Daevid Allen (Gong, Soft Machine) - Banana Moon (1971)

Year: July 1971 (CD 1995)
Label: Spalax Music (France), 14945
Style: Progressive Rock, Garage Rock
Country: Melbourne, Australia (13 January 1938 - 13 March 2015)
Time: 38:32
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

When he's eventually popped his clogs (for the man turns 76 in a few days from now), Daevid Allen may only ever be remembered for his long-running input into arguably one of the most influential bands of the psychedelic rock genre, Gong. However, long before such a band existed the man was running around the world, meeting up with musical poets, disgruntling government authorities due to his visa running out and generally cooking up some of the most otherworldly stories known to man (and it's not just the pot-head pixies I'm referring to either). After having had the time of his life producing the strangest music of the late 60s under the Soft Machine and Gong banners, Allen decided to go on a more personal venture into the world of music, thus creating his first solo album, Bananamoon.
Bananamoon is a completely different kettle of fish to Allen's work with Gong and Soft Machine, though still very much drug-addled and otherworldly all the same. For his debut solo album, Allen still used numerous musicians as he did with his previous two bands on various songs. Therefore, what we have in Bananamoon is not just one musician's input, but a rather large handful of musicians all contributing their respective talents to each and every song. As a result, every song here is different in its own way, though there are times when a song can lose itself amidst psychedelic music.
(full version: sputnikmusic.com/review/60482/Daevid-Allen-Bananamoon/) Review by Robert Davis. January 10th, 2014

01. Time Of Your Life (03:27)
02. Memories (03:37)
03. All I Want Is Out Of Here (04:51)
04. Fred The Fish (02:31)
05. White Neck Blooze (05:50)
06. Stones Innocent Frankenstein (03:22)
07. & His Adventures In The Land Of Flip (12:03)
08. I Am A Bowl (02:47)

UploadyIo     FreedlInk

All my files:     UploadyIo     DailyUploads     KatFile

Gong - Expresso II (1978)

Year: March 1978 (CD Dec 16, 1989)
Label: Virgin Records (Japan), VJD-5019
Style: Canterbury Scene, Progressive Rock, Jazz Rock, Blues Rock
Country: Paris, France
Time: 37:32
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

Key to the new album’s rich aesthetic was an increased emphasis on percussion. While rhythms had always been given a prominent role under the drummer’s stewardship, never before had they come in such variety or enjoyed such precedence. With Pierre Moerlen and brother Benoit playing a variety of mallet instruments, Mireille Bauer added further marimba and vibraphone textures to Francois Causse’s tribal conga drum patterns to create a whirlwind of high and low pitched polyrhythms.
Something of an anomaly in the context of the album, opener “Heavy Tune” finds former Rolling Stone Mick Taylor’s steely guitar work adding a hard rock edge to a strident jazz-funk jam. More representative, the following “Golden Dilemma” features a furious-paced percussive barrage offset by Hansford Rowes’s funky rhythm guitar licks, while the gentle “Sleepy” features the band at their most dreamlike, with multiple layers of vibes and marimba creating a magic box effect that’s abetted by similarly mystical violin courtesy of former Curved Air man Darryl Way. Elsewhere, the sprightly “Soli,” driven by Hansford Rowe’s roaming bass runs, and Francois Causse’s Latin conga rhythms, heads yet further into jazz fusion territory, a path continued with the erroneously titled, gamelan-influenced “Boring” and the conga-heavy Latin experiments of “Three Blind Mice.”
Expresso II’s release saw out the band’s contract with Virgin and was to be the final studio album under the Gong moniker until 1992. Rechristened Pierre Moerlen’s Gong, the outfit would continue to mine their rhythm-heavy brand of jazz fusion into the 80s.
(udiscovermusic.com/stories/rediscover-gongs-expresso-ii/)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Heavy Tune (06:25)
02. Golden Dilemma (04:53)
03. Sleepy (07:18)
04. Soli (07:39)
05. Boring (06:26)
06. Three Blind Mice (04:49)

UploadyIo     FreedlInk    DailyUploads     TurboBit

All my files:     UploadyIo     DailyUploads     KatFile

Edgar Winter - Entrance (1970)

Year: 1970 (CD 1992)
Label: Epic Records (US), EK 48536
Style: Jazz Rock, Blues Rock, Rock
Country: Beaumont, Texas, U.S. (December 28, 1946)
Time: 47:56
Format: Flac Tracks 16/44,1 kHz
Size: 309 Mb

When blues guitarist Johnny Winter was signed to Columbia Records in 1969 he received a $600,000 advance. It was the richest record deal cut up to that point by any artist in any genre. Johnny had made a few live appearances where he delivered electrifying performances – the news of which spread quickly throughout the industry. He was seen as the next Jimi Hendrix and labels moved quickly to lock him down. His first two albums released in 1969 were backed by a band that included future Double Trouble bassist Tommy Shannon. It also included his younger brother Edgar. Through those studio outings Johnny’s talents were made clear. But it was the support he received from his brother Edgar, who provided keys, alto sax and vocals that Epic Records found difficult to ignore. They signed Edgar in 1970 and from there he set course on his own musical path – one leaning more toward jazz, fusion, and a pop-oriented sound. Johnny would move further and further into the blues.
It’s hard to imagine that Epic knew exactly what they were getting into with Edgar Winter. Entrance is more of an expression that a definable piece of music. While songs are tracked they run into each other like a singular piece of music. The title track opens the record and it’s there where Winter’s vocals and the occasional pop arrangement drew sonic comparisons to Todd Rundgren. Those continue through the record. “Entrance” has a pop sensibility that makes it sound like a forgotten track off of Something Anything. As “Entrance” moves through a number of tempo changes Winter’s incredibly flexible and soul anchored vocals rope everything together and time stamp the material.
It’s followed by a four song bundle that’s jazz drenched. Here drummer Jimmy Gillen sails, Edgar debuts his now well-known shriek, and more importantly rips into some alto sax solos that spill over with fiery runs. They arrive, get to cruising altitude, look around a bit and come to a flashy, bounce heavy landing.
Side 2 opens with a cover of JD Loudermilk’s 1960 hit “Tobacco Road”. Here Edgar is joined by brother Johnny and his band. The signature piece to this song is the closing scream which seems to last all of an hour. It’s the ultimate expression of Edgar’s broad talents. It leaves you wondering if there is anything that this guy can’t do. While he is clearly more moved by jazz, he can still lay down the blues with the best of ‘em. That’s the case here as it is with “Back In The Blues”, a smooth slinky shuffle. The tune checks all of the boxes that make every other song on this record shine so brightly. It also affords one more moment for brother Johnny to shine - this time on some tasty harmonica parts.
(full version: goldminemag.com/columns/vinyl-finds/edgar-winters-solo-entrance/)

01. Winter's Dream: Entrance (03:29)
02. Where Have You Gone (02:40)
03. Rise to Fall (04:04)
04. Fire and Ice (06:52)
05. Hung Up (03:00)
06. Back in the Blues (02:17)
07. Re-Entrance (02:30)
08. Tobacco Road (04:10)
09. Jump Right Out (04:22)
10. Peace Pipe (04:42)
11. A Different Game (05:04)
12. Jimmy's Gospel (04:41)

UploadyIo     DailyUploads     TurboBit

All my files:     UploadyIo     DailyUploads     KatFile

Gong - Gazeuse! [Japanese Ed.] (1976)

Year: Late 1976 (CD Dec 16, 1989)
Label: Virgin Records (Japan), VJD-5018
Style: Canterbury Scene, Progressive Rock, Jazz Rock
Country: Paris, France
Time: 39:46
Format: Flac Tracks 16/44,1 kHz
Size: 229 Mb

The group first came together under the leadership of Australian-born Daevid Allen, an early member of Soft Machine who, after being denied reentry into the UK due to visa problems in 1967, remained in France and formed Gong largely around a group of French musicians including saxophonist/flautist Didier Malherbe, the only original member left by the time Gazeuse! was released in 1976.
While not titled as such, Gazeuse! was really the first release by a Gong offspring, Pierre Moerlen's Gong, which largely abandoned the psychedelic space rock of such early Gong releases as the classic Radio Gnome Trilogy (also featuring guitarist Steve Hillage) for a more jazz-rock fusion sound. Its immediate predecessor, Shamal (Virgin)—released earlier the same year and the first to feature the trifecta of Moerlen, vibraphonist Benoit Moerlen and vibraphonist/percussionist Mireille Bauer—hinted at the future direction of this Gong offshoot (the departed Allen later reuniting his vision of Gong, one that was more in-line with its early, hippy-aesthetic days). Shamal, however, featured vocals and was more progressive-leaning, thanks to Malherbe and bassist Mike Howlett's writing, and Hillage's echo-drenched guitar (he would leave the band, along with life partner Miquette Giraudy, before the album's February 1976 release).
Gazeuse! also features Francis Moze. A tremendous fretless bassist with a positively massive tone compared to American fretless innovator Jaco Pastorius, Moze demonstrated a similarly lithe dexterity as his American cousin that allowed him to lay down an unshakable groove while, at the same time, engaging in a more interactive way with the rest of his band mates. The album also includes an early appearance by Mino Cinelu, who would go on to greater fame with American fusion super group Weather Report and, in the last decade of his life, Miles Davis.
(full version: allaboutjazz.com/gong-gazeuse-gong-virgin-records-review-by-john-kelman)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Expresso (05:58)
02. Night Illusion (03:42)
03. Percolations Part 1 (03:52)
04. Percolations Part 2 (06:09)
05. Shadows Of (07:48)
06. Esnuria (08:01)
07. Mireille (04:12)

UploadyIo     DailyUploads     TurboBit

All my files:     UploadyIo     DailyUploads     KatFile

Soft Machine - Seven (1973)

Year: October 1973 (CD 2007)
Label: Sony BMG Music Entertainment (Europe), 82876872922
Style: Jazz Rock, Progressive Rock, Canterbury Scene
Country: Canterbury, England
Time: 43:15
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

This was the first Soft Machine album I bought and nearly the last. Not that it isn’t soothing in a sleepy sort of way, but it wasn’t at all the madcap sonic adventure I was expecting. With time, of course, I understood that the original quest changed after the departures of Kevin Ayers and Robert Wyatt, with Mike Ratledge leading the band into jazzier terrain much as Gong did under the stewardship of Pierre Moerlen. From the perspective of Six, little had changed—or needed to, really. The mesmerizing keyboard patterns, mutated saxophone/oboe solos, superlative drumming and steady bass shift every few minutes like an audio kaleidoscope, which is pleasant enough. It’s generally a calmer and more peaceful record than most jazz fusion albums from the period, and there’s little difference between the songs written by Ratledge and Karl Jenkins, giving Seven a consistent feel from beginning to end. Is it the first Soft Machine album you need to own? In my experience, obviously not (they did number these for a reason). If you’re going to buy seven Soft Machine albums, however, here you are. Highlights (to my ears) include Tarabos, Down the Road and the combination of Snodland and Penny Hitch (the songs tend to merge into one another). Carol Ann is also very pretty. That said, the album doesn’t really have standout sections; it’s conceived as an organic whole that flows from the shared musical sensibilities of its four members. It’s not their best album, but it might be their softest so far.
(progrography.com/soft-machine/review-soft-machine-seven-1973/)

01. Nettle Bed (04:51)
02. Carol Ann (03:45)
03. Day's Eye (05:03)
04. Bone Fire (00:35)
05. Tarabos (04:27)
06. D.I.S. (03:04)
07. Snodland (01:51)
08. Penny Hitch (06:38)
09. Block (04:18)
10. Down The Road (05:44)
11. The German Lesson (01:51)
12. The French Lesson (01:03)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Gong - Shamal [Japanese Ed.] (1976)

Year: 13 February 1976 (CD Dec 16, 1989)
Label: Virgin Records (Japan), VJD-5017
Style: Canterbury Scene, Progressive Rock, Jazz Rock
Country: Paris, France
Time: 40:44
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

The album, produced by Pink Floyd drummer Nick Mason, was recorded in December 1975 by a unique line-up referred to later as "Shamal-Gong". It is usually regarded as a transitional album between Daevid Allen's incarnation of the band and the Pierre Moerlen-led fusion line-up of the late 1970s.
The greatest thing about Shamal is that it's so versatile. There are only six tracks here, but each one seems to explore a different tone and aspect of musical experimentation. The softer tracks such as opener "Wingful of Eyes" and beautiful, elegant flute-led "Bambooji" are complementary to the album's quirkier tracks, such as the almost Frank Zappa-inspired "Cat in Clark's Shoes" and eccentric closing title track. Yet what really glues all these songs together is the absence of self-indulgent musicianship and a definite knowledge of perfect instrumental placements.
(en.wikipedia.org/wiki/Shamal_(album))

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Wingful Of Eyes (06:20)
02. Chandra (07:18)
03. Bambooji (05:13)
04. Cat In Clark's Shoes (07:43)
05. Mandrake (05:04)
06. Shamal (09:03)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Brand X (Phil Collins) - Do They Hurt [Japanese Ed. SHM-CD] (1980)

Year: 18 April 1980 (CD July 30, 2014)
Label: Universal Music (Japan), UICY-76417
Style: Jazz Rock, Progressive Rock
Country: London, England
Time: 39:56
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

Do They Hurt? (1980) is the fifth album by the British jazz fusion group Brand X. The tracks on this album are outtakes from the Product sessions. ("Noddy Goes to Sweden" was a B-side from Product.)
(en.wikipedia.org/wiki/Do_They_Hurt%3F)
BRAND X is, no doubt about it, one the most original and well-known British groups of the seventies jazz/rock fusion scene. Made of musicians that are technicians at their respective instruments and that are as inspired as talented. There are really 2 BRAND X formations... the one from the mid 70s and the 1992 BRAND X. The original line-up of the band was formed by drummer Phil COLLINS of GENESIS with John GOODSALL (former ATOMIC ROOSTER) on guitar, Robin LUMLEY (a David BOWIE collaborator) on keyboards and Percy JONES (ex-LIVERPOOL SCENE) on bass. For them, the joy of playing and writing together was the main motivation. With various personnel permutations, they made typical progressive rock albums... all worth hearing! The 1992 BRAND X is GOODSALL, JONES and drummer Frank KATZ.
The band's discography starts in 1976 with "Unorthodox Behaviour" and goes on a year later with "Morrocan Poll", probably one of their best. "Is There Anything About" is the last release from this legendary jazz-rock band. After almost ten years of absence during the Eighties, "Xcommunication" is the return of BRAND X under the economical format of a trio (GOODSALL, JONES, and KATZ). They released a CD that is almost as good than on previous releases. "The X-Files" is a disc of live recordings and a disc of unreleased material. What else can be said, apart from the fact that it is another masterpiece in the Legend's discography.
(progarchives.com/artist.asp?id=660)

01. Noddy Goes To Sweden (04:30)
02. Voidarama (04:26)
03. Act Of Will (04:45)
04. Fragile (05:27)
05. Cambodia (04:34)
06. Triumphant Limp (07:32)
07. D.M.Z. (08:39)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

The Flock - Truth - The Columbia Recordings 1969-1970 [2CD] (2017)

Year: 1969-1970 (CD 2017)
Label: Esoteric Recordings (Europe), ECLEC 22606
Style: Jazz Rock, Progressive Rock
Country: Chicago, Illinois, U.S.
Time: 65:30, 65:19
Format: Flac Tracks 16/44,1 kHz
Size: 410, 436 Mb

The Flock was an American, Chicago-based jazz rock band, that released two albums on Columbia Records in 1969 (The Flock) and 1970 (Dinosaur Swamps). The Flock did not achieve the commercial success of other Columbia jazz-rock groups of the era such as Chicago and Blood Sweat & Tears, but were recognized for featuring a violin prominently in their music. The violinist, Jerry Goodman, went on to become a member of Mahavishnu Orchestra and a solo artist. They also received some exposure with their release of a cover of The Kinks' "Tired Of Waiting For You" as a single in April 1970.
The Flock had three early singles on Destination Records and one on USA Records, local Chicago labels, recorded between 1966 and 1968. Goodman was not in this line-up but worked as a roadie with the band. All four singles, "Can't You See (That I Really Love Her)", "Are You The Kind", "Take Me Back" and "What Would You Do If The Sun Died?" are available on CD.
The promising first album was further into jazz fusion than either Chicago or Blood Sweat & Tears, influenced by Miles Davis' Bitches Brew album, in which Webb participated, but whose performance was not recorded. The first album was produced by Grammy Award winning producer of jazz and classical albums for Columbia Records John McClure. with liner notes written from the audience at Whisky a Go Go by John Mayall, on July 9, 1969. The band went back into the studio and recorded a second album entitled Dinosaur Swamps, (with Jon Gerber replacing Tom Webb) featuring the hit, "Big Bird." They began work on a third studio album, provisionally titled Flock Rock, but rumours at the time had Columbia Records' Clive Davis raiding The Flock and recruiting Goodman for the Mahavishnu Orchestra project. Glickstein's remembrance of the event was, according to the sleevenotes with The Flock compilation CD Truth, slightly more matter-of-fact: "In reality the band members started going in different musical directions. You know. That old song."
(en.wikipedia.org/wiki/The_Flock_(band))

01. Introduction (04:53)
02. Clown (07:45)
03. I Am the Tall Tree (05:34)
04. Tired of Waiting (04:39)
05. Store Bought - Store Thought (07:00)
06. Truth (15:24)
07. What Would You Do If the Sun Died? (02:48)
08. Lollipops And Rainbows (04:05)
09. Tired of Waiting (Single Version) (02:42)
10. Store Bought - Store Thought (Single Version) (02:44)
11. Clown (Part One) (03:12)
12. Clown (Part Two) (04:38)

01. Green Slice (02:03)
02. Big Bird (05:50)
03. Hornschmeyer's Island (07:25)
04. Lighthouse (05:18)
05. Crabfoot (08:14)
06. Mermaid (04:53)
07. Uranian Sircus (07:13)
08. Chanja (02:38)
09. Atlantians Truckin’ Home (04:50)
10. Afrika (04:34)
11. Just Do It (06:35)
12. Mermaid (Single Version) (02:49)
13. Crabfoot (Single Version) (02:49)

CD1:     UploadyIo     DailyUploads

CD2:     UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Brand X (Phil Collins) - Product [Japanese Ed. SHM-CD] (1979)

Year: 14 September 1979 (CD July 30, 2014)
Label: Universal Music (Japan), UICY-76416
Style: Jazz Rock, Progressive Rock
Country: London, England
Time: 47:18
Format: Flac Tracks 16/44,1 kHz
Size: 295 Mb

It features primary member Phil Collins back once again on drums following his absence on Masques. Drummer Mike Clark and bassist John Giblin also appear on this album. Two of the album's tracks - "Soho" and "Wal to Wal" - were largely recorded at Phil Collins' Old Croft home in Shalford, Surrey.
Brand X were a British jazz rock band formed in London in 1974. They were initially active until 1980, followed by reformations between 1992–1999 and 2016–2021.
Despite sometimes being considered to be a Phil Collins side project (due to Collins' participation as drummer between 1975 and 1977 in between his commitments to Genesis), the band was in fact centred on a core composing/playing trio of John Goodsall (guitar), Percy Jones (bass) and Robin Lumley (keyboards), with Lumley also playing a prominent production role.
Jones would ultimately remain the sole constant member throughout Brand X's existence (both during the original 1970s run and throughout the assorted twenty-first century reunions), with Goodsall and Lumley playing a part in most of the albums and tours. Jones ended all Brand X activities in 2020, despite resistance from the band's management and their attempts to revive the band with all-new personnel. Jones is now the sole surviving core member, with John Goodsall having died on 10 November 2021 and Robin Lumley having died on 9 March 2023.
(en.wikipedia.org/wiki/Product_(Brand_X_album))

01. Don't Make Waves (05:31)
02. Dance Of The Illegal Aliens (07:50)
03. Soho (03:42)
04. Not Good Enough-See Me! (07:31)
05. Algon (Where An Ordinary Cup Of Drinking Chocolate Costs 8,000,000,000) (06:11)
06. Rhesus Perplexus (04:02)
07. Wal To Wal (03:15)
08. ... And So To F... (06:32)
09. April (02:41)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Soft Machine - Fourth & Fifth (1971 & 1972)

Year: 1971 / 1972 (CD 1999)
Label: Columbia Records (Europe), 493341 2
Style: Jazz Rock, Progressive Rock, Canterbury Scene
Country: Canterbury, England
Time: 75:50
Format: Flac Tracks 16/44,1 kHz
Size: 510 Mb

The subtle electro-acoustic blend of Fourth has an understated coolness in which their augmented horn section is harnessed to a thoughtful score. Deployed to incisive effect on the angular “Teeth” (written by keyboardist Mike Ratledge), it’s equal to anything from Third. The four-part “Virtually” introduces muted sinuous layers of cascading lines over Hugh Hopper’s sepulchral fuzz bass; proto-ambient jazz-rock, anyone?
Bleak and ambiguous, Fifth is a game of two halves thanks largely to the use of two diametrically-opposed drummers - evidence of the creative crisis of these now post-Wyatt times. The shifting squalls of Phil Howard’s cymbals says free jazz as favoured by sax player Elton Dean, whilst John Marshall’s crisp precision pulls it nearer Hopper and Ratledge’s camp.
(bbc.co.uk/music/reviews/dw8c/)

Fourth (1971):
01. Teeth (09:13)
02. Kings and Queens (05:01)
03. Fletcher's Blemish (04:36)
04. Virtuality Part 1 (05:15)
05. Virtuality Part 2 (07:05)
06. Virtuality Part 3 (04:37)
07. Virtuality Part 4 (03:23)
Fifth (1972):
08. All White (06:07)
09. Drop (07:42)
10. M C (04:55)
11. As If (08:23)
12. LBO (01:31)
13. Pigling Bland (04:21)
14. Bone (03:35)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Brand X - Masques [Japanese Ed. SHM-CD] (1978)

Year: 8 September 1978 (CD July 30, 2014)
Label: Universal Music (Japan), UICY-76415
Style: Jazz Rock, Instrumental, Progressive Rock
Country: London, England
Time: 49:07
Format: Flac Tracks 16/44,1 kHz
Size: 307 Mb

After a couple of really well-working Brand X releases, the band went on a bit different path than before with "Masques". This album can be seen as a tighter, quirkier and harder release but still with the usual Brand X playfulness and the amazingly solid instrumentation. Phil Collins was too busy with Genesis at the time for this release that he got replaced by Chuck Burgi, a superb drummer who does a mind-boggling performance here, up to pair with Collins I would say. Collins returned after this release.
This might be the most complex Brand X album, stuffed with odd time signatures. The songs are well composed and structured with a great sense of melody too, in Brand X' usual quirky style, of course! There are no really weak tracks here, with the possible exception of the minimalistic noodling title track. Otherwise, "Masques" reminds on of their best releases in their discography!
(progarchives.com/album.asp?id=3476) My rating: 4.5/5, rounded up to 5 for being so underrated. Review by Bj-1. March 19, 2005

01. The Poke (05:11)
02. Masques (03:16)
03. Black Moon (04:49)
04. Deadly Nightshade (11:21)
05. Earth Dance (06:09)
06. Access To Data (08:02)
07. The Ghost Of Mayfield Lodge (10:16)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Brian Auger - Language Of The Heart (2012)

Year: 2012 (CD 2012)
Label: Ghostown Records (US)
Style: Jazz Rock, Art Rock (Hammond organ)
Country: Hammersmith, London, England (18 July 1939)
Time: 43:11
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

Brian Albert Gordon Auger (born 18 July 1939) is an English jazz rock and rock keyboardist who specialises in the Hammond organ.
Auger has worked with Rod Stewart, Tony Williams, Jimi Hendrix, John McLaughlin, Sonny Boy Williamson, Eric Burdon, and CAB. He has incorporated jazz, early British pop, R&B, soul music, and rock into his sound. He has been nominated for a Grammy Award.
In 1965, Auger played on "For Your Love" by The Yardbirds as a session musician. He was brought in to play the Hammond organ, but settled for the only available keyboard, the harpsichord. That same year, Auger formed the group The Steampacket with Long John Baldry, Julie Driscoll, Vic Briggs, and Rod Stewart. Due to contractual problems there were no official recordings made by the band; nevertheless, nine tracks were laid down for promotional use in late 1965 and released as an LP in 1970 in France on the BYG label. They were released on a CD by Repertoire Records in 1990 (licensed from Charly Records) as well as 12 live tracks from Live at the Birmingham Town Hall, February 2, 1964. Stewart left in early 1966 and soon thereafter the band broke up.
(en.wikipedia.org/wiki/Brian_Auger)

01. Autoroute (06:24)
02. Seasons (05:10)
03. Venice Street Fair (05:39)
04. Flying Free (06:21)
05. Hymn to Morning (07:25)
06. Language of the Heart (05:23)
07. Ella (06:45)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Steve Tibbetts - Steve Tibbetts (1977)

Year: 1977 (CD 1995)
Label: Cuneiform Records (US), 55009
Style: Jazz Rock, Acoustic, Progressive Rock
Country: Madison, Wisconsin, U.S.
Time: 34:40
Format: Flac Tracks 16/44,1 kHz
Size: 183 Mb

Steve Tibbetts (born 1954) is an American guitarist and composer. He views the recording studio as a tool for creating sounds. Most of his albums include percussionist Marc Anderson.
Steve Tibbetts is the debut album by Steve Tibbetts, recorded in 1976. Eventually released by Frammis Records in 1979, the CD was reissued by Cuneiform in 1995.
The New Rolling Stone Record Guide wrote that Tibbets "uses a few too many cliches, [but] proves that he has the talent to make those cliches work." The Billboard Guide to Progressive Music called the album "a classic of instrumental psychedelic progressive music from the unlikely region of grassroots middle America."
(en.wikipedia.org/wiki/Steve_Tibbetts)

01. Sunrise (04:14)
02. The Secret (04:49)
03. Desert (04:39)
04. The Wonderful Day (02:21)
05. Gong (01:43)
06. Jungle Rhythm (05:37)
07. Interlude (01:52)
08. Alvin Goes To Tibet (04:16)
09. How Do You Like My Buddha? (05:04)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Soft Machine - Noisette [Live] (1970)

Year: 4 January 1970 (CD January 18, 2000)
Label: Cuneiform Records (US), rune 130
Style: Jazz Rock, Progressive Rock, Canterbury Scene
Country: Canterbury, England
Time: 73:25
Format: Flac Tracks 16/44,1 kHz
Size: 444 Mb

Recorded January 4, 1970 at Fairfield Hall, Croydon, England, this was the first show performed by the short lived 1970 quintet version of the band and is taken from the same concert as “Facelift” on Third.
Noisette features the rest of the concert, & showcases a band in transition from their earlier psychedelic/ progressive sound towards the jazz rock sound of Third & Fourth. It features the quintet performing versions of material from their 1st two albums as well as material not available on their studio albums.
Mastered directly off of the 50 year old 15ips master tapes, this release boasts superb live sound for the time period, & includes rare, unseen photos and liner notes by Aymeric Leroy.
(cuneiformrecords.bandcamp.com/album/noisette)
Steve Feigenbaum (founder of Cuneiform Records) continues to expand the breadth of the Soft Machine legacy by finding gold in long forgotten tapes. His latest audio treasure spotlights a brief five-piece incarnation of the band upon completion of a mainland European tour. Lyn Dobson is the uncomfortable melodic element in this transitional line-up which is only documented here in these ten songs. The set opens with a spirited rendition of Mike Ratledge’s “Eamonn Andrews,” which was previously only found on the BBC archives disc. Drummer Robert Wyatt is under some restraint in this performance when compared to his drumming on Cuneiform’s last release, Virtually. His only real chance to break out vocally is on the segued version of “Moon in June” as the piece shifts into Hugh Hopper’s piece “12/8” which appears here for the first time. Then Dobson appears to take the soprano sax lead as Elton Dean provides the accompanying alto sax part (as they also do on “Hibou, Anemone and Bear”). The surprise piece in the almost 75 minute set is the rave up on “We Did It Again” from the band’s first album. The piece opens with a Wyatt drum solo and quickly builds into a brash jam which servers as a strong closer for a show. What’s Rattlin’s Aymeric Leroy timelines the detailed events which led up to this live performance at Croydon Fairfield Hall in January, 1970. This recording serves as another living testament to the jazz genius of the ensemble as they anxiously await discovery by a new set of eager jazz acolytes. Noisette should hold up easily as the archive release of the New Year.
(expose.org/index.php/articles/display/soft-machine-noisette-4.html) Review by Jeff Melton, 2000-05-01

01. Eamonn Andrews (12:15)
02. Mousetrap (05:24)
03. Noisette (00:37)
04. Backwards (04:47)
05. Mousetrap (reprise) (00:25)
06. Hibou, Anemone and Bear (09:21)
07. Moon In June (06:55)
08. 12/8 Theme (11:24)
09. Esther's Nose Job (14:59)
10. We Did It Again (07:14)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile

Brand X (Phil Collins) - Moroccan Roll [Japanese Ed. SHM-CD] (1977)

Year: April 1977 (CD July 30, 2014)
Label: Universal Music (Japan), UICY-76413
Style: Jazz Rock, Instrumental, Progressive Rock
Country: London, England
Time: 49:29
Format: Flac Tracks 16/44,1 kHz
Size: 318 Mb

Moroccan Roll is the second studio album by British jazz fusion group Brand X. The title is a pun referring to this being their second album: "more rock and roll", however, Moroccan Roll is not a step toward the rock and roll side of the fusion equation, but rather an experiment with Eastern sounds and softer textures. The album is mostly instrumental. "Sun in the Night" contains vocals sung by Brand X drummer Phil Collins in Sanskrit. "Disco Suicide" and "Maybe I'll Lend You Mine After All" also contain vocals, although they are wordless.
Brand X were a British jazz rock band formed in London in 1974. They were initially active until 1980, followed by reformations between 1992–1999 and 2016–2021.
Despite sometimes being considered to be a Phil Collins side project (due to Collins' participation as drummer between 1975 and 1977 in between his commitments to Genesis), the band was in fact centred on a core composing/playing trio of John Goodsall (guitar), Percy Jones (bass) and Robin Lumley (keyboards).
(en.wikipedia.org/wiki/Brand_X)

01. Sun In The Night (04:25)
02. Why Should I Lend You Mine (When You've Broken Yours Off Already) (11:20)
03. ...Maybe I'll Lend You Mine After All (02:04)
04. Hate Zone (04:41)
05. Collapsar (01:34)
06. Disco Suicide (07:54)
07. Orbits (01:37)
08. Malaga Virgen (08:27)
09. Macrocosm (07:23)

UploadyIo     DailyUploads

All my files:     UploadyIo     DailyUploads     KatFile