Sunday, 28 August 2016

Superb RetroRock: Wucan - Rockpalast FM Broadcast 27th June 2016 (Bootleg) Quality A+



Size: 372 MB
Bitrate: 320
mp3
Superb Sound Quality
Ripped by ChrisGoesRock
Some Artwork Included

Wucan are a young heavy retro rock band from Dresden, Germany with deep roots in the late 60s and early seventies with a dash of blues, folk, progressive and Kraut rock. This sort of time-warp music is covering the gamut from the Woodstock generation to the modern rock sound, starting with acoustic guitar, traverse flute and Hammond organ and ending at the modern rock sound of the heavy kind.



WUCAN made the right choice of partners with producer and owner of the Big Snuff Studios in Berlin Richard Behrens and with Andreas “Lupo “ Lubich of Calyx Mastering for a successful debut in the retro rock scene. 

Richard Behrens, who is bassist of the 70s band HEAT and live toning of the genre heroes KADAVAR additionally to his producing duties, created an authentic 70s sound by using analogue machinery. Combined with the modern heavy surround of the band unfolds a fresh mix of yesterday and today, which bursts with lust for music.



By taking their chances through their extraordinary, energetic live presence, the band quickly gained an audience at their numerable concerts. Some of their biggest moments include playing the prestigious Hammer of Doom Festival and a tour as support for Siena Root. 

Heavy metal veteran Karl Walterbach recognized these qualities and soon after took on the role as the band's manager. A record deal with Manfred Schütz' MIG Music sublabel Hänsel & Gretel followed. Lastly the band became part of Berlin-based booking agency Magnificent Music's roster, who agreed to support the band's live success. With all of this praise WUCAN entered the studio to record their debut album "Sow the Wind." 



The band worked at Big Snuff Studio in Berlin, a well-known studio in the retro scene, with pioneer Richard Behrens. He is infamous for producing quite a number of retro bands, working with Kadavar as their live sound engineer and is the bassist of the Berliner band Heat. Sow the Wind"'s striking sound was primarily achieved through analog techniques and fits perfectly with the late 60s and 70s vibe. 


The band also worked with new instruments such as a Moog synthesizer and a Moog Etherwave Theremin. Behrens was able to capture on tape the essence and dynamic of a WUCAN live show, which carries a hippy attitude with a modern rock sound. 

Andreas Lupo Lubich von Calyx added the final touches with his mastering skills. The result is six extremely diverse tracks, whose sound and composition could have more than likely originated in the 70s. 

However WUCAN does not imitate any artist but has developed its own individuality fitting somewhere between then and now. The band has always been able to create their own style despite their influences such as Jethro Tull, Renft, Lucifer's Friend, Birth Control and Krautrock in general. 

WUCAN presents changing hymns, from jamming passages to metal riffs with flutes doubled and the complete range of 70s folk rock to classical hard rock. andersmann' is a 16-minute song filled with psychedelic splashes of color and the just named influences. 


It is also the only song on the album sung in German. Even the powerful opener ather Storm,' the reefy and hard wl Eyes' and the melodicing Korea' bring a bright bouquet of 70s flashbacks. 

The key element is vocalist Francis Tobolsky's characteristic, energetic and emotional voice. The charismatic singer grasps her audience with her voice and catchy flute melodies. Rounding out this successful debut release is the eye-catching packaging. "Sow the Wind"'s artwork was inspired by a Rufus Segar art piece, an artist who is particularly known for his work in anarchist publications in the 70s. 

Divided in a seeing and screaming head in a stylistic representation, the cover and back perfectly fit the mood of the album. The storm which will be seeded with "Sow the Wind" figuratively hisses at the beholder before even playing the album. This CD is strictly limited to 500 copies.

Wucan - Crossroads Festival Harmonie
Bonn, Germany, 10th March 2016

Band Members:
♦ Francis Tobolsky - vocals, guitar, flute, theremin
♦ Tim George - guitar
♦ Patrik Dröge - bass
♦ hil Knöfel - drums

Disc 01
01. King Korea 06:03
02. Owl Eyes 02:55
03. Franis Vikarma 03:18
04. Wizard Of Concrete Jungle 05:03
05. Dopetrotter 40:53

Disc 02
06. Looking In The Past 33.02
07. Face In The Kraut 26.50

Disc 03
08. Father Storm 20:42
09. Wandersmann 16:58
10. Crash Course In Brain Surgery 05:27

Part 1: Wucan Live 2016
Part 2: Wucan Live 2016
or
Part 1: Wucan Live 2016
Part 2: Wucan Live 2016
or
Part 1: Wucan Live 2016
Part 2: Wucan Live 2016

More Info: Wucan 2016
More Info: Wucan
More Info: More of Wucan



Thursday, 11 August 2016

Various Artist - 'Guitar Legends' Concert FM Broadcast 1991 (Bootleg)


Size: 626MB
Bitrate: 320
mp3
Found in my Computer
Some Artwork Included

Guitar Legends was a five-night global broadcast event that took place in the Spanish city of Seville in October 1991, shown on worldwide television and starring perhaps the biggest array of top guitarists ever assembled.

The 26 featured guitarists included BB King, Brian May, George Benson, Joe Walsh, Keith Richards, Les Paul, Robbie Robertson, Robert Cray, Roger Waters, Albert Collins and Steve Vai.  The vocalists included Rickie Lee Jones, Bob Dylan and Joe Cocker.

The event was conceived and produced by top British impresario and producer Tony Hollingsworth.  It was held to promote the idea of Seville as a entertainment destination and thereby help draw support for the world fair, Expo ’92, due to be held in the city the following April.

Tony Hollingsworthconceived the idea for the event, which also included a televised documentary, with no specific occasion in mind.  He then approached Spanish state television RTVE, with the suggestion that it should be the major co-producer, and it agreed.

“We got all the way through the negotiations, the contracts were drawn up and both sets of lawyers agreed the terms.  Then we all went to the RTVE boardroom for the signing ceremony.  We waited for RTVE’s director-general [Pilar Miro Romero] to come for the signing, which would take place in front of the press and photographers.  She didn’t turn up.  Her officials made several phone calls and finally learned she’d been called to the prime minister’s office.  We waited for two hours and then learned she’d been sacked.  So there was no deal.”

Over the following weeks Tony Hollingsworth wondered whether he could find another organisation to take on the idea, particularly in Spain, a natural home for a guitar event, and one that had already shown interest, albeit aborted.  Fortune was with him.


Several people who had worked at RTVE had started work for the government organisation set up to run Expo ’92, including the former head of finance whom he had dealt with at the television station.  Hollingsworth wrote to him suggesting that Guitar Legends should take part in Expo ’92 and got a letter back from Chris Fisher, who had been seconded from the Burson-Marsteller public-relations company to run their campaigning team.

All the public talk about the fair had been about the planned buildings and a new transport network, and this had created an image of the city as a civil engineering project rather than a place to go for entertainment.  As a result, very few people had shown any interesting in going to the fair.  “Guitar Legends could solve our problem,” Fisher told Hollingsworth.  “But we need you to put on the show six months before we open our doors.  If you could run a commercial campaign into it – encouraging people to buy tickets – it could do the trick for us.”

Tony Hollingsworthaccepted – but wanted to know whether the stadium for the event would be ready in time.  Fisher came back the next day: “Not exactly finished but good enough for you.”

The organisers put up half the $7.2 million cost of the event, leaving Hollingsworth to get the rest, which he did from selling the television rights.  In Spain, he sold the rights to RTVE, but not for cash.  The television station told him that it had run out of money – though, as a state television company, it would not go bankrupt.  He suggested they provide broadcasting facilities, but the organisation couldn’t do that either.  “So, what can you give me?” he asked.  It offered airtime – television and advertising spots that he could sell on to other companies.  The value covered the rest of the costs.

Hollingsworth agreed – the first time he had become involved in a television bartering deal, a common-enough practice in the USA and in some other countries.  Bartering is not allowed in the UK, though there are probably ways round the regulations.  As Hollingsworth puts it, “you go in one door at a British channel and ‘sell’ them the programme.  Then you go in another door and book advertising spots to the value of the money you’ve, in theory, just been given.  In effect, it’s barter.”

Though he was new to the practice, Tony Hollingsworth decided to do much more with the airtime than simply sell it on.  He built up an “integrated sponsorship package” to offer Coca-Cola.  This consisted of RTVE’s television and radio advertising spots, but also corporate hospitality, a supply of tickets to give away and a series of promotions.  Coca-Cola accepted, offering him good money.  “I realised that if you package all these things together you can get four times as much as you can get for just selling each of the rights seperately.”  In the UK, the event was broadcast by BBC2.

The show:Each of the five concerts, from October 15 to 19, was devoted to a different musical style – Blues, jazz/fusion, Conceptual, Rock and Heavy Rock.  Hollingsworth appointed a music director for four of the nights – Brian May, George Duke, Dave Edmonds and Phil Manzanera, giving each an understanding of the featured guitarists he would approach.

All the concerts were sold out, with 6,000 people attending each night. Spanish newspaper El Mundo said that the five concerts “converted Seville into the world capital of music”.  Entertainment Weekly described them as “unlike anything the world has ever seen or heard.”  The shows “gave the stage to virtually every six-string virtuoso extant”.  Some moments “approached the legendary”.

Each night’s concert was greeted with huge enthusiasm by the audience – and the artists appeared to have enjoyed the concerts just as much.  After each of the first four nights, says Hollingsworth, several asked for their flights home to be changed so they could stay to watch the following night’s performances.


Hollingsworth said that the guitarist who was paid the most “respect” was Les Paul, a pioneer in the development of the solid-body electric guitar, which is regarded as having made the sounds of rock and roll possible.  He was 76 when he appeared at Seville on one of his rare performances outside New York, where he still played in a club every Tuesday.  According to Hollingsworth, “his hands were already severely affected by arthritis but he played beautifully, but slowly”.

“In rehearsals he had had one request.  He wanted to have a really long lead on his guitar so he could walk on stage already plugged in ‘like the heavy metal rock stars’.  When he came off stage he was crying and said to me ‘I didn’t know anyone outside of the US even remembered me.’”  Hollingsworth’s parents, who remembered Les Paul’s early hits with his wife Mary Ford, were backstage.  “Les was the only guitarist my mother wanted to be introduced to.”

One of the highlights of the concerts for Hollingsworth was a duet between Paco de Lucia and John McLaughlin.  Entertainment Weekly magazine thought the most moving moments were during the tributes – “Keith Richards, in skintight jeans and leather jacket, whiskey in hand, dedicating Going Down to Freddy King, or John McLaughlin performing In a Silent Way in memory of Miles Davis…In these moments of eulogy rather than in the celebratory jams onstage, the event approached the legendary.”

There was praise elsewhere for Brian May, lead guitarist of Queen, who hosted the last night and played a number of Queen hits with several top guests.  During the evening, he loosely formed an early version of what was to become The Brian May Band a year later.


There was little praise for the black-clad Bob Dylan, described by Entertainment Weekly as “the week’s biggest disappointment…scowling and wandering the stage in a fog.”   According to Hollingsworth, Dylan was too stoned to perform well.  He arrived later than we asked and was able only to do a short rehearsal with Keith Richards and Richard Thompson.  “Keith was strong enough to lead and let Bob follow.  But Richard Thompson tried to follow Bob, who meandered hopelessly through his songs.”

Joe Walsh, the former Eagles front man, came on stage in an equally bad state, but managed much better.  “It was the most surprising moment of the five nights,” says Hollingsworth.  “He was stoned and drunk backstage and I was in two minds whether to try to get him onstage or cut his part.  In the end, we propped him up at the side of the stage and pushed him on.  As soon as he got into the lights he was transformed.  He took control of the audience and the other musicians and led.  It was a wonderful performance.  As soon as he got offstage he fell down.”

As another commentator put it, “no whiskey in the world can stop Joe from singing Amazing Grace… and not many in the world could sing it and play it that well.  His adrenaline starts flowing strong again and Rocky Mountain Way comes out so spontaneously.”

Guitar Legends took place at the La Cartuja Auditorium just outside Seville.  Five 90-minute shows and a one-hour documentary were broadcast, with 45 countries showing live shows.  Thirty countries showed a second broadcast.  Four hours of the event were broadcast on radio in 105 countries.


Guitar Legends was a concert held over five nights, from October 15 to October 19, 1991, in Seville, Spain, with the aim of positioning the city as an entertainment destination to draw support for Expo '92 beginning the following April.

The event featured 27 top guitarists, including Brian May, BB King, George Benson, Joe Walsh, Keith Richards, Les Paul, Robbie Robertson, Robert Cray, Roger Waters, Albert Collins, Steve Vai and Joe Satriani. The vocalists included Rickie Lee Jones, Bob Dylan and Joe Cocker.

The event was conceived by British impresario and producer Tony Hollingsworth who originally agreed to stage the concert as a co-production deal with Spanish state television RTVE. But RTVE dropped out on the day the contract was due to be signed when the director-general (and film director) Pilar Miro Romero left the company.

Later, the organisers of Expo '92 took on the project to help overcome the problem that Seville was being seen merely as a civil engineering project. They provided half the $7.2 million budget, with Hollingsworth raising the rest from television pre-sales. RTVE bought the Spanish rights, but paid by providing television and radio airtime for advertising slots. These were then sold to Coca-Cola.

Five 90-minute shows and a one-hour documentary were broadcast. Forty-five countries showed at least one live show. Later, broadcasters in 105 countries broadcast one or more programmes.

Guitar Legends - Auditorio de la Cartuja, Seville, Spain, October 1991
FM Broadcast by BBC Radio 1 

The Cast Includes:
Dave Edmonds/Steve Cropper/Robert Cray/Albert Collins/Bo Diddley/BB King/George Benson/John McLaughlin/Larry Corryell/Stanley Clarke/Paco De Lucia/Jack Bruce/Vicente Amigo/Phil Manzanera/Keith Richards/Bob Dylan/Richard Thompson/Robbie Robertson/Roger Waters/Joe Satriani/Brian May/Steve Vai/Joe Walsh/Paul Rogers/Joe Cocker/Simon Phillips and on and on......


Disc 1 - "Blues Night" (October 15, 1991):
01. The Sabre Dance (Dave Edmunds)
02. Standing At The Crossroads (Dave Edmunds & Steve Cropper)
03. Phone Booth (Robert Cray)
04. The Dream (Robert Cray & Albert Collins)
05. Ice Man (Albert Collins, Dave Edmunds & Steve Cropper)
06. Put The Shoe On The Other Foot (Albert Collins, Dave Edmunds & Steve Cropper)
07. Bo Diddley (Bo Diddley & Steve Cropper)
08. Who Do You Love (Bo Diddley, Dave Edmunds & Steve Cropper)
09. Movin' On (B.B. King, Dave Edmunds & Steve Cropper)
10. The Thrill Is Gone > Jam (B.B. King, Dave Edmunds & Steve Cropper) 

(Chuck Leavell - keyboards; Terry Williams - drums; Debby Hastings - vocals; John David - bass; Richard Cousins - bass)

Disc 2 - "Tribute To Miles Davis" (October 16, 1991):
01. All Blues (George Benson)
02. In A Silent Way (John McLaughlin)
03. So What (Larry Corryell)
04. Concierto de Aranjuez (Paco de Lucia)
05. Tutu (Stanley Clarke)
06. School Days (Stanley Clarke)
07. El Panuelo (Paco de Lucia)
08. Que Alegria (John McLaughlin)
09. Valdez In The Country (George Benson)
10. Eighty-One (everyone)

(George Duke - keyboards; Stanley Clarke - bass; Rickie Lee Jones - vocals; Dennis Chambers - drums; Ray Cooper - percussion; Ray Brown - bass)

Disc 3 - "Experimental Concert" (October 17, 1991):
01. Sunshine Of Your Love (cuts in) (Jack Bruce)
02. ? (Vincente Amigo)
03. Leyenda (Phil Manzanera & Vincent Amigo)
04. Night Calls (Joe Cocker)
05. White Room (Jack Bruce)
06. Shake, Rattle & Roll (Keith Richards)
07. Going Down (Keith Richards)
08. Something Else (Keith Richards)
09. Connections (Keith Richards)

(Bob Dylan - guitar & vocals; Robert Cray - guitar & vocals; Steve Cropper - guitar; Dave Edmunds - guitar; Richard Thompson - guitar & vocals; Chuck Leavell- keyboards; Pino Palladino - bass; Steve Jordan - drums; Simon Phillips - drums; Ray Cooper - percussion; Ivan Neville - organ; Miguel Bosé - vocals)

"Folk Rock" (October 18, 1991)
10. Keep Your Distance (Richard Thompson)
11. 1952 Vincent Black Lightning (Richard Thompson)
12. Go Back To Your Woods (Robbie Robertson)
13. The Weight (Robbie Robertson)
14. What God Wants (Roger Waters)
15. Comfortably Numb (Roger Waters)

(Bruce Hornsby - keyboards; Manu Katche - drums; Tony Levin - bass; Snowie White - guitar; Les Paul - guitar; Andy Fairweather Low - guitar; Graham Broad - drums; Patrick Leonard - keyboards; Peter Wood - keyboards; Katie Kissoon - vocals; Doreen Chanter - vocals)

Disc 4 - "Hard Rock Concert" (October 19, 1991):
01. Satch Boogie (Joe Satriani)
02. Surfing With The Alien (Joe Satriani)
03. Always With Me, Always With You (Joe Satriani)
04. Big Bad Moon (Joe Satriani & Brian May)
05. Liberty (Steve Vai & Brian May)
06. Greasy Kids Stuff (Steve Vai)
07. For The Love Of God (Steve Vai)
08. More Than Words (Nuno Betancourt & Gary Cherone)
09. Driven By You (Brian May & Steve Vai)
10. Tie Your Mother Down (Brian May, Steve Vai & Joe Satriani)
11. Now I'm Here (Brian May, Gary Cherone, Steve Vai & Joe Satriani)
12. Funk #49 (Joe Walsh)
13. Rocky Mountain Way (Joe Walsh, Brian May, Steve Vai & Joe Satriani)
14. All Right Now (Paul Rodgers, Brian May, Steve Vai & Joe Satriani)

Part 1: Guitar Legends
Part 2: Guitar Legends
Part 3: Guitar Legends
Part 4: Guitar Legends
or
Part 1: Guitar Legends
Part 2: Guitar Legends
Part 3: Guitar Legends
Part 4: Guitar Legends
or
Part 1: Guitar Legends
Part 2: Guitar Legends
Part 3: Guitar Legends
Part 4: Guitar Legends

Sunday, 31 July 2016

Various Artist - BBC I Radio Broadcast FM 1968-71


Size: 945 MB
Bitrate: 320
mp3
Found When i Cleaned my PC
Some Artwork Included

Music Genres:
Progressive rock, also known as prog rock or prog, is a rock music subgenre that originated in the United Kingdom, with further developments in Germany, Italy, and France, throughout the mid-to-late 1960s and 1970s. It developed from psychedelic pop (rather than psychedelic rock, as is often stated) and originated, similarly to art rock, as an attempt to give greater artistic weight and credibility to rock music. 

Bands abandoned the short pop single in favor of instrumentation and compositional techniques more frequently associated with jazz or classical music in an effort to give rock music the same level of musical sophistication and critical respect. Songs were replaced by musical suites that often stretched to 20 or 40 minutes in length and contained symphonic influences, extended musical themes, philosophical lyrics and complex orchestrations. The genre was not without criticism, however, as some reviewers found the concepts "pretentious" and the sounds "pompous" and "overblown".

Progressive rock saw a high level of popularity throughout the 1970s, especially in the middle of the decade. Bands such as Pink Floyd, Jethro Tull, The Moody Blues, Yes, King Crimson, Genesis, and Emerson, Lake & Palmer (ELP) were the genre's most influential groups and were among the most popular acts of the era, although there were many other, often highly influential, bands who experienced a lesser degree of commercial success. 

The genre faded in popularity during the second half of the decade. Conventional wisdom holds that the rise of punk rock caused this, although in reality a number of factors contributed to this decline. Progressive rock bands achieved commercial success well into the 1980s, albeit with changed lineups and more compact song structures.

The genre grew out of the 1960s space rock of Pink Floyd and the classical rock experiments of bands like The Moody Blues, Procol Harum and The Nice. Most of the prominent bands from the genre's 1970s heyday fall into the "symphonic prog" category, in which classical orchestrations and compositional techniques are melded with rock music. Other subgenres exist, including the more accessible neo-progressive rock of the 1980s, the jazz-influenced Canterbury sound of the 1960s and 1970s, and the more political and experimental Rock in Opposition movement of the late 1970s and onward. Progressive rock has influenced genres such as krautrock and post-punk, and it has fused with other forms of rock music to create such sub-genres as neo-classical metal and progressive metal. 

A revival, often known as new prog, occurred at the turn of the 21st century and has since enjoyed a cult following.

Folk rock is a musical genre combining elements of folk music and rock music. In its earliest and narrowest sense, the term referred to a genre that arose in the United States and the UK around the mid-1960s. The genre was pioneered by the Los Angeles band The Byrds, who began playing traditional folk music and Bob Dylan-penned material with rock instrumentation, in a style heavily influenced by The Beatles and other British bands The term "folk rock" was itself first coined by the U.S. music press to describe The Byrds' music in June 1965, the same month that the band's debut album was issued. The release of The Byrds' cover version of Dylan's "Mr. Tambourine Man" and its subsequent commercial success initiated the folk rock explosion of the mid-1960s. Dylan himself was also influential on the genre, particularly his recordings with an electric rock band on the Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde albums. 

Dylan's July 25, 1965 appearance at the Newport Folk Festival with an electric backing band is also considered a pivotal moment in the development of folk rock.

The genre had its antecedents in the American folk music revival, the beat music of The Beatles and other British Invasion bands, The Animals' hit recording of the folk song "The House of the Rising Sun", and the folk-influenced songwriting of The Beau Brummels. In particular, the folk-influence evident in such Beatles' songs as "I'm a Loser" and "You've Got to Hide Your Love Away" was very influential on folk rock. The repertoire of most folk rock acts was drawn in part from folk sources but it was also derived from folk-influenced singer-songwriters such as Dylan. Musically, the genre was typified by clear vocal harmonies and a relatively "clean" (effects- and distortion-free) approach to electric instruments, as epitomized by the jangly 12-string guitar sound of The Byrds. This jangly guitar sound was derived from the music of The Searchers and from George Harrison's use of a Rickenbacker 12-string on The Beatles' recordings during 1964 and 1965.

This original incarnation of folk rock led directly to the distinct, eclectic style of electric folk (aka British folk rock) pioneered in the late 1960s by Pentangle, Fairport Convention and Alan Stivell. Inspired by British psychedelic folk and the North-American style of folk rock, Pentangle, Fairport, and other related bands began to incorporate elements of traditional British folk music into their repertoire. Shortly afterwards, Fairport bassist, Ashley Hutchings, formed Steeleye Span with traditionalist folk musicians who wished to incorporate overt rock elements into their music and this, in turn, spawned a number of other variants, including the overtly English folk rock of The Albion Band (also featuring Hutchings) and the more prolific current of Celtic rock.

In a broader sense, folk rock includes later similarly-inspired musical genres and movements in the English-speaking world (and its Celtic and Filipino fringes) and, to a lesser extent, elsewhere in Europe. 

As with any genre, the borders are difficult to define. Folk rock may lean more toward folk or toward rock in its instrumentation, its playing and vocal style, or its choice of material; while the original genre draws on music of Europe and North America, there is no clear delineation of which folk cultures music might be included as influences. Still, the term is not usually applied to rock music rooted in the blues-based or other African American music (except as mediated through folk revivalists), nor to rock music with Cajun roots, nor to music (especially after about 1980) with non-European folk roots, which is more typically classified as world music.

Psychedelic rock is a style of rock music that is inspired or influenced by psychedelic culture and attempts to replicate and enhance the mind-altering experiences of psychedelic drugs. It often uses new recording techniques and effects and draws on non-Western sources such as the ragas and drones of Indian music.

It was pioneered by musicians including the Beatles, the Byrds, and the Yardbirds, emerging as a genre during the mid-1960s among folk rock and blues rock bands in the United Kingdom and United States, such as Grateful Dead, Jefferson Airplane, the Jimi Hendrix Experience, Cream, the Doors and Pink Floyd. It reached a peak in between 1967 and 1969 with the Summer of Love and Woodstock Rock Festival, respectively, becoming an international musical movement and associated with a widespread counterculture, before beginning a decline as changing attitudes, the loss of some key individuals and a back-to-basics movement, led surviving performers to move into new musical areas.

Psychedelic rock influenced the creation of psychedelic pop and psychedelic soul. It also bridged the transition from early blues- and folk music-based rock to progressive rock, glam rock, hard rock and as a result influenced the development of sub-genres such as heavy metal. Since the late 1970s it has been revived in various forms of neo-psychedelia.

Hard rock (or heavy rock) is a loosely defined subgenre of rock music which has its earliest roots in mid-1960s garage rock, blues rock and psychedelic rock. It is typified by a heavy use of aggressive vocals, distorted electric guitars, bass guitar, drums, and often accompanied with pianos and keyboards.

Hard rock developed into a major form of popular music in the 1970s, with bands such as Led Zeppelin, The Who, Deep Purple, Aerosmith and AC/DC, and reached a commercial peak in the 1980s. The glam metal of bands like Van Halen, Bon Jovi and Def Leppard and the rawer sounds of Guns N' Roses followed up with great success in the later part of that decade, before losing popularity with the commercial success of grunge and later Britpop in the 1990s. Despite this, many post-grunge bands adopted a hard rock sound and in the 2000s there came a renewed interest in established bands, attempts at a revival, and new hard rock bands that emerged from the garage rock and post-punk revival scenes.

Krautrock is rock and electronic music that originated in Germany in the late 1960s. The term was popularized in the English-speaking press. Later, German media started to use it as a term for all German rock bands from the late 1960s and 1970s, while abroad the term specifically referred to more experimental artists who often but not always used synthesizers and other electronic instruments.

The term is a result of the English-speaking world's reception of the music at the time and not a reference to any one particular scene, style, or movement, as many krautrock artists were not familiar with one another. BBC DJ John Peel in particular is largely credited with spreading the reputation of krautrock outside of the German-speaking world.

Largely divorced from the traditional blues and rock & roll influences of British and American rock music up to that time, the period contributed to the evolution of electronic music and ambient music as well as the birth of post-punk, alternative rock and New Age music. 

Key artists associated with the tag include Can, Amon Düül II, Ash Ra Tempel, Faust, Popol Vuh, Cluster, Tangerine Dream, Klaus Schulze, Neu!, and Kraftwerk.

Art rock is a subgenre of rock music that originated in the 1960s with influences from art (avant-garde and classical) music. The first usage of the term, according to Merriam-Webster Online Dictionary, was in 1968. Art rock was a form of music which wanted to "extend the limits of rock & roll", and opted for a more experimental and conceptual outlook on music. Art rock took influences from several genres, notably classical music, as well as experimental rock, psychedelia, avant garde, folk, baroque pop, and in later compositions, jazz.

Due to its classical influences and experimental nature, art rock has often been used synonymously with progressive rock; nevertheless, there are differences between the genres, with progressive putting a greater emphasis on symphony and melody, whilst the former tends to focus on avant-garde and "novel sonic structure". 

Art rock, as a term, can also be used to refer to either classically driven rock, or a progressive rock-folk fusion, making it an eclectic genre. Common characteristics of art rock include album-oriented music divided into compositions rather than songs, with usually complicated and long instrumental sections, symphonic orchestration, and an experimental style. Art rock music was traditionally used within the context of concept records, and its lyrical themes tended to be "imaginative", philosophical, and politically oriented.

Whilst art rock developed towards the end of the 1960s, it enjoyed its greatest level of popularity in the early 1970s through groups such as Jethro Tull, Electric Light Orchestra, 10cc, the Moody Blues, Emerson, Lake and Palmer and Procol Harum. Several other more experimental-based rock singers and bands of the time were also regarded as art rock artists. Art rock's success continued to the 1990s. Several pop and rock exponents of the period, including Peter Gabriel and Kate Bush, incorporated elements of art rock within their work. 

Art rock, as well as the theatrical nature of performances associated with the genre, was able to appeal to "artistically inclined" adolescents and younger adults, especially due to its "virtuosity" and musical "complexity".

Medieval folk rock developed as a sub-genre of electric folk from about 1970 as performers, particularly in England, Germany and Brittany, adopted medieval and renaissance music as a basis for their music, in contrast to the early modern and nineteenth century ballads that dominated the output of Fairport Convention. This followed the trend explored by Steeleye Span, and exemplified by their 1972 album Below the Salt. Acts in this area included Gryphon, Gentle Giant and Third Ear Band. In Germany Ougenweide, originally formed in 1970 as an acoustic folk group, opted to draw exclusively on High German medieval music when they electrified, setting the agenda for future German electric folk. In Brittany, as part of the Celtic rock movement, medieval music was focused on by bands like Ripaille from 1977 and Saga de Ragnar Lodbrock from 1979. 

However, by the end of the 1970s almost all of these performers had either disbanded or moved, like Gentle Giant and Gryphon, into the developing area of progressive rock. In the 1990s, as part of the wider resurgence of folk music in general, new medieval folk rock acts began to appear, including the Ritchie Blackmore project Blackmore's Night, German bands such as In Extremo, Subway to Sally or Schandmaul and English bands like Circulus.

In Britain the tendency to electrify brought several progressive folk acts into rock. This includes the acoustic duo Tyrannosaurus Rex, who became the electric combo T. Rex. Others, probably influenced by the electric folk pioneered by Fairport Convention from 1969, moved towards more traditional material, a category including Dando Shaft, Amazing Blondel, and Jack the Lad, an offshoot of northern progressive folk group Lindisfarne, who were one of the most successful UK bands of the early 1970s. Examples of bands that remained firmly on the border between progressive folk and progressive rock were the short lived (but later reunited) Comus and, more successfully, Renaissance, who combined folk and rock with elements of classical music. 


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Friday, 22 July 2016

Mount Rushmore - '69 & High On (Heavy-Blues-Rock US 1969)


Size: 145 MB
Bitrate:256
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Ripped By: ChrisGoesRock
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Mount Rushmore was a rock band in the late 1960s from San Francisco, California that played a heavy blues rock style with psychedelic elements.

The band formed in late 1966 at 1915 Oak Street, a large Victorian rooming house in the Haight-Ashbury district. In June and July 1967 they were featured on posters for shows at the Avalon Ballroom with other bands including the Quicksilver Messenger Service and Big Brother and the Holding Company. After some members including Phillips left for the band Phoenix in 1968, new members were added and the group made two albums.


Also-rans of the San Francisco psychedelic era, Mount Rushmore gigged frequently with fellow travelers Big Brother and the Holding Company, Canned Heat and Quicksilver Messenger Service, but this debut LP is evidence enough of why they aren't held in the same esteem. Mount Rushmore pumped out competent electric boogie with a boozy edge, but they coast on distortion and attitude rather than song craft or instrumental prowess, placing them firmly in the garage band tradition but not among the trendsetters that shared their bills. 

The brief liner notes introduce the band as self-proclaimed "country boys" who "dig to take their funky grey truck on the road," and they sound like hicks too, full of confidence and bluster but possessing only the simplest of skills. Opening a debut LP with Jimi Hendrix's "Stone Free" is a bold move and a curious choice, establishing the territory that the band will mine and exactly how they measure up to the gold standard (in Mount Rushmore's case, nowhere near). 


However, High On Mount Rushmore contains some tracks of interest to the dedicated psych-rock historian. "I Don't Believe In Statues" closes out side one and functions as a manifesto of sorts, an indignant outsider cry set to charging riffs that sound like an Amboy Dukes record warped by the sun. The ten-minute epic "Looking Back" scores highest in rock action, plus it features a crude but convincing space jam breakdown that boasts disoriented feedback, thunderstorm sound effects and random hippie banter floating through the atmosphere. The LP concludes with a taste of Mount Rushmore's live act, as a small but enthusiastic audience joins the band in the studio to encourage their hammier tendencies. The resultant medley includes "Dope Song," a jokey jug band-style marijuana anthem, a boneheaded, boisterous sing-along complete with kazoo and sure to irritate any hippie hater. 

High On suffers from tinny sonics that sap volume and tone and much of it sounds more like a demo than a finished album, but the low budget suits Mount Rushmore. In 2002, a European label called Lizard released a CD containing all of High On Mount Rushmore plus the sole follow up LP Mount Rushmore '69, but otherwise all of this obscure psych band's material has been difficult to find and not often sought out. Fans of The Up, Blue Cheer and other Aquarius Age punks might hear music in Mount Rushmore's clumsy jams, but a full-fledged renaissance is unlikely beyond a minority of collectors. FRED BELDIN

'69 Album
01.It's Just the Way I Feel (Glenn Smith) 4:35 
02.10:09 Blues (Glenn Smith) 5:53 
03.Toe Jam (Kimball, Fullerton, Bolan) 5:45 
04.V-8 Ford Blues (Willie Lowe) 2:35 
05.Love is the Reason (Dotzler, Phillips, Bolan, Levin, Esterlie) 3:55 
06.I'm Comin' Home (Glen Smith, Mike Bolan) 7:35 
07.King of Earrings (Warren B. Phillips) 4:00 
08.Somebody's Else's Games (Glenn Smith) 4:35

High On Album
09.Stone Free (Jimi Hendrix) 3:57 
10.Without No Smog (G. Smith, M. Bolan) 5:27 
11.Ocean (Warren B. Phillips) 4:07 
12.I Don't Believe in Statues (Warren B. Phillips) 4:08 
13.Looking Back (G. Smith, M. Bolan, T. Fullerton, T. Kimball) 9:40 
14.('Cause) She's So Good to Me (Bobby Womack) 3:35 
15.Medley: 7:23 
   Fannie Mae (B. Brown, M. Robinson) 
   Dope Song (G. Smith)

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Accolade - Accolade II (Rare Folk-Progressive Rock UK 1971)


Size: 79.8 MB
Bitrate: 256
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Ripped By: ChrisGoesRock
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This is great! A flute and folk guitar together, similar to a well sung Jethro Tull. Don Partridge, the vocalist appears by himself later in his career. includes Brian Cresswell, Malcolm Poole, and Ian Hoyle. Wizz Jones plays acoustic guitar on four songs, and one of the songs is a Gordon Giltrap cover tune. My favorite song is 'transworld blues' on the first three listens, but I'm sure with repeated turns, this one will offer up many layers of beauty. The front cover artwork is an original painting by David Steele and attracted me to this UK prog/psych record immediately.

Maybe I'm just a sucker for flute - I don't know - but to me this is yet another excellent slice of early 70's UK psych folk. Originally released on the Regal Zonophone label in 1971. Crisp and clear male vocals, prominent flute, dreamy acoustic guitar, and occasional doses of piano, harmonica, vibraphone make for a truly enjoyable listening experience. The 11+ minute "Cross Continental Pandemonium Theatre Company" is one of the higlights of this gem. If you like flute-dominated acoustic progressive psych/folk, you can't go wrong with this.

Accolade were a light acoustic band, formed in 1969 who completely eschewed electric instruments, as they developed a folk / jazz fusion. Notable, perhaps only for the inclusion of Partridge and fellow singer Gordon Giltrap, although the latter remained for only one album. The group recorded two albums and one single, before going their separate ways in 1971.

As musical tastes changed, and the novelty value of a folk music singing, one man band, paled, Partridge retreated to his well-worn path of busking for a living. He had made a big impression in Scandinavia, and moved to live in Sweden in the early 1970s. He made two unsuccessful albums there, before ultimately returning to his homeland. 2nd album by UK band from early 70's. A well mix up of verious styles like folk, jazz, and rock, but psych folk dominated. Wizz Jones was featured on several tracks and the album also a cool return of Made In Sweden's 'Snakes In A Hole' Originally released in 1971 on Regal Zonophone. (Reviews from different sources)

Don Partridge - Vocals, Acoustic Guitar, Vibraphone
♦ Malcolm Poole - Contrabass, Fiddle
♦ Ian Hoyle - Drums
♦ Brian Cresswell - Flute, Alto Saxophone
♦ Wizz Jones - Vocals

♦ Mike Moran - Piano

01.Transworld Blues 3:22
02.The Spider to The Spy 2:33
03.Baby, Take Your Rags Off 3:17
04.Cross Continental Pandemonium Theatre Company 11:02
05.Snakes In a Hole 3:25
06.The Time I've Wasted 2:37
07.Sector Five Nine 2:20
08.If Only I'd Known 2:08
09.William Taplin 4:55
10.Long Way to Go 5:07

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