Monday, 11 February 2019

Zed - Desperation Blues Deluxe (Good Hardrock US 2019)


Size: 192 MB
Bitrate: 320
mp3
Ripped by: ChrisGoesRock
Some Artwork Included

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


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


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

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


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

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

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

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


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

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

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

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

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

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

1. Zed
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2. Zed
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3. Zed



Sunday, 3 February 2019

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


Size: 174 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

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


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


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

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

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


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

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

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

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

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

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


Saturday, 2 February 2019

Nicholas Greenwood - Cold Cuts (Progressive Rock UK 1972)


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

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


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

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

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

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

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

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


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

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

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


Sunday, 13 January 2019

Bad Liquor Pond - Blue Smoke Orange Sky (Good Psychedelia US 2012)


Size: 134 MB
Bitrate: 320
mp3
Ripped by: ChrisGoesRock
Artwork Included

Outstanding follow up to their only other album I could find, Radiant Transmission (check that one out if you haven't already). This is a more consistently solid effort and I've had it on heavy rotation. Bad Liquor Pond is a 60s influenced psychedelic alternative type of band from Baltimore, an obvious comparison would probably be Brian Jonestown Massacre for most people although I would compare them more to Asteroid #4 and House of Fire. 


The first four songs are all incredibly great, catchy tunes with plenty of great sounding guitars and memorable hooks. They go more psychedelic and bring out the sitars for Great Planes and Silence in You. The remainder of the album mixes up some slower and more rockin' guitar based songs. The Crescent Ship and Apocalyptic Love Jam are probably my two favorite tunes but there are no bad songs on here.


Bad Liquor Pond was a psychedelic rock band based in Baltimore, Maryland. formed in 2006, the group released 3 albums, "The Year of the Clam, " "Radiant Transmission," "Blue Smoke Orange Sky" & the 7" vinyl single "Let The River Come."

Bad Liquor Pond is a psychedelic rock group hailing from Baltimore, Maryland. Originally formed in late 2005, the band started off as a 3 piece act and worked hard toward developing a recognizable sound and gaining a local audience in the Baltimore / DC area. In 2006 the band contributed a song to the “Turn on Your Mind” compilation released by Psilocybin Sounds in the U.K. along with other widely known psychedelic acts including The Quarter After (with members of the Brian Jonestown Massacre The Asteroid #4, etc.) 

Through the rest of 2006 and 2007 the band constantly played shows and worked on recording, bringing Paul Fuller on board to fulfill the drumming responsibilities while original drummer, Poridge Blackwell shifted to bass guitar. After releasing their debut album “The Year of the Clam” in August of 2007 on Baltimore’s MT6 Records, Bad Liquor Pond embarked on a small tour of the north east coast and in the following months gained attention from local, national and international outlets.

In January of 2008 Bad Liquor Pond performed live on the Pat Duncan Show on WFMU 91.1 in New Jersey and shortly afterward founding member / guitarist Bobby Parrish decided to leave the group for personal reasons. Immediately following Bobby’s departure the band began recording their second album and recruited Melvis Fargas on guitar.

August 8th, 2008 marked the release of Bad Liquor Pond’s 2nd album “Radiant Transmission” (Morphius Records / MT6 Records). This album branches off from the drone oriented mystical vibe of the first record and follows the band further along their journey into the depths of modern psychedelic rock and roll. Bad Liquor Pond’s sophomore offering draws from even more influences, incorporating elements of rhythm and blues, garage rock, psychedelic and Americana. 

The new CD has gotten nothing but great reviews so far and the band has continued playing through 2009 in support of the record, playing with national acts such as Xiu Xiu, Glasvegas, Spindrift, Hopewell, The Black Hollies, Strangers Family Band and Heavy Hands. 

Currently, the band is preparing to head back up to New York at the end of August in support of the release of a new 2 song limited edition 7” vinyl pressing that will be released around the same time.

The band has since dissolved and recruited new musicians, recording a full length album under the new name, MORELS.

Bad Liquor Pond was a psychedelic rock band based in Baltimore, Maryland. formed in 2006, the group released 3 albums, "The Year of the Clam," "Radiant Transmission," "Blue Smoke Orange Sky" & the 7" vinyl single "Let The River Come."

The band has since dissolved and recruited new musicians, recording a full length album under the new name, MORELS, Released in 2015.

01. The Crescent Ship 03:52
02. Bad Liquor pond - Hallways 04:47
03. New Reality 03:49
04. Apocalyptic Love Jam 04:59
05. Great Planes 04:17
06. Silence In You 01:59
07. Down With Barrel Fever 03:01
08. Blue Smoke Orange Sky 03:40
09. Electric Splash 03:39
10. Echos in Amber 04:40
11. Nothing Surreal 06:18

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Thursday, 3 January 2019

Big Brother & The Holding Company - Sex, Dope & Cheap Trills (US 1968) (@320)


Size: 515 MB
Bitrate: 256 + 320
mp3
Ripped by: ChrisGoesRock
Rip Program: dbPowerAMP 16.5
Artwork Included
Source: Japan SHM-CD Remaster

Janis Joplin’s time in the San Francisco blues crew Big Brother and the Holding Co. was relatively short, only a couple of years — just long enough to record two albums and become an era-defining flashpoint at the Monterey Pop Festival. Their second album, 1968’s Cheap Thrills, became an acid-rock landmark thanks to the barnburner “Piece of My Heart,” a sultry cover of “Summertime” and the crushing, epic cover of Big Mama Thornton’s “Ball and Chain.” It went to Number One and was certified gold and within a few months of its release, Joplin quit to become a solo star.






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The new compilation, Sex, Dope & Cheap Thrills, takes its title from the band’s original pitch for the name of the LP (the squares at the record label weren’t having it) and contains nearly two-and-a-half hours of alternate takes and live recordings from the Cheap Thrills era. Most of them are previously unreleased. The live recording of “Ball and Chain” sports a heavier beat and Joplin’s double-fried vocals — a stunning performance — followed by unreasonably polite applause. 





The three alternate takes of “Piece of My Heart” have a similar energy to the more familiar version, but show just how vibrant Joplin was at the sessions. And the second disc’s first take of “Summertime” captures a brilliant performance that would have been a thing of legend if the band hadn’t fallen apart at the end. 



Other standouts include the foot-stomping “How Many Times Blues Jam,” an extended, wailing take on “I Need a Man to Love” and a charging, soulful take of “Combination of the Two.” There’s also studio banter, like Joplin cackling gloriously and saying, “I knew it was gonna take us all night,” before the ninth take of the oddball “Harry” and three takes of “Turtle Blues” on which Joplin talks out the feel of the song.


Also notable are the liner notes. The Jefferson Airplane’s Grace Slick remembers Joplin as a vivacious, joyful force and the Big Brother band as having a “down home” vibe. Meanwhile, drummer Dave Getz offers lively accounts of making the album and working with illustrator Robert Crumb on its problematic, iconic cover – and how the latter was stolen only to be sold at auction for a quarter of a million dollars. It’s the Janis Joplin bonus content you never knew you wanted.

For a band that recorded one of the seminal albums of 1968, a pretty important year in the history of rock, Big Brother & the Holding Company don't get much respect. Their second album, 1968's Cheap Thrills, was a major popular and critical success in its day, but a great deal of the credit is usually given to their lead singer, Janis Joplin, while her bandmates are often regarded as also-rans who rode her coattails in their day in the sun. 

The 2018 collection Sex, Dope & Cheap Thrills is a fine starting point for a reassessment of Big Brother; it features 29 outtakes from the Cheap Thrills sessions, most of them unreleased, along with one live number from 1968, and as the songs evolve over multiple takes, they give a clearer picture of how important the musicians were to Joplin's creative development, and vice-versa. Guitarists Sam Andrew and James Gurley took the mix of blues and psychedelia that was common among San Francisco bands of the day and gave it a hard-edged attack and adventurous melodic sense -- a distinct, roaring sound that was robust and room-filling, with clean lead lines riding over a gloriously dirty bedrock. 


Bassist Peter Albin and drummer Dave Getz were a rhythm section that was equally comfortable with the group's rock and blues facets, and together they created a sound that was big but also left just enough room for Joplin's voice. 

And while Joplin would work with more technically skilled sidemen after leaving Big Brother, she ultimately never had more sympathetic collaborators than these guys. She doesn't sound like a vocalist with a backing group behind her on these tracks, she's part of a band, and there's a give and take and a sense of freedom and possibility that's unique in her recorded work as she puts her heart and soul into this music. While the sequence jumps back and forth between various takes of the songs that comprised Cheap Thrills (along with the deliberately silly unreleased tune "Harry" and a few other songs abandoned along the way), the versions that comprised the final product are not included, making this set feel like the bonus material in a box set that somehow lacks the main attraction. 

However, if few of these performances seem noticeably superior to what was on Cheap Thrills, the live-in-the-studio approach allows each take to have a personality of its own, and Vic Anesini's mixes are clean and clear enough to fully appreciate the interplay between the musicians, especially the guitars of Andrew and Gurley. 



Cheap Thrills was the album that made Janis Joplin one of the biggest stars of her era (and rightly so), but Sex, Dope & Cheap Thrills reminds us she didn't go it alone, and it's the work of a strong and memorable band as well as a world-class singer.

The Original Album: Cheap Thrills
Cheap Thrills is a studio album by American rock band Big Brother and the Holding Company. It was their last album with Janis Joplin as lead singer. For Cheap Thrills, the band and producer John Simon incorporated recordings of crowd noise to give the impression of a live album, for which it was subsequently mistaken by listeners. Only the final song, a cover of "Ball and Chain", had been recorded live (at The Fillmore in San Francisco).



Cheap Thrills reached number one on the charts for eight nonconsecutive weeks in 1968.

History
Big Brother obtained a considerable amount of attention after their 1967 performance at the Monterey Pop Festival, and had released their debut album, the eponymously titled Big Brother and the Holding Company, soon after. The followup, Cheap Thrills, was a great success, reaching number one on the charts for eight nonconsecutive weeks in 1968. 


Columbia Records offered the band a new recording contract, but it took months to get through since they were still signed to Mainstream Records. The album features three cover songs ("Summertime", "Piece of My Heart" and "Ball and Chain"). The album also features Bill Graham, who introduces the band at the beginning of "Combination of the Two". The album's overall raw sound effectively captures the band's energetic and lively concerts. The LP was released in both stereo and mono formats with the original monophonic pressing now a rare collector's item.

Artwork and title
The cover was drawn by underground cartoonist Robert Crumb after the band's original cover idea, a photo of the group naked in bed together, was vetoed by Columbia Records. Crumb had originally intended his art for the LP back cover, with a portrait of Janis Joplin to grace the front. But Joplin—an avid fan of underground comics, especially the work of Crumb—so loved the Cheap Thrills illustration that she demanded Columbia place it on the front cover. It is number nine on Rolling Stone's list of one hundred greatest album covers. Crumb later authorized the sale of prints of the cover, some of which he signed before sale.



In an interview for the AIGA, Columbia Records art director John Berg told design professor Paul Nini, "[Janis] Joplin commissioned it, and she delivered Cheap Thrills to me personally in the office. There were no changes with R. Crumb. He refused to be paid, saying, 'I don't want Columbia's filthy lucre.'"

In at least one early edition, the words "HARRY KRISHNA! (D. GETZ)" are faintly visible in the word balloon of the turbaned man, apparently referring to a track that was dropped from the final sequence. The words "ART: R. CRUMB" replace them.

Initially, the album was to be called Sex, Dope and Cheap Thrills, but the title was not received well by Columbia Records.


Release
Cheap Thrills was released in the summer of 1968, one year after their debut album, and reached number one on the Billboard charts in its eighth week in October. It kept the top spot for eight (nonconsecutive) weeks, while the single "Piece of My Heart" also became a huge hit. By the end of the year, it was the most successful album of 1968, having sold nearly a million copies. The success was short-lived however, as Joplin left the group for a solo career in December 1968.

Critical reception
In a contemporary review, Rolling Stone magazine's John Hardin believed Cheap Thrills lives up to its title and is merely satisfactory: "What this record is not is 1) a well-produced, good rock and roll recording; 2) Janis Joplin at her highest and most intense moments; and 3) better than the Mainstream record issued last year." Robert Christgau was more enthusiastic in his column for Esquire and called it Big Brother's "first physically respectable effort", as it "not only gets Janis's voice down, it also does justice to her always-underrated and ever-improving musicians." He named it the third best album of 1968 in his ballot for Jazz & Pop magazine's critics poll.



In a retrospective review, AllMusic's William Ruhlmann hailed Cheap Thrills as Joplin's "greatest moment" and said it sounds like "a musical time capsule [today] and remains a showcase for one of rock's most distinctive singers." Marc Weingarten of Entertainment Weekly called it the peak of blues rock, while Paul Evans wrote in The Rolling Stone Album Guide (2004) that the record epitomizes acid rock "in all its messy, pseudo-psychedelic glory". 

In 2003, Cheap Thrills was ranked #338 on Rolling Stone magazine's list of the 500 greatest albums of all time. The magazine previously ranked it #50 on their Top 100 Albums of the Past 20 Years list in 1987. It is also listed in the book 1001 Albums You Must Hear Before You Die. On March 22, 2013, the album was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and thus it was preserved into the National Recording Registry for the 2012 register. The album was named the 163rd best album of the 1960s by Pitchfork. 

Personnel
Janis Joplin – vocals
 Sam Andrew – lead guitar, bass, vocals
 James Gurley – guitar
 Peter Albin – bass, lead guitar on 'Oh, Sweet Mary'
 Dave Getz – drums
 Robert Crumb – cover artwork

Disc One
01. Combination of the Two (Take 3)  05:33
02. I Need a Man to Love (Take 4)  8:05
03. Summertime (Take 2)  04:10
04. Piece of My Heart (Take 6)  04:55
05. Harry (Take 10)  01:12
06. Turtle Blues (Take 4)  04:46
07. Oh, Sweet Mary  04:23
08. Ball and Chain (Live, the Winterland Ballroom, April 12, 1968)  07:28
09. Roadblock (Take 1)  05:42
10. Catch Me Daddy (Take 1)  05:34
11. It’s a Deal (Take 1)  02:42
12. Easy Once You Know How (Take 1)  04:35
13. How Many Times Blues Jam  05:26
14. Farewell Song (Take 7)  05:02

Disc Two
01. Flower in the Sun (Take 3)  03:13
02. Oh Sweet Mary  06:55
03. Summertime (Take 1)  03:14
04. Piece of My Heart (Take 4)  04:07
05. Catch Me Daddy (Take 9)  03:15
06. Catch Me Daddy (Take 10)  04:22
07. I Need a Man to Love (Take 3)  07:08
08. Harry (Take 9)  01:11
09. Farewell Song (Take 4)  04:27
10. Misery’n (Takes 2 & 3)  03:58
11. Misery’n (Take 4)  04:58
12. Magic of Love (Take 1)  03:19
13. Turtle Blues (Take 9)  03:59
14. Turtle Blues (last verse Takes 1-3)  04:35
15. Piece of My Heart (Take 3)  04:32
16. Farewell Song (Take 5)  05:12

Bonus: The Original Cheap Trills Album, US 1968
01. "Combination of the Two" (Sam Andrew) – 05:47 
02. "I Need a Man to Love" (Andrew, Joplin) – 04:54 
03. "Summertime" (George Gershwin, Ira Gershwin, DuBose Heyward) – 04:00 
04. "Piece of My Heart" (Bert Berns, Jerry Ragovoy) – 04:15 
05. "Turtle Blues" (Joplin) – 04:22 
06. "Oh, Sweet Mary" (Peter Albin, Andrew, David Getz, James Gurley, Joplin) – 04:16 
07. "Ball and Chain" (Big Mama Thornton) – 09:37

Extra Bonus: 
08. "Roadblock" (studio outtake) - 05.33
09. "Flower in the Sun" (studio outtake) - 03.05 
10. "Catch Me Daddy" (live) - 05.31 
11.  "Magic of Love" (live) - 00.58
12. "Summertime [Live Woodstock] - 05.04

13. "Piece of My Heart [Live Woodstock] - 06.32

Rare Letters by Cathrin Curtis (Janis Joplin)
01. What Good Can Drinkin' Do - 02.49
02. I Bring The News - 02.43
03. I'm Somebody Important - 01.39
04. Did I Tell You About My Reviews - 01.07
05. I'm Sorry,Sorry - 00.51
06. A Happening - 02.02
07. He's A Beatle, Mother - 01.35
08. I May Be A Star Someday - 02.01
09. Twenty-Five - 01.29

Part 1: Cheap Thrills
Part 2: Cheap Thrills
Part 3: Cheap Thrills
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Part 1: Cheap Thrills
Part 2: Cheap Thrills
Psty 3: Cheap Thrills
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Part 1: Cheap Thrills
Part 2: Cheap Thrills
Part 3: Cheap Thrills



Ray Owen - Ray Owens Moon (UK Hardrock 1971, ex Juicy Lucy) A MUST TO BE HEARD!


Size: 104 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Artwork Include
Source: 24-bit Remaster

Ex-front man of British blues progressive rock band Juicy Lucy, Ray Owen left the band and released his own solo album in 1971. Compared to his career with Juicy Lucy, 'Moon'is a nicely arranged progressive rock album.


Taken off his first and only seff-titled solo album, released in 1971. Ray Owen was the original vocalist in British outfit Juicy Lucy, and he appeared on their first self titled album in 1969. He was also a member of the UK band "Killing Floor". He left the band, his replacement being Paul Williams, and formed his own band, with Dick Stubbs and Les Nicol on guitars, Ian McLean on drums and Sid Gardner on bass. 


Their first and only album, which is quite rare and collectible, was released on Polydor Records, and it featured a number of really good riff laden tracks, in addition to a stunning version of Hendrix's "Voodoo Child", which Owen would redo in the mid 90's when he reformed his own version of Juicy Lucy. His career after Ray Owen's Moon is much of a mystery, as no record can be found of any other bands he may have featured with afterwards. 


As was mentioned, he reformed Juicy Lucy in the mid nineties and released an album called "Here she comes again" on HTD Records, with three unknown, but very good, musicians. For the record, Paul Williams also reformed another version of Juicy Lucy in the mid to late nineties, under the name "Blue Thunder". 

01. Talk To Me  05:03
02. Try My Love  04:58
03. Hey Sweety  02:33
04. Free Man  03:05
05. Don't Matter  06:12
06. Voodoo Chile  04:45
07. Ouiji  04:53
08. Mississippi Woman  04:23
09. 50 Years Older  05:08

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Friday, 28 December 2018

The Third Estate - Years Before The Wine (Psychedelick Rock 1971-74)


Size: 191 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included

A "twofer" if you will from progressive, folk rockers from Louisiana. This collection combines the albums "Years Before the Wine" (1974), "Agonistes" (the unreleased 1973 album), and bonus material/home demos that have not seen the light of day in years! Also contained is a 28 page booklet with extensive liner notes and photos!


"Third Estate's Years Before the Wine is an ambitious and intricate psychedelic concept album from 1974 about the French Revolution which blends warm Southern summer sounds (the band were from Baton Rouge, Louisiana) with baroque song structures. Never fear, the serious subject matter is no match for the strong songwriting and light, flowing music. Stunning vocals from Fae Ficklin on the title track are lovely, but even without them, this album would richly deserve its status as a psychedelic classic. 

Stark, intimate production, with tasty fuzz guitar, backwards tape-loop soundscapes and beautifully treated acoustic guitar, puts one in mind ofthe Ithaca/Agincourt/Friends trilogy from England. The sound of exploration is evident everywhere, as the band spreads its wings, and glorious harmonies flow forth. 

The previously unreleased album recorded as Agonistes (1973) shows that the later recordings were no fluke. It can stand alone as one of the most beguiling folk/psych albums we've ever heard. Additional bonus tracks include singles and home demos. Budget-priced double disc package includes a 28-page color booklet, with histories of both groups by band co-leader Robert Everett, as well as lyrics for all the songs included herein."


THE THIRD ESTATE were another in a fairly long line of brief collaborations resulting in obscure, private-label albums spawned from college campuses the world over in the late sixties and early seventies. In Third Estate's case the campus was Southeastern Louisiana University, and the music is rather difficult to classify. The 'band' (if it can even be called that) consisted of composer/vocalist/guitarist/bassist Robert Everett, composer/guitarist Chas Harrell, and drummer/percussionist Jerry Lang. This was less of a traditional band, and more of an on-going friendship between Everett and Harrell that involved other musicians when necessary, although the two of them had previously recorded unreleased material as THE ZEALOTS (later changed to AGONISTES).


The band's music is equally balanced between acoustic and electric guitar, with heavy emphasis on picking and strumming but also highly rhythmic and melodic compositions. The lyrical themes range from nostalgic to historical, with the primary theme of their one album being of an historical bent. 

That album is the 1976 release "Years Before the Wine", produced with either 500 or 800 copies depending on who is telling the story, and with each cover hand-labeled and unique. The reissued 2006 (vinyl) album is accompanied by a single containing two other Everett compositions from 1968 and 1971, and the tracks on their album were recorded between 1973 and 1975, though not released until 1976. The stated theme of the album is a reflection on the French Revolution of 1789 in which the 'third estate' actually represented virtually the entire country outside of the clergy and nobility; but some of the lyrics on the first side are more introspective and poetic, and seem only vaguely related to those on the back side.

There is no record that the band toured or otherwise existed in any notable fashion after the release of their album. Everett, Lang and Harrell continued for a few years in different lineups of various regional cover bands, but all have moved on to other careers since. Today Everett is a professor of science at the University of Central Florida and is still records occasionally.

Robert Everett: 6-String Electric, Acoustic Guitars, Bass, Piano, Organ, Maracas, Wind Chimes, Vocals
 Chas Harrell: 12-String Acoustic Guitars, 6-String Electric Guitars, Saws, Hammers, Vocals
 Jerry Lang: Drums, Guiro, Bells, Claves
 Fae Ficklin: Vocals 

CD1: (Years Before Wine 1974)
1a. Years Before the Wine - Destiny (4:44)
1b. Years Before the Wine - Overcast (5:35)
02. Useless Things (3:34)
03. Look at Me (8:42)
04. Kings (2:32)
05. Puppet City (8:07)
06. Think It's Time (4:40)
07. The Third Estate (5:31)

CD2: (Agonistes Unreleased Album 1973)
01.Agonistes Funeral
02.Sing His Song
03.Think About That
04.Sorrow's Death
05.The Sun and The season
06.Searching
07.Thought I Heard You Calling
08.Resurrection

Bonus
09.Thought I Heard You Calling (Single 1973)
10.Sing His Song (Single 1973)
11.Years Before Wine (Demo 1973)
12.Teenage Love (Recorded 1968)
13.Brand New Day (Recorded 1971)
14.Death of A Musican (Recorded 1971) 

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