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Saturday, 7 December 2019

The Chris Rolling Squad - Spitfire (Raw Rock ‘N’ Roll 2019


Size; 83.1 MB
Bitrate: 320
mp3
Ripped by: ChrisGesRock
Some Artwork Included

Raw Rock ‘N’ Roll power-trio. Hard Rock riffing, Punk wildness, Psychobilly voodoo rhythm with wide and edgy backing vocals. The missing link between Bo Diddley and Slayer !!!


After an album with The Heavy Manic Souls, Chris Rolling decides to continue the adventure and creates The Chris Rolling Squad, a raw Rock ‘n’ Roll power-trio. 

Hard Rock riffing, Punk wildness, Psychobilly voodoo rhythm with wide and edgy backing vocals, the band is the missing link between Bo Diddley and Slayer! 

A 5 tracks EP was released in 2016 and received reviews from the whole world, they played many shows in bars, clubs and festivals and opened for bands like Ten Years After, 2018 seen the band started to play overseas with a couple of German shows.

This record contains 12 songs of awesome fast paced, high energetic, fuel octaned metal/punkabilly with great melodies, anthemic choruses and also raw and dirty rock n roll riffs in the basics of their song structures. The production is superb, but they still retained that dirty garage almost demo edge and you can feel the vibe of live shows on this record while listening. To me, the favorite songs on this record are Back on the horse again, psychobilly vibed Nothing we can do about it, and also We can be one. This is a great record for fans of metal, punks and billy´s too!

The Chris Rolling Squad is 
Chris Rolling : Guitar, Lead vocals
Brice Duval : Bass, Backing vocals
Thib' Adlersend : Drums, Backing vocals

01. Back On The Horse Again 03:00
02. Piece Of The Action 03:07
03. Crash And Burn (Vanishing Point) 02:09
04. Go Fuck Yourself 02:38
05. The Life You Waited For 02:34
06. We Can Be One 03:12
07. Tremors 02:10
08. The World Is Going Down 02:13
09. Nothing We Can Do About It 02:42
10. Get Back There 03:27
11. Devil Freak 02:10
12. The Sharpest Knife 03:58

1. Chris Rolling
or
2. Chris Rolling



Sunday, 24 November 2019

Rivercult - Halcyon Daze (Brooklyn Based Retro Heavy 2018)


Size: 168 MB
Bitrate: 320
mp3
Found in: Bandcamp Land
Some Artwork Included

Halcyon Daze is Brooklyn based, heavy psychedelic trio River Cult's debut effort. The band's style comes from a range of influences, starting with the heavy sounds of the past, then pushing them into the future with a modern sensibility. 

The album moves fluidly through a range of emotions but still holds together as a cohesive whole; refusing to be burdened by a single genre. Though undeniably rooted in stoner rock and psychedelia, the subjects of River Cult's songs set the band apart by discussing feelings of angst and a struggle with the human condition. 


Though undeniably rooted in stoner rock, Brooklyn-based heavy psychedelic trio River Cult fluently weave a far wider array of sonic touchstones into an enveloping amalgamation that offers constant surprises – what may sound familiar at first heads rapidly in unexpected directions.

Debut full-length Halcyon Daze ranges through retro-fuzz, sweeping psych-doom and stark, almost post-metallic soundscapes.

The core of spacious heaviness remains throughout, but to hear a band channel (at any given moment) elements of Blue Cheer, ISIS, Ty Segall, Pentagram and Earthless, all while maintaining a vibrant originality, is truly a singular experience.


Making pigeonholing a further impossibility are River Cult’s lyrics. Themes of disillusionment, angst, alienation, addiction, and the mutual exclusivity of rightness and victory are just some of the personal and philosophical considerations that surface.

Metal Sucks called River Cult’s 2016 EP, “a fuzzed-out psych rock quest that sounds like it was recorded in a ’70s rec room in outer space.”

New York Music Daily described it as, “a roaring, psychedelic envelope of sound that’s a lot more propulsive than your typical stoner metal or postrock band.”


Halcyon Daze moves fluidly across sounds and emotions, a cohesive whole that refuses to be burdened by a single identifiable genre. The album’s tracks were recorded live in the studio, with minimal overdubs and edits, flowing together seamlessly to create an immersive aural voyage.

I didn’t wind up writing nearly enough about it, but the 2016 Demo from Brooklyn trio River Cult was one of my favorite short releases of 2016, and one to which I’ve continued to go back periodically since. It’s only ever good for general international relations when a US band attracts the attention of Nasoni Records, as River Cult have apparently done, but to find them releasing their debut album, Halcyon Daze, through Pittsburgh’s Blackseed Records as well speaks to a multi-pronged approach that one hopes is a portent of how they’ll support the offering on tour.


Oh, and not that I’ve heard it yet or anything like that, but the record smokes. It’s out March 15 and I’m happy to be able to premiere a teaser video for it below. Fingers crossed I’ll have more to come about it before the release date as well.

Bursting on to the scene with a highly acclaimed self-titled EP in 2016, Brooklyn NY’s River Cult are amassing a loyal following with their unique style. Pulling inspiration from Sleep, Neurosis, and Pentagram, River Cult’s songs are modern, yet authentic hunks of Heavy Psych, Doom/Stoner rock.

Fusing atmospheric jams, gritty vocals, and garage rock eminence, River Cult are poised to keep riding the wave of their heavy jams to further praise in 2018, with a recording reminiscent of the Led Zeppelin, Hawkwind oeuvre. In collaboration with Blackseed Records, the independent heavy underground label based in Pittsburgh, River Cult will unleash their debut full-length, “Halcyon Daze”, on March 15th, 2018.


Blackseed Records will release “Halcyon Daze” on both CD and limited-edition cassette. A harmonic release to coincide with a vinyl issuance on Nasoni Records (Berlin), these limited black-matte cassettes are capped at 50 hand-numbered copies.

Getting and having one’s house inorder are two very different things, but River Cult seem to manage both on their Blackseed Records and Nasoni Records debut album, Halcyon Daze. The five-track long-player, on which not one song is under seven minutes long, follow a promising 2016 demo that was among the year’s best short releases, and takes a tack of exploring a variety of different styles and moods, all of them heay in one way or another and drawn together by an overarching sense of tonal heft that permeates whether it’s the tense build-up-leading-to-rolling-fuzz-wall of centerpiece “Seething” or the dreamy, drifting end of 11-minute second cut and highlight “The Sophist” just prior.

Either way, River Cult — the Brooklyn-based trio of Sean Forlenza, Anthony Mendolia, and Tav Palumbo — sound like they’ve definitely been to school when it comes to their influences, and whether it’s the Acrimony-style grit, roll, drift and nod of “The Sophist” or the West Coast boogie into spacious slowdown in opener “Likelihood of Confusion,” which only minutes prior to hitting the cosmos proffered softshoe-worthy wah swirl and swing and the first of the album’s many jammed-out-feeling leads. At various points throughout they ask aesthetic questions about what might’ve happened if Thrasher magazine had taken over the world circa 1997 and, particularly on the title-track, what might’ve happened had Chris Hakius taken on a role drumming for Acid King. These issues, along with shades of Dead Meadow-style shoegazing on closer “Point of Failure,” are met with workaday lyrics and a loose-swinging vibe that, at less than a moment’s notice, is prone to kick into explorations of full-on Man’s Ruin-style fuzz overdrive.

The key word there might be “explorations,” and that’s because although Halcyon Daze sets itself purposefully to the work of proffering earthy tonality and a classic stoner fuckall in its looseness of structure and willingness to depart from verses and choruses into more open jamming, River Cult by no means sound set in their ways, and the 41-minute album carries the spirit of a band in the process of discovering who they are together as players and where they want to go in terms of their sound. Having first gotten together in 2015, it’s not entirely surprising they’d be at this stage on their first full-length, and it’s much to their credit that they capture the moment with the obvious commitment to sonic organics they show here.

To wit, after unfurling a groove of such deeply-weighted fuzz, the title-track moves easily into a soundscape of vast, drifting post-rock guitar drones that work on a long fade into the garage-via-Stooges riff that starts closer “Point of Failure.” That they’d cover such a swath of ground on their first long-player is impressive enough, but to do so with the kind of fluidity they bring out of the patient opening minutes of “Seething,” for example, or the confidence on display as “Likelihood of Confusion” begins its pivot almost exactly at its midpoint before, at 4:30, crashing through the door of its next sonic dimension. They’re an East Coast band, to be sure, and “The Sophist,” “Halcyon Daze” and the crunchier, grunge-minded sections of “Point of Failure” show that edge, but there’s little here one might consider confrontational, and rather, River Cult invite their listeners along with them on their journey of discovery as they feel their way ahead into what one hopes is the just the beginning stages of a longer-term sonic development.

And to its credit and to the band’s credit, where that development might ultimately bring River Cult feels like a secondary consideration in comparison to the groove here, which at points recalls earliest Fu Manchu and other such before-stoner-rock-had-a-name rawness. 

Taking advantage of the room in each track to flesh out their parts and ride the riffs to hypnotic and repetitive effect, as on the title-track’s outward trajectory or what seems to be a switch from otherworldliness to personal criticism on “The Sophist,” the first chorus of which brings the standout lines, “Sophistry/Yeah, you talk too much.” This perspective, somewhat disaffected but not necessarily raging, is writ large throughout Halcyon Daze, and it helps River Cult find their balance between more weighted, riffier fare and more atmospheric psychedelia.

It’s also worth noting that, while I have little doubt that Halcyon Daze was put together with a vinyl release in mind — “Likelihood of Confusion” and “The Sophist” on one side, “Seething,” “Halcyon Daze” and “Point of Failure” on the other — the album works perhaps even better in linear form, taken as one whole work unfolding in different stages in ups and downs of energy, pace, volume and emotion, weaving its way into and out of jams whole always keeping its ultimate trajectory forward, as shown when the feedback and noise wash of “Seething” gives way into “Halcyon Daze” or the effects loops of “Likelihood of Confusion” seem to dive into the airy tones that spread themselves over the initial going in “The Sophist.”

The bottom line is there’s a lot happening on Halcyon Daze when it’s taken front-to-back — which is how it feels like it was meant to be taken — and while one might imagine or expect River Cult to continue solidifying their approach in style and structure, what they’ve crafted in the meantime stands among the most promising Brooklynite heavy psychedelic debuts since Naam‘s Kingdom EP and should be commended for its level of craft, naturalism of execution, and unbridled flow. It’s a good one to get lost in, so go ahead and get lost in it.

The Band:
Sean Forlenza: Guitar, Vocals
Anthony Mendolia: Bass
Tav Palumbo: Drums

Released February 9, 2018
01. River Cult - Likelihood of Confusion
02. River Cult - The Sophist
03. River Cult - Seething
04. River Cult - Halcyon Daze
05. River Cult - Point of Failure

Released July 7, 2016 (Recorded live at WFMU)
06. River Cult - Temps Perdu 
07. River Cult - Shadow Out Of Time 

Released February 4, 2016
08. River Cult - A Drop In The Ocean 

1. Rivercult
or
2. Rivercult

Friday, 22 November 2019

War Cloud - State of Shock (Great Heavyrock US 2919)


Size: 105 MB
Bitrate: 320
mp3
Ripped by: CrisGoesRock
Some Artwork Included

Erupting out of Oakland, California in 2014, War Cloud has left a smoking path across much of the USA over the past five years. Formed by guitarist/vocalist Alex Wein after firmly planting his amps in the Bay Area, he unified a crew with Joaquin Ridgell on drums, Taylor Roach on bass, and most recently Nick Burks on guitar (also of Kentucky rockers, Stonecutters).


Adopting a classic 70s rock and 80s power metal approach and aggressively dousing it in modern sophistication, War Cloud released their self-titled debut album on Ripple Music to much acclaim in 2017. Their take on metal is a dish best served heavy and those that have dined on the likes of Saxon, Motorhead, Kiss, Thin Lizzy and Iron Maiden will no doubt appreciate the hard rock sophistication, dipped deep in ’70s fuzz.

Touring extensively in support of their debut record, War Cloud adapted a take no prisoners strategy with the intent to decimate all from the opening tone of each engaging live show and recently completed recording their sophomore full-length, State of Shock. Set to arrive this September, once again with Ripple Music, the song writing on the album led the band in the direction of a strong concept which thematically surrounds a life in war – be it with friend, enemy, or self.


Embracing their recognizable dual guitar harmonies, proto-metal licks, hard charging rhythms, adding heavy surges of British and Southern metal to inspire the fire, War Cloud has unquestionably upgraded their bomber jets for long-range pursuit.

State of Shock by War Cloud is officially released on 27th September 2019 on Ripple Music.

Whatever level of nostalgia you might ultimately feel for heavy metal’s alleged glory days — I’d argue there’s always been a lot of good metal and a lot of bad metal, same as anything — listening to War Cloud, you get it. You understand what they’re paying homage to and the legacy of brash, infectious, sonic impact to which they’re living up. Helps that they’re not exactly shy about it. Like, song-opens-with-a-siren-level not shy. No complaints. Their self-titled got them picked up by Ripple and no mystery why, and they’ll follow it up with State of Shock next month. Denim, leather, backpatches, mustaches. Heavy metal in 2019. Do it. 

Erupting out of Oakland, California in 2014, War Cloud has left a smoking path across much of the USA over the past five years. Formed by guitarist/vocalist Alex Wein after firmly planting his amps in the Bay Area, he unified a crew with Joaquin Ridgell on drums, Taylor Roach on bass, and most recently Nick Burks on guitar (also of Kentucky rockers, Stonecutters).

Adopting a classic 70s rock and 80s power metal approach and aggressively dousing it in modern sophistication, War Cloud released their self-titled debut album on Ripple Music to much acclaim in 2017. Their take on metal is a dish best served heavy and those that have dined on the likes of Saxon, Motorhead, Kiss, Thin Lizzy and Iron Maiden will no doubt appreciate the hard rock sophistication, dipped deep in ’70s fuzz, as showcased on their new single, ‘Striker’:

“The initial air raid siren warns the listener of the incoming attack they will soon meet by heavy metal force!” explains guitarist Alex Wein. “The lyrics are from the perspective of a fighter pilot, upon hearing the siren he rushes to his warplane to prepare for battle. As the launch pad to the album this song takes off with only lightning in its wake.”

Touring extensively in support of their debut record, War Cloud adapted a take no prisoners strategy with the intent to decimate all from the opening tone of each engaging live show and recently completed recording their sophomore full-length, State of Shock. Set to arrive this September, once again with Ripple Music, the song writing on the album led the band in the direction of a strong concept which thematically surrounds a life in war – be it with friend, enemy, or self.

Embracing their recognizable dual guitar harmonies, proto-metal licks, hard charging rhythms, adding heavy surges of British and Southern metal to inspire the fire, War Cloud has unquestionably upgraded their bomber jets for long-range pursuit.

‘State of Shock’ is deliciously old school. What War Cloud has made here would fit right in with the music we know and love from the 80s. There are elements here that call back to Deep Purple or AC/DC among many others from the era, but War Cloud manages to be very much their own thing instead of feeling like another band simply trying to copy what worked for others before. I think these days it is hard to be your own thing while following in the footsteps of the greats. They manage it here and it is good to see.


For me, music in this style is more about the experience. Track 2 “White Lightening” probably captured this the best for me. It is loud and fast-paced and a lot of fun. It brings to mind the wide-open American roads and speeds a little too fast with a blarings stereo. I can tell you it feels right at home there too. The rest of the album also fits right into a great road trip as well. The whole album is just a great feel-good experience that goes really well, as cheesy as it sounds, in an adventure.

Musically, the mix is rather good; however, I do think that the vocals are a bit low at times and tend to get lost. It doesn’t take too much from the overall experience and is not a deal-breaker, but it does need to be mentioned. Other than the vocals though the rest of the mix is well put together. The guitar is nice and clear with a very enjoyable crunch. The bass and drums are punchy and well defined and do really well to drive the music. This makes for a really fun, but unfortunately kind of short album.

‘State of Shock’ is definitely one that is worth a buy. I do not think you will be disappointed. It is a great album that is very enjoyable and will go well with whatever you are doing. Whether that is work or a road trip or a party with friends this goes well. Many of the songs I felt would fit right at home in Dean Winchester’s Impala from ‘Supernatural’. It just has that fun, something bigger, vibe to it. I think that many great memories will be made while listening to this album. It is well worth the ride.

WAR CLOUD:
Alex Wein – Vocals, Guitar
 Nick Burks – Guitar
 Joaquin Ridgell – Drums
 Taylor Roach – Bass

01. Striker 03:36
02. White Lightning 02:53
03. Dangerous Game 05:52
04. Tomahawk 03:56
05. Seeing Red 04:59
06. Do Anything 02:56
07. Means of Your Defeat 04:20
08. State of Shock 04:54

1. War
or
2. War

Thursday, 7 November 2019

Jan Dukes De Grey - Sorcerers (1st Album UK Folk-Prog 1970)


Size: 121 MB
Bitrate: 320
mp3
Artwork Included
Source: 24-Bit Limited Remaster

Jan Dukes de Grey is a short-lived English psychedelic/progressive folk and progressive rock band that was primarily active in the early 1970s. Despite a relatively meager total output and a lukewarm contemporary reception in terms of sales, the band has attracted a cult following and has seen a moderate revival of interest following the 2010 release of their previously completed but unpublished 1977 album, Strange Terrain. Jan Dukes de Grey is considered to have been among the least conventional musicians associated with the progressive folk scene and in particular their 1971 album, Mice And Rats In The Loft, has come to be viewed as a seminal British acid folk album and as one of the wildest relics of the florid post-hippie era.


The origins of Jan Dukes de Grey can be traced to the 11-man early-to-mid-60s soul group, "Buster Summers Express". While performing as a member of Buster Summers, multi-instrumentalist and vocalist Derek Noy began to write his own music and to incorporate his material into Buster Summers' pieces. Receiving positive support for these innovations, and anxious to perform his own material exclusively, Noy split from the group in 1968 to pursue his own musical direction based more extensively on the emerging underground sound of the day (characterized by bands like Cream, Pink Floyd, and Jethro Tull). Noy, penning 50 to 60 titles within the next 6 months, was approached by guitarist/fipple-flautist Michael Bairstow who wished to join Buster Summers Express. Noy explained that he was interested in starting a new band instead, and Bairstow soon agreed.

Formed in Leeds in December 1968, the original incarnation of the band consisted of the duo Derek Noy and Michael Bairstow. The name "Jan Dukes de Grey" was developed by Noy as an exotic-sounding title with no further significance. Gigging and refining Noy's original compositions for the next several months at local venues, Jan Dukes de Grey was signed in 1969 by Decca Records. By October 1969, the 18-track Sorcerers was recorded. The album consisted entirely of original pieces by Noy that have been described by reviewers as naive and instinctive with good musicality but lacking in technique especially in the flute accompaniment.

In October 1969, just after Sorcerers had been recorded, former Buster Summers drummer Denis Conlan joined the band and a new brace of gigging began. 

Though all pieces performed were written by Noy, the band's sound changed considerably during this period to become more strongly progressive and improvisational. This new sound resonated favorably with the university circuit and soon they had achieved a small measure of success, opening for big-name bands like Pink Floyd in November 1969 and The Who in May 1970. 

Despite this encouragement, sales of Sorcerers (released in January 1970) were mediocre and the band was forced to sign with the better-distributed Transatlantic Records for their next album, the epic 3-track Mice and Rats in the Loft (released in June 1971). Markedly different from their debut album, the second Jan Dukes de Grey album has been described as less-fragmented and more extreme than Sorcerers. The much longer track-lengths provided the band the opportunity to expand their more improvisational sound and to develop complex progressive themes in a wild and manic manner often favorably compared to Comus' First Utterance.

Sales of Mice and Rats in the Loft were again tepid and the recording costs advanced by Transatlantic meant that savings had to be made in advertising and the album received little press. Jan Dukes de Grey carried on performing local shows for the next several years, briefly adding former Buster Summers keyboard- and saxophone-player Eddy Spence in late 1970. Bairstow left the band in early 1973 to be replaced by guitarist Patrick Dean, a fan who had written glowing reviews of the band for the Yorkshire Evening Post. By the end of 1973, Conlon also left the band and was replaced by Noy's wife Fiona Dellar. Two other musicians, bassist Danny Lagger and drummer Maurice McElroy joined immediately after Dellar.

Jan Dukes De Grey -
Article Record Mirror January 1970
By April 1974, the band changed its name to "Noy's Band" and added bass guitarist Alan Ronds to be signed to the Dawn label. As Noy's Band the group released only one single, a reinterpretation of "Love Potion Number 9" paired with Noy's original piece "Eldorado". When this release flopped the band began to unravel, finally disbanding in August 1975. Noy, Dellar, and McElroy then joined with musician Nick Griffiths to perform briefly as punk band, Rip Snorter, through 1976 and the start of 1977.

In the meanwhile, starting in late 1975, Noy had renewed acquaintance with Pink Floyd and had begun discussing the possibility of a solo-project on the side. This new incarnation of Jan Dukes de Grey would consist primarily of Noy, with Dellar, McElroy, and the newly added keyboardist Peter Lemer providing backup. Additional guests including former Jan Dukes de Grey members as well as a slew of other musicians and personalities would also contribute to songs in an ad hoc manner. At the time, Pink Floyd drummer Nick Mason was heavily involved with Britannia Row Studios and Noy was offered a production deal in 1976 for a new Jan Dukes de Grey album to be recorded at Britannia Row. The third Jan Dukes de Grey album, Strange Terrain took just over a year to complete and cost nearly £100,000 to make. Guest performers on various tracks included Ray Cooper, actor Michael Gothard (playing saxophone), and actress Lydia Lisle, among others. The album was never released and the band dissolved for good shortly afterward. The third and final album at last saw a release in 2010 under the Cherrytree label.

Influences
The most apparent early influence on Jan Dukes de Grey was the British soul group, "Buster Summers Express" of which 3 one-time members of the band were members and that founding member Bairstow had originally intended to join. The Jan Dukes de Grey sound diverged from Buster Summers considerably, however, beginning with the influences of Cream, Pink Floyd, and Jethro Tull. Bairstow's use of the flute drew directly from Noy's interest in Donovan, and in creating their debut album Sorcerers the band drew inspiration from such bands as T. Rex and The Incredible String Band. Later in the lifespan of Jan Dukes de Grey, a heavier and more progressive sound was adopted such that Strange Terrain was described as demonstrating influence from Arthur Brown, David Bowie, and mid-70s Pink Floyd.

01. Dragons (0:55)
02. Rags, Old Iron (2:24)
03. 28th June, Village Song (3:03)
04. High Priced Room (2:39)
05. Sorcerers (2:41)
06. Ode to a Schoolgirl (1:25)
07. Cheering Crowd (2:34)
08. Out of the Eastern Hills (2:31)
09. MSS (2:00)
10. Texas (2:44)
11. Yorkshire Indian Sitting in the Sun (2:17)
12. Wonder Child (2:24)
13. Dominique (3:59)
14. Trust Me Now (3:33)
15. Forms (1:42)
16. City After 3:00 Am (4:04)
17. Butterfly (3:32)
18. Turkish Time (4:56)

1. Jan Dukes De Grey
or
2. Jan Dukes De Grey
or
3. Jan Dukes De Grey

Monday, 28 October 2019

The Latest Album with: Nixon Now - The NOW Sound (Stooges Retro Band Germany 2018)


Size: 122 MB
Bitrate: 320
mp3
Ripped by: ChrisGoesRock
Som Artwork Included

If anyone could equal the MC5 and Stooges at their insane best, it's Nixon Now Among their fans are Michael Davis of the revived MC5, the legendary Thee Hypnotics or Nicke Royale of the Hellacopters. Everybody who has seen the furious four live can figure out why.


These dudes have listened to more than one Stooges record in their time. 

From the vocals to the fancy lead guitar work, this has Iggy Pop written all over it. Catchy and mid-tempo, with a pounding beat. It´s an excellent record from start to finish. Seriously - great songwriting, production, this has it all. The NOW Sound adds a vicious punk sneer to their psychedelic freak-out barrage, and it fits perfectly. It´s the super sonic equivalent of a tyre fire, belching out thick clouds of deliciously toxic black smoke.

Sweat drips down from the ceiling of the completely packed club. The smell of beer and weed is in the air, while the band plays its encore and all the people go crazy... This is how the first tunes of THE NOW SOUND sound like. It it has been 13 years since NIXON NOW, out of Hamburg Germany, released their last album. There has been much bottled up since then which is now being fired as an uncomplicated declaration of love for the '69 Detroit rock sound. THE NOW SOUND was recorded without much frippery on just one big weekend in Hamburg. 



This kind of music has to be recorded that way - impulsively and raw. NIXON NOW have licked that perfectly and created a great and dirty soundmonster with retro-charm and also zeitgeist. THE NOW SOUND! FILE UNDER: Garage | Rock | Punk | Fuzz FOR FANS OF: MC5 | The Stooges | The Hellacopters | Iggy Pop

Hamburg-based proto-punk garage-rockers Nixon Now release their first album in 13 years, but judging by the raw, Detroit '69 spirit of 'The Now Sound' the guys haven't aged one bit! Fans of Stooges, beware!

Nixon Now are:
 Andi Schmidt: guitar, vocals
 Sven Anders: lead guitar
 Tom Beege: bass
○ Torben Fischer: drums

01. Rouse  01:31
02. God Has Money  01:45
03. 313  02:59
04. A Matter Of Time  02:35
05. No Fun Man  01:51
06. Right  05:53
07. Feel Loud  01:38
08. Instant Mayhem In A  02:42
09. The Mover  02:02
10. Wrong Time This Time  04:50
11. Park Outside With The Motor Running  02:33
12. Too Soon Too Much  06:25
13. Heard This Song Before  01:37
14. Livermore Drone Part 1+2  06:28

or



Wednesday, 23 October 2019

Nixon Now - Altamont Nation Express (Raw "The Stooges" Rock 2015)


Size: 135 MB
Bitrate: 320
mp3
Ripped by: ChrisGoesRock
Some Artwork Included

If anyone could equal the MC5 and Stooges at their insane best, it's Nixon Now Among their fans are Michael Davis of the revived MC5, the legendary Thee Hypnotics or Nicke Royale of the Hellacopters. Everybody who has seen the furious four live can figure out why.



From the starz n' stripes bellbottom-clad chick on the front to the song titles to the friggin' group name fer crissake, Nixon Now are the Compleat Package, classic underground white-knuckle hard rockers with guitars set on kill. This is all packed into 15 easy-to-swallow short sharp dollops of distortion and excitement, a mere one of which could provide enough energy for an entire album by most bands, not to mention light up the city of your choice on New Year's eve. .


Hamburg´s hipshakers Nixon Now are one such example of the MC5 legacy and, to tell you the truth, they do the two-minute-and-change supercharged fuzzbomb better than the originals. 

The one thing that can be said for Nixon Now is that the exude that rare rock n´ roll energy that is so friggin´ hard to capture on a studio recording. 

Altamont Nation Express actually sounds like the band going Chernobyl in front of a rabid, sweaty and panty-throwing audience. It´s all stun guitars with Kamikaze divebomb solos, Keith Moon-like percussive abandon and pre-Punk snotty spit n´ fuck you attitude. You´ll most certainly dig Nixon Now if the MC5 appeals to you.

The Band
andi schmidt - guitar & vocals
 sven anders - guitar
 marc zimmermann - bass
 stephan rath -  drums

01. Revolver 02:40
02. Today Is The Day 02:43
03. Bad World 03:38
04. Shake 03:15
05. You & Me 02:51
06. Car Wash 03:59
07. Burning Down The Neighborhood 03:21
08. Altamont Nation Express 02:16
09. I Live In A Car 02:15
10. The Rocker 02:07
11. Madman 01:26
12. Fastest Thing 01:39
13. I Can Boogie 02:29
14. Brian Jones 01:44
15. Electric Teenage Nürnberg 04:1

1. Nixon Now
or
2. Nixon Now
or
3. Nixon Now

Sunday, 20 October 2019

Hey!, Not to be missed: Nixon Now - Solution Revolution (The Stooges Alike Retro-Sound Germany 1999)


Size: 125 MB
Bitrate: mp3
Ripped by: ChrisGoesRock
Some Artwork Included

Solution Revolution snarls like early Stooges, time tripping back to a time when Detroit had the most dangerous Rock and Roll music on earth. Full robust Iggy on steroids kinda sound - rips like stonerrock on speed with a growling groove driving home thee irresistable power of loud, forcerful uptempo and heavy Rock and Roll fury. 

This is one German band that definetly knows how to put the jackboot into some butt. I can't get enough of Andi Schmidt's nasal sneering vocals belting out the most incredible rock life lyrics. Pure punk legend stuff. Every song is a killer. Get ready to be nixonized.

Nixon Now. "Solution: Revolution" tunnels deep into the black heart of it all, the burning napalm, the hippie death cults, and all of it lorded over by a Motor City grind of twisted metal and wounded howls. Yeah, the MC5. 

The Stooges. But not in the lo-fi, pseudo-blues New York fake-out or the pill bottle trip and drone way you're used to, oh no. Nixon Now are Super Rockers, after all. Brothers and sisters, bring this record and as many flame throwers as your muscle car can carry, because it's gonna be a long, black night.

If anyone could equal the MC5 and Stooges at their insane best, it's Nixon Now. 

There's so much fuzzed-out, punked-up riff-crazy power that you'll feel like brother Wayne Kramer or Fred "Sonic" Smith, whirling with their guitars like dervishes at an early MC5 show, convinced that rock was going to change the world and that the lifestyle would simply PREVAIL.

01. 1999 03:01
02. Into The Nixon 03:49
03. Make My Day 01:54
04. I´ve Been Around 03:43
05. Do The Strand 02:43
06. U.C.P. 02:00
07. Ann Arbor 01:38
08. Sick Me 02:44
09. Addicted To Love 04:02
10. The Solution 05:25
11. Don`t Want You 02:59
12. More Ann Arbor 02:00
13. The Politician 03:12
14. Altamont Rose 03:40
15. Sympathy For Meredith 07:42

1. Nixon Now
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2. Nixon Now
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Time For Old Classic: Crosby, Stills, Nash & Young - Déja Vu (Classic Album US 1970)


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Déjà Vu is the second album by Crosby, Stills & Nash, and their first in the quartet configuration of Crosby, Stills, Nash & Young. It was released in March of 1970 by Atlantic Records, catalogue SD-7200. It topped the pop album chart for one week and generated three Top 40 singles: "Woodstock", "Teach Your Children", and "Our House".


Déjà Vu was greatly anticipated after the popularity of the first CSN album and given the addition of Young to the group, who at the time remained largely unknown to the general public. Stills estimates that the album took around 800 hours of studio time to record; this figure may be exaggerated, even though the individual tracks display meticulous attention to detail. The songs, except for "Woodstock", were recorded as individual sessions by each member, with each contributing whatever was needed that could be agreed upon. Young does not appear on all of the tracks, and drummer Dallas Taylor and bassist Greg Reeves are credited on the cover with their names in slightly smaller typeface. Jerry Garcia plays pedal steel on "Teach Your Children" and John Sebastian plays harmonica on the title track.

Four singles were released from the album with all but the last, "Carry On," charting on the Billboard Hot 100. The popularity of the album contributed to the success of the four albums released by each of the members in the wake of Déjà Vu — Neil Young's After the Gold Rush, Stephen Stills' self-titled solo debut, David Crosby's If I Could Only Remember My Name, and Graham Nash's Songs for Beginners. 

One of the most hotly awaited second albums in history -- right up there with those by the Beatles and the Band -- Déjà Vu lived up to its expectations and rose to number one on the charts. Those achievements are all the more astonishing given the fact that the group barely held together through the estimated 800 hours it took to record Déjà Vu and scarcely functioned as a group for most of that time. Déjà Vu worked as an album, a product of four potent musical talents who were all ascending to the top of their game coupled with some very skilled production, engineering, and editing. 

There were also some obvious virtues in evidence -- the addition of Neil Young to the Crosby, Stills & Nash lineup added to the level of virtuosity, with Young and Stephen Stills rising to new levels of complexity and volume on their guitars. Young's presence also ratcheted up the range of available voices one notch and added a uniquely idiosyncratic songwriter to the fold, though most of Young's contributions in this area were confined to the second side of the LP. Most of the music, apart from the quartet's version of Joni Mitchell's "Woodstock," was done as individual sessions by each of the members when they turned up (which was seldom together), contributing whatever was needed that could be agreed upon. "Carry On" worked as the album's opener when Stills "sacrificed" another copyright, "Questions," which comprised the second half of the track and made it more substantial. 


"Woodstock" and "Carry On" represented the group as a whole, while the rest of the record was a showcase for the individual members. David Crosby's "Almost Cut My Hair" was a piece of high-energy hippie-era paranoia not too far removed in subject from the Byrds' "Drug Store Truck Drivin' Man," only angrier in mood and texture (especially amid the pumping organ and slashing guitars); the title track, also by Crosby, took 100 hours to work out and was a better-received successor to such experimental works as "Mind Gardens," out of his earlier career with the Byrds, showing his occasional abandonment of a rock beat, or any fixed rhythm at all, in favor of washing over the listener with tones and moods. 


"Teach Your Children," the major hit off the album, was a reflection of the hippie-era idealism that still filled Graham Nash's life, while "Our House" was his stylistic paean to the late-era Beatles and "4+20" was a gorgeous Stephen Stills blues excursion that was a precursor to the material he would explore on the solo album that followed. 

And then there were Neil Young's pieces, the exquisitely harmonized "Helpless" (which took many hours to get to the slow version finally used) and the roaring country-ish rockers that ended side two, which underwent a lot of tinkering by Young -- even his seeming throwaway finale, "Everybody I Love You," was a bone thrown to longtime fans as perhaps the greatest Buffalo Springfield song that they didn't record. All of this variety made Déjà Vu a rich musical banquet for the most serious and personal listeners, while mass audiences reveled in the glorious harmonies and the thundering electric guitars, which were presented in even more dramatic and expansive fashion on the tour that followed. 

Recorded July - December, 1969 at Wally Heider's Studio C, San Francisco and Wally Heider's Studio III, Los Angeles.

Released March 11, 1970

Personnel:
David Crosby — vocals all tracks except "4+20"; rhythm guitar on "Almost Cut My Hair," "Woodstock," "Déjà Vu," "Country Girl," and "Everybody I Love You"

 Stephen Stills — vocals all tracks except "Almost Cut My Hair"; guitars all tracks except "Our House"; keyboards on "Carry On," "Helpless," "Woodstock," and "Déjà Vu"; bass on "Carry On," "Teach Your Children," and "Déjà Vu"; percussion on "Carry On"

 Graham Nash — vocals all tracks except "Almost Cut My Hair" and "4+20"; keyboards on "Almost Cut My Hair," "Woodstock," "Our House," and "Everybody I Love You"; rhythm guitar on "Teach Your Children" and "Country Girl"; percussion on "Carry On" and "Teach Your Children"

 Neil Young — vocals on "Helpless" and "Country Girl"; guitars on "Almost Cut My Hair," "Helpless," "Woodstock," "Country Girl," and "Everybody I Love You"; keyboards, harmonica on "Country Girl"

Additional personnel:
 Dallas Taylor — drums; tambourine on "Teach Your Children"
 Greg Reeves — bass on "Almost Cut My Hair," "Helpless," "Woodstock," "Our 
   House," "Country Girl," and   "Everybody I Love You"
 Jerry Garcia — pedal steel guitar on "Teach Your Children"
 John Sebastian — harmonica on "Déjà Vu

01. "Carry On"  Stephen Stills  04:26
02. "Teach Your Children" Graham Nash  02:53
03. "Almost Cut My Hair" David Crosby  04:31
04. "Helpless" Neil Young  03:33
05. "Woodstock" Joni Mitchell  03:54
06. "Déjà Vu" David Crosby  04:12
07. "Our House" Graham Nash  02:59
08. "4 + 20" Stephen Stills  02:04
09. "Country Girl (Whiskey Boot Hill/Down Down Down/"Country Girl" (I                Think You're Pretty)" Neil Young  05:11
10. "Everybody I Love You" Stephen Stills, Neil Young  02:21

1. Déja Vu
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German Single 1970