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

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Bitrate: 256
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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) 

1. Third Estate
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2. Third Estate
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3. Third Estate

Some Good Reading (Adobe Acrobat Included)

Here is 16 copies of "SHINDIG MAGAZINE in PDF file. Adobe Acrobat is included for install.

Enjoy

//ChrisGosRock

1. Shindig Magazine

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2. Shindig Magazine

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3. Shindig Magazine

New York Rock & Roll Ensemble - Faithful Friends (US 1969)

Size: 165 MB
Bitrate: 320
mp3
Found in DC++ World
Artwork Included

The New York Rock & Roll Ensemble was a rock band active in the late 1960s and early 1970s, whose music was described as "classical baroque rock". The group was known for performing in white tie and tailcoat (not tuxedo), as typically worn by classical musicians.

The band was formed by three Juilliard students (Michael Kamen, Marty Fulterman – now known as Mark Snow – and Dorian Rudnytsky) as well as two rock musicians, Brian Corrigan and Clif Nivison.

Rudnytsky indicated that while students at Juilliard, Kamen and Fulterman played in a rock band named "Emil & The Detectives" while he played in a rock band named Invicta with Corrigan and Nivison, all of whom hailed from Toms River, New Jersey. A mutual friend and record producer suggested that all five drop their current bands and form a new band. After the new group's first gig at a Juilliard Halloween dance in 1967, they were signed by Atlantic Records where Ahmet Ertegün was quoted by one of the members as having said in jest, "You play all the right notes on all the wrong instruments."

Their recording debut was the 1968 self-named album The New York Rock & Roll Ensemble, which broke the tradition by using classical music instruments in rock songs and rock instruments in classical pieces. This fusion, daring at the time, impressed Leonard Bernstein so much that he invited the group to appear at one of his Young People's Concerts with the New York Philharmonic Orchestra, where they performed their signature song "Brandenburg" which was based on the first movement of Bach's Fifth Brandenburg Concerto. This track showed the group at their best, starting off with a straight rendition of Bach's music (featuring two oboes, guitar and cello), then migrating into a rock song, while continuing to use Bach's original music for its basis.

Because Brandenburg was the one song that showed the widest range of their musicianship, the group typically performed that song when they made television appearances on The Tonight Show, The Steve Allen Show and other TV shows of that era.

Brandenburg appeared on the group's second album Faithful Friends, which had higher production values than their first and contained many of the songs that were part of their live act.

Their third album, Reflections, was actually recorded prior to Faithful Friends and was a collaboration with Greek composer Manos Hatzidakis as a score for a film that was never produced. The group decided to use this already recorded but unreleased music for their last Atlantic album. Because this album was such a great departure from their "classical/rock" roots, it apparently sold poorly when released and at least one member of the group believed that it hurt their popularity by confusing their fan base. This album is now the group's biggest selling album because it was re-released in Europe and has sold well since that time. In 2005 the Greek band Raining Pleasure released its own interpretation of this album.

Rhythm guitarist Brian Corrigan departed after the third album and after being part of the only movie appearance by the group, Zachariah which featured an extended version of Kamen's song "Gravedigger". The band then shortened its name to New York Rock Ensemble and switched to Columbia. Released in 1971, Roll Over was their most overtly rock album to date and, at that time, their biggest seller. The band's tour to support this album was unique in that in addition to their usual college dates, the band also played with leading symphony orchestras across the country including the Boston Pops and the St. Louis Symphony Orchestra. 

When playing these gigs, the group played a set alone and then joined up with the orchestra to perform an orchestral version of Kamen's rock song "Anaconda," and Kamen's song "Winter Child", based on the Aria from Bach's Goldberg Variations. Kamen's efforts at orchestral composing (and fusing rock and orchestral music) set the stage for his later work as a movie composer as well as a composer, conductor and performer with Metallica, Eric Clapton and Pink Floyd.

Their last album was Freedomburger in 1972. Soon after the tour supporting this album, the band dispersed.

Kamen, joined by Rudnytsky and other musicians, gave it one last try when he released New York Rock in 1973. "Winter Child" appears on that album. Band membership at this time was Kamen and Rudnytsky, joined by David Sanborn on saxophone, Larry Packer (formerly of Cat Mother and the All Night News Boys) on guitar and violin, Dennis Whitted (later of Paul Butterfield and Bonnie Raitt) on drums and Hank DeVito (later of Emmylou Harris' "Hot Band") on pedal steel.

Michael Kamen later gained fame for his many film scores and for his aforementioned "fusion" efforts. He died in 2003.

Marty Fulterman later adopted the name of Mark Snow and gained renown for his many scores and themes for TV shows, most notably, The X Files.

♣ Bass, Cello, Vocals -- Dorian Rudnytsky
♣ Keyboards, Oboe, Vocals -- Michael Kamen
♣ Lead Guitar, Vocals -- Clifton Nivison
♣ Rhythm Guitar, Vocals -- Brian Corrigan
♣ Drums, Oboe -- Martin Fulterman (Mark Snow)

01. I'm Too Busy 3:04
02. City 3:16
03. Asking Too Much 2:45
04. Trio Sonata No. 2 in G Major 0:52
05  Kite Song 2:20
06  Wait Until Tomorrow 3:50
07. Sing Lady Sing 3:15
08. Nel Cox 2:52
09. Thinking of Mary 3:05
10. Faithful Friends (And Flattering Foe) 3:07
11. Aria 1:04
12. Lazy Man 2:48
13. Brandenburg 5:20

+ Bonus Album (1968)

1. Faithful Friends
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2. Faithful Friends
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3. Faithfull Friends

Zalman Yanovsky - Alive and Well in Argentina (Rock US 1968)

Size: 68.4 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Zalman "Zal" Yanovsky (December 19, 1944 – December 13, 2002) was a Canadian rock musician. Born in Toronto, he was the son of political cartoonist Avrom Yanovsky. He played lead guitar and sang for the Lovin' Spoonful, a rock band which he founded with John Sebastian in 1964. According to Sebastian, "He could play like Elmore James, he could play like Floyd Cramer, he could play like Chuck Berry. 

He could play like all these people, yet he still had his own overpowering personality. Out of this we could, I thought, craft something with real flexibility." He was married to actress Jackie Burroughs, with whom he had one daughter, Zoe.

One of the early rock and roll performers to wear a cowboy hat, and fringed "Davy Crockett" style clothing, Zal helped set the trend followed by such 1960s performers as Sonny Bono, Johnny Rivers and David Crosby.

1971 Front Cover

Mostly self-taught, he began his musical career playing folk music coffee houses in Toronto. He lived on a kibbutz in Israel for a short time and was supposedly asked to leave after having driven a tractor through a building. He returned to Canada and teamed with fellow Canadian Denny Doherty in the Halifax Three. The two joined Cass Elliot in the Mugwumps, a group made famous by Doherty's & Cass's later group the Mamas & the Papas, in the song "Creeque Alley". It was at this time he met John Sebastian and they formed the Lovin' Spoonful with Steve Boone and Joe Butler.

In 1967, he was arrested on a marijuana-related charge. In exchange for not being deported, Yanovsky gave the name of his dealer, and as a consequence was ostracised by the music community.[2] Returning to his native Canada, he recorded a solo album Alive and Well in Argentina (and Loving Every Minute of It). Buddah Records released the album in the U.S. in 1968, along with a single that did not appear on the album, "As Long As You're Here". The single (in which the B-side was the same track without vocals and recorded backwards) just missed the Billboard Hot 100, but fared a little better in Cashbox, peaking at #73. Kama Sutra Records reissued the album in 1971 with a completely different cover and inclusion of "As Long As You're Here".

He also appeared in the Off-Broadway show "National Lampoon's Lemmings" at New York's Village Gate. Although not an original cast member, he contributed a musical number "Nirvana Banana", a Donovan parody.

After leaving the music business, he became a restaurateur, alongside his wife Rose Richardson, establishing Chez Piggy restaurant in 1979 and Pan Chancho Bakery in 1994, both in Kingston, Ontario. The success of Chez Piggy prompted the publication of a companion cookbook (The Chez Piggy Cookbook, Firefly Books, 1998) that was collected by fans. 

After Zal's death of congestive heart failure in December 2002, and his wife's death in 2005, his daughter Zoe Yanovsky (with actress Jackie Burroughs) took over the ownership of both eateries. She also completed and launched another cookbook that Zal was working on, The Pan Chancho Cookbook (Bookmakers Press, 2006). Wikipedia

After parting ways with the Lovin' Spoonful in 1967, co-founder Zalman Yanovsky — better known to fans and friends simply as "Zally" — surfaced the following year on his lone solo long-player Alive and Well in Argentina (1968). The effort returned the artist back to the early rock as well as country & western roots that had inspired him. Plus, he was able to modernize, if not counter the weepy and introspective direction the Spoonful was continually drifting toward as John Sebastian scored the easier listening "Darling Be Home Soon" and "Younger Generation." Bearing his trademark sense of humor — and help from none other than Jerry Yester — his replacement in the Spoonful — and former bandmate Joe Butler (drums), the platter has the feel of a Lovin' Spoonful side project. The opening rave-up "Raven in a Cage" is preceded by a surreal composite of farmyard audio effects and "Oh, Canada!" — the Canadian National Anthem. 

The song's heavier execution instantly recalls the Spoonful's "There She Is" and "4 Eyes" with just a hint of Yanovsky's jug band roots and overtones. With electric guitars wailing, the lethargic and definitely sardonic update of one-hit wonder Joe Jones' 1960 "You Talk Too Much" is Yanovsky at his irreverent best. 

Yet he manages to turn it into a commendable performance before the bottom literally falls out of the groove. Continuing with the trip down memory lane are impressive interpretations of the Floyd Cramer instrumental "Last Date" as well as the Bobby Day-penned "Little Bitty Pretty One" — a hit for Thurston Harris in 1957. Yanovsky's impassioned and slightly out of tune vocal plea inoculates it with a shot of soul, while the thoroughly echoplexed chorus has a gritty lo-fi feel. 

The banjo-fralin' title track "Alive and Well in Argentina" adopts a rural flavor and melody comparable to Dave Dudley's 18-wheeler ode "Six Days on the Road." The lyrics demonstrate the artist's tweaked funny bone, not to mention a not-so-subtle reply to the question that Spoonful fans and reporters were asking in the wake of Zally's departure. The 1971 reissue of the LP on Kama Sutra added the single "As Long as You're Here" — which was written by the team of Garry Bonner and Alan Gordon who are perhaps best-known for the Turtles' hits "Happy Together," "She's My Girl," and "Cat in the Window." In due time they would also provide the Joe Butler-led incarnation of the Lovin' Spoonful "('Till I) Run with You" and "Amazing Air" on their Revelation Revolution '69 collection. 

Equaling if not surpassing the earlier covers are Yanovsky's raw reading of George Jones' divorce ode "Brown to Blue" and a honky tonkin' take of Ivory Joe Hunter's "I Almost Lost My Mind." The upbeat poppish spin of John Sebastian's "Priscilla Millionaira" comes on the heels of the Lovin' Spoonful's version from Everything Playing. An attempt at full-blown (or, perhaps more accurately overblown) psychedelia is heard on the pseudo-heavy "Hip Toad." It stands in contrast to the overt mixture of trippy electric guitars and orchestrated jamming titled "Lt. Schtinkckhausen" — ultimately sounding more like Frank Zappa than the Spoonful. The colorful jacket artwork collage is credited to Peter Max, while the dimestore novel-esque liner notes are courtesy of Carl Gottlieb — a writer for the Smothers Brothers TV Show among numerous other credits. (AMG)

01. Raven In A Cage  02:51
02. You Talk Too Much  02:32
03. Last Date  03:01
04. Little Bitty Pretty One  02:52
05. Alive And Well In Argentina  03:25
06. Brown To Blue  02:25
07. Priscilla Millionaira  02:17
08. I Almost Lost My Mind  03:04
09. Hip Toad  02:04
10. Lt. Schtinckhausen  06:03

Bonus Tracks
11. As Long As You're Here  02:19
12. Ereh Er'uoy Sa Gnol Sa  02:18 

1. Zalman
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2. Zalman
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3. Zalman

Amos Key - First Key (Good German Krautrock 1974)

Size: 93.8 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Source: Japan SHM-CD Remaster
Artwork Included

A classically influenced, and keyboard driven band from Germany. The lineup consisted of Thomas Molin (keyboards, vocals), Andreas Gross (bass, guitar, vocals), Lutz Ludwig (drums).

Their only release remains 1973’s ‘First Key.” To show their reverence for the masters, the album was dedicated to Bach, Beethoven, and Shumann. They are mostly compared to Eskeption and The Nice.

Unlike many of their contemporaries, they favored shorter songs over longer epics. Around 1975 Amos Key again entered the studio to record another album. Unfortunately it was not to be. The album was never finished, but a few demos have come to light. Since that time, little is known about the band members.

“First Key” is another one of those obscure, one-album gems. It is keyboard, bass, and drum, with emphasis on keyboards. There is some sparsely used guitar, but you’ll have to listen closely to find it.

The obvious influences are Deep Purple (they even do a little homage in the middle of “Got the Feeling”), and especially E.L.P. Where E.L.P. would lighten the mood with an occasional novelty song, this band is able to maintain a bit of lightheartedness throughout. 

This is not to say it isn’t serious music. There are times that even get a bit dark. The overall sense is that these guys refuse to take themselves too seriously. What all this means is that “First Key” is a lot of fun to listen to.

The music is complex, but very accessible. These are three talented musicians. The keyboards are immediately obvious, but the drums and bass almost take you by surprise. The music flows along, and then suddenly I notice how tight the drum part is. In the next moment, a machine gun bass line grabs my attention. The vocals could be stronger. 

Sometimes the accent is a bit heavy, and the mix is too low. However, it doesn’t detract from the enjoyment. But enough of that, it’s not wise to dissect it too much. As I said, this is fun stuff. Best to let the whole experience flow over you.

The basic sound may be derivative, but the attitude is genuine. It’s too bad they only recorded one album. An entire career by Amos Key could have been something special. Try to find it if you can. It may not be essential, but it would definitely enhance any prog collection.

■  Thomas Molin - keyboards, vocals 
■  Andreas Gross - guitar, bass, vocals
■  Lutz Ludwig - drums 

01. Shoebread  04:05
02. Ensterknickstimmstamm  03:28
03. Knecht Ruprecht  04:50
04. Sometimes...  01:55
05. Got The Feelin  03:10
06. Escape  04:00
07. Important Matter  05:55
08. Dragon's Walk  05:25
09. First Key  02:56

1. Amos Key
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2. Amos Key
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3. Amos Key

It's time again, for me and for all other upload Blogs = Use our comment Section for a short "thank you" or your album review

You, yes YOU. Just you who always download from blogs and never have used ours comment section. 

Do you think it's funny for us Blog owners to add album after album just FOR YOU and nobody, will write a little word, like "THANK'S".

We have the original album, rip it, scan the artwork, looking for a review and upload it on our Blogs.

This take alot of time, so a comment is a nice thing to do for us, remember that.

//ChrisGoesRock

Joy - Ride Alone (Psychedelic Retro-Heavy US 2016)

Size: 98.5
Bitrate: 320
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Ripped by ChrisGoesRock
Artwork Included

San Diego trio Joy made their debut on Tee Pee Records in 2014 with their second album overall, Under the Spell of…, a jammy, boogie-loaded outing that seemed to distill much of what has become identified with the boom in Californian heavy, particularly centered around San Diego in bands like Radio Moscow and Earthless. Joy‘s exclamatory third LP, Ride Along!, continues the thread, features contributions from members of those two outfits as well as labelmates Sacri Monti, and refines the band’s approach both in its making — guitarist/vocalist Zach Oakley also stepping up to produce at San Diego’s Audio Design Studios — and in style, Oakley, returning bassist Justin Hulson and new drummer Thomas DiBenedetto (also Sacri Monti) stripping away some of the expanse songs on their last outing offered in favor of a more straightforwardly structured approach, if one still presented through torrents of winding blues riffs, fervent psychedelic boogie and heavy-minded grooves.

The elements are familiar — guitar, bass, drums, vocals, a flash of organ on “Red, White and Blues” and elsewhere, acoustics on “Peyote Blues,” etc. — but it’s the energy Joy bring to their delivery and the turns their material makes that ultimately distinguish them from the crowded West Coast heavy sphere, and in accordance with being of their place and of the heavy ’10s pastiche, Ride Along! issues an invitation that’s hard to refuse as it careens through its 10-track/40-minute run with little care for what or whom it leaves in its dust.

Joy is an honest to goodness, blown-out blues band. They’re like a ZZ Top tribute band sucked through a time warp vacuum and then played at warp speed. And what do you know; the album’s centrepiece is a cover of “Certified Blues,” which Joy nail’s like Steven Tyler did his groupies.  The solos run wild and literally scream to be set free. 

Aside from this, Joy’s sound leans heavily on the fact that they constantly feel as if they’ll fishtail off the road, but always manage to regain control of the vehicle right before it happens. Indeed, whether it is their singer Zachary Oakely and his apparent mission from God to blow out his voice, or how the guitars flirt with the idea of diving headfirst into self-absorbed freak outs, or how the band is trying really, really hard to damage every speaker they get played through, drummer Thomas DiBenedetto underpins things, by pounding out a temperamental shuffle in an attempt to hold this whole shebang together.

So yeah, take Death Alley, mash it up with ZZ Top, and drop Joy like an atomic bomb in our modern age of upbeat, fuzzy blues rock and you’ve got an idea of what’s going on.   Joy‘s fleet-footed turns, their catchy songs, their balance between tripped-out effects and air-tight performances assure that, once again, they live up to their name.

The sound of JOY has been described as “a spaced-out sonic groove-ride" and "outer reach freak out,” but that hyperbole alone doesn't do justice to the group’s measured mode of attack. JOY puts a premium on establishing both structure and dynamics, its kaleidoscopic flurry and full-throttle riffage is anchored by both subtle detail and surprising textural depth.

Record Collector says that JOY "take the blues about as far out as they can stretch 'em and they're far more psychedelic than a band like Blue Cheer ever was, even in their most lysergic moments," a claim that can be debated by those whom have seen JOY share the stage with acts such as Dead Meadow, Harsh Toke, Hot Lunch, Sacri Monti and at last year's well-documented west coast tour with psychedelic giants (and new labelmates) Earthless. Prepare to fall under the spell of JOY!

JOY are a band whose stylistic agenda is very pure: they live to re-create the sound of some reefer-addled dude's record collection in 1972. And between the buzzy guitar heroics, the deep bubbling bass, and the flanged drum tracks, JOY not only match their obvious inspirations, they occasionally beat them at their own game. 

After drafting their statement of purpose with their 2014 debut, Under the Spell of JOY, the group is back and once again in powerful form. There isn't a massive degree of creative growth on JOY's second long-player, Ride Along!, but the band does sound notably tighter and hotter this time out. JOY's attack is no less heavy here, but the songs are a bit shorter and they get to the point with improved speed and precision. 

Zachary Oakley's guitar is full of flash and thunder, but he also riffs with a decisive sense of wah-wah-infused purpose. And the feisty bark of his vocals fits the songs like a tube sock. Justin Hulson's animated bass patterns fill their space beautifully, and new drummer Thomas DiBenedetto can hit hard while staying limber, rolling and tumbling without losing the backbeat. JOY's performances on Ride Along! are busy, but busy with deliberate focus, sending their collective noise-making skills down the highway like a biker gang looking for some scary fun. 

(They also had the good sense to bring along some like-minded pals for the trip. Parker Griggs of Radio Moscow and Brenden Deller of Sacri Monti join Oakley for additional guitar swagger, while Mario Rubalcaba from Earthless adds his percussion knowhow.) If Ride Along! isn't necessarily better than Under the Spell of JOY, at the very least it's just as good, and more ambitious too. JOY may prefer the sounds of the past to the present, but they also have enough skill to have a future in it. In short, Ride Along! rocks; listen loud and you'll like it.

◊ Zachary Oakley - Guitar, Vox
◊ Justin Hulson - Bass
◊ Thomas DiBenedetto - Drums

01. I’ve Been Down (Set Me Free) 
02. Misunderstood 
03. Evil Woman 
04. Going Down Slow 
05. Certified Blues (ZZ Top) 
06. Help Me 
07. Red, White and Blues 
08. Peyote Blues 
09. Gypsy Mother’s Son 
10. Ride Along! 

1. Ride Alone
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2. Ride Alone
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3. Ride Alone

Joy - Under the Spell (2nd Album Psychedelic Retro-Heavy US 2014)

Size: 110 MB
Bitrate: 320
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Ripped by: ChrisGoesRock
Artwork Included

The gnarly flows like wine all through Joy‘s Tee Pee Records debut, Under the Spell Of…, and the trio rip into an assortment of classic heavy rock jams comprised of tripped out explorations, psychedelic and organic in kind. A trio based out of San Diego, the bluesy circles they run offer a touch of earlier Radio Moscow, but with longer songs — all but two over six minutes and one of those is the album’s intro — Joy distinguish themselves with a raw sense of killing it for the sake of killing it, and the only real question is whether they named themselves after the joy they get in creating this sonic thrust or the joy they give crowds lucky enough to watch them do it. Maybe both.

Guest spots show up throughout Under the Spell Of…‘s eight tracks/46 minutes including Hawkwind‘s Nik Turner, Parker Griggs of the aforementioned Radio Moscow and Astra‘s Brian Ellis, who also produced, and each of them mesh smoothly with the classic power trio dynamic of guitarist/vocalist Zach Oakley, bassist Justin Holson and drummer Paul Morrone, honed over the two years since they made their self-titled, self-released debut in shows alongside the likes of Earthless, Harsh Toke and Mystery Ship. 

To wit, an early groover like “Evil” subtly draws back the initial charge of “Miles Away” and “Confusion,” setting up the later boogie of “Driving Me Insane,” which smooths progressive shifts in tempo and rhythm with tossoff-style ease. 

Supreme shuffle ensues, and after the quieter, semi-acoustic sojourn “Death Hymn Blues,” closer “Back to the Sun” feels like a victory lap touting the parsecs traveled since the record’s psyched-out launch in the intro “Under the Spell” and “Miles Away. ”Under the Spell Of… doesn’t make a show of nuance, but it’s there for those who want to hear it, nestled into the airtight, live-sounding performances, particularly West Coast take on heavy psych and blown out echoes of “Miles Away,” which you can hear on the player below. Its seven minutes only comprise a small piece of what Joy have to offer, but I think you’ll find it’s almost impossible not to get lost in it once you start out, and in that, it definitely represents the spell that trio are looking to cast.

Southern California psychedelic savages JOY have signed to Tee Pee Records! The sound of JOY has been described as "a spaced-out sonic groove-ride" and "outer reach freak out", but that hyperbole alone doesn't do justice to the group's measured mode of attack. 

JOY puts a premium on establishing both structure and dynamics, its kaleidoscopic flurry and full-throttle riffage is anchored by both subtle detail and surprising textural depth. Record Collector says that JOY "take the blues about as far out as they can stretch 'em and they're far more psychedelic than a band like Blue Cheer ever was, even in their most lysergic moments," a claim that can be debated by those whom have seen JOY share the stage with acts such as Dead Meadow, Harsh Toke, Hot Lunch, Sacri Monti and at last year's well-documented west coast tour with psychedelic giants (and new labelmates) Earthless. 

The sound of JOY has been described as "a spaced-out sonic groove-ride" and "outer reach freak out", but that hyperbole alone doesn't do justice to the group's measured mode of attack. JOY puts a premium on establishing both structure and dynamics, its kaleidoscopic flurry and full-throttle riffage is anchored by both subtle detail and surprising textural depth. 

Record Collector says that JOY "take the blues about as far out as they can stretch 'em and they're far more psychedelic than a band like Blue Cheer ever was, even in their most lysergic moments," a claim that can be debated by those whom have seen JOY share the stage with acts such as Dead Meadow, Harsh Toke, Hot Lunch, Sacri Monti and at last year's well-documented west coast tour with psychedelic giants (and new labelmates) Earthless.

01. Under The Spell Of 01:36
02. Miles Away 07:03
03. Confusion 07:40
04. Evil 06:31
05. One More Time 06:16
06. Driving Me Insane 06:03
07. Death Hymn Blues 03:36
08. Back To The Sun 07:15

1. Under The Spell
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2. Under The Spell
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3. Under The Spell

Joy - Selftitled (Psychedelic Retro-Heavy US 2012)

Size: 86,7 MB
Bitrate: 320
mp3
Ripped by: ChrisGoesRock
Some Art Included

Southern California psychedelic savages JOY have signed to Tee Pee! The sound of JOY has been described as “a spaced-out sonic groove-ride" and "outer reach freak out."

JOY are a blues based heavy psychedelic rock band from San Diego, California. If you are into "heavy" acid rock sounds like Blue Cheer, MC5, The Stooges, The Amboy Dukes from the late 60's, then you will like JOY.

One listen to the song, "Lovin' Man", will tell you what ride you are in for. If you are looking to fry your brain, or plaster your ass against the wall, then look no further than this bundle of "JOY" from 2012! 

Warning: You will be deaf after listening to this album! Just thought I'd warn ya..... A MUST HAVE, believe me.

♫♪ Zachary Oakley - Guitar, Vox
♫♪ Justin Hulson - Bass
♫♪ Thomas DiBenedetto - Drums

01. Save My Soul 07:53
02. Help Me 02:56
03. Lovin' Man 05:19
04. Cadillac Blues 02:03
05. Evil Woman 04:09
06. Long Time Blues 05:17
07. I Need You 03:54
08. Been So Long 06:09

1. Joy 2012
or
2. Joy 2012
or
3. Joy 2012
or
4. Joy 2012