Sandy Nelson - Let There Be Drums (1962) (Vinyl)

Year: 1962 (LP 1962)
Label: Imperial Records (USA), LP-9159
Style: Instrumental
Country: Santa Monica, California, USA
Time: 27:19
Format: Flac Tracks 16/44,1
Size: 167 Mb

Sander L. "Sandy" Nelson (born December 1, 1938) is an American drummer. Nelson, one of the best-known rock drummers of the early 1960s, had several solo instrumental Top 40 hits and was a session drummer on many other well-known hits, and released over 30 albums. He lives in Boulder City, Nevada, and continues to experiment with music on keyboards and piano.
His first recording, with a band called the Renegades (Richard Podolor, Bruce Johnston, and Nick Venet), was "Geronimo", written by Venet, produced by Kim Fowley, and released on the Original Sound Records label. Although it flopped on the national charts, it charted in some of the Mid West markets. The song, along with "Charge", is part of the soundtrack of 1959 film Ghost of Dragstrip Hollow released by American International Pictures.
Nelson attended high school with Jan Berry, Dean Torrence (who became Jan and Dean), and Kim Fowley. After gaining respect as a session drummer, he played on such songs as "To Know Him Is To Love Him" (Phil Spector's Teddy Bears, 1958), "Alley-Oop" (The Hollywood Argyles, 1960), and "A Thousand Stars" (Kathy Young and the Innocents, 1960).
His song "Teen Beat", on Original Sound Records, rose to number 4 on the Billboard Hot 100 chart in 1959. It sold over one million copies, and was awarded a gold disc. Subsequently, he signed with the Imperial record label, and pounded out two more Top 40 hits, "Let There Be Drums", which went to number 7 on the Billboard Hot 100, and "Drums Are My Beat". In December 1961, the British music magazine, NME, reported that "Let There Be Drums" had gone Top 10 in both the United Kingdom and United States. All three were instrumentals (a feat rarely repeated). Guitar playing on these hits was by co-writer Richard Podolor, later a songwriter and record producer.
Near the end of 1963, Nelson was in a motorcycle accident. The injuries necessitated amputation of his right foot and part of that leg. Nonetheless, Nelson continued to record into the early 1970s, releasing two or three albums a year, consisting of cover versions of popular hits plus a few original compositions.
In September 2008, Nelson and a few friends, recording as Sandy Nelson and the Sin City Termites, released a new record of original compositions, Nelsonized, on the independent Spinout label. Other band members included Eddie Angel (guitarist for Los Straitjackets), Remi Gits, and Billy Favata of Torturing Elvis.

01. A1 Slippin' And Slidin' (02:07)
02. A2 Tequila (02:55)
03. A3 My Girl Josephine (02:29)
04. A4 Big Noise From Winnetka (02:16)
05. A5 Let There Be Drums (02:22)
06. A6 Bouncy (01:55)
07. B1 The Birth Of The Beat (09:15)
08. B2 Quite A Beat (01:58)
09. B3 Get With It (01:58)



TurboBit

Streetwalkers - Vicious But Fair (1977) (Vinyl)

Year: January 1977 (LP 1977)
Label: Vertigo Records (UK), 9102 013 BE
Style: Rock
Country: England
Time: 39:24
Format: Flac Tracks 16/44,1 kHz
Size: 253 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.
(Wikipedia)

01. A1 Mama Was Mad (04:10)
02. A2 Chilli-Con-Carne (03:52)
03. A3 Dice Man (09:23)
04. A4 But You're Beautiful (03:53)
05. B1 Can't Come In (03:58)
06. B2 Belle Star (03:12)
07. B3 Sam (Maybe He Can Come To Some Arrangement) (05:41)
08. B4 Cross Time Woman (05:12)



TurboBit
KatFile
UsersDrive
UploadShip

The Alan Parsons Project - Tales of Mystery and Imagination (1976) (Vinyl)

Year: 1976 (LP 1976)
Label: Charisma Records (UK), CDS 4004
Style: Art Rock, Rock
Country: London, England
Time: 40:43
Format: Flac Tracks 16/44,1
Size: 254 Mb

Alan Parsons (born 20 December 1948) is an English audio engineer, songwriter, musician, and record producer. He was involved with the production of several significant albums, including the Beatles' Abbey Road and Let It Be, and the eponymous debut album by Ambrosia, as well as Pink Floyd's The Dark Side of the Moon. Parsons' own group, The Alan Parsons Project, as well as his subsequent solo recordings, have also been commercially successful. He has been nominated for 13 Grammy Awards, with his first win occurring in 2019 for Best Immersive Audio Album, Eye in the Sky (35th Anniversary Edition).

01. A1 A Dream Within A Dream (03:43)
02. A2 The Raven (03:58)
03. A3 The Tell-Tale Heart (04:41)
04. A4 The Cask Of Amontillado (04:31)
05. A5 (The System Of) Doctor Tarr And Professor Fether (04:06)
06. B1 The Fall Of The House Of Usher (15:12)
07. B2 To One In Paradise (04:29)



TurboBit
KatFile
UsersDrive
UploadShip

Maggie Bell - Suicide Sal (1975) (Vinyl)

Year: 1975 (LP 1975)
Label: Polydor Records (UK), 2383-313
Style: Blues-Rock, Soul
Country: Glasgow, Scotland
Time: 38:38
Format: Flac Tracks 16/44,1 kHz
Size: 253 Mb

Margaret Bell (born 12 January 1945 in Maryhill, Glasgow, Scotland) is a Scottish rock vocalist. She came to fame as co-lead vocalist of the blues-rock group Stone the Crows, and was described as the UK's closest counterpart to American singer Janis Joplin.
From a musical family, she sang from her teenage years, leaving school at the age of fifteen, to work as a window dresser by day and singer at night. Bell was introduced to Leslie Harvey, by his older brother Alex, after getting up on stage to sing with the latter. Leslie Harvey was, at that time, a guitarist with the Kinning Park Ramblers. Bell joined the group as one of the vocalists. After the band split up, Bell moved to the Mecca Band at the Sauchiehall Street Locarno, and later to the Dennistoun Palais Band.
She then rejoined Harvey, forming Power initially known as The Power of Music and eventually The Power. Bell and The Power regularly performed at The Easterhouse Project, run by Archie Hind and Graeme Noble. They also toured United States Air Force bases in Germany in the mid 1960s. Peter Grant, who was managing The Yardbirds at the time, heard Power playing at one of these bases and agreed to produce and manage them, impressed by the vocal ability of Bell and the guitar playing of Harvey. Power was then renamed as Stone the Crows, an expression used by Grant upon hearing this band.
Stone the Crows split up in 1973, after Leslie Harvey's accidental death from electrocution on 2 May 1972. Harvey had been an integral part of the band and its music. Peter Grant remained as Bell's manager after the split, and along with Mark London offered to help Bell record a solo album. She subsequently recorded two further albums for Atlantic Records, one produced by Felix Pappalardi and the other produced by Felix Cavaliere. Neither has yet been released. Grant then oversaw her first solo album release Queen of the Night (1974), which was recorded in New York City with record producer Jerry Wexler.
Bell signed to the then newly formed Swan Song Records in 1974, along with Bad Company and Pretty Things, as one of the first signings to the label. Jimmy Page contributed to her second album Suicide Sal (1975). Bell then tried to capture past blues rock glories by fronting Midnight Flyer, who were a popular live act but their sole eponymous album released in 1981 was not a commercial success.
(Wikipedia)

01. A1 Wishing Well (03:38)
02. A2 Suicide Sal (03:49)
03. A3 I Was In Chains (03:04)
04. A4 If You Don't Know (03:59)
05. A5 What You Got (02:55)
06. A6 In My Life (03:11)
07. B1 Comin' On Strong (04:08)
08. B2 Hold On (04:51)
09. B3 I Saw Him Standing There (04:23)
10. B4 It's Been So Long (04:36)



TurboBit
UploadShip
KatFile
UsersDrive

Rainbow - Rainbow (Compilation) (1989) (Russian Vinyl)

Year: 1975-1982 (LP 1989)
Label: Melodia Records (Russia), C60 27023 005
Style: Hard Rock
Country: Hertford, Hertfordshire, England
Time: 41:31
Format: Flac Tracks 16/44,1 kHz
Size: 286 Mb

"Ritchie Blackmore's Rainbow" Album Review (Tony Stewart, New Musical Express - 30 August 1975)
When a musician (in this case Ritchie Blackmore) decides to leave a band (in this case, Deep Purple), presumably because of musical differences, you`d expect him to adopt an approach dissimilar from that of his former band. But not our Ritchie.
This is the same kind of metal rock, the lineup is similar (Ronnie James Dio, vocals; Gary Driscoll, drums; Craig Gruber, bass; and Mickey Lee Souls, assorted keyboards) and even the packaging sniffs of a Purple influence. The only significant difference I can discern between the two are that (1) Rainbow are not as accomplished musicians as Purple, and (2) their breadth of vision isn`t as great. In fact this album is duller than a March morning.
The majority of the cuts are the same old riff stews; admittedly they do it capably enough, but that hardly seems sufficient. Out of the nine tracks, there are only two which are worth complimentary remarks. Those are the gentle melodic "Catch The Rainbow", and the acoustically based "Temple Of The King".
The rest are just cliched structures, such as the pounding "Man On The Silver Mountain" and "Sixteenth Century Greensleeves" where Blackmore and Dio reclaim a Uriah Heep riff which they`d borrowed from Purple originally. And even the inclusion of The Hat`s instrumental re-working of the Yardbird`s "Still I`m Sad" does nothing for me at all. Besides their lack of imagination in the composing department, with seven originals from the pens of The Hat and Ronnie James, the band lacks any real feeling. With the exception of Dio.
Now he is a good singer who has a lot of passion, good phrasing and pitch (particularly on "Temple") and puts a considerable amount of effort into the songs. Whereas The Mad Axeman and Gruber merely illustrate their technical manoeuverability, Souls (despite the name) is recording in the studio next door and you rarely hear him, and Driscoll is what you`d describe as solid. But it is a group album. The Hat keeps a low profile, filling out songs and taking the occasional lead, sounding, particularly on "Rainbow" and "Temple", like Peter Green, but there are no real instances of inspired madness. So in conclusion, all I can say is that they`re an imitation of Purple, and not a particularly good one at that.

01. A1 Man On The Silver Mountain (Dio 1975) (04:36)
02. A2 Still I'm Sad (Dio 1975) (03:55)
03. A3 Long Live Rock'n'Roll (Dio 1978) (04:21)
04. A4 All Night Long (Graham Bonnet 1979) (03:54)
05. A5 Stone Cold (Joe Lynn Turner 1982) (05:15)
06. B1 If You Don't Like Rock'n'Roll (Dio 1975) (02:36)
07. B2 Stargazer (Dio 1976) (08:24)
08. B3 Freedom Fighter (Joe Lynn Turner 1981) (04:26)
09. B4 I Surrender (Joe Lynn Turner 1981) (04:01)



TurboBit
KatFile
UsersDrive

The Beatles - Please Please Me (1963) (Vinyl Stereo)

Year: 22 March 1963 (LP 1971-1973)
Label: Parlophone Records (UK), PCS 3042
Style: Classic Rock
Country: Liverpool, England
Time: 32:52
Format: Flac Tracks 16/44,1 kHz
Size: 212 Mb

George Martin Recalls Recording The Beatles' "Please Please Me" in a Day 'That Lasted 3 Weeks'.
When he was interviewed by Billboard in 2008, the "Fifth Beatle" George Martin recalled his most vivid memory recording the Beatles' first album, Please Please Me. His response was that they managed to track the whole set in one day - a day, he joked, "that lasted three weeks."
Martin died Tuesday at 90. His production credits are vast but he is best known for first signing and producing nearly all of the Fab Four's work.
The album was recorded in 13 hours, Martin said, as the band ran through its standard set from performing at the Cavern Club in Liverpool. He held off the cover of "Twist and Shout" for last because he said he knew Lennon wouldn't have any voice left after recording the intense song.
"It was a day that lasted three weeks," Martin said. "We started at about 10 in the morning, and we finished at about 11 at night. The last song we did was 'Twist and Shout' and I didn't do it earlier because I knew John wouldn't have any voice left. We did 11 songs in 11 hours. It was really a run-through. I'd seen them working in the Cavern in Liverpool, and I'd seen them other places, so I said, 'Let's just run through what you do as an act and record it.' I needed that album out quickly, so that was why I did it [that way]."
Billboard 3/9/2016

01. A1 I Saw Her Standing There (McCartney) (02:53)
02. A2 Misery (Lennon and McCartney) (01:51)
03. A3 Anna (Go to Him) (Arthur Alexander) (Lennon) (02:57)
04. A4 Chains (Gerry Goffin - Carole King) (Harrison) (02:28)
05. A5 Boys (Luther Dixon, Wes Farrell) (Starr) (02:27)
06. A6 Ask Me Why (Lennon) (02:29)
07. A7 Please Please Me (Lennon) (01:59)
08. B1 Love Me Do (McCartney) (02:21)
09. B2 P.S. I Love You (McCartney) (02:07)
10. B3 Baby It's You (M. David, B. Williams, B. Bacharach) (Lennon) (02:41)
11. B4 Do You Want to Know a Secret (Harrison) (02:01)
12. B5 A Taste of Honey (Bobby Scott, Ric Marlow) (McCartney) (02:06)
13. B6 There's a Place (Lennon and McCartney) (01:53)
14. B7 Twist and Shout (Phil Medley, Bert Russell) (Lennon) (02:33)



UploadRar
UsersDrive

Madonna - Like A Virgin (1984) (Vinyl)

Year: 1984 (LP 1989)
Label: Balkanton Records (Bulgaria), BTA 11999
Style: Pop
Country: Bay City, Michigan, U.S.
Time: 38:59
Format: Flac Tracks 16/44,1 KHz
Size: 262 Mb

On her self-titled 1983 debut, Madonna sang perky little tunes about going on vacation ("Holiday") and falling in and out of love ("Lucky Star" and "Borderline"). These were ideas grandma and grandpa could get behind, and yet the 20-something Michigan native caused a minor sensation, setting the stage for a total pop-culture takeover. Clearly, music was only one of her weapons.
While Madonna offered Middle American mallrats a taste of underground NYC dance culture, what really got people talking was the singer herself. This spunky, self-assured club kid with the belly shirts and rubber bracelets liked being a topic of conversation, and with her second album, Like a Virgin, she endeavored to keep her name on everyone’s lips.
Released 30 years ago today (Nov. 12, 1984), Like a Virgin is sometimes thought of as Madonna’s artistic coming-out party, the moment she swapped frivolous bubblegum for more thoughtful examinations of female sexuality. Such praise stems mostly from what we now know about Madonna. However, for all its merits - and it has many - Like a Virgin isn’t exactly The Feminine Mystique set to music. In fact, it’s not all that different from its predecessor.
As with her first record, Madonna went into Like a Virgin wrestling Warner Bros. for more artistic control. After her negative experiences working with Reggie Lucas, she wanted to handle more of the production herself, and she found a winning collaborator in Chic guitarist Nile Rodgers, who’d just worked on David Bowie’s Let’s Dance.
Rodgers gave Madonna’s music some extra snap and sheen, and if he didn’t quite hand the singer her first classic album -- she’d have to wait another five years for that -- he did get her to the top of the Billboard 200. He also helped craft two of the decade’s most iconic singles.
The first, of course, is "Like a Virgin," Madonna’s first No. 1 pop hit. It’s here that she most explicitly tackles sexual politics and explores that whole virgin-whore thing so central to her image. The other is “Material Girl,” a winking gold-digger anthem that can be taken a couple of different ways. The remaining seven songs range from fun-enough dance tunes to flat-out filler – but that was all it took to propel Madonna onto the same plain as Prince, Michael Jackson and Bruce Springsteen.
"Material Girl": Like so many ‘80s pop classics, this one is inextricably linked to its video, which features a pretty-in-pink Madonna paying homage to Marilyn Monroe. It’s also more clever than most people realize. She’s either making a sarcastic statement about the decade’s rampant materialism or promoting the kind of "I got mine, bitches" feminism that’s always been her guiding light. Either way, "Material Girl" is a stylish sign-of-the-times synth-funk jam she didn’t write but totally owned.
"Like a Virgin": Ask a hundred people what this song is about, and you’ll get a hundred interpretations -- none as hilariously vulgar as Quentin Tarantino’s in Reservoir Dogs, but each as valid. "Like a Virgin" was actually written by a couple of men (Billy Steinberg and Tom Kelly), and that makes the finished Madonna product all the more ambiguous. Atop a bassline like the one heard in "Billie Jean" - another complex song about purity and sex - Madonna is coquettish yet knowing. "Like a Virgin" is about reconnecting with lost innocence through the act of lovemaking, a counterintuitive idea that was bound to confuse people. It didn’t exactly clarify things when she wore a wedding dress and humped the floor while performing the song at the inaugural MTV Video Music Awards.
Billboard 11/12/2014

01. A1 Material Girl (04:02)
02. A2 Angel (04:00)
03. A3 Like A Virgin (03:43)
04. A4 Over And Over (04:14)
05. A5 Dress You Up (04:03)
06. B1 Love Don't Live Here Anymore (04:50)
07. B2 Shoo-Bee-Doo (05:20)
08. B3 Pretender (04:35)
09. B4 Stay (04:07)



UploadRar
UsersDrive