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The Scrap Dealers – Red Like Blood [BE | 2014]

Download/Buy from the author’s site

[Punk | Garage Rock | Psych]

Newcomers to the ‘new’ garage rock Belgian scene, The Scrap Dealers is probably one of its great promises. These five musicians from Liège have absorbed and digested their classics (Thee of Sees, Ty Segall or The Black Lips) to offer us a powerful turbine combining psychedelia and loudness. This psychedelic garage punk band kicks your ass with his loud, powerful and dirty music, and doesn’t envy the best bands of the genre anything. Highly Recommended!
The band has released his first 7’’ ‘Red Like Blood’,on his label JauneOrange/Rockerill Records, and an EP will follow at the end of the summer. ‘Red Like Blood’ is full of rage, garage and garage again…


All songs by The Scrap Dealers
Recorded and mixed by Le Général Collyns & Allan Snon in November 2013
Available March 3rd 2014
Licensed by JauneOrange & Rockerill Records – JO037 / ROREC014
Released 03 March 2014

Part of the Series VI. Self-Productions

[Digital Album] | BUY  & INFO

Archivado en: Garage Rock, Punk, Rock, ,

Gentle Giant – In’terview [UK | 1976]

Studio Album [ MP3 | @320 | 76.5 MB ]

 UK | 1976 | Prog Rock | Eclectic Prog

Generally considered to be the last must-have recording from these progressive rock giants. Recorded at a frenetic pace, the band had the impossible task of topping their classic, Free Hand. While they didn’t surpass the success of previous efforts, they did continue to propel their unique brand of complex music into surprising new directions. Interview is actually a concept album centering on a fictitious interview based upon the music business. There are the typical complex harmonies and intricate musical passages, but the real progress is in the group’s expanded sound, thanks in large part to Kerry Minnear’s stellar keyboard innovations. Although the songs are not as memorable as those on Free Hand, there isn’t a weak one in the bunch, with the reggae-styled “Give It Back” being a standout. Unfortunately progressive rock was nearing its initial run as a popular form of music, forcing most prog bands to either adapt to the changing times or simply fade away. Unfortunately, Gentle Giant tried their hand at pop for a short and embarrassing time before disbanding. Gentle Giant’s legacy began with their eponymously titled debut and ended with this one. (AllRovi)

A1999 Interview 999
A2 Give It Back
A3 Design
B1 Another Show
B2 Empty City
B3 Timing
B4 I Lost My Head

[Shared Album] | DOWNLOAD

Archivado en: Eclectic Prog, Progressive Rock, Rock,

Agnes Strange – Strange Flavour [UK | 1975]

Studio Album [ MP3 | @320 | 149.2 MB ]

UK | 1975 | Hard Rock | Heavy Psych

According to the liner notes on their rare 1975 album, bassist Alan Green, drummer Dave Rodwell and singer/guitarist John Westwood came together in 1972.  Originally from Southampton, England by 1974 they’d been signed a management agreement with the Dick James Organization and relocated to London in the pursuit of greater glory. Signed by Pye Records which then assigned them to its newly formed Birds Nest subsidiary, their 1975 debut “Strange Flavour” teamed the trio with producer Dave Travis (who also contributed a pair of songs to the LP).  With all three members contributing material, the set bounced between standard English blues and more commercial hard rock (imagine something along the lines of Budgie hanging out with early era Deep Purple).  (Web)

A1999 Give Yourself a Chance 999
A2 Clever Fool
A3 Motorway Rebel
A4 Travelling
A5 Strange Flavour
A6 Alberta
A7 Loved One
B1 Failure
B2 Children of the Absurd
B3 Odd Man Out
B4 Highway Blues
B5 Granny Don’t Like Rock N’ Roll
B6 Interference
B7 Give Yourself a Chance


Archivado en: Hard Rock, Heavy Psych, Rock

Autumn Porch – Confession To A Crow [2014]

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[Psychedelia | Poetry | Post-Blues]

Debut Release By Autumn Porch. Featuring the poet Framarz Bagheri on vocals, Autumn Porch is about psychedelia, poetry, and post-blues. Here are some of the influences:

James Blood Ulmer, Suicide, Larval, Mad River, Dirty Three, Ry Cooder, Oxbow, Epsilon, Joy Division, Douglas Leedy, Van Morrison, Earth, The Soft Boys, Polvo, Manfred Mann’s Earth Band, Dire Straits, Amps For Christ, Neil Young, The Doors, Popol Vuh, Sting, Marc Ribot, Lungfish, Procol Harum, Harvestman, Crime & The City Solution, Denis Smalley, Brant Bjork, Univers Zero, 13th Floor Elevators, David Crosby, La Monte Young & The Forever Bad Blues Band, Yawning Man, Chrome, John Lurrie National Orchestra

All Songs Composed In 2011 / 2014; Recorded In ‎June / July / August 2013 / March 2014. Produced, Mixed, And Mastered In August 2013 / March 2014..

Released 01 April 2014
Featuring Poet Framarz Bagheri On Vocals

Part of the Series VI. Self-Productions

[Digital Album] | DOWNLOAD  & INFO

Archivado en: Psychedelic Rock, Rock,

Camel – The Snow Goose [UK | 1975]

Studio Album [ MP3 | @320 | 85.3 MB ]

 UK | 1975 | Prog Rock | Symphonic Prog

Camel’s classic period started with The Snow Goose, an instrumental concept album based on a novella by Paul Gallico. Although there are no lyrics on the album — two songs feature wordless vocals — the music follows the emotional arc of the novella’s story, which is about a lonely man named Rhayader who helps nurse a wounded snow goose back to health with the help of a young girl called Fritha he recently befriended. Once the goose is healed, it is set free, but Fritha no longer visits the man because the goose is gone. Later, Rhayader is killed in battle during the evacuation of Dunkirk. The goose returned during the battle, and it is then named La Princesse Perdue, symbolizing the hopes that can still survive even during the evils of war. With such a complex fable to tell, it is no surprise that Camel keep their improvisational tendencies reined in, deciding to concentrate on surging, intricate soundscapes that telegraph the emotion of the piece without a single word. And even though The Snow Goose is an instrumental album, it is far more accessible than some of Camel’s later work, since it relies on beautiful sonic textures instead of musical experimentation. (AllRovi)

A1999 The Great Marsh  999
A2 Rhayader
A3 Rhayader Goes to Town
A4 Sanctuary
A5 Fritha
A6 The Snow Goose
A7 Friendship
A8 Migration
A9 Rhayader Alone
B1 Flight of the Snow Goose
B2 Preparation
B3 Dunkirk
B4 Epitaph
B5 Fritha Alone
B6 La Princesse Perdue
B7 The Great Marsh


Archivado en: Progressive Rock, Rock, Symphonic Prog,

The Astronauts – In Defence of Compassion [UK | 1989]

Studio Album [ MP3 | @192 | 55.1 MB ]

UK | 1989 | Post-Punk

Looking like Hawkwind roadies and playing like punks during their gigs, their scrappy DIY veneer is beautifully frayed at the seams, revealing the hippie ethos underpinning it. This tension was particularly evident as their studio efforts, which, since their debut EP in 1979 have matured step by step to reveal ever more deftly deployed folk and pop arrangements. In Defense Of Compassion was their fifth outing and it perfectly captures this lot at the peak of their peculiar powers and in an unusually production-rich setting for them. On In Defense Of Compassion, they nimbly shift from fizzing synths over garage rock motifs to drugged surf music and from reverb drenched world music mutations to mordant folk dirges, climaxing with a career besting 9 minute folk psych epic. (AllRovi)

A1999 The Nurse 999
A2 Flashpoint
A3 Suburbs
A4 Subversion
A5 Cold Climate
A6 Problems
A7 Smelborp
B1 Secret File
B2 Behind The Mirrors
B3 Sudden Pause


Archivado en: Pop, Post-Punk,

Montrose – Montrose [USA | 1973]

Studio Album [ MP3 | @224 | 51.00 MB ]

USA | 1973 | Hard Rock | Blues Rock

The ’70s gave us a slew of classic hard rock albums — the likes of which may never be equaled — and though it hasn’t had the lasting influence of, say, Boston’s or Ted Nugent’s first albums, Montrose’s eponymous debut proved equally influential and important in its day. Released in 1973, the record also introduced a young Sammy Hagar to the world, but the explosive aggression of Ronnie Montrose’s biting guitar left no doubt as to why it was his name gracing the cover. A rock-solid rhythm section featuring drummer Denny Carmassi and bassist Bill Church certainly didn’t hurt, either, and unstoppable anthems such as “Rock the Nation” and “Good Rockin’ Tonight” would lay the ground rules for an entire generation of late-’70s California bands, most notably Van Halen. Admittedly, tracks like “Make It Last” and “I Don’t Want It” sound rather dated by today’s sonic standards (no thanks to their ultra-silly lyrics), but no amount of time can dim the sheer euphoria of “Bad Motor Scooter,” the adolescent nastiness of “Rock Candy,” and the simply gargantuan main riff of the phenomenal “Space Station #5.” A welcome addition to any respectable ’70s hard rock collection. (Allrovi)

A1888 Rock the Nation 999
A2 Bad Motor Scooter
A3 Space Station #5
A4 I Don’t Want It
B1 Good Rockin’ Tonight
B2 Rock Candy
B3 One Thing on My Mind
B4 Make It Last

[Shared Album] | DOWNLOAD

Archivado en: Blues Rock, Hard Rock, Rock,

Kansas – Leftoverture [USA | 1976]

Studio Album [ MP3 | @320 | 122.8 MB ]

 USA | 1976 | Prog Rock | Symphonic Prog

Kansas was in the 70′s the american answer to the british prog scene. They followed the scheme drawed by groups as Yes or Genesis but with more energy and the inclusion of a boogie-rock tune on each of their earlier LPs. Despite the fact that Robby Steinhardt was the only musician that went to a music school, the musicianship is nonetheless astonishing : Steve Walsh is a true gifted vocalist, Kerry Livgren is the main composer and plays the guitar and some synth parts and Phil Ehart is avery good drummer. Leftoverture is the best Kansas record and can easily be compared to its european equivalents. It contains american mainstream rock blended with symphonic prog rock elements. Great stuff !!! (AllRovi)

A1999 Carry on Wayward Son 999
A2 The Wall
A3 What’s on My Mind
A4 Miracles Out of Nowhere
B1 Opus Insert
B2 Questions of My Childhood
B3 Cheyenne Anthem
B4 Magnum Opus

[Shared Album] | DOWNLOAD

Archivado en: Progressive Rock, Rock, Symphonic Prog,

Don Cherry – Symphony for Improvisers [USA | 1967]

Studio Album [ MP3 | @320 | 99.3 MB ]

USA | 1967 | Free Jazz | Avant-Garde Jazz

For his second album, Symphony for Improvisers, Don Cherry expanded his Complete Communion quartet — tenor saxophonist Gato Barbieri, bassist Henry Grimes, and drummer Ed Blackwell — to a septet, adding vibraphonist Karl Berger, bassist Jean François Jenny-Clark, and tenor saxophonist Pharoah Sanders (who frequently plays piccolo here). The lineup has a real international flavor, since Barbieri was from Argentina, Berger from Germany, and Jenny-Clark from France; Cherry had gigged regularly with all three during his 1964-1965 sojourn in Europe, and brought them to New York to record. With all the added firepower, it’s remarkable that Symphony for Improvisers has the same sense of shared space and controlled intelligence as its predecessor, even when things are at their most heated. Once again, Cherry sets up the album as two continuous medleys that fuse four compositions apiece, which allows the group’s improvisational energy and momentum to carry straight through the entire program. The “Symphony for Improvisers” suite is the most raucous part of Cherry’s Blue Note repertoire, and the “Manhattan Cry” suite pulls off the widest mood shifts Cherry had yet attempted in that format. Even though the album is full of passionate fireworks, there’s also a great deal of subtlety — the flavors added to the ensemble by Berger’s vibes and Sanders’ piccolo, for example, or the way other instrumental voices often support and complement a solo statement. Feverish but well-channeled, this larger-group session is probably Cherry’s most gratifying for Blue Note. Perfect Album! (RateYourMusic)

A999 Symphony for Improvisers  999
ii Nu Creative Love
iii What’s Not Serious
iv Infant Happiness
B Manhattan Cry
ii Lunatic
iii Sparkle Plenty
iv Om Nu


Archivado en: Free Jazz, Jazz,

Jerusalem – Jerusalem [UK | 1972]

Studio Album [ MP3 | @320 | 106.6 MB ]

 UK | 1972 | Hard Rock | Heavy Psych

Produced by Ian Gillan of Deep Purple, Jerusalem‘s sole, self-titled album is the kind of sub-Purple early metal you might expect from apprentices. It’s still on the dividing line between early-’70s hard rock and more headbanging metal, perhaps. But it’s still got that cock-in-my-pocket posturing, wedded to dark riffs and strained upper-register shout-singing. Even with the limitations of the genre, it’s substandard stuff, performed crudely (particularly on the drums) and with a shortage of memorable songs or even licks. It eases up just a couple of times to get into slightly more folk-psych-influenced passages, particularly on “Primitive Man,” but these soon get ploughed out of the way for the more customary nut-crunching. You wonder if a young Meat Loaf, however, took one of his ideas from one of the song titles, “She Came Like a Bat from Hell” (one of the more headbangy numbers, as it happens). It’s something of a bummer to sit all the way through, and is only recommended to Deep Purple completists, though even Deep Purple fans can find more interesting derivative stuff than this. (Web)

A1999 Frustration  999
A2 Hooded Eagle
A3 I See the Light
A4 Murderer’s Lament
A5 When the Wolf Sits
B1 Midnight Steamer
B2 Primitive Man
B3 Beyond the Grave
B4 She Came Like a Bat From Hell

Part of the Series I. Cult and Obscured Hard Rock Albums From the 70´s

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Archivado en: Hard Rock, Heavy Psych, Rock, ,

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