Tuesday, April 20, 2021

Queen - News of the World (1977) [Vinyl Rip]

Year: 28 October 1977 (LP 1977)
Label: EMI Records (UK), EMA 784, OC 064-60 033
Style: Rock, Pop
Country: London, England
Time: 39:34
Format: Flac Tracks 16/44,1 kHz
Size: 256 Mb

...the last of the classic-period Queen albums...
Queen's varied palette of styles was none more apparent than on their sixth studio album, News Of The World, recorded over summer 1977 at various locations in London. Released as punk was breaking across the UK music scene (prompting the delicious exchange when Freddie Mercury met Sid Vicious: "ah, Mr. Ferocious, how are you?"), the album showed the group, for many the ultimate in musicianship, both out-of-kilter, yet strangely in step with the times.
In step was the football-terrace proto-rap “We Will Rock You”, the anthemic Mercury special “We Are The Champions” and the full-on assault of the Roger Taylor/Mercury duet “Sheer Heart Attack”. Out of kilter with the times was the ornate, fussy balladry of John Deacon’s “Spread Your Wings” or Mercury’s bluesy “My Melancholy Blues”. Elsewhere, the heavily strutting “Get Down Make Love” acts as something of a bridge between the earlier “Seven Seas Of Rhye” and the “Another Ones Bites The Dust” funk-isms that lay ahead.
News Of The World was the last of the classic-period Queen albums, and heralded a spell in the relative doldrums before 1980's The Game. The album was a huge hit in America, something the group could never take for granted; and went four times platinum, largely as a result of their lengthy tour with Thin Lizzy earlier in the year. What News Of The World demonstrates perfectly is Queen’s unerringly ability to sound absolutely like no-other group – even when parodying other musical styles.
(www.bbc.co.uk/music/reviews/98dp/ BBC Review: Daryl Easlea 2007)

01. A1 We Will Rock You (02:03)
02. A2 We Are The Champions (02:59)
03. A3 Sheer Heart Attack (03:27)
04. A4 All Dead, All Dead (03:11)
05. A5 Spread Your Wings (04:36)
06. A6 Fight From The Inside (03:06)
07. B1 Get Down, Make Love (03:53)
08. B2 Sleeping On The Sidewalk (03:07)
09. B3 Who Needs You (03:09)
10. B4 It's Late (06:29)
11. B5 My Melancholy Blues (03:30)

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Friday, April 16, 2021

The Dave Clark Five - The Very Best Of (1976) (Double LP) [Vinyl Rip]

Year: 60s (2LP 1976)
Label: Music For Pleasure (Germany), C60 27209 007
Style: Beat, Rock
Country: Tottenham, London, England
Time: 28:54, 29:41
Format: Flac Tracks 16/44,1 kHz
Size: 191, 195 Mb

British Invasion's Second Wave: Dave Clark Five. (By Robert Fontenot. Updated March 25, 2019)
They were never as celebrated as the Beatles or the Stones, but the DC5 (as they were sometimes abbreviated) arguably rocked as hard as any of the more famous British Invasion bands, and they were doing so from the beginning. They even gave the Beatles a run for their money back in their formative years.

Where You Might Have Heard Them:
"Glad All Over" was featured in the 2006 comedy Garfield 2: A Tale of Two Kitties, and "Catch Us If You Can" is featured in the 1990 sequel Look Who's Talking Too, sung by sperm as they fertilize an egg. No, really.

The DC5 began life as a side project, a way for Clark to raise money for his soccer team. Although not a musician, he bought a set of drums, taught himself to play them, and formed a band, which soon found a steady gig backing up singer Stan Saxon in a North London club. Soon they were signed to Britain's Pye Records, and even enjoyed a small hit with their cover of the Contours' "Do You Love Me." But their next single, the original "Glad All Over," hit big, knocking the Beatles' "I Want To Hold Your Hand" out of the top spot in their native country. Clark's primitive, self-produced tribal drum sound was a smash.
Soon, the group was getting airplay in the States, thanks to promoters looking for the logical follow-up to the Beatles. But the "Tottenham Sound" of the DC5 was harder and more raucous than the "Merseybeat" sound of the Beatles, Gerry and the Pacemakers, The Swinging Blue Jeans, etc. Clark, a natural businessman, managed and produced his own band, and made several smart business decisions which ensured the group would hang on to the money it made. Before the Stones, Kinks, and Who arrived in 1965, the Dave Clark Five were considered the Beatles' chief British Invasion rival, scoring 15 top 20 hits in three years.

Facts and Trivia:
Clark actually started out as a movie stuntman
Sold out 12 shows at Carnegie Hall in three days
"Bits and Pieces" created such stomping from crowds live that it was often banned from performance
"Over and Over" was originally performed by Bobby Day as the b-side of his hit "Rockin' Robin"
Clark owns the rights to the legendary British TV pop series Ready Steady Go!
The very successful London musical Time (1986) was written by Clark
Mike Smith went on to produce several successful artists, including Shirley Bassey
Session drummer Bobby Graham has claimed he, not Clark, played drums on the DC5's hits; this has been disputed
(Full version: www.liveabout.com/dave-clark-five-bio-and-discography-2522162)

01. A1 Wild Weekend (01:53)
02. A2 Over And Over (02:01)
03. A3 I Like It Like That (01:40)
04. A4 Reelin' And Rockin (02:50)
05. A5 At The Scene (01:54)
06. A6 All Night Long (03:14)
07. B1 Do You Love Me (02:42)
08. B2 You've Got What It Takes (03:02)
09. B3 Because (02:26)
10. B4 Everybody Knows (02:18)
11. B5 I Need You - I Love You (02:37)
12. B6 Forever And A Day (02:10)

01. C1 Glad All Over (02:46)
02. C2 Nineteen Days (01:52)
03. C3 Try Too Hard (02:12)
04. C4 Red Balloon (03:03)
05. C5 Can't You See That She's Mine (02:26)
06. C6 Catch Us If You Can (01:55)
07. D1 Bits And Pieces (02:01)
08. D2 Thinking Of You Baby (02:35)
09. D3 Come Home (02:53)
10. D4 Look Before You Leap (02:22)
11. D5 Hurtin' Inside (02:40)
12. D6 Live In The Sky (02:52)

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Wednesday, April 14, 2021

Streetwalkers - Red Card (1976) [Vinyl Rip]

Year: 1976 (LP 1976)
Label: Vertigo Records (UK), 9102 010
Style: Classic Rock, Rock
Country: England (1974–1977)
Time: 37:15
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

Streetwalkers were an English rock band formed in late 1973 by two former members of Family, vocalist Roger Chapman and guitarist John "Charlie" Whitney. They were a five piece band which evolved from the Chapman Whitney Band.
The band was managed by Michael Alphandary and Harvey Goldsmith and were best known for their live performances and their album Red Card (1976). By 1977 their potential to become more important in UK rock history was diminished by changing musical taste, due to the growing influence of punk rock and new wave music on European culture. The band had success in USA and Europe, particularly Germany.
Their second studio album, the groove heavy album Red Card (1976) reached #16 in UK album charts and remains a much respected album. The band performed at a series of concerts entitled Who Put The Boot In appearing at UK Football stadiums, during May and June 1976, supporting The Who. The billing for these concerts included The Sensational Alex Harvey Band, Little Feat, Outlaws, Widowmaker (UK) and Streetwalkers were the second act to appear. The band also toured the U.S as support to others such as Wings, 10cc and Joe Cocker.
(en.wikipedia.org/wiki/Streetwalkers)

01. A1 Run For Cover (05:47)
02. A2 Me An' Me Horse An' Me Rum (04:03)
03. A3 Crazy Charade (05:27)
04. A4 Daddy Rolling Stone (03:14)
05. B1 Roll Up, Pull Up (03:28)
06. B2 Shotgun Messiah (03:46)
07. B3 Between Us (04:50)
08. B4 Decadence Code (06:36)

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Sunday, April 11, 2021

Renaissance - Ashes Are Burning (1973) [Vinyl Rip]

Year: 1973 (LP 1973)
Label: Sovereign Records (UK), SVNA 7261 0C 064 94663
Style: Symphonic Rock, Art Rock
Country: London, U.K.
Time: 41:07
Format Flac Tracks 16/44,1
Size: 225 Mb

Renaissance has had a long history spanning 50 years since it’s formation in 1969. With several personnel changes in the beginning years, the sound of the group eventually matured into a unique blending of folk, rock, and classical music including the integration of a full symphonic orchestra. Crowning all of this was the sound of the equally unique five-octave voice of Annie Haslam. During their great success in the 70’s the band toured extensively throughout the world in support of their numerous album releases. Highlights of this era included three sold out concerts at Carnegie Hall with The New York Philharmonic Orchestra and a sold out concert at The Royal Albert Hall with The Royal Philharmonic Orchestra and Royal Chorale Society, all of which were recorded and released as ‘Live’ albums.
Over the next few years some members moved on to other musical projects or retired from the business. Eventually the group disbanded in the late 80’s at which time Annie Haslam pursued a solo career.
During the following decades Haslam’s solo efforts rendered several albums and tours throughout the world which included some of the classic Renaissance songs in the shows. Except for an album release (Lady From Tuscany) and a brief tour of Japan in 2001, Renaissance lay dormant until it’s 40th Anniversary in 2009. Plans were made to bring the original band back together for a tour, but because of timing issues, it proved too difficult. At this point Michael Dunford, the guitarist and primary songwriter along with Annie Haslam, decided to create a new Renaissance. They were joined by Rave Tesar on piano who was the long time keyboardist and producer for the Annie Haslam Band. He also participated in the 2001 Renaissance Japan tour as well as two tours in Brazil with Annie Haslam. Bassist David J. Keyes was brought on board also from the Haslam band and became a part of the 2001 Renaissance tour of Japan. Drummer, Frank Pagano with his impressive resume and long time affiliation with Tesar and Keyes, was the logical choice to fill that spot. Finally the decision to add a second keyboardist to recreate the sound of an orchestra, took the band to new heights. This role went to Tom Brislin, already known throughout the progressive rock community for his work with Yes and Camel to name just a few. ?The powerful sound of this new 6-piece version of Renaissance immediately impressed both fans and critics alike.
After the sad untimely death of Michael Dunford in 2012, and the medical leave of David J. Keyes a few years later, two more musicians were recruited. Mark Lambert who worked with the band in the 80’s and Haslam’s solo band, replaced Michael Dunford on guitar, and Leo Traversa joined on bass. Both Lambert and Traversa had extensive careers with top Brazilian artists with Lambert eventually making Brazil his home for some years now.
With their musical virtuosity, five strong lead voices, newest technological instrumentation and love for the music, they have created a new sound taking them into a new age and performing the repertoire with powerful precision across the world.This incarnation of Renaissance is new and different in it’s own right and is nothing short of amazing!
(renaissancetouring.com/band)

01. A1 Can You Understand (09:54)
02. A2 Let It Grow (04:18)
03. A3 On The Frontier (04:58)
04. B1 Carpet Of The Sun (03:36)
05. B2 At The Harbour (06:52)
06. B3 Ashes Are Burning (11:27)

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Wednesday, April 7, 2021

Dan Hill - Music To Watch Girls By (1967) [Vinyl Rip]

Year: 1967 (LP 1968)
Label: Saga Records (UK), OPP 101
Style: Instrumental, Easy Listening
Country: South Africa
Time: 41:48
Format: Flac Tracks 16/44,1 kHz
Size: 282 Mb

Legendary South African producer, jazz clarinettist and band leader of Russian heritage.
His 1958 album "Happy Days Are Here Again" was the first South African album to go gold (more than 25,000 sales), and he gained further fame and notoriety with his Sounds Electronic series of records. In 1967 he co-founded RPM Records, opening the RPM Studios in 1979.
Dan Hill passed away in Durban on May 31st, 2009 at the age of 85.
(www.discogs.com/artist/455433-Dan-Hill-2)

01. A1 A Little Bit Me, A Little Bit You (03:31)
02. A2 The More I See You (02:27)
03. A3 No Milk Today (04:07)
04. A4 Work Song (03:19)
05. A5 Sugar Town (03:22)
06. A6 Thoko (03:57)
07. B1 Music To Watch Girls By (04:07)
08. B2 I Love Onions (02:55)
09. B3 Wednesday's Child (03:52)
10. B4 Matthew and Son (04:46)
11. B5 Little Man (02:49)
12. B6 Lady Godiva (02:28)

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Saturday, April 3, 2021

Deep Purple - Who Do We Think We Are (1973) [Vinyl Rip] (1st Press)

Year: 13 January 1973 (US) (LP 1973, 1st press)
Label: Purple Records (UK), TPSA 7508
Style: Hard Rock, Rock
Country: Hertford, England
Time: 34:35
Format: Flac Tracks 16/44,1 kHz
Size: 251 Mb

Jeez, what an unsettling album! For the life of Reilly I can’t understand how Deep Purple evidently lost the macho glory which made their In Rock LP such an Owsleyan mindfuck. Now that was an album — its kamikaze guitar and organ runs sped toward insanity with blazing intensity. It was rather melodic, too, for those who keep track of such things. The group’s tried thrice to renew the assault on the senses, but each time they’ve come off like a fouled imitation of their earlier selves. Worse still, each outing displays less of the banzai spirit that once had critics crying asshole things like “power to the purple.”
Who Do You Think We Are! sounds so damn tired in spots that it’s downright disconcerting. Now you might think it’s impossible for a bunch of heavy-metal mashers to sound like they’ve ODed on Sominex, but rest assured, this album will prove you wrong. Remember the two-stage construction of DP’s earlier boogie beasts — songs like “Speed King,” “Flight of the Rat,” and “Hard Lovin’ Man”? And how the basic bitch of a riff served only as a launching pad for the Blackmore-Lord flights to musical nirvana? Don’t waste any time looking for anything nearly as awe-inspiring here; the band seems to just barely summon up enough energy to lay down the rhythm track, much less improvise. Can metal-men have iron-poor blood?
“Get more specific,” you’re probably yelling by now. Okay, let’s take “Woman From Tokyo,” which a Kinney corporal informed me “would put Deep Purple over the top.” It starts out nicely enough with lots of Yardbirdian instrumental interplays, then moves on to a meaty riff. After that, it’s strictly Flounder City — no development, no direction, damnit, not even any flash. It’s more or less one massive riff lumbering along — Bull Angus gone berserk, if you will “Mary Long” isn’t much different, though Blackmore does at least get to take a perfunctory solo. Funny, but for such an admitted superstar (the liner notes are full of quotes like “I think I could wipe the floor up with most guitarists”). Ritchie seems conspicuously subdued here Could it possibly have something to do with the fact that bassist Roger Glover and drummer Ian Paice mixed the sound? Ah, the fragile egos of rock musicians!
Now if I really wanted to get picky, I could point to the “join the crowd” moog solo on “Rat Bat Blue.” What a cliched instrument the synthesizer has turned out to be — even boogie monsters like TYA’s Chick Churchill are playing around with it. And speaking of Churchill, Lord manages to sound just like him on the Purple blooze, otherwise known as “Place In Line.” It’s sorta like a sound sleep imitating a coma. And then (then) there’s “Smooth Dancer,” where they rhyme “dancing” with “pregnancy” in a chauvinistic power play that curdled every drop of Women’s Lib blood in my veins.
Well, at least “Super Trouper” ain’t half bad, but how can you possibly fault a song with such a nifty title? For that matter, how can you slam a group that makes an album like In Rock? It’s easy when their three follow-ups get you wondering if it’s the same group — real easy.
(www.rollingstone.com/music/music-album-reviews/who-do-we-think-we-are-249952/) By ANN CHEAUVY April 12, 1973 5:00AM ET

01. A1 Woman from Tokyo (05:53)
02. A2 Mary Long (04:26)
03. A3 Super Trouper (02:57)
04. A4 Smooth Dancer (04:09)
05. B1 Rat Bat Blue (05:26)
06. B2 Place in Line (06:35)
07. B3 Our Lady (05:07)

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Rainbow - Long Live Rock 'n' Roll (1978) [Vinyl Rip]

Year: 14 April 1978 (LP 1978)
Label: Polydor Records (Germany), 2929 097, 2391 335
Style: Hard Rock, Classic Rock
Country: Hertford, England
Time: 39:48
Format: Flac Tracks 16/44,1 kHz
Size: 262 Mb

The artistic success of Rainbow’s first two albums had emboldened an army of bootleggers to try and capture the live thrills Ritchie Blackmore’s quintet of hard rockers. This had in turn prompted Blackmore himself to make the rather questionable decision to release an official live album, effectively to scupper the bootleg market for Rainbow live recordings.
The trouble was, for all each individual band member’s virtuosity, with just two studio albums under their belt, Rainbow just didn’t have the depth of material to justify a single live album, never mind the double that the rather plainly titled On Stage. This resulted in On Stage consisting of tracks dragged out to extraordinary lengths, and even a side long version of “Mistreated”, a Blackmore penned number that he had originally recorded as a member of Deep Purple, whose legacy he was otherwise trying to distance himself from.
Despite being a little bit premature, Rainbow’s official live album did benefit from featuring “Kill the King”, easily the most dynamic number on the album, and tantalisingly a preview of the material that would feature on the following year’s Long Live Rock ‘n’ Roll.
Long Live Rock ‘n’ Roll was therefore anticipated, despite the habitual Rainbow line up shake up, which had seen bass player Jimmy Bain and keyboard man Tony Carey replaced by Bob Daisley and David Stone respectively. Sensibly Blackmore had retained the services of iconic Heavy Metal vocalist Ronnie James Dio, who had already done so much to write to the book on how to be a Heavy Metal frontman, and Cozy Powell, any Hard Rock / Heavy Metal act’s first call when needing to replace a departing drummer. With a solid backbeat, Dio’s diminutive, yet charismatic presence, and his own technical virtuosity on an ornately scalloped stratocaster fretboard, Blackmore must have felt confident in Long Live Rock ‘n’ Roll continuing to establish Rainbow as one of the key Heavy Metal acts of the late 70s.
Listening to both over 40 years after their release, it’s still a bit of a toss up as to whether Long Live Rock ‘n’ Roll or the preceding studio effort Rising that is the definitive Rainbow album. Long Live Rock ‘n’ Roll is slightly (very slightly) lighter on the sword and sourcery elements that Dio was so fond of, and in general the songs are slightly more economical, however on the flip side, there are a couple of filler tracks and closer “Rainbow Eyes” is the prime period Rainbow number which splits the option of the fanbase like no other. There’s also the odd decision to have “Kill the King” open the second half of the album rather than just kick off the whole album with it, as it is easily the song Long Live Rock ‘n’ Roll which gets the blood pumping fastest. In retrospect, perhaps the call should have been made to switch the the title track and “Kill the King” in the sequence.
For many fans Long Live Rock ‘n’ Roll is the final Rainbow album which they bother with, as it is the last one fronted by Dio, as he would walk away from the band to be replaced by Graham Bonnet, who would only remain for a single album, albeit one that featured the band’s well deserved breakout hit single “Since You Been Gone”. Bonnet himself would be replaced by the infinitely less interesting Joe Lynn Turner and Rainbow went full on AOR, and in the process of doing so lost a lot of what had made them such a thrilling prospect in the first place, despite the constant presence of Blackmore, who was still considered one of the finest guitar players of his generation.
(JON BRYAN MAY 11, 2018. www.backseatmafia.com/not-forgotten-rainbow-long-live-rock-n-roll/)

01. A1 Long Live Rock 'n' Roll (04:25)
02. A2 Lady Of The Lake (03:40)
03. A3 Connection (05:02)
04. A4 Gates Of Babylon (06:51)
05. B1 Kill The King (04:31)
06. B2 The Shed (Subtle) (04:48)
07. B3 Sensitive To Light (03:08)
08. B4 Rainbow Eyes (07:20)

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