Temporal Sluts - Modern Slavery Protocol (Fast Energy Rock Italy 2016)

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Finally. After more than 20 years, Temporal Sluts are putting out their very first full length album: Modern Slavery Protocol, 10 songs of the same furious punk rock they've been playing since day one.

Born in Como in 1995, Temporal Sluts are veterans of the Italian punk rock scene with several 7"s and EP's released, a lot of European tours, and shows supporting legendary bands like Leaving Trains, Hypnotics, Humpers and Radio Birdman. Their name has always been well known among underground punk/rock&roll fanatics.

Temporal Sluts' line-up has been through a lot of changes during the last 20 years, but since 2014 they are rock solid: founding members Rob Slut and Killer Tony - voice and drums, Luca Slut - lead guitar, Steve - bass, Miguel Basetta - rhythm guitar.

Modern Slavery Protocol was recorded at New Recorded Studio in Como by Frederic Mazzei (guitarist of the Leeches, good ol' friends of Temporal Sluts). It's a straight in your face album, fast guitar-driven punk rock, certainly influenced by Stooges, Dead Boys, Saints, Lazy Cowgirls, Adolescents and New Bomb Turks, but definitely 100% sweaty Temporal Sluts.

This band starts kicking out in 1995, The Temporal Sluts realizes its first record, a 10" split with Californian The Humpers called "A touching date" (Hate records) after the American tour.
1996 is the year for the first album "Bad news never comes alone", celebrated with a live showcase in Milan together with the Empty Set, from Detroit (the band of Ron Asheton and Mike Davis).

Probably you didn't get most of our records because we were exactly between the new digital explosion and the old fashioned "taste" of vynil... that's why we're putting out a new and remastered album on cd and a new master for the vinyl acetate.

We were working on the recording of the new album with Mike Davis as a producer who passed away in February 2012, we lost a dear friend, so we postponed the realization of the new album at the end of 2014.

We toured Europe several times and shared the stage with a lot of bands. 

The next projects are about a Japanese tour and why not? A new American tour.

Released January 1, 2016

The Band:
♦♫♦ Slut (vocals)  
♦♫♦ Luca Slut (guitar) 
♦♫♦ Tony (drums)  
♦♫♦ Stefano (bass) 
♦♫♦ Syl (guitar)

01. Cosmocracy 02:28
02. Flash Crash 02:24
03. Fractured Mantra 02:53
04. To Get Her 02:58
05. Black Clouds (Red Knees) 02:46
06. Rum Dark Room 02:02
07. MSP 02:40
08. Liquid Fever 02:42
09. Tarzana Cigarette Girl 02:33
10. Zero Killed 02:48

1. Temporal Sluts
or
2. Temporal Sluts

Gunslinger - Earthquake in E Minor (ex. Hawkwind) (UK 2008) [Deluxe Edition]

Size: 341 MB
Bitrate: 320
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Alan Davey, a.k.a. "Bass Assassin #2 (nickname given to Alan by Lemmy Kilmister) is best known for being one of the keynote, and longtime members of the legendary band Hawkwind, but he began his musical career in 1979 with a band he and his cousin started from the ground up, called Gunslinger. They quickly gained a reputation for playing loud and built a solid following. 

Gunslinger was formed in 1979 by Alan Davey and Nigel Potter and enjoyed a fair bit of popularity in the early 1980s, though for reasons that aren't clear the band split up just as they were about to score a record deal. Things certainly worked out ok for Alan as he went on to join Hawkwind. Though the recordings sat for many years until Alan reworked them recently and released them on the newly formed Earthquake label.

The simple description is that this is Motorhead done up Alan Davey style. "Night Song" opens the album and is trademark Alan bass and vocals, though in a thoroughly ROCKING context. Alan solos on the bass while the guitar and drums blaze away. "Blitzkrieg Baby" is similar, with tasty ripping guitar leads. "Shellshocker" is played at what seems like an impossible pace, with keyboards layering the background, and more fiery guitar solos. 

"Hymn Of The Wild" is a killer hard rock and metal tune. "Cyanide" and "Warhorse" are both songs that would fit neatly on a mid-late 80s Hawkwind album. "Warhorse" is the powerhouse of the two, with mucho spacey synths, and being the longest track of the set at over 7 minutes, the band really stretch out and jam. More killer guitar leads. A seriously potent rocker.

There are also songs like "If The Bombs Don't Get Ya The Bullets Will", "Going In For The Kill" and "Don't Need You" that are more firmly in the Motorhead thrash-metal style, and Gunslinger do it with panache. Finally, "Gunslinger" closes the set and is without question the most blazing song on the album, reaching levels of fury unmatched by… dare I say… Motorhead themselves. 

No shit, this album will blow your face right out. Play it LOUD! Note that Gunslinger have been active playing shows and for the live version of the band Alan has brought on board his Meads of Asphodel mates JD Tait on guitars and Sunil Jolly on drums.

Deluxe 2CD collection of the rare and out of print original album plus a 27-track bonus disc including the entire Unlawful Odds live album, the Lessons In Logic EP and 7 previously unreleased tracks!

♦ Alan Davey - bass, vocals
♦ George Agent - drums
♦ Nigel Potter - guitars, vocals

Disc 1
01. Night Song  03:39  
02. If the Bombs Don't Get Ya, the Bullets Will  02:06  
03. Shellshocked  03:33  
04. Savage Love  03:13  
05. Cyanide  04:50  
06. Blitzkrieg Baby  04:05  
07. Going in for the Kill  02:53  
08. Hymn of the Wild  02:26  
09. Don't Need You  03:42  
10. Warhorse  07:37  
11. Gunslinger  06:08  
12. Speed Dream (Re Mix 2017) 02:41 instrumental
13. Lessons In Logic (Full Length Version) 04:12  
14. You're My Leo (Outtake 2008) 03:49  
15. Living Like a Viking (Demo 2008) 02:36  
16. Gunslinger (Demo 2008) 03:24  
17. Fly into the Night (Demo 1981) 04:10  
18. No One's Got No Faith in Me (Demo 1981) 03:34  
19. Lessons In Logic (Bonzai Caruso Mix) 03:34

Disc 2
01. Boot Hill (Live 2010) 01:04  
02. All the Way (Live 2010) 03:19  
03. If the Bombs Don't Get Ya, the Bullets Will (Live 2010) 02:12  
04. Blitzkrieg Baby (Live 2010) 03:57  
05. Shellshocked (Live 2010) 03:45  
06. Savage Love (Live 2010) 03:15  
07. Don't Need You (Live 2010) 03:49  
08. Warhorse (Live 2010) 08:20  
09. A Shot in the Dark (Live 2010) 02:54  
10. Going In for the Kill (Live 2010) 02:47  
11. Night Song 2 (The 2nd Cumming) (Live 2010) 03:37  
12. Cyanide (Live 2010) 05:08  
13. Hymn of the Wild (Live 2010) 04:49  
14. Gunslinger (Live 2010) 05:15  
15. Night Song (Live 2010) 04:30  
16. Hound Dog (Live) 03:50  
17. Going In for the Kill (Live 2008) 02:50  
18. If the Bombs Don't Get Ya, the Bullets Will (Live 2008) 02:34  
19. Night Song (Live 2008) 03:42

Part 1: Gunslinger
Part 2: Gunslinger
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Part 1: Gunslinger
Part 2: Gunslinger

Fresh Maggots - Selftitled (Psych-Acid-Folk-Prog UK 1971)

Size: 110 MB
Bitrate: 320
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Ripped by ChrisGoesRock
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Source: Japan SHM-CD Remaster 2020

Fresh Maggots were a short-lived folk duo from Nuneaton, Warwickshire in England, consisting of Mick Burgoyne and Leigh Dolphin, who played a variety of instruments including guitars, glockenspiel, tin whistles and strings. They released one album in 1970 before splitting up.

Taking their name from a newspaper advert for a sports shop that proclaimed "fresh maggots always available", the pair were spotted by Mike Berry of the Sparta Florida Music Company in September 1970 while playing only their second concert at Wolvey village hall, and signed a publishing deal with the company. They were signed by RCA Records, who released their only album in 1971 - when they were nineteen years of age. Fresh Maggots was recorded at the Radio Luxembourg studios in London over several months at a cost of 1,500 pounds, and produced by Berry. 

Although its release was preceded by some degree of anticipation, delays in publishing gradually saw interest wane. Upon its release, it was met with favourable reviews, however record sales did not reflect this, and pressing was decommissioned soon after. The duo went on to play two live shows broadcast by BBC Radio 1. They released one single, "Car Song", before splitting up.

The resurgent popularity of folk music over the last decade reawakened interest in the band and the album became a collector's item fetching hundreds of pounds; The duo started to receive airplay in the US, prompting a reissue in 2006 as Fresh Maggots...Hatched on the Sunbeam label in the UK and Amber Soundroom in Germany, with the tracks from the "Car Song" single added. 

The reissued album received a three and a half stars review from Allmusic, and an 8 out of 10 score from PopMatters, with Whitney Strub describing it as "a remarkably assured debut—and finale". Kevin Hainey, reviewing it for Exclaim!, stated the group's "concise and fast-paced songwriting tendencies certainly make this stuff transcend its own age in a strange and wonderful way". John M. James, in the River Cities' Reader described it as a "five-star masterpiece of hypnotic vocals, electric fuzz guitar, trippy tin whistle, and shimmering six- and 12-string guitars".

Although Fresh Maggots' sole album has a greater range of arrangements with a folk-rock base than many U.K. folk-rock albums of the time do, the songs aren't special enough to move this out of the desirable-mostly-for-the-sake-of-its-rarity category. While much of the material is acoustic and folky at the core, it's embellished by a good deal of instrumentation by Mick Burgoyne, who plays tin whistles, violin, and glockenspiel, in addition to some surprisingly burning distorted electric guitar. 

The tunes are pleasant but not brilliant, and kind of repetitive. If "Dole Song" takes an unusual subject as its focus (signing on to "the dole," or welfare, in Britain), other compositions can be simplistic to the point of awkwardness. "And When She Laughs," for instance, sounds a bit like Donovan at his lightest, but even more dainty and lovey-dovey. 

There's some fine acoustic guitar picking and a bit of tasteful orchestration. Yet only "Rosemary Hill" has a bittersweet tune strong enough to merit a place on U.K. '70s folk-rock rarities, should a definitive series of those ever be assembled.

Line-up - Musicians
★ Mick Burgoyne - guitar, vocals, percussions, violin
★ Leigh Dolphin - acoustic guitar, vocals

01. Dole Song (3:23)
02. Rosemary Hill (3:30)
03. Quickie (1:23)
04. Everyone's Gone To War (3:55)
05. And When She Laughs (2:48)
06. Spring (3:21)
07. Balloon Spring (3:55)
08. Guzz Up (1:45)
09. Who's To Die (3:50)
10. Elizabeth R (2:50)
11. Frustration (6:00)
12. Car Song (3:59) [Bonus]
13. What Would You Do (2:42) [Bonus]

1. Fresh Maggots
or
2. Fresh Maggots

Please, Help me with good links upload sites..

Hi all. 

I'm looking for good upload sites, so non member can downlod my files without "popup  hell", or re-direct to "spam-sites".

Would be very glad for some help with good upload sites.

//ChrisGoesRock

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Colosseum - Messepalast, Austria 1969-11-02 FM (Bootleg)

Size: 124 MB
Bitrate: 320
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One of the most influential of the early British progressive rock bands, Colosseum fused an adventurous approach to rock with strong jazz and blues influences and classical keyboard accents; they earned a loyal and lasting following though they never scored a major breakthrough hit. Colosseum were founded in 1968 by saxophonist Dick Heckstall-Smith, bassist Tony Reeves, and drummer Jon Hiseman; the three had previously worked with John Mayall, playing on his album Bare Wires, and Heckstall-Smith and Hiseman were formerly members of the Graham Bond Organisation. 

The first lineup was completed with the addition of Dave Greenslade on keyboards, Jim Roche on guitar, and vocalist James Litherland, who took over on guitar when Roche soon departed.

After making their live debut in Scarborough, Colosseum earned a valuable ally in legendary BBC disc jockey John Peel, who featured the band on his Top Gear radio show. Fontana Records signed the band, and their first album, Those Who Are About to Die Salute You, was released in 1969; it fared well in the charts, and the leadoff track, "Walking in the Park," was issued as a single, though it proved to be the only 7" from the group. 

Colosseum's second album, Valentyne Suite, appeared later the same year; it was the debut release from Vertigo Records, the influential progressive and hard rock label. (Vertigo and Fontana were both affiliated with the Dutch recording firm Philips.) 

Released in 1970, Daughter of Time featured a new lineup of the band; James Litherland left to form the band Mogul Thrash and Tony Reeves moved into production full-time, and Colosseum added guitarist Dave Clempson, bassist Mark Clarke, and lead vocalist Chris Farlowe. Another Colosseum album, The Grass Is Greener, appeared in 1970, but it was in fact a revised version of Valentyne Suite, released only in the United States and featuring four of the original selections from the LP and four new songs.

In 1971, Colosseum jumped ship from Vertigo to the newly formed Bronze Records and recorded a handful of shows at Manchester University and the Big Apple club in Brighton; the band broke up before they could complete a studio album for their new label, and 1971's Colosseum Live would prove to be the last release from the group's first era. In 1975, Jon Hiseman launched Colosseum II, a more jazz-oriented combo that also featured Gary Moore on guitar and Don Airey on keyboards; the new group released three albums before parting ways in 1978. 

In 1994, the Daughter of Time lineup of Colosseum reunited for a concert tour, and a live album was drawn from the concerts. The band issued a new studio album in 1997, Breads & Circuses, and Colosseum reconvened for periodic recordings and live shows in subsequent years. 

The group's final album was 2014's Time on Our Side, and the ensemble's last live appearance was made at a farewell concert the following year. Saxophonist Barbara Thompson (who was married to Jon Hiseman) frequently appeared with the reunited version of Colosseum, and became an official member of the group following the death of Dick Heckstall-Smith in 2004. Jon Hiseman died in 2018 at the age of 73.

Colosseum, Messepalast, Vienna, Austria
November 2, 1969, Early Show  

Band members:
♦ James Litherland - Guitar & Lead Vocals
♦ Tony Reeves - Bass
♦ David Clempson - Guitar & Fender Rhodes Piano & Vocals
♦ Dave Greenslade - Hammond Organ & Grand Piano
♦ Jon Hiseman - Drums & Percussion (passed awayy June 12, 2018  at age 73)
♦ Dick Heckstall-Smith - Saxophones (passed away Dec 17, 2004 at age 70)

01. Radio Introduction [01:09]
02. Walking In The Park [08:47]
03. Butty's Blues [14:37]
04. Valentyne Suite, January's Search [07:06]
05. Valentyne Suite, February's Valentyne [11:06]
06. Valentyne Suite, Beware the Ides of March [06:34]
07. Stormy Monday [05:08]

1. Colosseum
or
2. Colosseum

Elf - Selftitled (1'st Album US 1972)

Size: 84,2 MB
Bitrate: 320
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Elf is the first studio album by Ronnie James Dio's blues rock band called Elf. Produced by Ian Paice and Roger Glover of Deep Purple, the record was released in 1972. In this album, Dio is listed by his birth name Ronald Padavona. 

Though Dio had used "Padavona" for songwriting credits on earlier singles, Dio explained in an interview in 1994 that he used his birth name on this album as a tribute to his parents so that they could see their family name on an album at least once.

After this album, Steve Edwards replaced David Feinstein on guitar, and Craig Gruber took over bass duties, leaving Dio solely as the lead singer. This future lineup, minus Edwards, became the first incarnation of Ritchie Blackmore's Rainbow when guitarist Ritchie Blackmore formed it after leaving Deep Purple.

By the time he came to prominence as the lead singer of Ritchie Blackmore's Rainbow, Ronnie James Dio had accumulated an extensive rock & roll résumé (longer than he'd like to admit, actually) performing with a number of groups, ranging from doo-wop in the late '50s to psychedelic rock in the '60s. 

But it wasn't until he founded Elf in the early '70s that Dio, or Ronald Padavona as he was then called, took his first tentative steps toward hard rock. Still, with the honky tonk piano playing of Mickey Lee Soule dominating many of its songs, Elf's self-titled Epic Records debut (produced by Deep Purple bassist Roger Glover) hardly qualifies as a bona fide heavy metal record. 

In fact, tracks like "Hoochie Koochie Lady," "First Avenue," and "Sit Down Honey" sound more like the Rolling Stones than Black Sabbath, and it's only occasionally ("I'm Coming Back to You," "Gambler Gambler") that the band produces truly stripped-down, gritty hard rock. "Never More" is perhaps the album's most interesting track, starting with lilting piano and a dramatic delivery from Dio (sounding rather like Freddie Mercury) before launching into a driving hard rock riff in the vein of his best work with Rainbow and Sabbath in later years. A must-own for Dio fanatics.

The band was formed in 1967 when the members of Ronnie Dio and the Prophets transformed themselves into the Electric Elves and added a keyboard player, Doug Thaler.

In February 1968, the band was involved in an automobile accident which claimed the life of Nick Pantas.[3] The accident forced a shuffling of the band member roles as original keyboardist Thaler moved to guitar (after recovering from his injuries) and the group hired Mickey Lee Soule to take over keyboard duties. Upon leaving the group in 1972, Thaler moved to New York and got a job as a booking agent — Elf was one of the bands he booked.

Elf's self-titled debut album was produced by Deep Purple members Roger Glover and Ian Paice, who happened to see Elf auditioning in 1972. For the next few years, the band enjoyed mild success as an opening act for Deep Purple.

Dio both sang and played the bass guitar until, following the release of Elf's first album, Craig Gruber was asked to join as bass guitarist. In August 1973 Feinstein quit the band and was replaced by Steve Edwards. In 1974, Elf released its second album, Carolina County Ball. That same year Dio was asked by Glover to sing on his solo album, The Butterfly Ball and the Grasshopper's Feast. Dio's voice gained the attention of Deep Purple guitarist Ritchie Blackmore, who was beginning to tire of Deep Purple and was looking for musicians to record a solo album. 

Apart from guitarist Steve Edwards (and percussionist Mark Nauseef), he decided in early 1975 to use the musicians in Elf for this album, and the band Rainbow was soon formed. Though Elf had been writing and recording its third album, Trying to Burn the Sun at the same time, following the completion of that album and the Rainbow album, Elf was no more. Trying to Burn the Sun was eventually released in the U.S. in June 1975.

Personnel:
♫♪♪ Ronald Padavona (later Ronnie James Dio) – vocals, bass guitar
♫♪♪ David Feinstein - guitars
♫♪♪ Micky Lee Soule - piano, organ
♫♪♪ Gary Driscoll - drums

01. "Hoochie Koochie Lady"  05:32
02. "First Avenue"  04:23
03. "Never More"  03:50
04. "I'm Coming Back for You"  03:27
05. "Sit Down Honey (Everything Will Be Alright)"  03:48
06. "Dixie Lee Junction"  05:09
07. "Love Me Like a Woman"   03:47
08. "Gambler, Gambler"  04:26

1. Elf
or
2. Elf
or
3. Elf

Pussy - Invasion (Post. Jerusalem Hardrock) UK 1972-73)

Size: 128 MB
Bitrate : 320
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Collection of tracks from this early 70s post-Jerusalem UK hard rock group also managed and produced by Ian Gillan (Deep Purple). Includes songs from their lone single for the Deram label plus 14 other previously unreleased recordings!

The band was formed immediately after the break-up of Jerusalem by its founding members Paul Dean & Ray Sparrow along with Bob Cooke, who was eventually replaced by Brian Goff. They made the decision not to continue with the name Jerusalem out of respect for what Jerusalem was all about at that time in musical history, after all Jerusalem was a one-off moment in time creation and could never be recreated. 

Although the musical direction of Pussy was very different to Jerusalem, which is surprising as Paul was the main writer for both bands (although his liking for riffs is still prominent in places), they continued to keep that raw, no rules edge which set them apart from many of the bands of the period

Gillan was far more proactive with Pussy and was actually responsible for many backing vocals on the songs (also played piano on Feline Woman version 2, some percussion and came up with the idea for 'Place in the Sky'). Pussy were a good-time band with no pretensions of being super musicians or technical geniuses. If it seemed like fun it was worth a try, which explains a lot about their sound and direction. On stage anything could happen, no rules of course! They gigged all over the UK and Germany as a main and support act, very much in the same way as Jerusalem had done.

After the disbanding of Jerusalem - (the rumors over the years said there was a second unreleased Jerusalem album - this is not true - it was actually the Pussy album) - Decca (Deram Label) decided to continue the Jerusalem contract for Pussy. The first and only Pussy release on Deram was a single entitled 'Feline Woman'. The recordings found here represent what was to be the Pussy debut album plus other various tracks all recorded between 1972 and 1973.

Rockadrome unearths another lost early 70's gem! Formed out of the ashes of Jerusalem (they made one record, I think it's way overrated), this one has a completely different sound. Glammy vocal (it's from 72, the peak of the glam era), but musically it's straight forward hard rock. 

Tight, locked in drumming, Gibson guitars and some really catchy riffs make this an A list lost classic.

The music reminds me a bit of the First Daze era Pentagram stuff minus the doom elements. Some cool leads and even a slide guitar solo thrown in. The first track sounds a lot like Three Man Army but after that these guys really have their own sound.

Produced by Ian Gillan, he does a much better job than he did on the Jerusalem record. That one sounded like it was recorded in a garage. This one sounds good turned up, in no small part due to the great remastering job. Really cool packaging too.

The first 10 songs are the original album, after that there are some re-recorded demo versions of most of the songs with a different guitar player from a year later. The bonus stuff is pretty useless except for the 2 tracks that aren't part of the original album. Too bad the band didn't continue, they were really onto something with this album.

I would say if you like early Pentagram, Hard Stuff's first album, Budgie, or early Sweet, you can't go wrong picking up a copy. I hope Dennis digs up more of this kind of stuff!

Vinyl LP pressing. Jerusalem is well known among '70s hard rock enthusiasts thanks to their stone-cold classic 1972 Deram label debut album. After that record was released, the band made the bold decision to not to continue with the same name-for them, Jerusalem was a one-off moment in time and could never be recreated. And so, three-fifths of Jerusalem (founding members Paul Dean and Ray Sparrow along with Bob Cooke), became Pussy. 

The new band were still managed and produced by Ian Gillan (Deep Purple). Pussy recorded and released one single on Deram and then went on to record tracks between 1972 and 1973 with Brian Goff taking over for Bob Cooke on guitar, for their debut album-which was never released. Pussy was a different beast from Jerusalem, despite Paul being the main writer for both bands. There seems to be a touch of Ziggy Stardust crunchy space glam in the mix-although Pussy kept the raw, no rules edge from Jerusalem which sets both bands apart from many others of the era. 

Gillan was far more proactive this time around; he played piano and percussion, and was responsible for many backing vocals on the songs. Pussy were a hard rocking band with no pretensions of being super musicians or technical geniuses. If it seemed like fun, it was worth a try, which explains a lot about their sound and direction. On stage, anything could happen-no rules of course! They gigged all over the UK and Germany as a main and support act, very much in the same way as Jerusalem had done. 

Rockadrome are proud to present here what was to have been the Pussy debut album, plus bonus tracks from the original Pussy single and a studio track recorded in 1972 with Jerusalem guitarist Bob Cooke. Features more than 40 minutes of never-before-on-vinyl material taken directly from the original master reels.

★ Drums, Backing Vocals – Ray Sparrow
★ Engineer – Louis Austin, Paul "Chas" Watkins*
★ Guitar – Brian Goff (2)
★ Guitar, Tin Whistle [Penny Whistle], Backing Vocals – Bob Cooke (tracks: 11 to 16)
★ Lead Vocals, Bass, Backing Vocals, Liner Notes – Paul Dean (3)
★ Producer, Backing Vocals, Percussion, Piano – Ian Gillan
★ Written-By – Cooke* (tracks: 2, 3, 7, 11 to 14, 16), Paul Dean (3) (tracks: 1, 4, 5, 6, 8 to 10, 15), Dean* (tracks: 2, 3, 7, 11 to 14, 16), Sparrow* (tracks: 2, 3, 7, 11 to 14, 16

Notes
Tracks 1 to 10 are from an unreleased album. Tracks 11 & 12 are from a single released in 1972. Track 13 from a single session in 1972. Tracks 13 to 16 from a 1973 session with Bob Cooke.

01. The Knife
02. Feline Woman
03. Pig Mansion
04. Man of This World 
05. Take Me Home
06. Riding Down the Red Flag
07. I Keep Remembering You
08. Lady Ella
09. I. F. O.
10. Moonshine
11. Feline Woman (From Original 1972 Single With Bob Cooke)
12. Ska-Child (From Original 1972 Single With Bob Cooke)
13. Pig Mansion (From 1972 Single Session, Unreleased Version With Bob Cooke)
14. A Place in the Sky (From 1973 Session With Bob Cooke)
15. Lady Ella (From 1973 Session With Bob Cooke)
16. I Keep Remembering You (From 1973 Session With Bob Cooke)

1. Pussy
or
2. Pussy

The Book Of Intxixu - Selftitled (Superb Psychedelia 1977-82)

Size: 210 MB
Bitrate: 320
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Ripped by ChrisGoesRock
Some Artwork Included

Recorded in the late '70s and early '80s by Juan Arkotxa, Leslie MacKenzie and Carmeta Mansilla, and previously only (partly) issued on cassette, 'The Book Of Intxixu' basically is the follow-up to the magnificent 'Book Of Am'. Once again, 'Book Of Intxixu' is a combination of illustrations and ethereal trip/acid-folk. For this project the trio recorded about three hours of music, from which the highlights (some heavier and more electric than probably expected!) are now brought together on this DOUBLE-LP. 

Among the guests we find Daevid Allen and Gilli Smyth, while Cosmic Trip Machine's Will Z, oG, Majnun and Sammy helped Juan and Leslie to rescue the material and shape it into this gorgeous set. The accompanying illustrations are included in a 24-page booklet. This release is manufactured in an edition of 500 units.

The Book Of Intxixu is the follow-up to the magnificent The Book Of Am. Originally recorded in the late '70s by Juan Arkotxa in the Sant Mateu church (Ibiza) with the collaboration of Daevid Allen, Jerry Hart, Carmeta Mansilla and Gilli Smyth, and newly arranged and recorded in 2016 by Will Z. who has helped, with Cosmic Trip Machine, Juan and Leslie to rescue the old material.

Juan Arkotxa, Leslie MacKenzie and Carmeta Mansilla were the creators of The Book Of Am. The Book Of Intxitxu was another of their works, they began working on its songs and illustrations just after they finished the four parts of The Book Of Am in the late 1970s. It contained, again, a collection of illustrations plus three hours of music. The book was first published in 1982 by Desclee de la Brouwer (Bilbao) in a bilingual Basque-Spanish edition. In 1983 IZ issued a cassette containing a selection of the songs sung in Basque by Juan. A part of it was later performed with mime artists at the short-lived Stonehenge Festival in 1983. Conceptually it is again influenced by ancient myths and cults, you can find references to Sumerian hero Gilgamesh, the Meditarranean Moon Goddess cult, the hallucinogenic mushroom taker and healing woman from Oaxaca Maria Sabina, the works of Robert Graves, etc.

Musically, it follows the ethereal folk path set by their previous works, with an acid atmosphere and a progressive appeal that offers some heavier psychedelic passages due to a higher use of electric guitar pyrotechnics. Daevid Allen and Gilli Smyth guested as musicians, so here's one of his last recordings, as are also the last by Carmeta Mansilla, since sadly she also past away recentlyl. Will Z, oG, Majnun and Sammy helped Juan and Leslie rescue the old material and shape it into this gorgeous 2LP set with a 24 page booklet containing all the illustrations made for the Book. Please note it is a limited edition of only 500 copies, do not miss it and complete your Book Of Am saga collection!

✪ Juan Arkotxa - vocals, flute, fiddle, sitar, tanpura
✪ Leslie MacKenzie - percussions
✪ Carmeta Mansilla - vocals
✪ Will Z. - vocals, acoustic guitar, bass, synthesizers, sitar, percussions
✪ oG -  bass, glissando guitar
✪ Majnun -  electric guitar
✪ Sammy Goldstein -  drums
✪ Brian Abbott -  glissando guitar

Disc 1
01. Triple Personality And The One Mind 04:51
02. Dream Vision 02:36
03. The Pass Through The Set Of Squares 05:35
04. The Hot Bath 03:59
05. The Cromlech 03:09
06. Finding Immortality 04:14
07. Through Desert Wastes 03:51
08. The Master Of Dancers And Singers 02:22
09. The Old Man 03:57
10. Transmuting Immortality 02:42
11. Crossing The Great Waters 03:05
12. Ocean Moon 05:20
13. Epilogue 02:38

Disc 2
01. Start Here 02:40
02. Awakening The Organic 07:03
03. Imagination 03:52
04. Take Off 02:55
05. On The Other Side 07:06
06. Come Join The Mountain 08:49
07. Grandmother Moon 04:56
08. God Says But The Moon Says 03:13

Part 1: Intxixu
Part 2: Intxixu
or
Part 1: Intxixu
Part 2: Intxixu

Canyon - Selftitled (Retro Psychedelic Blues US 2016-18)

Size: 146 MB
Bitrate: 320
mp3
Found in OuterSpace
Artwork Included

"Canyon is a psychedelic blues rock band from beautiful Philadelphia... steeped in blues and soaked in psych. High voltage psychedelic acid rock, steeped in blues...soaked in psych."

At four tracks and just under 19 minutes, the self-titled debut EP from Philadelphia three-piece Canyon give listeners just enough of a glimpse of where they might be headed to emphasize the potential at work. Canyon is their first outing since getting together in 2015 with the lineup of guitarist/vocalist Peter Stanko, bassist/vocalist Dean Welsh and drummer/vocalist Anthony Bove and after an initial digital self-release and tape through Anvileater Records, the short outing shows up as a full jewel-case CD with a picture of the band out front to emphasize the classic ideas they’re working from. I would not be surprised if some of the root jams out of which opener “Mashriq” was formed were some of Canyon‘s earliest, as there is definitely a formative aspect to their approach, vocals following the riff closely in a bouncing rhythm that, even compared to what follows on the palpably airier “She Comes to Me,” seems straightforward in a we’re-a-new-band-getting-our-footing kind of way.

That process itself, honestly represented as it is, can be and is refreshing to hear, and in the context of Canyon‘s style, which benefits greatly from an organic warmth of tone in the guitar and bass along with the interplay of vocals, it makes a particular sense that they would showcase where they’re at in this early stage of their progression. Their sound, captured here by Alex Santilli, who engineered and mixed at Spice House Sound while Mark Trewella at Full Circle Mastering handled the finishing touches, is raw, but still offers plenty to the curious listener, and even more so on repeat visits.

After some initial thud, “Mashriq” starts off with a righteously fuzzed impression. Philly has seen no shortage of heavy psych come through the last couple years, from Ruby the Hatchet and Ecstatic Vision to Meddlesome Meddlesome Meddlesome Bells, but right away, “Mashriq” positions Canyon as having a more earthbound take — fitting enough for their name, I suppose — given to roll and straightforwardness in structure. At just under three and a half minutes, it’s the shortest of the four inclusions on the EP and as “She Comes to Me,” “Radiant Light” and “Tell Me Mister” play out behind it, it becomes something of an outlier stylistically for that. Where Stanko, Welsh and Bove soon enough dig into a languid blend of heavy blues rock and, in the case of “Radiant Light” particularly, find a niche for themselves in dreamy vocal melodicism to complement a shimmer in Stanko‘s guitar, the leadoff cut seems more about establishing a context on which the subsequent material builds.

The Deep Purple-referential Mk II title of Canyon‘s second EP, also the follow-up to their 2017 debut LP, Radiant Light, refers to the lineup change that’s seen Dean Welsh move to drums so that he and guitarist Peter Stanko can welcome bassist/vocalist Fred Frederick to the fold. The three included songs, the hooky “Mine Your Heart,” expansively fuzzed “Morphine Dreams” and bouncing “Roam” make a hell of a first offering from the reconstituted trio, who capture classic heavy naturalism in a chemistry between players that’s mirrored in the songwriting itself. Canyon‘s 2016 self-titled debut EP held marked promise, and even after the full-length, that promise would seem to be coming to fruition here. Their tones and craft are both right on, and there’s still some gelling to do between the three of them, but they leave no doubt with Mk II that this incarnation of Canyon can get there. And, if they keep up like this, get there quickly.

Maybe that’s Canyon‘s way of easing the listener into their world, and that’s certainly valid, even on a short offering like this one, but “Mashriq,” while a strong opener and memorable in its hook, ultimately does little to account for some of the fleshed-out vibes that follow, even as “Tell Me Mister” rounds out with a return to a more energetic push and the gotta-hear-it buzz-tone that begs to be turned up even louder than it starts. How one accounts for that will depend on the listener, but if we look at the concept of a “debut EP” doing the work that a band’s “demo” used to do, then Canyon‘s establishes them as an outfit with an immediately varied approach of craft, however nascent it might otherwise be.

Could that be the work of multiple songwriters? I don’t know, but I’d believe it based on how the progression plays out front to back. Most importantly, however, Canyon offer intrigue and show several potential avenues for future growth and where their sound might go, toying with pop elements in their use of backing vocals in a kind of garage-grunge mindset — this happens in “Mashriq” as well — and dedicate themselves to a breadth of approach that stays apparent even in this abbreviated context. As to how that growth might manifest, it hardly seems fair to speculate, but as the self-titled plays out with increasing complexity almost on a song-by-song basis until “Tell Me Mister” bridges the gap in summarizing what the band has been putting together all the while, it’s easy enough to foresee Canyon stabilizing their approach to songwriting in a way that allows them to construct a full-album flow.

This, of course, is essential to the work of an initial outing like this one — to give the band lessons to learn as they move forward, and I hear nothing in the tracks to make me think Canyon won’t do precisely that. On the most basic level, it’s a quick debut outing — a demo by any other name — that shows potential in tone and in trading between bounce and blues and drift and thrust all while holding to identifiable markers and avoiding a direct, blatant flag-bearing of its influences. This already is more than one might reasonably ask of it, and it is not by any means the sum total of what is delivered.

♦ Fred Frederick - Bass, Lead Vocals
♦ Welsh - Drums, Percussion, Vocals
♦ Peter Stanko - Guita

01. Mashriq
02. She Comes to Me
03. Radiant Light
04. Tell Me Mister
05. Anytime Secrets
06. Ballad of John Gallagher
07. Soon
08. Brother
09. Under Her Spell
10. Outerlude in A Major
11. Mine Your Heart
12. Morphine Dreams
13. Roam

1. Canyon
or
3. Canyon