вторник, 30 января 2018 г.

Baalbek - Fata Morgana

Bitrate: 320K/s
Year: 2000
Time: 51:53
Size: 121,4 MB
Label: Records Runner
Styles: Progressive Rock/Jazz-Rock Fusion
Art: Front + Back

Tracks Listing:
 1. Fata Morgana - 3:21
 2. La Ultima Oportunidad - 4:13
 3. 15 Minutos - 3:12
 4. Me Fui - 4:35
 5. A Quien Le Toca - 4:09
 6. Sinfonazo - 4:06
 7. Baba Yaga - 4:25
 8. El Boxitracio - 4:09
 9. Ven Conmigo - 4:54
10. Clipper - 3:01
11. El Sigurath - 3:48
12. Cryptico - 3:11
13. Parafernalia - 4:43

Argentinian act BAALBEK was formed in October 1994, at first sporting the moniker Fata Morgana. Gonzalo Romero (guitars, keyboards), Fabian Vera (bass) and Pablo Gonzales (drums) were the founding members, but some time after the formation Pablo Clavijo (keyboards, sax) joined the band.
In 1995 the changed name to Baalbek, while in 1998 Clavijo leaves the band, replaced by Eduardo Gustavino (keyboards). One year later, in 1999, Baalbek hits the studio to record their debut effort, and in 2000 the album "Fata Morgana" is released.
At about that time Gonzalez has to temporarily leave the band, and from 2000 he is replaced by Andres Field (drums). Gonzalez returns again in 2002 though. At least one more line-up change have occured for this act - although it's not clearly stated when it happened Gustavino left the band sometimes after 2001, replaced by Ariel Mateos (keyboards).
The latest news update of this act dates back to 2007, and it is unclear whether they are a going concern or not at this point in time.

Fata Morgana

Robbert Fossen Band - Get off on It!

Bitrate: 320K/s
Year: 2018
Time: 67:25
Size: 154,7 MB
Label: Self Released
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Don't Ever Let Nobody Drag Your Spirit Down - 4:52
 2. All Those Evil Words - 4:25
 3. Katrina - 4:24
 4. Woman Across the River - 4:12
 5. Did Somebody Make a Fool Outta You - 4:48
 6. All That Bluesmen - 4:02
 7. I Feel so Bad - 4:28
 8. Make it Rain - 6:51
 9. Still Called the Blues - 3:38
10. Believe to My Soul - 3:39
11. Can't No Grave Hold My Body Down - 5:04
12. Get off on It - 5:38
13. Midlife - 7:52
14. Thirty Years - 3:26

A 5 - 12 piece Top Notch Band from The Netherlands that plays Blues, Soul, Gospel and Rhythm & Blues.
The Robbert Fossen (Blues) Band has existed since 2006 and has had various line ups.
The style and repertoire were mostly based on the Chicago Blues, but the band is now doing a broader variety of styles. Where the Fossen & Struijk Band is a pure Chicago Blues band, there are also soul, gospel and rhythm & blues influences in the Robbert Fossen Band.
Basically the band is 6-person, but can be expanded to 12 male / female for the live shows. Also on the new album 'Get off on it' a horn section can be heard and three top female singers have been added for the backing parts.
The band released their new CD 'Get Off On It' at the end of 2017.
With the new style selection, the band has taken a different route and is much more employable than just within the blues National and International circuit. Company parties, private parties, theater shows, trade fairs, in / outdoor events, anywhere Robbert Fossen Band can take 'the audience' on a musical journey past the hearths of American music history. A journey from Chicago to New Orleans and back...
The album contains a clever mix of roots music.
Soul, blues, gospel and rhythm & blues come along in 14 songs, over 65 minutes of playing time and in a great audio quality.
... This Internationally highly acclaimed new album 'Get Off On It' proofs that this Dutch band really understands, feels and lives this music! ....
.. Truly everything is right on this album. So I can only come to one conclusion: the Robbert Fossen Band has delivered a brilliant blues album! ...
- Peter Marinus, Bluesmagazine.nl (the Netherlands)
... 'Get Off On It!' from the Robbert Fossen Band is an excellent blues & soul album ...
- Eric Schuurmans, Rootstime.be (Belgium)
... Incredible strong blues! A high quality album. Thanks to 'Mannish Boy' Robbert Fossen, his choice of excellent musicians and of course those 'damn' backing vocals. Damn girls you're great! Please in Belgium with full band live soon! RESPECT!
- Rootsville.eu (Belgium)

Get Off On It!

Crime and the City Solution - Paradise Discotheque

Bitrate: 320K/s
Year: 1990
Time: 38:36
Size: 89,2 MB
Label: Mute/Elektra 9(60990-2)
Styles: Rock/Alt.Rock
Art: Front

Tracks Listing:
 1. I Have The Gun - 3:33
 2. The Sly Persuaders - 4:10
 3. The Dolphins And The Sharks - 4:43
 4. The Sun Before The Darkness - 5:17
 5. Motherless Child - 3:48
 6. The Last Dictator I - 4:40
 7. The Last Dictator II - 5:01
 8. The Last Dictator III - 4:47
 9. The Last Dictator IV - 2:33

Simon Bonney - vocals;
Alex Hacke - guitar;
Thomas Stern - bass;
Bronwyn Adams - violin;
Chrislo Haas - synthesizer;
Mick Harvey - drums.

Despite roots dating back as far as 1978, Crime & the City Solution did not truly emerge until 1984, coming to life in the wake of the dissolution of the seminal Birthday Party. The group was led by the evocative singer/songwriter Simon Bonney, a Melbourne, Australia native who led a series of bands under the verbose Crime name throughout the late '70s and early '80s; a longtime friend of the Birthday Party, he contacted former members Mick Harvey and Rowland S. Howard after the group's breakup, and following the addition of Howard's brother, bassist Harry Rowland, the most successful and famed lineup of Crime & the City Solution was born.
In 1985, the quartet debuted with The Dangling Man, a self-produced EP quickly establishing the band's moody, atmospheric blues-based aesthetic. Former Swell Maps drummer Epic Soundtracks joined Crime after the EP's release, freeing Harvey to alternate among a variety of instruments for the haunting follow-up, Just South of Heaven. Their full-length bow, Room of Lights, appeared in 1986 and featured the remarkable "Six Bells Chime," which so impressed the acclaimed filmmaker Wim Wenders that he invited the band to perform the song live in his 1988 masterpiece Wings of Desire.
By the time the film appeared, however, the incarnation of Crime & the City Solution presented onscreen was no more; after Room of Lights, the Howard brothers and Soundtracks exited to form These Immortal Souls, leaving Bonney, Harvey, and violinist Bronwyn Adams (also Bonney's wife and songwriting partner) to relocate to Berlin, where they recruited a number of local musicians, including Einstьrzende Neubauten guitarist Alexander Hacke, to cut 1988's ornate, intoxicating Shine. Even more Baroque was the follow-up, 1989's The Bride Ship.
In 1990, Crime returned to the studio one final time to record Paradise Discotheque, a record built around Bonney's ambitious four-part suite "The Last Dictator," a song cycle inspired by the downfall of Romanian warlord Nicolae Ceaucescu. After contributing "The Adversary" to the soundtrack of Wenders' Until the End of the World, Crime & the City Solution disbanded; while Harvey continued to record and perform with former Birthday Party mate Nick Cave in the Bad Seeds, Bonney began work on his 1992 solo debut, Forever. [Jason Ankeny, AMG]
What turned out to be Crime & the City Solution's final album was, in the end, its most unique and striking record, with all the promise and fire of its past at last giving a wholly individual expression, foreshadowing Simon Bonney's equally impressive solo career. Lead single and opening track "I Have the Gun" shows the band's new power in particular, shifting between a countryesque blend of jump blues and sorrowful twang, and a snarling, forceful electric guitar build. Alexander Hacke's work on the latter part is especially impressive, while Mick Harvey shifts between the two gears with aplomb. Bonney, meanwhile, has shaped his now slightly dryer but no less passionate vocals into a unique instrument, easily able to move from the smoky late-night jazz moods of "The Sly Persuaders," to the stunning reworking of the old traditional "Motherless Child." The band's collective grasp of mood and style make Paradise both the most varied and most attractive Crime album of the lot -- everything's a little more on edge, tensions are higher in performance and delivery, and the mood is not simply building doom, but threatening plenty along the way. "The Dolphins and the Sharks" is especially notable, with a quick but subtle bass pulse from Thomas Stern relentlessly driving the increasingly edgy performance, as Hacke's guitar, and Bronwyn Adams' violin contribute ever more layers of shade. The combination of looped African percussion and what sounds like muffled orchestration on "The Sun Before the Darkness" is just as striking, especially in concert with Bonney's delivery. The last half of the album is a fitting farewell bow for the band -- like the concluding part of The Bride Ship, it's an extended multi-song piece, called "The Last Dictator." With Bonney's portrayal of the titular character -- a bizarre but fascinating musical/political figure -- at the center, it's a tour de force for both band and singer. [Ned Raggett, AMG]
Zane's two cents: a great album by a great band. fans of Nick Cave & The Bad Seeds will especially like C&TCS, for they are both  kindred spirits. the two bands share a lot in common. Mick Harvey was a member of both bands & both the Bad Seeds & C&TCS tapped Einstьrzende Neubauten for guitarists. Blixa Bargeld went with the Seeds & Alexander Hacke joined C&TCS. C&TCS earned much critical praise but not a lot of popular success, not in America anyway. they deserved much more.   

Paradise Discotheque

понедельник, 29 января 2018 г.

Amaxis - Astral Images

Bitrate: 320K/s
Year: 1999
Time: 51:11
Size: 117,3 MB
Label: Self Released
Styles: Progressive Rock
Art: Front

Tracks Listing:
 1. City Wall - 4:38
 2. Hunter Rising - 4:34
 3. Distant Dream - 4:40
 4. Sluggy - 4:12
 5. End of the Universe - 3:13
 6. Loneliest Creature - 3:19
 7. Chunky Ejecta - 3:41
 8. Alpha Nova - 3:32
 9. Processional - 2:00
10. New Life - 4:00
11. The Great Spiral - 3:42
12. First Light - 3:09
13. Cosmic Cop - 1:55
14. Foreign Dude - 4:26

14 contemporary instrumental tracks blending progressive rock, power pop and a sprinkling of other genres. Synths and buzzing guitar - strong melodies.
The Amaxis album, Astral Images, contains 14 contemporary instrumental tracks blending Progressive Rock, Power Pop and a sprinkling of other genres. The album is hard to pigeon hole into a specific category. The over all category would be instrumental progressive / pop / rock, there are other influences mixed in as well. And that's me... I really don't feel I could sit there and put out a CD where all the songs pretty much went with one groove, which is what today's mainstream music is all about. I guess that's why I do my own thing!
The CD was put together over about a year. I used drum programming, synthesizers either played on a keyboard by me or using a guitar MIDI controller and of course 'real' guitar, buzzing away all over the place.
The songs really do convey a 'feel' or 'feeling' I had while composing them. A lot of images in my head went into what you will hear... so in essence, you'll get inside my head... creating your own images... hmmm...

Astral Images

Foundry - What Kills Me

Bitrate: 320K/s
Year: 1997
Time: 40:03
Size: 92,4 MB
Label: Foundry Music
Styles: Hard Rock
Art: Front

Tracls Listing:
 1. Pendulum - 4:12
 2. Ain't Like You - 4:32
 3. Black Lites, Bright City - 4:40
 4. Junkman - 4:03
 5. Tell Your Story - 3:00
 6. After All - 5:08
 7. Burned - 5:06
 8. What Kills Me - 3:48
 9. Don't Lie - 5:31

One of the greatest bands from the famed Boston music scene of the mid-late 90s. These lyrics touch me in a way that no one has in a very long time (since my dear friend James Nordon and I played in our band "Under the Porch - it was a progressive band - he played the flute, I the Hammer Dulcimer, but I digress). This Cd is truly a rare find. Looking for some good tunes in AUGUST!, look for Foundry and 'What Kills Me'. I've seen other reviews that say 'That's Terrible, I'm sorry', but that's houdinash.

What Kills Me

Chuck Beattie - Natural Man

Bitrate: 320K/s
Year: 2018
Time: 43:53
Size: 100,6 MB
Label: Self Released
Styles: Blues/Chicago Blues
Art: Front

Tracks Listing:
 1. Call of the Wild - 3:08
 2. Girl I Miss You - 3:41
 3. Short Changed - 2:10
 4. You'd be Pleased - 5:23
 5. Never Get Rich - 3:35
 6. I'm on My Way - 2:50
 7. Don't Call it Love - 4:33
 8. Roll Call - 4:21
 9. Blues Man Till the End - 6:00
10. I'm Guilty - 4:40
11. Never Get Rich - 3:26

Long time blues aficionado and music historian, Chuck Beattie (aka Dr. Blues) fronts a Chicago-Style Blues band based in Western North Carolina. Originally from Rocky Mount, NC, Beattie grew up in a household filled with music. He credits his mother, a piano player and teacher, for the inate talent and musical appreciation that has driven him all his life. As a young man, Beattie was influenced by James Brown, Marvin Gaye, and a host of other important African American musicians performing in the segregated clubs of his hometown. It was Chuck and his beloved brother, Gerald, who played pickup gigs for some artists while they were off contract in the south such as Mel and Tim, Otis Clay, The Kelly Brothers and many more. This gave him his first chance to play in a real band. Still in high school, Chuck recognized that music was his true calling.
A member of the North Carolina Jazz Ensemble, Chuck utilizes his knowledge of gospel, jazz, and the sounds of the Delta to draw out the best of Chicago Style Blues. The result is music as rich as Muddy Waters, and as down and dirty as Howling Wolf. Backed by some of the best in Blues musicians, Beattie commands the stage with his booming voice and classic old school charm. Dr. Blues preaches that "the music must come first", and has worked tirelessly to preserve the culture and integrity of true American Blues. Due to his knowledge, background, and talent, Dr. Blues was asked to headline The Bury Blues Festival in England. He has shared the stage with many top musicians, among them the great Blues siren Shamekia Copeland. Some well respected contemporaries and friends include Cephus and Wiggins, Nneena Freelon, and numerous others. Beattie is dedicated to educating and inspiring young musicians by hosting Blues jams throughout the area, giving new talent a chance to carve out their own place in the Blues. The Chuck Beattie Band has appeared at private parties, festivals, clubs, and music halls, compelling folks of all ages and backgrounds to get up and dance.
Chuck resides in the beautiful mountains of Asheville, NC, where he continues to keep the Blues alive. (http://www.chuckbeattie.com/biography.html)

Natural Man

Miss Freddye - Lady of the Blues

Bitrate: 320K/s
Year: 2017
Time: 38:43
Size: 88,8 MB
Label: Self Released
Styles: Blues
Art: Front

Tracks Listing:
 1. Miss Freddyes Gonna Fix Ya - 2:48
 2. Luv Ya Baby - 4:02
 3. Lady of the Blues - 3:19
 4. Dont Apologize Recognize - 3:40
 5. Home Improvement - 2:42
 6. Use the Back Door - 3:45
 7. Chain Breaker - 3:39
 8. Doorway to the Blues - 3:59
 9. These Are My Blues - 4:01
10. Freight Train Blues - 2:25
11. A Losing Battle - 4:16

Dat zal je net zien! Als alle jaarlijstjes al zijn ingeleverd komt er nog een schitterend album langs, dat verdient om in de lijst van 2017 opgenomen te worden.
Ik heb het dan over het tweede album van zangeres Miss Freddye. Een dame die begon in de band BMW (Blues Music Works) en daarna in 2002 haar eigen band Blue Faze opstartte. Deze band ging over in Miss Freddye’s Blues Band en, alsof dat nog niet genoeg was, startte ze ook nog even de akoestische band Miss Freddye’s Homecookin’ Band.
Nu dan haar nieuwe album waarop een zeer fraaie mix van soul en blues staat. Miss Freddye toont hier aan, dat zij naadloos aan kan sluiten bij grootheden als Etta James en Denise LaSalle. Zij wordt op dit, in eigen beheer uitgebrachte album, bijgestaan door een keur van ras muzikanten waarbij vooral de vier (!) harmonica spelers opvallen.
Het eerste nummer van het album Miss Freddye’s Gonna Fix Ya is een funky soulblues nummer. Solide groovend met bluesy harmonicaspel van John Nemeth. De boodschap in dit nummer? Al voel je je nog zo rot, Miss Freddye knapt je wel op! In de rauwe bues shuffle Luv Ya Baby zingt Miss Freddye een duet met John Blues Boyd. De priemende gitaar van Kid Andersen, het soul orgel van Jim Pugh en de blazers maken een feest van dit nummer. In Lady Of The Blues doet Miss Freddye deze titel alle eer aan. Een opgewekt swingend soulblues nummer!
John Blues Boyd treedt weer aan voor een duet in het jazzy Don’t Apologize, Recognize met een slaperige sax solo van Eric Spaulding. Deze Spaulding is ook weer te horen in het pittig rockende Home Improvement. Een nummer dat lichtelijk in de “Tell Mama” sfeer zit.
Kid Andersen steelt de show met zijn brandend gitaarwerk in de lome shuffle Use The Backdoor waarin Miss Freddye maar al te blij is dat haar lover het huis verlaat. Zij is daarom maar al te bereidwillig om de achterdeur voor hem open te maken. Ze probeert zich in de shuffle Chain Breaker te bevrijden van een benauwende liefde. De brommende sax van Eric Spaulding speelt een belangrijke rol in dit nummer.
Ook in de jazz voelt Miss Freddye zich prima thuis. In de jazzy blues Doorway To The Blues waan je je in een rokerige jazz club waar Miss Freddye je zwoel toe zingt. Brendan G. Bentz treedt aan met zijn scheurende harmonica in de rauwe Delta blues These Are My Blues.
Voor nog meer harmonica geweld moet je bij de jazzy shuffle Freight Train Blues zijn waarin zowel Brendon G. Bentz als Aki Kumar op de harmonica te horen zijn. A Losing Battle sluit op zeer fraaie wijze dit album af. Dit, door Dr. John geschreven nummer, werd al eens door Johnny Adams opgenomen. Miss Freddye’s versie mag er ook zijn. Een prachtige soul ballad met statig orgelspel van Jim Pugh.
Als Miss Freddye dit soort top albums blijft af leveren, zal ze binnen no time tot de Grande Dames van de soulblues gerekend worden!

Lady of the Blues

Rocky Zharp - Live At B.B. Kings Hollywood

Bitrate: 320K/s
Year: 2003
Time: 65:05
Size: 149,2 MB
Label: King Hudd Records (837101245746)
Styles: Electric Blues/Harmonica Blues
Art: Front

Tracks Listing:
 1. In the Dark (With the Blues Crackers) - 3:13
 2. Old Blues Cracker (With the Blues Crackers) - 4:56
 3. Rollin' & Tumblin' (With the Blues Crackers) - 2:29
 4. Granny's Boogie (With the Blues Crackers) - 4:48
 5. Louise (With the Blues Crackers) - 6:25
 6. Help Me (With the Blues Crackers) - 6:15
 7. King Bee/sittin' On Top of the World - 6:41
 8. Writing On the Wall - 2:30
 9. Big Boss Man - 2:32
10. Built for Comfort - 2:58
11. 3 Nights In A Row - 2:09
12. Mind Your Own Business - 2:22
13. I's Gonna Leave Her Anyway (Bonus Studio Track) - 4:00
14. I Got Love (Bonus Studio Track) - 3:38
15. Lizard Blues (Bonus Studio Track) - 5:42
16. You Better Run (Bonus Studio Track) - 4:21

This cd is in three parts. 1/3 is with the blues crackers(featuring; rocky on guitar,vocals and harmonica. mike romaine on drums and bk vocals. john gooch on bass. brad mundwiler on guitar, slide and bk voc. with special guest larry green on guitar. 2/3 rocky solo both 1/3 & 2/3 live @ bb kings. 3/3 was done in the studio with same drum and bass as live @ bb kings. with special guests; gregg crockett on guitar. johnny neal on keys. ivy fredricks on flute. please visit www.rockyzharp.com for more info about rocky zharp.

Live At B.b. Kings, Hollywood

I Leone - La Foresta

Bitrate: 320K/s
Year: 1971
Time: 34:28
Size: 85,5 MB
Label: BMG (2003)
Styles: Progressive Rock/RPI
Art: Full

Tracks Listing:
 1. L'Alba - 3:13
 2. Il Rinoceronte - 4:39
 3. Jena Ridens - 2:26
 4. Lo Stregone - 3:49
 5. L'Incendio - 3:37
 6. Le Scimmie - 3:05
 7. La Rugiada - 2:51
 8. Le Giraffe - 4:12
 9. Sesso - 3:01
10. Il Tramonto - 3:31

A little known group, I Leoni, from Tortona (Piemonte, north-west Italy), had a short career that has just left us two singles and an album, all produced between 1970 and 1971.
They were a trio, led by keyboardist/singer Carlo Riccardi, but all their compositions were by another Riccardi, Enrico, that was not a member of the group and was later an important producer (with popular italian artists like Patty Pravo and Loredana Berte).
Despite being mostly in the melodic prog field, the ten-track album includes some good instrumental breaks, like in the hypnotic Lo Stregone (with organ, percussion and latin-sung vocals in a Jacula style) and interesting progressive arrangements like in Jena Ridens or the closing Il Tramonto.
After the release of the album and the second single, the group brought its line-up to a four-piece with guitarist Paolo Stella, until they broke up at the beginning of 1973.

La Foresta

Atria - Boulevard Of Broken Dreams

Bitrate: 320K/s
Year: 1992
Time: 60:16
Size: 138,1 MB
Label: Musea Records (FGBG 4071.AR)
Styles: Progressive Rock/Neo-Prog
Art: Full

Tracks Listing:
 1. Backside - 0:54
 2. The land of Broken Dreams - 9:06
 3. Lady lea - 8:11
 4. A reason to Be - 7:01
 5. Speedway (Instrumental) - 5:22
 6. The Magic World - 8:22
 7. Escapee - 6:53
 8. Words (Instrumental) - 4:45
 9. Ghost of a Child - 9:38

Jean Michel Paci - vocal;
Gerard Larue - guitar;
David Juvan - bass;
Martial Urbanc - keyboard;
Stephane Pacini - drums.

ATRIA is a French Neo band, that released two critically acclaimed albums for Musea. The lineup consisted of vocalist Jean Michel Paci, keyboardist Martial Urbanc, guitarist Gerard Larue, guitarist Vincent De Toffoli, drummer Stephane Pacini, and David Juvan on Bass. The two albums, 1992's "Boulevard of Broken Dreams," and 1996's "Hide," managed to be recorded with absolutely no change in lineup. This may not seem like a big deal, but when you have researched as many short lived bands as I have, this is more of the exception than the rule. Keeping the band together also seems to be especially difficult when there are large gaps of time (like four years) between albums.
Now, ATRIA may be from France, but it isn't exactly easy to tell. The vocals are in English, and they aren't really indicative of the French school. It is a powerful style of Neo, with an emphasis on symphonic. The complexities are almost reminiscent of Brazilian symphonic. As if that is not confusing enough, comparisons to Clepsydra have also been made. Anyway, this is expertly executed prog, and should be of interest to any Neo, or Symphonic fan.
Nice Neo Prog, in the vein of Clepsydra, Pendragon, or Eloy in some passage, but not so mellow. I like Frence neo prog band, because the music is not influenced by metal that in the last years has infected the style of the some Neo prog band. The music is driven by guitars and the vocal are decent but nothing to special. There are good ideas here, from long and complex composition with catchy melodies to instrumental tracks although someone is a bit weak, and it could be a masterpiece of prog rock, but it doesn't for any reason i'll say. First of all the production could be better and the keyboards sound isn't much accurate and refined, and sometime the solos of keys bored me and seems ridiculous like in the instrumental "worlds". I hope they does better in the next release.

Boulevard Of Broken Dreams

Gunhill - Nightheat

Bitrate: 320K/s
Year: 1997
Time: 62:26
Size: 143,2 MB
Label: Gunhill Promotion (HHR 007)
Styles: Classic Rock/Hard Rock/Blues Rock
Art: Front

Tracks Listing:
 1. Don't Stop Beleiving - 4:53
 2. Ready For Love - 4:59
 3. Wall Of Silence - 5:05
 4. Nobody Loves You The Way I Do - 4:58
 5. Far From Home - 3:56
 6. Eleanor Rigby - 5:47
 7. Don't Look Back - 4:35
 8. Waiting For Heartache - 4:42
 9. When A Man Loves A Woman - 4:43
10. Any Day Now - 3:57
11. Clearwater Highway - 4:14
12. Sympathy - 5:21
13. Come Back To Me - 5:10

GUNHILL is a band from the 90's which featured JOHN LAWTON, the former lead singer of URIAH HEEP. In June '97 their first CD "Nightheat" was released. Night Heat (or Nightheat) is a showcase of GunHill's musical and vocal talent, ranging from classic hard rock to fine ballads and can only further their popularity and prospects. VERY HARD TO FIND RARE ORIGINAL CD 1ST PRESS.

Night Heat

Essex - D 7

Bitrate: 320K/s
Year: 1997
Time: 43:19
Size: 100,4 MB
Label: Semaphore (37596)
Styles: Hard Rock
Art: Full

Tracks Listing:
 1. Nightmare In A Daydream - 4:19
 2. Someday - Someway - 3:55
 3. Dangerous Love - 4:24
 4. Alone In The Night - 4:30
 5. Time Holds The Answer - 3:51
 6. World On Fire - 4:19
 7. If Looks Could Kill - 3:07
 8. Time Stood Still - 3:23
 9. Secret Agent Man - 3:46
10. If Every Raindrop... - 4:06
11. Crying - 3:33

Dirk Hackenberg - lead and backing vocals;
Lars Freiberg - lead guitars, keyboards, piano;
Zdravko Adamic - guitars;
Ingo Vieten - bass;
Marc Gerwing - drums.

ESSEX debut album is rich in variety, rocky and melodic until the very end and offers music for every different taste, while the basic hardrock style remains existant at all times.

D 7

воскресенье, 28 января 2018 г.

Magus - The Green Earth

Bitrate: 320K/s
Year: 2001
Time: 41:50
Size: 96,6 MB
Label: Sky Pines Music (SSP 0004)
Styles: Progressive Rock/Neo-Prog
Art: Full

Tracks Listing:
 1. Rainforest - 5:36
 2. The Green Earth - 4:33
 3. North Atlantic Song - 6:20
 4. Illuminati - 3:35
 5. I Am The Sun - 5:03
 6. Sea Without A Shore - 3:06
 7. Stranded - 3:32
 8. The Shepherd - 2:39
 9. The Man Who Killed The River (Pt. 1) - 2:14
10. The Man Who Killed The River (Pt. 2) - 5:05

Andrew Robinson - vocals, guitars, bass, atmospherics;
Rue Yamauchi - keyboards, vocals;
Steve Perkins - drums & percussion.

MAGUS is something of an alchemist, fusing atmospheric soundscapes with progressive rock. Essentially a vehicle for guitarist/vocalist Andrew Robinson, the band's '90s output included drummer Steve Perkins and keyboardist Rue Yamauchi on the releases "Magus", "Traveller" and "Highway 375" (the latter featured songs based on Frank Herbert's Dune series, which had earlier inspired KLAUS SCHULZE).
Following 2001's "The Green Earth" (which was augmented by flute and violin), Robinson emerged with a new set of collaborators on the concept album "The Garden". Often likened to PORCUPINE TREE, the music of MAGUS has cast its spell on listeners who like a little space in their progressive rock.
In late 2010 Andrew decided to rename the band THE WINTER TREE, after the song of the same title by one of Andrew's favorite bands, Renaissance.

The Green Earth

суббота, 27 января 2018 г.

The Double Vision - Mayday

Bitrate: 320K/s
Year: 2017
Time: 39:16
Size: 91,6 MB
Label: KMZ
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. S.O.G. - 2:55
 2. Wild Cat - 3:33
 3. Mayday - 3:06
 4. Light O' Mine - 2:46
 5. Why You Gonna Be So Cold - 3:47
 6. You Have To Run - 2:10
 7. Two Stroke Engine Motor Cycle Club - 3:06
 8. I See Clear - 3:48
 9. Dying Breath - 3:41
10. Free At Last - 3:19
11. Turn The Lights Down Low - 2:38
12. Heroes - 4:22

The days when The Double Vision were "only" known as the Rory Gallagher Tribute Band are long gone: The Blues-Rock Trio from Thuringia thrilled with unforgettable live performances and already six produced albums all over Germany!
With their "Blues'n'Roll", the talented, sympathetic and unmistakable musicians of Gallagher rock every stage. Shows together with Todd Wolfe and Hadden Sayers or as support for Johnny Winter, Ten Years After, Eammon McCormack, Ryan McGarvey, Randy Hansen, Dana Fuchs and Monocle can be found in the Vita. At the 40th Fehmarn Open Air Festival the trio around singer and guitarist Stephan Graf impressed with an incredible live performance.
The performances of The Double Vision are a brilliant feat of musical talent and have a groove that sweeps even the listeners in the rear ranks - sweaty, lots of fun: the term "power trio" hits the bull's eye. The band can also strike calmer tones. The Acoustic, Dobro and Mandolin are next to the Strat for Bluesen and Sliden ready. From Muddy Waters, to Chuck Berry, old blues pieces to Rory Gallagher and of course to your own songs, everything is live!
The previously released albums, on which only their own compositions can be heard, reflect the dynamics and enthusiasm of the trio very well. After the first album was produced by Stephan Kerth and whose father Jьrgen Kerth cast an eye on the recordings, the third album "Blues'n'Roll" 2012 again hit the heart and ear of the listener.
Two years later, after eagerly waiting for the fans, The Double Vision released in spring 2014 "Top Secret", which is in no way inferior to its predecessors. On the contrary, the name does not mean that the new work should be kept secret - rather, the record puts each listener of the 10 self-composed songs in an excitement that makes one wonder what secret ingredient the band owns to create such gems. The album produced in the Ground Control Studio in collaboration with the Kerth label in Erfurt offers a treat for the ears, the pure, intense delta blues with the dobro, rousing rock'n'roll with stoner elements and boogie boasting with one Pinch of radio exists. The influences from country, folk and jazz also contribute to the fact that "Top Secret" is a real insider tip for every music enthusiast.
In 2016, the fifth studio work of the band with 12 brand new, electric rock songs + a bonus track - appears in German with "ELECTRIC WOOD".
In 2018 the sixth studio album will be released with MAYDAY. 12 songs were recorded in Dormagen and reflect the immense potential of the band .... rocky, bluesy ... modern yet in memory of the 60s and 70s. (From German)


Leprechaun - Leprechaun

Bitrate: 320K/s
Year: 2008
Time: 46:00
Size: 106,5 MB
Label: Mylodon Records
Styles: Jazz - Rock/Fusion
Art: Full

Tracks Listing:
 1. Analorock - 3:33
 2. El Lid - 5:11
 3. Fantasmagoria - 4:33
 4. Destellos - 4:29
 5. Despertar - 4:18
 6. Encuentro Inesperado - 4:30
 7. Leprefunk - 5:36
 8. 2 Rutas - 3:38
 9. Laberintos - 4:08
10. Cicatrices - 6:00

LEPRECHAUN is a Chilean band that aims at the preservation of prog rock from a jazz-rock orientation. The band was founded and led by guitarist Jose Luis SANTANDER (already experienced in the world of prog as a member of SUBTERRA): he summoned drummer Gonzalo UBILLA and keyboardist Martin SEPULVEDA (who has previously played as his supporting band in many guitar festivals), plus bassist Miguel FONSECA (a member of the Universidad de Chile's Big Band). The latter entered the band in early 2007, which meant the installment of the definite line-up. The band's material is projected to catch the attention of informed listeners while being of appeal for wider audiences: the individual tracks are not too expanded, yet they are demanding in terms of melodic arrangement and performance. The jazzy flavors are predominant, combining the energy of classic fusion bands such as RETURN TO FOREVER and WEATHER REPORT with the power of contemporary references such as TRIBAL TECH and PLANET-X. This choice of musical approach makes LEPRECHAUN stand close to compatriot bands PRISMA-X and EVOLUCION.
From early 2007, LEPRECHAUN began writing original material, ending up with a repertoire of CD length one year later: in the middle of 2008, Mylodon Records released their eponymous debut album. In the meantime, LEPRECHAUN had won a contest of new bands organized by the Escuela Moderna de Musica.
Why this artist must be listed in www.progarchives.com :
LEPRECHAUN is particularly recommended to fans of jazz-rock, fusion and prog-jazz, especially those who appreciate a dose of sonic power in the genre.


Velma Powell & Bluedays( feat.Mike Terry, Carlos Sanz, Nacho Castro, Jorge Otero "Jafo") - Blues to the Bone

Bitrate: 320K/s
Year: 2018
Time: 46:18
Size: 106,2 MB
Label: Red Hot Recordings
Styles: Blues/Chicago Blues
Art: Front

 1. My Name - 5:08
 2. Nothin' But the Cat - 3:39
 3. Tell Better Lies - 3:31
 4. Blues to the Bone - 6:25
 5. Badass Blues - 4:05
 6. Stand In Line - 3:24
 7. Let's Do it Again - 4:51
 8. One Hand in Front - 2:59
 9. I Don?t Wanna Dance - 4:01   
10. Sew What - 4:49
11. Too Late - 3:07
12. Let's Storm This Place - 4:15

"Blues to the bone" is born from the need that the North American artist feels to reaffirm herself in her roots and her musical heritage; Chicago's Electric Blues floods this work from the first to the last song. It is the city of Velma Powell, it is her music and the language she knows best how to handle.
In this production there is stylistic coherence and rhythmic and sonorous clarity: this is blues of Chicago ladies and gentlemen, of the authentic. Recall that Velma is born and raised in the city of the wind, without fissures, her songs breathe the influence of great with which she is even consanguineously related: Brownie McGee, John Lee Hooker ... .but also appear among their notes the legacies of Muddy Waters , Little Walter (who plays his "Too late"), Howlin 'Wolf or Otis Rush.
The band Bluedays has had the luxury of counting for the recording with the inestimable collaboration of two musicians of international repercussion: Paul San Martнn (San Sebastiбn) to the pianos and Hammonds, and David Garcнa (Gijуn-Madrid) to the harmonica; undoubtedly among the best and most reputable in their instruments throughout Europe.
12 songs make up the album: eleven originals, where Velma gives us lyrics full of sensitivity and double senses characteristic of the blues, and a single version that finishes rounding the solidity of the final set.
Strength, charisma in abundance, an unparalleled personality, a musical heritage and an overwhelming mise-en-scиne difficult to see in these lands: that's Velma Powell and her new album "Blues to the bone". (From spanish)

Blues to the Bone

Astrolabio - L'isolamento dei numeri pari

Bitrate: 320K/s
Year: 2014
Time: 51:24
Size: 117,9 MB
Label: Lizard Records
Styles: Progressive Rock/RPI
Art: Front

Tracks Listing:
 1. E' Stato Detto Tutto -  4:46
 2. 31 Aprile -  5:05
 3. Brie-Collage -  8:15
 4. Aurora -  1:02
 5. Fotografie -  5:30
 6. Sono io o Sono Te? (ParQuet) -  5:32
 7. Corso di Eurostima -  1:04
 8. Servito -  4:26
 9. Non ricordo - 10:30
10. Un Minuto di Silenzio per il Sistema Bancario Internazionale (Bancomat) -  1:06
11. Pugni Chiusi -  3:48
12. Hidden Track -  0:19

“L'isolamento dei numeri pari” rappresenta la prima fatica discografia di Astrolabio per l'etichetta Andromeda Relix in collaborazione con Lizard Records. In uscita il 25 Aprile 2014, e un lavoro che presenta due diverse ma altrettanto forti pulsioni: da un lato i caratteristici riferimenti riconducibili al prog nostrano di matrice “settanta”; dall'altro il forte desiderio dei componenti di gettarsi oltre il “gia fatto/ gia sentito”. Tale concetto si esplica efficacemente in “E' stato detto tutto”, brano di apertura che, ricco di riferimenti e citazioni, chiarifica quale sia la misura del possibile di questo progetto. Un piccolo manifesto d'intenzioni. Gli altri pezzi, che coerentemente col titolo sono composti dalle sole tracce dispari, fugando ancora una volta ogni compromesso conformista, spaziano tra momenti di furia progressiva, divagazioni psichedeliche e delicati intervalli. Il disco e distibuito in Italia, Europa, U.S.A., Australia e Giappone.
"L'isolamento dei numeri pari" (“The isolation of even numbers”) is the first Astrolabio's record, published in 2014, April the 25th, for the label Andromeda Relix in collaboration with Lizard Records. It's an artistic effort with two different intents: on one hand it follows the classical '70s italian prog themes and patterns; on the other hand it tries to satisfy the band's desire of doing something completely new and original. The opening track, "E' stato detto tutto" (“Everything has been said”) is the perfect example of the intentional dual soul of the record. A sort of "manifesto". The following tracks, all marked with odd numbers (following the band's unconventional intentions) touch progressive fury moments, psychedelic digressions and very soft arrangments. The album is distributed in Italy, Europe, U.S.A., Australia and Japan.

L'isolamento dei numeri pari

пятница, 26 января 2018 г.

Absenthia - ... Tenebrae Vincunt"

Bitrate: 320K/s
Year: 2009
Time: 55:24
Size: 127,0 MB
Label: Self REleased
Styles: Progressive Rock/RPI
Art: Front

Tracks Listing:
 1. Commentarii - De Bello Gallico VII - 5:02
 2. Atomica Achillea - 3:27
 3. Absira e la battaglia di Teutoburgo - 8:36
 4. Aria - Ricordi di un soldato - 3:59
 5. La danza dei miei Satiri - 5:59
 6. Catilina e la congiura degli stracci - 4:54
 7. Amore e Psiche - 5:06
 8. Argonautica - 4:50
 9. Spartacus - 7:16
10. Lo schiavo infante e la Matro - 6:11

ABSENTHIA is an Italian prog band from Vicenza that was formed in 2005. The line up features Igor Daoconte (vocals), Alberto Saccozza (bass), Massimiliano Piazzon (drums), Enrico Baù (keyboards), and Paolo Miotti (guitar), previously also with Ferruccio Caoduro (guitar). Their music blends influences ranging from PFM, BMS and Le Orme to folk, Italian melody and prog metal in a very original and convincing way.
The band has a strong theatrical approach, with the operatic vocals of Igor Daoconte in the forefront. The history of Ancient Rome is the main source of inspiration for the lyrics of their debut album, the excellent self produced "Tenebrae Vincunt", which was released in 2009.
The follow up album, Novecento, which was self-produced and released in 2016, continues in the same vein as the debut.

... Tenebrae Vincunt

Sean Pinchin - Monkey Brain

Bitrate: 320K/s
Year: 2016
Time: 30:38
Size: 70,3 MB
Label: Self Released
Styles: Blues
Art: Front

Tracks Listing:
 1. Monkey Brain - 3:38
 2. Can't Stand it - 2:49
 3. Charity Case - 3:41
 4. Hard Luck - 3:41
 5. Living in the Past - 4:19
 6. Goin' Hobo - 4:49
 7. Monsters - 3:17
 8. Get Burned - 4:20

Sean Pinchin, from Toronto, Canada, delivers eight tracks of  passionate Blues-Rock in Monkey Brain, his fifth album to date.  The album was co-written and recorded with JUNO Award winning producer Rob Szabo who recorded it live from the stage floor.   The raw and spontaneous live sound is evident in the tracks.  Pinchin is no stranger to the Canadian Blues scene, having been nominated for New Artist of the Year at the 2014 Maple Blues Awards and his 2013 album, Rustbucket, received numerous complimentary reviews.  Pinchin has toured across Canada several times playing countless live shows for the past eight years.  On his current CD, Monkey Brian, he is accompanied by Mark McIntyre on bass, Adam Warner on drums and percussion, Rob Szabo on backing vocals and percussion and Emma-Lee on backing vocals.  Pinchin plays guitar, stomp board and provides  vocals.  The album was mixed by Tim Abraham and Mastered by JUNO winner Phil Demetro, both well known professionals in the Canadian music world.  The experience and talent of those involved with the production of this CD are evident.  The musicians are excellent, the sound quality is crystal clear and well mixed and the energy of the live recording can be felt in all of the tracks.   It is professionally produced down to the last detail, even the CD packaging is impressive with a dark toned design, well-designed graphics and a photograph of Pinchin on the cover that shadows the mood of the tracks on the CD.  It easily rivals any contemporary CD released by a major record label.
There is a quote by Billy Gibbons of  ZZ Top that summarizes this CD quite appropriately,”The blues is life itself”.  The songs in Monkey Brain are about Pichin’s personal struggles with depression.  He wrote the songs throughout his depression as a way to translate his feelings into music.  That is not to say Monkey Brain is a dark and somber recording, it is really quite the opposite.  It is a powerful work by a talented musician who utilized his personal struggles to create some rocking blues songs.  The music borrows from many different blues styles, with a solid grounding in blue’s guitar roots music that Pinchin makes his own.  Pinchin’s vocals are quite impressive, at times very soulful.  His singing and guitar playing are obviously the sounds of a musician who knows his instruments and how to create a unique style while telling the stories of his life.
The title track, “Monkey Brain”, sets the tone of the CD.  It has excellent slide guitar riffs that are smooth, controlled and confident.  Pinchin’s skill with the slide is effortless, blending seamlessly with his vocals.  Definitely the work of a skilled guitar -playing vocalist.  The song has a sturdy beat with a solid bass line for him to take his guitar and vocals wherever they need to be to tell his story.  With lyrics like, ” I awake to my Monkey Brain, that’s how it feels sometimes…”, his vocals and guitar need to be in some very interesting places!  This CD takes the listener on quite a ride musically and lyrically.
Pinchin gets creative and rather unconventional on a few songs.  “Can’t Stand It”, with its strong beat and repetitive guitar riff  echos the lyrical phrase, “I can’t stand it” which is repeated frequently throughout the song.  Pinchin abandons and defies traditional song structure for an emotional and creative musical release.  It works.  He creates enough musical tension in the song with his skilled guitar and slide work to carry the repetative lyrics.  There is just enough of a blues taste here and there to place the song on solid ground and pull the listener into his passion.  “Goin’ Hobo”, co-written with JUNO award winner Steve Strongman, is arguably the best song on the CD.  It is a creative venture of swampy blues-rock, expressive percussive rhythm and a tasty chicken pickin solo with a side of blues that makes you want to pack up and go “ho-bo” right along with him.  The song is rootsy,  has some gospel flavor in the chorus and is really a fun listen.  The hook is so good in this song, you will be “goin hobo” in your head for some time after the song has ended.
Pinchin is masterful at shaping his vocals to the song.  His voice has a Lenny Kravitz sound; a bit soulful, a bit blues with a great range.  “Living in the Past” opens with a falsetto by Pinchin that leads into a rocking beat and strong guitar that both lead and follow the vocals throughout the song.  The background vocals by Emma-Lee are perfectly placed and delivered to add just enough accent to this song.  “Charity Case”, another swampy blues-rock track with a toe-tapping rhythm and “Hard Luck”  with a strong beat and passionate guitar solo both showcase Pinchin’s vocal range and skills.
The final two songs, “Monsters” and “Get Burned” show Pinchin’s skill on the guitar while delivering some intense lyrics.  “Monsters” opens with Pinchin playing slide on a Resonator with just enough gain to make the tone fat enough to carry the weight of the lyrics.  With lines like, “I feel like I’m losing my mind”, the music needs to deliver some strong support.  Pinchin has a great riff repeating throughout the song that carries the lyrics and he plays the Resonator with the perfect touch to give it just enough edge to be more roots than country and an added touch of old-time blues.  “Get Burned” is the perfect song to close this CD.  It is deeply toned with a repeating riff that goes from heavy to light as the song progresses.  The vocal intensity builds as the song develops with just enough effect in the mix to give it a little more shape.  This is a song of strength and power over personal hurt, which is the overall theme of this CD.   The CD was written during a time of emotional pain, it rises above that and each song is proof that the blues are “life itself”.  There is a line in “Get Burned”, “I don’t want to be forgotten and left for dead…” which is definitely not a concern for Pinchin with this CD.  Not only does he prove to the listener that pain can be overcome with music, but he also carries the blues torch a little bit further into some very creative, very inspired new songs.
Monkey Brain

четверг, 25 января 2018 г.

Hannah Wicklund & The Steppin Stones - Hannah Wicklund & The Steppin Stones

Bitrate: 320K/s
Year: 2018
Time: 38:28
Size: 91,2 MB
Label: Self Released
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Bomb Through The Breeze - 2:44
 2. Ghost - 4:03
 3. Looking Glass - 4:49
 4. Mama Said - 3:54
 5. On the Road - 3:46
 6. Crushin - 3:10
 7. Strawberry Moon - 4:03
 8. Too Close to You - 3:15
 9. Meet You Again - 4:41
10. Shadow Boxes And Porcelain Faces - 3:59

If Stevie Ray Vaughan and Slash had a love child, and that love child and Janis Joplin had a love child, it would be Hannah Wicklund.”
Hannah Wicklund and The Steppin Stones is an American rock ‘n’ roll band from Hilton Head Island, South Carolina. Wicklund formed The Steppin Stones at the age of nine. While most were accomplishing third grade reading lists, Wicklund was forming a rock ‘n’ roll band. Playing over 1,500 shows, sharing stages with acts including Kansas, Jefferson Starship, Outlaws, Lyle Lovett, Jason Isbell, and Rusted Root before legal voting age, Wicklund and The Steppin Stones have evolved over a decade.
“18-year-old vocalist and guitarist Hannah Wicklund who delivers melodies and styles from multiple genres with both expert precision and original adventurism…it’s astonishing how they achieve such a mature rock sound on their 2015 self-title album,” wrote Modern Rock Review’s Ric Albano.
Now in Nashville, Tennessee, Wicklund, guitarist, pianist, singer and songwriter is accompanied on stage by bass and drums. Wicklund’s signature curls flying through the air transport back to the time of the first female rock star, Janis Joplin. Capturing the old soul of a new generation, Wicklund’s singing voice and guitar playing have earned her comparisons to blues/soul musician Susan Tedeschi. With the band’s musical influences from Jimi Hendrix, Fleetwood Mac, Tom Petty & the Heartbreakers and Jeff Beck, Wicklund’s classic rock look get fans listening, but her guitar skills keep them wanting more.
“I remember the first time I saw Nirvana in 1990 in a small club in Jax Beach with a handful of long hairs and shoe gazers. I will never forget that night, but I was more blown away tonight by Hannah than by Kurt. She is a monster talent and her trio is cool as shit. Tonight was one of those once in a life time moments when you catch a superstar on the way up. Please support her so everyone else who plays guitar can retire,” said Josh Talbot, Nashville native.
While touring and playing private events including parties for AC/DC’s Brian Johnson, the band has managed to release four albums. The latest, a self-titled album recorded at Echo Mountain Recording Studios in Asheville, NC in 2015. The band will close 2017 with their first international tour and kick off 2018 with the release of their third album, produced by Sadler Vaden.

Hannah Wicklund & The Steppin Stones

Guy Verlinde & the Mighty Gators - X

Bitrate: 320K/s
Year: 2018
Time: 38:05
Size: 87,4 MB
Label: R & SMusic
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Bon Ton Roulet - 3:38
 2. Pursuit of Happiness - 4:23
 3. Ain't No Sunshine - 6:39
 4. No Time to Waste - 4:46
 5. Words are Overrated - 2:59
 6. Love Light Shine - 4:16
 7. Gator Bop - 3:21
 8. Good Ain't Good Enough - 3:17
 9. Shorten the Longin' - 4:31
10. Do That Boogie - 0:09

This compilation album includes new studio versions of songs that unti now were only recorded live and some previously unreleased songs. They show the evolution from the party blues band they were at the beginning, to the versatile roots band they've become today.


среда, 24 января 2018 г.

Akron - Il Tempio di Ferro

Bitrate: 320K/s
Year: 2003
Time: 51:41
Size: 118,4 MB
Label: Black Widow Records BWR067
Styles: Progressive Rock/RPI
Art: Front

Tracks Listing:
 1. Il Giuramento - 8:33
 2. A Gerusalemme - 9:45
 3. Il Tempio di Ferro - 4:59
 4. Gaudio a Te - 3:23
 5. Deus Vult - 3:07
 6. Verso Notre Dame - 5:18
 7. Il Giudizio - 5:49
 8. Le Catene de Chinon - 8:28
 9. Condanna - 2:16

Eugenio Mucci - Vocals and Choirs;
Enio "Akron" Nicolini - Bass, synthesizer;
Fabio Barraco - Keyboards, Piano;
Gabriella Saia - Choirs;
Lea Palmieri - Drums.
Antonio De Angelis - Hammond Organ;
Gabriele Di Monte -Hammond Organ.

AKRON is the name of the musical project of Elio "Akron" Nicolini, bassist for Italian heavy doom band The Black. AKRON produced two albums, "La Signora del Buio" in 1999 and "Il Tempio di Ferro" in 2003, a concept album dealing with the Knights Templar. The albums are heavily based in keyboards, particularly church organ, leading to the sometimes applied label of Cathedral Art Rock. The music is generally slow, deliberate, and always dramatic. The central keyboards are completed by the unique, dramatic operatic vocals of Eugenio Mucci, with the rhythm section of Nicolini and drummer Lea Palmieri. There is no guitar. The reference band that comes immediately to mind when listening to AKRON is JACULA, although AKRON'S music is not as dark. Some have compared the music of AKRON to that of METAMORFOSI, although the similarities are primarily based on the operatic vocals, the predominant organ, and the dramatic style; AKRON'S compositions are not nearly as varied or interesting as those of METAMORFOSI. AKRON produces interesting music, often compelling, and is recommended to those who like dramatic, theatrical or operatic style and are willing to tolerate some artistic indulgence at the expense of complex compositions or instrumental virtuosity.

Il Tempio di Ferro

Rocky Zharp & RZB - Songs For You & A Song For Me (With Junior Watson, Larry Taylor & Honey Piazza)

Bitrate: 320K/s
Year: 1990
Time: 47:35
Size: 109,4 MB
Label: King Hudd Records
Styles: Blues/Harmonica Blues
Art: Front

Tracks Listing:
 1. Song for Me - 4:13
 2. Nothens' Getten Said - 4:04
 3. Ms. Suzy - 4:30
 4. Mfhj - 3:17
 5. All Ready Over You - 3:33
 6. He's a Hunter - 3:39
 7. Yes It's True - 3:50
 8. Cornfield Boogie - 4:22
 9. Granny's Boogie - 3:03
10. Everyday of my Life - 2:12
11. Raccoon Bluz - 4:34
12. I'm Dead - 3:53
13. Little Girl Lost - 2:19

All songs were rcorded with 1990's technology but in the fashion of the 1950's. Smart, funky blues 4 SONGS PRODUCED BY ROD PIAZZA FEATURING JUINOR WATSON, HONEY PIAZZA, AND LARRY TAYLOR.
Rocky Zharp, born in Indiana, was given his first musical instrument, a harmonica, by his great grandmother when he was a toddler.
By age 15, Rocky was working as a bass player in a three-piece rock band. Rocky won a local talent contest, before joining the army, playing guitar, harmonica and singing original songs.
After moving to California, Rocky began playing harmonica with Bodie Mountain Express, a blue grass/country band, which had recorded on RCA Records and worked with Col. Tom Parker (Elvis' manager). They performed at county fairs and festivals throughout southern California.
This is when Rocky started his recording career. Before recording his own songs, Rocky did harmonica work for other recording artist. Rocky now has 7 cds out.
Rocky won the Inland Theater League Award for his part in the theater production of "The World of Carl Sandberg" and had rave reviews while performing in "Hard Travelin' a Tribute to Woody Guthrie". Rocky has done some stand up comedy and has been a comedy traffic violator school instructor for thirteen years. Rocky has hosted a weekly blues radio show, "The Great Blues Mix" on KHPY radio out of Moreno Valley, Ca. (the station has now gone Spanish)
Rocky has played harmonica with such jazz/blues greats as; Eric Burdon, The Mighty Flyers, The Toller Brothers, Jerry Van Blair, Bill Shields, and Big "J" McNelly. Rocky has played with other well-known artist such as: Don Ho, Freddy Fender, Rosie & the Originals, Randy Fuller, and Buddy Merrill.
Rocky has recorded with Junior Watson, Larry Taylor, Honey Piazza, Jody Reynolds, and Johnny Neal.
The following is some of the artist Rocky has opened for: Rod Piazza & the Mighty Flyers, Canned Heat, Corey Stevens, Molly Hatchet, the Crests, Utah Phillips, and Highway 101.
Rocky released a live cd as well as a studio cd, "Crackin' the Blues" with his band The Blues Crackers, (Official promoters of mandatory fun and audience participation). In 2002 Rocky released two CD's: "The Best Of Rocky Zharp" (which has been getting air play in the United States and throughout Europe) and "The Blair Zharp Project," a children's cd with Irish folk singer Andrea Blair (which had two number one songs on mp3.com.)
The Blues Crackers Performed for the fifth year at "Jazz In The Pines" in Idyllwild, Ca. in 2002 and are booked for August 2003. The band played at the 18th annual Monterey Bay Blues Festival the 29th of June 2003 and was ask to come back in 2004.
Rocky's original song, "Scars" from "Crackin' the Blues" and "The Best Of" CD's was featured on the Dec/Jan 2003 Blues Revue Magazine compilation CD distributed throughout the world. Rocky's song "Merry Merry Christmas" from his Christmas cd was featured on a Hospice compilation CD "Ho Ho Hospice" distributed throughout the United States to help raise money and awareness for Hospice. Rocky's country song "Too Drunk To Stagger" was featured on an anti-drug/pro-family compilation CD, "Songs of Recovery" by Sun Ray Addictions.
Rocky now has an endorsement from Shaker Harmonica Microphones. www.shakermicrophone.com

Songs For You & A Song For Me (With Junior Watson, Larry Taylor & Honey Piazza)

Adolphus Bell - Mississippi Rubberleg

Bitrate: 320K/s
Year: 2016
Time: 26:47
Size: 61,7 MB
Label: Music Maker Recordings
Styles: Blues/Delta Style
Art: Front

Tracks Listing:
 1. Love Man - 2:09
 2. You've Got to Hurt Before You Heal - 3:18
 3. Tossin' and Turnin' - 2:25
 4. I'm Not Ashamed - 2:27
 5. He Don't Love You - 2:39
 6. Lead Me On - 1:42
 7. Bring It on Home to Me - 2:29
 8. Ain't No Sunshine - 1:30
 9. Plain to See - 2:44
10. Pawn Shop - 2:58
11. Johnny B Goode - 2:21

Adolphus Bell (born June 5, 1944 in Birmingham, died October 28, 2013 in Birmingham) was a blues musician, best known as a "one man band".
Bell was the son of a miner who died two months before Adolphus was born. He grew up in Luverne, Crenshaw County, working on farms. He moved with his mother to Pittsburgh, Pennsylvania in 1962 and learned guitar from neighbor George Benson, eventually joining his "All Stars" band as a bassist. During the 1960s he played around the city with his own quintet called Adolphus Bell and the Upstarts. He dubbed his 1960 Gibson guitar "Pawnshop" because every time he bought it back out of hock it had a more bluesy sound. Discouraged with the unreliability of his bandmates, he experimented with singing while playing guitar, bass drum and high-hat himself. He played Pittsburgh, then began touring the country in a station wagon he bought with lottery winnings. He painted "One Man Band" on both sides to advertise his music.
Bell moved to Flint, Michigan with his sisters around 1970 and continued playing, supplementing club gigs with street performances and bookings at senior centers and jailhouses. He also spent a lot of time on the road. During an extended visit to Atlanta, Georgia in the mid-1970s, Bell was arrested for playing without a permit, but public pressure on Mayor Jackson led to an eventual order that police leave him alone.
In the late 1970s, Bell headed west to try his luck in Los Angeles and Las Vegas. He worked as a regular casino employee and put his music on a back burner. The highlight of his sabbatical was a $200 tip from Telly Savalas. He eventually packed up his station wagon and wound his way back through the South until he found himself back in Alabama. After a brief stay in Birmingham he settled in Gadsden in 1980 and took a day job at a chicken plant while he pursued blues gigs at night. He returned to Atlanta in the late 1980s and landed a regular booking as a "street busker" at Underground Atlanta. After the 1996 Olympics Games he returned to Birmingham.
In 2004, Bell was contacted by the Music Maker Relief Foundation, which organized international tours and produced an album. He drove a brown van with his "One Man Band Show" advertised on the side panels until lung cancer forced him to stay at home. The foundation continued to help Bell with expenses and encouragement. He died in October 2013 and was buried at Oakland Cemetery.

Mississippi Rubberleg

Tree - Tree

Bitrate: 320K/s
Year: 2011
Time: 45:55
Size: 105,2 MB
Label: Self Released
Styles: Rock/Psychedelic Rock
Art: Front

Tracks Listing:
 1. Cool Breeze -  4:16
 2. Swing In B -  7:16
 3. Time -  2:59
 4. Darling -  4:43
 5. Eastern Blues - 12:34
 6. Two Oceans -  5:24
 7. The Sun -  4:22
 8. River -  4:17

Nice psychedelic-rock/blues-rock band, that reminds me of The Doors, but with a bit of Middle Eastern flavor.
P.S. A long-awaited second album is almost here! Favorite track: Two Oceans.


Protofonia - A Consciencia do Atomo

Bitrate: 320K/s
Year: 2015
Time: 48:22
Size: 111,4 MB
Label: Editio Princeps
Styles: Progressive Rock/Eclectic Prog/Jazz-Rock Fusion
Art: Front

Tracks Listing:
 1. Bla Bla Bla -  6:04
 2. Churrasco na Casa do Bigode -  3:50
 3. Ambas Dubias -  4:21
 4. Freevo -  4:05
 5. A Consciencia do Atomo -  3:30
 6. 3 Sonetos Simbolistas -  7:20
 7. Ventos Quanticos -  4:13
 8. Politica -  2:37
 9. Blavatskundum - 12:18

PROTOFONIA é um trio de música instrumental, um laboratório, um lugar seguro onde os rótulos podem se despir: uma tela em branco e três pincéis, infinitas cores. O Protofonia está de acordo com tudo o que estiver relacionado a experimentalismo e improvisação: Música Livre! Formado no auge da seca de Brasília em 2007, André Chayb (guitarra, ukelele, theremin, teclado, ruídos), Janari Coelho (bateria, percussão, paisagens e intervenções sonoras, ruídos) e André Gurgel (baixo, violão, teclado, plásticos, ruídos), todos com vasta experiência no cenário musical do Distrito Federal, trabalham músicas instrumentais autorais com muita influencia do jazz em todas as suas vertentes, blues, rock progressivo, improvisação livre, música erudita contemporânea e eletroacústica. No desenvolvimento de seus temas há sempre espaço para a explosão e o silêncio, criando cores fortes e texturas imprevisíveis que prendem a atenção do público do início ao fim de cada música. O Protofonia, além da participação em diversos shows e festivais locais, atuou concebendo a trilha sonora do musical Macufagia, releitura de Macunaíma, obra-prima do escritor Mário de Andrade, dirigida pelo diretor uruguaio Hugo Rodas. A experiência abriu o caminho para a incursão do trio na composição de trilhas e sonoplastias, em parceria com grupos de artes cênicas e visuais. Este primeiro disco reúne composições que começaram a ser gravadas em 2008, quando o grupo se firmou como trio após uma sequencia de várias formações (chegou a ser um quinteto, com duas baterias, duas guitarras e baixo). As faixas Antropofagia Moderna, Cavalgando a Máquina Flexível, Doce Carne e Jardim de Maytrea foram gravadas no estúdio Octógono em 2008. Em 2009, no estúdio C.L. Áudio, foram registradas Eugênia, Não Conte Nada para sua Irmã, Triturador de Dejetos e No Palco Atrás dos Olhos. Naquele mesmo ano o grupo se desfez. Os integrantes seguiram seus projetos individuais e só voltaram a se reunir em 2012. Novas composições surgiram, mas ainda havia aquele projeto engavetado. Apesar de as faixas ainda soarem bastante cruas e inacabadas, a alta qualidade da captação motivou a continuação do processo. O material foi levado para o estúdio Zimmer-Collen, onde, em dois meses, foram feitos alguns overdubs de solos, inserções de efeitos eletroacústicos, ruídos, flautas, theremin, percussões, mixagem e masterização. O primeiro álbum "Protofonia" foi finalizado em abril de 2013.
Gravado e Mixado em 2014/2015 no estúdio Zimmer-Collen (Ceilândia/DF) por Oldair Vieira (Déi), Produzido por Pedro Baldanza, lendário baixista do rock brasileiro, membro do grupo Som Nosso de Cada Dia. Masterização Analógica realizada por Dudu Maia no estúdio Casa do Som (Brasília/DF), prensado em 300 cópias de 180g pela Polysom (RJ) com a arte de Eduardo Belga na capa.

A Consciencia do Atomo

вторник, 23 января 2018 г.

Doghouse Sam & His Magnatones - Going Places

Bitrate: 320K/s
Year: 2017
Time: 39:08
Size: 92,4 MB
Label: Eigen Beheer
Styles: Blues/Roots Rock
Art: Front

Tracks Listing:
 1. I Was Wrong - 3:29
 2. Slideaside - 2:33
 3. Another Fight - 2:58
 4. Cut to the Chase - 2:05
 5. Nearly All the Time - 2:45
 6. What Bout That - 2:53
 7. Go Get Some Grub - 3:11
 8. A Little While - 3:45
 9. You're Everything to Me - 2:58
10. Nobody Else Around - 2:53
11. Your Next Move - 2:06
12. Dog Fever - 4:08
13. Take Care - 3:18

Vanaf zijn zestiende speelt hij in bands en dan heb ik het over Wouter Celis, alias Doghouse Sam. Met ‘Going Places’ heeft hij zijn derde album met zijn Magnatones op de markt gezet. In alle albums zie je een mix van blues, rock ’n roll en rockabilly terug, maar dan wel super eigenwijs gepresenteerd. Met eigenwijs, bedoel ik eigenzinnig en origineel. Omringt door zijn Magnatones, met Franky Gomez op drums, die zorgt voor een creatief en stuwend ritme. Samen met Jack O Roonie op de upright bas zorgen ze voor een bruisende energieke drive in de tracks. In 2010 werd “nicht um sonst” , Gomez gekozen tot de beste drummer in Nederland. In de Artsound Studios in België werd een album opgenomen met dit heerlijk opzwepend karakter. Dertien tracks uit de koker van Doghouse Sam en eentje You’re Everything To Me van Jack O Roonie. In de openingstrack I Was Wrong zit de feel er goed in, aangevuld met het swingende pianowerk van Bas Janssen (Soulradio en Wild Specialties) . Op What About That horen we het snerpende saxofoongeluid van Evert Hoedt (Electrophonics en Little Steve). Natuurlijk, bas, drums en gitaar doen hun werk op alle tracks, maar de toevoegingen van de gasten en de bluesharp van Doghouse Sam in b.v. A Little While, geven een extra dimensie aan deze productie en blazen op die harp, dat kan ie, Doghouse Sam!  De rock ’n roll is nooit ver weg in de uptempo tracks als Cut To The Chase en Your Next Move. Zoals ik schrijf het gaat van rock ’n roll, via de rockabilly naar de blues in Slideaside en Dog Fever. Zelfs wat westernswing in Nearly All The Time.  De spanning die er zit in You’re Everything To Me is adembenemend en geeft zelfs wat psychedelica in dit album. Schrijf er gerust enkele meer Jack! Het album eindigt in het rustige songwriterachtige Take Care.
Een cd vol met afwisseling, terecht een hoogstaand rootsalbum. Een internationaal prijsalbum voor de jaarlijstjes van 2017 als het aan mij ligt. Gevarieerd, swingend, gepassioneerd en gedurfd. Na vele luisterbuurten ontdek ik steeds weer mooie muzikale elementen. Toppie!

Going Places

Camembert - Negative Toe

Bitrate: 320K/s
Year: 2017
Time: 56:53
Size: 130,8 MB
Label: AltrOck
Styles: Progressive Rock/Jazz-Rock Fusion
Art: Front

Tracks Listing:
 1. Orteil Negatif -  3:13
 2. Fecondee Par un Extra-Terrestre - 15:09
 3. Gros Bouquin - 11:11
 4. The Lament Of Pr. Frankenschnorgl -  9:11
 5. Skwitch - 14:47
 6. El Pulpo -  3:19

Strasbourg's eccentric and eclectic Zeuhl/avant garde/RIO "ensemble" (more like a small orchestra!) have produced a sequel to their 2011 "soundtrack" to an imaginary alien space invasion. The band has matured as both individual instrumentalists and as a cohesive collective. The sound engineering is amazing--one of the best I've ever heard-- and the story and even the masterfully crafted music continues to employ an extraordinarily high degree of humour. I find myself laughing and crying within the same songs as we follow the latest installment of the alien Schn'rgls' conspiratorial encounters with Earthlings
1. "Orteil n'gatif--Once Upon A Time In The Galax-cheese" (3:13) opening with a joyful, confident announcement of the band's incredible precision, new maturity, and sci-fi story to come, percussives and staccato syncopation introduce the story before the music fades into a low, ominous foundation for the eerie "radio" communications that follow (the Schn'rgls have been encountered!). Masterful intro! They've got my attention! (4.5/5)
2. "Fecondee par un extra-terrestre" (15:10) opens with 45 seconds of Zeuhl-like insistence before everything turns to a gentle Latin rhythm-based harp-based section. Cool! A minute later, it switches as other band members join in, then turns more jazzy as the horns join in during the third minute. Another shift at 3:30 presents an adorable and pretty "wuah" sound that sounds like a cute alien fart or baby burp (the birth of "El Pulpo"). When the band reunites in full force at the end of the fourth minute, it seems like the outburst is totally jovial, even celebratory. At the end of the sixth minute another shift employs long, deep bass notes, steady drums, electric guitar soloing (which is rare) and all kinds of horns and percussives interspersed. A minute later, things quite down while very delicate play from keys, xylophone, harp, and oboe (and later flutes) very slowly, very gradually build in force and volume. this is gorgeous! By the time 9:45 rolls around and the horns unite in sectional bursts we think it's culminating--but, no! Another lull while cymbals, touch-guitar chords and winds present yet another variation on the theme. This is amazing! The compositional and performance skills on display here are utterly inconceivable! Like an orchestral composition! At 12:30 there is another radical tempo and stylistic shift while woodwinds seem to be "tuning" in the background, the bass and rest of the rhythm section (which is HUGE!) gel into a very Zeuhl-like sound and style. Horns carry the melody forward while harp and vibes fast-weave beneath, just above the rhythm section. Amazing! (10/10)
3. "Gros Bouquin" (11:11) Opens with some full band chord hits before quickly settling into a funky-jazzy rhythmic sound for vibes and flutes to present a fast-paced melody. At 1:15 everything quiets down while flutes and other high winds present an airy space. Then we burst back into the bass-led Caribbean funk so that horns can have their solo time. Trumpet takes the lead for the next minute while bass and harp provide the steady foundation. Drums and multiple hand percussion play along though very much in a simplistic supporting role. The song is supposed to represent a musical rendering of the process of extracting the sexual energy from rabbits in order to empower the Schn'rgls' secret weapon, the Negative Toe. (8.5/10)
4. "The Lament Of Pr. Frankenschn'rgl" (9:11) a slow, methodically-paced song with lots of space and lots of staccato notes produced in small, steadily paced packages from a wide variety of instruments including some from Oriental traditions. This one also has nicely arranged choral arrangements (sung in English!) professing the Schn'rgl military scientist's doubts, regrets, and worries. Such a simple and pleasant song, this in great contrast to the frenzy of multiplicities that was song #2. A great display of control and restraint--both in composition and especially in performance. Mathematically I'm sure this song would be quite interesting to study. The final 90 seconds begin to exude some of the insistence of the Zeuhl world in both vocals and drums and bowed bass--and finishing off with a little crazed cacophony--which is a perfect lead-in to the next song. (9/10)
5. "Skwitch" (14:47) opens with multiple instruments contributing to a low end dominated, ominous opening. At the two-minute mark things quiet down--as if the protagonists are trying to hide or be unnoticed--while retaining the creepy tension from the opening. At 4:10 we again switch tempo while the same delicate instrumental weave re- establishes itself--this time with hand percussion, harp and vibes providing the filler. At the end of the sixth minute the music drops out leaving some very sparsely populated guitar, harp, bass, and creepy trumpet hits while a creepy monster-like human voice vocalizes noises not unlike those of the trumpet. Well into the eighth minute, the horn solo becomes far more "normal"--jazz-like--but then it is suddenly submitted to some very odd under-water- like muting effects (elephantine) while the rest of the band, formerly quiet and reserved, begin to rise up and "swallow" the trumpet within their methodic tapestry. At 9:57 everything stops. Silence. Then very syncopatedly- spaced staccato hits from a variety of instruments gives the sound and melody a stark, almost "disappearing" feel. Horns and harp allow for some feeling of return to occur. Boisterous bass-end bursts seem to be on the verge of disrupting all flow of the base-line tapestry--until they all merge at the beginning of the thirteenth minute. The final two minutes seem to be telling the story of the monster's demise and death. Overall, this is a great mid-tempo song with frequent time changes and polyrhythmic weaving of the multiplicity of instruments. Something about the mood, melodies, and intricacies of this song make it my favorite--despite the fact that it's supposed to tell the story of the future destruction of one of my favorite places on Earth, la cath'drale de Strasbourg, by a cybernetic laboratory elephant. (9.5/10)
6. "El Pulpo" (3:19) oboe, guitar play out a sad melody over harp and bowed double bass before vibes and horns come in to present their antiphon of support. Then at 1:25, all music fades away. Empty space is then gradually invaded by low foghorn-like horn bursts while seaside sounds and human whistling and other pseudo animal sounds are disbursed throughout the soundscape. I guess it's supposed to be the cries of El Pulpo as he and his mother escape to South America by sea-going vessel. (4.5/5)
Definitely a masterpiece of modern progressive rock--though this album feels as if it belongs more on the Avant Garde/RIO spectrum than the Zeuhl they were associated with in their previous album. Great to have Pierre and company back! And mega-kudos to the engineering/production team! AMAZING sound reproduction!

Negative Toe

понедельник, 22 января 2018 г.

BunChakeze - Whose Dream?

Bitrate: 320K/s
Year: 2010
Time: 47:16
Size: 109,4 MB
Label: Self Released
Styles: Progressive Rock/Crossover Prog
Art: Full

Tracks Listing:
 1. BunChakeze (Instrumental) - 1:56
 2. Whose Dream? - 4:05
 3. Walk in Paradise - 6:56
 4. Handful Of Rice - 5:09
 5. Flight Of the Phoenix - 6:19
 6. Midnight Skies - 6:24
 7. Long-Distance Runner - 6:09
 8. The Deal - 7:49
 9. Whose Dream? [Reprise] - 2:23

UK outfit BUNCHAKEZE is among the bands that can trace their history back to another time and age. In this case the time machine takes us back to London in the early 80's, and a young, promising band called Odin of London. They had good material and dedication to their art, but as live opportunities dried up Odin disbanded. A band without a venues where they can perform their material to an audience is a tad disheartening after all.
Colin Tench (guitars, synthesisers, vocals), Gary Derrick (bass, pedals) and Cliff Deighton (drums) decided to form a new band, Bun Chakeze. They met a guy who was going to rebuild his studio and he offered them studio time in return for a lot of help with building work. A great opportunity for them. All 3 of them worked very hard for many weeks and earned enough time to record an album. They started recording, even while the building was still in progress. Towards the end of the recording sessions they were joined by Joey Lugassy (vocals), and in 1985 the album was completed. No labels showed an interest at the time though, and Bun Chakeze went into a hiatus of sorts. When a remixed version were sent out in 1992 without any more interest the band went into permanent hiatus. Almost.
Fast forward some 20 years, and some of the musicians from back then, a bit wiser, somewhat older and no longer depserately working towards getting a record deal, decide that they want to preserve their old musical legacy. And perhaps give it a shot as a band again, in a somewhat more relaxed manner. With a slight name change, now using the moniker BunChakeze, they decide to release the album themselves, and even if spread all over the world a decision is made to make another attempt at the music scene. The CD is released digitally in September 2010, and plans for a physical release made before the end of the year starts crystallizing. There's even plans of adding an extra member or two to the line-up. Time will have to tell what transpires next in the long history of this band.

Whose Dream?

Fordham Road - Fordham Road

Bitrate: 320K/s
Year: 2017
Time: 53:02
Size: 126,2 MB
Label: Self Released
Styles: Progressive Rock/Crossover prog
Art: Front

Tracks Listing:
 1. Andrew - 5:49
 2. New Love in New Places - 3:24
 3. Midnight Skyways - 2:51
 4. Eye to I - 3:32
 5. Take One - 2:47
 6. The Universal Dream - 2:36
 7. Goodnight 617 - 2:22
 8. Moe's Loganberry Stash - 9:56
 9. Tom's Basement Jam - 7:05
10. On the Road - 7:31
11. Same Love in Different Places - 5:05

This November, Fordham Road will be releasing their self-titled debut album. Fordham Road was conceptualized when the band formed in January 2016, and it tells the story of how four individual artists became united in a single musical vision. On the album you’ll hear several styles of music influencing the progressive rock sound that has become what Fordham Road is today.
This will be Fordham Road’s second release of 2017, coming on the heels of The Gates of Heaven EP that was released in February. The new full-length album will feature one previously released single (“New Love in New Places”) along with nine newly recorded tracks, some of which will be recognized by fans of their impressive live show.
Fordham Road is Kristian Veech (vocals/guitar/keys), Tom Shubsda (drums), Mark McCarthy (guitar/trombone/vocals), and Joe Everett (bass). Several special guests also contributed to this album, including Gianluca Farina (who also played trumpet on The Gates of Heaven), Chris Dorsey (from Slack Tide), Moe Michnick (from Astro Collective), and Ethan Wojick (who currently is performing with Chiggin and Baked Potatoes). The album artwork was designed by Nessa Godinez.
Physical Copies will be released on November 19th at Fordham Road’s album release show. It will be made available on all digital platforms on November 20th. The Album release show will be at The Midway Cafe in Jamaica Plain, Boston, MA. Tickets are only $5 and the show runs from 4-8pm. Tenfold Path, Robinwood, and Amanda McCarthy will be performing at this show as well.
Make sure to check out Fordham Road on Facebook and Instagram to keep updated on events leading up to the album release. Fordham Road would like to thank everyone who has supported them on their journey so far, and they can’t wait to share the new album with all of you!

Fordham Road