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FreeFall: The Residents - Mark of the Mole, 1981 (RIO/Avant Prog) (+)
Барин: С регулярными выкладками не получается, поэтому долговременные проекты начинать больше не буду. Просто делаю здесь отдельную тему, где буду добавлять кой-чего (как было в журнале), когда появится время.
EVGEN: Большое спасибо! Скачивать, блин не успеваю Мега медленно отдаёт. Всё равно доберусь до всех альбомов. У тебя что не выкладка - то НОВОСТЬ для меня. Вот так собираешь, собираешь, думаешь - ну ничё себе сколько я уже знаю, сколько у меня есть - а нифига. Сколько мне ещё открытий чудных... впрочем это кто-то до меня уже говорил.
Барин: AMG: "The seeds of Pacific Gas & Electric were sown in Los Angeles back in 1966 when self-taught guitarist Tom Marshall formed Bluesberry Jam, whose ranks included drummer Charlie Allen. Allen turned out to be such a fine vocalist that he ended up becoming the frontman; his drum chair was filled by Adolfo de la Parra in 1968. Later that year, de La Parra left to join Canned Heat, replacing Frank Cook who then joined Bluesberry Jam. After adding guitarist Glenn Schwartz and bassist Brent Block later in 1968, the group changed their name to Pacific Gas & Electric.Their first album, Get It On, was released by Kent in 1968, but failed to make much of an impact. However, following their appearance at the Miami Pop Festival in late 1968, Pacific Gas & Electric signed with Columbia, who released Pacific Gas & Electric in 1969. Their next album, Are You Ready, supplied their first hit, the title track, which made it into the Top 20 in the summer of 1970. Despite this success, all the bandmembers left, forcing Charlie Allen to build a new Pacific Gas & Electric around him. Enter guitarist Ken Utterback, bassist Frank Petricca, Ron Woods on drums, Jerry Aiello on keyboards, trumpet player Stanley Abernathy, sax players Alfred Gallegos and Virgil Gonsalves, and percussionist Joe Lala. Around this time, the Pacific Gas & Electric Utility Company asked the band to change their name, which was shortened to PG&E, also the title of their 1971 album. They also appeared in and provided music for the Otto Preminger film Tell Me That You Love Me, Junie Moon starring Liza Minnelli.After 1972 or so, PG&E basically turned into a solo Charlie Allen vehicle. They released Starring Charlie Allen on Dunhill in 1973, then called it quits. " 1. Rock 'N' Roller's Lament 2. Recall 3. One More River To Cross 4. Death Row #172 5. Short Dogs And Englishmen 6. See The Monkey Run 7. Times Has Come, The (To Make Your Peace) 8. Thank God For You Baby 9. When The Sun Shines Alfred Galleros - Tenor Ken Utterback - Guitar Virgil Gonsalves - Baritone Ron Woods - Drums Jerry Aiello - Organ Joe Lala - Congas, Timbales Charlie Allen - Singer Frank Petricca - Bass The Blackberries - Vocal Background Download Scans
Барин: In trance Corpi in movimento Fulmini globulari La corrente delle stelle The Age of Hermaphrodites L'ignoto Suoni primordiali La mer Music for a ballet For Maggio Musicale Fiorentino's Opera Season Aльбом - гениальный. Part 1 Part 2 Scans
Барин: Progarchives: "Originally named The CORTINAS, this mid-60's Hatfield quartet was discovered by The TROGGS' soon-to-be bassist Tony Murray and Nigel Olssen, destined to be Elton JOHN's regular drummer. It is Murray who eventually introduced the band to producer Larry Page, The TROGG's manager, and by 1968 OCTOPUS had earned a support spot to a promising young band called YES. They also got booked into the Marquee Club, toured Europe, shared the stage with HUMBLE PIE and STATUS QUO among others, and in 1970 released a first-rate pop album titled "Restless Night"; unfortunately, however, it failed to attract much enthusiasm outside their hometown. They stuck together for a while and then decided to split up in 1972. Their keyboard player John Cook later joined MUNGO GERRY whereas bassist Nigel Griggs and drummer Malcolm Green, both moving to Australia, eventually became members of SPLIT ENZ. Their sole album is a fascinating specimen of early 70's pop with tinges of psychedelia, with musical phrases and choruses highly reminiscent of The BEATLES and TEN CC. Complete with the era's typical fuzz guitar and swirly organ, the album features short but catchy song-based melodies, a few bluesy jams and very strong vocals. The extremely rare original LP is no doubt worth a bundle but anyone interested in some fine pre-prog, 70's psych pop ought to seek out the 1997 CD release which contains several bonus tracks. You'll definitely be hooked by this OCTOPUS if you're a BEATLES, BADFINGER or TEN CC fan." 1. The River (4:26) 2. Summer (3:05) 3. Council Plans (3:37) 4. Restless Night (4:02) 5. Thief (3:38) 6. Queen and the Pauper (3:39) 7. I Say (1:54) 8. Johns' Rock (2:40) 9. Rainchild (3:05) 10. Tide (5:37) 11. Girlfriend (2:56) 12. Laugh at the Poor Man (3:14) 11. Laugh At The Poor Man (3:14) 12. Girlfriend (2:54) 13. The River - single version (3:23) 14. Thief - single version (3:37) Tracks 1.2.5.11.12.13.14. Paul Griggs - Lead Guitar- Vocals. Nigel Griggs - Bass Guitar - Vocals. Rick Williams - Rhythm Guitar - Vocals. Brian Glasscock - Drums. Tracks 3.4.6.7.8.9.10. Paul Griggs - Lead Guitar - Vocals. Nigel Griggs - Bass Guitar - Vocals. John Cook - Wurlitzer Organ - Piano - Vocals. Malcolm Green - Drums. Part 1 Part 2 Scans
Барин: Fuzz Acid & Flowers: The New York bands album has blues and jazz leanings. The second side is the strongest containing two long tracks: the unbluesy U.S. Blues, an anti-war song with wild vocals and free-jazz sax and the jazzy psych Fruk Juice. Trevor Koehler was a member of Insect Trust and was just an assisting musician with this band playing on two of the album tracks. 1. Dedication 0:14 2. Harold Knows 4:09 3. Sleepy Blues 7:23 4. War 3:22 5. I Think It's Understood 3:07 6. U.S. Blues 8:26 7. Fruk Juice 16:12 LANNY BROOKS bs, vcls DION GRODY keyb'ds, gtr, vcls CRAIG JUSTIN drms TOM MILLER sax, vcls TREVOR KOEHLER sax Part 1 Part 2 Scans
Барин: AMG: "This 1975 soundtrack made an impressive debut for Goblin, a legendary group of Italian soundtrack specialists. Originally known as "the Cherry Five," this quintet was commissioned by Italian director Dario Argento to create a soundtrack for his terrifying thriller Profondo Rosso. The resulting album took the group to the top of the Italian charts and helped them build a worldwide cult reputation. Profondo Rosso is an ambitious affair that blends jazz, prog rock, and heavy metal into an effective and totally distinctive style. The title track is an impressive exercise in dynamics, building tension as it moves back and forth between a quiet, intricate riff doubled on acoustic guitar and keyboard, with a full-blooded variation of that theme led by surging, gothic-sounding organ. Other highlights include "Death Dies," a frantic piece of jazz whose pounding piano riff was later sampled by Beck, and "Mad Puppet," an atmospheric excursion that slowly adds layers of keyboard to a hypnotic, serpentine bass riff. However, the cut that prog buffs will probably like most is "Deep Shadows," a frenetic slice of King Crimson-style jazz-rock that slows down midway for a dazzling mid-tempo section where a mesmerizing rolling piano line duels it out with snaky solos from the bass and electric guitar. All in all, Profondo Rosso is a powerful album that will appeal to both soundtrack fans and prog rock addicts. " - Maurizio Guarini / pianos, clavinet, pianet, Moog - Agostino Marangolo / drums, percussion - Massimo Morante / guitars - Fabio Pignatelli / basses - Claudio Simonetti / organ, piano, clavinet, Mini-Moog, strings Part 1 Part 2 Scans
Барин: Borderline Books: "A highly-rated band who formed in Adelaide in 1965. Their diverse musical styles ranged from R'n'B to psychedelic rock to heavy rock. They were one of Australia's most popular bands of the sixties and their talent has continued to be recognised to this day. They formed out of the instrumental outfit The Mustangs who started playing raucous R'n'B material penned by their guitarist Mick Bower and took on vocalist Jim Keays at the same time. In early 1967 they moved to Melbourne and put out their eponymous debut album, which contained both sides of their first two singles to name some of its fine original material. It also contained a splattering of cover versions like I Feel Fine, Johnny B. Goode and My Girl. They started out as one of Australia's top R'n'B bands in the sixties and had moved into psych-pop territory towards the end of the decade. They had veered towards progressivism by the start of the seventies and Turn Up Your Radio in 1970 gave them their first and only Top 10 hit. This was pure pop, but on the flip side was Jam It Up, a Led Zeppelin-style heavy metal raver that didn't appear on album, until Raven included it on their 1987 Jam It Up! rarities album. By 1971 The Masters' had established themselves as one of Australia's finest progressive music acts. They were living in England in this era and that clearly helped keep them fully abreast of the latest trends. Their Choice Cuts album and Because I Love You 45 were both recorded at Abbey Road's No. 2 studio. The 45 gave them a No. 12 National hit. It was a strong song, superbly arranged and has stood the test of time well. The album could be termed hard progressive rock. Doug Ford's inventive guitar skills are in evidence on tracks like I'm Your Satisfier, Death Of A King and Song For A Lost Gypsy. Other songs which catch the ear are the haunting Michael, the latin-flavoured Rio De Camero, the pop classic Because I Love You and Our Friend Owsley Stanley III, which at times recalls the style of Jethro Tull (and is about the legendary U.S. underground manufacturer of L.S.D.). The same year The Masters' also released a live album, Nickelodeon. It was recorded just after they arrived back from England for an Australian tour in December 1970. It's notable for being one of the first live albums recorded in Australia, but in truth is disappointing. The better moments include a spirited version of Because I Love You and Doug Ford's Future Of Our Nation which features a series of his lead solo's. This track was issued as a 45 with a non-album cut, the folksy New Day on the flip. Much of the album was self-indulgent with the nineteen-minute version of Spooky Tooth's Evil Woman typical of the malaise. Now, ironically, the album is a sought-after rarity and has even been pirated, but if it's quality music you're seeking beware! However, their A Toast To Panama Red album, also recorded at Abbey Road studios the following year, was superb by contrast. Much of the material, as one would expect, was riffy hard rock with some great freaky guitar moments exemplified on cuts like The Lesson So Listen, Southern Cross, Melodies Of St. Kilda and The Answer Lies Beyond. However, there's plenty of variety too. Games We Play Parts 1 and 2 is heavily orchestrated and classical influenced б la The Moody Blues. The final cut Thyme To Rhyme was a lovely more reflective folksy number. Two cuts from the album, Southern Cross and Melodies Of St. Kilda, later resurfaced on Raven's Golden Miles CD. When the album was first released it sank without trace, now it's regarded in retrospect as a milestone in Aussie progressive rock. After releasing the album the band split up. Jim Keays went solo, Doug Ford and Colin Burgess were two thirds of a new trio in the U.K.. Glenn Wheatley pursued a future in band management. They did re-form in 1988, recording a new album Do What You Wanna Do. In 1974, Jim Keays compiled a 'Best Of' album for EMI Now That It's Over. It was a good selection of 45 'A' and 'B' sides and album tracks and came with enthusiastic liner notes from fan and writer Howard Lindley. A farewell 45, Rio De Camero/Thyme To Rhyme was also issued, but didn't sell well with no band to plug it. " 1. Rio De Camero 2. Michael 3. Easy To Lie 4. Because I Love You 5. Catty 6. Our Friend Owsley Stanley III 7. Death Of A King 8. Song For A Lost Gypsy 9. I'm Your Satisfier 10. Song For Joey(Part II) Jim Keays - Vocals Tony Sommers - Guitar Doug Ford - Guitar Glenn Wheatley - Bass Colin Burgess - Drums Download Scans
Барин: Part 1 Part 2
Барин: "One of the best West Coast folk-rock/psychedelic bands, Love may have also been the first widely acclaimed cult/underground group. During their brief heyday — lasting all of three albums — they drew from Byrds-ish folk-rock, Stones-ish hard rock, blues, jazz, flamenco, and even light orchestral pop to create a heady stew of their own. They were also one of the first integrated rock groups, led by genius singer/songwriter Arthur Lee, one of the most idiosyncratic and enigmatic talents of the 1960s. Stars in their native Los Angeles and an early inspiration to the Doors, they perversely refused to tour until well past their peak. This ensured their failure to land a hit single or album, though in truth the band's vision may have been too elusive to attract mass success anyway. Love was formed by Lee in the mid-'60s in Los Angeles. Although only 20 at the time, Lee had already scuffled around the fringes of the rock and soul business for a couple of years. In addition to recording some flop singles with his own bands, he wrote and produced a single for Rosa Lee Brooks that Jimi Hendrix played on as session guitarist. Originally calling his outfit the Grass Roots, Lee changed the name to Love after another Los Angeles group called the Grass Roots began recording for Dunhill. Love's repertoire would be largely penned by Lee, with a few contributions by guitarist Bryan MacLean. Inspired by British Invasion bands and local peers the Byrds, Love built up a strong following in hip L.A. clubs. Soon they were signed by Elektra, the noted folk label that was just starting to get its feet wet in rock (it had recorded material by early versions of the Byrds and the Lovin' Spoonful, and had just released the first LP by Paul Butterfield). Their self-titled debut album (1966) introduced their marriage of the Byrds and the Stones on a set of mostly original material and contained a small hit, their punk-ish adaptation of Bacharach/David's "My Little Red Book." Love briefly expanded to a seven-piece for their second album, Da Capo (1967), which included their only Top 40 hit, the corkscrew-tempoed "Seven & Seven Is." The first side was psychedelia at its best, with an eclectic palette encompassing furious jazz structures, gentle Spanish guitar interludes, and beautiful baroque pop with dream-like images ("She Comes in Colors"). It was also psychedelia at its most reckless, with the whole of side two taken up by a meandering 19-minute jam. It was still a great step forward, but by mid-1967, the band was threatening to disintegrate due to drugs and general disorganization. The group was in such sad shape, apparently, that Elektra planned to record their third album with sessionmen backing Lee (on his compositions) or MacLean (on his compositions). Work on two tracks actually commenced in this fashion, but the shocked band pulled themselves together to play their own material again, resulting in one of the finest rock albums of all time, Forever Changes. An exceptionally strong set of material graced by captivating lyrics and glistening, unobtrusive horn and string arrangements, it was not a commercial hit in the U.S. (though it did pretty well in Britain) but remains an all-time favorite of many critics. Just at the point where they seemed poised to assert themselves as a top band, Love's first and best lineup was broken up in early 1968, at Lee's instigation. Several albums followed in the late '60s and early '70s that, though credited to Love, are in reality Lee and backup musicians — none of whom had skills on the level of Bryan MacLean or the other original Love men. Lee largely forsook folk-rock for hard rock, with unimpressive results, even when he was able to get Jimi Hendrix to play on one track. The problems ran deeper than unsympathetic accompaniment: Lee's songwriting muse had largely deserted him as well, and nothing on the post-Forever Changes albums competes with the early Elektra records. Lee released a solo album in the early '70s, and then put another Love together for one last effort in 1974, but basically Love/Lee (the two had in effect become synonymous) ground to a halt in the mid-'70s. Lee has sporadically recorded and performed since then without coming up with anything resembling a unified full-length studio statement, though some scattered live and studio recordings have appeared, including a 1994 single on the tiny Distortions label. " "It wasn't a hit, but Forever Changes continues to regularly appear on critics' lists of the top ten rock albums of all time, and it had an enormously far-reaching and durable influence that went way beyond chart listings. The best fusion of folk-rock and psychedelia, it features Arthur Lee's trembling vocals, beautiful melodies, haunting orchestral arrangements, and inscrutable but poetic lyrics, all of which sound nearly as fresh and intriguing upon repeated plays. One of rock's most organic, flowing masterpieces, every song has a lingering, shimmering beauty, including the two penned by the band's other talented songwriter/guitarist/singer, Bryan MacLean." 1 Alone Again Or 3:16 2 A House Is Not a Motel 3:31 3 Andmoreagain 3:18 4 The Daily Planet 3:30 5 Old Man 3:02 6 The Red Telephone 4:46 7 Maybe the People Would Be the Times or Between Clark and Hilldale 3:34 8 Live and Let Live 5:26 9 The Good Humor Man He Sees Everything Like This 3:08 10 Bummer in the Summer 2:24 11 You Set the Scene 6:51 Arthur Lee - Guitar, Vocals Bryan MacLean - Guitar, Vocals John Echols - Guitar Ken Forssi - Bass Michael Stuart - Percussion, Drums Part 1 Part 2
Барин: Progarchives: "The progressive folk project of the Scottish innovative sitar player Clem Alford. First album originally published in 1972 for Magic Carpet records. A dynamic mixture of original folk inventions, psych-Hindu sitar gems and gorgeous, omnipresent, accentuated female vocals (Alisha Sufit). Lyrically all the album is about east mysticism, love, spirituality, time of Creation and others fairy tales. The music itself is dancing, poetic combining simplistic folk guitar motifs to raga scales. For me it’s not as impressive as Alford’s instrumental works, probably due to the acoustic and really British -sounding folk sound…however the experience is rather unique and remains one of the best evocations of natural, spiritual Hindu-folk experience in music. A soft psychedelic flavour is floating all along the album. I would prefer a more discreet, dreamy voice on this album. Hopefully there are many convincing instrumentals on the long, epic & transcendent “Alan's Christmas Card" or the more rhythmical & possessed "Take Away Kesh". In a few words, various introspective folk songs and frenetic raga improvisations. In a minor way this is a classic and a must have for fans of prog folk’s exotic side! " 1. The magic carpet 2. The phoenix 3. Black cat 4. Alans Christmas Card 5. Harvest Song 6. Do you hear the words 7. Father Time 8. La La 9. Peace Song 10. Take Away kesh 11. High Street 12. The Dream 13. Raga - Clem Alford / sitar, esraj, tamboura - Alisha Sufit / vocals, guitars - Jim Moyes / guitars - Keshav Sathe / Indian tabla, percussion Part 1 Part 2
EVGEN:
Барин: 1 Yes 3:16 2 God Bless the Child 2:59 3 Say Liza (Liza with a "Z") 3:15 4 It Was a Good Time 4:58 5 I Gotcha 3:47 6 Ring Them Bells 5:40 7 Son of a Preacher Man 3:22 8 Bye Bye Blackbird 3:58 9 You've Let Yourself Go 3:56 10 My Mammy 3:03 11 Cabaret Medley 9:52 12 Bows (Liza) :30 Part 1 Part 2
Sergei: Володя. я где-то год назад выкладывал рип с Балкантоновского винила этого альбома, так вот - болгары изменили порядок песен: первая сторона стала второй и наоборот :) ... Прежде слышал "God bless the child" лишь в исполнении BS&T.
vtooz: на http://smithland.nnm.ru/liza_minnelli_results_1989 с PET SHOP BOYS могу помочь со ссылками
Барин: The Ides of March's second album was a more wide-ranging yet less consistent affair than their debut LP. On some of the tracks, they were obviously sticking to the Blood, Sweat & Tears-like format that had yielded their 1970 smash hit, "Vehicle." Jim Peterik has even admitted that "Superman," initially released as the follow-up single to "Vehicle" almost a year before Common Bond came out, was an attempt to rewrite "Vehicle," as per Warner Bros.' wishes (though they managed to quote the riff to Jimi Hendrix's arrangement of Bob Dylan's "All Along the Watchtower" in that track as well). Yet the album also contained the accurate Crosby, Stills & Nash imitation "L.A. Goodbye," which although it missed the Top 40 was a huge hit in Chicago. Bombastic MOR pop balladeering also got a nod with "Hymn for Her," CSN were again aped in "We Are Pillows," and the eleven-minute epic "Tie-Dye Princess" was the band's most progressive endeavor, kicking off with the timelessly dated couplet "Hail hail to the tie-dye princess, hail hail to the tie-dye queen!" All of the tracks from the LP have been reissued on the Rhino Handmade compilation Friendly Strangers: The Warner Bros. Recordings, which also has everything from their debut album (1970's Vehicle) and a few non-LP singles from the period. 1 Friends of Feeling 3:49 2 Ogre 4:14 3 L.A. Goodbye 2:51 4 Hymn for Her 4:03 5 Mrs. Grayson's Farm 5:19 6 Superman 3:01 7 We Are Pillows 3:14 8 Prelude to Freedom 0:26 9 Freedom Sweet 3:31 10 Tie-Dye Princess 11:38 Jim Peterik - Guitar, Vocals John Larson - Trumpet, Flugelhorn, Vocals Chuck Soumar - Harmonica, Percussion, Trumpet, Vocals Bob Bergland - Bass, Saxophone, Vocals, Falsetto Larry Millas - Bass, Flute, Guitar, Vocals Mike Borch - Drums, Vocals (bckgr) Part 1 Part 2 Scans
Georgy50: The Ides of March - понравились очень ! Есть ли у них ещё альбомы ? Интересно было бы и их послушать !
dimok: 1. VEHICLE (1970) 2. COMMON BOND (1971) 3. WORLD WOVEN (1972) 4. MIDNIGHT OIL (1973) 5. IDEOLOGY (1992) 6. AGE BEFORE BEAUTY (1997) The Ides of March - Vehicle (1970) взято с http://mygeneration60s.blogspot.com/ http://rapidshare.com/files/98894734/The_Ides_Of_March_-_Vehicle__1970_.rar
Georgy50:
Барин: 1 The Rising Surf 2:49 2 Surfer's Delight 1:49 3 Undercurrent 2:42 4 Foot Stomp U.S.A. 2:04 5 The Quiet Surf 2:16 6 Breakin' Out 1:50 7 Skeg-Along-Pete 2:43 8 Ground Swell 2:37 9 Push Off 2:22 10 Swanee River 1:56 11 Put It On 1:59 12 Rumble 2:45 Richie Allen - Guitar Plas Johnson - Saxophone Les Weiser - Saxophone Steve Douglas & the Rebel Rousers - Saxophone Rene Hall - Guitar Eddie Beal - Piano Ray Johnson - Piano Lincoln Mayorga - Piano Harper Cosby - String Bass Ray Pohlman - Bass (Electric) Sandy Nelson - Drums 1 - 12 Scans
Барин: 1 Ballo in Fa Diesis Minore 19:55 2 Il Ciliegio 19:55 3 Nascita di un Lago 19:55 4 Il Poeta de Corte 19:55 5 Il Marinaio 4:10 6 La Pulce d'Acqua 4:10 7 La Sposa Rubata 4:00 8 La Lepre Nella Luna 5:02 9 La Bella Dama Senza Pieta 6:43 Angelo Branduardi - Violino, Chitarra, Flauto di Pan Gigi Cappellotto - Basso Elettrico Bruno De Filippi - Sitar, Armonica, Ocarina Massimiliano Di Carlo - Cetra Franco Di Sabatino - Tastiere Maurizio Fabrizio - Pianoforte, Chitarra, Chitarra Ottavino Roiberto Puleo - Buzuki, Slide Guitar Andy Surdi - Batteria, Percussioni Ospite - Luigi Lai alle launeddas Part 1 Part 2 Scans
Барин: 1. Jestes spoznionym deszczem 4:04 2. Mysli twoje snic zaczynam 4:28 3. Wzejde polnym makiem 3:43 4. Otwieram list - brazowy wrzesien 3:48 5. W powszednie dni 3:42 6. snij tylko szczescie 4:58 7. Piesn Geiry 4:02 8. Chce byc dla ciebie 5:24 9. Brzegi lagodne 5:12 10. Podroї z ukochana 2:47 11. Jedyna swiatlosc 3:08 12. Na samym dnie 2:44 13. Milosc 3:35 14. Usta twoje caluja 2:25 15. Umilowanie 2:34 16. Do nocy 2:38 17. Smutek 3:44 18. Noc w miescie 2:50 19. Lekacja natchnienia 3:06 20. Piesn weselna 2:27 21. Coraz bliїej 2:37 22. Koleda dziecinna 5:34 1-9 Jozef Skrzek - gitara basowa, instrumenty klawiszowe Antymos Apostolis - gitara Jerzy Piotrowski - instrumenty perkusyjne 10-22 Jozef Skrzek - fortepian, gitara basowa, polimoog, minimoog, fortepian Fendera, klarnet, perkusja, vocal Hubert Rutkowski - perkusja, instrumenty perkusyjne Part 1 Part 2 Part 3 Scans
Барин: 1 No Escape 2 Love You Forever 3 I Must Be Dreaming 4 Girl 5 Change of Heart 6 Radio 7 Heartache 8 Lethal Lover 9 Tell It Like It Is 10 Dirty Secrets Gregg Giuffria - Keyboards, Vocals David Glen Eisley - Harmonica, Vocals Lanny Cordola - Guitar, Vocals David Sikes - Bass, Vocals Alan Krigger - Drums Part 1 Part 2 Scans
Барин: 1. Watch What Happens 4:03 2. Something 3:11 3. Everybody's Talkin' 2:56 4. The Fool On The Hill 3:46 5. Yesterday When I Was Young 4:09 6. Rocky Raccoon 3:33 7. My Mood Is You 4:45 8. A Message To Michael 3:20 9. Nightwind 3:43 10 In My Life 2:56 Lena Horne - vcl Gabor Szabo - g Eric Gale - g Cornell Dupree - g Richard Tee - org Chuck Rainey - el-b Grady Tate - d Gary McFarland - arr,con 1 - 10 Scans
Барин: 1 Dreams of No Return 5:31 2 Jane 4:21 3 Oh Did I Love a Dream 5:41 4 Black Jack Davey 3:39 5 Rends-Moi Demain 3:18 6 Little Girl 4:21 7 Sailor and the Dancer 2:50 8 1968 6:08 9 Log Cabin in the Sky 3:23 10 Dear Old Battlefield 3:08 11 Cold Days of February 6:58 12 Medley: Witches Hat/Koeeoaadi There/A Very Cellular Song 8:10 13 Koeeoaddi There 14 Very Cellular Song Gerald Dott Graham Forbes John Gilston Mike Heron Jack Ingram Malcolm Le Maistre Licorice McKechnie Robin Williamson Part 1 Part 2 Scans
Барин: 1. That's What It's All About 2. Summertime Wintertime 3. Bedtime Story, A 4. Gun 5. Baby's Lost Love 6. Just Another Clown 7. Only Because You're There 8. Have You Heard the News 9. Linda 10. And I Like You 11. My Summer Song 12. It's a Sort of Magic 13. Weaver's Answer 14. Blow Blow Thou Winter Wind 15. Say Hello to Mrs. Jones 16. Morning 17. Seven Fishes 18. Autumn 19. Come With Me 20. Life Insurance 21. Sitting on a Bomb 22. When the Sun Is in Your Eyes 23. See Me Flying 24. Freud Fish Clive Scott - keyboards, vocals Barrie Bernard - bass Tony Campbell - guitar Tony Britnell - saxophone Des Dyer - drums, vocals Part 1 Part 2 Scans
Барин: 1 Midnight Train to Georgia 4:38 2 I've Got to Use My Imagination 3:29 3 Storms of Troubled Times 3:44 4 Best Thing That Ever Happened to Me 3:45 5 Once in a Lifetime Thing 3:41 6 Where Peaceful Waters Flow 4:24 7 I Can See Clearly Now 4:28 8 Perfect Love 2:37 9 Window Raisin' Granny 6:09 Gladys Knight - Vocals Bubba Knight - Vocals William Guest - Vocals Edward Patten - Vocals 1 - 9 Scans
Барин: Inductive Resonance Thrang Thrang Gozinbulx I Trap Boy At Piano Heptaparaparshinokh Thrang Thrang Gozinbulx II Christian Children Marching, Singing Ooh! Mr. Fripp Dislocated Minor Man Thrang Thrang Gozinbulx III Farewell Johnny Brill Inductive Resonance Barry Andrews - organ Robert Fripp - guitar Sara Lee - bass guitar Jonny Toobad - drums Part 1 Part 2 Scans
Барин: 1 I Just Want a Little Bit 3:04 2 What Have I Done Wrong? 3:11 3 Easy Baby 3:57 4 You Belong to Me Magic Sam 4:07 5 It's All Your Fault 4:55 6 I Have the Same Old Blues 3:35 7 You Don't Love Me, Baby 3:32 8 San-Ho-Zay 3:57 9 Stop! You're Hurting Me 4:52 10 Keep Loving Me Baby 3:54 Magic Sam - Guitar, Vocals Eddie Shaw - Sax (Tenor) Mighty Joe Young - Guitar Lafayette Leake - Piano Mack Thompson - Bass Odie Jr. Payne - Drums Billy Stepney - Drums 1 - 10 Scans
Барин: 1. La espera (un ser llamado muerte) (5:34) 2. Y murió la tarde (9:47) 3. Alberich (1:06) 4. Hiperdulía al fracaso (3:52) 5. Memorias de un cometa (12:17) 6. Persistencia (3:55) 7. El tiempero (5:43) 8. Premonición (5:33) José Luis Fernández Ledesma Q. - electric piano, synths, sequencers Ramón Nakash B. - violin Alejandro Schmidt R. - classical & electric guitars, bass + Claudio Martinez de Alba - vocals Rafael González - drums, acoustic & electric percussion Part 1 Part 2 Scans
Барин: 1. L'Aurora — 3:16 2. Irene — 2:39 3. Lacrime di Sale — 2:57 4. Finita la Scuola — 2:40 5. Casa Mia — 3:22 6. Fiori e Colori — 2:35 7. Tutto passera — 2:47 8. Summer Coming — 3:14 9. Era un Anno Fa — 3:02 10. Flowers and Colours — 2:46 11. Dovunque Andrai — 2:58 12. Blue Rondo a la Turk — 3:20 13. Concerto N.3 — 3:10 Aldo Tagliapietra, vocals, guitar Toni Pagliuca, keyboards Nino Smeraldi, guitar Claudio Galieti, bass Michi Dei Rossi, drums CD содержит первую EP Le Orme плюс несколько неизданных синглов. 1 - 13 Scans
Барин: 1. Intim 2. So ist das Leben 3. Und sie trinken ihr Bier 4. Prinzenjagd 5. Siebenschlafer 6. Unser Kind 7. Liebesfantasie 8. Eine frei erfundene Geschichte 9. Eingehangt 10. Madchen aus Amsterdam 11. Gottin der Liebe 12. Liebe pur 13. Kalte Tage 14. Vogel aus Blei 15. Geheime Zeichen 16. So nah 17. Rock'n'Roll Ballerina 18. Das Eine und das Andere 19. Die Kugel rollt 20. Mein Gott 21. Ende meiner Einsamkeit Part 1 Part 2 Scans
Барин: 1 Captain Boogaloo 4:19 2 Over Rio 4:22 3 The Lone Ranger 2:54 4 No American Starship 4:55 5 Alto Loma Road 4:45 6 Cocobana Heaven 5:10 7 Constant Forest 2:16 8 Something at the Bottom of the Sea, Pt. 1: Stepping Stones 1:10 9 Something at the Bottom of the Sea, Pt. 2: The Roving Finger 2:01 10 Something at the Bottom of the Sea, Pt. 3: Stepping Rocks 1:15 11 Something at the Bottom of the Sea, Pt. 4 3:40 12 Captain Boogaloo 4:40 13 The Lone Ranger 3:19 14 No American Starship 4:52 15 Over Rio 4:21 16 Drift 3:09 Rupert Hine - lead vocals, keyboards, multilectras varium John G. Perry - bass guitar, vocals Trevor Morais - drums, percussion Mark Warner - guitars, vocals + Ray Cooper - percussion Morris Pert - percussion Part 1 Part 2 Scans
Барин: 1. Cosmic, Toilet Ditty 0:39 2. Caka Slow / Vertebrate Twist 4:20 3. Obsession sexuelle N°1 0:28 4. Galactic Sewer Song 4:03 5. Obsession sexuelle N°2 0:12 6. Red Noise Live au café des Sports 2:07 7. Existential-Import of the screw-driver eternity Twist 2:02 8. 20 Miror Mozarts composing on tea bag and 1/2 cup-bra 2:28 9. Red Noise en direct du buffet de la gare - 2eme partie 2:14 10. A la mémoire du rockeur inconnu 0:39 11. Petit précis d'instruction civique 0:35 12. Sarcelles c'est l'avenir 18:56 Patrick Vian - Guitars, Vocals Jean-Claude Cenci - Sax, Flute, Vocals Daniel Geoffroy - Bass, Vocals Philip Barry - Drums, Guitar, Vocals + John Livengood - Hammond Organ Austine Blue - Percussion 1 - 12 Scans
Барин: In That Great Gettin' Up Morning, spiritual 4:03 Sinner, Please Doan Let Dis Harves' Pass 4:03 Over My Head I Hear Music, spiritual 6:43 Oh, What A Beautiful City! 2:43 Lord, How Come Me Here 4:36 I Believe I'll Go Back Home/Lordy, Won't You Help Me? 4:29 Ride On, King Jesus 2:40 Swing Low, Sweet Chariot 4:50 You Can Tell the World, spiritual 2:09 Scandalize My Name 3:30 The Great Day (The Sacred Harp, Philadelphia, 1860) 2:35 Oh, Glory, spiritual 4:15 Calvary/They Crucified My Lord 4:52 Talk About A Child 2:23 Gospel Train, spiritual 2:33 My God Is So High, spiritual 2:08 There Is a Balm in Gilead, spiritual 4:31 He's Got the Whole World in His Hands 3:35 Kathleen Battle - Soprano Jessye Norman - Soprano Nancy Allen - Harp Hubert Laws - Flute Sylvia Olden Lee - Piano Evelyn Simpson-Curenton - organ James Levine - Conductor Part 1 Part 2 Scans
Барин: 1 Aftershock 3:45 2 Perpetual Reality 5:33 3 Calcutta 5:28 4 Goin' to Town 3:39 5 Pompous Circumstances 3:22 6 Shapes of Things 3:47 7 Sleeveless in Seattle 4:06 8 Good Intentions 4:00 9 Yeolde 2:18 10 Ionized 4:00 Steve Morse - Guitar Jerry Goodman - Violin T Lavitz - Keyboards Dave LaRue - Bass Rod Morgenstein - Percussion, Drums 1 - 10 Scans
Барин: 1. All Along The Watchtower (8:16) 2. I Can't Get No Satisfaction (11:07) 3. Sanningens Silverflod (3:53) 4. Tegenborgsvalsen (2:35) 5. All Makt At Folket (6:05) 6. Svarta Parla (5:19) Bo Anders Persson - guitar, violin, flute, vocals Arne Eriksson - piano, cello, flute Torbjörn Abelli - bass, harp, flute Thomas Gartz - drums, harp, flute, vocals 1 - 5 Scans
Барин: 1. Concrete And Clay 2. Sorrow And Pain 3. Couldn't Keep It To Myself 4. You'll Remember 5. 500 Miles 6. You've Lost That Lovin' Feelin' 7. Swing Down Chariot 8. Wild Is The Wind 9. The Girl From New York City 10. Cross A Million Mountains 11. Butterfly 12. I Will 13. Face In My Head 14. 3.30 15. Too Fast, Too Slow 16. Something I Can Believe In 17. (Living In) The World Of Broken Hearts 18. Loving Takes A Little Understanding 19. Booby Trap 20. I Can't Stop 21. You Ain't Going Nowhere 22. (You've Never) Been In Love Like This Before 23. Baby Never Say Goodbye 24. For A Moment 25. Fables 26. The Green Fields 27. I Won't Let You Down Pete "The Count" Moules - vocals David "Buster" Meikle - guitar/vocals Howard "Lem" Lubin - guitar/vocals Tommy "Sweat" Moeller - piano/vocals Rod "Humble" Garwood - bass guitar Hugh "Pygmy" Halliday - drums Part 1 Part 2 Scans
Барин: ProgArchives: "VITA NOVA was founded by three musicians of a quite different origin, Eddy Marron (guitar, bass, vocals) who was born in Eastern Germany but emigrated to the west, studied concert guitar and already became a profi musician with twenty years, Sylvester Levay (keyboards) with hungarian parents but born in Serbia who could already take classical piano lessons as a young boy and Christian von Hoffmann aka Chris Hoff (drums) born in Switzerland which played together with Levay in the Ambros Seelos Band. Because they were unhappy to play only music which other people claimed to hear they met Marron sometime at the beginning of the 70s with the intention to work out something new. With VITA NOVA (New Life) they got an adequate promising name for the new band and according to the latin title additionally an important aspect of their music was defined. Levay rented the Munich Union-Studios for some days in February 1971 where they could work out their 'progresssive' music without any constraint - unconventional because of the use of a Hohner Clavinet first of all. It have been hard times. Because they had to meet the obligations of their regular bands there was less time to sleep and only during the night and morning time a chance to join the studio. Lyrics were written by Levay's brother-in-law Adalbert Hayduk and performed in latin - another unconventional aspect of the band - similar to the band OS MUNDI on the album 'Latin Mass' reflecting the upcoming protest against ecological destruction. The eponymous album is very experimental and blending psychedelic, jazz rock, symphonic and classical elements showing the high professional abilites of the VITA NOVA members. Consisting of 12 mainly short tracks it was released the same year by the austrian Life Records label with a limited edition of 500 copies. Being a rare and searched vinyl the band decided to republish the album. Despite the original tapes got lost a well-preserved LP was taken as the master. Penner Records, a forerunner of the german Garden Of Delights label, could present a digitally remastered version in 1995 with two bonus tracks which were originally produced for a planned single. VITA NOVA never gave live performances. Apparently there have been no further intentions and therefore the band disappeared soon after the album recordings because every member began to reach for new experiences. Eddy Marron founded his own music school and could also attract attention with two DZYAN albums from 1973/74 and as a short-time member of MISSUS BEASTLY. Sylvester Levay is a wellknown composer who for example got a grammy for his song 'Fly, Robin, Fly'. Christian von Hoffmann actually has a music shop and is playing fusion music. VITA NOVA delivered an unique eclectic sound at the beginning of the 70s and is worth of receiving attention" 1. Quomodo manet 2. Vita Nova inventions 3. Whirl wind 4. Istanbul 5. Sylvester 6. Wildman 7. Inventions finale 8. Heva-cleva 9. Adoramus 10. Sunt alteri 11. Adoramus finale 12. Tempus Est Bonus tracks on cd release: 13. Lacrimosa 14. Olymp 99 Eddy Marron - all guitars, solo vocals Sylvester Levay - vocals, vintage keyboards, Hohner clavinet, hybrid harpsichord Christian Von Hoffman - drums, vocals Part 1 Part 2 Scans
Барин: 1 Love Is a Many Splendored Thing 2:55 2 A Summer Place 2:37 3 Maria 3:42 4 Never on Sunday 3:01 5 As Time Goes By 3:10 6 The Exodus Song 3:16 7 Moon River 2:46 8 Tonight [From West Side Story] 2:37 9 The Second Time Around 3:22 10 Tender Is the Night 3:05 11 It Might as Well Be Spring 3:11 12 Three Coins in the Fountain 2:54 Andy Williams - Vocals Robert Mersey - Conductor 1 - 12 Scans
tatyko: Большое спасибо, очень ностальгический альбом!
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