Wednesday, 18 November 2015

Zephyr - Zephyr (Blues-Based Hard Rock US 1969 w. Tommy Bolin)

Size: 161 MB
Bitrate: 256
Ripped by ChrisGoeRock
Artwork Included
Source: Japan 24-Bit Remaster

Zephyr is the debut album by the band Zephyr, released in 1969.

Zephyr was guitarist Tommy Bolin’s first recorded band before he joined the James Gang for two albums and his performance on Billy Cobham’s jazz fusion landmark Spectrum convinced David Coverdale to invite him to replace Ritchie Blackmore in Deep Purple (co-writing and playing on 1975’s Come Taste The Band).

Recording at Wally Heider’s state-of-the-art LA studio but with over-worked engineer Bill Halverson falling asleep at the desk, the band felt their volcanic live power diluted by the mixing. Producer Greg Hampshire has now remixed the original tapes with founding bassist David Givens (whose wife Candy was the band’s Joplin-style vocal powerhouse), finally doing justice to the band’s dynamic blues-rock and Bolin’s stinging pyrotechnics. 

Zephyr was a blues-based hard rock band formed in 1969 in Boulder, Colorado by guitarist Tommy Bolin, keyboardist John Faris, David Givens on bass guitar, Robbie Chamberlin on drums and Candy Givens on vocals. Although the charismatic performances by Candy Givens were originally the focal point for the band, it was the flashy guitar work of Tommy Bolin that the band is best remembered for. 

This late-'60s Denver group is most notable as the starting point for guitarist Tommy Bolin, who was still in his teens when they recorded their first album in 1969. A rather routine slab of bluesy, heavy rock, it made the Top 50. 

Aside from Bolin's extended hard rock riffing, it prominently featured the lead vocals of Candy Givens, who affected a blues-wailing pose along the lines of Janis Joplin. But she didn't have the full throat or guts to back it up, ending up closer to also-ran female psychedelic singers like Lydia Pense (of Cold Blood). Zephyr recorded one more album before Bolin left for stints with James Gang, Deep Purple, and a solo career; the group carried on throughout the 1970s.

After Bolin left, he was replaced by Jock Bartley, and the band recorded the album Sunset Ride, their second for Warner Brothers Records. The album is still in print and is much loved by a small but loyal following. On Sunset Ride, Candy Givens displayed her gifts as a singer, composer, and harmonica player. 

The album was produced by David Givens who also authored the majority of the tunes. As a result of his stint with Zephyr, Bartley went on to a successful career with Gram Parsons and Firefall and drummer, Michael Wooten, went on to play for several years with Carole King. Various versions of Zephyr continued to play in Colorado until Candy's death in 1984. The release of "Heartbeat" in 1982 was promoted by a video that incorporated very early examples of analog computer animation combined with live action.

Other Zephyr members of note include trance blues maven, Otis Taylor, who played bass during the mid-1970s, Kenny Wilkins (Drums) and also later on as (guitarist), guitarist Zack Smith (founder of Columbia Records band Scandal), and blues guitarist, Eddie Turner, who played guitar in the last incarnation during the early 1980s. 

Candie and David, Tommy, and John Faris were all founding members of The Legendary 4Nikators, Boulder's oldest and best loved party band. Taylor and Turner were later additions to The Legendary 4Nikators - Taylor noted for playing motorcycle on stage during "Leader Of The Pack" and performing in a kilt and Turner for his renditions of Jimi Hendrix classics.

♦♫♦ Candy Givens – lead vocals, harmonica
♦♫♦ Robbie Chamberlin – drums, backing vocals
♦♫♦ David Givens – bass, backing vocals
♦♫♦ John Faris – keyboards, flute
♦♫♦ Tommy Bolin – guitar, backing vocals

01. "Sail on" (Tommy Bolin, Candy Givens) – 7:22
02. "Sun's a Risin'" (Bolin, David Givens) – 4:45
03. "Raindrops" (Dee Clark) – 2:40
04. "Boom-Ba-Boom" (D. Givens) – 1.20
05. "Somebody Listen" (D. Givens, C. Givens, Bolin, John Faris) – 6:10
06. "Cross the River" (C. Givens, D. Givens) – 4:43
07. "St. James Infirmary" (Joe Primrose) – 5:15
08. "Huna Buna" (C. Givens, Bolin) – 2:26
09. "Hard Chargin' Woman" (Bolin, Robbie Chamberlin, Faris, C. Givens, D. Givens) – 8:40

1. Zephyr 1969
2. Zephyr 1969
3. Zephyr 1969

Wednesday, 11 November 2015

Alex Harvey Band - Hot City (Unreleased Album, UK 1974)

Size: 94.3
Bitrate: 256
Ripped by ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Hot City has long been one of the legends of the Alex Harvey collecting world, a full LP recorded at the near peak of the band's creative powers and then abandoned after band and management had second thoughts about the entire thing. 

The tapes were shelved and presumed lost forever -- when they were rediscovered, even the surviving bandmembers had forgotten about one of the songs, "Ace in the Hole," while all professed amazement at just how radically rearranged favorites "Vambo" and "Man in the Jar" were; of course, most of the abandoned album was then re-recorded as the Impossible Dream LP, and it would be foolish to suggest that Hot City comes close to eclipsing that masterpiece. 

But it does afford listeners the opportunity to contemplate an alternate history, as original producer Shel Talmy leads the Sensational Alex Harvey Band through a far harsher musical landscape than they ultimately created, and songs like "Man in the Jar," "Sergeant Fury," and "Anthem" (or "Last Train" as it was then titled) slash out with electrifying freshness. The full album is here, spread across nine tracks; two bonus cuts offer reprises of the anthemic "Tomahawk Kid" and "Anthem" itself.

The production master tapes of a previously unreleased full length studio album by The Sensational Alex Harvey Band, recorded in 1974 and hitherto discarded, have been unearthed, dusted down, fully re-mastered and lined up for release on March 30th on the MLP label, distributed by RSK Entertainment.

‘Hot City – The 1974 Unreleased album’, which has been fully authorised and approved by the band, features 9 great quality tracks, and comes in a deluxe Digi Pack Sleeve which includes a separate inner sleeve and a 20 page high quality booklet with rare photos and extensive liner notes from the band, with track by track comments and opinions, plus an introduction by SAHB author and ex-manager Martin Kielty.

By 1974, the SAHB steamroller was working at full power. Their first album, ‘Framed’, had promised great things, the follow-up, ‘Next’, delivered them, and now the group were planning to record their upcoming third album. The band had been constantly touring and were well rehearsed when in late January, they went into Advision studios in London with legendary US producer Shel Talmy (The Who/The Kinks) to record their biggest album to date. By April, the sessions were finished and the album was mixed.

However, after completion, the band and management had a rethink about the overall sound and amazingly, they decided to scrap the entire album. Shel Talmy then returned to Los Angeles with his tapes. Most of the song titles were later re-recorded and eventually showed up later that year on the official album ‘The Impossible Dream’ with a different producer on board and the songs changed dramatically.

You can now hear how the album sounded with the original versions of these songs. SAHB fans will be totally surprised and amazed at the different styles, delivery and lyric arrangements of well known favourite songs such as ‘Vambo’ and ‘Man In The Jar’. ‘Anthem’ and ‘Tomahawk Kid’ and there is a previously unreleased song ‘Ace In The Hole’ which has not been heard even by the band, since those studio sessions in 1974.

As SAHB became the biggest band of 1975, these recordings were quickly forgotten about. Now after 34 years, MLP have re-discovered the fully mixed unreleased album by a rock group on the verge of stardom. The recordings have been re-assessed by both Shel Talmy and the band members and a decision was made that they would make a great release. Now re-mastered and with the band’s full approval, you can hear how songs like ‘Vambo’, ‘Man In The Jar’, ‘Anthem’ and ‘Sgt Fury’ originally sounded.

Alex Harvey, who tragically died of a massive heart attack in 1982, aged 46, was renowned for his charismatic persona and daredevil stage antics, and, above all, his astonishing, passionate, demonic vocal delivery. Nowhere is this better captured than on ‘Hot City – The 1974 Unreleased album’, a treasure trove of re-discovered musical gems.

01. Vambo  04:45
02. Man In The Jar  05:06
03. Hey You  00:44
04. Long Haired Music  05:05
05. Sergeant Fury  03:39
06. Tomahawk Kid  06:23
07. Ace In The Hole  02:37
08. Weights Made Of Lead  02:36
09. Last Train  09:49

1. Alex Harvey
2. Alex Harvey
3. Alex Harvey

Monday, 2 November 2015

John Sinclair - Message To The People Of Woodstock Nation 1970

(Open the pictures in a NEW WINDOW for 100% size)

Hydra - Selftitled (Great Southern Rock Album US 1974) + Live 2005 Album as Bonus

Size: 97.1 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

Based in the southern states of America, hard rock band Hydra formed in the early 70s around a line-up of Wayne Bruce (vocals, guitar), Spencer Kirkpatrick (guitar), Orville Davis (bass) and Steve Pace (drums). Signed to the Allman Brothers and Marshall Tucker Band’s record label, Capricorn Records, they made their debut in 1974 with a self-titled collection that drew heavily on Lynyrd Skynyrd’s southern boogie tradition, but also added elaborate pop hooks and disciplined rhythmic codas. 

Songs such as ‘Glitter Queen’ won them a fervent fanbase, though the subsequent Land Of Money, a more abrasive collection, was less successful. By the advent of Rock The World Davis had departed to join Rex and the resultant instability stalled the group’s progress.

Hydra is an American Southern rock band founded in the late 1960s by Spencer Kirkpatrick (guitar), Wayne Bruce (vocals and guitar), and Steve Pace (drums). In 1977, it became a three-piece band (with Wayne Bruce now on bass) and the band broke up later that year. It released three albums, Hydra (1974), Land of Money (1975) and Rock The World (1977). In 2005, the band reunited for two shows (with Vickery on bass). A live album, Hydra: Live After All These Years was released.

Pace and Kirkpatrick first played together in 1968 in the band Strange Brew. Wayne Bruce was playing with the band Nickelodian and accepted the offer to join Pace and Kirkpatrick in the short-lived Noah Mayflower. These three remained together in the band Osmosis until 1969 when, after enlisting a succession of bassists, Hydra finally emerged with the inclusion of Trip Burgess in 1970, and later Orville Davis in 1971. 

Orville remained with Hydra on their first two LP's before leaving the group to join the hard rock outfit Rex and then briefly Starz. Hydra's reputation as a solid live act in the Atlanta, Georgia area began to spread and the band expanded their territory. They began supporting major internationally known acts in concert. They have been referred to[by whom?] as the first heavy southern rock band.

The band signed a recording contract with Capricorn Records in 1973 and released a self-titled album Hydra in 1974. In 1975, Land of Money followed. The producer Dan Turbeville used a horn section (without the band's knowledge) on the first album and musicians like Chuck Leavell (Allman Brothers band, The Rolling Stones, and Eric Clapton) (piano and keyboards) and Randall Bramblett, who later founded his own Randall Bramblett Band, on the second.

In 1977, as a three-piece band (with Wayne Bruce now on bass), Hydra released Rock The World. Some reviewers[who?], including Edgar Brimer, their road manager, consider this to be their best record. By the end of 1977, the band broke up and reformed only occasionally thereafter, except for a series of shows in 1997, first with Jimmy Cobb and later with Tommy Vickery on bass, replacing Davis.

Hydra was one of those 70’s Southern rock bands that didn’t quite reach the commercial success they deserved. Hydra released three excellent albums between 1974 and 1977 before becoming frustrated with the growth of their success along with some management issues. They broke up in 1977 and have since only played handful of live shows in few different occasions.

Hydra was started in Atlanta, Georgia around 1968 by Steve Pace (drums) and Spencer Kirkpatrick (guitar) and Wayne Bruce (vocals/guitar) under the name Noah Mayflower. They briefly changed their name to Osmosis before taking the name Hydra in 1971 and added Orville Davis to bass.

After building a reputation as killer live band by supporting various major bands like Lynyrd Skynyrd, The Allman Brothers Band and ZZ Top, Phil Walden signed them to his Capricorn Record label in 1973. Hydra´s self-titled debut album came out in 1974.

After year of touring and writing new songs  on the road, their sophomore effort, Land Of Money, was released in 1975 and bassist Orville Davis left the band soon after to launch his own career as a country singer.

In 1976 Hydra signed a deal with Polydor Records and Rock the World came out in 1977 featuring three piece band with Wayne Bruce switching from guitar to bass, but by the end of 1977 Hydra broke up only to make a brief come back in 1997 with handful of live shows.

In 2005 Hydra played two more live dates, which were recorded into a live album called Hydra: Live After All These Years. The band haven´t completely shut out the option of recording new music under Hydra name in the future.

Wayne Bruce (vocals, guitar)
 Spencer Kirkpatrick (guitar)
 Orville Davis (bass)
 Steve Pace (drums)

01.Glitter Queen - 4:02
02.Keep You Around - 5:16
03.It's So Hard (Music by Kirkpatrick, W. Bruce) - 4:45
04.Going Down (Don Nix) - 3:07
05.Feel A Pain (Will Boulware) - 6:24
06.Good Time Man (Words by W. Bruce, Steve Pace) - 3:23
07.Let Me Down Easy - 4:20
08.Warp 16 (S. Pace, S. Kirkpatrick, W. Bruce, Trip Burgess) - 4:20
09.If You Care To Survive - 2:54
10. Miriam - 7:42

Bonus: HYDRA - Live! After All These Years (2005)
01. Introduction
02. Glitter Queen
03. Wasting Time
04. Feel A Pain
05. You're The One
06. Baby Please Stop Messing Round
07. Making Plans
08. Feel Like Running
09. Diamond In The Rough
10. Land Of Money
11. Keep You Around
12. Miriam
13. Rattlesnake Shake
14. Going Down

Part 1: Hydra 1974
Part 2: Hydra 1974
Part 1: Hydra 1974
Part 2: Hydra 1974
Part 1: Hydra 1974
Part 2: Hydra 1974

Sunday, 1 November 2015

About "The Rolling Stones - Sticky Fingers" (Tounge Zipper)

Just wonder wich release of "Sticky Fingers" this zipper 
came from?

Anyone who can help?


Answers from:
"Micky Blue": The Stones tongue zipper was on the 2015 remastered and expanded vinyl LP (which came with a second LP of live material), and had a working zip with the tongue logo puller. Sticky Fingers was the first Stones LP to feature the now famous logo"

"Jobe": From what I know, it is on the vinyl re-issue deluxe version. However the vinyl copy that I received for buying the cd version of the new re-issue came with just a picture (not a working zipper) Hope that helps.

Thank you for your help.

Sunday, 25 October 2015

Ron Wood - Electric Ladyland Studios NY 1992 at FM Broadcast, Sound "A" (Bootleg)

Size: 124 MB
Bitrate: 320
Found in OuterSpace
Some Artwork Included

Guitarist Ron Wood has been a member of several "classic" British rock outfits, but the one that he's undoubtedly most associated with is the Rolling Stones, with whom he's been a member since 1976. Born on June 1, 1947, in Hillingdon, London, Wood made his first appearances on record during the mid-'60s, first as guitarist for the Birds and then as a member of the oft-overlooked mod outfit the Creation (Wood only appeared on a smattering of singles, collected years later on the compilation Complete Collection, Vol. 1: Making Time). 

Immediately after his split from the Creation, Wood was invited to play bass in the Jeff Beck Group, a band that also included a then-unknown Rod Stewart on vocals. Despite high hopes for the group (often credited as one of the founders of hard rock/heavy metal), the band only managed to issue a pair of classic recordings, 1968's Truth and 1969's Beck-Ola, before splitting up just prior to an appearance at the legendary Woodstock festival. Wood and Stewart opted to stick together, as they joined the Small Faces the same year (with Wood returning to the six-string).

First Step Releasing one album under the Small Faces' name, 1970's First Step, the group then shortened its name simply to the Faces and soon after became one of rock's most notoriously party-hearty outfits of the era (influencing such future punk outfits as the Sex Pistols and the Replacements, among others). Further albums followed (1971's Long Player and A Nod Is as Good as a a Blind Horse, plus 1973's Ooh La La), before the group split up in 1975. Wood also found the time to issue a string of solo releases during the mid-'70s: 1974's I've Got My Own Album to Do, 1975's Now Look, and a collaboration with ex-Faces bandmate Ronnie Lane, 1976's Mahoney's Last Stand, but this era of Wood's career is best remembered for his enlistment into the Rolling Stones.

Black and Blue With the exit of Mick Taylor in 1974, the Stones began auditioning replacement guitarists, but all along, founding Stones guitarist Keith Richards knew that Wood (a longtime friend) was the man for the job. Wood contributed to half of the Stones' 1976 album, Black and Blue, before becoming a full-time member and appearing on 1977's Love You Live and 1978's Some Girls. 

Although the Stones didn't issue any albums during 1979, the year was a busy one for Wood, as he issued his fourth solo release, Gimme Some Neck, and toured alongside Richards in a one-off side band, the New Barbarians. Wood and the Stones conquered the charts once more in the early '80s, with such hits as 1980's Emotional Rescue and 1981's Tattoo You, but tensions between Richards and Mick Jagger caused the group to not tour the U.S. between 1982-1988, while only managing to issue a pair of spotty studio albums (1983's Undercover and 1986's Dirty Work).

Live at the Ritz During this time, Wood issued such further solo albums as 1981's 1234 and 1988's Live at the Ritz (the latter a collaboration with Bo Diddley), and became an avid painter. Jagger and Richards eventually buried the hatchet by the late '80s, and the Stones sporadically issued new studio albums and toured from 1989 onward (1989's Steel Wheels, 1994's Voodoo Lounge, 1997's Bridges to Babylon, etc.). Wood has continued to issue solo recordings throughout the '90s and beyond (1992's Slide on This, 1994's Slide on Live: Plugged in and Standing, plus a pair in 2002, Not for Beginners and Live & Eclectic). 

Additionally, Wood has guested on countless recordings by other artists over the years, including albums by the Band, David Bowie, Eric Clapton, Donovan, Bob Dylan, Aretha Franklin, B.B. King, and his old pal Rod Stewart, with whom he taped a popular edition of MTV's Unplugged in 1993, resulting in the hit album Unplugged...and Seated. Wood's seventh solo album, I Feel Like Playing, appeared in 2010 from Eagle Records and featured guest spots from Slash, Flea, Billy Gibbons, Bobby Womack, Jim Keltner, and ex-Faces bandmate Ian McLagan, among others.

Electric Lady Studios:
Electric Lady Studios, at 52 West Eighth Street, in New York City's Greenwich Village, is a recording studio originally built by Jimi Hendrix and designed by John Storyk in 1970. Hendrix spent only four weeks recording in Electric Lady before his death, but it has since been used by many notable artists, such as Erykah Badu, Mew, The Roots, Bob Dylan, John Lennon, Kiss, The Clash, AC/DC, Guns N' Roses, Michael Stanley Band, The Strokes, Hall & Oates, U2, Daft Punk, Kanye West, Christina Aguilera, A-ha, D'Angelo, Dan Auerbach and Lana Del Rey.

Electric Lady Studio's current address has a long history. The basement housed The Village Barn nightclub from 1930 to 1967. Abstract expressionist artist Hans Hofmann began lecturing there in 1938, eventually retiring from teaching in 1958 to paint full-time.

In 1968, Jimi Hendrix and his manager Michael Jeffery had invested jointly in the purchase of the Generation Club in Greenwich Village. Their initial plans to re-open the club were scrapped when the pair decided that the investment would serve them much better as a recording studio. The studio fees for the lengthy Electric Ladyland sessions were astronomical, and Jimi was constantly in search of a recording environment that suited him.

Construction of the studio took nearly double the amount of time and money as planned: permits were delayed numerous times, the site flooded due to heavy rains during demolition, and sump pumps had to be installed (then soundproofed) after it was determined that the building sat on the tributary of an underground river, Minetta Creek. A six-figure loan from Warner Brothers was required to save the project.

Designed by architect and acoustician John Storyk, the studio was made specifically for Hendrix, with round windows and a machine capable of generating ambient lighting in myriad colors. It was designed to have a relaxing feel to encourage Jimi's creativity, but at the same time provide a professional recording atmosphere. Engineer Eddie Kramer upheld this by refusing to allow any drug use during session work. Artist Lance Jost painted the studio in a psychedelic space theme. Jimi Hendrix hired Jim Marron to manage the construction project and run the studio.

Hendrix spent only four weeks recording in Electric Lady, most of which took place while the final phases of construction were still ongoing. An opening party was held on August 26, 1970. The following day Hendrix created his last ever studio recording: a cool and tranquil instrumental known only as "Slow Blues". He then boarded an Air India flight for London to perform at the Isle of Wight Festival, and died less than three weeks later.

Ron Wood - Electric Ladyland Studios 
New York, NY, November 2, 1992
WNEW-FM 102.7 FM Broadcast

Albums (or albums including tracks) recorded at 
Electric Lady Studios, New York City, 125 albums i total:
AC/DC - Back in Black
Kizz - Destroyer
Jimi Hendrix - First Rays of the New Rising Sun
Peter Frampton - Frampton's Camel
Patti Smith - Horses
Sir Lord Baltimore - Kingdom Come
Leslie West - The Leslie West Band
Cactus - One Way... or Another
Led Zeppelin - Houses of the Holy
Led Zeppelin - Physical Graffiti
Lou Reed - Sally Can't Dance
David Bowie - Young Americans
Dead Boys - Young Loud and Snotty
The Clash - Sandinista!

Ronnie Wood - vocals, guitar, harmonica
 Bernard Fowler - vocals
 Ian McLagan - keyboards
 Johnny Lee Schell - guitar
 Shaun Solomon - bass

01."WNEW Introduction" - 01.43
02."Show Me" (Jerry Williams) - 03.41
03."Flying" (Ronnie Wood, Rod Stewart, Ronnie Lane) - 04.40
04."Testify" (George Clinton, Deron Taylor) 05.14
05."Pretty Beat Up" (Mick Jagger, Keith Richards, Ron Wood) - 05.04
06."Always Wanted More" (Ronnie Wood, Bernard Fowler) - 05.48
07."Breathe on Me"(Ronnie Wood) - 06.38
08."Silicone Grown" (Ronnie Wood, Rod Stewart) - 03.36
09."Black Limousine" (Mick Jagger, Keith Richards, Ronnie Wood) - 04.41
10."Little Red Rooster" (Willie Dixon) - 06.59
11."Stay With Me" (Ronnie Wood, Rod Stewart) - 04.03


Thursday, 22 October 2015

Wucan - Sow the Wind + Bonus (German Retro Band Hardrock/Folkrock w. Flute 2015)

Size: 145 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Sourse: Japan 24-Bit Remaster

The Dresden heavy retro band WUCAN began their quick ascent in 2014. Despite their short history the young band is still able to look back at a remarkable success. Everything began with their first EP "Vikarma," released in November 2014 on Metalizer Records. 

WUCAN are a young heavy retro rock band from Dresden, Germany with deep roots in the late 60s and early seventies with a dash of blues, folk, progressive and Kraut rock. This sort of time-warp music is covering the gamut from the Woodstock generation to the modern rock sound, starting with acoustic guitar, traverse flute and Hammond organ and ending at the modern rock sound of the heavy kind.

WUCAN made the right choice of partners with producer and owner of the Big Snuff Studios in Berlin Richard Behrens and with Andreas “Lupo “ Lubich of Calyx Mastering for a successful debut in the retro rock scene. 

Richard Behrens, who is bassist of the 70s band HEAT and live toning of the genre heroes KADAVAR additionally to his producing duties, created an authentic 70s sound by using analogue machinery. Combined with the modern heavy surround of the band unfolds a fresh mix of yesterday and today, which bursts with lust for music.

This release, which quickly sold its first 500 vinyl copies, received many positive reviews. By taking their chances through their extraordinary, energetic live presence, the band quickly gained an audience at their numerable concerts. Some of their biggest moments include playing the prestigious Hammer of Doom Festival and a tour as support for Siena Root. 

Heavy metal veteran Karl Walterbach recognized these qualities and soon after took on the role as the band's manager. A record deal with Manfred Schütz' MIG Music sublabel Hänsel & Gretel followed. Lastly the band became part of Berlin-based booking agency Magnificent Music's roster, who agreed to support the band's live success. With all of this praise WUCAN entered the studio to record their debut album "Sow the Wind." 

The band worked at Big Snuff Studio in Berlin, a well-known studio in the retro scene, with pioneer Richard Behrens. He is infamous for producing quite a number of retro bands, working with Kadavar as their live sound engineer and is the bassist of the Berliner band Heat. Sow the Wind"'s striking sound was primarily achieved through analog techniques and fits perfectly with the late 60s and 70s vibe. 

The band also worked with new instruments such as a Moog synthesizer and a Moog Etherwave Theremin. Behrens was able to capture on tape the essence and dynamic of a WUCAN live show, which carries a hippy attitude with a modern rock sound. 

Andreas Lupo Lubich von Calyx added the final touches with his mastering skills. The result is six extremely diverse tracks, whose sound and composition could have more than likely originated in the 70s. 

However WUCAN does not imitate any artist but has developed its own individuality fitting somewhere between then and now. The band has always been able to create their own style despite their influences such as Jethro Tull, Renft, Lucifer's Friend, Birth Control and Krautrock in general. 

WUCAN presents changing hymns, from jamming passages to metal riffs with flutes doubled and the complete range of 70s folk rock to classical hard rock. andersmann' is a 16-minute song filled with psychedelic splashes of color and the just named influences. It is also the only song on the album sung in German. Even the powerful opener ather Storm,' the reefy and hard wl Eyes' and the melodicing Korea' bring a bright bouquet of 70s flashbacks. 

The key element is vocalist Francis Tobolsky's characteristic, energetic and emotional voice. The charismatic singer grasps her audience with her voice and catchy flute melodies. Rounding out this successful debut release is the eye-catching packaging. "Sow the Wind"'s artwork was inspired by a Rufus Segar art piece, an artist who is particularly known for his work in anarchist publications in the 70s. 

Divided in a seeing and screaming head in a stylistic representation, the cover and back perfectly fit the mood of the album. The storm which will be seeded with "Sow the Wind" figuratively hisses at the beholder before even playing the album. This CD is strictly limited to 500 copies.

Francis (Vocals, Flute, Guitar)
 Tim (Guitar)
 Patrik (Bass)
 Pätz (Drums)

01. Father Storm 03:57
02. Owl Eyes 05:50
03. Looking In The Past 05:43
04. Face in the Kraut 04:16
05. King Korea 07:04
06. Wandersmann 15:45

Bonus Tracks:
07. Franis Vikarma 05:37 
08. Frank 04:32
09. Big Red Bun 05:32
10. Wizard of Concrete Jungle 09:32 

1. Wucan
2. Wucan
3. Wucan

Buy Their Albums Here: Wucan Homepage or The Japan Edition with Bonustracks: Wucan - Sow The Wind + 4

Sunday, 18 October 2015

Menace - G.L.C. The Best of Menace (UK 1987)

Size: 100 MB
Bitrate: 256
Ripped by ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Menace are an English punk band formed in London in 1976. They are notable for being one of the immediate forerunners of the 'Oi' sound later adopted by skinhead bands.

Menace was a ‘second wave’1 punk band from Islington, London. The band was formed in 1976 after Morgan Webster (singer) met the members of a pub rock band, Stonehenge, Steve Tannett (guitar), Charlie Casey (Bass) and Noel McDonagh (Drums: known as Noel Martin) at a punk gig at the renowned pub venue The Hope and Anchor.

Menace’s forceful, simple yet musically competent and creative music is often described as having influenced, or even been the origin of, ‘Oi’ music, a subgenre of punk music associated with the skinhead culture. Traces of Menace’s influence can be found in the music of bands such as Sham 69 and The Cockney Rejects both of which became more popular and both of which were more closely associated with the skinhead movement. The band itself did not associate itself with either the mainstream punk movement or the skinhead movements; it attracted followers from both camps. 

As a result is often described as a ‘cross over’ punk/skinhead band blending the more critically aware and art-inclined punks and the more visceral working class protest strands of skinhead music.

In the 00's they reformed for the 2nd time with original vocalist Morgan Webster and guitarist Steve Tannett and a revolving door of drummers and bass players. They're reformation has proved very successful as they have had sell-out shows in Japan and in Europe as well as playing festivals around the world like the Rebellion Festival, Punk and Disorderly Festival, The Last Jubilee and Avenues and Alayways. They have had numerous lineup changes in the past ten years, but it seems that Tannett and Webster are the core members of the band

Menace formed in August 1976 when singer, Morgan Webster, met school friends Noel Martin, Charlie Casey and Steve Tannett at the Hope and Anchor pub in Islington. Their first gig at the now legendary Roxy was attended by Miles Copeland from Step Forward and Illegal Records who signed Menace straight away… The end finally came in late 1979 when after lack of interest from the record companies (due to their records being banned) and a lack of interest from the music press (possibly due to the working class ethics and the working class background of the boys in the band)… Menace’s last single Final Vinyl with the classic songs Last Years Youth and Carry No Banners, which lift the reputation of the band up another notch. After the split up the reputation of Menace continued to grow worldwide…

Following Menace the boys joined a feisty biker chick called Vermillion who was working with Steve at Step Forward Records.

The Ace’s, Noel Steve and Charlie sprang into existence during the encore of Vermillion and the Aces gig at the Lyceum Ballroom (If anyone knows the date let me know) when Steve launched into the Menace classic GLC. Needless to say we were sacked by Vermillion and the Aces were born.

One of the most eagerly awaited reformations of recent times has been that of Menace, one of the Godfathers of the Oi! movement and creators of the seminal punk classic “G.L.C”.

Oddy from Resistance 77 came in as vocalist and Uncle Albert was our friend Paul on guitar, who didn’t want his identity to be known. He came from the Stains, alongside Geordie who played with the Spitting Vicars.

I met Jonny at the 12-Bar Club, which figures a lot in the Menace story. I went to see the owner, Barnet, and a band called Bomb 45 were playing. Johnny was onstage doing a soundcheck, he said, ‘Hello Noel’. I vaguely remembered him but couldn’t recall where we’d met. I was very impressed by his playing

“I hear you’re looking for a new guitarist”. “You’ve got to see Finn, he’s great.” I didn’t know Finn, which is unusual, because Finn knows everyone – We had a chat that night and he seemed OK. We arranged a rehearsal. Charlie knew him from his days at Fresh Records days, because he had been in loads of bands; Headhunters, Bloodsport, Public Heirs, Junior Manson Slags, just loads of bands. Apparently we once played with him, as a member of Fuck All Else To Do, at the Royal Standard at an impromptu festival we did after a Punk Aid gig was cancelled.

Martin Sawtell on bass, with occasionally appearances from Charlie, Toby and Rob. Martin moves to New Zealand and Rob takes over.

Current members
Noel Martin − drums (1976-present)
 Rob − bass (1976-present)
◊ Finn Panton − guitar and vocal (2009-present)

Former members
 Steve Tannett - guitar (1976-1979)
 Morgan Webster − vocals (1976-1979)
 Andrew Tweedie - guitar (1997-2002)
 John Lacey - vocals (1997-2002)
 Charlie Casey - Bass (1976-2012)

01.Screwed Up
02.Insane Society
04.I'm Civilised
05.I Need Nothing
07.The Young Ones
08.Tomorrow's World
09.Live For Today
10.Last Years Youth
11.Carry No Banners

Bonus Tracks
12.Last Years Youth (Bonus Live 1978)
13.Screwed Up (Bonus Live 1978)
14.I Like Chips (Bonus Live 1978)
15.G.L.C. (Bonus Live 1978)
16.One Way Street(The Aces)
17.Why Should It Be Mine (The Aces)

1. Menace
2. Menace
3. Menase

Wednesday, 7 October 2015

Neil Young - The Ranch Rehearsals w. Crazy Horse 1990 (Bootleg) (Superb Quality!)

Size: 164 MB
Bitrate: 320
Found in Cyber Space
Artwork Included
Superb Sound Quality

These live recordings of Neil Young & Crazy Horse may be old news in trader’s circles, but… they never get old. Here are some of the raw rehearsals leading up to the recording of Ragged Glory, taped at Neil’s Broken Arrow Ranch in the summer of 1990. Great sound quality, with a few false starts mixed in and the group’s ringing guitars lingering in the fade outs. Some actually prefer a few of these takes to the official versions, but that’s hardly worth debating. If you want to know what it’s like to hang with Neil and the boys at the ranch, this is what you need.

German Single 1990
Ragged Glory (Recorded in April 1990 at Plywood Digital, Woodside, CA (except "Mother Earth": The Hoosier Dome) is the nineteenth studio album by Canadian musician Neil Young, his sixth with Crazy Horse, released on September 9, 1990. It was voted album of the year in the annual Pazz & Jop critics' poll and in 2010 was selected by Rolling Stone as the 77th best album of the 1990s.

The album revisits the hard-rock style previously explored on Everybody Knows This Is Nowhere and Zuma. The first two tracks are songs Young and Crazy Horse originally wrote and performed live in the 1970s with "Country Home" notably being performed on their 1976 tour. "Farmer John" is a cover of a 60s song, written and performed by R&B duo Don and Dewey and also performed by garage band The Premiers. Young revealed that the song "Days that Used to Be" is inspired by Bob Dylan's "My Back Pages". The album features many extended guitar jams, with two songs stretching out to more than ten minutes.

The album was very well received by critics with Kurt Loder in Rolling Stone raving that it was "a monument to the spirit of the garage - to the pursuit of passion over precision" and calling it "a great one". The CD single culled from the album, "Mansion on the Hill", included the otherwise unreleased song "Don't Spook the Horse" (7:36).

"F*!#in' Up" (pronounced "Fuckin' Up") is frequently covered by Pearl Jam live  and was performed by Bush in their headlining set at Woodstock 1999. Toronto-based band Constantines recorded a version of "F*!#in' Up" in Winnipeg, which surfaced as the b-side to their "Our Age" 7" in November 2008. 

Scottish heavy metal band The Almighty recorded the song and included it as a B-side (with an uncensored title) to their "Out of Season" single in 1992. An outtake from the sessions for the album, "Interstate," was released on the vinyl version of the 1996 album Broken Arrow and on the CD single for the track "Big Time."

Having re-established his reputation with the musically varied, lyrically enraged Freedom, Neil Young returned to being the lead guitarist of Crazy Horse for the musically homogenous, lyrically hopeful Ragged Glory. The album's dominant sound was made by Young's noisy guitar, which bordered on and sometimes slipped over into distortion, while Crazy Horse kept up the songs' bright tempos. 

Despite the volume, the tunes were catchy, with strong melodies and good choruses, and they were given over to love, humor, and warm reminiscence. They were also platforms for often extended guitar excursions: "Love to Burn" and "Love and Only Love" ran over ten minutes each, and the album as a whole lasted nearly 63 minutes with only ten songs. 

Much about the record had a retrospective feel -- the first two tracks, "Country Home" and "White Line," were newly recorded versions of songs Young had played with Crazy Horse but never released in the '70s; "Mansion on the Hill," the album's most accessible track, celebrated a place where "psychedelic music fills the air" and "peace and love live there still"; there was a cover of the Premiers' garage rock oldie "Farmer John"; and "Days That Used to Be," in addition to its backward-looking theme, borrowed the melody from Bob Dylan's "My Back Pages" (by way of the Byrds' arrangement), while "Mother Earth (Natural Anthem)" was the folk standard "The Water Is Wide" with new, environmentally aware lyrics. Young was not generally known as an artist who evoked the past this much, but if he could extend his creative rebirth with music this exhilarating, no one was likely to complain.

Neil Young & Crazy Horse - The Ranch Rehearsals
Recorded at Broken Arrow Ranch June thru July, 1990

♫♪ Neil Young - guitar, vocals
♫♪ Frank Sampedro - guitar, vocals
♫♪ Billy Talbot - bass guitar, vocals
♫♪ Ralph Molina - drums, vocals

01. Mansion On The Hill - 09.02
02. White Line (1) - 03.37
03. White Line (2) - 00.59
04. Love To Burn (1) - 03.40
05. Love To Burn (false start) - 00.18
06. Love To Burn (2) - 09.50
07. The Days That Used To Be - 04.47
08. Love And Only Love - 09.56

Bonus Tracks (the Santa Monica Civic Auditorium April 1, 1990)
09. Everything's Broken - 04.15
10. Pocahontas - 04.07
11. Crime In The City - 07.39
12. After The Gold Rush - 04.20
13. The Needle And The Damage Done - 02.09
14. No More - 04.54