Space Farm - Space Farm (1972)

Short lived trio, this being their sole album. Originally released in 1972 for a very brief time.This is the original mix and it's first appearance on CD. Featuring the phenomenal guitar work of Harvey Mann, who's only peer back in the day in N.Z was the Human Instinct's Billy T.K.

Originally released by the famous New Zealand Zodiac label in 1972 & oft-compared to Billy TK-era Human Instinct. "First time on CD for original version of this classic and highly sought after New Zealand early 70's monster with original cover art intact. Previous re-issue of this was not an 'alternate mix' as advertised by the label in question,but actually had parts re-recorded in the eighties (!?) at their request -- including vocals (by someone who was not even in the band) and other parts, and was sold as a 'lost' version. Beware all fakes -- this is the real deal. Features the genius guitar work of Harvey Mann of the Underdogs."

1. Space Farm - 3.18

2. Homeward Bound - 3.58

3. Infinity Way - 3.26

4. Waking Dream - 3.41

5. On The Loose - 3.12

6. Flying - 4.24

7. Gypsy Queen - 6.22

8. Wheel - 4.15

9. Lover Not A Dancer - 3.55

Size: 68.6 Mb
Bitrate: 256 mp3
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The Yankee Dollar - The Yankee Dollar (1968)

The Band originated in San Luis Obispo, CA in 1966 and was originally known as "Pacific Grass & Electric".

The band's name was changed to Yankee Dollar by lengendary Philly music producer Frank Slay (Strawberry Alarm Clock, Sugarloaf, Sal Mineo, Freddie Cannon, Danny & The Juniors, ) who was worried that the band's name would inhibit its station play on the conservative "Drake Stations" (i.e. Bill Drake banned one of Slay's previous groups, "Rainy Daze" when he discovered that their hit record "That Acapulco Gold" was actually about purchasing drugs. Ultimately, Yankee Dollar, because of Slay's involvement in the project, was banned from the Drake Stations anyway, otherwise, as Billboard surmised at the time, the Yankee Dollar's Album would've been a major hit.

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If you like the harmonies of "Jefferson Airplane" , "Mamas And Papas " and the style of "Strawberry Alarm Clock" with their prominent organ parts, then you will love Yankee Dollar.

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01. Sanctuary - 2.22

02. Good Old Friends - 2.22

03. Catch The Wind - 2.54

04. If In Swimming - 3.55

05. Follow Your Dream´s Way - 6.44

06. Live And Let Live - 2.22

07. City Sidewalks - 3.01

08. Let´s Get Together - 4.30

09. Winter Boy - 2.23

10. The Times They Are A-Changin´ - 3.06

11. Johann Sebastian Cheetah - 3.03

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Size: 73.5 Mb
Bitrate: 320 mp3
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St.John Green - St.John Green (1968)

(‘St. John Green’ is) one of the great lost records…Somebody will reissue it someday and people will start crying and jacking off and smoking dope to it. It’s a great record. There’s only a handful of records that I’ve made that are great.”-Kim Fowley to Mike Stax (“Ugly Things” magazine issue #19, 2001)

Through mutual associations in Topanga Canyon, St. John Green connected with Fowley sometime in 1968, and he in turn spurred them on to outdo or to die all over what would be their sole album…So they wound up doing both.

“St. John Green” is by turns frightening, dark, funny and stupid as it reeks of bad trip freak outs in matte black painted rooms with no furniture lit only by a single red bulb and burning cigarette ends. What emanates forth immediately from this darkness are the mystic incantations of vocalist/bassist Ed Bissot who is mean, moody, magnificent AND for his sins is stuck in a garage of sick creep psychedelia for all eternity. His delivery is so full of promises -- not threats -- you begin to feel that this guy who exists precariously balanced over a yawning chasm between Jim Morrison and Arthur Brown without trying at all really MEANS IT. And he is shored up all the way by a fine-tuned band in total sync with his visions of the four D’s --death, doom, damnation and dread -- in a weirdly accomplished album that runs a gamut of styles -- from supernatural ruminations to the cheapest of goofball novelties.

Bissot’s massive intonations open the apocalyptic “7th Generation Mutation”, where his early death god in a garage vibe bears more than a passing resemblance to Robert Calvert’s space age narratives that threaded Hawkwind’s “Space Ritual Alive.” A total lack of drums makes his hypnotic bass line the only percussion as it sways pendulum-like above the restrained and gagged music which has already cut out from one speaker and lurks behind his initial intonation of “In the darkness of my empty cage, a being from Venus speaks to me” which then switches to a massively echoed snotty sneer:
”I have seen your planet suffer seven nuclear wars…I’ve seen your civilisation rise from its ruinOnly to crumble once more to ash.

Noah’s Ark was a period of time, and not a boat.It is through such misconceptionsYour beliefs are weakened and your faith lost…WHY CAN YOU NOT SEE…?

Earth is born of molten lavaTorn from the breast of a violent star.Man is created And rises from the dust-fringed edges of the cooling mudTo love...To conquer…To kill...AND HE WILL!”
Tape speed wind chases this insistently freaky track into the fading gloom and late night Booker T & The MG’s outtake from “Gris-Gris” vibe of the Fowley-penned “Canyon Women”, a place where sexually rhythmically percussion hangs in the background like swamp gas silhouetting the band as they respond to Bissot’s vocals with low, bullfrog refraining as over-recorded organ and casual grunts pass by in the shadows. “Devil And The Sea” is the psychic link between The Doors’ “When The Music’s Over” and Alice Cooper’s “Black Juju” as those familiar prominent organ swells cut in, out and all around Bissot’s vocals of truly beacon-in-the-wilderness qualities. “Do You Believe” is all corn-fed and howling harp as Bissot starts vocally delivering in down home, religious revival tones against distinctly Fraternity of Man/Holy Modal Rounders backing. “Go!” commands Fowley from behind the glass for the next gross-out, “Help Me Close The Door” signaling commencement of a somber Bissot narration painting a portrait of a broken man with the paint roller. It’s cheap pathos galore over a lullaby piano rock-a-bye-ing as several species of small furry animals chirp continually along with little girls’ persistent calls of “Daddy?” Tears well up until the surprise final set up line of “If you have any heart at all…You’ll help me close the door!” that causes all studio denizens to erupt in cackling glee at the egg on your face. “Messages From The Dead” follows with a mid-tempo “Mystic Eyes” beat and prominent 2-fingered bass. Bissot has just hooked himself a one-way ticket onto that down bound train to Sheol with ol’ Satan hisself, and with each passing level the flames shoot higher and higher: here represented by hugely recorded organ smears all up and down the keyboard against a backwards hi-hat pattern. After seven levels of Hell have been traversed, Bissot’s finally had enough of those flames licking up his body so he’s now down on his knees pleading right before the organ-led coda, “No, God….don’t burn me down in hea-uh! Please don’t burn me down, God!” So they tightly burn down the track instead -- in a way Fowley would later describe as “Vanilla Fudge minus the fucking bubblegum.”

Side two is just as diverse, great and fucked up. “Goddess of Death” is a sleep-walking creep-out supreme with all the eeriness of “You’re Lost Little Girl” by The Doors. Descending organ quietly curls like smoke in the background as electric guitar piano-type notes are plucked as Bissot intones from a waking dream: ”And we walked into the endless valley…Looking back in tears while the echoes of life faded from our ears…We walked into the cold silence, being careful not to step on those who had passed out there in previous times…and I ask, ‘Why are we here? Why are we here? Why are we here?” The band responds only with the swaying chant, “Why? Why? Why? Why?”…and neither are graced with an answer. Spook-eh!Leave it to Fowley to compose St. John Green’s own signature tune, entitled (naturally)“St. John Green” and of course sounds like nothing else on the album. Bissot’s vocals now switch to Dylanesque overtones as they spread over a dum-dum re-vamp “A Whiter Shade Of Pale” filling the background with a clutch of piano, tuba-tone bass and heavily sustained organ that clump around great lyrics like ”Just because we’re so young and deadly/Why did we have to lose our light?” Next up is the quicker paces of “Spirit Of Now”, akin to the later basement psychedelia of The C.A. Quintet. Here, guitarist Bill Kirkland is finally allowed a solo for the first time on the record, and it’s fantastic -- followed by a sprinting organ solo by Mike Baxter, whose arrangements throughout are strong, fine-tuned and as consistently weird as his neatly-placed organ fills. “Love Of Hate” is an elegiac vocal (what else?) intonation accompanied by organ alone, with Bissot channeling words from and about the world beyond the grave. The Fowley-penned “One Room Cemetery” is the terrifying highlight of side two as elements of free form freak outs scatter behind Bissot’s intonations from a dark and lonely place as tom-tom rolls, solidly plucked bass lines and random, skittering guitar all conspire to creep you out. Over ominously building drums, Bissot hurls out echoed grunts, calls for bo-weevils to meet him in his one room cemetery and calmly free associating all over the place with “We’re playing with the world… We’re playing with the world…When a love song has gone wrong…where does a sad girl go? Where does the sad girl go when her love song is over? We’re playing with the world…We’re playing with the world…” right before all fades to black with a single, jerked musical curtain pull.
But as weirdly dark and epic that “St. John Green” well and truly is, where can it go but sign off but with “Shivers Of Pleasure”, a bouncy showbiz coda: all jaunty piano, lounge hi-hats and vocal A-Z alphabetical dedications like: ”F is for Fowley: is he putting us on?”, ”T is for Teenage girls” (accented by a non-too subtle pelvic thrust grunt, “Uuhhh!”) and so on, cracking sophomoric jokes in a manner altogether out of context with the rest of the album. It’s kinda disconcerting in its clean cut kid delivery, but then again, it may be an intentional move in case if too many people got the wrong idea whilst hanging onto each of Bissot’s every word, taking them too far upon the album’s termination by offing themselves outright…

For maximum effect, play in absolute darkness.

01. 7th Generation Mutation - 3.19
02. Canyon Women - 3.01
03. Devil And The Sea - 2.18
04. Do You Believe - 2.11
05. Help Me Close The Door - 1.02
06. Messages From The Dead - 4.09
07. Goddess Of Death - 2.25
08. St. John Green - 3.05
09. Spirit Of Now - 2.33
10. Love Of Hate - 2.11
11. One Room Cemetary - 3.43
12. Shivers Of Pleasure - 3.19

Size: 61.9 Mb
Bitrate: 256 mp3
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Kin Ping Meh - No.2 (1972)

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Just like the debut album of the Mannheim band, 'No. 2' was produced by the Hamburg team of Achim Reichel/Frank Dostal (Rattles) and recorded in the Windrose Dumont Time studios.

Once again, Conny Plank was the sound engineer. One year later, Plank set up his own studio near Cologne and built his own monument by producing the first four Kraftwerk records. On 'No. 2', Kin Ping Meh followed down the path they had taken the year before - straight rock with no experiments, resulting in unspectacular, but highly powerful rock music.
All in all, the second Kin Ping Meh album seems to show them in an even more relaxed mood and offers not only catchy rhythms, but almost pop-like elements. The first two songs ('Come Down To The Riverside' and 'Don't Force Your Horse' are typical Kin Ping Meh rock. The next song, a cover version of the Beatles 'Come together', ends on a well-done jam (the 'Together Jam'). And just like the debut album, 'No. 2' has its calmer moments as well ('Livable Ways' and 'Day Dreams').
The LP ends with the lively 'Very Long Ago' and 'I Wonna Be Lazy', written by Reichel and Dostal. As bonus tracks, this CD contains the single B-side version of 'Sometime' (1973) ; the original version can be found on the debut album) plus the single A-side 'Sunday Morn ing Eve' (1973)
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01. Come Down To The Riverside - 3.16
02. Don´t Force Your Horse - 3.47
03. Come Together - 6.00
04. Together Jam - 4.56
05. Livable Ways - 8.04
06. Day Dreams - 7.34
07. Very Long Ago - 2.57
08. I Wanna Be Lazy - 3.07
09. Sometime (Single Version) - 4.35
10. Sunday Morning Eve - 3.58
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Size: 98.9 Mb
Bitrate: 256 mp3
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Goliath - Hot Rock and Thunder (1972)

Another fabulous private pressing, this time from Goliath, a supremely talented 5-piece progressive hard rock outfit from Kentucky.
Released in 1972 on the Bridges label, Goliath’s guitar, bass, drums keyboards and vocal style owes much to the influence of Deep Purple, although vocalist Jim Kitchen can sound very much like Robert Plant at times.
The band, always tight and composed, storms through 7 finely-crafted self-penned songs with flair and originality.

Hot Rock And Thunder, with it’s stunning artwork, is Goliath’s only known release (confusingly, another band of the same name had already released an album on CBS in 1970) and an album that would not have been disgraced by comparison with many of the hard rock offerings of the time and still stands up extremely well today.

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1. We´re Not Afraid - 5.12

2. Ordinary Guy - 5.03

3. Tell Me You´re Satisfied - 4.18

4. Silver Girl - 3.05

5. Dead Drunk Screamin´ - 6.04

6. Hot Rock and Thunder - 6.01

7. The Apocalypse - 4.25

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Bitrate: 256 mp3

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The Spike Drivers - Spike Drivers (1965 - 68)

The original Spike Drivers were together from 1965 to 1967. The founding members included Mary Carolbrown-vocals, Sid Brown-guitar, Ted Lucas-guitar and vocals, Richard Keelan-guitar, and drummer Steve Booker. Larry Cruise replaced Steve Booker in late 1965. The name of the band came from a song by Mississippi John Hurt called the Spikedriver Blues.

The group began working in clubs in the Detroit, Michigan area and shared the bill with performers such as Joni Mitchell, Phil Esser, and Del Shannon. The band traveled to New York City and landed a recording contract with Warner Brothers Reprise Records where they put out two 45's featuring "Strange Mysterious Sounds" with "Break Out The Wine" and "Often I Wonder" with "High Time."

The band also showcased at many clubs in the New York area with the high point occurring when they opened for Eric Burdon and the Animals at the Rheingold Central Park Music Festival in 1966.
Ted Lucas left the band in 1967 along with Richard Keelan. Together they formed The Misty Wizards.
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(info from heavyrockspectacular)
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01. Often I Wonder - 5.41
02. Strange Mysterious Sounds - 5.32
03. Baby, Let Me Tell You - 4.37
04. Blue Law Sunday - 4.05
05. Baby, Can I Wear Your Clothes - 3.53
06. Got The Goods On You - 3.49
07. High Time - 2.32
08. Portland Town - 5.31
09. Grocery Store - 3.29
10. Everybody´s Got That Feeling - 4.29
11. I Know - 5.21
12. Time Will Never Die - 3.10
13. Sometimes - 5.57
14. Can´t Stand The Pain - 2.09
15. I´m So Glad - 2.24

Size: 127 Mb
Bitrate: 256 mp3
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Pan & Regaliz - Selftitled (1971)

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I was absolutely taken by surprise by this album. Pan & Regaliz was a Spanish proto-prog/psych band that released this album, I Can Fly in 1971, smack during the Franco regime (I've seen some sources say the album is just entitled Pan y Regaliz). A band must have had really big balls to play music like this in Franco-era Spain, but it wouldn't have been such a problem if this was Germany or Great Britain. I was expecting perhaps a "government approved" vibe throughout the whole album like I do with many of those communist-era Eastern European albums (from Poland, Hungary, and Czechoslovakia, countries that had prog rock potential were it not for the governments). But that's not what I got. What I got was top quality prog/psych with a great vibe that makes you think it came out of Great Britain or Germany. They hailed from Barcelona, home to Antoni Gaudi and Pablo Picasso.

- Arthur Domingo: bass and vocals - Alfonso Bou: guitars and vocals - Pedro van Eeckhout: drums, percussion - Guillermo Paris: vocals, flute, jaw harp.

If you're expecting any Spanish cultural references (like Triana, Ibio, Mezquita, etc.), you won't find it here. What you get is basically early prog that leans more on the psychedelic side (though recorded in 1971, it has a more late '60s sound to it), with surprisingly a strong hippie vibe. If no one told you they were from Spain, you could be easily fooled for perhaps certain British or German bands, as mentioned about their description up above. There are a lot of strange effects to go with the music that make me think a little of the Krautrock bands that existed at the time. The vocals are in English, but are surprisingly good! I have the CD-R in which the track listings are supposedly messed-up. I've heard the music being described as a like Jethro Tull's Stand Up under the influence of LSD. I can understand the LSD part, the Jethro Tull part, not so sure. Alfonso Bou's (I guess) vocals at times does remind me a bit of Ian Anderson at times. Certainly Guillermo Paris played flute, but certainly not in the style of Ian Anderson. The flute playing reminds me of the New York Jewish psych/prog band based in Germany called Sweet Smoke. Anyway, let's get with the music: many of the songs seem to have that repetitive nature, like "I Can Fly", "When You Bring Down" and "Today It is Raining", but in a good way. Some of the songs have more jazzy leanings, like "One More Day". A totally killer album, how did these guys do it under the Franco regime? Probably by sneaking it under his nose and made sure the government never found out. One song I can live without however is "A Song For the Friends". It's crap. It sounds like 1930s cocktail lounge music that should have been thrown in the trash. They should've used that space for another song like the rest. Forget "A Song for the Friends", because this is truly one of the great, but totally forgotten gems of prog/psych!

1. One More Day - 3.29
2. Waiting In The Munster's - 3.11
3. Dead Of Love - 3.15
4. Thinking On Mary - 3.29
5. A Song For The Friends - 2.21
6. When You Are So bring Down - 3.14
7. Todaz It Is Raining - 9.17
8. I Can Fly - 3.38
9. Magic Colors - 2.53

Size: 64.0 Mb
Bitrate: 256 mp3
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Blackwater Park - Dirt Box (1971)

Hard & heavy guitar rock from Berlin, 1971, with 'no-messin' attitude, overloaded guitar, and english vocals. Includes a cover of the Beatles "For No One", and a mini epic 8 min work-out "Rock Song". Somehow we can't help thinking maybe UFO saw this lot & decided to nick their act.. Housed in a great digipak.

Another one of those German bands with a British vocalist. The line-up was Richard Routledge (vocals, guitar), Michael Fechner (guitar), Andreas Scholz (bass, he came from the recently disbanded Murphy Blend!) and Norbert Kagelmann (drums). "Dirt Box" had a promisingly weird cover, but the music was quite common for the period: guitar-based hard blues-rock in the Anglo-American style. The material written by Fechner and Scholz ("Mental Block", "Rock Song" and "Indian Summer") was the best, recalling the brilliance of Armaggedon. Routledge's material tended towards boogie blues and sounded more like Free. He also wrote all the lyrics. The album also included a good cover version of the Beatles' "For No One". This is one of many albums of which the original copies sell for small fortunes today. To meet the increasing demand, Second Battle re-released the album in 1990 in its original sleeve. If you go for originals though, expect to part with 250 DM.

1. Mental block - 3.17
2. Roundabout - 5.27
3. One´s life - 3.08
4. Indian summer - 6.16
5. Dirty face - 4.28
6. Rock song - 8.45
7. For noone - 3.29

Size: 67.2 Mb
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Mammut - Mammut (1971)

One of the rarest German private releases ! Dual guitar led long tracks, wild / furious fuzz psych soloing, howling vocals. Regarded by some as the best private pressing from the German burgeoning underground.

This group made one of the most legendary German private pressings. It is now incredibly rare. The sound of a squeaking mouse opens the album, released on 'Mouse Trick Track Music' (amazing choice of label name!) The album is a thematically linked "Mammut Opus", with the word "Mammut" included in all the track titles. A rhythmic and dramatic instrumental overture with wistful flute ("Bird Mammut") and a short interlude for piano ("Classical Mammut") put you in the right mood before the lengthy, heavy guitar riffing tracks "Mammut Ecstasy" and "Footmachine Mammut" strike you. Perhaps Elias Hulk and parts of the first Embryo album are comparable to this. Side two starts with a "Short Mammut" - sounds of gunfire and bomber planes. "Schizoid Mammut" had violent, paranoid lyrics with music to match. "Nagarn Mammut" is their attempt to be more lyrical. The album closes the same way as it started with large doses of instrumental music ("Mammut Opera"), what Pete Townshend would name 'underture'. The most impressive aspect of this album is that all the biting guitar statements are woven in-between the vocals. A typical golden artefact from one of the most fertile years of modern music (1971) incorporating both classical and heavy acid blues influences. Good production as well, considering it was a private release, so I can recommend this album to you with great enthusiasm!

1. Bird Mammut - 4.03
2. Classical Mammut - 1.21
3. Mammut Ecstacy - 4.27
4. Foolmachine Mammut - 3.08
5. Short Mammut - 1.48
6. Shizoyd Mammut - 3.21
7. Nähgern Mammut - 6.59
8. Mammut Opera - 13.33

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Five Day Rain - Selftitled (1969)

Factory/Fleur de Lys connected early '70s UK psych monster with all the right moves. Sounds like the aforementioned bands with dash of Ogden's period Small Faces. Great guitar work particularly on the long trippy instumental "Rough Cut Marmalade".... Ace album.

One of the rarest UK albums; just 15 copies of this album were put out but soon after someone circulated 'white label' copies of it so beware of these.

Graham Maitland had earlier been in Scots Of St James and Hopscotch. He was also in The Fleur de Lys in their final days. The album contained some adventurous pop compositions often with a taint of psychedelia but it was eventually put out as a private pressing in a plain white cover because no label was interested in it. Notable cuts are the 11-minute instrumental Rough Cut Marmalade, which is the album's most psychedelic offering; the catchy Sea Song and keyboard driven Leave It At That.

The CD reissue omitted Too Much Of Nothing and tampered with Marie's A Woman. Graham Maitland was later in Glencoe but the other members quit the music business.

1. Marie's a Woman - 2.46
2. Leave It At That - 4.30
3. Don't Be Misled - 2.18
4. Rough Cut Marmalade - 11.04
5. Goodyear - 4.01
6. Sea Song - 4.12
7. Lay Me Down - 1.16
8. Reason Why - 4.42
9. Fall Out - 4.12

Size: 75.8 Mb
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Elf - Elf Ronnie James Dio (1972)

An up and coming rock musician named Ronald Padavona (better known as Ronnie James Dio) had been making rock and roll since the fifties, but unfortunately, he hadn't found any major success. On the good side, the seventies would be the decade that would ultimately bring him the popularity he has had ever since. In the sixties he formed a band called the Electric Elves (he'd had MANY bands prior), later simply called the Elves and even later, just Elf. Even though nearly a decade and a half had passed since Padavona began making music, Elf's first full-length album would be his first truly mainstream release. Read on for my review of the group's first album.

I should probably warn all you potential listeners - if you're looking for hard rock in the vain of Dio's solo, Rainbow, or Black Sabbath material, you're not going to find it here. This isn't hard rock, it's bluesy rock. Likewise, while their first album, this is probably the weakest of the three. For one thing, this is the only album ever recorded on which Dio does vocals AND bass (the band would recruit a separate bassist for later albums so Dio could focus on his singing.) It's also the only Elf album that features Dio's cousin David Feinstein on guitar (he'd go on to form another group, called the Rods, and be replaced in Elf.) The blues rock that the band shells out on this album is very good - Mickey Lee Soule is quite the piano player, and his playing beautifully complements Feinstein's guitar and Dio's vocals. Despite being what is probably the weakest and least-polished Elf album, it's still worthy of a four out of five score in my book.

Unfortunately, all of the Elf albums are long since out of print. Don't count on finding this one in any store - it isn't too likely to happen. You're probably going to have to end up ordering it, along with the others. Accordingly, due to their limited availability, I really only suggest getting them if you're a die-hard Dio fan who wants to see how his mainstream career got started.

Elf's first album is very good blues rock, but the group's latter two albums would be considerably more well polished. The latter albums would feature a separate bass player, as well as the replacement of David Feinstein. If you like blues rock or you just want to see what Dio sounded like before he was popular, by all means check Elf out. Just be warned, their stuff is tough to find.

1. Hoochie Coochie Lady - 5.34
2. First Avenue - 4.24
3. Never More - 3.51
4. I'm Coming Back for You - 3.29
5. Sit Down Honey (Everything Will Be Alright) - 3.49
6. Dixie Lee Junction - 5.11
7. Love Me Like a Woman - 3.49
8. Gambler, Gambler - 4.26

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Dryewater - Southpaw (1974)

Now a highly regarded release among the collectors of early '70s U.S. rock, Dryewater's Southpaw album was privately released to little fanfare on the J.T.B. label in 1974. The North Carolina based four piece pressed just 500 copies of the album (fewer still with actual covers!) and the rarity value of this initial release has since increased as it's since become known that the band destroyed the copies they failed to sell at the time! Maybe they had higher expectations for the album, and this is justifiable, as in hindsight the ten original compositions show a very confident release by an obviously proficient line up. Strong rhythm guitar work forms the basis of most of the songs, but also evident is some melodic, perhaps slightly progressive keyboard work, that both underpins the occasional acid lead guitar solos and maintains the overall momentum of each performance. With a tight rhythm section and strong vocals too, this all makes for a rockin' rollercoaster ride. A fine example of the harder West Coast sound of the time. Check out the melodic "Don't Let Her Sleep Too Long," the riff-heavy track 2, and rolling rhythms of track 10, Dryewater were certainly overlooked at the time. A limited vinyl run released by Void Records in 1996 briefly led to a renewed interest in the band, but thankfully Radioactive can now finally pull the album from obscurity as it makes its digital debut here."

01. Winterground - 3.02
02. Trouble - 4.07
03. Give Yourself Time To Live - 3.24
04. Don’T Let Her Sleep Too Long - 2.58
05. Let Me Take You - 3.31
06. Thunder - 2.57
07. See Them Run - 2.02
08. Revelation - 2.23
09. Set Out On The River - 2.49
10. After All - 6.30

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Bloodrock - Bloodrock U.S.A. (1976)

CD debut of the hard rockin' Texans' 1976 LP for Capitol. Self-produced by the group. Includes all of the original tracks, plus the bonus track 'Erosion', which appears to be from the album's recording sessions. Also features the original cover art.

This was the last album featuring the orignial lineup....the material has a harder, more aggressive feel than the previous.

The recording quality is very good...The writing has matured further. Is sad that the band went different directions after this effort. I was around in the Bloodrock heyday and saw them live several times....and they were a great live band...
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(info from internet)
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01. Its A Said World - 4.26
02. Don't Eat The Children - 3.17
03. Promises - 3.11
04. Crazy 'Bout You Baby - 2.40
05. Hangmans' Dance - 6.02
06. American Burn - 3.59
07. Rock & Roll Candy Man - 3.08
08. Abracadaver - 4.09
09. Magic Man - 7.13
10. Erosion - 2.44

Size: 76.4 Mb
Bitrate: 256 mp3
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Merry Airbrakes - Merry Airbrakes (1973)

Finally out on CD is this rare US album recorded in 1973 by a freaked out Vietnam veteran. Largely a concept album about that great US misadventure it's folky and "down-home" for playing whilst sitting around a fireside. Main man Bill Homans has a fine voice and also plays some mean slide guitar.

Actually the first post-Vietnam record (recorded 1973). With songs about the Vietnam's point of view. Wonder why this never made it onto a major label. Bill Homans great voice is getting you. He, his brother Peter plus 4 other musicians recorded this album for a private studio to get attention from a big label. Some songs sound like Cpt. Beefheart doing Vietnam songs, others are fragile and MOST beautiful. We love it forever."

01. vigilante man - 4.34
02. frog song - 3.19
03. the bearded man - 3.54
04. quang tri city - 2.22
05. even those among us - 4.37
06. draft board blues - 5.30
07. three hearts - 3.55
08. a happy song for hanoi - 1.31
09. preacher song - 4.22
10. tribute to frankie - 0.20

Size: 65.4 Mb
Bitrate: 256 mp3
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The Plastic Cloud - The Plastic Cloud (1969)

Quite simply, one of the greatest psychedelic albums ever made. This 1968 Canadian release is one hip album, full of catchy melodies and hippie harmonies, as well as some of the most superb (and trippiest) fuzz guitar ever recorded. There is no point singling out a specific track, they are all excellent.Remastered from the tapes; the accompanying twenty-page booklet has all the lyrics, thanks to Don Brewer, the man who wrote them, as well as rare photos and a replica of an original press release that must be seen to be believed.

Borderline Books:
From Bay Ridges, Ontario, this band made one of the best and most sought-after albums of the psychedelic era. All of the tracks were written by Don Brewer and it's one of the most consistently good Canadian albums of this era.There's lots of fuzz guitar on tracks like Shadows Of Your Mind, Face Behind The Sun and Civilization Machine, whilst Dainty General Rides and Art's A Happy Man are nice soft rock numbers. The pick of the album? The ten minute Eastern-influenced You Don't Care, which is full of lots of lovely fuzz. The album was produced by Jack Boswell and Bill Bessey.

01. Epistle To Paradise - 3.36
02. Shadows Of Your Mind - 4.18
03. Art´s A Happy Man - 3.12
04. You Don't Care - 10.36
05. Bridge Under The Sky - 4.36
06. Face Behind The Sun - 4.50
07. Dainty General Rides - 4.14
08. Civilization Machine - 8.51

Size: 82.0 Mb
Bitrate: 256 mp3
Artwork Included
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