Various Artist - Hard Rock Underground Scene UK 1968-73

Size: 535 MB

Bit Rate: 320

mp3

Found in DC++ World

Artwork Included

A new 3-CD box from Grapefruit Records is a loud re-mastered gem, a perfect accompaniment to the first volume three years ago featuring (most of) the usual heavyweights on the scene balanced with demo-only bands who shared their gigs. An excellent 53-track panorama of ‘freak’ music from 1968-73: Edgar Broughton Band, Arthur Brown, Sam Gopal (with ex-Hendrix roadie Lemmy) etc, no Pink Fairies but Deviants, no Hawkwind but stable-mates/fellow-travellers High Tide jamming par excellence. 

Freak-sounds from the underground of Ladbroke Grove and central London (Middle Earth, Temple in the Marquee’s street) along with nationwide free festivals are well-represented: as David Wells’ short intro says, these are the bands that shook the walls of towns up and down the country. More hair here than a yak high in Nepal cavorting in a fancy wig.

Talking of the booklet (an arti-fact in its own right) this reviewer is unsure why so many negative terms are used: “Neanderthal”, “catatonic”, “semi-articulate”, “sonic excesses”, “Cro-Magnon classics”, “terminally obscure” really, today? “Sab or Zepp wannabees”, the term wasn’t even coined until later, and doesn’t reflect the counter-culture’s magazines, gigs or ethos, not as I recall anyway. 

It was a time of boundary-breaking, thanks partly to developing sound systems and wider issues of course. Not a whiff of the peculiar idea of a tribute band, except the Beatles and Stones to themselves of course. We know Americanese has a difficulty filtering nuance of language—collaboration for Christ’s sake?! It’s negative—but this is a British compilation, not even English only. The booklet is otherwise superb, handy too in that it follows track order rather than alphabet.

It appropriately leaves the traps blazing with Budgie’s first album that became a template for later decades. The now-renowned on CD-1 sees an unusually heavy Jeff Beck and also Love Sculpture (featuring Dave Edmunds) for a razor-sharp, much-covered hit ‘Sabre Dance’ that began as an Armenian ballet overture (and covered on an LP for 11 minutes, ouch), Stray from an early session released only on CD, Sam Gopal’s percussion-swirling and bass-plucked ‘Horse’ earmarked for a single that never left the stable, and The Move when hairier with Wood and Lynne on board: almost sing-along, I’m told by an expert they were much heavier live though this packs a punch too. 

For gig-liggers or later vinyl collectors there is the always-fun solo-boggling Patto (more abrasive than usual from their post-Vertigo days on Island), clanking bullet-driven Leaf Hound, the Stray-like Slowload, the tasty twin-guitar power chords with melodic interludes of Cactus-like Orang-Utan, Arthur-Brown-like Monument, and one of the two best tracks by Ancient Grease alongside a solo-typhoon by Andromeda.

There’s also a rare seven-minute outing for Sam Apple Pie, who were at the first Glastonbury and later part of Atomic Rooster: they were always creatively original (heavy surf here?), Quo did parallel experiments later. Other longer tracks include Iron Claw (after King Crimson’s killer lyric), echoey, reverb-drenched, brutally menacing as a garotte, uplifting as a scaffold on the dawn skyline with a pounding drum outro and Bodkin, an organ-washing hard guitar quintet with thoughtful lyrics on reality t’boot. 

Stack Waddy contribute ‘Rosalyn’ (I’d have thought ‘Hey Mama Keep Your Big Mouth Shut’ more in-keeping, but I’m a nit-picker, by profession) though the stand-out surprise is the unbelievable pile-driver boogie Wicked Lady: forget butter, this cuts rivetted titanium! If you ever found Agnes Strange, this would be a similar reaction. Guitarist Martin Weaver told Psychedelic Baby recently that Wicked Lady were always a live band first because they saw recording as sterile. Living in Bulgaria today, he is starting a band with two other Martins! A true tour de force power trio.

CD2 features the longest track by Atomic Rooster, all spooky piano and effects as classic hard-driven keyboard rock from an LP that spawned a hit single (‘Tomorrow Night’); Edgar Broughton’s ‘Apache Dropout’ (not ‘Keep Them Freaks A Rollin’?) which almost hit the top 30 with a mash of Shadows and Beefheart; The Deviants’ rumbustious experiment ‘Somewhere To Go’ pointing to the Fairies (it was founder late Mick Farren who said they split because the others wanted to sound like Zeppelin), plus Alex Harvey’s pre-Sensational Band Tear Gas who rock in Hendrix-style: Regal Zonophone without a hit was always going to be like playing tennis with a hole in the racket.

There is also the Gurvitz brothers’ Three Man Army (yes, they were English) before fame with Ginger Baker. The Manchester band NSU only did one LP, on Stable, as did Red Dirt (at the time) on Fontana, Pluto (on Dawn), the crunching feedback riffing Human Beast (on Decca), Mouse (on Sovereign) with a long build-up to a spacey boogie, and Dogfeet (formerly Sopwith Camel) but there are also acetate-only The Rats (featuring a near-pubescent Mick Ronson of Bowie and Hoople fame), Dark (whose LP is among the rarest and later featured 

Wicked Lady guitarist Martin Weaver), Purple Haze (later Transatlantic’s Little Free Rock), Tonge, and the German-only released Glasgow-based Sunday. It closes with the even higher-octane Quo-like Freedom from their own Vertigo LP: not to be listened to if your head’s not adequately screwed on!

And nuggets continue to be unearthed on CD3. Headliners such as High Tide from their debut Sea Shanties of 1969, bleak lyrics for doom-and-multi-laden rocking; the early ’68, more driving non-orchestral demo of ‘Fire’ by The Crazy World of Arthur Brown; Glaswegians Stone The Crows from the third of their four LPs, featuring Scotland’s own Janis Joplin in Maggie Bell and also Alex Harvey’s brother, in an organ-led rocker. 

Warhorse loom from their Vertigo days and more guitar-based second LP, formed by ex-Deep Purple (’69) bassist Nick Simper who was also in The Flowerpot Men with Jon Lord (hear Simper’s recent work on Angel Air Records); some heady acid and riffing guitar in a near-eight-minute feast. 

They toured Germany and were on their T.V. before folding in ’74, splitting to work with Rick Wakeman on his hit album.

Who recalls the band often confused with others of the same name, Bullet? Here’s a B-side from Deep Purple’s short-lived label, ex-Atomic Rooster and Quatermass that became Hard Stuff as almost r ‘n’ r glam! No period comp would be spliff-worthy without Writing On The Wall, the Edinburghers moving to London when their manager opened the Middle Earth club—indeed they lived below its stage! ‘Lucifer Corpus’ was on the same-named label as its first 45 release before their acclaimed LP Power Of The Picts.

From the hard-working supporting cast come studio tricks galore from a Yorkshire co-operative that got on Peel’s Show (Lightyears Away); a Welsh trio rare as Dark for the same reason (a 99-copy only issue) who featured in a Melody Maker competition of 1971 and have been reissued on Light in the Attic Records: the misprinted acetate gave them their name, meant to be the last man on the moon, and a bit like Clear Blue Sky (Eugene Carnan); Hard Horse were on the same label as Incredible Hog and did other singles for the label; Tarsus were in the Northampton scene along with Wicked Lady and Dark but released nothing, a driving menacing raunch as unlike ELP as can be imagined.

Also featured are Natural Gas, who did two Peel sessions and have appeared on a bootleg beside pre-Black Sabbathers Earth; a band named after a locked facial expression whose 101-copy LP appeared on County Records (Sardonicus); and two rare bands involved with the Sentinel label (Frozen Tear; Thor) which was run as a ‘vanity’ enterprise from a series of West Country shops featuring mostly folk and brass bands (see this reviewer’s article for the Dust On The Nettles compilation). Thor are not the later Vancouver band, these also covered Chicago live! A rollicking version of ‘Paranoid’ is a good cover indeed. Another German-only release is Little Big Horn, formerly Tramline, on Bellaphon Records (Sunday, Diabolus, Steel Mill etc). 

Still going are Samuel Prody with their own website, yet another who never got their royalties though produced by a Tremeloes producer: ex-Sam Gopal Dream, a nice phased drum solo is rolled. The now-legendary 9.30 Fly contribute a post-LP demo from ’72, an original take on the blues classic ‘Hoochie Coochie Man’, and a combo also once with Sam Gopal known as Clark-Hutchinson lay an early ’69 blues ‘Someone’s Been At My Woman’, an ailment that came with the territory alas. Breathless stuff, reflecting this review!

The albums are well-worth getting as well, all are essential or as good as. Some laid the groundwork for much that came later and shows the depth of the compilers’ archeology. A couple are on the first collection, so why no 

Incredible Hog or Agnes Strange? And why no Irish e.g. the original Skid Row? Nevertheless, five stars because, quite frankly without earnest, a superb near-four-hour trip which in content and spectrum can literally take your breath away or leave you scuttling around for your jaw. No frills, boas or pop. 

Rare for second compilations, some might say it even eclipses the first. With live-shot sleeves and forty-page compendium of facts and period art, this is one of the best box-sets of the genre on the market… ever. Now, why’s my Horlicks cold?

– Brian R Banks

Disc 1:

01. Budgie - "Guts"

02. Jeff Beck - "Shapes Of Things"

03. Wicked Lady - "Run The Night"

04. Stray - "The Man Who Paints The Pictures"

05. Slowload - "Rosie"

06. The Move - "Turkish Tram Conductor Blues"

07. Orang-Utan - "Chocolate Piano"

08. Iron Claw - "Clawstrophobia"

09. Bodkin - "Plastic Man"

10. Andromeda - "Let's All Watch The Sky Fall Down"

11. Ancient Grease - "Mother Grease The Cat"

12. Stack Waddy - "Rosalyn"

13. Sam Gopal - "Horse"

14. Love Sculpture - "Sabre Dance"

15. Monument - "Dog Man"

16. Leaf Hound - "Freelance Fiend"

17. Patto - "Loud Green Song"

18. Sam Apple Pie - "Winter Of My Love"

Disc 2:

01. Tear Gas - "Woman For Sale"

02. Atomic Rooster - "Death Walks Behind You"

03. Edgar Broughton Band - "Apache Dropout"

04. NSU - "Turn On, Or Turn Me Down"

05. Red Dirt - "Brain Worker"

06. The Rats - "Early In Spring"

07. The Deviants - "Somewhere To Go"

08. Dogfeet - "Armageddon"

09. Pluto - "Down & Out"

10. The Human Beast - "Brush With The Midnight Butterfly"

11. Dark - "RC8" (demo version)

12. Purple Haze - "Wait A While"

13. Three Man Army - "Daze"

14. Tonge - "Old Father Time"

15. Mouse - "Ashen Besher"

16. Sunday - "Fussing & Fighting"

17. Freedom - "Going Down"

Disc 3: 

01. High Tide - "Futilista's Lament"

02. Lightyears Away - "Yesterday"

03. Samuel Prody - "Woman"

04. Eugene Carnan - "Confusion"

05. Hard Horse - "So Long I'm Moving On"

06. The Crazy World Of Arthur Brown - "Fire!" (demo version)

07. Tarsus - "Early Morning Sun"

08. Natural Gas - "Is There Any Doubt?"

09. Warhorse - "Back In Time"

10. Little Big Horn - "Name Of The Game"

11. Bullet - "Sinister Minister"

12. Frozen Tear - "I Need Someone"

13. Sardonicus - "The Nymph"

14. 9.30 Fly - "Hoochie Coochie Man"

15. Clark-Hutchinson - "Someone's Been At My Woman"

16. Stone The Crows - "Big Jim Salter"

17. Thor - "Paranoid"

18. Writing On The Wall - "Lucifer Corpus"

Tracks taken:

Disc 1

1-1 from LP " Budgie " ( 1971 )

1-2 from LP " Truth " ( 1968 )

1-3 not originally issued, recorded 1969

1-4 not originally issued, recorded November 1968

1-5 previously unreleased, recorded 1971

1-6 from LP " Looking On " ( 1970 )

1-7 from US LP " Orang-Utan " ( 1971 )

1-8 not originally issued, recorded December 1970

1-9 from LP " Bodkin " ( 1972 )

1-10 not originally issued, recorded late 1969

1-11 from LP " Women And Children First " ( 1970 )

1-12 from LP " Bugger Off! " ( 1972 )

1-13 not originally issued, recorded late 1968

1-14 from single A-side ( 1968 ) Parlophone ‎– R 5744

1-15 from LP " The First Monument " ( 1971 )

1-16 from LP " Growers Of Mushroom " ( 1971 )

1-17 from LP " Roll 'Em Smoke 'Em Put Another Line Out " ( 1972 )

1-18 from LP " Sam Apple Pie " ( 1969 )

Disc 2

2-1 from LP " Tear Gas " ( 1971 )

2-2 from LP " Death Walks Behind You " ( 1970 )

2-3 from single A-side ( 1970 ) Harvest ‎– HAR 5032

2-4 from LP " Turn On, Or Turn Me Down " ( 1969 )

2-5 from LP " Red Dirt " ( 1970 )

2-6 not originally issued, recorded November 1969

2-7 from LP " Disposable " ( 1968 )

2-8 from LP " Dogfeet " ( 1971 )

2-9 from LP " Pluto " ( 1971 )

2-10 from LP " Volume One " ( 1970 )

2-11 not originally issued, recorded October 1971. Demo version

2-12 not originally issued, recorded early 1969

2-13 from LP " A Third Of A Lifetime " ( 1971 )

2-14 previously unreleased, recorded 1971

2-15 from LP " Lady Killer " ( 1973 )

2-16 from German LP " Sunday " ( 1971 )

2-17 from LP " Is More Than A Word " ( 1972 )

Disc 3

3-1 from LP " Sea Shanties ( 1969 )

3-2 from LP " Astral Navigations " ( 1971 )

3-3 from German LP " Samuel Prody " ( 1971 )

3-4 not originally issued, recorded March 1972

3-5 from single B-side of " (Get It) Up Down " ( 1972 ) DART ‎– ART 2012

3-6 not originally issued, recorded circa March 1968. Demo version

3-7 previously unreleased, recorded May 1971

3-8 previously unreleased, recorded 1972

3-9 from LP " Red Sea " ( 1972 )

3-10 from German LP " Little Big Horn " ( 1971 ) Bellaphon ‎– BLPS 19067

3-11 from single B-side of " Hobo " ( 1971 ) Purple Records ‎– PUR 101

3-12 previously unreleased, recorded October 1969

3-13 from single A-side ( 1973 ) County Recording Service ‎– COUN 240

3-14 previously unreleased, recorded circa August 1972

3-15 not originally issued, recorded March 1969

3-16 from LP " Teenage Licks " ( 1971 )

3-17 previously unreleased, recorded circa October 1970

3-18 from single B-side of " Child On A Crossing " ( 1969 ) Middle Earth ‎– MDS.101

Part 1: Underground Scene

Part 2: Underground Scene

Part 3: Underground Scene

or

Part 1: Underground Scene

Part 2: Underground Scene

Part 3: Underground Scene

or

Part 1: Underground Scene

Part 2: Underground Scene

Part 3: Underground Scene

Papa Bears Medicine Show - At the Retinal Circus (Live US 1970)

Size: 123 MB

Bit Rate: 256

mp3

Ripped by: ChrisGoesRock

Artwork Included

Recorded 1968-70, completely unknown LP, only 100 copies pressed as demo only, 2 originals known to exists, Psychedelic-Pop, Great vocals, chorus in Pepper-style, wild pumping organ, beautiful guitar, catchy songs, 

First time officially (=legally) released. Live recording from some when end of the sixties from Vancouver - a band sounding like a merge of Doors & Lovin' Spoonful without organ.

First time on CD (in 2003) for this legendary band that existed from 1967-1969. Their only album was actually a bootleg, made in 1970 in an edition of 105 copies. This is different material entirely from that original album, recorded in 1968 in Vancouver's main psychedelic venue, the Retinal Circus. Good soundboard sound and music in the vein of the Doors, Lovin' Spoonful with a touch of old timely music thrown in. 

01. Slow Moshun - 3.54

02. Vic's Song - 4.08

03. Georgie - 3.58

04. All Day Long - 2.25

05. Damage - 4.02

06. Love is Somewhere - 4.18

07. I'll Never Forget Bill Johnson - 1.38

08. I Guess That's O.K - 4.00

09. Wait and See - 4.56

10. The Reason Why - 13.02

11. Here Come the Medicine Show - 3.54

12. Miles High - 9.05

13. Baroque - 2.34

14. Alabama Song - 3.30

15. Hall of the Mountain King - 0.31 

1. Papa

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2. Papa

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3. Papa

Jim Ford - Harlan County (Rare US Country-Soul-Funk 1969) <<------------- Not to be missed!

Size: 145 MB

Bit Rate: 256

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Ripped By: ChrisGoesRock

Artwork Included

Originally from New Orleans, Jim Ford lost interest in his academic pursuits and, in 1966, drifted out to California. He was passing through L.A., on his way to the Haight-Ashbury district in San Francisco, when he met two session musicians, Pat and Lolly Vegas. The Native American rockers — who later formed the commercially successful Redbone — had worked on the Shindig television show at the time, and had already recorded their Pat and Lolly Vegas at the Haunted House album for Mercury. After hearing his songwriting talent first-hand, the Vegas brothers brought Ford to the attention of Del-Fi Records' honcho Bob Keane, known around the L.A. music scene for his "open door policy." Keane released a couple of Ford's singles on Del-Fi's Mustang label, both of which sank without a trace. Del-Fi/Bronco recording artist Viola Wills also recorded one of his songs. Along with Pat and Lolly Vegas, Ford wrote the P.J. Proby hit "Niki Hoeky" (it peaked at number 23 on Billboard's pop charts in January 1967), which Ford's former girlfriend Bobbie Gentry also sang on one of her later albums. In 1969, Ford got the opportunity to record his debut album. Harlan County (released on the Sundown label, a small subsidiary of White Whale) featured funky, mid-tempo country, and R&B-flavored rockers with a driving Muscle Shoals-style rhythm section, with backing and arrangements by the Vegas brothers and Gene Page. 

Most of Ford's original songs had a lyrical narrative recalling the hardship of growing up in the coal-mining country of Harlan County, KY. Among the various highlights are his fuzz-drenched cover version of Willie Dixon's "Spoonful," his take on Delaney & Bonnie's hip-shake boogie "Long Road Ahead," and a remake of the swampy classic "I'm Gonna Make Her Love Me ('Til the Cows Come Home)." In 1971, Ford's manager, Si Waronker (founder of Liberty Records), flew his artist to London, where he was booked into Olympic Studios to record a follow-up album. This time he was backed by pub rockers Brinsley Schwartz (they later recorded "Niki Hoeky" and Ford's "Ju Ju Man"; Nick Lowe also recorded Ford's "36 Inches High" for his Jesus of Cool album). After three days of sessions, the band failed to keep up to the challenge of backing Ford, so Waronker brought in Joe Cocker's Grease Band, but they too didn't work out. As the project never did quite meet up to everyone's expectations, it was eventually aborted. The tapes for these sessions have reportedly disappeared. 

Ford returned to the U.S. and his career never really took off as expected. He wrote songs for Bobby Womack in 1972 (including the wonderful "Harry Hippie"), and later worked with friend Sly Stone (he even moved into Stone's Holmby Hills home for awhile), but since the early '70s, Ford has slipped out of sight.

The legendary ''Harlan County'' album, PLUS rare singles and previously unreleased masters! The first and last word on an underground roots music legend! Jim Ford’s original album from 1969 has been described as the holy grail of country soul. Contains extensive liner notes that for the first time ever- tell the whole Jim Ford story. Includes ten previously unreleased recordings recently discovered at Ford's home. Only available here. Includes five songs from Jim Ford's ultra-rare 45rpm singles, never released on CD before. Previously unpublished photos personally supplied by Jim Ford. Jim Ford is the composer of Aretha Franklin and PJ Proby’s 'Niky Hoeky', Bobby Womack's 'Harry Hippie', and - as revealed in the liner notes- he also wrote Bobbie Gentry's 'Ode To Billie Joe'.

This is essential for any lover of late 60's, early 70's country-soul-funk. Amazingly, his album "Harlan County" has never received the attention it deserves. I heard of this through a friend. Nick Lowe confirms in the wonderful liner notes that Jim Ford was his biggest influence. As a huge Nick fan, it seems appropriate to dig into this stuff. The CD is in a great digipack form and includes an in-depth story and interview with Jim Ford by a guy from Sweden. So Jim is alive and well to appreciate this overdue collection. 

The "Harlan County" record features a great band. It was recorded in 1969 and includes James Burton - he's played with Ricky Nelson, Elvis Presley, Gram Parsons, Jerry Lee Lewis, Elvis Costello, Roy Orbison and tons others, Jim Keltner on the drums - who I've long adored as a drummer laying down possibly his best drum beats in 1969!! If you do a search on Keltner you'll see an incredible list or artists that he's played with and made their records better. Amazingly, not many Keltner discographies even mention this record! I've heard many Keltner performances - this is my favorite! Also features Dr. John on piano and keyboards. What's not to like with that band? Then the songs kick in. The title track is a classic romp through Jim's childhood in the coal mining hills of Kentucky. The rest of the album builds with slower tunes like "Changing Colors" which includes a lo-fi sound, but with string section and Jim singing wonderfully almost in a Glen Campbell style. Another classic is "Love On The Brain". Man, a great groove ala the Stones. Then it goes into overdrive with "Long Road Ahead", "Under Construction" and "Working My Way To L.A.". You won't hear three more soulful groovin', yet hard hittin' tunes in a row. Once again, I've never heard such impassioned drumming from Keltner! The album finishes up with a scathing take of "Spoonful" (the old Howlin' Wolf tune) and then Jim really lays out every bit of his vocal with "To Make My Life Beautiful". And that's just the "Harlan County" record. The rest of the tunes show more promise and get stuck in your head quite easily. "Big Mouth USA" is just classic country ala "Harper Valley PTA". "Ten Inches High" is a song I'd originally heard covered by Nick Lowe. 

Jim's version will give you chills. I'm not going song by song, but all of these rare tunes and outtakes ending with his first single "Hangin' From Your Lovin Tree" make this release ideal to any "real" lover of country-soul music! The interview and story with the CD are interesting. Sounds like a few breaks here or there - especially missing out on signing with Atlantic w/ Jerry Wexler (the classic producer of Willie Nelson etc.) hurt Jim's chances of making a great career. There may be more tapes out there with more tunes in hopes of unearthing for another lost Jim Ford collection. 

This is the stuff of legends. But it's real - it's here. Pick it up. It's fantastic! (By  Spencer Marquart (St. Louis, MO USA)  

01. Harlan County  

02. I'm Gonna Make Her Love Me  

03. Changing Colors  

04. Dr Handy's Dandy Candy  

05. Love On My Brain  

06. Long Road Ahead  

07. Under Construction  

08. Working My Way To L.A.  

09. Spoonful  

10. To Make My Life Beautiful

Bonus Tracks  

11. Big Mouth USA  

12. 36 Inches High  

13. Sounds Of Our Time  

14. Chain Gang  

15. I Wonder What They'll Do With Today  

16. Go Through Sunday  

17. She Turns My Radio On  

18. Mixed Green  

19. Happy Songs Sell Records, Sad Songs Sell Beer  

20. It Takes Two (To Make One)  

21. Big Mouth Usa  

22. Rising Sign  

23. Linda Comes Running  

24. Ramona  

25. Hanging From Your Lovin' Tree  

1. Jim Ford

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2. Jim Ford

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3. Jim Ford

dBPowerAMP Music Converter™ 17.3 Reference (72.7 MB)

Audio conversion perfected, effortlessly convert between formats. dBpoweramp contains a multitude of audio tools in one: CD Ripper, Music Converter, Batch Converter, ID Tag Editor and Windows audio shell enhancements. Preloaded with essential codecs (mp3, wave, FLAC, m4a, Apple Lossless, AIFF), additional codecs can be installed from [Codec Central], as well as Utility Codecs which perform actions on audio files. After 21 days the trial will end, reverting to dBpoweramp Free edition. dBpoweramp is compatible with Windows 10, 8, 7, Vista, both 32 and 64 bit.

dBpoweramp Music Converter features:

• Convert audio files with elegant simplicity. mp3, mp4, m4a (iTunes / iPod),            Windows Media Audio (WMA), Ogg Vorbis, AAC, Monkeys Audio, FLAC, Apple      Lossless (ALAC) to name a few!

• Multi CPU Encoding Support

• Rip digitally record audio CDs (with CD Ripper)

• Batch Convert large numbers of files with 1 click

• Windows Integration popup info tips, audio properties, columns, edit ID-Tags

• DSP Effects such as Volume Normalize, or Graphic EQ [Power Pack Option]

• Command Line Encoding: invoke the encoder from the command line

• DSP Effects - process the audio with Volume Normalize, or Sample / Bit Rate         Conversion, with over 30 effects dBpoweramp is a fully featured mp3 Converter

• dBpoweramp integrates into Windows Explorer, an mp3 converter that is as          simple as right clicking on the source file >> Convert To. Popup info tips, Edit   ID-Tags are all provided.

dBpoweramp Music Converter 17.3 changes:

★ New Low Pass filter code, does not attenuate lower frequencies

★ New DSP effects: High pass, and Bandpass filters

★ wavpack updated to 5.4.0

★ CD Ripper: Added Catalog # to the new tags list. Also sorted the list.

★ CD Ripper: Added secure option to mark track as error 'if not verified by  accuraterip'

★ CD Ripper: filename column - if multi encoder then says for each track {multi-      encoder cannot show filename}

★ CD Ripper: will show error if try to use Multi Encoder with '[sourcexxx]'      naming elements  

★ ID Tag Processing DSP: 'delete all' and 'all except' actions are removed for     naming processing 

★ Tag editor when choosing art from internet, if does not have album title then     track name is used instead

★ Multi Encoder: removes the 'As Source' naming options multi-encoder naming     selection

★ ID3v2 tags: updated itunes compilation field handling, supports multi-value TLAN + TPUB   

★ APEv2 tag: properly remove multiple album art entries

Fixes: 

♦ Bug fix: property handler and thumbnail provider would not read the tag if in    process tag reading was checked

♦ Bug fix: Choosing After Conversion >> 'shutdown / hibernate / etc' would not happen unless 'skip finish' as also selected

♦ Bug fix: can write DSD tags when ripping to ._ files

♦ Bug fix: CD Ripper: ID Tag processing DSP effect was not being used to pre- process the ID Tags when creating filenames with [Multi Encoder]

♦ Bug fix: Music Converter: ID Tag processing was not being used for Multi- encoder

1. dBPowerAMP

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2. dBPowerAMP

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3. dBPowerAMP

Magic - Enclosed (Very Good Psych-Rock US 1969)

Size: 144 MB

Bit Rate: 320

mp3

Ripped by: ChrisGoesRock

Artwork Included

Hideously rare 1969 album by this US band. Psychedelic and bluesy West Coast sound with ripping fuzz guitar much in the vein of Crazy Horse, Quicksilver, "Vindicator" era Arthur Lee and the likes. The 12-minutes long "I'll just play", full of endless dual guitar attacks & effects is the ultimate acid-rock jam.

Enclosed was the title of Magic's debut album released in 1969, and this Gear Fab reissue by the same name includes the entirety of that debut, but also adds a 1968 single from the original lineup and songs from the 1971 sessions on Motown imprint Rare Earth that culminated in their second self-titled album, so it really can be considered the definitive document of the band. 

On the original single, the band leaned toward rock & roll that was very much informed by black music -- one side was a cover of the Otis Redding classic "That's How Strong My Love Is," the other a Duane King original that Sam & Dave could have easily torn into; in fact, Magic, and particularly its most talented songwriter, King, displayed an almost magic knack for penning songs that sound like lost Southern soul classics. 

King's lead vocals could be strikingly bluesy, and the band cooks throughout the album, moving from the loping country-rock & soul of the opening track "Keep on Movin' On" to the electric blues of "Who Am I to Say?" to the sunny country-rock of "California" to the Stax-styled ballad, "You Must Believe She's Gone." Stax is, in fact, a good reference point for the entire debut album. 

The rhythm section consistently locks into a transcendent groove, and Joey Murcia's fabulous guitar work is slightly busier than Steve Cropper's but approaches the work of that legend, with a proper grit to it that is never wasted. It is surprising that Magic never quite found a wider audience. The final track from the first album, 

"Sound of the Tears Is Silent," sounds as if it could have come from the pen of Smokey Robinson, and it leads perfectly into the band's subsequent stint on Motown's Rare Earth label. Most of the songs from that period that show up on the Gear Fab reissue, however, seem to veer closer to streamlinened, hard blues-rocking territory (with a couple of country-ish cuts) and are, as a result, not quite as appealing as the previous soulful material. Still, the early Magic songs alone make this a welcome reissue, especially for lovers of Stax and Southern soul music. ~ Stanton Swihart

Magic Band is: 

♣ Nick King 

♣ Gary Harger 

♣ Duane King 

♣ Joey Murcia

01. Keep on Movin' On

02. Indian Sadie

03. You Must Believe She's Gone

04. Ets/Zero

05. Wake Up Girl

06. One Minus Two

07. Who Am I to Say?

08. I'll Just Play

Bonus Tracks

09. I Think I Love You (Single A-Side, 1970)

10. That's How Strong My Love Is (Single B-Side, 1970)

11. California - (previously unreleased)

12. Sound of Tears Is Silent - (previously unreleased)

13. I Do - (previously unreleased)

14. Hold Me Tight - (previously unreleased)

15. Compassion - (previously unreleased)

16. Be at Peace with Yourself - (previously unreleased)

17. Too Many People Starving - (previously unreleased)

1. Magic

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Impeccable - Live on The Rox (Superb Private Hardrock US -79)

Size: 101 MB

Bit rate: 320

mp3

Ripped by: ChrisGoesRock

Artwork Included

Impeccable was formed in late 1976, although they were known as Live Wire and then Axxe before they eventually settled on calling themselves Impeccable. Early on, they had the intention of being an original music outfit, so they started creating their own material almost from the inception. Most of the raw musical compositions were written by Darren Welch, and then vocalist Don Allison would put together the lyrics, and they'd all get together to construct and finalize the tunes. 

So, there was also input from drummer Morris Payne & bassist Richard Rico. They were influenced by groups such as Led Zeppelin, Rush, The Beatles, Wiggy Bits, Moxy, Hendrix, Trapeze & Black Sabbath. Sometime in 1978, they met Rusty Zavitson, who said he'd like to record the band. So, they ended up recording their debut single in Rusty's living room on a 4 track reel to reel and it was at this time they were known as Axxe. 

They pressed 1,000 copies of the single, issued with a picture sleeve featuring a group photo on front. These were distributed locally and sold at shows. They toured around Texas, New Mexico and Oklahoma shortly thereafter to support the release. The band did numerous shows at a club in Lubbock called The Rox, owned by Carlo Campanelli. 

This is where they decided to record the live show that would become the Live on the Rox album. It was at this time, they renamed the band Impeccable, after the classic Budgie album. They also happened to do several shows with Budgie & ended up becoming friends. They pressed up 1,000 copies of the Live on the Rox album under the GBC label. GBC wasn't a real label of any sort, it was just a fictional creation of Carlo, who loaned them the money for the pressing, he said it stood for Great Big Con.

Highly anticipated reissue of rare Texas hard rock private press record originally released in 1979. Loud, ferocious, untamed guitar work, courtesy of Darren Welch, dominates this Lubbock, Texas band's hard to find debut album. Impeccable deliver a massive dose of raw in-your-face rock and roll energy here, captured live in 1979 at a popular night club in Lubbock called The Rox. 

As a bonus, there are two tracks from the band's ultra-rare debut single from 1978 when they were still known as Axxe. This single is on a lot of collector want lists and is nearly impossible to find these days, even here in Texas. Includes liner notes and photos from the Impeccable archives.

01. Call of the Wild  03:51  

02. Traces of Time  04:07  

03. Seashore  05:34  

04. Lizzy  04:44  

05. Live Wire  03:49  

06. No Other Way  07:07  

07. Johnny B Goode  03:39

Bonus Tracks  

08. Axxe - Rock Away the City  03:09  

09. Axxe - Through the Night  05:55

1. Impeccable

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King Bison - 1 (Heavy, Bluesy, Riff Rock Band US 2014-16)

Size: 163 MB

Bit rate: 320

mp3

Ripped by: ChrisGoesRock

Some Artwork Included

King Bison, a heavy, bluesy, riff rock band from southeastern Pennsylvania.

Born from the ashes of a defunct local rock outfit Chris and Dean set out to create a new band that took elements from all the music they loved and combine it into one. After musicians coming and going they finally found fellow bandmate Jason who rounded out the line-up perfectly. Their take on some classics from the 70's is a revamping of energy and heaviness. Their originals harken back to that era in rock music adding a modern edge. Check out the band coming to a venue near you soon.

Not to be confused with New York’s King Buffalo, Michigan’s Bison Machine or any number of other large mammals in the well-populated fur-covered contingent of American heavy rockers, King Bison make their self-titled debut via Snake Charmer Coalition, comprising seven riffy bruisers owing a deep debt to Clutch and, in that, reminding a bit of their Pennsylvanian countrymen in Kingsnake. 

Songs like “One for the Money” and “March of the Sasquatch” signal a watch for stoner-roller grooves to come in “Queen of the South” and “Pariah,” the dudeliness of the proceedings practically oozing from the speakers in the gruff vocals of guitarist/vocalist Chris Wojcik, who’s joined in the trio by bassist Dean Herber and drummer Scott Carey. 

The penchant for booze and blues, ladies and US auto manufacturing holds firm in “Night Ride” and the slower “I’m Gone,” and while one might expect a closer called “Space Boogie” to flesh out a bit, King Bison instead reinforce the foundation they’ve laid all along of Southern-style heft, remaining light on pretense and heavy on riffs.

The Band:

♦ Chris Wojcik - Guitars, Vocals

♦ Dean Herber - Bass

♦ Jason Marshall - Drums

 

01. King Bison - Queen of the South  03.22

02. King Bison - Night Ride  03.49

03. King Bison - Road Without End  04.23

04. King Bison - One Step  04.29

05. King Bison - One for the Money  05.23

06. King Bison - March of the Sasquatch  04.21

07. King Bison - Pariah  05.05

08. King Bison - I'm Gone  03.40

09. King Bison - Space Boogie  03.59

10. King Bison - Odysseus  03.41

11. King Bison - Slaughter House  03.50

12. King Bison - One Foot  03.35

13. King Bison - Petra  03.50

14. King Bison - Dr. Strange  03.36

15. King Bison - Murder on High  05.08

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Ape Skull - Fields Of Unconscious (Retro Hardrock Early 70's) (Italy 2020)

Size: 127 MB

Bitrate: 320

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Ripped by: ChrisGoesRock

Artwork Included

Ape Skull were born in 2008. After various experiences with bands such as "Sciacalli" and "The Others", three friends start a project that plans to continue the path that is part of their background. Blues, Funk and Psychedelia are some of the ingredients that characterize their genre. Ape Skull are happy to present their third work "Fields Of Unconscious", produced by Ape Skull and Skronk Records.

After various experiences with bands such as "Sciacalli" and "The Others", three friends start a project that plans to continue the path that is part of their background. Blues, Funk and Psychedelia are some of the ingredients that characterize their compositions. 

The genre can essentially be called Rock! After the first two albums (Ape Skull and Fly Camel Fly, produced by Heavy Psych Records), Ape Skull are happy to present their third work "Fields Of Unconscious", produced by Ape Skull and Skronk Records. 

Here we find original songs that embody the sound of Ape Skull. It will also include, as in previous albums, a version customized by their sound in this case composed by The Jeronimo (1970). 

The Ape Skull's Rock still flies and lives in the present, with the ear turned to all the musical genres that inspired the musical revolution of the 60s and 70s.

The band is closer to the compositions inspired by Rock Funk and Psych Rock American and European groups such as Alamo, Jerusalem, Damnation Of Adam Blessing, Cream etc.. 

The desire to reproduce the sounds that characterized 1969 to 1972, about a golden age for rock music, are the basic inputs of the band. 

Ape Skull, after a single recording session of songs, recorded a full lenght album composed by 8 unreleased Hard Rock gems and a cover of "I got no time" from Orange Peel (Germany) for Heavy Psych Sounds Records.

The Band:

♦ Giuliano Padroni: drums, lead vocals, backing vocals

♦ Fulvio Cartacci: guitar, backing vocals

♦  Pastorelli: bass, backing vocals

01. Fields Of Unconscious 04:05

02. That's All I Want 06:55

03. Freedom 03:46

04. I'm Coming Home, Baby 04:10

05. Heya 07:12

06. Glory Days 06:17

07. Atom In The Sky 05:57

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