V.A. - The Cavern. The Most Famous Club In The World (2007)

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50 Extraordinary Years, 50 Fantastic Artists, 50 Amazing Tracks from The Cavern To this day The Cavern remains The Most Famous Club In The World. From it's birth in 1957 as a Jazz club inspired by the Parisienne clubs on the West Bank, to it's heyday as the spiritual home of The Beatles, to it's rocky path through the 70's and 80's encountering closure and re-opening, to it's resurgence as the essential venue for new and up and coming bands to play in Liverpool, The Cavern holds a special place in the hearts of music lovers the world over. The unrivalled status of the club is matched by the unrivalled tracklist of bands that have played the club that is included on the fantastic 3 CD collection. For the first time on one album The Beatles and The Rolling Stones are together and they are joined by other notable rock royalty in Queen, The Who, Elton John, Stevie Wonder, Chuck Berry, Rod Stewart and many more. Artists that defined the Cavern at it's peak such as The Kinks, The Animals, The Hollies, Gerry & The Pace Makers, Hermans Hermits, and The Yardbirds are all included in the set. Bringing the Cavern right up to date and highlighting how important the venue remains also included are tracks by Arctic Monkeys (previously unheard live version of track The View From The Afternoon) Travis, KT Tunstall, The Coral and Embrace.(http://www.amazon.com/)

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Cavern 50th Anniversary CD Box Set

Special offer available only to customers ordering directly from the Cavern Club. If you order your 50th anniversary CD box set from us we will send a replica Cavern Membership card and a ticket from the launch of the CD held at the Cavern Club in August 2007 completely free of charge!This 3 CD set has 50 tracks from artists who have played at the Cavern during its 50 year history. Includes tracks from The Beatles, The Rolling Stones, Queen, The Who, Oasis and many more.( http://www.cavernclub.org)
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Track listing

CD 1

1. The Beatles - Please Please Me2. Chuck Berry - No Particular Place To Go3. The Shadows - Apache4. The Spencer Davis Group - Keep On Running5. Johnny Kidd & The Pirates - Shakin' All Over6. Cilla Black - Anyone Who Had A Heart7. The Hollies - I'm Alive8. Gene Vincent - Be Bop A Lula9. Lonnie Donegan - Cumberland Gap10. The Fourmost - Hello Little Girl11. The Searchers - Sweets For My Sweet12. Manfred Mann - Do Wah Diddy Diddy13. Chris Farlowe - Out Of Time14. Wilson Pickett - In The Midnight Hour15. Ben E. King - Stand By Me16. Stevie Wonder - I Was Made To Love Her

CD 2

1. Queen - Killer Queen2. Paul McCartney - All Shook Up (Live at The Cavern)3. The Kinks - You Really Got Me4. The Big Three - Some Other Guy5. The Animals - The House Of The Rising Sun6. Hermans Hermits - I'm Into Something Good7. The Moody Blues - Go Now8. Gerry & The Pacemakers - Ferry Cross The Mersey9. The Zombies - She's Not There10. The Swinging Blue Jeans - Hippy Hippy Shake11. Little Eva - The Locomotion12. Cliff Bennett & The Rebel Rousers - Got To Get You Into My Life13. Billy J Kramer & The Dakotas - Little Children14. The Merseybeats - I Think Of You15. The Flowerpot Men - Let's Go To San Francisco16. Elton John - Border Song

CD 3

1. The Rolling Stones - It's All Over Now2. The Who - My Generation3. Oasis - Part Of The Queue4. The Yardbirds - For Your Love5. Donovan - Sunshine Superman6. Wishbone Ash - Blowin' Free7. Georgie Fame - Yeh Yeh8. Bo Diddley - Bo Diddley9. Status Quo - Down Down10. Tom Robinson - 2-4-6-8 Motorway11. Edwin Starr - War12. Thin Lizzy - Whiskey In The Jar13. Rod Stewart - Handbags And Gladrags14. Embrace - All You Good People15. Kt Tunstall - Black Horse & The Cherry Tree16. Travis - Why Does It Always Rain On Me17. The Coral - In The Morning 18. Arctic Monkeys - The View From The Afternoon

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Separately

CD 1

CD 2

CD 3

Message - The Dawn Anew Is Coming (1971)

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Line-up / Musicians
- Allan Freeman / synthesizers, vocals

- Gunther Klinger / drums

- Tom McGuigan / vocals, woodwinds, synthesizers, Mellotron

- Allan Murdoch / guitar- Gerhard Schaber / percussion

- Horst Stachelhaus / bass - Billy Tabbert / guitar, vocals

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Message biographyOriginally born as a German-British band, the music of MESSAGE oscillates between a substantial heavy rock and a nice folk rock articulated around a range of keyboards arrangements. Their first album was recorded under the direction of the famous musical engineer Dieter Dierks. The result sounds remarkably as British progressive rock of the moment. Very melodic, with a ravishing and an accomplished lyrical sense of composition. Their following album is as great as the previous one, delivering impressive, extended, mainly instrumental heavy/ space rock tracks which can be compared (in some parts) to NEKTAR's first effort. Their two last albums released in 1975/76 were directed to more mainstream, conventional and easy listening heavy rock music. Very accessible records, sometimes including jazzy ingredients, the band abandoned their complex, sophisticated and original progressive rock. In search of a commercial response, they finally failed to convince the public.: : : Philippe Blache : : :
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Songs / Tracks Listing
1. Changes (3:35) 2. The Dawn A New Is Coming (8:35) 3. Evil Faith and Charity (3:55) 4. Heaven Knows (9:42) 5. When I'm Home (7:40)

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LINK

Halllellujah - Halllellujah Babe! (1970)

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Line-up :

Paul Vincent - guitars, vocals

Keith Forsey - drums, vocals

Pete "Funk" Wood - keyboards

Rick Kemp - bass

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Hallelujah were in fact an Anglo-German duo, split off from Doldinger's Motherhood. They absconded to England to make their album, and sought the aid of much travelled top session-musicians Rick Kemp and Pete Wood. Incidentally, Pete Wood had somewhat of a global career in subsequent years with Al Stewart ('Year Of The Cat'). And good, old Rick Kemp had heads turning, at least in the British Isles with his group, "Steeleye Span". But, strangely the album only gained release in Germany!Adventurous and creative, though quite wordy in the song department, Hallelujah's influences were wide: a touch of the Beatles' "A Day In A Life", a hint of Wonderland, and lots of Pink Floyd folky Roger Waters influence -- an accessible blend of progressive and psychedelic styles.

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Track List :01. Hallelujah02. Signs Of Strange03. Z. i. p.04. The Winter Song05. English Rain06. Mini Funk07. Waterloo08. Friend09. Ode To A Little Knight

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LINK

The Milkshakes - 32 Rhythm & Beat Greats (Best Of)

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NEW POST BY JANCY

When his punk band, the Pop Rivets, broke up in 1980, Billy Childish formed a new group with Mickey Hampshire, a Pop Rivets roadie who had been performing in a group called Mickey and the Milkshakes. The two began writing songs together and released their first LP, Talkin' About, in 1981. With Childish on guitar and vocals, Hampshire on guitar and vocals, Bruce Brand on drums, and Russ Wilkins (later replaced by John Agnew) on bass, the Milkshakes sound was a primitive blend of British beat groups, like the early Kinks... Read More...

http://vinyl.pl.ru/music/milkshakes.htm

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01 jaguar
02 bretty baby  
03 pipeline  
04 last night  
05 little girl  
06 cadillac  
07 love can lose  
08 general belgrano  
09 late at night  
10 don't love another  
11 the klansmen kometh  
12 thunderbird  
13 found my girl  
14 comanche  
15 the yorkshire ripper
16 seven days
17 i want you
18 jezebel
19 little bettina
20 ida honey  
21 dull knife
22 i wanna be your man
23 you did her wrong  
24 brand new cadillac
25 i can tell  
26 that's my revenge
27 i want you  
28 shimmy shake
29 soldier of love
30 el salvador  
31 tell me where's that girl
32 hide and scatter

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LINK

The Cryan' Shames - Sugar & Spice (1966)

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The Cryan' Shames' debut album was typical of the more thrown-together rock LPs of the era: both sides of their first two singles and a bunch of cover versions. The singles, actually, were pretty good, including their most well-known song, "Sugar & Spice," a cover of a Searchers hit that actually was more memorable and imaginative than the original. Its B-side, "Ben Franklin's Almanac," was a respectable original with shades of the Byrds, the Yardbirds, and California harmonies; the second single, "I Wanna Meet You," was a decent meld of Beatles-Byrds jangle with Beach Boys harmonies; and its flip, "We Could Be Happy," was an OK soft rock number. Throw in the sole original composition not from a single, "July" (one of the better 1966 Byrds sound-alikes), and you have half a decent (though not great) period pop/rock album. The problem is, though, that the cover versions that fill out the record — including songs written and/or popularized by the Beatles, the Byrds, and the Animals, along with "Heat Wave" — are neither too creatively done nor even imaginative selections. "Sugar and Spice" and all four of the originals appear on the Legacy compilation Sugar & Spice, which makes this album superfluous if you already have that anthology. The 2002 CD Sundazed reissue is bolstered by six bonus songs: their 1967 single "Mr. Unreliable" (different from the LP version) and its laid-back B-side "Georgia," a cover of the Beatles' "You're Gonna Lose That Girl," and three previously unreleased 1969 tracks that found them going into a mellow folk/country/soft rock direction.

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Sugar & Spice (1966)

1   Sugar and Spice    

       2   We Could Be Happy       

       3   (Love Is Like A) Heat Wave     

       4   We'll Meet Again     

       5   Ben Franklin's Almanac  

       6   She Don't Care About Time    

       7   Hey Joe (Where You Gonna Go)      

       8   If I Needed Someone   

       9   July    

       10   I Wanna Meet You  

       11   We Gotta Get Out of This Place  

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LINK

The Cryan Shames - Synthesis (1968)

The Valentines - Peculiar Hole In The Sky (1968) Australia

RE: request\reupload

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The Valentines were an Australian rock 'n' roll band active from 1966-1970, chiefly noted for their lead singers, Bon Scott, who later went on to great success as lead vocalist with AC/DC, and Vince Lovegrove, who subsequently became a successful music journalist and manager of Divinyls.The band was formed in late 1966 with the amalgamation of Perth groups The Spektors and The Winstons. They capitalised on the success of both the former bands, plus the interest created by having two lead singers in Scott and Lovegrove. Inspired by The Rolling Stones, The Beatls, and local stars The Easybeats, they enjoyed considerable local success and released a few singles. MORE :
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01. Peculiar Hole In The Sky [0:02:48.49]02. Love Makes Sweet Music [0:02:19.06]03. To Know You Is To Love You [0:03:02.53]04. I Can't Dance With You [0:02:57.30]05. Sookie Sookie [0:02:19.63]06. Every Day I Have To Cry [0:02:32.72]07. She Said [0:02:50.09]08. I Can Hear The Raindrops [0:01:51.39]09. Why Me? [0:01:48.54]
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LINK

The Phantoms - The Phantoms (Netherlands)

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NEW RIP BY JANCY

(expert of raritys )
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Members met at the Sint Joris High School in Eindhoven. When the Beatles were conquering Holland, the Phantoms quickly jumped the bandwagon, playing all the hits the Fab Four made in The Netherlands. In june 1965, the group is invited by major record company Omega to release a single: Jack the ripper, a cover of British artist Screaming Lord Sutch which, incidentally had masterguitarist Ritchie Blackmore in its ranks at the time. The single sells excellent locally, but the acclaim is not nationwide. A couple of months later the band plays their new single, the James Brown cover I’ll go crazy on the tv-program ‘Nieuwe Oogst’ and finally break through. The single is also released in Germany on the Metronome label. Then the band is invited for shows all the time and play together with acts like Adamo and Dave Berry. A couple of more singles follow, of which the self-penned Tormented will prove to be their biggest hit. In 1966 the Lp The Phantoms is released with half covers and half band-compositions. One of the best” Someday I’m somebody is written by famous Dutch rocker and songwriter Peter Koelewijn. Early 1967 most of the members are going to study and is the last single released: After tomorrow, a cover from the unknown London-based British band The Cockneys on the small Action label. In 1969 The Phantoms split up. Singer Martien van Rooy joins temporarily The Charlie Nederpelt Orchestra shortly, but is taking up his study again. In the eighteis and nineties a couple of reunion concerts took place in their hometown Eindhoven. ... More...

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01 Tormmented02 A Brand New Cadillac03 Hang On Sloopy04 Questions05 International Language06 Let Them Talk07 Someday I'm Somebody08 A Well Respected Man09 The Idiot10 It's a lie 11 She Belongs To Me12 Roadrunner
Bonus 45'13 After Tomorrow14 This Hammer15 I'll Go Crazy16 I Dream Of You17 Cool Girls18 Little Ways19 Jack The Ripper20 Little Miss Love

LINK

Thanks Jancy!

V.A. - Lost songs: Songs The Beatles Wrote But Never Recorded

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VINNY FAZZARI - Guitars, bass, piano, organ, flute, harmonica, tamboura, tabla, percussion, lead & backing vocals
GUS GENSERE - Drums, Backing vocal
JAN VAN DE MEI - Lead vocals, Guitar
JOHN HAYES - Guitar
TRUCE MICHELL - Backing vocals
Rory Campbell - Organ
NICOLE DA LUZ - Accordion
JEFF HOLLIE - Saxophone
MICKY LLUELLYN - Slide Guitar
SIEMEN TERPSTRA - Sitar

Vitamin's Lost Songs: Songs the Beatles Wrote but Never Recorded is a great idea for a disc.Lennon and McCartney recorded their best songs, but they did give away some good Merseybeat stuff at the height of Beatlemania, including "Bad to Me" and "World Without Love." Collecting these songs, along with other lesser-known Beatle original tunes of the era, is a fantastic idea. Too bad Lost Songs is filled with tepid contemporary rerecordings of the songs, thereby negating any worth it may have had...unless you're a Beatles fanatic looking for a new version of these little-heard songs. - by Stephen Thomas Erlewine ***** Album in FLAC there 1. I'll Keep You Satisfied 2. Bad To Me 3. Tip Of My Tongue 4. Cat Call 5. Nobody I Know 6. That Means A Lot 7. From A Window 8. World Without Love 9. I'm In Love 10. It's For You 11. I Don't Want To See You Again 12. One And One is Two ****** LINK

The Smithereens - B-Sides The Beatles

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Dressed in leather, brandishing heavy guitars, and an unabashed fetish for British Invasion pop, the Smithereens were an anomaly in the American college rock scene of the late '80s. Lead singer/songwriter Pat DiNizio stood out not only with his strange beatnik goatee, but also because his catchy hooks were haunting, not punchy, and because his lyrics were morose. As time wore on, the group became more straightforward, turning into an excellent bar band, one that attacked pop songs with the weight of AC/DC. A few hits followed, but the Smithereens seemed hopelessly out of date in the alternative rock explosion of the early '90s, and they quietly faded into a working cult band.
Of course, the Smithereens essentially started out as a working band. ... Read More...

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The Smithereens - B-Sides The Beatles (2008)

01 - Thank You Girl

02 - There's A Place

03 - I'll Get You

04 - You Can't Do That

05 - Ask Me Why

06 - Cry For A Shadow

07 - P.S. I Love You

08 - I'm Happy Just To Dance With You

09 - If I Fell

10 - Slow Down

11 - I Don't Want To Spoil The Party

12 - Some Other Guy

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So just how did the Smithereens become a Beatles tribute band? It's no great surprise that they owe a debt of influence to the Fab Four, but instead of absorbing the lessons of their music, lately the Smithereens are content to simply play their songs, generally as close to the original arrangements as they can muster, and B-Sides the Beatles is the second album in two years from the Smithereens that's devoted entirely to Beatles covers. Released in 2007, Meet the Smithereens! was a song-by-song re-creation of the Beatles' first American LP, while 2008's B-Sides the Beatles takes a slightly less derivative approach, featuring a dozen songs that appeared on the flip sides of Beatles hits in the United States. While these songs are a bit less familiar than the stuff on Meet the Smithereens!, most will be immediately recognizable to anyone who likes rock & roll, and as on Meet the Smithereens!, the band plays these songs with skill and enthusiasm but little imagination, following the originals with the crowd-pleasing determination of a true bar band. What most clearly sets these versions apart are the vocals, and while Pat DiNizio's moody style made for an interesting contrast on the Smithereens' first Beatles tribute, he sounds a bit rough here and has a hard time with "There's a Place" and "If I Fell," which demand a higher and clearer register than he has to offer. And though guitarist Jim Babjak's lead vocals on "Some Other Guy" and "Happy Just to Dance with You" aren't bad, he's clearly more comfortable with the six-string than he is before the vocal mike. There are a couple of nice touches -- Andy White, the session man who played drums on the original session for "P.S. I Love You" instead of the newly recruited Ringo, re-created his drum part here and sounds as good now as he did in 1963, and the cover artwork from the great Jack Davis is excellent. But likeMeet the Smithereens!, B-Sides the Beatles will leave most listeners wondering why they aren't listening to an actual Beatles album instead, something the Smithereens may well be doing at this very moment. (Note to the budget-minded: the album runs a brief and historically accurate 28 minutes.)

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LINK

Thanks (alexander1959&B.N.)

Fanny - Charity Ball (1971)

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Line-up:
June Millington (vocals, guitar)
Nickey Barclay (vocals, keyboards)
Jean Millington (vocals, bass)
Alice de Buhr (vocals, drums)

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Upon signing hard rock combo Fanny in 1970, Warner Bros. claimed their new acquisition was the first all-female rock & roll band — a statement far from the truth, of course, but as one of the first self-contained distaff groups to land on a major label, they were an important harbinger of things to come. Fanny formed in California under the name Wild Honey, teaming singer/guitarist June Millington, her bassist sister Jean, keyboardist Nickey Barclay, and drummer Alice de Buhr. With Wild Honey signing to Reprise, the new name Fanny was suggested to producer Richard Perry by no less than ex-Beatle George Harrison... Read More...

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1. Charity Ball

2. What Kind of Lover

3. Cat Fever

4. A Person Like You

5. Special Care

6. What's Wrong With Me

7. Soul Child

8. You're the One

9. Thinking of You

10. Place in the Country

11. A Little While Later

12. No Deposit, No Return (previously unreleased)

13. Charity Ball (reprise single 1963)

14. True Blue (from the kitchen tapes)

15. Candlelighter Man (from the kitchen tapes)

16. Summer Song (from the kitchen tapes)

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Review by Joe Viglione

With guitar and piano riffs buoyed by a pulsing bassline, the "Charity Ball" title track opens this second Reprise disc for the Millington sisters June and Jean, along with their bandmates, keyboard/vocalist Nickey Barclay and drummer Alice de Buhr. Produced by Richard Perry, who would hit later with the Pointer Sister's "I'm So Excited" and Carly Simon's "You're So Vain," Perry helped these pioneers put their artistry on vinyl when all girl musicians in a group were not the norm, and he, no doubt, got ideas here which resulted in hit recordings soon after. Perry had dated Ten Wheel Drive's Genya Ravan who had chart success in England with her all-girl band Goldie & the Gingerbreads, so he was one of the few guys privy to a wonderful conspiracy of women to break that glass ceiling of male rock & roll domination. Jean Millington, with an acoustic, reverb-soaked "What's Wrong With Me," is one flavor that this band of many talents has to offer. Just listen to Nickey Barclay's "A Little While Later" or June Millington's "Thinking of You," these songs are perfect in both construction and execution; in fact, the only deficiency is that Perry's production is not as lush and commercial as what he put on Ringo's "Photograph" — it's very bare, but that doesn't deny the wonderful hooks which conclude the album on "A Little While Later"'s fade where the gals absolutely rock out with passion. The album jacket is innovative as well, a proper invitation to you, the listener, from Fanny, placed atop hat and gloves, next to a stunning portrait of the group. There's only one cover on this 11 track collection, Stephen Stills' "Special Care," with keyboards that come straight from the Band's "Chest Fever." "What Kind of Lover" and "Cat Fever," two of Nickey Barclay's six contributions to the session, simply cry out for more frosting from producer Perry. Play this album next to a Jack Richardson production of the Guess Who from the same time period, and you'll feel the difference. What Perry presented is a stark and uncluttered performance by the band, which they could've done on a live album. Still, the songwriting and performance pass the test of time with flying colors. A really great document of true rock originals making a statement in the early '70s.

LINK

The 5 Liverpools (The Liverpool Five) - Tokio International

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GREAT NEWS BY JANCY

The Liverpool Five were a rock and roll quintet that was part of the British Invasion of the 1960s. The five members of the band came to the United States by way of Japan in 1965.

Formed in England in 1963 as the Steve Laine Combo, the group comprised Steve Laine (lead vocals), Ken Cox (guitar and vocals), Dave Burgess (bass and vocals), Ron Henley (keyboards, sax and vocals) and Jimmy May (drums and vocals). Despite the name, none of the group members were from Liverpool; All were Londoners except Burgess, who hailed from Cumbria.^[1]

The group played in many major cities in Europe and Asia before achieving their greatest success in the United States, especially between 1965 and 1967. In Europe they recorded one album for CBS entitled Tokio International. Read more...

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01 - 12 LP Tokio International CBS62460 Germany

Rarest Stuff

01 - Rip It Up

02 - Tokio

03 - Memphis Tennessee

04 - Skinny Minny

05 - Needles And Pins

05 - Good Golly Miss Molly

07 - Boom Boom

08 - Can I Get A Witness

09 - Let The Sunshine In

10 - Mickeys Monkey

11 - Everything's Allright

12 - Poison Ivy

13 45' stereo

13 - Tokio

14 - 18 Bonus Liverpool Five 45' RCA

14 - Everything's Allright

15 - That's What I Want

16 - If You Gotta Go Go Now

17 - Too Far Out

18 - New Direction

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LINK

The New Beatnix - And Now (Norway)

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This beautiful  present from  Jancy( his private LP rip). Thank you very much .

It's really interesting music stuff and nice sound.  Sorry,but I don't have information about group... I have found only this

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The New Beatnicks - And Now! (Norway)

01 - Street Of Misery

02 - The End

03 - The Love Sound

04 - Just For Myself

05 - Leave Me Girl

06 - A One Way Love

07 - Your Own Fault

08 - Come To Me

09 - High And Mighty

10 - Please Stay

11 - Am I Losing Your Love

12 - I'm Not Sorry

Bonus: 45' a+b side

13 - One Way Love

14 - You Can Never Stop Me Loving You

15 - Love Is A Beautiful Thing

16 - Peace On Earth

17 - I'm Not Sorry

18 - I've Never Let You Down

*****

LINK

Graffiti - Graffiti (1968)

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Graffiti released an obscure, self-titled LP on ABC in 1968 that was co-produced by Bob Thiele (more known for his work with many major jazz musicians), Eddie Kramer (most known for his engineering onJimi Hendrix records), and Jay Senter. Though accomplished in its musicianship and versatile in its stylistic focus, Graffiti lacked much in the way of enduring musical interest, blending some jazz, classical, pop, and blues influences into a generic, West Coast rock-influenced psychedelic sound that often employed high multi-part vocal harmonies.

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1. Father Protector 

2. The Capture Of Me/Life Blood 

3. Interlude /Jingle Jangle Woman 

4. New Life/Girl On Fire/Cold Water/Love In Spite 

5. Ugly Mascara 

6. He's Got The Knack

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Graffiti's sole album was in some ways typical of numerous obscure psychedelic one-shots on fairly big labels in the late 1960s: over-ambitious lyrics, a kaleidoscope of styles that butted heads as often as it blended, emulation of several passing psychedelic trends pioneered by bigger groups, and an absence of really good songs. All that said, as such albums go, it's better than average, though hardly noteworthy. That's kind of faint praise, but at least Graffiti were less ponderous than many such bands, with a sort of gossamer lightness to much of their material. As for what kind of styles they mined, they're hard to pin down, though they're fairly influenced by West Coast psychedelia of the era, with some of the vocal harmonies so high that one can mistakenly think there was a woman in the group (there wasn't). Bits of jazz, classical guitar, blues-rock, psychedelic effects, and vocal harmonies both sunshine pop and Gregorian seep through from time to time as the band float through an ever-shifting melodies and styles. The songs and instrumental solos do tend to go on too long, however, and the songwriting isn't memorable.

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LINK

The Mini-Beats - Rock'n'Roll Music(2000)

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A little about us: Jonas   Philip   Markus   Andi http://the-mini-beats.info/english.html Little Philip Lawall, the son of a musician, loved to hang around in his dad's music studio. At age 3 his parents gave him a little drum set, he loved playing it and wanted to become a drummer In the following years his dad allowed him to show off his drumming "live on stage" when his dad gave a concert with his band. One night in the summer of 1996 Philip and his dad watched The Beatles movies "Help" and "A Hard Day's Night". He developed a passion for the "Beatles" and said, "Dad, I wanna be like John Lennon and wanna make a band." MORE ********** http://torrents.ru/forum/viewtopic.php?t=1696930 (Flac) 01. Twist & Shout 02. Rock'n'Roll Music 03. Happy X-Mas  04. A Hard Days Night 05. Ob La Di 06. Give Me That Rock'n'Roll 07. Mr. Postman 08. Hey Marie09. Let It Be  10.Boys 11. How Do You Do 12. It's My Live  LINK

John Kay-Lone Steppenwolf (1987)

RE: request\reupload

Mp3 192\48 Mb
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John Kay released this Lone Steppenwolf album in 1987. Actually it's one of the best works of this musician.
01-Easy Evil02-Walkin' Blues03-Many A Mile04-Drift Away05-Sing With The Children06-My Sportin' Life07-You Win Again08-I'm Movin' On09-Nobody Lives Here Anymore10-Somebody
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LINK :

The Rockin Ramrods - The Best Of The Rockin Ramrods (1963-1967)

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Biographyby Richie Unterberger
Along with the Remains, the Rockin' Ramrods were Boston's premier rock band in the mid-'60s. Unlike the Remains, they didn't gain even a modicum of exposure beyond their city, and are far more obscure even to '60s collectors. They were a decent if not significant group, sounding kind of like a Beatlized frat band, and relying largely upon original material, much of it penned by bassist Ronn Campisi. Over the course of more than half a dozen singles between 1963 and 1966, they competently tackled garage grunge, wild instrumentals, and some very pleasant hard pop/rock originals with prominent keyboards, somewhat in the manner of an Americanized early Manfred Mann. "Bright Lit Blues Skies," their best song, was a hit in the Boston area, but they achieved no other success of note before disbanding.

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1.JUNGLE CALL 2. I WANNA BE YOUR MAN 3. I'LL BE ON MY WAY 4. DON'T FOOL WITH FU MANCHU5. TEARS MELT THE STONE 6. PLAY IT7. BRIGHT LIT BLUE SKIES8. MISTER WIND9. CAN’T YOU SEE 10. MARY, MARY11. FLOWERS IN MY MIND [Puff]12. VACUUM 13. TREES14. RAINY DAY 15. LOOKING IN MY WINDOW16. WHO DO YOU THINK YOU ARE 17. OF NOT BEING ABLE TO SLEEP 18. I SURE NEED YOU 19. DEAD THOUGHTS OF ALBERT 20. WHEN I WAKE UP IN THE MORNING 21. GO WITH YOU 22. CHANGES [Ramrods '71] 23. MY VISION HAS CLEARED24. I DON’T WANT TO I WILL25. TROUBLES

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Reviewby Richie Unterberger
A strange compilation that spans several stages of the group's evolution. There are eleven songs (one previously unreleased) from their mid-'60s prime, presented in much better sound than on the Eva reissue, but six of the songs from the eight singles they recorded during this time are missing. Then there are eleven tracks (one previously unreleased) from the obscure 1968 MGM recording by Puff, a spinoff group that did not feature Ramrods leader/singer/songwriter Ronn Campisi, although, oddly, he wrote all of the material. The Puff cuts are light, sophisticated pop/rock with lots of harmonies and slight psychedelic touches; mildly interesting, it's much less hard-rocking than the other "Bosstown" groups MGM was giving a big push to in 1968. The CD finishes with three unreleased songs recorded by a 1971 incarnation of The Ramrods. A wealth of genuine Rockin' Ramrods unreleased material from their 1966-67 prime that has circulated among a few '60s/garage collectors was not tapped at all. Though less comprehensive, much harder to find, and of lower fidelity, the French import on Eva -- which includes both sides of every one of their eight early singles -- still gets the nod over this less cohesive batch.

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LINK

(Thanks Jago)

THE AVENGERS - Medallion &The Avengers

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One of the more successful New Zealand pop bands of the late 1960s, the Avengers were formed in Wellington in mid-1966. (Confusingly, another group with the same name -- a backing unit for singer Ray Woolf -- emerged in Auckland at much the same time.) The Avengers were formed at the behest of promoter Ken Cooper, who was seeking a house band for his nightclub the Place; he first approached guitarist Dave Brown, who in turn recruited guitarist Clive Cockburn, bassist Eddie McDonald and drummer Hank Davis. With their name decided as a result of a local newspaper contest, the quartet amassed a repertoire of some 75 Beatles songs in addition to covers of hits by Herman's Hermits and the Hollies; within a year, they were easily Wellington's most popular group, and in mid-1967 issued their debut single, the Top Ten hit "Everyone's Gonna Wonder." A series of smashes followed, including "Only Once in My Life," "1941," "Love Hate Revenge" and "Days of Pearly Spencer." However, the Avengers' success remained confined to New Zealand's shores, with all attempts to crack the lucrative Australian market proving futile; they disbanded in mid-1969, leaving a legacy which included the LP The Avengers Live at Ali Baba's (the first live album in the annals of Kiwi rock).

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1. LOVE-HATE-REVENGE - (Adams-Levin) 2'362. FISHERWOMAN - (Vickberg-Henderson) 2'223. MIDNIGHT VISITATION - (Kevin Watson) 2'434. YOU BETTER COME HOME - (Bert Russel) 3'85. NIGHT IN THE CITY - (Joni Mitchell) 3'126. DAYS OF PEARLY SPENCER - (David McWilliams) 2'287. OUT OF SIGHT. OUT OF MIND - (David Jordan) 3'388. YOU DON'T UNDERSTAND - (Tony Backhouse) 2'419. ONLY LAST YEAR - (Alan Galbraith) 2'5110. SUNSHINE LADY - (Kevin James) 2'211. SALLY - (Clive Cockburn) 2'3312. SEPTEMBER WINDS - (David McWilliams) 3'2513. EVERYONE'S GONNA WONDER - (Chris Malcolm) 2'3814. MORNING DEW - (Bonnie Dobson) 3'115. WHAT PRICE LOVE - (Chris Malcolm- The Avengers) 2'3416. SUMMER SET MORNING - (Chris Malcolm) 2'2517. FLOWER GIRL - (Clive Cockburn) 2'1018. ONLY ONCE MY LIFE - (Chris Malcolm) 2'1919. LOVE IS BLUE - (Popp-Cour-Blackburn) 2'2420. NIGHT TIME - (Chris Malcolm-Clive Cockburn) 2'5921. WATER PIPE - (Chris Malcolm) 4'422. ROSIE - (Patridge) 2'623. TAKE MY HAND - (Don & Dick Addrissi) 2'424. 1941 - (Harry Nilsson) 2'36

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The Doc Thomas Group - ltanian Job

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The 12 tracks (titled The Italian Job) comprise the entirety of the self-titled, Italian-only 1967 LP by the Doc Thomas Group, a band that (like the Silence) included Pete Watts and Dale Griffin.
From the very tangled tree of about a dozen '60s bands that fed into the eventual formation of Mott the Hoople, the Doc Thomas Group were one of the most important, chiefly because they actually released an album. Future Hoople guitarist Mick Ralps and bassist Pete Watts were both on board when the group recorded their sole LP (released only in Italy, where they were based for a time) in late 1966. Future Mot drummer Dale Griffin (aka Buffin) joined the band in the spring of 1967, although he doesn't appear on the album, which featured Stan Tippins as lead singer. The self-titled LP consisted entirely of R&B/soul covers, executed derivatively and just about competently, in the style of mod bands of the period such as the Small Faces. The Doc Thomas Group struggled on until 1968, changing their name to Silence with the addition of organist Terry (soon to become Verden) Allen; from that point, it was only a matter of recruiting Ian Hunter to replace Tippins to create Mott the Hoople in 1969. The extremely rare Doc Thomas Group album was reissued on CD in 1998, on a disc that also included a Silence "reunion" session recorded in 1990. ~ Richie Unterberger, All Music Guide
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1. I'll Be Doggone
2. She Was Really Saying Something
3. Steal Your Heart Away
4. My Babe
5. Please Do Something
6. Shake
7. I Got You (I Feel Good)
8. Harlem Shuffle
9. Talking About My Baby
10. Just Can't Go to Sleep
11. Barefootin'
12. Rescue Me
In the mid-60's a group of young hopefuls from Hereford were playing the "dues-paying" circuit in places like Hamburg (Germany) and in Italy where they were met with slightly more success. They went through various line-up changes and name changes, but in late 1966 the Doc Thomas Group (Stan Tippins, Mick Ralphs, Dave Tedstone, Pete Watts and Bob Hall) were booked in to a studio for a day to get their act down on tape. They recorded 20 tracks (all covers) and thought nothing more of it until early in 1967 a 12-track LP was issued (in Italy only). The album sold poorly, as did a single taken from it.Two years later, with a couple more line-up and name changes later, Silence (Stan Tippins, Mick Ralphs, Pete Watts, Terry Allen, Dale Griffin) auditioned for Guy Stevens at Island Records. Guy liked them and wanted to sign them, but insisted on one more line-up and name change: out went Stan Tippins, in came Ian Hunter, and Mott The Hoople was born...It is already another history.
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The Deviants - Ptooff! (1967)

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Biography
by Richie Unterberger
In the late '60s, the Deviants were something like the British equivalent to the Fugs, with touches of the Mothers of Invention and the British R&B-based rock of the Yardbirds and the Pretty Things. Their roots were not so much in the British Invasion as the psychedelic underground that began to take shape in London in 1966-1967. Not much more than amateurs when they began playing, they squeezed every last ounce of skill and imagination out of their limited instrumental and compositional resources on their debut, Ptooff!, which combined savage social commentary, overheated sexual lust, psychedelic jamming, blues riffs, and pretty acoustic ballads — all in the space of seven songs. Their subsequent '60s albums had plenty of outrage, but not nearly as strong material as the debut. Lead singer Mick Farren recorded a solo album near the end of the decade, and went on to become a respected rock critic. He intermittently performed and recorded as a solo artist and with re-formed versions of the Deviants.

******

01. "Opening" (Bishop/Farren/Hunter/Rees/Sparkes)02. "I'm coming Home" (Bishop/Farren/Hunter)03. "Child Of The Sky" (Farren/Rees/Hammond)04. "Charlie" (Bishop/Farren)05. "Nothing Man" (Farren/Moore)06. "Garbage" (Bishop/Farren/Hunter)07. "Bun" (Rees)08. "Deviation Street" (Farren)

******

Talk today about Britain's psychedelic psyxties, and it's the light whimsy of Syd Barrett's Pink Floyd, the gentle introspection of the village green Kinks, Sgt. Pepper, and "My White Bicycle" which hog the headlines. People have forgotten there was an underbelly as well, a seething mass of discontent and rancor which would eventually produce the likes of Hawkwind, the Pink Fairies, and the Edgar Broughton Band. It was a damned sight more heartfelt, too, but the more some fete the lite-psych practitioners of the modern age, the further their reality will recede. Fronted by journalist/author/wild child Mick Farren, the Deviants spawned that reality. Over the years, three ex-members would become Pink Fairies; for subsequent reunions, sundry ex-Fairies would become honorary Deviants. And though only Russell Hunter is present on Ptooff!, still you can hear the groundwork being laid. The Pink Fairies might well have been the most perfect British band of the early '70s, and the Deviants were their dysfunctional parents. In truth, Ptooff! sounds nowhere near as frightening today as it was the first (or even 21st) time out; too many reissues, most of them now as scarce as the original independently released disc, have dulled its effect, and besides, the group's own subsequent albums make this one look like a puppy dog. But the deranged psilocybic rewrite of "Gloria" which opens the album, "I'm Coming Home," still sets a frightening scene, a world in which Top 40 pop itself is horribly skewed, and the sound of the Deviants grinding out their misshapen R&B classics is the last sound you will hear. Move on to "Garbage," and though the Deviants' debt to both period Zappa and Fugs is unmistakable, still there's a purity to the paranoia. Ptoof! was conceived at a time when there genuinely was a generation gap, and hippies were a legitimate target for any right-wing bully boy with a policeman's hat and a truncheon. IT and Oz, the two underground magazines which did most to support the Deviants (Farren wrote for both), were both publicly busted during the band's lifespan, and that fear permeates this disc; fear, and vicious defiance. It would be two years, and two more albums, before the Deviants finally published their manifesto in all its lusty glory — "we are the people who pervert your children" — during their eponymous third album's "People Suite." But already, the intention was there.

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LINK

Downliners Sect - The Sect & The Rock Sects In (1964;1966)

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Biography
by Richie Unterberger
Of all the British R&B bands to follow the Rolling Stones' footsteps, the Downliners Sect were arguably the rawest. The Sect didn't as much interpret the sound of Chess Records as attack it, with a finesse that made the Pretty Things seem positively suave in comparison. Long on crude energy and hoarse vocals, but short on originality and songwriting talent, the band never had a British hit, although they had some sizable singles in other European countries. Despite their lack of commercial success or appeal, the band managed to record three albums and various EPs and singles between 1963 and 1966, with detours into country-rock and an EP of death-rock tunes. Although they recorded afterwards, it is the Sect's early work that continues to attract connoisseurs of '60s garage and punk
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1.: Little Egypt
2.: Hurt By Love
3.: One Ugly Child
4.: Lonely And Blue
5.: Our Little Rendezvous
6.: Guitar Boogie
7.: Too Much Monkey Business
8.: Sect Appeal
9.: Baby What's On Your Mind
10.: Cops And Robbers
11.: Easy Rider
12.: Bloodhound
13.: Bright Lights
14.: I Wanna Put A Tiger In Your Tank
15.: Be A Sect Maniac
16.: Hang On Sloopy
17.: Fortune Teller
18.: Hey Hey Hey Hey
19.: Everything I've Got To Give
20.: Outside
21.: I'm Hooked On You
22.: Comin' Home Baby
23.: Why Don't You Smile Now
24.: May The Bird Of Paradise Fly Up Your Nose
25.: He Was A Square
26.: I'm Looking For A Woman
27.: Rock Sect's In Again
28.: Brand New Cadillac
29.: Brand New Cadillac

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In 1999, See for Miles released The Sect/The Rock Sect's In, which contained two complete albums — The Sect (1964, originally released on Columbia) and The Rock Sect's In (1966, originally released on Columbia) — by the Downliners Sect on one compact disc.

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LINK

Hungaria - Koncert A Marson - (1970) Hungary

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Cult Hungarian rock band, Hungaria was founded in 1967. Original line-up: Miklos Fenyo (vocals, keyboards), Peter Csomos (guitar, vocals), Miklos Matlakovszky (guitar), Laszlo Klein (bass), Peter Lang (sax), Jozsef Toth (drums).1969 saw first personnel change with Matlakovszky, Klein and Land leaving, and Tamas Barta (guitar) and Peter Sipos (bass, vocals) coming in. First two LPs both achieved gold status at the time of release and now considered vintage Hungarian classic rock albums. Barta left in 1971 to become a founding member of Locomotiv GT (->) – a Hungarian supergroup.in concert 1976Hungaria spent most of the 70s touring across the Europe (USSR, Poland, East and West Germany, Spain). Released an album worth of Beatles’ covers in 1978. 80s’ albums were all marked with rock’n’roll revival idiom.Hungaria went through many personnel changes with Fenyo remaining the only permanent member and other musicians coming and going:
Zoltan Kekes (guitar, vocals, 1972-1980), Gabor Antal Szucs (guitar, 1971, then – Skorpio ->), Laszlo Klein (bass, returned briefly in 1971), Peter Sipos (bass, 1972-1980), Gyula Fekete (sax, 1972-1985), Gabor Fekete (drums, 1971, then - Skorpio), Robert Szikora (drums, vocals, 1972-1982), Dolly (vocals, 1980-1985, then - Dolly Roll), Flipper Ocsi (vocals, 1980-1985, then - Dolly Roll, Step), Zoltan Kekes (guitar, 1980-1985, then Dolly Roll), Deddy Zsoldos (1982-85, drums, then - Dolly Roll)Band folded in 1985. Fenyo continued as solo artist, while the others formed Dolly Roll.Discography:‘Koncert a Marson’ (1970)‘Tuzveszelyes, Hungaria’ (1971)‘Beatles Laz’ (1978)‘Rock’n Roll Party’ (1980)‘Hotel Menthol’ (1981)‘Arena’ (1982)‘Finale?’(1983)‘Reg volt, igy volt’ (1985)‘Van aki forron szereti’ (1985)‘Aranyalbum’ (1985)
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01 - Koncert a Marson02 - Marvany (Csak o tud mindenrol talan)03 - Mese04 - Belvaros05 - A babonas lany06 - A regi filmek mozija07 - Hej, Rolli, Rolli08 - Szivarvany09 - Elol ul a masiniszta10 - Szegeny fuzfa11 - Es en csak eneklek12 - Vegallomas
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

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V.A.- Brum Beat vol.1 & vol.2

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The Stowaways - In Our Time (1967)

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Biography
by Bruce Eder
The Stowaways were a promising quintet who managed to leave behind an album's worth of impressive material on Calvin Newton's Justice Records label, based in Winston-Salem, NC. Tim Tatum was the lead singer, equally adept at lyrical Beatles covers or harder punk sounds, and the rest of the band was Tommy O'Neal on lead guitar, Paul Quick on rhythm guitar, Ken Knight on bass, and Ken Tanner at the drums.

They had versatility and a knack for playing vocal and instrumental hooks for all they were worth, with a sound that intersected the Rolling Stones and the Beau Brummels at different moments.

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1. What a Shame 2. I've Been Hurt 3. It Won't Be Wrong 4. Summertime 5. It's Alright 6. It's Only Love 7. Just a Toy 8. You Lied 9. C.C. Rider 10. Sunny 11. Good Good Loving 12. Play With Fire

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LINK

The Leathercoated Minds - A Trip Down The Sunset Strip (1968)

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Biography
by Richie Unterberger
The Leathercoated Minds were a Los Angeles studio-only group, formed for the express purpose of exploiting both the sound and image of the L.A. psychedelic scene circa 1966-1967. Their sole record, the LP A Trip Down the Sunset Strip, was issued on the small Viva label in 1967 because — as Viva chief Snuff Garrett candidly remembered in the liner notes to the 2006 CD reissue — "we had a real good (photo) shot of Sunset Boulevard and we needed an album to go with it." Accordingly, the LP featured hastily recorded covers of some of the hippest hits of 1966 — "Eight Miles High," "Psychotic Reaction," "Over Under Sideways Down," "Sunshine Superman," "Mr. Tambourine Man," "Along Comes Mary" — as well as a few filler psychedelic instrumentals.

The record has its interest for collectors, however, since those filler instrumentals were written by a young J.J. Cale, who also produced and played guitar on the album.

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1. Eight Miles High 2. Sunset and Clark 3. Psychotic Reaction 4. Over Under Sideways Down 5. Sunshine Superman 6. Non-Stop 7. Arriba 8. Kicks 9. Mr. Tambourine Man 10. Puff (The Magic Dragon) 11. Along Comes Mary 12. Pot Luck

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Review
by Mark Deming
While the Leathercoated Minds is an inarguably superb name for a rock & roll band, the sad truth is it didn't really belong to a group at all. Producer and entrepreneur Snuff Garrett wanted to put together an album designed to give clueless, would-be hipsters an idea of what a night on Hollywood's fabled Sunset Strip was like; he'd already chosen a snazzy cover photo, and needed some session cats to throw together a half-hour of music to go along with it. Garrett hired a then little-known musician named J.J. Cale to produce the album and play lead guitar, and Cale's fleet but laid-back picking is all over this album. Cale overdubs a handful of Roger McGuinn-style lead lines all over "Eight Miles High" and "Mr. Tambourine Man," he throws some twang-centric psychedelia into "Over Under Sideways Down" and "Sunshine Superman," and contributes some enjoyable original throwaways with titles like "Sunset and Clark" and "Pot Luck." Cale and his studio partners (no one's sure just who they are besides Roger Tillison on vocals, though Cale's buddy Leon Russel is probably playing keyboards) probably tossed this off in a couple afternoons, but it sounds like they were having a good time doing it, and the picking is uniformly fine while the arrangements are a shade more imaginative than one might expect for a quickie knock-off album like this. Anyone expecting A Trip Down the Sunset Strip to be some sort of lost masterwork is only fooling themselves, but it's a fun listen with plenty of crackerjack guitar work, and it has the good sense to wrap up its business in less than 30 minutes; those with an interest in either Cale or pop culture of the period will want to give it a spin

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LINK

The Invictas - The Best Of Herb Gross And TheInvictas

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Rochester, NY band that had a big local hit with the rudimentary dance song "The Hump," though a claim on the liner notes to an album sleeve that the single even outstripped sales of the Beatles in the New York State area is probably fatuous. (Unless the Beatles just didn't happen to have a single out at the time.) Though "The Hump" is well-regarded by some garage fans, the Invictas were definitely below average for the genre. With a semi-soul orientation, they could be viewed as sort of a garage Mitch Ryder & the Detroit Wheels, although that description might be leading you to expect too much. Much of their recorded material consisted of inferior covers of well-known mid-'60s rock and R&B hits, and their originals, penned by leader Herb McGovern, were clunky and unimaginative, highlighted by occasional Roky Erickson-like yelps. Biography by Richie Unterberger .
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1. Baby Please Don't Go2. Interview With the Invictas - Herb Gross & the Invictas, , Jim Kohler3. Hump4. Hang on Sloopy5. Land of a Thousand Dances6. Farmer John7. I'm Alright8. Stuf F9. Do You Wanna Go Hi Steppin'10. Louie, Louie11. Do It12. Ooh Poo Pah Doo13. Shake a Tail Feather14. Detroit Move15. Long Tall Shortie [Live]16. Finger Lickin' Good17. Girl Like You18. Hump '9519. Twist and Shout20. Joint Was a Rockin' (Round & Round) [Live]
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The Wildweeds - No Good To Cry (Best Of)

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The Wildweeds were a group from the Hartford Connecticut area fronted by Al Anderson who in 1967 had a hit with "No Good To Cry" (also covered by the Moving Sidewalks) on the Cadet label, a few more singles followed on Cadet, after which the group went through some personnel changes culminating with this self titled lp in 1970.Whereas the original Wildweeds' sound was more psychedelic/soul oriented, this album is more Country Rock influenced.Anderson would then record a solo lp for Vanguard and go on to join the popular NRBQ, afterwards he would become a successful songwriter in Nashville being named "BMI Songwriter Of The Year" in 2000.There's a great compilation of the Wildweeds' earlier output entitled "No Good To Cry: The Best Of The Wildweeds" that was released on cd in 2002
1. No Good To Cry
2. Never Mind
3. Someday Morning
4. Can't You See That IOm Lonely
5. It Was Fun While It Lasted
6. Sorrow's Anthem
7. I'm Dreaming
8. Happiness Is Just An Illusion
9. Fuzzy Wuzzy
10. I Can't Stand It
11. Where Is Our Love
12. Anytime At All
13. I Want You Here
14. And Then There Is Love
15. I Had A Girl
16. You Know Your Love
17. No Good To Cry (Stereo)
18. No Good To Cry (Instrumental)
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Man - Man (1970)

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*****

Line-up :

- Micky Jones / guitars, vocals

- Deke Leonard / guitars, piano, vocals

- Terry Williams / drums, percussion

- Martin Ace / bass, acoustic guitar

- Clive John / organ, piano, guitar, harpsichord, vocals

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01. Romain 6:11 (Ace/John/Jones/Leonard/Williams)02. Country Girl 3:08 (Ace/Leonard)03. Would The Christians Wait Five Minutes?04. The Lions Are Having A Draw 12:52 (Ace/Jones)05. Daughter of the Fireplace 5:11 (Leonard)06. Alchemist 20:41 (Ace/John/Jones/Leonard/Williams)

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The group Man evolved from the Bystanders, a mid-'60s Welsh combo whose blend of Beatlesque harmonies and blue-eyed soul yielded a number of well-received singles, most notably the progressive and poppy "Royal Blue Summer Sunshine Day." That side was indicative of the direction they would take after changing their name to Man. Perhaps due to the eponymous moniker, this album has long been mistaken as a debut effort. However, prior to this title, they had already released a pair of LPs, Revelation (1969) and the somewhat more centered and ambitious follow-up 2 Ozs. of Plastic with a Hole in the Middle (1969). By the time of this platter, Clive John (organ/piano/electric guitar/harpsichord/vocals), Deke Leonard (guitar/vocals), Martin Ace (acoustic guitar/bass guitar/vocals), Terry Williams (percussion/drums), Roger Leonard (acoustic guitar/piano/electric guitar/steel guitar/vocals), and Micky Jones (acoustic guitar/electric guitar/vocals) had settled into what most enthusiasts consider to be a seminal aggregate. In addition to their exceptional improvisational skills, Man would display a more aggressive sound. The opening track, "Romain," instantly gels into driving blues behind Leonard's woozy steel guitar interjections. "Country Girl" is reminiscent of the New Riders of the Purple Sage, complete with a distinct West Coast county-rock lilt. Both of the extended pieces, "Would the Christians Wait Five Minutes?...The Lions Are Having a Draw" and "Alchemist" are pastiches of well-developed instrumentals, although at times they come off as somewhat dated. There is plenty of inspired interaction, however, especially on the latter song as they unleash some definitive heavy metal licks that could easily be mistaken for seminal Black Sabbath. "Daughter of the Fireplace" is another highlight as a compact and attitude-heavy rocker. [Interested parties should note that Repertoire's CD reissue of Man (2003) augments the original five cuts with the 45 rpm edits/mixes of "Daughter of the Fireplace" — which has been amended from five-minutes-and-19-seconds to just under three minutes — and "Country Girl [Single Version]." The audio is exceptional and the liner booklet includes a short essay by noted musicologist Chris Welch.](by Lindsay Planer)

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LINK

Man - Maximum Darkness (1975)

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Man were one of the most promising rock bands to come out of Wales in the early '70s. Along with Brinsley Schwarz, they helped establish the core of the pub rock sound, but they played louder and also had a progressive component to their work that separated them from many of their rivals. The group originated as a Four Seasons-cum-Beach Boys vocal outfit, based in Swansea, Wales, called the Bystanders, who began experimenting with a tougher, more progressive sound on-stage. They were encouraged to pursue this direction, and Man were formed — Micky Jones (lead guitar, vocals), Deke Leonard (guitar, vocals), Clive John (guitar, keyboards, vocals), Ray Williams (bass), and ... Read More...

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Man - Maximum Darkness (1975) feat. John Cipollina

THE BAND :
Micky Jones--Guitars, Vocals
Deke Leonard--Guitars, Vocals
Terry Williams--Drums, Percussion
Martin Ace--Bass, Vocals
John Cipollina--Guitars, Vocals

1. 7171-551 2. Codeine 3. Babe I'm Gonna Leave You 4. Many Are Called, But Few Get Up 5. Bananas

****

I was reading through the list of dedications, and noticing that just about everybody is from the San Francisco area (even though the album was recorded in England), and was thinking: 'These are all the people they had to go through in order to meet John Cipollina (just kidding guys).
This is a magnificent live album, three lead guitars, a wall of great hard rock, and an intensity (God, I'm starting to use that word too much) which is not for the faint of heart. I once went over to the house of a friend who claimed to be a fan of great guitar music. He played me some Steely Dan and I played this album, and he was very intimidated by the music. This is loud, it's nasty and its full of delicious licks.
It starts off with Deke's "7171-551" from 'Iceberg' which had been expanded from a perky little single to an 11 minute assault on the senses. Next are "Codine" and "Babe I'm Gonna Leave You", two old standards that Quicksilver had originally recorded for the 'Revolution' soundtrack album (which was somewhat rare at the time, but was later reissued), Deke's vocals on "Codine" are incredible. For the B-side there are two old classics "Many Are Called" and "Bananas" both turned into extended jams with all three guitars getting a chance to stretch out.
Ted Koehorst's commentary on allegations that Mickey Jones went back and rerecorded much of John Cipollina guitar work (see his liner notes for 'Be Good To Yourself') deserve refutation, but since I really don't know any better, all I can say is that if they are true I prefer to live in an alternative reality where Minni-Vanilli can sing, Michael Jackson is innocent, and Mr. Cipollina's guitar work didn't need any studio tampering, and shame on you Mr. Koehorst for spreading vicious allegations about the non-existence of Santa Clause, etc.
But the real highlight of this album is Deke's longest set of liner notes to date (reproduced in glorious HTML for the first time below). It's a classic essay on the history and habits of Man's extended family, with further notes on the philosophy of car theft, police notes in triplicate, the dangers of Argentine Corned Beef and bolas in general. Last night I met and old record critic friend of mine at a concert and he could still quote large sections of the notes, having last read them some 15 years ago. He also wondered why I couldn't, and all I could say was that this was the first time I had read them while not stoned. ( info )

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