Sunday, 19 May 2019

Hydra - Selftitled (Great Southern Rock Album US 1974)

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.

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

1. Hydra
2. Hydra
3. Hydra

Edgar Broughton Band - Live At Abbey Road 1969 (Raw UK Heavy)

Size: 132 MB
Bitrade: 256
Ripped By: ChrisGoesRock
Artwork Included

Previously unreleased live album from the proto punks recorded at Abbey Road in December 1969.The choice of material on the disc is representative of the band's live set at the time like "Out Demons Out", an early version of "What is a Woman For" the biting "American Soldier Boy" and best of all their explosive ten minute version of "Smokestack Lightening".

The band started their career as a blues group under the name of The Edgar Broughton Blues Band, playing to a dedicated but limited following in the region around their hometown of Warwick. However, when the band began to lean towards the emerging psychedelic movement, dropping the 'Blues' from their name as well as their music, Victor Unitt left.

In 1968, the Broughtons moved to Notting Hill Gate, London, seeking a recording contract and a wider audience, and were picked up by Blackhill Enterprises. Blackhill landed them their first record deal, on EMI's progressive rock label Harvest Records, in December 1968. Their first single was "Evil"/"Death of an Electric Citizen", released in June 1969, which was also the first single released by Harvest.

The first single was followed by the Broughtons' first album, Wasa Wasa, and after a series of free concerts, many performed on the back of trucks and in the face of police harassment, the Broughtons entered into an attempt to capture their ferocious live sound on record by organising a performance at Abbey Road on 9 December 1969. Only one track was released at the time: a rendition of "Out, Demons Out!", an adaptation of The Fugs' song "Exorcising The Demons Out Of The Pentagon", which had become the band's set-closer and anthem. The rest of the recording was lost until its rediscovery and release in a remixed form in 2004 as Keep Them Freaks a Rollin': Live at Abbey Road 1969.

The Edgar Broughton Band kept recording, releasing the live performance of "Out Demons, Out!" as a single (b/w "Momma's Reward (Keep Those Freaks a Rollin')") and following it, in June 1970, with the album Sing Brother Sing. This was accompanied by the single "Up Yours!" (b/w "Officer Dan"), a polemic on the 1970 General Election declaring their intention to drop out. The song featured a string arrangement by David Bedford.

Their next single, "Apache Dropout", combined The Shadows' "Apache" with Captain Beefheart's "Drop Out Boogie". It was played (to astonished and puzzled reactions) on the David Jacobs' hosted BBC Television's Juke Box Jury. Jerry Lordan, the composer of "Apache", insisted that the title be "Apache Dropout" instead of the original "Dropout Apache". The single reached #33 on the UK Singles Chart, stalling partly due to the then-current postal strike.

In 1971, the band decided that existence as a power trio was limiting, and asked Victor Unitt, who had been playing meanwhile in The Pretty Things, to rejoin the band. In May, with the new lineup, they released possibly their finest work: their eponymous third album, which contained the classic "Evening Over Rooftops" (again with strings by David Bedford which Edgar Broughton called "stunning"). Edgar Broughton Band contained heavy blues and even country influences. Mike Oldfield also featured, on "Thinking Of You". This album has been said to mark the highest point in the Broughtons' career because of its sense of wholeness and completeness (while not straying into concept album territory).

The album was followed by the released of the double A-side "Hotel Room"/"Call Me A Liar". This was played by Tony Blackburn as his 'record of the week' upon its release: Edgar Broughton recalled him saying that "he hated everything that we stood for, but that the single was the best thing he had heard that year". The single failed to chart, but the album sold well throughout Europe, especially in Germany.

With the success of their third album, the Broughtons relocated to Devon to begin recording for their next album, Inside Out, after which Unitt departed.

In 1975 the band signed to NEMS. In the same year, John Thomas joined the band on guitar for the Broughtons' sixth album, Bandages. This featured a softer sound than previous releases. Shortly after the release of Bandages, John Thomas left and was replaced by Terry Cottam. In 1976, having recorded the live album Live Hits Harder (which was not released until 1979), the Edgar Broughton Band dissolved.

However, Edgar and Steve Broughton together with Grant regrouped as The Broughtons to release Parlez vous English? in 1979, with Tom Norden and Pete Tolsen playing guitar and Richard DeBastion on keyboards. These supplementary musicians were not retained after the release of the album, but Tom Norden was used again, along with keyboardist Dennis Haines, for Superchip, released in 1982.

After this the band returned to a hiatus, recording no more studio material but touring infrequently throughout the 1980s and 1990s. A mini-tour in 1989 included a gig at The Oval in London. Following another lengthy hiatus with occasional gigs, the band returned to live action in 2006, after the re-issue of their back catalogue had stimulated new interest in their work. The band have now reformed; they have recently had a mini tour of England and Germany. The band have recently announced a new European tour in 2007, including an appearance at the German Burg Herzberg Festival

01. Smokestack Lightning         
02. What Is A Woman For?         
03. Yason Blues         
04. Refugee         
05. Dropout Boogie         
06. American Boy Soldier         
07. Momma's Reward (Keep Them Freaks A Rollin')         
08. Out Demon's Out 

1. Broughton
2. Broughton
3. Broughton

Toni Vescoli - Information (Swiss Psychedelic Folkrock 1971)

Size: 76.5 MB
Bitrate: 256
Ripped by: ChrisGoeRock
Artwork Included
Source: 24-Bit Remaster

In 1970, when Swiss garage-beat band Les Sauterelles split, their leader, Toni Vescoli, decided to start a solo career. At first, inspired by Dylan, he thought of going strictly acoustic, but he soon changed his mind and started incorporating psychedelic & electric elements to his sound, such as feedback, primitive drum machines, guitars and vocals filtered through Leslie speakers etc., as he was also influenced by bands like Pink Floyd and King Crimson. He also incorporated to his repertoire some of the songs he had written for the never recorded Sauterelles concept album, “Seven Deadly Sins”. 

In 1971, Toni released his debut solo album, “Information”. A folk-rock - psychedelic gem which reflected his influences at the time: folk, rock, psychedelia, progressive-rock…From fragile acoustic numbers to dark, wigged-out psychedelic tracks, this is highly recommended to anyone into “CQ” era Outsiders or Frank Nuyen’s “Rainman” album. 

Stunning mastertape sound, original gatefold sleeve, repro of the rare poster and insert with detailed liner notes by Mike Stax. 

Toni Vescoli is a pioneering Swiss singer/songwriter/guitarist of the classic rock era who over the course of his long career performed a variety of styles, from English-language pop/rock to Dylanesque folk music. Born on July 18, 1942, in Zürich, Switzerland, Vescoli formed the trailblazing rock band Les Sauterelles in 1962. Comprised of Vescoli (rhythm guitar, lead vocals), Rolf Antener (lead guitar, vocals), Heinz Ernst (bass guitar, vocals), and Düde Dürst (drums, vocals), Les Sauterelles were sometimes referred to as the "Swiss Beatles" and recorded on Columbia Records during the mid-'60s. 

The band's first hit was "Hong Kong" (1965), written by Vescoli; also in 1965, the band was featured on the compilation album Swiss Beat Live! alongside fellow Swiss bands the Counte and the Dynamite. Les Sauterelles released several singles during the latter half of the '60s, including the number one hit "Heavenly Club," and they released a couple albums, too. Vescoli broke up the band in 1970.

When Les Sauterelles split, Toni Vescoli, decided to start a solo career. At first, inspired by Dylan, he thought of going strictly acoustic, but he soon changed his mind and started incorporating psychedelic and electric elements to his sound, such as feedback, primitive drum machines, guitars and vocals filtered through Leslie speakers etc., as he was also influenced by bands like Pink Floyd and King Crimson. He also incorporated to his repertoire some of the songs he had written for the never recorded Sauterelles concept album, “Seven Deadly Sins”.

In 1971, Toni released his debut solo album, “Information”. A folk-rock - psychedelic gem which reflected his influences at the time: folk, rock, psychedelia, progressive-rock, from fragile acoustic numbers to dark, wigged-out psychedelic tracks.

01. Dying Land - 3:22
02. Idleness - 2:50
03. Happy Family - 1:13
04. Hatred And Love - 5:21
05. Information - 4:43
06. Beautiful Morning - 4:35
07. There's A Bird - 3:36
08. Hypocrites - 3:17
09. Intermezzo - 0:28
10. Do Hurry - 5:37

1. Toni Vescoli
2. Toni Vescoli
3. Toni Vescoli

Sunday, 5 May 2019

Shotgun Sawyer - Bury the Hatchet (Very Good Hardrock US 2019)

Size: 95.1 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Artwork Included

Shotgun Sawyer return with their blissfully heavy new album – Bury The Hatchet. The album is a mix of Hard Rock, Stoner Rock, Blues and Psych Rock with a pissed off attitude to match. What makes Shotgun Sawyer stand out is their undeniable thirst to have FUN with their music. However you know from this listening to his album, the guys know how to handle themselves as their music has quite a volatile attitude in places especially on the first few songs with Ain’t Tryin’ To Go Down Slow, (Let Me) Take You Home and Backwoods Bear.

The album has elements of “Americana” style rock within it’s DNA and Shotgun Sawyer don’t shy away from that fact. The music is very raw but at least it’s honest and the guys know how to write and play a mean loud riff. The band do sound like early era All Them Witches in parts of the album and it’s a style of Blues Rock I’m a big fan of.

The production is excellent and the songs contained on the album sound superb. The vocals and music are pitch-perfect with the band proving they’re quite adapt at switching musical genres on certain songs on the album such as: You Got To Run, Son Of The Morning, Love You Right and When The Sun Breaks.

Maybe the album does run out of steam towards the end. However that hasn’t stopped Shotgun Sawyer paying homage to their musical heroes of the legendary 70s Hard Rock scene and putting their own spin on the standard Stoner/Hard Rock sound.

If you’re a fan of ZZ-Top and Led Zeppelin then Shotgun Sawyer have all bases covered with this album and they still have a few tricks of their own to impress people with. This is not only another excellent release from Shotgun Sawyer but also from Ripple Music who are proving why they are one of the best independent Hard Rock labels within the scene today.

Overall, Bury The Hatchet is superbly entertaining album and one that packs an almighty punch.

Excellent and Highly Recommended.

Two years on from their debut album, California’s Shotgun Sawyer return for Round Two.  Now signed to Californian label Ripple Music, this has seen them attack the studio brimming with confidence and the result is raucous affair which gets your attention from the opening riff and doesn’t let up until silence arrives at the end of Track 9. The song writing is great and the trio of Brett Sanders on bass, David Lee on drums and Dylan Jarman on guitar/vocals all deliver their parts in equal measure.

Now, back to that opening riff – the riff to ‘Ain’t Tryin’ To Go Down Slow’ is a hybrid mix of  ‘Stranglehold’ and  ‘Whole Lotta Love’ – it’s a thing of beauty and if there is a Riff Of The Year award, consider it won. The rest of the song doesn’t disappoint either as the rhythm section batter the song into submission behind Jarman’s impassioned vocal and screaming solo.

‘(Let Me) Take You Home’ follows and it’s a slower number that chugs along in a bluesy way, stops for a breather and then serves up a tasty instrumental passage before returning to the original riff.

‘Backwoods Bear’ sees the acoustic guitar come out of its case. The song is underpinned by an acoustic slide riff and solo and it is probably the closest this album gets to the Blues. It’s a nice contrast to the opening salvo it follows and shows that Shotgun Sawyer isn’t just about playing loud.

However ‘You Got To Run’ can only be described as loud. Released as a single last year, it works even better as part of an album and is a full on rock song pure and simple.

‘Son Of The Morning’ is the longest song here (just) and it starts with a lengthy instrumental passage before the vocals kick in I think this has the potential to be a big track in their live set as it build to be their own ‘Bridge Of Sighs’ or ‘Dazed & Confused’ – it gives the guys the chance to stretch out and show their musical abilities and could be a real showcase number.

Talking of 70’s influences, ‘Hombre’ follows and it is the best song ZZ Top never wrote with a similar riff and shuffle to the mighty ‘La Grange’. Hats off to Sanders & Lee on this one as they lock into the groove whilst Jarman sings of his woman troubles.

The hum of an amplifier greets ‘Love You Right’ and it’s a loud slice of blues rock that will appeal to Bonamassa and Rival Sons fans alike. Whether Shotgun Sawyer reaches the commercial level of those two remains to be seen but musically that’s the territory they work in, so there is no reason why not.

‘When The Sun Breaks’ is next – musically has a Led Zeppelin influence all over it and to my ears it’s their take on ‘Since I’ve Been Loving You’. There’s no attempt to mimic Plant’s vocals style though (a good thing), so it still sounds like a Shotgun Sawyer song though the blues solo is one Jimmy Page would be pleased with – that’s meant as a compliment by the way. It’s another song that could be a live showcase number as its finesse provides a nice contrast to the power of the faster songs.

Whilst I love my fast rockers, I think ‘Son Of The Morning’ and ‘When The Sun Breaks’ show the true depth of the Band’s abilities, though closer ‘Shallow Grave’ ups the pace again and features some great slide guitar before slowing things back down as it plays out to the end.

Shotgun Sawyer played a lengthy European tour in 2018 which missed the UK and they are hopefully going to finally make it here in 2020. I think their live performances will be the key to a UK following and if they get the opportunity who knows what they might achieve. In the meantime they have waved away those ‘difficult second album’ worries to deliver a fantastic set that deserves to do well.

01. Ain't Tryin' to Go Down Slow 03:16
02. (Let Me) Take You Home 04:44
03. Backwoods Bear 03:29
04. You Got to Run 04:55
05. Son of The Morning 05:31
06. Hombre 03:44
07. Love You Right 05:15
08. When the Sun Breaks 05:30
09. Shallow Grave 04:24

1. Shotgun
2. Shotgun
3. Shotgun

The Insect Trust - Selftitled (American Hippie-Rock US 1968)

Size: 106 MB
Bitrate: 320
Ripped by ChrisGoesRock
Artwork Included
Source: 24-Bit Remaster

The Insect Trust was an American based rock band that formed in New York in 1967.

The members of the band were Nancy Jeffries on vocals, Bill Barth on guitar, Luke Faust, formerly of the Holy Modal Rounders, on guitar, banjo, fiddle, and harmonica, Trevor Koehler on saxophone, and Robert Palmer (1945–1997) on clarinet and alto saxophone. 

Elvin Jones and Bernard Purdie both drummed with the group at times. Bill Falwell on bass and trumpet and Warren Gardner on trumpet and clarinet were part of the band by the time they recorded their second album.

According to The New York Times, the band took its name from William S. Burroughs's novel Naked Lunch, detailing a race of giant insects bent on world domination. However, according to Bill Barth, the name came from the poetry journal Insect Trust Gazette, published by William Levy. Levy took the name from Burroughs, Warren Gardner then gave it to the band.

One of the more interesting one-shot bands in rock & roll, the Insect Trust's most famous member was writer/critic/ethnomusicologist Robert Palmer, who played alto sax and clarinet. Less famous, but still a notable member, was guitarist/songwriter Luke Faust, who went on to add creative input for the Holy Modal Rounders' string of wonderful early- to mid-'70s records. 

The Insect Trust released two albums, their self-titled 1968 debut on Capitol, and their second and final LP, Hoboken Saturday Night. Along with the loose-limbed music, Hoboken Saturday Night features musical contributions by heavy hitters (no pun intended) such as drummers Elvin Jones and Bernard "Pretty" Purdie, guitarist Hugh McCracken, and novelist Thomas Pynchon. 

The music ranges from surreal folk-rock (à la the Holy Modal Rounders and Fugs), to Booker T.-like pop-soul, to flat-out free jazz. Decades after its release, Hoboken Saturday Night sounds a bit dated, but its charm is irresistible, especially when Nancy Jefferies sings and the band cranks up its raucous onslaught of reeds and percussion. Never intended to be a traditional pop act, the Insect Trust should be best remembered for extending rock's boundaries and taking the genre to a much hipper level without resorting to a lot of banal technique. Good luck locating their records.

Back in the '60s, most white blues fans trying to play the music took the approach of struggling to sound as serious and authentic as possible, and a big part of the charm of the Insect Trust's debut album is that, by accident or design, they went in an entirely different direction. 

While the Insect Trust were clearly and affectionately influenced by classic blues and folk, they were also eager to mess around with it, and Robert Palmer and Trevor Koehler's horns and woodwinds often throw this music into a loopy, atonal, and acid-infused direction while the loose, slightly rickety sound of Bill Barth and Luke Faust's guitars and banjos honors the styles found on vintage 78s just as their rock-oriented chops keep the results from sounding as if they spent much time actually learning the original riffs. 

Given the loose but insistent backporch funk of this music -- perhaps held in place by guest musicians Bernard Purdie, Hugh McCracken, and Chuck Rainey -- the sweet tone of Nancy Jeffries' vocals seems a bit out of place, but she never seems less than committed, and she gives "World War I Song" and "Declaration of Independence" a full-bodied reading that fits their meaning, if they don't sound especially "bluesy." 

And the final two cuts, "Mountain Song" and "Going Home," take off into a never-never land of pastoral avant-garde whimsy that exists in a world all its own. The Insect Trust refined their worldview on their second, last, and finest album, 1970's Hoboken Saturday Night, but their debut has more than its fair share of lovely moments and is an engaging example of roots music fans letting their freak flag fly with righteous joy.

The Band:
Bill Barth - Electric Guitar, Acoustic Guitar, Knife Guitar, Bottleneck Guitar,       Swiss Warbler, Percussion.
 Bob Palmer - Alto Sac, Alto & Soprano Recorders, Clarinet, Percussion.
 Trevor Koehler - Baritone Sax, Piccolo, Sewer Drum, Thumb Piano, Upright       Bass.
 Nancy Jeffries - Vocal Percussion.
 Luke Faust - Banjo, Banjo Guitar, Vocals, Percussion.
 (Special Thanks: "Steve Dubuff - Conga Drums, other Percussion, & Electric         Nail Biting." Electric Bass is also present)

01. The Skin Game   04:07
02. Miss Fun City   05:04
03. World War I Song   03:18
04. Special Rider Blues   07:45
05. Foggy River Bridge Fly   01:07
06. Been Here and Gone so Soon   03:29
07. Declaration of Independence   02:30
08. Walking on Nails   03:12
09. Brighter Than Day   02:31
10. Mountain Song   02:49
11. Going Home   05:10

1. Insect Trust
2. Insect Trust
3. Insect Trust

Saturday, 13 April 2019

Mr. Bison - We'll Be Brief (Great Retro-Hardrock Italy 2012)

Size: 97.7 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Some Artwork Includd

Mr Bison is a rock band that formed in 2009 in Cecina (Tuscany, Italy) made up of Matteo (guitar/vocals), Federico (guitar/vocals) and Gabriele (drums) (I don't have last names). They play high-octane rock that is unpretentious and a blast to listen to at high volume. 

Their most recent album entitled We’ll Be Brief has 10 high-energy songs that quite often actually reminded me of Rage Against The Machine. Let me clarify that the music sounds like Rage while the vocal work couldn't sound further from that.

The album opens with a rocker that brings down the house called “Today” (No it’s not a cover of the Smashing Pumpkins). They hit the right tonal palette, as the distortion is just about perfect for the music they are playing and the snare sounds like a machine gun. 

What might be the best part of the song is the last minute where the go full drone metal and encase the song with an ominous white noise that Sunn O))) would be proud of. If you didn't hear the Rage Against The Machine influence on the first song it is hard to go unnoticed on the first couple of seconds on “Just One Time.” However, this seems a lot less apparent as the vocals are introduced. The song slams hard and has some brutal guitar tones that tantalize the senses.

“Grocery Store” was one of the highlights. I couldn't help but chuckle a bit when the chorus hits and he sings about a grocery store.

The dichotomy of a hard rock song that is sung somewhat aggressively and the vocals making me think that I needed to pick up ham later today was certainly appreciated. Mr Bison brings home the bacon again on “Wake Up,” which is another thumper that makes me want to take a shot of whiskey and watch Sons of Anarchy. 

Throughout the duration of this album Mr Bison never slows down. There are no breaks where the singer breaks out his acoustic and sings in a soft voice. This is a hard rock album with no lulls. If you are ready to rock out take a listen to We’ll Be Brief.

We don't like love songs EP 2011
01. Thin line 03:27
02. Wake up 02:47
03. Mr Bison 03:09
04. Dirty bitch 02:57

We'll be brief Album 2012
05. Today 03:40
06. Just one time 02:26
07. Grocery store 03:02
08. Wait 02:10
09. Thin line 03:35
10. Wake up 02:42
11. R&R cobra 02:41
12. Sweet music 03:09
13. Milady 03:12
14. Beat you down 03:13 

1. Mr Bison
2. Mr Bison
3. Mr Bison

Shanda & The Howlers - Trouble (50's R&B US 2017)

Size: 93.4 MB
Bitrate: 320
Ripped by: ChrisGosRock
Atwork Included

Shanda & The Howlers is a Rhythm & Blues revivalist band from Las Vegas, NV playing 50s-60s influenced R&B, Blues, & Soul reminiscent of the Stax Sound. Influences in their sound can be traced to such artists as Big Maybelle, Ruth Brown, Otis Redding, The Crystals, LaVern Baker, and James Brown. 

In the bands’ short history, they have played on bills with such legendary acts as The Blasters, Wanda Jackson and Rev. Horton Heat. Their debut album "Trouble" delivers 11 soul seared songs that speak directly of breakups, heartaches and moving on after surviving both. 

Lead singer Shanda Cisneros' raw vocals seem to claw their way through your speakers as the band locks tight behind her with gritty saxophone riffs, a Motown inspired rhythm section and the occasional slide guitar.

Rhythm and blues, lounge, soul. I’m not sure what Shanda & the Howlers do. I just know that it’s FUN and that’s reason enough to give it a listen. Besides, I gather from their Facebook page that they recently played on a bill with Big Sandy & His Fly Rite Boys, an absolutely great rockabilly revival band. And if they’re good enough for Big Sandy, they have to be pretty damn good.

Big Sandy was right, of course, and Shanda & The Howlers’ Trouble is both powerful and engaging. “Keep Telling Me” is a great opener and makes it immediately evident that Shanda can REALLY sing. “She Don’t Want a Man” settles into an awesome groove and will remind you of old Motown or Stax recordings. God, how I love the horns here.

If David Johanssen‘s alter-ego, Buster Poindexter, had a sister, ever wonder what she’d sound like? Give “Don’t Need Your Love” a listen. While I typically don’t gravitate toward slower songs, “Born With a Broken Heart” showcases how really great a vocalist Shanda is. This track is killer.

Shanda & The Howlers won’t hit the spot with every power pop fan. It’s a sixties revivalist thing and not every song falls neatly into a pop category. But if you like 60’s soul (not unlike last year’s Charley Faye & The Fayettes) and emotive songs executed damn near to perfection, I suggest you give Trouble a listen. I’m surely glad I did. Now there’s only one thing left to do. See them perform live...

• Shanda Cisneros - Vocals 
• Luke Metz - Bass 
• Trevor Johnson - Guitar 
• Mich Lapping - Carr Sax 
• Keith Alcantara - Drums

01. Keep Telling Me 02:32
02. She Don't Want a Man 03:53
03. Trouble's Out to Play 03:08
04. Don't Need Your Love 02:37
05. Born With a Broken Heart 04:16
06. Don't Wait Up 02:43
07. Stay Awhile 03:57
08. Mind Made Up 03:18
09. Li'l Operator 03:33
10. You're Gonna Cry 03:35
11. Bad Love 04:29

1. Shanda
2. Shanda
3. Shanda

Saturday, 6 April 2019

Glitter Wizard - Hollow Earth Tour (Hard Psych. Rock US 2016)

Size: 299 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Artwork Included

San Francisco glam weirdos Glitter Wizard have signed to Heavy Psych Sounds for the release of their next album, Hollow Earth Tour. The alliance continues the label’s successful run of Californian hookups — see also: Wild Eyes SF, Farflung, Hot Lunch, Fatso Jetson, etc. — and when it comes to Glitter Wizard, they strike me as the kind of band who are way too busy writing the next album by the time the current one has been released to worry about the particulars. 

Nonetheless, their strange, vaguely subversive and often catchy heavy rock and roll was most recently heard from on the earlier-2016 7″ Life Under Traffic/Circle of Kings, neither song from which will be featured on Hollow Earth Tour, which is out Oct. 21 with preorders going live Sept. 30.

Glitter Wizard is an American band, influenced by Hawkwind, Deep Purple, Motorhead and the Young Ones episode with an appearance by The Damned. So it shouldn't be a real surprise that this band gently flows along the currently highly acclaimed wave of vintage rock and old school psychedelics. With fingerlicking riffs, often epic synths and a nag for experimentation, Glitter Wizard certainly delivered something interesting.

So why did it need several listens before I was finally ready to write this thing? Well, mostly because it's not an easy digestible piece of work. True, from the very first riffs of 'The Smokey God', they drag the listener back to the seventies. However, they do it with an experimental touch, which results in some strange sounds and jam-passages. The drums in 'Mycelia' certainly are something you need to get used to but it's worth it.

My favorite tracks are the 'Stoned Odyssey Part 1, 2, 3', a brilliant rocker that combines Hawkwind with 'Driver's Seat' by The Carrs and the party rocker 'UFOLSD'. Well, pretty much all the songs here are party rockers, sometimes even reminding me of the whole glam rock scene with bands like Motley Crue and even Iron Maiden in their early days. Hey, now I know why this collective is called Glitter Wizard, because they're a glammed up version of vintage hard rock.

In the end, this album is an interesting journey through the childhood days of the hard rock industry. It seems to contain a number of songs the big names from back in the day forgot to write, and that is exactly why I welcome these heavy psychedelic bands nowadays. So while the album closes in a folky way with 'Sightseeing with Admiral Byrd', followed by the brilliant 'Death Of Atlantis', I'd like to close my review by recommending this to all you stoner rockers out there. This definitely is something up your alley.

This has to be one of the records I was most looking forward to this year and it does not disappoint. It is great to see the band grow with each release. The main things you love about this band are intact but they have grown a bit more progressive. Still strange and funny lyrics and stories, great guitar riffs, bass lines and solos mixed with some spacey sounds at times. The album starts off with the Smokay God. Drums and a bass line start things off before the guitar line kicks in, followed by vocals and then a great groove. A sparkling of synths adds to the stew and then a longish instrumental part and a great guitar solo! 

Mycalia has some cool lyrics and this sort of epic rock tone to it! The Hemtar is a more punky rocker with a sound going back to the bands early records but then becomes more classic hard rock, prog… Scalas has you banging your head and a great organ line and phased out guitar. The mid-end section is really intense and psychedelic the way the keyboards are mixed. Far out and included a bong hit at the end!  Stoned Odyssey is a long 3 part track.  Part one is slow and spacey and then kicks into high gear right away and off we go. I like the more laid back vocal with some delay on it. 

3rd album from this San Francisco band who play hard psychedelic rock with some brilliantly raging guitar licks and heavy throbbing chords. Organic keyboards and rock ‘n’ roll vocal harmonies help give the songs a clean, heavy retro-thump of power. Blistering chug-a-lug riffs rip around the cranked-up melodies like the God of auto-fire spitting bullets through a kaleidoscopic sound tunnel. 

The music flexes a dramatic muscle of accessible grit; it rocks hard through prog-jams and tripped-out tangents. Recalls bands like Deep Purple, The Sword, Uriah Heep, Sea Of Green, Muse, Stray, Opeth. There’s a definite 60s/70s potency here that locks onto a groove and kicks out in multiple directions. “Hollow Earth Tour” delivers a metallic old-school punch with class & guts. Recommended for those who get “the rock”.

Apolgd is another uptempo fast track, actually every song on the record is a fast rocker! It ends with some nice violin! Sightseeing with Admiral Byrd is a short instrumental track. The CD ends with the great Death of Atlantis, which the band played on their European tour. A totally killer track..  CD only lists 8 song but there are 9 on the CD…  I look forward to see the gatefold vinyl for this one. I hope they include the lyrics. I miss that in the CD wallet. A very cool album…

01. The Smokey God 05:33
02. Mycelia 03:21
03. The Hunter 04:08
04. Scales 07:13
05. Stoned Odyssey Pt.1 Pt.2 Pt.3 (Fungal Visions) 05:45
06. UFOLSD 04:37
07. Death of Atlantis 09:56

Bonus Tracks:
01. Abaca (2011)  03:29
02. Sacrifice (2011)  06:03
03. I Don't Like You (2011)  03:03
04. Mirror Man (2011)  07:21
05. Warsawng (2011)  07:19
06. Summertime (2011)  06:03
07. Blood of The Serpent (2012)  04:06
08. Motörider (2012)  03:31
09. Space (2012)  07:57
10. Ragdoll Deux (2012)  05:07
11. Wizard Wagon (2012)  03:04
12. Sunlight Wolves (2012)  02:51
13. Big Sur (2012)  08:45

Part 1: Glitter 1
Part 2: Glitter 2
Part 1: Glitter 1
Part 2: Glitter 2
Part 1: Glitter 1
Part 2: Glitter 2