четверг, 27 апреля 2017 г.

The Brontosaur - The Brontosaurus

Bitrate: 320K/s
Year: 2008
Time: 55:33
Size: 129,0 MB
Label: Grand Caravan Records
Styles: Rock
Art: Front

Tracks Listing:
 1. The Brontosuaurus - 4:42
 2. Some Of Them Are In Love - 3:27
 3. One - 4:23
 4. Aphid (Wait For The Answer) - 2:56
 5. Tire Fire - 4:28
 6. Dick Dale - 4:22
 7. Novosibirsk - 4:57
 8. Two Aeronauts Explode - 4:45
 9. This Is Not A Paradise - 4:05
10. Panda Land - 4:54
11. Viking Oarship - 5:41
12. Bombs Away - 2:20
13. Question Mark? - 4:29

The Brontosaurus LP is "...a heavy, psychedelic, engaging set of songs. The album rocks, a well-crafted, thoughtfully constructed beast of many faces: dark, experimental, enticing, and imaginative."
-Lisa Zyga, Innnocent Words Magazine
The mighty Brontosaur once lived in Los Angeles. It acquired audio technology.
One of the preceding statements is true. The other will soon be true.
Americans agree that the Brontosaur loves freedom. Rather, it would have loved freedom had it not been trapped in a tar-swamp eons ago. Recent studies indicate that a foreign space craft called "The Saturn" (piloted by the from-space-in-the-future-equivalent of a male-female tandem of Russian scientists) saved the Brontosaur from certain demise (at the hands of what is known in the future to be the most obvious cause of extinction but cannot be repeated here in the past for obvious reasons) in an act of direct insubordination toward the specific instructions from Maxwell, the head of the Planetary Council of American Freedom (PCAF). This album is their story.
Incidentally, musicians t.parks (Firetrucs), kellii scott (Veruca Salt, Failure), and brian gruidl (Firetrucs, So It Goes) were recruited to perform the soundtrack (in modern day). Guitars and drums are prominently featured. The video is not, and will not, be readied, so our generation is left with only audio and a faint smell of Syrniki (made of quark). To keep audio costs down, we have opted for a classic "rock and roll" theme, instead of using "future music," which we assure you, is extremely expensive to reproduce.

The Brontosaurus

Maurizio Fabrizio - Movimenti Nel Cielo

Bitrate: 320K/s
Year: 1978
Time: 42:16
Size: 96,9 MB
Label: Universal Music Italia s.r.l.
Styles: Progressive Rock/RPI
Art: Front+ Back

Tracks Listing:
 1. Cielo - 1:07
 2. Pianeti - 2:22
 3. Danza Delle Stelle - 2:34
 4. Movenze Degli Anelli Di Saturno - 2:43
 5. Episodio Lunare - 6:52
 6. Cielo - 1:04
 7. Movimenti Del Cielo - 6:05
 8. Il Sole - 7:46
 9. Nascita Dei Nuovi Satelliti - 2:02
10. Sputnik Suite - 4:38
11. Danza Delle Stelle - 3:07
12. Movimenti Del Cielo - 1:51

"Italian composer, singer and guitar/mandolin player, born in 1952. He has backed many of Angelo Branduardi's albums and tours."
Come da titolo, avevo il vinile da ragazzo ed a furia di ascoltarlo l'ho distrutto; poi per lunghi anni l'ho cercato ed ora non lo lascio più. Sensazioni divine, ricordi annacquati che improvvisamente sono riaffiorati riportandomi agli anni dell'università e della gaiezza. Addio beata innocenza e grazie a Maurizio Fabrizio per avermela almeno ricordata. Non puó mancare.

Movimenti Nel Cielo

Riverside - Lost 'n' Found - Live in Tilburg

Bitrate: 320K/s
Year: 2017
Time: 51:34 + 52:18
Size: 119,0 MB + 120,3 MB
Label: Self Released
Styles: Progressive Rock
Art: Front

Tracks Listing:
CD1
 1. Lost - 7:56
 2. Feel Like Falling - 5:36
 3. Hyperactive - 5:29
 4. Conceiving You - 5:05
 5. Panic Room - 5:43
 6. Under The Pillow - 6:48
 7. The Depth Of Self Delusion - 7:32
 8. Saturate Me - 7:23
CD2
 1. Egoist Hedonist -  7:22
 2. We Got Used To Us -  5:37
 3. Escalator Shrine - 20:25
 4. The Same River - 13:03
 5. Found -  5:48

Once every 10 years we add an exclusive concert release to our discography :) It is our pleasure to let you know that soon we'll add another one.
"Lost 'n' Found - Live in Tilburg" is a recording of our show in a Dutch club 013 in Tilburg, which took place in the autumn of 2015.
The double CD with graphics designed by Travis Smith will be available only at our this year's shows of "Towards the Blue Horizon Tour".

Lost 'n' Found - Live in Tilburg

среда, 26 апреля 2017 г.

Lamb & Meyer [feat.Gregg Karukas, Nathan East, Ricky Lawson, Paul Jackson Jr.] - Don't Get No Better

Bitrate: 320K/s
Year: 2007
Time: 19:29
Size: 44,8 MB
Label: Bluehour Records
Styles: Jazz/Smooth Jazz
Art: Full

Tracks Listing:
1. Hands Of Passion - 3:47
2. Don't Get No Better - 3:50
3. Birdland - 3:37
4. Something Feels So Good - 4:11
5. You'll Never Know - 4:02
6. Give Me More Lovin - 3:30
7. Without Your Love - 4:36
8. Don't Get No Better (vocal version) - 3:39
9. Bon Voyage - 3:41
10.Cup Of Coffee - 4:32

In the '90s and 2000s, the Bobby Caldwell effect became something of a glorious smooth jazz tradition -- from Dave Koz and Boney James to Richard Elliot and Michael Lington, it seemed like being a sideman for the singer was a sure launching pad for solo success in the genre. A sure bet to keep that streak going in 2007 was saxophonist Patrick Lamb, but rather than break out as a solo artist, he did it as part of a duo with another respected smooth jazz sideperson, percussionist and vocalist Patsy Meyer (Norman Brown, Peabo Bryson, Patti Austin). The washed-out photos of the duo and horribly bland packaging colors belie one of the year's more vibrant, in-the-pocket indie offerings in the genre. Everybody in that era was doing covers, but few were as intense, passionate, and fingersnap-worthy as the duo's explosive, brass-filled jam on "Birdland." The disc  gets  off to an easygoing start with the seductive and super-catchy "Hands of Passion," which grooves easily along with the support of keyboardist  Gregg   Karukas , guitarist Michael O'Neill, and flügelhornist Steve Madaio. Lamb bursts into heavily soulful Richard Elliot territory with his feisty blowing on " Don't   Get   No   Better " before "Birdland" cements the duo as a true force to be reckoned with. The two ballads which follow are a study in contrasts; "Something Feels So Good" is nice but bland (and is hindered by breathy dual vocals), but "You'll Never Know" restores whatever passion was lost. The two are much more effective on the vibrant funk vocal "Give Me More Lovin'" and the voice version of " Don't   Get   No   Better ." The closer, "Cup Of Coffee," best displays Meyer's penchant for effective vocal jazz/blues. While every track is not a slam-dunk winner, what's clear is that Lamb and Meyer are embraced by the community; L.A. jazz stars like  Paul   Jackson ,  Jr ., Grant Geissman, Abe Laboriel, and  Ricky   Lawson  all contribute strongly to this promising effort.

Don't Get No Better

Ides of May - Lookin' for Trouble

Bitrate: 320K/s
Year: 1994
Time: 46:33
Size: 106,9 MB
Label: Tramp/Munich Records
Styles: Electric Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Louise - 3:40
 2. Don't Let Me Down - 3:01
 3. You Can Walk Away - 2:29
 4. Bad Girls Looking for Fun - 3:54
 5. What's the Matter - 3:06
 6. Shake That Thing - 4:01
 7. Roomful of Blues - 3:38
 8. The Sun Can't Shine Anymore - 2:53
 9. Down the Road - 3:07
10. I'm Not That Kat Anymore - 3:13
11. Ridin' on a Free Train - 3:01
12. Smokey Joe's Cafe - 3:10
13. Be My Girl - 2:56
14. Lookin' For Trouble - 4:18

The Ides of May include an uncompromised style and directness in their blues. Their collective experience on this recording, and the band's progression takes a step further here. At hand, is a well balanced album that comes from a love for the music and recreates the energy and emotion seen at their live performances. The material is mostly original, and well supported by a tight unit (such as only comes from years of playing together). If you are into a tough, electrified blues style, then this one is for you. The originals (which represent most of the songs) on this CD are gems, and were culled from a list of over 40 self-penned songs.

Lookin' for Trouble

воскресенье, 23 апреля 2017 г.

Vargas Blues Band - Cambalache & bronca

Bitrate: 320K/s
Year: 2017
Time: 61:36
Size: 141,3 MB
Label: KZoo Music
Styles: Blues/Latin Blues Rock
Art: Front

Tracks Listing:
 1. Cambalache & bronca - 3:55
 2. No te rindas - 4:48
 3. Sucio y desprolijo - 3:40
 4. Ana no duerme - 4:10
 5. Viento, dile a la lluvia - 3:49
 6. Escapando de mi - 3:32
 7. Plegaria para un nino dormido - 4:23
 8. La bals - 3:51
 9. Avellaneda blues - 4:45
10. Espíritu celeste - 4:32
11. A estos hombre triste - 4:13
12. Mister Jones (Retrato de una familia americana) - 1:54
13. Post crucifixión - 3:15
14. Todo el dia me pregunto - 6:40
15. Algo flota en la laguna - 4:02

Javier Vargas y su Vargas Blues Band estrenara su nuevo disco Cambalache & Bronca (2017, KZoo Music), proyecto en el que recupera temas legendarios de autores argentinos y una composicion con Manolo Tena.
El primer single, abriendo el album, lleva tambien por titulo Cambalache & Bronca,  del que se ha realizado un video absolutamente demoledor, con imagenes que consiguen impactar, junto con la musica, en el espectador. El disco ha sido grabado, mezclado y masterizado en los estudios Cube de Madrid por Alberto Seara y bajo la produccion y guitarras del propio Javier Vargas, el album saldra a la venta el 21 de Abril.
Javier Vargas and the Vargas Blues Band return with a new project: Cambalache & Bronca (2017 KZoo Music). Recorded in Spanish, it includes legendary songs by Argentinian artists and a song he wrote with his dear friend Manolo Tena when they recorded the album Spanish Blood together: “No Te Rindas”, which will also be one of the singles of the album. This song also features singer and guitarist Jose Rulo (voice in “No te rindas” and “Sucio y desprolijo”), who will also take part of the tour along with other reputed musicians and members of the band: Luis Mayo (voice and bass), Juan Carlos Mendoza (bass), Miguel Angel Cap (drums), Oscar Quesada (drums), Jota Marsan (drums), Gustavo Segura (drums), Peter Kunst (drums). The album also features Litto Nebbia (voice in the “Viento dile a la lluvia”).

Cambalache & Bronca

суббота, 22 апреля 2017 г.

Etna - Puzzle

Bitrate: 320K/s
Year: 1994
Time: 48:08
Size: 113,5 MB
Label: Gimini Music
Styles: Progressive rock/Eclectic prog/Zeuhl
Art: Full

Tracks Listing:
 1. IEOA - 5:26
 2. Murmures - 6:06
 3. Aria - 5:58
 4. Noises Of Aria - 4:21
 5. The Winner - 7:12
 6. SOS (Part 1) - 4:47
 7. SOS (Part 2) - 2:57
 8. Man In Blues - 5:13
 9. One More Day - 6:04

Musicians:
Laura Mars — vocals
Didier Lebargy — keyboards, percussion
Eric Sempe — guitar
Bernard Paganotti — bass
Remy Bailet — keyboards, piano, percussion
Lydia Domancich — synthesizer
Jean-Marc Baccarini — saxophone, electronic woodwinds
Laurent Gérard — drums
Gérard Lhomme — percussion

Etna is a little-known French project includes Bernard Paganotti, Magma member. Lyrics in English and French. This album was released in 1994 by the French label Gimini Music.

Puzzle

Big Big Train - Grimspound

Bitrate: 320K/s
Year: 2017
Time: 67:52
Size: 156,0 MB
Label: Giant Electric Pea
Styles: Progressive Rpck/Crossover prog
Art: Front

Tracks Listing:
 1. Brave Captain - 12:37
 2. On The Racing Line -  5:11
 3. Experimental Gentlemen - 10:01
 4. Meadowland -  3:36
 5. Grimspound -  6:55
 6. The Ivy Gate -  7:26
 7. A Mead Hall In Winter - 15:19
 8. As The Crow Flies -  6:43

On Grimspound, Big Big Train tells stories from the oceans and the skies, from the meadowland and the mead hall, tales of scientists and artists and poets and dreamers. Here can be found songs drawn from history and folklore, true - life tales of a flying ace, of Captain Cook's experimental gentlemen on his first voyage of discovery and the legend of a ghost waiting outside an ivy gate whilst the carriers of souls circle overhead.

Grimspound

Danny Bryant - Big [Live in Europe]

Bitrate: 320K/s
Year: 2017
Time: 89:31
Size: 205,2 MB
Label: Jazzhaus Records
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Temperature Rising -  5:53
 2. Just Won't Burn - 11:52
 3. Prisoner of the Blues -  6:09
 4. Holding All the Cards -  7:29
 5. Greenwood 31 -  4:58
 6. Groaning the Blues -  7:02
 7. Blood Money -  5:35
 8. On the Rocks -  4:16
 9. As the Years go Passing By -  9:33
10. Take Me Higher -  4:59
11. Unchained -  6:52
12. Painkiller -  7:46
13. Stop Breaking Down -  7:02

Late last year, Danny Bryant released a new version of his song “Prisoner”, recorded with a nine-piece big band.  It was a hint of things to come as he followed that up with some live shows in Europe, and is now releasing a live album recorded at those shows.  He’s also doing three UK shows to coincide with the release of the album, with dates in Belfast, Edinbugh and London on 27th, 28th and 29th April.  Needless to say, touring with so many musicians is boudn to be expensive which is why there are a limited number of dates on the tour.  Happily though if you can’t make it to one of the live shows, you can at least enjoy the experience of hearing Danny Bryant playing with a big band with this album.
The set list for these shows included five songs from the Blood Money album, a couple from the previous album (Temperature rising) and the rest from earlier albums or cover versions.  I love Danny Bryant’s albums and his normal live performances are great, but the brass section of the big band really helps lift them to another level.  I can certainly see why he wanted to perform with a big band.  The horns aren’t overused though, just where they can add to a song, and there’s till plenty of time for the guitar to be the centre of attention, such as in “As the years go passing by”, where there are long stretches with the guitar solo holding your attention with the keyboard and horns used just occasionally.
It’s a superb live release – highly recommended.

Big [Live in Europe]

Kate Lush Band - Let It Fly

Bitrate: 320K/s
Year: 2017
Time: 52:28
Size: 120,2 MB
Label: Self Released
Styles: Blues/Funky Blues
Art: Front

 1. Pack it up - 3:32
 2. River Flow - 4:05
 3. Last Mistake - 3:32
 4. Come with Me - 5:21
 5. Yours or My Way - 4:12
 6. Stranded - 4:45
 7. Somebody Like Me - 3:56
 8. I've Moved On - 5:03
 9. Roll Over You - 3:28
10. High Time - 3:59
11. Good Good Love - 5:04
12. Angel From Montgomery - 5:26

Lush is taking off into a whole new stratosphere, right now with her brand new award winning album LET IT FLY. The Aust Blues Chain Award winner is in creative overdrive, firing out a #1 Album last year & rocking festival stages & venues all over Australia, & here she is again with her unmistakable soulful grit, that red hot band & some of the best songwriting around (recently picking up a 2017 U.S. IAMA 2017 (AAA) Finalist Award & U.S. ISC Semi Award).

Let It Fly

Gene Segal - Mental Images

Bitrate: 320K/s
Year: 2014
Time: 54:20
Size: 124,8 MB
Label: Steeplechase Lookout
Styles: Jazz
Art: Front

Tracks Listing:
 1. Healing Feeling - 7:07
 2. Allegory Of The Cave - 7:29
 3. Minds Eye - 6:12
 4. Irrational Drive - 4:10
 5. The Bearded Lady - 7:57
 6. Trapeze Act - 7:01
 7. The Ringmaster - 9:50
 8. Elephants - 4:31

Musicians:
Gene Segal - guitar;
Sean Conly - bass;
Jon Irabagon - alto saxophone;
Sam Sadigursky - tenor & soprano saxophones, clarinet, bass clarinet;
Jaimeo Brown - drums.

Guitarist and composer Gene Segal has put the intervening years between Mental Images and his recording debut, Hypnotic (Innova Records, 2009), to good use. While Segal still loves the funk, as the opening "Healing Feeling" definitively shows, the remainder of the album doesn't easily fit into any one musical pigeonhole;unless there's a category at your local music store called "accomplished, original jazz-rock from out of left-field."
Russian-born and Brooklyn-raised, Segal has assembled quite a band for "Mental Images." Jon Irabagon is everywhere these days, and he's definitely here playing alto in his typical virtuoso fashion. Sam Sadigursky, not to be overshadowed, plays several reeds; including some lovely bass clarinet on "Mind's Eye." Though he and Irabagon only share reed duties on "Healing Feeling," each proves to be a first-rate front-line partner for Segal. The drums / bass combination of Jaimeo Brown and Sean Conley is mercurial and adaptive enough to keep up with the young guitarist who, it turns out, can be quite a handful.
A quirky and unpredictable soloist, Segal's playing style is as mutable and restless as his composing. He gets his John Scofield on for "Healing Feeling" but quickly turns to a more personal style on "Allegory of the Cave," a dreamy waltz enlivened by the rhythm section's tight-but-loose interplay. The rest of the title suite stays in a harmonically hazy, almost free-ish mode, though Segal's incendiary duet with Irabagon on "Irrational Drives" closes the song cycle out with a huge exclamation point.
The second suite, "Circus Music," starts off in a similarly reflective mode, though fine solos by Sadigursky and Segal ramp the energy up during the course of "The Bearded Lady." "Trapeze Act" is a delicate filigree, while the swaggering, bluesy "Ringmaster" is perhaps the most forthrightly jazzy piece on the album. "Elephants" is the real surprise; a heavy sort of tune with a lugubrious theme, Segal's solo is an all-out twisted, distorted noisefest that could make Brandon Seabrook green with envy. Sadly, the piece fades out in the middle, ending an otherwise fine album rather weakly.
The fact that Mental Images is comprised of two conceptually- distinct four-part suites suggests that the music of guitarist Gene Segal may be rooted in something deeper than a simple desire to earn a living playing original music. Segal's brief liner note points out Olivier Messaien as a seminal influence. While it's tough to establish a clear link between Messaien's mathematically-driven avant- gardism and the turbulent jazz rhythms and complex harmonies that pervade Mental Images, Segal singles out Messaien's notion of working with (or against) self-imposed compositional limitations as something that's really fed his musical soul. Just what these limitations might be is left for the listener to decide.

Mental Images 

пятница, 21 апреля 2017 г.

Lyres - On Fyre

Bitrate: 320K/s
Year: 1984
Time: 32:31
Size: 75,4 MB
Label: New Rose Records
Styles: Rock/Garage Rock
Art: Front

Tracks Listing:
 1. Don't Give It Up Now - 4:09
 2. Help You Ann - 2:30
 3. I Confess - 2:52
 4. I'm Telling You Girl - 1:40
 5. Love Me Till The Sun Shines - 3:59
 6. Tired of Waiting - 3:07
 7. Dolly - 4:19
 8. Soapy - 3:45
 9. The Way I Feel About You - 2:44
10. Not Like The Other One - 3:22

Originating from Massachusetts, Lyres were maybe the one '80s band that came so close to recapture the rockabilly stripped down sound and the aesthetics of the British invasion. That’s not only due to the fact that two Kink tunes, and a couple more originating from Pete Best and New Colony Six, were covered; it’s not even due to the organ retro driven sound of Conolly impregnating '60s all over the place. It is evident in the originals present on their debut release. They captured the essence of the aforementioned scenes, with a gritty twist more befitting the punkish nature of a rhythm section - drummer Paul Murphy and bassist Rick Coraccio - formerly part of DMZ. Still, the voice and driving force is Jeff Conolly. Expect the rawish production, trebly frequencies all over, live in-studio recording approach… a loose yet punchy rhythmic feel - garage stuff.
If it were not for the ill-natured stalky lyrics of “Help you Ann”, this album could find its place back in 1965 - somewhere on British soil, but that sinister twist of content makes me presume that the Lyres, could be an alloy of the original Sonics plus Question Mark & The Mysterians, who succumbed into a different version of the Philadelphia experiment and reappeared 20 years later.
“Don’t give it up now” with its beat music influenced guitar opener, brings to mind Johnny Kidd and the Pirates, soon giving way to the - oh so promising - Lyres sound. In equal parts muddy/defined, mental/healthy, retro/intro–ductional. Lyres care to remind us that they like the Kinks even when they're not covering their tunes. In “I’m telling you girl”, a jam during what follows the intro sounds like a gal really got Conolly on speed, and he decided to psyche it out with Lyres - it lasts less than two minutes. Now, there is a fine limit between a relaxed approach and a sloppy one; these guys stroll around this edge, sometimes threatening to fall over, maybe because the eaves are “Soapy” or maybe because they want to sound that way; nonetheless, it’s not my cup of tea when they do so.
There is also a fine limit of cover ratio that can deter overall value when exceeded. An equal percentage of adequate to good covers, providing the backbone for this release, makes me stroll around slippery ledges too. So, some tracks that should have been rehearsed more, four tracks ranging around the pass mark or a hint higher, and an intro cluster of superb originals may rank "On Fyre" a necessary purchase for all the garage-rock enthusiasts - or all those who seek out a convincing, retrospective '80s glimpse towards the '60s. The rest may want to keep the skip button handy after the first bunch, though if they miss them, they are in for a huge loss.
As for me, I never thought I'd appreciate the cd player, and, if the couple of “Don’t Give it up Now” and “Help you Ann” were singles, I confess that I'd be hitting the five button hard in an effort to court them.

On Fyre

Earnest "Guitar" Roy - Come On Let's Juke

Bitrate: 320K/s
Year: 2017
Time: 40:55
Size: 94,1 MB
Label: JunBug Record
Styles: Blues/Mississippi Delta Blues
Art: Front

Tracks Listing:
 1. Born in the Delta - 4:55
 2. Earnestly - 3:16
 3. It Hurts Me Too - 3:49
 4. Going out Swinging in Clarksdale - 3:44
 5. Can't You See - 4:28
 6. Your Love - 4:10
 7. I Didn't Know - 4:52
 8. Caught up in a Trap - 2:58
 9. Come on Let's Juke - 4:14
10. Where Can She Be - 4:26

My music comes from the second generation of the original blues.

Come On Let's Juke

Phideaux - Number Seven

Bitrate: 320K/s
Year: 2009
Time: 62:52
Size: 158,4 MB
Label: Bloodfish
Styles: Progressive Rock/Crossover Prog
Art: Full

Tracks Listing:
 1. One: Dormouse Ensnared - Dormouse - A Theme - 1:08
 2. One: Dormouse Ensnared - Waiting for the Axe to Fall - 6:13
 3. One: Dormouse Ensnared - Hive Mind - 4:00
 4. One: Dormouse Ensnared - The Claws of a Crayfish - 5:41
 5. One: Dormouse Ensnared - My Sleeping Slave - 3:26
 6. Two: Dormouse Escapes - Darkness at Noon - 1:50
 7. Two: Dormouse Escapes - Prequiem - 1:53
 8. Two: Dormouse Escapes - Gift of the Flame - 6:08
 9. Two: Dormouse Escapes - Interview with a Dormouse - 1:17
10. Two: Dormouse Escapes - Thermonuclear Cheese - 1:54
11. Two: Dormouse Escapes - The Search For Terrestrial Life - 5:32
12. Two: Dormouse Escapes - A Fistfull of Fortude - 2:41
13. Three: Dormouse Enlightened - Love Theme From  'Number Seven' - 7:06
14. Three: Dormouse Enlightened - Storia Senti - 6:42
15. Three: Dormouse Enlightened - Infinite Supply - 4:57
16. Three: Dormouse Enlightened - Dormouse - An End - 2:16

As a preface I'll begin with the moment of the release of this album - the end of the 00s or 2009. The progressive rock music is close to another peak at its creativeness after the late 70s. So I want to be a good prophet, when I say the 10s will be the revival of the most accomplished works of progressive rock. The preparation for this began probably somewhere in 2006 with a lot of creativeness in all consecutive years after that - 2007, 2008, 2009.
One of the most authentic proof about my above words is the newest album by Phideaux called Number Seven. This remarkable work of art is strong and true candidate of best album for 2009 and valued candidate of greatest crossover prog album of all time (in our PA sub-genre division) as well. Number Seven is a perfect blend of classic art rock with fibres of celtic folklore, country music, classical music and psychedelia. Everything is combined very mature. For example, melancholic and cheerful moments goes hand-in- hand perfectly.
Phideaux's Number Seven is very similar and strongly reminds me to some preceding artists like Pink Floyd and Mike Oldfield (my favourites). So, of course, it's highly recommended to all the fans of Pink Floyd and Mike Oldfield. Where exactly the similarity is? The similarity with Pink Floyd could be found in some very elegant psychedelic moments, the way of structuring of all harmony back vocals, crystal guitar solos, the slow precise drumming and bass playing styles at the beginning of ideological part or shifting the tempo at the middle, and, of course, some acoustic moments including the male vocals. The similarity with Mike Oldfield could be found mostly in specific crossover-typed structure with returning and repeating motifs and mainly in celtic-oriented folklore music, but I should not forget the female vocals, which are very close.
And now it's time for the most important part of my review - the structure of the album. Yeah, it's the most important part for any crossover prog album, because it's the charm of this sub-genre. Here the structure of the album is divided in three part. All of them are constructed absolutely precise with logical links between. Each of the phases contains its own logical inception of the action, development of the action, culmination, denouement and an end. Moreover, the beginning and the end are connected, too! The themes and motifs of the composition are implicated into a chess game. There are so many turns and you can't remember everything. With every next playing you realize more and more new moments. So you have to remember you turns and their meanings, if you want to win the game/understand something.

Number Seven

Louie Shelton - Urban Culture

Bitrate: 320K/s
Year: 2000
Time: 43:27
Size: 99,7 MB
Label: Lightyear
Styles: Jazz/Smooth Jazz
Art: Front

Tracks Listing:
 1. Mandalay Sunset - 4:10
 2. Uptown - 4:33
 3. No Secrets - 4:26
 4. Teardrops - 4:08
 5. Inner City Blues - 5:10
 6. Urban Culture - 4:26
 7. Boogaloo - 4:05
 8. Shirade - 3:57
 9. Street Walkin' - 4:03
10. Magic Moments - 4:25

Musicians:
Louie Shelton - guitar;
Pat McDonald - drums;
Victor Wooten- bass;
Leroy Ayers -keyboards;
Jim Horn - saxophones;
Mark Douthit - trumpet;
Steve Herrman - trumpet;
Steve Patrick - horns;
Charles Rose - trombone.

Louie Shelton is a talented session guitarist who's appeared on countless pop albums with the Monkees, Barbara Streisand, Marvin Gaye and many more. Two of Shelton's more memorable contributions were the killer opening segment on the Jackson 5 hit "I Want You Back" and the tasty guitar solo on Boz Scaggs'"Lowdown."
In 1996, Shelton delivered a fine solo release ( Guitar ) that was edgy enough to please fusion fans but catchy enough for contemporary jazz radio. Unfortunately, Urban Culture is too obviously targeted at the latter.
Not that Urban Culture is a terrible album. Shelton's fretwork rescues some of these songs from the snooze jazz abyss, and his playing throughout seems derivative of Wes Montgomery. But the mechanical drums and somnolent synthesizers conform to the smooth-jazz formula. And the boundless talents of Flecktone bass playerVictor Wooter go completely to waste in this restraining format.
Urban Culture is similar to some of Lee Ritenour's more formulaic pop-jazz . To me this stuff is the jazz equivalent of fast food, but if you're into unobtrusive background music with mildly funky beats and catchy guitar playing, this one should float your boat. The opener "Mandalay Sunset" sounds like a Steely Dan instrumental with a Kenny G-ish sax solo. The songs " "Boogaloo" and "Street Walkin'" are harmlessly funky, and "Inner City Blues" swings harder than most contemporary jazz.
Nevertheless, fans of Guitar will mostly be disappointed by Urban Culture. Louie Shelton is capable of much more substantial music, and diehard jazz fans may want to wait for his next release. He will reportedly dabble in straight-ahead jazz on that one.

Urban Culture

четверг, 20 апреля 2017 г.

Dead Heroes Club - Everything Is Connected

Bitrate: 320K/s
Year: 2013
Time: 49:25
Size: 114,1 MB
Label: Self Released
Styles: Progressive Rock/Neo-Prog
Art: Full

Tracks Listing:
 1. The Hunger -  7:19
 2. Truth -  5:27
 3. Machine In The Garden - 10:00
 4. We Breathe Together -  8:28
 5. Exit The Queen -  3:56
 6. Sale Of The Century -  8:36
 7. Watching And Waiting Man -  5:35

Dead Heroes Club is now three albums into a fascinating prog career, perhaps undeservedly underneath the swoop of the radar, which is a sad state of affairs! Especially with this latest offering, the lads have ventured into their own personal zone, though still infused with Fish-era Marillion vibes , mostly due to the growling voice of lead singer Liam Campbell (more Chris Thompson than the Pisces man) as well as the spectacular lyrical content that simply glow fiercely when united by passion and flair (after all, they are Irish!). The biggest impression is the groove-infested material which keeps the listener on edge throughout the diverse tunes, very slickly played and delivered with stylistic gleam. The band has remained intact from the last album, the splendid 'A Time of Shadow', easily the revelation of 2009 with guitarist Gerry McGerigal showing a wide palette of tones, from Andy Summers-like riffing, tinges of Jamie West-Oram of the Fixx in his rhythm work and brief-to the point soloing, keyboardist Chris Norby colors mightily on organ, piano and synths while bassist Wilson Graham carves with the best of them. Michael Gallagher keeps time with menacing precision and deft cleverness. This is a well-oiled crew, battle hardened and driven by a common progressive vision (after all, they are Irish!). They must be amazing in a live context.
The material is way bluesier than ever before, intelligently sparse when needed and eschewing any overt symphonicism in favor of hitting the gut directly and hard (after all, they are Irish!). Case in point, the slow-burn instrumental intro on the opening track, 'The Hunger', building up pangs of yearning and sweltering saliva. Tick-tock drums, clanging guitar, swirling synthesizers and doom-laden bass conjure up images of craving urgency, sublimed by Liam's explicit delivery , shifting on a The Police-like rhythm that just blitzes ahead wildly. Bang! Tremendous 7 minute+ first impression.
'Truth' is a shorter piece that contrasts shockingly, a soft ballad gushing with a Kaleigh-like groove, unafraid to show their Marillion influences, proving once again how important the 'Script For a Jester's Tear' was to the nearly dead prog scene in 1983. Breezy, passionate, airy and highly hummable, this is a great uplifting tune, quite needed as the rest of the material here is slick but intense. Exhibit A , the majestic 10 minute bruiser 'Machine in the Garden', an assault gun riff hammered implacably by the rhythm crew, slowly settling into a stupendous bluesy groove adorned by red hot electric guitar licks and Liam's ardent vocals. 'Everything is connected' both instrumentally and lyrically, bundled into an impressive arrangement that has the hallmarks of being a classic. The chorus is anthemic and addictive but the vocoded modern bit is just super cool (I am not a big fan generally of such devices but here the subtlety is sly!) as it leads onto a platform for some intense jamming and soloing. The axe gets tortured big time, poor thing!
Some respite is needed after such a blowout and it arrives in the shape of a gentle symphonic reverie, a gorgeous piano leading the swoon. Bassist Graham ignites a dense low-end rumble that blooms into a suave lilt, Liam breathing together with the by-now captive audience and vaulting the tune into agonizing heights. 'We Breathe Together' is a cry of our confused age, where social consciousness is vibrant but still without leadership, still 'divided by tribes'. The lyrical content is inspiring and political (after all, they are Irish!), finally a band unafraid to spit out its contempt for the cynical corporatism of lies and cheats who flood the headlines by the CNN second. Another tremendous winner!
You want more controversial politics, how about 'Exit the Queen', a song that maybe perceive as a rant against the British monarch (after all, they are Irish!) but is cleverly disguised as an ode to a forgotten star of the silver screen, who plays 'one final role to sell magazines'. As a fan of innuendo and wordplay, I just go gaga over such genial material, especially within a prog context, as one cannot live in a cosmic fantasyland for ever. . Short, hard and to the point.
The cinematic 'Sale of the Century' showcases more bitterness and bile, a raw 8 minute + rail against the blatant' hypocrisy from the Ministry of Wealth', reminding the billions of blind web surfers that 'There is money in the blood we spill, there's currency in the kill'. Powerful, visionary, angry and courageous, Dead Heroes Club tackle issues that seem to be 'ostriched' by so many, as we only have Internet time for the who, the what , the where and the when but never the why! 'No more', Liam screams, 'not in my name'. Rousing, growling guitar and raging organ blasts this tirade into outer space.
The best track is saved for last, the magnificent 'Watching & Waiting Man' , a groove tune that shows off the first overt Celtic influences with a typical swirling melody (could have been done on Uilleann pipes) that conjures images of taciturn steadfastness, (after all, they are Irish!) whilst offering a semblance of a solution , as the title clearly implies.
I love smart music and Dead Heroes Club serve up some clever combinations of musical philosophy and intelligent progressive rock. There was once a man who made a career of it (Derrick Dick aka Fish) and I am happy to witness this legacy in 2013 . Brilliant album with a tremendous feel, great sound, gorgeous artwork. Fans of early Marillion, Fish and first rate neo-prog should not let this masterpiece fade into oblivion.

Everything Is Connected

Black Betty & The Bad Habits - Voodoo Man

Bitrate: 320K/s
Year: 2006
Time: 29:13
Size: 67,0 MB
Label: Self Released
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Voodoo Man - 4:25
 2. Vigilante - 4:04
 3. Can't See the Sunshine - 3:56
 4. Big Slim - 4:15
 5. Possession - 4:20
 6. All Right Now - 4:09
 7. Fricasee - 4:00

Black Betty and The Bad Habits is a Modern Rock band with an old soul- ala "Janis Joplin meets Garbage". Think the younger generation doesn't know the Blues? Think again...
Black Betty and The Bad Habits are described by prominent New England producers as a “Modern rock band with an old soul” ala Garbage crossed with Janis Joplin. Officially named one of the “Best New and Original Bands” by Berklee College of Music at the 2006 New Music Festival and 2005’s “12 Best Blues Bands in Boston” by the Boston Blues Society, their high energy shows and unique sound have been gaining notoriety amongst the college rock scenes, blues enthusiasts, and rockabilly crowds alike.
This young and rowdy group joined forces in 2004 at Berklee College of Music in Boston, MA. Drawing on influences including Led Zeppelin, Aerosmith, Muse, No Doubt and vintage blues, Black Betty and The Bad Habits have forged a new flavor of rock loved by their audiences and demanded by radio listeners! Fronted by the retro pinup model Black Betty, their debut album “Voodoo Man” features electrifying guitars, wailing keys, funky bass, slammin’ drums and can currently be heard on major, college, internet and XM radios stations!
Black Betty delivers aggressive yet graceful vocals, showing that girls can be every bit as strong as guys and even more sexual. When asked what makes her group different, she says,” We’re not trying to copy or sound like anyone else. We might be young, but we’re not playing what’s on MTV- We’re taking the roots of rock and adding a modern edge. We’re taking modern music and adding vintage sounds. Ok, we’re just having fun.”
Their debut album features seven original tunes, and is co-produced by the band and Bob Yen, Jr. of MDI Productions. Bob has been priviledged to work with some of the finest musicians anywhere, such as: Denny Dias (guitarist of Steely Dan), Joe Pet (drummer for The Joe Perry Project (of Aerosmith)), Jack Pearson (guitarist for the Allman Brothers, Jimmy Buffett, Delbert McClinton, etc), Tom Hambridge (drummer for Roy Buchanan, Chuck Berry, Bo Diddley, Lynyrd Skynyrd, George Thoroughgood and Susan Tedeschi), Larry Paxton (Bassist for Dolly Parton, Reba McEntire, Kenny Rodgers, Roy Orbison, George Jones, etc.), and many others.
Oh, but keep in mind that this ain’t your Grandaddy’s blues- The faint of heart need not apply…

Voodoo Man

Elora - Crash

Bitrate: 320K/s
Year: 2013
Time: 57:57
Size: 132,9 MB
Label: PPR
Styles: Progressive Rock/Crossover prog
Art: Full

Tracks Listing:
 1. Se Taire - 4:12
 2. Elle Espere - 3:55
 3. Annee Lumiere - 5:15
 4. Ici Encore - 6:08
 5. Lespoir Pt 1 - 5:37
 6. Lespoir Pt 2 - 6:57
 7. Controle - 5:44
 8. En Paix - 6:21
 9. Elle - 4:56
10. Crash - 8:45

Musicians:
Damien Dahan – vocals
Lionel Giacobbe – guitars
Anastasia Moussali – vocals
Patrice Cannone – keyboards
Jean Vincent Filipinni – bass
Sebastien Vignard – drums

Prolusion. The French band ELORA was formed in 2005, named after the daughter of bassist Jean-Vincent Fillipini. Following live performances in and around their base in Marseilles they released an initial EP in 2010, and in 2013 they signed with the German label Progressive Promotion Records for the release of their debut album "Crash".
Analysis. Citing bands like Porcupine Tree, Riverside and Pink Floyd as some of their many influences, Elora is a band that has chosen an accessible variety of progressive rock as their chosen field. Which makes their choice of record label a natural one, as Progressive Promotion Records have started making a name for themselves by signing progressive rock bands that have chosen fairly appealing and accessible variety of this kind of music as something of a specialty. Elora's take on this music is one that tends to stick fairly close to conventional rock music in main structure. Most compositions feature a distinct verse and chorus framework; you have an instrumental sequence around the halfway point, and the chorus or a variation of it is likely to appear towards the end of the songs. This general framework is, of course, flavored with alternative or additional themes, songs featuring a second set of verse and chorus constructions or otherwise expanding upon this canvas in a subtle or more distinct manner. We are talking about a progressive rock band after all. But the basic structure more often than not references back to this architecture. In terms of arrangements, alternating gentle and harder edged parts are the name of the game here. Careful, clean guitar motifs supplemented by piano, smooth keyboard textures or soft symphonic backdrops are usually reserved for verse passages, erupting into a harder edged, more intense display for the chorus section, occasionally drifting towards a metal tinged expression for the latter. With suitably complex rhythms increasing or decreasing intensity as needed, and with a sweet, driving bass guitar presence as a key feature. Male and female lead vocals are an important feature too, both of them featured as sole lead vocalists just as often as utilizing the dynamics of a dual lead vocals based setup to enhance the emotional impact of the songs. Strong and distinct moods, enticing melodies and strong lead vocals make this album an intriguing one to my personal taste, the opening quartet of songs most of all with many fine creations following in their wake. A strong debut effort by a band exploring a variety of progressive rock that should have a fairly broad reach.
Conclusion. Accessible, melodic progressive rock with a stated influence by Porcupine Tree, Pink Floyd and Riverside is what Elora has to offer on their debut album, and just like the fellow French band Delusion Squared arguably with the former of these as the most natural comparison as far as stylistic expression is concerned. Tight, elegant and enticing progressive rock in short, and of a kind and variety that makes it logical to recommend this album to fans of bands like Porcupine Tree first and foremost.

Crash

Mermaid Kiss - The Mermaid Kiss Album

Bitrate: 320K/s
Year: 2003
Time: 53:31
Size: 123,5 MB
Label: Self Released
Styles: Progressive Rock/Crossover prog
Art: Full

Tracks Listing:
 1. Mermaid Kiss - 2:26
 2. Breathing Under Water - 3:27
 3. Write My Name In Stars - 5:54
 4. Blind - 5:14
 5. Spirit - 4:02
 6. Soundchaser - 5:04
 7. This Feeling - 3:38
 8. Just Like You - 4:02
 9. Some Days Are Like This - 3:02
10. Like Water - 4:15
11. Fated - 3:00
12. Whisper - 3:48
13. Thirteen - 2:21
14. Mermaid Kiss Reprise - 3:11

Musicians:
Evelyn Downing - voice, harmonies, flute, and loops;
Jamie Field - guitar and bass;
Andrew Garman - keyboard, bass and drums.

Mermaid Kiss as a working band began in 2000 after Evelyn DOWNING (vocals, flute) and Jamie FIELD (Guitars) recorded some songs at The Goat Shed studio of Andrew GARMAN (Keyboard, Bass, Percussion) and decided to continue to work together as a studio band. Taking their name from one of their early songs, the band released the eponymous 'Mermaid Kiss Album' in 2003, which resulted in request for the band to play live supporting KARNATAKA in 2004.
In 2006, while Evelyn DOWNING was away at university, the remaining band members recorded an ep 'Salt on Skin' with Kate BELCHER and Kate EMERSON joining Evelyn in performing lead vocals.
In June 2007 the band released an album called 'Etarlis', a series of musical illustrations for a story written by Jamie and Evelyn. For this album the line-up was joined by Wendy MARKS (Woodwind) and Richard NORTHWOOD (Bass), with guest appearances from Guest performances from Troy DONOCKLEY (IONA) and Jonathan EDWARDS (PANIC ROOM & KARNATAKA)
Coming from a long history of UK female-fronted melodic rock bands, MERMAID KISS fill that crossover niche between Neo Prog of MAGENTA and the Prog Folk of KARNATAKA fused with the radio-friendly Pop of ALL ABOUT EVE.
Mermaid Kiss are like no other band you've met in the Progressive Rock field and basically ''The Mermaid Kiss album'' is an Art Pop album with minor prog sensibilities.The songs are strongly based on the beautiful and ethereal vocals of Downing and the rather minimilastic background instrumental music, which stylistically differs from track to track.However there is a light Neo Prog atmosphere throughout the release, much in the vein of TRACY HITCHINGS or KARNATAKA, but the major influence here seems to be KATE BUSH and here intense, lyrical style.The short pieces on this album have a very deep atmosphere with a strong emotional and melodic content.Guitars and bass are used sporadically and most of the music is driven by soaring synths and light piano passages along with the (rather programmed) drums.Very mellow and relaxing stuff indeed, but the incredible vocals of Downing are a unique experience alone.Additionally most of these pieces have a slightly orchestral mood and a ballad-esque atmosphere, but more in an artistic way, very far from syrupy and dull approaches.
For the die-hard Classic Prog fan, who starves for some technical performances, ''The Mermaid Kiss Album'' is propably not a great choice.However, if your heart still beats for some emotional, sensitive and rewarding Art Pop/Rock, this album is definitely a winner.Recommended.

The Mermaid Kiss Album

Osibisa - Uhuru

Bitrate: 320K/s
Year: 1992
Time: 47:42
Size: 110,1 MB
Label: Soundwings Records
Styles: Progressive Rock/Jazz-Rock Fusion
Art: Full

Tracks Listing:
 1. Sunshine Day - 5:02
 2. Welcome Home - 4:21
 3. Densu - 5:25
 4. Choboi (Heave Ho) - 5:10
 5. Do It - 4:25
 6. Right Now - 3:13
 7. Seaside Meditation - 5:17
 8. Uhuru - 3:30
 9. Kolomashie - 4:35
10. The Dawn - 6:39

Uhuru is a bootleg version of the album Welcome Home (1975) by British Afro-pop band Osibisa, released without authorisation in 1992 by Soundwings Records (MC-102.1076-2) and distributed by Serenade S.A., Barcelona, Spain. The CD duplicates the Welcome Home album (in poorer fidelity) with the addition of one track from Osibisa's live video.

Uhuru

Sheryl Crow - Be Myself

Bitrate: 320K/s
Year: 2017
Time: 45:32
Size: 104,8 MB
Label: Warner Bros. Records
Styles: Country/Country Pop
Art: Front

Tracks Listing:
 1. Alone In The Dark - 3:41
 2. Halfway There - 3:59
 3. Long Way Back - 5:07
 4. Be Myself - 4:22
 5. Roller Skate - 3:19
 6. Love Will Save The Day - 4:57
 7. Strangers Again - 3:51
 8. Rest Of Me - 3:52
 9. Heartbeat Away - 5:35
10. Grow Up - 3:27
11. Woo Woo - 3:16

Multi-platinum-selling singer, songwriter, and musician Sheryl Crow will release a new album, entitled Be Myself, on April 21st via Warner Bros. Records.
For this album, Crow worked again with producer, musician, and songwriter Jeff Trott, a long-time collaborator throughout her career. Trott co-wrote many of Crow’s classic hits including “If It Makes You Happy” and “My Favorite Mistake.” Crow says her main goal was “to investigate what made my early songs strike people as being authentic and original. So for the first time in my life, I made it a point to sit down and really listen to my old records. I’d drive my kids to school and play the old stuff as I came back home. That helped me remember what it felt like when I was just beginning as an artist. But it wasn’t about repeating myself. It was about revisiting where I came from and seeing where that would take me now.”
Be Myself is like each of her preceding releases: thoughtful and candid. It’s unlike them too, mainly in that it represents contradictory movement — a look at the world today powered in part by a return to the energy that first lofted Crow and her music into the limelight.

Be Myself

Franc Robert - 49x61

Bitrate: 320K/s
Year: 2010
Time: 42:40
Size: 98,8 MB
Label: Self Released
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Goin Down South - 5:15
 2. House of the Rising Sun - 3:25
 3. 49 Cross 61 - 3:03
 4. I Got what I Wanted - 3:46
 5. Moving to Splitsville - 3:09
 6. The Boxcar Tourist - 3:25
 7. Queen of Hearts - 3:36
 8. Monday Morning Blues - 4:49
 9. Cross Roads Stomp - 3:48
10. Troubles Be on My Mind - 3:40
11. Back Alley Blues - 4:40

Original Blues For The 21st Century.The former leader of Back Alley Blues Band steps into the limelight with his first solo record, 49x61. Inspired by a trip to Mississippi, the title track "49 Cross 61", "Cross Roads Stomp", "The Boxcar Tourist" and "Goin Down South" all get that rock-solid down home blues feel. "House Of The Rising Sun" is a completely new take on one of the most revered American songs ever. "I Got What I Wanted" and "Moving To Splitsville" recall second generation Chicago-style blues, while "Monday Morning Blues" and "Back Alley Blues" explore the somewhat jazzier side of things. Rounding out the collection is "Queen Of Hearts" which is an ode to two staples of the blues-women and gambling, with "Troubles Be On My Mind" rounding out the set with a last-call feel before the dawn. Look for Franc Robert & The Boxcar Tourists around Florida real soon!

49x61

среда, 19 апреля 2017 г.

OHO - Recollections 1974-1976

Bitrate: 320K/s
Year: 2002
Time: 73:35
Size: 169,0 MB
Label: Self Released
Styles: Art Rock/Prog Rock/Psychedelic Rock
Art: Front

Tracks Listing:
 1. Tinker's Damn -  5:35
 2. Parade/Charade -  6:29
 3. The Salient Sickle Sucker -  5:24
 4. The Three - 14:30
 5. Lez Lee -  4:28
 6. Hyphenate Ice-Less -  3:43
 7. No Fewer Days -  3:12
 8. Nocturnal Recurrence -  4:09
 9. The Plague -  4:12
10. Dance of the Ivy Dog -  1:53
11. Fwombat -  3:29
12. Albumblatt -  3:16
13. Ms. Mouse -  3:57
14. Snow Lady -  2:56
15. Naming Oho -  0:23
16. The Hand Over Isaac's Head -  5:50

According to their website, OHO (from the initial three members' initials: O'Connor/Heck/O'Sullivan) coalesced around 1973, releasing the rare-as-rocking-horse-shit Okinawa independently a year later, losing a fair bit of money in the process. It's more than a little off-the-wall, with a vein of dark humour running through most of the lyrics (sample: "They buried her mother today"); it's probably a rather overworked comparison, but I detect some distinctly Zappa-esque nuttiness, with fewer knob gags. OK, none. I'd swear blind that Akron's finest, Devo, heard the middle section of The Continuing Story Of Cragwheel The Corpse somewhere down the line, and there's any number of other bits here that remind one of later acts, most of whom can't possibly have heard OHO. Mark O'Connor plays Mellotron, with The Salient Sickle Sucker managing some rather un-'Tronlike strings, although the choirs give the game away. The other highlighted tracks feature the string sound again (string section?), with a more upfront part in Gotta Write A Poem, though it's certainly not one of the album's chief components. A 1995 reissue of the album, on five 10" EPs (!), adds another 15 tracks, a few of which turn up on Vitamin OHO (italicised in tracklisting above). Minor extra 'Tron, with faint choir and strings on Hyphenate Iceless, choir on Lemon Flowers and strings on Sorry.
Many years and many lineup changes down the line, not to mention an eponymous 1989 album, Vitamin OHO was released on Germany's Little Wing of Refugees label, and seems to be the first of several attempts to collate the band's somewhat disparate history. Compared to Okinawa, it contains fairly straightforward material, although that has to be taken in the context of OHO, so we're not exactly talking top 30 stuff here. Actually, several of these tracks are exemplars of interesting song-based progressive (notably the fabulous Tinker's Damn), making it all the odder that the band are so little known in progressive circles. It's actually quite difficult to work out what's going on here, Mellotronically speaking; the band had clearly bought some form of string synth which wasn't a Solina, which I believe can be heard on Hyphenate Ice-less, but are those Mellotron choirs on Lemon Flowers? And strings on No Fewer Days and Fwombat? Definitely brass on Lois Jane, and plenty of strings on Tinker's Damn, a song written after seeing Genesis in 1974 as mentioned on the band's site - clock the opening lyric: "Tales and nursery crymes [sic], fill my head this hour...". Cheeky buggers. Incidentally, I can't hear Nocturnal Recurrence on my copy, although assuming it's the same version as on Recollections below, it seems to have some slight Mellotronic input.
Some years on again, 1998's Ecce OHO collects more odds'n'sods together, including several live tracks that don't add that much to the band's legend, to be honest. Not bad, just not that amazing, either. A couple of the studio tracks are especially worth hearing, but overall, this is a rather lesser collection than its predecessor. On the 'Tron front, I think that's strings on The Plague, and it definitely is on Per Ipsum and Here Come(s) The Oysters, and probably on Maiden Voyage, with an unexpected few seconds of choir on the live version of Hogshead, meaning they used it on stage, if only occasionally.
2002's Recollections (1974-1976) is something of a grab-bag of previously released and unavailable material, thrown together in a random fashion. Several track titles will be familiar to you from the above albums (although at least one, Hyphenate Ice-less, is a different version), while Lez Lee was not only the b-side of 1975 single Seldom Bought (on Vitamin OHO above), but would also have been on an unreleased album from 1976, Dream of the Ridiculous Band (although I've no idea if it's the same version), along with Parade/Charade, Albumblatt, Ms Mouse, Snow Lady Pt II and The Hand Over Isaac's Head, which only leaves a few unreleased album selections still unavailable. The Three is a medley of Seldom Bought, Lois Jane and Hogshead, as performed live, and Naming OHO is a studio mess-about. Apart from the previously-available tracks, there's a little Mellotron on Parade/Charade, with some upfront strings on Lez Lee, strings on Ms Mouse and choir on The Hand Over Isaac's Head. Actually, you couldn't get much more of a full-on OHO 'Tron album if you tried, could you? So; heavily recommended for both music and Mellotron.
Well; took me a little while, but I got through 'em! Okinawa's good, but hard work, Vitamin OHO and ...Ridiculous Band are more straightforward (sort of), Ecce OHO is definitely odds'n'sods, and Recollections is possibly your best starting point. More Mellotron than expected across the board, although an awful lot of it doesn't actually sound that Mellotronic. Maybe it isn't? I'm confused.
taken from http://www.planetmellotron.com/revo1.htm#oho

Recollections

Chuck Hall Band - Live!

Bitrate: 320K/s
Year: 2001
Time: 71:50
Size: 165,6 MB
Label: Velveeta Records(VRCD-004)
Styles: Blues/Blues Rock
Art: Full

Tracks Listing:
 1. Whole Lot of Lovin' -  4:28
 2. Bad To the Bone -  4:21
 3. Young Boy -  5:02
 4. Cold Shot -  5:13
 5. The Sky is Crying -  5:13
 6. Good Mind to Quit You -  5:08
 7. Sidetracked -  4:29
 8. The Wind Cries Mary -  3:51
 9. Too Young to Know -  5:20
10. I Didn't Get It - 15:09
11. Them Changes_Little Wing - 13:31

Musicians:
Chuck Hall - guitar, vocals;
Junior Cota - bass, vocals;
Dave Gamboa - drums.

The Chuck Hall Band creates art in the form of music. The recipe they use is simple: Start with blues that’s so greasy it clogs the arteries in your ears. Stir in generous portions of refined talent and raw passion, add a dash of showmanship sprinkled with a touch of salty humor and cook on high heat until it smokes. Serve steaming hot. The result is a spicy musical feast that satisfies and always leaves you wanting more.
Chuck Hall was born in Louisiana and raised in Texas, listening to the likes of Lightnin’ Hopkins, Muddy Waters, Freddie King, and Albert King as well as many others. He arrived in Phoenix in 1984, and has since then been a mainstay in the Phoenix music scene. As a 35+ year veteran in the music business Chuck Hall has played with some of the best, opening shows for Albert Collins, B.B. King, Johnny Winter, Albert King, Willie Dixon, Robert Cray, Gregg Allman, the Fabulous Thunderbirds, and many others. He recently opened for Charlie Musselwhite and Robert Cray again!
In addition, he has written over 100 songs and more than half of the band’s playlist is original material. Chuck’s unique talent and uncompromising dedication to his craft have earned him accolades among fans and critics. He won “Best Blues Guitarist” in Arizona two years in a row, and his song “Young Boy” was selected Best Song by Soundboard magazine. He also was inducted into the Arizona Blues Hall of Fame in 2000. His most recent offerings include a two-disc compilation CD and the "Live in Sweden" disc.

Live!

Ben Hemming - City of Streets

Bitrate: 320K/s
Year: 2017
Time: 33:07
Size: 76,3 MB
Label: Self Released
Styles: Americana/Singer-songwriter
Art: Front

Tracks Listing:
 1. Rambling Man - 3:12
 2. The Colour of My Blues - 3:09
 3. My Drinking Days - 2:41
 4. Devil’s Soul - 2:49
 5. Got It Nailed - 4:01
 6. Nashville - 1:52
 7. I Feel It - 2:37
 8. Blind - 3:12
 9. The Line - 3:13
10. The River - 2:20
11. High - 3:54

‘City  of Streets’ is Ben Hemming’s second studio album and was recorded in the small Norwegian town of Spydeberg, 40 mins away from the capital Oslo, at ‘Velvet Recording’ a state of the art studio with an impressive live room. This enabled Ben Hemming’s backing band to be recorded playing together and gave an amazing live vide to the album. It was produced by Nick Terry who has worked with some big names such as The Libertines, Ian Brown, and Klaxons. His initiative work ethic and production techniques gave the release a distinctive sound all of it’s own. The album was recorded in the bleak Norwegian winter of 2017, a factor that has no doubt added to the atmosphere and intensity of the recording. The title of the album ‘City of Streets’ was chosen as the majority of the songs were written in London, were Ben Hemming is currently based, and were an attempt to embody the isolation that lies at the heart of the modern metropolis. The release is out now on iTunes, Spotify, Amazon Music, Google Play, and Apple Music.

City of Streets

Solstice - New Life


Bitrate: 320K/s
Year: 1992
Time: 41:33
Size: 95,6 MB
Label: Progressive International
Styles: Progressive Rock/Neo prog
Art: Front

Tracks Listing:
 1. Morning Light -  3:48
 2. Guardian - 10:43
 3. The Sea -  6:53
 4. New Life -  4:56
 5. Pathways -  5:06
 6. Journey - 10:04

Well this work dated 1992, represented the reunion of this new prog ensemble, which had produced - before this release - a remarkable new prog album on 1984. Well the former clever singer, Sandy Leigh, reminded us of Jon Anderson by Yes and her role was that one of an excellent folk/new-prog singer. Now the new singer, Hedi Kemp, has a stronger impact on the listener in comparison to Sandy, but not in the manner of Renaissance, Curved Air, and so on, regarding of the best UK folk prog of the seventies...that is this new classic folk stuff reminds us of the less busy moments of Curved Air with hints of Marillion, but without the same solid arrangement and impact as their debut album (except on the weak production of this latter)... such stuff is discontinuos, even though there are some interesting music ideas which will be developed better in their next release "Circles"!!

New Life

Pat Martino - Live at Yoshi's

Bitrate: 320K/s
Year: 2001
Time: 76:25
Size: 175,7 MB
Label: Blue Note
Styles: Jazz/Guitar Jazz/Hammond Organ
Art: Front

Tracks Listing:
 1. Oleo -  6:59
 2. All Blues - 12:02
 3. Mac Tough - 10:02
 4. Welcome to a Prayer - 10:30
 5. El Hombre - 10:29
 6. Recollection -  7:57
 7. Blue in Green -  7:18
 8. Catch - 11:05

Musicians:
Guitar - Pat Martino;
Drums - Billy Hart;
Organ - Joey DeFrancesco.

With  Live   at   Yoshi's , his 20th recording as a leader and third release for the Blue Note label, the legendary  Pat   Martino  has come full circle. Accompanied by Joey DeFrancesco on Hammond B-3 and Billy Hart on drums, the hard bop and funky soul-jazz of this trio are sure to please enthusiasts of the guitar, organ, and drum trio.  Martino , heir to Wes Montgomery's warm, bluesy guitar style, plays eight great compositions, including two great extended versions of the classic Miles Davis compositions "All Blues" and "Blue in Green." On "All Blues," creative guitar voice plays the melody with soulful interpretations and subtle musical resonance.  Martino's  version of "Blue in Green" creates a world of melancholy and the guitarist plays his guitar with the same sweet sadness as Miles did with the support of DeFrancesco's organ solo adding additional shades of emotion. The songs selected for this " live " performance recording also appear on previously recorded  Martino  projects, including his 1970 Desperado album and his 1998 Stone Blue CD. However, listeners now receive the benefit of having the set performance available in real time. From the sound of the audience on  Live   at   Yoshi's , the guitar sage's head-spinning dexterity and cool tones on "Catch" are more spirited than ever, and after listening to this CD, you'll be inclined to agree.

Live at Yoshi's

Goin' Down South - Bottoms up

Bitrate: 320K/s
Year: 2017
Time: 39:21
Size: 90,2 MB
Label: Self Released
Styles: Blues
Art: Front

Tracks Listing:
 1. Bottoms up - 3:03
 2. Cherry Liquor - 4:25
 3. Jesse Mae - 3:09
 4. I Got a Reason - 2:55
 5. Wish Me Luck - 3:19
 6. A Bottle a Day - 2:57
 7. One Too Many - 4:35
 8. She Got Me - 2:59
 9. I'm Here to Tell Ya - 4:05
10. Slammer - 4:07
11. She's Smilin Now - 3:43

Contemporary Gut-Bucket Bluues, alternative-Blues, Garage Blues, power-trio Blues Rock.
FIREWORKS Magazine (U.K.May/June 2015) described their sound as having the ".boogie - ethic of the late, great John Lee Hooker" and wrote it "recalls those Hooker and Canned Heat collaborations". Highlighted tracks: "Bottoms Up" is an electrified R.L. Burnside influenced rural blues celebration of a favorite watering hole. "Cherry Liquor" slow-burns as a last call overture Lightnin' Hopkins might have written with a low down Chicago blues rhythm section. Dixie meets The Delta on "I Got A Reason". If Johnny Cash wrote a song for Junior Kimbrough, this might be it. "One Too Many" sounds like a plugged-in Burnside/Johnny Woods hill country blues juked up with drums and bass. Recorded live in Chicago without benefit of overdubs and control room gimmickry, the new CD presents the bands take on original, contemporary, gut-bucket blues.

Bottoms up

понедельник, 17 апреля 2017 г.

Allomerus - Unexpected Journeys

Bitrate: 320K/s
Year: 2017
Time: 47:31
Size: 110,1 MB
Label: SR
Styles: Progressive Rock/Eclectic Prog
Art: Front

Tracks Listing:
 1. An Unexpected Spatial Journey -  9:09
 2. Sirens -  3:57
 3. Obelisk -  9:27
 4. Here Come The Machines. -  1:44
 5. Ifriend -  6:11
 6. Here Come The Machines -  1:49
 7. The Pit And The Pendulum -  4:38
 8. An Unexpected Temporal Journey - 10:33

Allomerus is a band from Melbourne Australia who are keen to to use new technology. Our music uses not only real instruments but also synthesizers and sequencers on iPads. We also use a guitar synth for saxophone and trombone sounds and Electronic drums and percussion.

Unexpected Journeys

Solstice - Silent Dance

Bitrate: 320K/s
Year: 1984
Time: 42:59
Size: 99,9 MB
Label: Equinox
Styles: Progressive Rock/Neo-Prog
Art: Front

Tracks Listing:
 1. Peace - 6:32
 2. Earthsong - 6:37
 3. Sunrise - 4:08
 4. Return Of Spring - 4:53
 5. Brave New World - 8:46
 6. Cheyenne - 6:00
 7. Find Yourself - 6:01

Excellent RENAISSANCE inspired band led by the distinctive vocals of Sandy Leigh who sounds somewhere in the Annie Haslam and Jon Anderson camp. SOLSTICE are excellent musicians with violin, deep bass lines, solid guitar and percussion interplay. "Silent Dance" emits real warm earthly tones and contains some highly memorable melodies and progressive moments. This is an excellent album that I have had in my collection for quite a while now and do frequently resurrect it to re-enjoy the music.

Silent Dance

Galactic - Vintage Reserve

Bitrate: 320K/s
Year: 2003
Time: 68:12
Size: 156,8 MB
Label: Volcano Entertainment
Styles: Jazz-Funk
Art: Front

Tracks Listing:
 1. Welcome to New Orleans -  0:16
 2. Something's Wrong With This Picture -  5:56
 3. Doublewide -  4:54
 4. Tighten Your Wig -  3:13
 5. Century City -  4:56
 6. Jeffe 2000 -  1:00
 7. Go Go -  3:04
 8. Start from Scratch -  4:15
 9. Bobski 2000 -  1:43
10. Get a Head On -  5:38
11. The Green Minute -  3:50
12. Metermaid -  1:39
13. Quiet Please - 10:56
14. Sew Sew Sew -  7:53
15. Doo Rag -  8:51

This best of Galactic is in a sense the best way to check them out. While their three previous studio albums all had more than enough moments that were compelling, they never quite held it together for an entire set. Live at Tipitina's was a fine set, but it didn't really capture the Galactic live experience. To be honest, Stanton Moore's solo records were more consistent. That said, Galactic have amassed a fine catalog, and this best-of provides this band with all of their strengths intact and on display. There are 15 tracks here. Twelve are culled from the various long-players; two previously unreleased in the States (live versions of "Sew, Sew, Sew" and "Doo Rag/Triple Threat") and one, "The Green Minute," appears here for the first time period. The booty shakers are all here: "Something's Wrong With This Picture," "Double Wide," "Tighten Your Wig," "Century City," "Jeffe 2000," "Get a Head On," "Meter Maid," "Bobski 2000," "Go Go," and a few others. The record is sequenced out of chronological order; instead its order is determined by the way tracks feel against each other. Like everything Galactic, this is about vibe, and in that department it's a monster too. If anything, it feels more like a fifth Galactic album than a best-of. It's also revelatory in terms of what this band, as opposed to their whammer (extended) jammer cousins, is capable of. No (read: rhythmless interpretive) dancing to these jams is necessary. Just let the backbone slip into the rhythm section and feel that bass propel you onto the floor. Vintage Reserve is one of the party records of the year.

Vintage Reserve

Blonde Blues - Envision Nu Blues

Bitrate: 320K/s
Year: 2012
Time: 51:36
Size: 118,2 MB
Label: Nu Blues Records
Styles: Blues/Electric Blues/Blues Rock
Art: Front

 1. Best Damn Fool - 4:12
 2. New Blues - 4:07
 3. Satisfied - 4:36
 4. I Love You More Than U'll Ever Know - 6:04
 5. Hang On - 3:09
 6. Shakin' Off The Blues - 5:08
 7. Gingerbread Man - 5:34
 8. Say One Thing - 3:35
 9. Rain - 5:16
10. Hammer & Nail - 4:42
11. If I Told You - 5:09

“Blonde Blues”: “BLONDE” is de zangeres Cindy Adams. Ze wordt qua kracht vergeleken met Grace Slick, de zangeres van de Amerikaanse rockband “Jefferson Airplane”, die in de jaren ’60 gekend van de grote hit “White Rabbit en qua passie en emoties met Stevie Nicks, de charismatische zangeres van de Engelse blues formatie “Fleetwood Mac”. Cindy is, door haar gospel achtergrond, een goede songwriter. Haar teksten vertellen in ieder nummer altijd een verhaal. “BLUES” is, door de juiste mix van traditionele en nieuwe muzikanten, een van de beste groepen uit de omgeving van Noord Carolina. De overige vaste bandleden zijn Ross Osteen (guitar, vocals) en Rick Siller ( keyboards). “BLONDE BLUES” wil de grenzen van de blues verleggen en is niet bang voor iets nieuws. De groep is gestart als een viertal: Cindy Adams (vocals), Michael Creech (guitar, vocals), Michael Martin (bass, vocals) en Marty McCall (drums) en bracht hoofdzakelijk covers. De sfeer was goed, Cindy werkte ook aan eigen nummers en er worden twee live albums opgenomen. Echter door omstandigheden moeten Michael Creech en Marty McCall vervangen worden. Rick Siller, met een ruime blues en jazz achtergrond, wordt de nieuwe keyboard speler. Hij had dezelfde visie als Cindy en Michael Martin en wil ook eigen uniek materiaal uitbrengen. Met Ross Osteen als gitarist en zang en Spencer Wynn als drummer wordt het eerste studio album opgenomen. Het album “Envision Nu Blues” met een mix van oude en nieuwe rock blues wordt in een dag opgenomen. Het nummer “Satisfied” wordt verfilmd en komt op YouTube. De band in de huidige bezetting met de 26-jarige Jeff Lott (drums) en de 27-jarige Jeremy Smith (guitar, vocals) bulken van nieuwe energie en zijn een inspiratiebron richting hedendaagse muziek. Voor Cindy is dit de richting die ze verder wil inslaan.
In hun nieuwe album “Envision Nu Blues” is “Blonde Blues” op zoek naar de nieuwe grenzen van de blues. Voor de groep is de titel ook ‘mainstream’ en betekent “Nu Blues” per definitie “think, conceive ‘new’ blues”. Op het album elf nummers, waarvan 4 covers. Twee Buddy Guy covers, een van Al Kooper en een van Doyle Bramhall II. Bekende namen: Georges ”Buddy” Guy (1936-) - Amerikaans blues- rockgitarist, Al Kooper (1944-) - Amerikaans songwriter en Doyle Bramhall II (1968-) - zanger / gitarist die met Roger Waters (“Pink Floyd”) en Eric Clapton tourde. Welke van de oude blues legendes de voorkeur krijgen, blijkt duidelijk uit de covers. De opener is de eerste Buddy Guy cover. ”Best Damn Fool” is een rustig nummer met mooi afgemeten gitaarsolo’s en de krachtige zang van Cindy. De andere Buddy Guy Cover ”Hammer & Nail” is aanvankelijk ook een rustig nummer, met meer inbreng van Rick Siller op keyboards. Meer funky ritme wisselingen, jazzy toetsenwerk en extra pedaal werk van Ross Osteen brengen het nummer in een hogere versnelling. ”Say One Thing” is de cover van Doyle Bramhall II. Ross Osteen doet de zang en de arrangementen zijn funky en vernieuwend. De vierde cover is van Al Kooper “I Luv U More Than U’ll Ever Know”. Het is een langzaam nummer, jazzy, met sprankelende piano riffs en veel aandacht voor de vocale inbreng van Cindy. De meeste overige nummers zijn van Ross Osteen en Cindy Adams. De nummers van Cindy brengen erkenbare dagdagelijkse verhalen. ”Satisfied” is een nummer waarin Cindy het heeft over de man die ze liet gaan, omdat het de verkeerde man was. Waarom kunnen we niet tevreden zijn, ook al weten we dat er onrecht geschiet... ”Gingerbread Man” is een ander nummer van Cindy over oud worden. Het is het beangstigende verhaal over de oudere man en vrouw, over de ongemakken en tekorten. De nummers van Ross Osteen als ”New Blues” en ”Hang On” zijn ‘Nu Blues’. Het zijn nummer met veel ruimte voor eigen inbreng en improvisaties. De teksten zijn belangrijk, maar nogal zwaarmoedig en hoopvol als we elkaar tijd en ruimte geven voor veranderingen en vergeving. De overige nummers zijn mede geschreven door Rick Siller, de toetsen man. ”Shakin’ Off The Blues” is een ouderwetse rockende blues met een funky piano lijn. De boodschap is duidelijk “Now, one of these days, I’ll be shakin’ off all the blues someday…” ”Rain” is dan weer meer een pop song over verdriet bij het verlies van je geliefde. Eindigen doen we met ”If I Told You”, een ballade van Ross Osteen.
Met het album “Envision Nu Blues” van de groep “Blonde Blues” wordt een stap in de toekomst gezet. De groep wil duidelijk een mix maken van oud en nieuw, met heel veel inbreng van zangeres Cindy Adams als songwriter. “Envision No Blues” is geen erg optimistisch, maar realistisch album, typisch voor de blues. Blues gaat over gevoelens, toestanden en relaties. Dit heeft “Blonde Blues” goed begrepen en dit willen ze ons brengen, op een nieuwe hedendaagse en vernieuwende manier. “Blonde Blues” kleurt de blues in een trek blond en blauw.

Envision Nu Blues

Interpose+ - Indifferent

Bitrate: 320K/s
Year: 2007
Time: 41:28
Size: 95,7 MB
Label: Musea/Poseidon
Styles: Progressive Rock/Eclectic prog
Art: Full

Tracks Listing:
 1. Rosetta - 6:49
 2. Man From The Forest - 8:35
 3. Dayflower - Part Three - 6:29
 4. Heliopause - 6:16
 5. Alive - 7:05
 6. Anonymous - 6:11

INTERPOSE+ could well be the new sensation, as far as Japanese Progressive rock is concerned. Its musicians have played together at regular intervals since the Eighties, but they eventually released their first collective opus in 2005, as a joint-venture between the Poseidon and Musea labels. This quintet plays a mainly instrumental music, enhanced by the (Japanese) vocals of the charming Sayuri ARUGA. The contribution of the violinist Akihisa TSUBOY as well as that of his partner from KBB, DANI, are also noteworthy. The eponymous album presents a most symphonic Progressive jazz-rock highlighting the virtuosity of guitarist Kenji TANAKA. These five long pieces are in a vein close to U.K., being even closer to other Japanese bands such as OUTER LIMITS or PAGEANT. The band took particular care of the melodies, both subtle and evocative. A bright performance ! Two years later, the release of INTERPOSE+'s second album shouldn't leave you indifferent. The lyrics now takes an important part in the band's music, still allowing the instrumentists to shine however. In many ways, this group tends to be the nippon ECHOLYN, displaying the same melodic sense and the same energy. "Indifferent" has all to become a milestone ! Eight long years were required to open the third chapter in INTERPOSE+'s history, a wait rewarded with another great masterpiece, "Memories In The Wind". Published in the year 2015 on the Musea Parallele label, these twelve original tracks feature a new bass player, Shibata SHINKO. He, or shall we say "she", is no stranger, as she is also part of the female power-trio ARS NOVA, under the pseudonym of PANKY. An interesting way to electrify a music, already filled with loads of energy. Just excellent !

Indifferent

Interpose+ - Interpose+

Bitrate: 320K/s
Year: 2005
Time: 47:28
Size: 109,6 MB
Label: Musea/Poseidon
Styles: Progressive Rock/Eclectic Prog
Art: Full

Tracks Listing:
 1. Aircon - 11:03
 2. Dayflower Part 1, Part 2 - 10:03
 3. Zitensya -  8:30
 4. Koibumi - 10:34
 5. Last Sign -  7:16

In 1986, Tanaka Kenji (guitar) and Sato Katsu (drums) - both formerly played in the legendary underground band, LIBIDO - got together again and formed a new band, aiming for some different style of music than LIBIDO. First members are a female vocal, two guitars, bass, and drums. They played in some mixture style of jazz rock and progressive rock, with this twin-guitar featured band. On March next year, they played in the first live gig at La.mama, Tokyo. In 1988, they turned into vital action, played in 9 live gigs at SILVER ELEPHANT, CROCODILE, and more clubs, took part in an omnibus album "Canterbury Edge" from MADE IN JAPAN RECORDS label. A guitarist left the band shortly after. Their sound came less jazzy, and more progressive, vocal and guitar-oriented pops style. The next year, they played only one@stage. On February, vocalist has left, and the first period of the band has ended. Remaining members kept their activity in rehearsal studios. But the bassist has also quitted in 1990, Tanaka and Sato started to looking for new members. - They played twice on stage as interpose with guest players at this time. Tanaka found Koike Toshiyuki (bass) and a keyboardist, searching for a new drummer on a rock magazine, made a contact with them and join together. The second period has started with this union. In 1991, members were fixed with a newly joined female vocalist. The sound of this period was changing into symphonic with keyboard sound. First live of this period was on March 1992, at SILVER ELEPHANT. But this period suddenly ended after the gig on October same year, at La.mama. They played only four times on stage at this second period. After that, INTERPOSE stopped their activity for long. Each member went ondifferent ways individually. In 2001, Tanaka and Koike went to see the gig stage of Satoh. They met together and reunited, the third period of INTERPOSE has started. Same year, Yonekura Ryuji (keyboards), who has played with Tanaka at the tribute band for YES, joined the band. Aruga Sayuri (vocal) joined in 2003, and third period members were fixed with new name, INTERPOSE+. Their style came to a mixture of voice and various sounds from each instrument. First live of this period was also at SILVER ELEPHANT, January 2004, and three more stages they played in the year. From February to May 2005, they recorded original songs for their first album CD. Yonekura Ryuji left the band after recording. And Watanabe Nobuo joined as a new keyboardist in July. Finally, the first album "Interpose+" has been released from POSEIDON/MUSEA Label in November. Shortly after, Koike Toshiyuki has quitted in December, and now Dani from KBB plays bass guitar as a guest player.
Why this artist must be listed in www.progarchives.com :
This is a sensational new band from Japan, one of the best releases from the last 10 years!

Interpose+