Zed
3. Zed

Sunday, 3 February 2019

Tamam Shud - Evolution (Aussie Psychedelic Rock 1969 + Bonus)

Size: 174 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

In the late '60s, director Paul Witzig traveled the globe, 16mm camera in tow, shooting silent footage of some of Australia's top surfers on the shores of North Africa, Puerto Rico, France and Portugal, as well as in locations all over their homeland. The end result was Evolution, and though the IMDb doesn't list any Witzig works outside of being a camera operator on Bruce Brown's classic surf documentary The Endless Summer, enthusiasts of the sport tell a remarkably different tale.

Evolution is thought of by aficionados as one of the crucial surf films for a few reasons chief among them the lack of dialogue, and how Witzig allowed the skill of his subjects and the depth of its soundtrack to guide the narrative. As one of the bands contracted for its soundtrack, Tamam Shud created an album's worth of material, composed to projections of the raw footage Witzig collected on his shoots. It's not a film Ive seen, nor is it readily available outside of VHS bootlegs, but if the music here is any indication, I'm sold.

Tamam Shud (meaning 'the end' in Persian, so claims their liner notes) existed in an earlier incarnation as the Sunsets, and frontman Lindsay Bjerre had been commissioned to write original music for Witzig's previous surf doc, The Hot Generation. The nature of this working relationship must have been a trusting one, as it's hard to imagine a whole film playing out to hard psych this undeniably cool. Bjerre's band (Zac Zytnik on guitar, Peter Barron on bass, and drummer Dannie Davidson) were joined in the studio by Peter Lockwood and Michael Carlos of the band Tully, whose group's music also appeared in Evolution. Though their music sounds a bit out of the moment for its 1969 studio date, its blues structures and full, lively arrangements survive any sort of serious aging for all but the most detail-oriented collector.

Chunks of Australia's underground rock history are only now becoming known to world audiences, with Aztec's dynamite reissue series, and long-rumored compilations by early Lobby Loyde groups like the Wild Cherries coming to the fore. That said, there doesn't seem to be much historical mention of Tamam Shud, even in the collectors' niches of record, and no earlier reissues barring a Radioactive label offering of dubious legality. Evolution should do well to right that wrong. This is an astounding, wild, free sounding album, steeped in the Beatles and Hendrix in just the right ways, much as it is with inspiration from the sun, surf and sand & the sand especially, as the organic and gritty production of Evolution gives the feeling of granular, between-the-toes crunch. The big, rounded, feedback-studded fuzz on the guitars here is astounding, with a hollow-body or possibly acoustic origin that works its way into the composition of slow, evocative minuets like 'I'm No One' and 'Jesus Guide Me, & and billows throughout the heart and veins of the harder tracks that surround them.

There are plenty of mistakes in the playing, but somehow they only add to the character of these tracks, which flow out of the performers as easily as breath. Songs sound as if they'd just been written, as melodies climb the scales with trepidation before locking into bass runs and expressive, lyric soloing. Bjerre's clear, high tenor, which counts off most of the songs here, fits impressively alongside the guitar tones, with a bit of a yodeling quality in spots that puts him in the class of belters like Family's Roger Chapman, but with a more palatable, less manic range. 

He's still able to break off a scream or two, but that's not where he's heading, so when it does happen, it makes the moment that much more righteous. Moreover, he knows when to hold back and let the guitars do the talking, as graceful lines open their parachute into tastefully wild psychedelic scatter. As a group, their album plays out as effortless, beatific rock, a successful and non-excessive jam session with incredible character and one-of-a-kind surge, even going as far as to imbue surf guitar with more modern, even progressive, influences, as the tension created in album closer 'Too Many Life' suggests.

This Japanese reissue of Evolution, part of EM Records' surf soundtrack series, includes 1971s Bali Waters EP, three cleaner songs with the progressive tack reaching to the fore. Bjerre sounds as strong as he did on the album, but the band is a little more reined in, with a polish that still evokes a surfborne spirit. These three tracks are fine, but not as gloriously blasted out as the album, as if the group was waiting for their career to foment. Still, it's not a bad way to finish off such a satisfying album, a true surprise in a time where hundreds of psych reissues of almost random quality surface at ridiculous prices. It's nice to roll with a winner now and again.

01. Music Train (03:52)
02. Evolution (02:45)
03. I'm No One (02:08)
04. Mr. Strange (02:34)
05. Lady Sunshine (04:39)
06. Falling Up (02:48)
07. Feel Free (03:12)
08. It's a Beautiful Day (02:53)
09. Jesus Guide Me (03:53)
10. Rock on Top (02:49)
11. Slow One and the Fast One (06:58)
12. Too Many Life (03:04)

Bonus Tracks "Bali Waters EP (1972)
13. Bali Waters [Bali Waters EP 1972] (06:14)
14. Got a Feeling [Bali Waters EP 1972] (02.37)
15. My Father Told Me [Bali Waters EP 1972] (03:47)

Extra Bonus "Taman Shud - Goolutionites and The Real People" (1969)
01. Goolutionites Theme  04.54
02. They´ll Take You Down On The Lot  03.42
03. I Love You All  09.07  
04. Heaven Is Closed  05.14
05. A Plague  02.43
06. Stand In The Sunlight  02.22
07. Take A Walk On A Foggy Morn  07.16

1. Taman Shud
2. Taman Shud
3. Taman Shud

Saturday, 2 February 2019

Nicholas Greenwood - Cold Cuts (Progressive Rock UK 1972)

Size: 96.4 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

Bassist/singer Nicholas Greenwood was a member of the Crazy World of Arthur Brown between 1967 and 1970.Having struck out on his own,he recorded his only solo LP with help from Dick Heninghem and Eric Peachey(Khan)Bunk Gardner(the Mother's of Invention),BrynHowarth(Les Fleur de Lys)and others.Intense and moody,it was released in tiny numbers in France,Holland and the UK in 1972,and is one of the rarest albums of the progressive era,with originals changing hands for thousands of euros.

Bassist Nick Greenwood is best-known today for his fiery work with Arthur Brown in his own 1968-69 heyday. Moving on, in 1972, Greenwood chose to record a solo album, and to that end brought together a crack band of sessionmen. Even for its time the resulting Cold Cuts set was way out there, a mighty slab of psychedelia-laced prog rock that soared into musical recesses seldom explored. Besides showcasing Greenwood's superb bass skills, fans are also surprisingly treated to his vocals -- surprising, because Greenwood was not previously known as a singer. 

He acquits himself quite spectacularly here, his delivery as powerful on the rockier numbers as it is nuanced and introspective on the proggier songs. Yet, what really captures one's attention is the interplay between keyboardist Dick Henningham, guitarist Bryn Howarth, and Bunk Gardner's woodwinds. Henningham easily reaches the majestic peaks of the showier Keith Emerson, but without the pomposity, however what he mostly brings to the table is a funky style that shimmers into blues and jazz and plays havoc with one's preconceptions of psych or prog. Overhead, Gardner's various woodwinds dip and soar, while Howarth's lead guitar strikes and sears the air and the string section sounds out.

But it's how arranger Charles Lamont fits together these myriad musical pieces that is so fascinating. Moods flicker and shift, atmospheres thicken then dissipate, instruments come to the fore then disappear, yet somehow the numbers all hold together, as does the set as a whole. 

The playing is phenomenal -- arguably this set features Howarth's best work, while Henningham, who co-wrote the album, is absolutely stupendous. 

Greenwood virtually disappeared from view after the release of this album, perhaps because there was nowhere to go from it. 

Having wrung every ounce of creativity from himself, then brought out the very best in all his sessionmen, what was possibly left to do? Even so, poor sales, possibly due to the album's strikingly revolting cover, resigned Cold Cuts to cult collector's status, but this masterpiece deserved better, and with its reissue perhaps it will finally get its due.

Line-up - Musicians
Nicholas Greenwood - bass, vocals, effects, co-producer
 Bryn Howarth - guitar
 Chris Pritchard - guitar
 Dick Henningham - keyboards
 Bunk Gardner - woodwinds
 Janet Lakatos - violin
 Margaret Immerman - violin
 Margaret Shipman - viola
 Nils Oliver - cello
 Eric Peachey  drums
 The Teardrops - harmony vocals
 Charles Lamont - arrangements

01. A Sea Of Holy Pleasure (Parts I, II, III) (7:12) 
02. Hope/Ambitions (2:53) 
03. Corruptions (3:09) 
04. Lead Me On (3:47) 
05. Big Machine (3:38) 
06. Close The Doors (4:27) 
07. Melancholy (3:23) 
08. Images (3:18) 
09. Promised Land (3:09) 
10. Realisation And Death (5:14)

1. Cold Cuts
2. Cold Cuts
3. Cold Cuts