Sunday, November 30, 2008

Neil Young and Crazy Horse - “Ragged Glory” (1990)

After Neil Young left the Californian folk-rock band Buffalo Springfield in 1968, he slowly established himself as one of the most influential and idiosyncratic singer/songwriters of his generation. Young's body of work ranks second only to Bob Dylan in terms of depth, and he was able to sustain his critical reputation, as well as record sales, for a longer period of time than Dylan, partially because of his willfully perverse work ethic. From the beginning of his solo career in the late '60s until the late '90s, he never stopped writing, recording, and performing; his official catalog only represented a portion of his work, since he kept countless tapes of unreleased songs in his vaults. Just as importantly, Young continually explored new musical ... Read More...
01.Country Home 02.White Line 03.F*!#In' Up 04.Over and Over 05.Love to Burn 06.Farmer John 07.Mansion on the Hil l08.Days That Used to Be 09.Love and Only Love 10.Mother Earth (Natural Anthem)
Having re-established his reputation with the musically varied, lyrically enraged Freedom, Neil Young returned to being the lead guitarist of Crazy Horse for the musically homogenous, lyrically hopeful Ragged Glory. The album's dominant sound was made by Young's noisy guitar, which bordered on and sometimes slipped over into distortion, while Crazy Horse kept up the songs' bright tempos. Despite the volume, the tunes were catchy, with strong melodies and good choruses, and they were given over to love, humor, and warm reminiscence. They were also platforms for often extended guitar excursions: "Love to Burn" and "Love and Only Love" ran over ten minutes each, and the album as a whole lasted nearly 63 minutes with only ten songs. Much about the record had a retrospective feel — the first two tracks, "Country Home" and "White Line," were newly recorded versions of songs Young had played with Crazy Horse but never released in the '70s; "Mansion on the Hill," the album's most accessible track, celebrated a place where "psychedelic music fills the air" and "peace and love live there still"; there was a cover of the Premiers' garage rock oldie "Farmer John"; and "Days That Used to Be," in addition to its backward-looking theme, borrowed the melody from Bob Dylan's "My Back Pages" (by way of the Byrds' arrangement), while "Mother Earth (Natural Anthem)" was the folk standard "The Water Is Wide" with new, environmentally aware lyrics. Young was not generally known as an artist who evoked the past this much, but if he could extend his creative rebirth with music this exhilarating, no one was likely to complain.

The Fireballs-Torquay & Campusology (2001)


Review by Cub Koda
The Fireballs were part of producer Norman Petty's stable of talent, coming to prominence in the wake of Buddy Holly's untimely demise. Clean, crisp and spare, with a delightful Texas-Southwest flavor to their music, The Fireballs provided the only real competition to The Ventures in the early '60s. Combining two of the group's early albums onto one single disc (24 tracks in all), this provides a wonderful introduction to this largely unheralded instrumental group. (British import)
Torquay & Campusology - albums 1963 and 1966 years.
1. Torquay 2. Alone 3. Joey's Song 4. Last Date 5. Chief Woopin' Koff 6. Ringo 7. Wheels 8. Honey 9. Rawhide 10. Tuff-A-Nugg 11. Dumbo 12. Quite a Party 13. Ahhh Soul 14. Campusology 15. Daytona Drag 16. Evermore 17. Pegleg 18. Sheezburger 19. In the Mood 20. Mr. Mean 21. Mrs. Mean 22. Gently, Gently 23. Mr. Reed 24. Find Me a Golden Street

Saturday, November 29, 2008

The Great Scots - The Great Lost Great Scots Album !!!

Mp3\ 55Mb
Rick McNeil (vocals)
Bill Schnare (guitar)
Wayne Forrest (guitar)
Gerry Archer (drums)
Dave Isner (bass)


Mp3 \67 Mb

The Four Pennies - 2 Sides Of The Four Pennies (1964) - Mixed Bag (1966)



The Four Pennies started out as the Lionel Morton Four, taking their name from their singer, who had served as a choir boy in a cathedral in his hometown of Blackburn, Lancashire, England, during his youth. The band — not to be confused with the stateside recording artists of the same name — also included Stoke-on-Trent native Mike Wilsh on piano, Oldham's Fritz Fryer on lead guitar, and Alan Buck of Brierfield on drums. Morton, in addition to singing, played the rhythm guitar. Buck, before coming to the group, had belonged to groups led by Joe Brown and Johnny Kidd. The band found their greatest success with ballads like "Juliet," which knocked the Searchers from the top of the charts in the spring of 1964. The song was originally labeled as the B-side of the group's second single, but soon was given "A" status when it started attracting attention over its flip side, "Tell Me Girl." At this point, the band had already charted with their debut single, "Do You Want Me To," but failed to make any waves with their music until "Juliet" appeared on the scene. The band's third single, a three-hankie ballad called "I Found Out the Hard Way," wasn't as successful as "Juliet," but it did climb nicely into the Top 20 in Great Britain. The Four Pennies charted twice more with "Until It's Time for You to Go," a Buffy Sainte-Marie number, and "Black Girl" from the great bluesman Leadbelly. With their original lineup, the Four Pennies put out one more single, "No Sad Songs for Me." The group fell apart in the fall of 1966. Morton, whose wife was British actress Julia Foster, first tried to go solo before switching gears and moving into television. Buck continued to work in show business, holding a variety of jobs that included production work at Radio Luxembourg. Fryer subsequently established the group Fritz, Mike & Mo, then worked as a record producer for such groups as Clannad, Horslips, Motцrhead, and Stackridge, among others. Wilsh still operates a band under the Four Pennies name


Two Sides of the Four Pennies

This is an album that truly lives up to its title, in the most bizarre way possible. The Four Pennies' pleasant but lightweight sound makes for a reasonably upbeat album for the first nine songs, long on melodies and ballads — which is what the Four Pennies did best — and light on the amperage. They do a surprisingly good version of "Will You Love Me Tomorrow," with all of the elements — the elegant lead vocals and harmonies, the instruments turned up to about "two," and the dignified tone — coming together. And then a shock: at the end of Side Two of the original disc, "Pony Time" throws out most of the propriety and neatness of the rest of the record, and "Come to Me" and "Why Do You Cry" give them a sound that could pass for the Beatles, the Searchers, or Gerry & the Pacemakers, with solid electric guitars turned up and out in front of the group's sound. What's lacking on the first nine songs is excitement, however, as even the group's faster-paced tracks, such as "Do You Want Me To," resemble the Everly Brothers on a coffee jag more than typical British Invasion sounds. Not only wasn't the wattage there for anything heavier weight, but the quartet was simply too dignified to generate anything tougher — the resulting album, apart from the last three numbers, is like an entire LP with the texture of the Beatles' "Till There Was You."


Label: Bgo - Beat Goes On
Release Date: April 3, 1997

1. Da Doo Ron Ron (When He Walked Me Home) - The Four Pennies, Barry
2. Sweeter Than You - The Four Pennies, Knight, Baker
3. Claudette - The Four Pennies, Orbison
4. If You Love Me (I Won't Care) - The Four Pennies, Monnot
5. Do You Want Me To - The Four Pennies, Fryer
6. Love's Journey - The Four Pennies, Wilsh
7. You Went Away - The Four Pennies, Fryer
8. Will You Love Me Tomorrow - The Four Pennies, Goffin
9. Now We Are Through - The Four Pennies, Fryer
10. Pony Time - The Four Pennies, Berry
11. Come to Me - The Four Pennies, Deighan
12. Why Do You Cry - The Four Pennies, Fryer
13. Cryin' Inside - The Four Pennies, Morton
14. Look Down - The Four Pennies, Morton
15. I'm on My Own - The Four Pennies, Morton
16. She Didn't Say Yes - The Four Pennies, Deighan
17. It Is No Secret - The Four Pennies, Hamblen, Stuart
18. Iko-Iko - The Four Pennies, Hawkins
19. Without Love - The Four Pennies, Small
20. Try to Find Another Man - The Four Pennies, Medley, Bill
21. Maracabamba - The Four Pennies, Springfield
22. Stewball - The Four Pennies, Traditional
23. All My Sorrows - The Four Pennies, Traditional
24. Someday Soon - The Four Pennies, Wilsh
25. Wild Goose - The Four Pennies, Hemsworth
26. Let It Be Me (Je T'Appartiens) - The Four Pennies, Becaud

Thanks Chel

The Robbs - The Robbs (1967)

Mp3 \50 Mb

by Bryan Thomas
The Robbs — oldest brother Dee Robb (guitar, vocals), Joe Robb (guitar, vocals), and youngest brother Bruce Robb (keyboards, vocals) — began their lengthy careers in their hometown of Oconomowoc, WI (near Milwaukee) as a teen-center pop group calling themselves Dee Robb & the Robbins. As Robby & the Robins, they recorded "Surfer's Life" for the Todd label, which has since appeared on numerous surf compilations. During a summer tour, their guitarist was facing the draft board, so the band had to shuffle the lineup and bring in their cousin, Craig Robb (real name Craig Krampf as a replacement on drums. The band then changed names to the Robbs and soldiered on, playing soft rock ... Read More...
David Donaldson (aka Dee Robb) guitar/vocalsRobert Donaldson (aka Bruce Robb) organGeorge Donaldson (aka Joe Robb) guitarCraig Krampf (aka Craig Robb) drums
bass duties was usually done by session players from Hollywood notably Larry Knetchel or Joe Osborn
1. Violets of Dawn 2. Race With the Wind 3. Cynthia Loves 4. Next Time You See Me 5. Girls, Girls 6. Bittersweet 7. See Jane Run 8. In a Funny Sort of Way 9. Rapid Transit 10. Jolly Miller
Although the Robbs quartet was founded by three siblings, none of them was named Robb. They were actually David Donaldson, Robert Donaldson, and George Donaldson. Prior to garnering the attention of teen music mogul Dick Clark, the trio added percussionist Craig Krampf. Under Clark's supervision, the Robbs were featured in a few high-profile television appearances and secured a short-lived deal with Mercury Records.This initially yielded a handful of 45s in 1966, which were slightly augmented and issued as their self-titled (and only) long-player. The Robbs' sound centered around lighter affairs such as the nimble "Cynthia Loves" and tightly packed Hollies-esque vocal harmonies on "Next Time You See Me." Similarly, "Girls, Girls" is a slice of carefree sunshine pop, hinting at the Association and the Turtles, while the pensive "Rapid Transit" is reminiscent of the Left Banke and the Strawberry Alarm Clock's more Baroque approach. The Robbs also show off a penchant for folk-rock on a superior reading of Eric Andersen's "Violets of Dawn," the original composition "Race With the Wind," and an adaptation of "Jolly Miller," the latter adopting a garage feel thanks to the propulsive bassline and omnipresent timekeeping tambourine. The album's initial release barely made it into the Top 200, which may have had something to do with the fact that all but two of the selections had already been available as 7" singles. [In 2004, Collectors' Choice Music re-released The Robbs on CD after several decades relegated to cutout bins and online auctions.]

Friday, November 28, 2008

The Royal Guardsmen-Anthology


MP3 \ 81 Mb
As a supplemental income source in the late '60s and even into the '70s, the Pretty Things members would record anonymously for the DeWolfe Music Library, who would file them for future use in (usually low budget) movies whenever a suitably "swinging" or "groovy" scene was called for...
01. Alexander02. It'll Never Be Me03. I Love You04. Grey Skies05. What's Good For The Goose06. If I Needed Somebody07. Street Girl08. Blow Your mind09. Eagle's Son10. I See You11. Love, Dance And Sing12. Danger Signs13. Walking Down The Street14. A Thousand Ages From The Sun15. Rave Up

THE FIREBALLS - Firewater 1968

01.- Your Turn To Cry (02:19)02.- Maybe Baby (02:03)03.- She Belong To Me (02:28)04.- Note Upon My Door (01:47)05.- Almost Eighteen (02:12)06.- Red Cadillac And A Black Moustache (02:31)07.- Won't Be Long (02:27)08.- Let The Good Times Roll (02:11)09.- Lucille (03:15)10.- Think It Over (02:16)11.- Daisy Petal Picking (02

Thursday, November 27, 2008

THE FIREBALLS - Vaquero1960

01.- Vaquero (02:00)02.- La Raspa (02:02)03.- In A Little Spanish Town (02:36)04.- Cielito Lindo (02:03)05.- La Golondrina (02:06)06.- Tequila (02:46)07.- La Espuela (The Spur) (02:23)08.- Leyenda Espanola (02:15)09.- Jesusita En Chihuahua (02:07)10.- La Borrachita (03:17)11.- A Gay Ranchero (02:57)12.- El Rancho Grande (02:06)

Wednesday, November 26, 2008

Ranetki - Ranetki 2005 Russia

Mp3 320\ 105 Mb
01. My Ranetki02. Serdtse ne spit03. Ona odna04. Angely05. Eto vse o ney06. O tebe07. V Moskve vesna08. Naslazhdaysya09. Zima10. On vernetsya11. Tebya lyubila ya12. Ey ne do sna13. Alisa14. Ona odna (Glamurnaya Radioversiya)

MARMALADE - The Very Best Of

Marmalade were a successful Scottish pop/rock group, originally fronted by the vocalist Dean Ford, and later by Sandy Newman.Unusually, Marmalade had two bass players, and were originally called Dean Ford & The Gaylords; they released several unsuccessful singles between 1964 and 1966, before changing their name. Their next few singles also failed to chart in the UK, although one, "I See The Rain," was highly praised by Jimi Hendrix and became a Top 40 hit in the Netherlands in 1967.Marmalade's record label, CBS, threatened to drop them if they did not have a hit, and after the failure of another self-penned single later that year, "Man In A Shop", insisted they record more chart-oriented material. They rejected "Everlasting Love", which became a Number One for Love Affair, but later gave in to pressure and recorded a cover version of an American hit by The Grass Roots, "Lovin' Things", which reached number 6 in the UK Singles Chart in the summer of 1968. After a lesser hit with the follow-up "Wait For Me Mary-Anne", which only made number 30, they enjoyed their greatest success with their cover of The Beatles' "Ob-La-Di, Ob-La-Da", which topped the UK chart in January 1969. As the first Scottish group to ever top the UK chart, the week it went to the top spot, they celebrated by appearing on BBC1's music programme Top Of The Pops, dressed in kilts.This was followed by further successes with "Baby Make It Soon". After a change of record label to Decca Records, under a deal allowing them to write and produce their own songs, they recorded what would be their only American hit, the melancholy "Reflections Of My Life", with its distinctive backwards guitar break. Other UK hits included the mainly acoustic "Rainbow", and "My Little One". They toured extensively and gave rise to a cocktail — the Marmaladdie. They were managed by Peter Walsh, a 1960s and 1970s pop entrepreneur whose portfolio also included artists like the Bay City Rollers, Billy Ocean, The Troggs and Blue Mink.After Campbell, who co-wrote most of the group's original material with Ford, left the band in 1971 for a solo career, Marmalade suffered adverse publicity from the UK's newspaper, News of the World. They began a series of line-up changes including the loss of drummer Alan Whitehead, who was sacked in the middle of a self-promotion programme with his starlet girlfriend. A new guitarist Hugh Nicholson heralded an attempt to fit into the popular shift towards "progressive" music which met with limited success. However, Nicholson penned two of their last hits, "Cousin Norman" and "Radancer". He left in 1973 to form Blue (not to be confused with a much later boy band of the same name — Blue), and Dean Ford plus Graham Knight carried on with Marmalade. Nicholson was replaced by Mike Japp, a rock guitarist from the Welsh band 'Thank You'.Refusing to play most of the band's old hit records on stage, the group slowly came to a standstill. Graham Knight was sacked, but then linked up with the original drummer, Alan Whitehead, to form Vintage Marmalade. They were reunited with their old manager Peter Walsh to play all the hits on stage, and had a full date sheet.Dean's Marmalade soon died a natural death, leaving Knight and Whitehead to take over the name Marmalade again with a new line-up, fronted by vocalist and guitarist Sandy Newman. They signed a deal with Target Records, and had another Top 10 hit in 1976 with the ominously entitled Tony Macaulay-penned song, "Falling Apart At The Seams". Subsequent singles then failed to chart.Whitehead left the band in 1978 to manage other pop groups, which he does to this day. Knight is still touring on the nostalgia circuit with Marmalade — the only original left — alongside Newman, Glenn Taylor (drums), and Alan Holmes (guitar). Ford lives in New York having retired from the music industry, whilst Fairley has his own bar, called Scotland Yard, situated in Los Angeles.Whitehead married Louise and they had two children, born in 1988 and in 1992. Despite Knight and Ford's greater celebrity, Whitehead always contended that he was the 'face' of the Marmalade, although arguably few would recognise him.Campbell is a successful songwriter and arranger, now living in Sussex, England.
1. I see the rain2. Lovin? things3. Wait for me Mary-Ann4. Ob-la-di Ob-la-da5. Baby make it soon6. Reflections of my life7. Rainbow8. My little one9. Cousin Norman10. Back on the road11. Radancer12. Falling apart at the seams13. Heavens above14. I gave up15. I listen to my heart16. What are you gonna do17. Best of my love18. Good luck to you

Mortimer - Mortimer 1967

Mp3 320\ 110 Mb
Mortimer evolved out of a later incarnation of the Teddy Boys, from Hyde Park, NY, who recorded a handful of singles for MGM and Cameo Records in 1966 and 1967. They masqueraded under a somewhat psychedelic pseudonym, Pinocchio & Puppets, for an two-sided instrumental single (the B-side was an Eastern raga rock version of "Cowboys and Indians," but is probably not the Michael Lloyd song), which was released by Mercury in 1967. In May 1968, the future members of Mortimer were in the front row of the live TV audience at The Tonight Show and got the chance to meet John Lennon and Paul McCartney, who were in New York to launch their new Apple label and appear on the show. The band eventually ended up in London, where — under the supervision of Peter Asher — they recorded a few sessions for the label (an acetate of Mortimer's version of the Beatles' "Two of Us" is said to still exist in the vaults, although it apparently bears little resemblance to the Beatles' version). The group apparently came very close to signing with Apple, but ended up signing a production deal with U.K. record producer Daniel Secunda (brother of Procol Harum manager Tony Secunda) and his B.B.& D. Productions, Inc. The group cut a self-titled album, from which two singles were released, for Philips, but dissolved soon thereafter.
Famous for almost releasing an album on The Beatles Apple label in '69 (before a certain Allen Klein stepped in), this is the New York quartets '67 LP. More acoustic and melodic than their live performances, this ten track album has been reissued for the first time in nearly forty years and now features six bonus tracks. A fine addition to anyone's folk or psyche collections, a highly promising band that should have been huge, criminally ignored by everyone apart from their native city. Features new liner notes and interview material by Stefan Granados, expert on Apple and Psychedelia. Includes alternate mono mixes of their two singles "Dedicated Music Man" and "To Understand Someone" as bonus tracks, as well as "Mortime's Theme" and "Life's Sweet Music."
1.Dedicated Music Man2.Where Dragons Guard The Doors3.Would You Believe4.Singing To The Sunshine5.Mortimer's Theme6.Take Your Troubles7.To Understand Someone8.Waiting For Someone9.Life's Sweet Music10.Yes We Know11.Dedicated Music Man (Mono Single Mix)(bonus track)12.To Understand Someone (Mono Single Mix)(bonus track)13.Ingenue's Tune (bonus track)14.Slicker Beauty Hints (bonus track)15.People Who Are Different (Alternate Version)(bonus track)16.Yes We Know (Alternate Version)(bonus track)

Tuesday, November 11, 2008

The Ill Wind - Flashes (1967)

The psychedelic group Ill Wind released just one album, and even though it was for a fairly big label (ABC), it was indeed ill-distributed and heard by few at the time. Like a number of late-'60s bands from Boston, Ill Wind suffered from the lack of a consistent musical direction and uneven material and production that didn't make the most of the bandmembers' assets, though there was some instrumental and vocal talent in the group. Their album, Flashes, was a tense, brooding stew of folk-rock and freaky psychedelia that didn't quite coalesce, with the stirring, assertive vocals of Conny Devaney the best ingredient. Although it was produced by one of the best producers in 1960s rock, Tom Wilson (who had worked with Bob Dylan, Simon & Garfunkel, the Mothers of Invention, and others), it didn't do much, and the Ill Wind disbanded at the end of 1968, though the group re-formed for a few months in 1970
1 Walkin' and Singin' 2 Sleep 3 Little Man 4 Dark World 5 L.A.P.D. 6 High Flying Bird Wheeler 7 Hung-Up Chick 8 People of the Night 9 Full Cycle
Flashes does indeed have more flashes of potential than many of the countless other one-shot psychedelic albums of the late '60s, but this Boston group's sole effort is quite erratic, and not graced with much good material. The best points in their favor are the bracing vocals of Connie DeVanney, whether she's singing alone or blending with male voices in a manner reminiscent of (and probably highly influenced by) early Jefferson Airplane. But despite the presence of Tom Wilson at the production reins, the production often sounds underdeveloped, and the songs frequently meander in a derivative twilight between folk-rock and psychedelia. There are some fair driving folk-rockers in the 1967 Airplane style here, like "People of the Night" (with a lengthy Eastern-style psychedelic guitar break), "Hung-Up Chick," and "High Flying Bird," the last of them a folk song covered by numerous rockers in the last half of the 1960s, not least Jefferson Airplane themselves. "Dark World" is haunting folk-rock-psychedelia, and the best solo showcase for DeVanney's voice, while "Sleep" has some almost gothic male-female vocal interaction. But the album also has some overlong blues-rock noodling and psychedelic droning, mediocre good-time jug band-influenced stuff, and self-consciously heavy social commentary.

The Orient Express - The Orient Express- (1969)

GUY DURIS sitar, electric oud, vocals BRUNO GIET electric minitar, vocals FARSHID GOLESORKHI electric melodica, dumbek, tympani, vcls

The Orient Express' sole LP from 1969 stands today as an early experiment in world fusion — and a pretty successful one at that, at least artistically. Guitarist Guy Duris is a Frenchman who became enamored with the oud, a classical Arabian guitar. Belgian Bruno Giet is a bass player with a rock background. Iranian Farshid Golesorkhi is an award-winning percussionist in the Persian tradition. As a trio, they only left 35 minutes for posterity, but these minutes are filled with interesting ideas and kitschy songs, all originals. All three men sing in English, with an accent so thick most lyrics become undecipherable (and, from the bits you can make out, they don't seem worth deciphering), but the songs are quite good and very positive: "Dance with Me" features greatly ornamented vocals Arab-style, while "A Little Star" and "For a Moment" are straightforward pop songs of their time, albeit with dumbek battling the drum kit for percussive prominence, and sitar providing a background texture. Duris and Golesorkhi get solo features ("Layla" and "Impulse (Forty-Two Drums)" respectively), and "Azaar" is a canon song. The other tracks are instrumentals ranging from Indian-tinged psychedelic tunes to crosses between French pop and Middle-Eastern classical music. The Orient Express uses a lot of the clichйs associated with Middle-Eastern music, except that these were not clichй yet back in 1969 and they are being used here in good faith. It explains why this LP still sounds fresh and exciting today.
1 Fruit of the Desert Duris 2:54 2 Dance for Me Duris 2:47 3 Layla Duris, Golesorkhi 3:41 4 Birds of India Duris, Giet 3:49 5 Train to Bombay Duris, Geit 2:50 6 Caravan of Silk Golesorkhi 2:44 7 Azaar Golesorkhi 4:30 8 For a Moment Giet 2:06 9 Impulse (Forty-Two Drums) Golesorkhi 4:47 10 A Little Star Duris, Giet 2:25 11 Cobra Fever Giet, Golesorkhi

The Devil's Anvil- Hard Rock from the Middle East

Devil's Anvil were a New York-based psychedelic group of the mid 1960s that released only one album, Hard Rock From the Middle East (1967 - Collectables, 2001), reissued with a Freak Scene album (no relationship between the two bands, though). Their middle-eastern acid-rock was unique and bizarrely modern (it predates the British transglobal-dance bands by about 30 years). The fuzzed-out guitar mingled with oud, bouzouki, tamboura, durbeki. This record is very unusual! It has middle eastern vocal melodies and instramentation mixed with 60's heavy blues/psychedelia. The band features Felix Pappalardi on bass (of Cream & Mountain fame). One thing to note: The lyrics are evidently sung in arabic and sometimes in greek, but this fact does not have an effect to detract from the music's compelling sounds in the least bit. One noteworthy track is the interesting cover of "Miserlou", featuring lead vocals (in english) by Felix Pappalardi
1. Wala Dai2. Nahna U Diab 3. Karkadon4. Selim Alai 5. Isme6. Besaha7. Shisheler8. Kley9. Hala Laya10. Treea Pethya11. Misirlou12. Teyul Leili

Zartong - Zartong (1978) Armenia

This album in network possible find without difficulties.... So what ? One of my loved.... Let will !!!

Richard Tanelian: DrumsLorys Tildian: Kematcha – VocalsFranckTildian: Bass – VocalsStepan Akian: Santour – Synthesizers – Vocals

1. Dzamone (Part 1 & 2) (3.37) 2. Parhelie (2.22) 3. Prosopoeo (5.54) 4. Iverine part 1 (1.29) 5. Iverine part 2 (1.47) 6. Tpy Narguiz (2.00) 7. Kele Kele (4.43) 8. Armenian Hore (part 1) (1.32) 9. Dole Yaman (5.44) 10. Armenian Hore (part 2) (3.02)


Sunday, November 09, 2008

Jan Lloyd & Stories - Traveling Underground (1973)


Though originally helmed by onetime Left Banke mastermind Michael Brown, Stories ironically scored their lone hit, the 1973 chart-topper "Brother Louie," following Brown's exit from the lineup. After leaving Left Bankein 1967, Brown — the keyboardist who composed the group's classic "Walk Away, Renee" and "Pretty Ballerina" — cut a 1969 LP with the band Montage which closely recalled the pioneering baroque pop approach of his previous work; he then formed Stories with vocalist Ian Lloyd, guitarist Steve Love, and drummer Bryan Madey. Following the group's self-titled 1972 Kama Sutra label debut, the mercurial Bron abruptly resigned, at which point the remaining Stories recruited bassist Kenny Aaronson and pianist Ken Bichel to record 1973's About Us. "Brother Louie," a tale of interracial romance penned by Hot ChocolatesErrol Brown, hit number one that summer, but Stories never again returned to the Top 40. Brown, meanwhile, resurfaced in 1976, leading the short-lived Beckies before spending the following decades out of the limelight.

Most main...------>
1 - Bridges2 - Soft Rain3 - Hard When You’re So Far Away4 - If It Feels Good, Do It 5 - Mammy Blue 6 - Stories Untold7 - I Can’t Understand It8 - Earthbound-Freefall9 - Traveling Underground

Kvartet Akkord - Zolotaya kollektsiya (USSR)

Влад,вот только что нашлось время....
зато в 320 btr.

Saturday, November 08, 2008

The Dave Clark Five - Instrumental Album


This instrumental album of The Dave Clark Five .

by Rick Clark & Richie Unterberger
For a very brief time in 1964, it seemed that the biggest challenger to the Beatles' phenomenon was the Dave Clark Five. From the Tottenham area of London, the quintet had the fortune to knock "I Want to Hold Your Hand" off the top of the British charts with "Glad All Over," and were championed (for about 15 minutes) by the British press as the Beatles' most serious threat. They were the first British Invasion band to break in a big way in the States after the Beatles, though the Rolling Stones and others quickly supplanted the DC5 as the Fab Four's most serious rivals. The Dave Clark Five reached the Top 40 17 times between 1964 and 1967 with memorable hits like "Glad All Over," "Bits and Pieces," "Because," and a remake of ... Read More...
1. chaquita (1st version)2. pumping3. first love4. chaquita (2nd version)5. i walk the line6. time7. all night long8. rumble9. five by five10. theme without a name11. move on12. dum-dee-dee-dum13. no stopping14. blue monday15. when i'm alone16. sweet memories17. ol' sol18. on the move

THE LA-DE-DA'S ---- How is the air up There ? (1966-1967) New Zealand

Aside from Ray Columbus & the Invaders (Ray Columbus and the Invaders " Till we kissed "), ( ) , the La De Das were New Zealand's most popular rock group of the '60s. As big fish in a very small pond, their work doesn't hold up to scrutiny in the company of the era's top American and English acts. But they did record some fine garage/pop numbers in the spirit of the Rolling Stones in the mid-'60s. A few of these ("How Is the Air Up There?" and "All Purpose Low") were big N.Z. hits, and they reached the Top Ten with covers of John May ls "On Top of the World" and a version of Bruce Channels "Hey Baby." In 1968, they recorded a psychedelic-tinged children's concept LP, The Happy Prince; which bears resemblance to modern twee. After a failed attempt to crack the British market, the group soldiered on for quite some time with pedestrian hard rock that — like even the best of their early work — was very derivative of overseas trends
"...I've been wanting to lay me mits on a copy of this somewhat out-standing New Zealand band's compilation for sometime now. It was worth the wait. Total of 29 tracks that cover all, if not most every track this garage / psych band has ever recorded. Believe they put out maybe two actual / proper albums. Either way, what drew me to this Stones-like five piece in the first place was their cut they have on that 'Nuggets II' 4-CD box set. Cuts that make this import more than worthy of repeated plays are "On Top Of The World", their true gem "How Is The Air Up There?" (cannot believe this wasn't a international hit-it's THAT good), "Bright Lights, Big City", "I Take What I Want", "Ride Your Pony", Spencer Davis Group's "Gimme Some Loving", "Hey Girl", their Rascal's cover "Ain't Gonna Eat Out My Heart Anymore" and their R&B covers like "Land Of A Thousand Dances" and "I've Got My Mojo Working". Truly an over-looked piece of work for fans of this genre. Line-up: Kevin Borich (still in the business)-guitar&vocals, Trevor Wilson-bass, Phil Key-rhythm guitar&vocals, Bruce Howard-organ and Keith Barber-drums. Should appeal to fans of Chesterfield Kings, the Seeds, Standells, Remains, Q 65 and the Barbarians. Highly recommended. ..." ( )

Blues Magoos - Psychedelic Lollipop & Electric Comic Book (1966-1967 )

Biography by John Dougan
A Bronx-based quintet, denizens of the Greenwich Village club scene, and originally known by the tres psychedelic moniker the Bloos Magoos, the Blues Magoos made their mark in 1967 with a rousing, full-throttle, sub-literate, psychedelic garage rock single, "(We Ain't Got) Nothin' Yet." It wasn't a spacy, pretentious song, nor did it contain vague attempts at hippie-era mysticism, but was rather the kind of simple, direct, infectious rock & roll you could imagine five guys from the Bronx making. With a snotty lead vocal from keyboardist Ralph Scala and some wild-eyed guitar playing courtesy of then-16-year-old Emil "Peppy" Thielheim, America made the Magoos' debut single a Top Ten hit, sending it to number five in January 1967. With this impetus, the band used all the trappings of marketable psychedelia to promote their second album, Psychedelic Lollipop, which, despite the title's obvious pandering, was a fairly cool chunk of psych-garage rock. The album featured trebly, crappy-sounding guitars, a whiny Farfisa organ, yelled vocals, and a rhythm section that shelved nuance for thudding simplicity. But as the psychedelic era gave way to the hippie era's extended raga-rock proclivities, by 1969, the Magoos seemed anachronistic. Amazingly, they released a third album, with an equally absurd title, Electric Comic Book, that wasn't nearly as bad as it sounds. The original Magoos split up in 1969, but Thielheim couldn't resist beating a dead horse and led a mediocre blues-rock version of the band into 1972.
Blues Magoos:
Ralph Scala - Keyboards, Vocals
Emil “Peppy” Theilhelm – Guitar, Vocals
Ron Gilbert – Bass, Vocals
Mike Esposito – Guitar
Geoff Daking – Drums, Percussion
Blues Magoos - Psychedelic Lollipop & Electric Comic Book

Another great 2 lp's-on-one CD release brought to us by the Collectables label.Some of you may not remember much about the Blues Magoos.They were a Bronxe five piece that played some decent psychedelic garage rock that released six lp's from 1966-70,with the first three probably being their best work.This 2-on-1 includes two of those three albums.A total of 22 songs,starting off with their only hit,"We Ain't Got Nothin' Yet" along with many of their other decently penned tracks,like "Gotta Get Away","One By One","Pipe Dream",their outstanding six-minute cover of "Gloria"(one of the disc's best tracks) and "Let's Get Together".Aimed at fans and collectors of '60's psych/garage rock.Will appeal to fans of Shadows Of Knight,Strawberry Alarm Clock,The Creation,The Leaves and Count Five (review by Mike Reed )


1. (We Ain't Got) Nothin' Yet - Blues Magoos, Gilbert, Ronald 02. Love Seems Doomed - Blues Magoos, Gilbert, Ronald 03. Tobacco Road - Blues Magoos, Loudermilk, John D. 04. Queen of My Nights - Blues Magoos, Blue, David 05. I'll Go Crazy - Blues Magoos, Brown, James 06. Gotta Get Away - Blues Magoos, Gordon, Alan 07. Sometimes I Think About - Blues Magoos, Gilbert, Ronald 08. One by One - Blues Magoos, Gilbert, Ron 09. Worried Life Blues - Blues Magoos, Merriweather, Major 10. She's Coming Home - Blues Magoos, Atkins, Roger 11. Pipe Dream - Blues Magoos, Gilbert, Ron 12. There's a Chance We Can Make It - Blues Magoos, Gilbert, Ronald 13. Life Is Just a Cher O'Bowlies - Blues Magoos, Gilbert, Ronald 14. Gloria - Blues Magoos, Morrison, Van 15. Intermission - Blues Magoos, Esposito, Mike 16. Albert Common Is Dead - Blues Magoos, Gilbert, Ronald 17. Summer Is the Man - Blues Magoos, Esposito, Michael 18. Baby, I Want You - Blues Magoos, Gilbert, Ron 19. Let's Get Together - Blues Magoos, Reed, Jimmy 20. Take My Love - Blues Magoos, Gilbert, Ron


Part 1 Part 2

Thanks a lot PHROCK BLOG - super-blog!!!

Monday, November 03, 2008


Information of THE BEATS I can not find
I,truth know spanish group THE SILVER BEATS - a great tribute of the Beatles by The Silver Beats from Spain
What this? The Next a mistake in name of group ?
Hardly.I think ,this group - more later time...
However music simply VERY remarkable and I`m recommend this records
And terrific sounds beatles songs on spanish!!!

With THE CANARIES all much more simply : Flying High - this is first LP great spanish prog group Los Canarios (

Los Canarios, uno de los grandes grupos del pop espaсol de la dйcada de 1960.Formados en las islas Canarias alrededor de su cantante Teddy Bautista ( )

LOS CANARIOS was a Spanish band that started playing back in the late 60's. At the beginning, they played Soul and R&B influenced music, singing mostly in English. Recorded in the Seventies, "Circlos" shows an adaptation of VIVALDI’s "Four Seasons" with a rock and Hispanic flavour.... ( )

The Canaries
Also Known As - Los Canarios, Los idolos, Los Diablos del Rock
Teddy Bautista (lead vocals, harmonica, rythmic guitar), German Perez (lead guitar, 1964-69), Tato Luzardo (drums, 1964-69), Alvaro Yebenes (bass, 1966-69, 1972), Vicente Maiquez (saxophone, 1967-72), Feliciano "Nano" Munoz (trumpet, 1967-72), Alfredo Maiquez (trombone, 1967-72), Graham Bircumshaw (keyboards, 1967-72), Pedro Ruy-Blas (vocals, 1968), Alberto Gomez (drums, 1970-71), Chimo (lead guitar, 1970-71), Lennox Holness (bass, 1970-71), Alan Richard (drums, 1972-74), Salvador Dominguez (guitars, 1972), Christian Mellies (bass, 1974), Mathias Sanveillan (keyboards, violin, 1974), Antonio Garcia de Diego (lead guitar, vocals, 1974)


Rare Spanish Beat
01 - the beats - cosas que decimos hoy02 - the beats - uno y una, dos03 - the beats - ten cuidado con mi chica04 - the beats - no te quiero ver otra vez05 - the beats - vamos esta noche a bailar06 - the beats - lloro por una sombra07 - the beats - soldier of love08 - the beats - i'll keep you satisfied09 - the beats - please don't ever change10 - the beats - bad to me11 - the beats - one after 90912 - the beats - cry for a shadow
13 - the canaries - baby don't suprise me14 - the canaries - and i'll cry again15 - the canaries - little snow ball16 - the canaries - mama's crying17 - the canaries - feeling all upset18 - the canaries - thursday19 - the canaries - you be20 - the canaries - i lost you21 - the canaries - don't stay in the wrong way22 - the canaries - only my fried23 - the canaries - i feel in love with an angel24 - the canaries - so i'll tell you goodbye