Man - Welsh Connection (1976 great uk psyche-prog rock - wave)

This was to be Man's last studio album for two decades, and with its weak sales (it failed to chart) and underpowered material it's easy to see why the band called it quits for the time being. There's some irony, then, in the closing track being "Born with a Future." It's a good final bow, though, as it's well harmonized and ultimately one of the best cuts on the album. Perhaps this releases's most nagging overall problem is the mix-Phil Ryan's keyboards are high up, while Deke Leonard's bracing guitar parts are less evident than usual. Although this isn't always a liability-the lengthy title track lazily wends its way through some pleasant moog solos and electric piano flourishes-the grittiness of the band's sound is largely squandered here.

Tracklist
01. "The Ride and the View"   Deke Leonard 5:01
02. "Out of Your Head"   Leonard 4:04
03. "Love Can Find a Way"   John McKenzie 5:13
04. "The Welsh Connection"   Phil Ryan, Micky Jones 7:18
05. "Something is Happening"   Ryan 6:21
06. "Car Toon"   Leonard, Ryan 6:01
07. "Born With a Future"   Jones, Leonard, Ryan 7:07
08. "(I'm A) Love-Taker"   Leonard 2:47

Credits
Terry Williams – Vocals & Drums
Phil Ryan – Vocals & Keyboards
John McKenzie – Vocals & Bass
Deke Leonard – Vocals & Guitar
Micky Jones – Vocals & Guitar
Caromay Dixon – Vocal on "Something is Happening"
Jeffrey Hooper – Vocal on "Out of Your Head"
Anton Matthews – Vocal on "Out of Your Head"
Pete Brown – African Talking Drums on "The Welsh Connection" and "Something is Happening"

Here

Gene Clark - No Other (us 1974 great california country rock - 2003 edition with bonus tracks - wave)

When The Byrds reunited for Asylum Records there was the hope that the original quintet would recapture the magic they generated with their first couple of albums. It didn't happen. While The Byrds (which is still out of print)suffered from an overabundance of ambition, production and egos, Clark's solo effort for Asylum had all the ambition and production of the previusly mentioned album but with the inspiration necessary to pull it off.
This is Clark's most "produced" effort. For that very reason, there are some Byrds and Clark fans that can't stand it. Looking past the ambitious production, the songs are what really matter. At its core, No Other features some of Clark's most sublime material. Many folks have compared it to Van Morrison's Astral Weeks but I'd venture to compare it to Lennon's Imagine. The heartache, pure emotion and powerful performances at the core of the album benefit from the production.

Rhino has done a terrific job of remastering the album. While I can't detect a huge sonic difference between this and the fine Collector's Choice edition, it does benefit from the inclusion of alternate versions and a bonus track not available on a legit CD before.

Gene Clark was always the most vulnerable of The Byrds. That was reflected in his powerful, emotional songs as much as his emotionally naked vocals. It's about time that this great album got the deluxe treatment it deserves. Certainly if you're a Byrds/Clark fan pick this up. Even if you're not, it's well worth purchasing. Like Neil Young's wounded On the Beach, No Other is a classic album that stands outside of its time but was also made at the wrong time. Perhaps it'll finally get some appreciation.(By Wayne Klein) 

Tracklist
01-"Life's Greatest Fool" – 4:44
02-"Silver Raven" – 4:53
03-"No Other" – 5:08
04-"Strength of Strings" – 6:31
06-"From a Silver Phial" – 3:40
07-"Some Misunderstanding" – 8:09
08-"The True One" – 3:58
09-"Lady of the North" – 6:04
Bonus Tracks
10-"Train Leaves Here This Morning" - 4:59
11-"Life's Greatest Fool" (alternate version) - 4:16
12-"Silver Raven" (alternate version) - 3:06
13-"No Other" (alternate version) - 5:35
14-"From A Silver Phial" (alternate version) - 3:42
15-"Some Midunderstanding" (alternate version) - 5:17
16-"Lady Of The North" (alternate version) - 5:54

Credits
Gene Clark - Vocals, Guitar
Lee Sklar - Bass
Butch Trucks - Drums
Russ Kunkle - Drums
Michael Utley - Keyboards
Craig Doerge - Keyboards
Joe Lala - Percussions
Richard Greene - Violin
Chris Hillman - Mandolin
Ted Machell - Cello
Bill Cuomo - Rheem Organ
Jerry McGee - Guitar
Danny Kootch - Guitar
Jesse Ed Davis - Guitar
Steve Bruton - Guitar
Buzzy Feiten - Guitar
Ronnie Barron - Cindy Bullens - Claudia Lennear - Venetta Fields - Clydie King - Shirley Matthews - Carlena Williams - Tim Schmit - Voices

Here

Copperhead - Copperhead (1973 us great west coast rock - 2001 remaster - wave)

When John Cipollina left Quicksilver Messenger Service in 1971, he formed Copperhead with Jim Murray and Casey Sonoban (two members of the first Quicksilver line-up), his brother Mario (who later found fame with Huey Lewis and The News) and various other musicians. Their frequent rehearsals and gigs didn't allow them to get a recording contract and in 1972 Cipollina assembled a new line-up with Gary Philippet (ex Front Line), Jim McPherson (ex Stained Glass), David Weber and Hutch Hutchinson. A record, Sealed For Your Protection, was ready to be released on Just Sunshine Record but was eventually shelved. Finally Copperhead was issued by CBS in 1973 and is a superb example of San Francisco Sound, with seven original tracks and a new version of Kibitzer, already recorded by McPherson with Stained Glass. A must for fans of Quicksilver and Cipollina's guitar.
After Copperhead, Cipollina, Weber, McPherson and Hutchinson joined Terry and The Pirates and played with various local groups. Hutch Hutchinson became a renowned bass session player and is still active in the studios.(Stephane Rebeschini)

Tracklist
01. Roller Derby Star 4:16
02. Kibitzer 3:46
03. A Little Hand 5:01
04. Kamikaze 5:26
05. Spin-Spin 3:18
06. Pawnshop Man 5:30
07. Wing-Dang-Doo 4:06
08. They're Making A Monster 7:36
09. Chameleon 3:40

Credits
John Cipollina - Lead & Hawaian Guitars
Hutch Hutchinson - Vocals, Bass
Jim McPherson - Vocals, Piano, Bass, Percussion
Gary Philippet - Vocals, Guitar, Organ
David Weber - Drums 

Here

Copperhead - 1st unreleased Lp (November 1970, SBD from John Cipollina's master cassette)

Recorded at John Cipollina's home's studio, Mill Valley, California.
This is exactly the copy of the original John's notes reported on his reel.

This is a rare recording. Copperhead's story is long, but in a few words: first Copperhead attempt in this, John tried to shopthis at various record companies with no luck. Two years later his father Gino paid for the recording of a demo that finally was sold to CBS (= First Lp).
A year later the second album was ready to release, but Columbia stopped the project because the first one sold nothing. Columbia still have the masters of the 2nd lp. John's brother Mario tried to rebuy it from them to release it, but did not get a reply from any Columbia executive.  
Nice to hear Jim McPherson. I wonderif anyone's got/heard much of Jim's previous band's Stained Glass and before that, "The Trolls". The Trolls had a monster song called "Walkin' Shoes". It's a must have in my book...(38f Fabio) 

Tracklist
01. Rocket Ship
02. Putting It To You (I Just Gonna Move You)
03. Drunken Irish Setter (1st ever known version)
04. Motel Party Baby (tape's speed is not stable on the original recording)
05. Highway No.9 (acoustic version)
06. Mama (title of the first incarnation of Bigelow 6-9000)
07. Chameleon (Unobsky & McPherson on vocals)

Credits
John Cipollina - lead guitar, hawaian steel guitar, steel guitar.
Mark Unobsky - guitars & vocals
Jim Murray - guitars, tablas & Harmonica
Jim McPherson - Piano & vocals
David Weber - drums
Cyrus - bass

Here

Roy Harper - HQ (1975 great uk classic rock & folk rock - wave)

Harper considers HQ to be "...probably the best record that I have made to date"

HQ finds Roy in 1975 as part of a rock quartet, Trigger. The album opens with The Game, one of Harper's most compelling long songs--it's a rocker with a smart lyric and includes David Gilmour and John Paul Jones. The next 2 tracks are solid rockers, "Spirit" is an anti-religion song, and "Grown ups" is a great 50's style boogie displaying Roy's playful wit. "Referendum" has some sweet guitar from Spedding and switches between acoustic and electric. "Forget Me Not" is the first acoustic song on the album and is a beautiful love song. "Hallucinating Light" is beautiful and finely crafted, and the album is superbly topped off with "Cricketer," an emotional and lovely take on aging and the proud memories of a life. The bonus tracks are good, but not as essential as the original album songs. Throughout, Roy's voice is top-notch. The lyrics are some of his finest, and his band is tight and rocking. I recommend this gem to anyone who likes classic rock, and especially to fans of Pink Floyd, Led Zeppelin, Jethro Tull, and Dylan's folk-rock. HIGHLY RECOMMENDED! 
(By Elliot Knapp) 

Tracklist
01 "The Game (Parts 1–5)" – 13:42
02 "The Spirit Lives" – 4:14
03 "Grown ups are Just Silly Children" – 2:55
04 "Referendum (Legend)" – 3:49
05 "Forget Me Not" – 2:24
06 "Hallucinating Light" – 6:24
07 "When An Old Cricketer Leaves The Crease" – 7:13
08 "The Spirit Lives" (Early Mix, 23 March 1975)
09 "When An Old Cricketer Leaves The Crease" (Live in Exeter, 31 October 1977)
10 "Hallucinating Light" (7" Single version)

Credits
Roy Harper – vocals, guitar
Chris Spedding – guitar
Bill Bruford – drums
Dave Cochran – bass
David Gilmour – guitar on "The Game"
John Paul Jones – bass on "The Game"
Steve Broughton – drums on "The Game"
The Grimethorpe Colliery Band – brass on "When an Old Cricketer Leaves the Crease"

Link

Bulbous Creation - You Won't Remember Dying (1969-70 great us heavy psychedelic rock - wave)

An extremely rare and previously unreleased 1969/1970 heavy psychedelic album housed in a superb sleeve. It was recorded in the Cavern Sound Studio, Missouri. The opening cut, End Of The Page, has a lovely guitar intro and the other highlight is the lengthy Let's Go To The Sea, which features some great Hendrix' psychedelic guitar work. The remainder of the album comprises harder edged rock cuts, their own interpretation of Stormy Monday and Hooked, which is the best moment on the album vocally. Worth checking out. The band hailed from the Kansas/Missouri area.

A1 End of the Page 4:44
A2 Having a Good Time 4:08
A3 Satan 6:05
A4 Fever Machine Man 6:29
B1 Let's Go to the Sun 8:26
B2 Hooked 4:05
B3 Under the Black Sun 2:55
B4 Stormy Monday 4:48

Heavypsych classic with warm dusty basement sound with HEAVY bass and great acid psych guitarwork of premium quality. "Stormy Monday" and "Let's go to the sea" are amazing.

"1970 recordings of great jammy downer hardrock/psych with an intense atmosphere, far-out vocals and only one weak cut. Lyrics deal with smack, 'Nam, satanism and more; a merciless snapshot of the post-flower power era. In my opinion among the very best of all the Cavern Sound Studios stuff (Stoned Circus, Crank/Thump Theatre, Phantasia, Trizo 50) that has appeared. The reissue has the usual Rockadelic sleeve obsession with heroin and death, which is well matched by the sounds inside. The label was unable to locate the band which explains the lack of info." 

Yes more great underground Heavy Psych. This time Bulbous Creation - You won't remember dying from 1970 (Rockadelic). This album is another personal favorite. You get great acid lead guitar in class with Garcia or Cipolina and warm heavy, dusty underground sound with a eerie dark edge. Some great gems of this album are opener "End of the page", "Having a good time", the Heavy Psych monsterpiece "Let's go to the sea" and the incredible acid psych version of "Stormy Monday" which has some of the best psychedelic clear tone lead guitar ever recorded. The sheer variation, the musical quality and underground production make this album a true keeper. A desert Island record if there ever was one. Have a quality psychedelic experience with this beloved gem. Please share your views on this album.

Here

Copperhead With John Cipollina - Studio Sessions (1970-72 us uncirculated sessions from master - Wave)

If you are a Cipollina's fan, what you find here and what
i share with you is something unique. I've put together some
conpletely uncirculated sessions from my personal masters starting 
from the really first attempt to form Copperhead to arrive to
some tracks from the never released second lp. This is something
i want to assemble together since a long time, and i never did
before, so now i finally did it, and if you are a dedicated John's
music fan, now you know that sometimes the dreams come true. (Fabio 38f) 

John Cipollina : Guitars & Vocals

Jim McPherson : Keyboards & Vocals

Gary Phillipet : Vocals & Guitar

James Hutchinson : Bass & Vocals

David Weber : Drums & Percussion

Disc01

Disc02

Copperhead With John Cipollina - Hollywood Palladium LA - 1972-04-28

01- Kibitzer

02- Highway #9 (aka Back Roads)

03- Spin Spin

04- Wang Dang Do

05- Rider

06- Cobra

07- Drunken Irish Setter

08- Instrumental

09- Bigelow 6-9000

10- Roller Derby Star

John Cipollina - Lead Guitar

Jim McPherson - Vocals, Piano

Gary Philippet - Vocals, Guitar

David Weber - Drums

Hutch Hutchinson - Vocals, Bass

Excellent and rare concert of Copperhead ...

Enjoy !!!

Here

Russell Smith - The End is not in Sight (2001 great us country soul - wave)

"The Greatest Singer You're Not Listening Too" 
Why, in the name of all that's holy, isn't Russell Smith a contemporary country superstar and household name? He's been around for years, both as a solo act and as the voice of The Amazing Rhythm Aces. The Aces have had their moments, and ever so often Smith releases a solo album. But everytime, the mass audience greets his work with a yawn. "The End is Not is Sight" is Russell Smith's latest work and it's beautiful. This collection of mostly new material (with a few nods to the Aces with the title track and "Third Rate Romance") showcases Smith's soulful lyrics and distinctive voice. Smith's style is a dose hill-billy boogie, a dash of blue-eyed soul, a little bit country and a little bit rock and roll, all stirred up in a toe-tapping stew that's mmmmmm-mmmmmm good. Whether it's the rocking rhythms of "Jesse" and "We're Gettin' Out of Here," or the sad-sweet ballads like "Walk These Hills" and "Look Heart, No Hands," Smith nails every track. Russell Smith is the greatest singer you're not listening to right now, and you should. And so should everyone who enjoys great lyrics, great music and inimitable vocals.(By Tim Hewitt)

"An astounding album!"
The luminary musicians that have been assembled to help with the production of this album are testimony to what a talent Russell Smith is. The resulting album doesn't disappoint, with a range of songs lovingly fleshed out by (mostly) sparse productions that allows the vocals of Smith to shine through. The voice is a little deeper than it was back then, but the songwriting is, if anything, better. There are some awesomely good songs here, with satisfying twists to old themes. "Old School" is a good take on cheating songs, and "The Road" reworks views about...well, the road! My favourites are "Don't go to strangers" and especially "What I learned from loving you", which as with so many of Smith's songs resonates with experiences that I can empathise with.I also enjoyed the version of "The end is not in sight", and it bears comparison with a versions that he's recorded elsewhere. A look at the musician name checks suggests that everybody down at Muscle Shoals wanted a piece of this action, including Spooner Oldham and James Hooker.Put starkly, this is an album that whatever your musical tastes you ought to think about listening to, it's that good. Oh, and by the way, there's no mention anywhere in the packaging of the Amazing Rhythm Aces! (By Dr.D.Treharne)

Tracklist
01- Old School
02- The King Is in His Castle
03- The Road
04- Walk These Hills
05- Look Heart No Hands
06- Don't Go to Strangers
07- We're Gettin' Outta Here
08- What I Learned From Loving You
09- Heartbeat in the Darkness
10- Third Rate Romance
11- Jesse
12- Keep It Between the Lines
13  The End Is Not in Sight

Credits
Russell Smith : Vocals
James Leblanc : Acoustic Guitar & Backing Vocals
Mac McAnally, Michael Noble, Will McFarlane, Walt Aldridge : Acoustic Guitar
Jeff King, Kelvin Holly : Electric Guitar
Danny Flowers : Guitar, Harmonica, Backing Vocals
Bob Patin, Clayton Yvey : Keyboards
Spooner Oldham, James Hooker, Tommy Patterson : Hammond B3
Wayne Bridge : Steel Guitar
David hood : Bass
Roger Guth, Darryl Burgess, Marcus Pope, Dennis Holt : Drums
Jimmy Hall : Harmonica
Scooter Muse : Banjo
Karl Kaplin : Fiddle, Steel, Accordion
Bobby Whitlock, Cindy Walker, Marie Lewey, Carla Russell, Lenny Leblanc : Backing Vocals
Mickey Buckins, Jimmy Nutt & Rodney Hall : Percussion

Here

The Farm Band - On The Rim Of The Nashville Basin (1976 us psychedelic folk rock - vinyl rip - Wave)

Collector’s items since the beginning, all albums by the Farm Band have always been extremely hard to find due to the special nature of the band, a musical combo which sprang out from a hippie commune. Led by Thomas Dotzler (vocals/keyboards) and Walter Rabideau (guitar) the Farm Band’s sound has much in common with hippie combos like the Grateful Dead but also with psych-rock ensembles like Jefferson Airplane.

Tracklist  
01. Wings Of My Heart 
02. Tennessee Scrap Iron Man 
03. Cotton Eyed Joe 
04. Keep It In Mind 
05. Everything’s Gonna Be All Right  
06. Baile De Los Changos 
07. Roncho Rondo 
08. Excusa M’Wah

Thomas Dotzler : Vocals Organ Piano Synthesizer
Linda Hershfield : Vocals & Piano
Louise Dotzler : Lead Vocal on Cotton Eyed Joe
Walter Rabideau : Electric & Acoustic Guitars Vocals on Everything’s Gonna Be All Right
Michael Sullens : Bass Guitar
David Chalmers : Drums
Philip Schweitzer & Patrick Thomas : Fiddles on Wings Of My Heart & Cotton Eyed Joe
Stephen : Percussion & Integration
Michael Tassone : Sound Engineer
Peter Paul & Mark : Artwork

Here

Stephen & The Farm Band - Up In Your Thing (1973 us psychedelic folk rock - vinyl rip - Wave)

Second album by the farm community also known as the Farm Band. From Tennessee, a perfect hippie combo that lies somewhere between the Grateful Dead and Jethro Tull, performing long psycho blues suites with flute and violin solos. Featuring the original artwork which a poster and inlay notes about the history of the community.

Tracklist

01. Think It Over 

02. This World 

03. Come On Back 

04. Sooner Or Later/ Pick It Up 

05. Hey Beatnik! 

06. Nice Ladies 

07. A Better Look 

08. Easy Does It

Here

The Farm Band - The Farm Band (1972 us great psychedelic rock - cd edition - Wave)

Kind of a given here, don't you think? The Farm Band (also operating as Stephen & The Farm Band and the Tennessee Farm Band) was the houseband at The Farm, flagship of all hippie communes. I strongly recommend anyone with an interest in the rural revolution to check out this amazing place more; the book "Voices From The Farm" (Rupert Fike, ed.) is a good start.
This massive 2LP set was the Farm Band's first release and also by some miles their finest moment (later LPs are pretty good too, though, and I wouldn't want to let go of any of them). A nine-piece outfit, the standard rock setting is augmented by flute, electric fiddle, and French horn(!); mixed vocals and long, jam-oriented material give this an undeniable late-stage West Coast feel (not much of a surprise, really, as most of the Farm residents originated from San Francisco). The mood is one of joy and spontaneity, where you easily can imagine a few hundred longhaired freaks out in the fields groovin' all night long into the morning sun, as the last jam slowly fades away.
This spontaneity also results in performances that are perhaps a tad "loose", shall we say, or even sloppy, with vocal harmonies going all over the place. Songwriting never was the Farm Band's forte either. What they do succeed in is creating a sort of tribal Earth Rock, where the leadguitar of Walter Rabideau cuts through time and space leading the band further and further away into holy man jam land; the rhythmguitarist steps on his wah-wah, the violinist comes sweeping in from the cornfield ready to push things into even higher grounds, and eventually it's a wall of sound-effect that soars high above the watertower, leaving Summertown, TN, as nothing but a tiny dot on the map that stretches out far below. Get the picture? When the jams here really gel it's an amazing power at work, a psychedelic testimony with a groove that appears to be endless.
This being a very communal effort it feels contradictory to single out any specific player, but I can't let the opportunity pass to praise Walter Rabideau's guitarplaying. One of rock's unsung guitarheroes, his solos have a rich tone, an amazing flow & if you like me have an inclination towards air guitar-moves, Walter's all you need for a night of good fun. Ok, the last statement may not really be serving his reputation much good, but he really is fantastic, and an Acid Rock Legend in this household. On this album he also benefits from having some hot rhythm guitar to play against, by someone named Joseph (last name unknown to me), who wasn't on any of the subsequent LPs. 
In all, this is a document of a time where possibilities seemed endless (the heading on the Farm Band's touring bus read "Out To Save The World"), the music being only a fracture of what it was all about. The Farm is still there though, with some 300 members, but the Farm Band called it quits in the late 70s or so. Like any other Farm product the packaging here is awesome; a thick gatefold cover, huge poster and printed inners. A piece of art, a statement and an essential piece of underground head sounds.(http://www.beautifullies.se)

Tracklist

01- OM 2:36
02- Loving Your (Phillip Schweitzer) 10:16
03- Lord's Work (Thomas Dotzler) 3:06
04- Keep Your Head Up High (Phillip Schweitzer) 3:17
05- Being Here With You (Thomas Dotzler) 11:51
06- Let It Ride (Phillip Schweitzer) 12:05
07- Prayer (Phillip Schweitzer) 2:51
08- I Believe It (Phillip Schweitzer) 17:12

Credits
Acoustic Guitar, Electric Guitar, Vocals – Walter Rabideau
Bass – William 
Drums – David Chalmer
Electric Guitar, Harmonica, Twelve-string Guitar, Vocals – Joseph 
French Horn, Piano – Cynthia 
Organ, Flute, Vocals, Piano – Thomas Dotzler
Vocals – Kay Marie, Louise
Vocals, Electric Fiddle, Piano, Acoustic Guitar – Phillip Schweitzer

Here

Larry Coryell - The Real Great Escape (1973 us great rock-jazz - vinyl rip - wave)

Ive been a fan of Larry Coryell since his LADY CORYELL release. This early seventies 'return to rock' album was met with little acclaim, but it is one of the most inspired guitar records of the 1970's. Larry plays things on Jimmy Webb's two compositions that rank with the finest playing by any electric guitarist ever. What sets this apart from other jazz guitar records (even his own), is that THE REAL GREAT ESCAPE sounds like an artist who has found his voice(literally and figuratively) and his youthful spirit. I really wish he would 'mine' more great songs in this way today. As great as he is, I cant help thinking he needs to mix it up more, like he did on this release...Afterall, he wrote the book.(By jaybo)

Tracklist
01. The Real Great Escape (7:37) 
02. Are You Too Clever (5:31) 
03. Love Life's Offering (3:27)
04. Makes Me Wanna Shout (5:25) 
05. All My Love's Laughter (4:27) 
06. Scotland II (5:05) 
07. P.F. Sloan (4:03) 

Credits
Larry Coryell : Guitar ARP Synthesizer & Vocals
Mike Mandel : Piano, ARP Synthesizer
Mervin Bronson : Bass
Harry Wilkenson : Drums
Steve Marcus : Tenor & Soprano Sax

Here

Love - Out Here (1969 great us psychedelic rock - Wave)

An underrated masterpiece from Love 
Yes indeed, this is a different band than was behind the beloved Forever Changes, but that's ok, because this is a great record, a truly underrated gem. Sure, this record is all over the dang place with long psychedelic guitar jams, drum solos, short novelty tunes, 3 minute pop songs-sung with much love, soul and passion by Arthur Lee, down and out blues, and acoustic folk songs. But for music nerds who enjoy stuff like that-this is a buried treasure. Yes, maybe it could have been cut down to a single record, but then why not just let this band do their thing and indulge, after all this was 1968! Indeed the sister album to this, "Four Sail", is the superior of the two, but Out Here is really good and kinda Out There...far out man! No kidding, this Love band was a tight, versataile group. Don't compare it to the first 3 Love records and just enjoy it for what it is. Arthur Lee's "White album", ya know -like the Beatles!. A sprawling 2 LP monster full of melodic, half-crazed, blues/rocking/funk/folk, short, medium, long, quiet, loud, funny, serious, sad, happy and big songs. Gary Rowles' lead guitar solo on "Love Is More Than Words..." is amazing, beyond words. 
Favorites are "Gather 'Round", "Listen To My Song", "I'll Pray For You", "Doggone", "Willow Willow", "Run To The Top", "I Still Wonder", "Stand Out", and the slowed down blues version of "Signed D.C." which has one of the greatest harmonica solos ever put down on vinyl, from Arthur of course. Great stuff. If nothing else, you gotta appreciate how awesome and amazing Arthur Lee's vocals were at this point. The guy had range like no other. Believe that! (By Hoagie Mike) 

Tracklist
01 I'll Pray For You - 4:16
02 Abalony - 1:46
03 Signed D.C. - 5:15
04 Listen To My Song - 2:24
05 I'm Down - 3:47
06 Stand Out - 3:00
07 Discharged - 1:36
08 Doggone - 12:00
09 I Still Wonder - 3:05
10 Love Is More Than Words Or Better Late Than Never - 11:20
11 Nice To Be - 1:50
12 Car Lights On In The Day Time Blues - 1:10
13 Run To The Top - 3:00
14 Willow Willow - 3:20
15 Instra-Mental - 3:00
16 You Are Something - 2:05
17 Gather Round - 4:50

Credits
Arthur Lee - Lead Vocals, Rhythm Guitar
Frank Fayad - Bass Guitar
George Suranovich - Drums
Jay Donnellan - Lead Guitar

Here

Love - Fillmore West, San Francisco, CA - November 21, 1970 (Great Audience Wave)

Tracklist
1st Set
01 Product Of The Times
02 Stand Out
03 Keep On Shining
04 Andmoreagain
05 Singing Cowboy
06 Good Times
07 Announcements
2nd Set
08 Stand Out
09 Product Of The Times
10 Bummer In The Summer
11 Find Somebody
12 Signed D.C.
13 Slick Dick
14 Always See Your Face
15 Singing Cowboy

Credits
Arthur Lee - Vocals, Rhythm Guitar 
Gary Rowles - Lead Guitar 
Frank Fayad - Bass 
George Suranovich - Drums

Link

Arthur Lee - Vindicator (1972 great us heavy psych rock - cd edition with bonus tracks - wave)

Late last year when we wrote about Arthur Lee’s superb soul spin “Everybody’s Gotta Live,” we hadn’t yet heard Vindicator, the track’s 1972 mothership and Lee’s solo debut. Admittedly, we (I) naively assumed that Vindicator would be a record full of similar songs–an exploration of Lee’s R&B range that was largely neglected during his time in Love. We (I) were wrong.
It took us 17 tracks and roughly 51 minutes to find out that “Everybody’s Gotta Live” is the exception, not the formula. Vindicator is, at turns, southern rock, blues, folk, psychedelic rock and, yes, R&B. Lyrically, it spans from blues ballad to the utterly (and intentionally) ridiculous. While so many solo records segue with few seams from an artist’s ensemble career, Vindicator proves to be something of a non sequitur. That is, Love ends and Arthur Lee begins.

 Granted, there are some shades of what Lee would become (or probably always was) on Love’s grittier eponymous debut, shades that would be rubbed out gradually across De Capo and Forever Changes. Lee, famously, was somewhat controlling in Love, or he tried to be. But despite his better efforts, Bryan MacLean hedged Lee’s influence on composition and harmony, and probably to the benefit of Love. That’s not to say that Vindicator falls short, but only that it reveals what Love might not have been if Lee had his druthers. So, Vindicator is as much as album name as it is a statement for Lee, a practice in individuality, an exercise of personal salvation. Here, he does everything he ever wanted to do. Literally, everything.
 The opening track, “Sad Song,” is a return to his southern roots, where Lee does Skynyrd before Skynyrd did Skynyrd. A moderately paced rock piece formed around a call and response–Lee calling, his guitar responding–“Sad Song” might tempt you to believe this is what the album is about. Until the record skips over to the second song. “You Can Save Up to 50% But You’re Still a Long Ways from Home” is a 17-second a cappella nursery rhyme that, after multiple listens, still struggles to find sense: “I pawned it / a black-white-yellow human / And if you don’t like what I say / Then vote for Harry Truman.” It’s the kind of quirk you’d expect–if you were expecting such a thing–to find snugly fit into the later tracks, not just as you were getting warmed up. But it seems to work as an attention grabber. Bizarre as it may seem, you want to listen to it twice. And it informs that maybe you have no fucking clue what’s about to happen. In fact, it’s the same kind of subtle narcissistic kink as Lee’s notably flamboyant wardrobe. “Look at me,” it says.

 And to his credit, he does settle down after that. His straightforward blues standard in “He Said She Said” (a likely nod to his Memphis nascency) is also one of the few rhythm and blues approximations found. While it hinges primarily on blues, it’s justifiably, and pleasantly, both.
And that’s sort of how it goes: normalcy is met with brief episodes of eccentricity. Because for every blues and rock sanity, we find a “Hamburger Breath Stinkfinger,” the tale of an ill-advised date at McDonald’s, where Lee laments about the woman, “Oh what a dish / She smelled just like a fish.”

 Throughout the wandering, Vindicator’s common thread would be Lee’s voice and his guitar. Consistent variations aside, both are reminiscent of Hendrix. Vocally, the best document of this is either “Busted Feet” or “You Want Change for Your Re-Run.” The latter is the best effort on the record next to “Everybody,” and arguably the best composed. Driving guitar is joined halfway through by a simple piano underpinning, arriving perfectly out of nowhere. The Hendrix influence isn’t surprising. And not because Hendrix is “influential.”
 Friend’s in the early-’60s L.A. scene, Hendrix played guitar behind Rosa Lee Brooks when she sang the Lee-written “My Diary.” And Lee was known to frequent Isley Brothers shows, where Hendrix cut his teeth before “Hey Joe” forever wove him into the musical fabric. Lee even claims that it was Love’s version of “Hey Joe,” not Tim Rose’s, that inspired the version we all know. Even Hendrix’s later fashion sense offers a nod to the eccentric Lee, whose frills, tunics, scarves and hats were staples when Hendrix was still sporting a skinny tie as a backup. If that’s not enough, Vindicator is credited, not to Arthur Lee, but Arthur Lee & Band-Aid. On the record, Band-Aid is a mostly anonymous group of musicians. But the name was originally conceived by Hendrix and Lee for a group they intended to form with Steve Winwood. Of course, that would never happen.

 So instead, we have Vindicator. Not a tribute to Hendrix. Not an evolution of Love. It’s Arthur Lee frantically and impressively trying to fit every ounce of his musical yearning into one record. Someone trying to prove his every potential in one fell swoop. Years of pent-up emotion and style are released, and with great effort. Most other times, such a product would be a disjointed mess. But here, it’s a sincere piece of man. Punctuated with the exclamation, “I’m not Love,” Vindicator succeeds in showing us who Lee is. “Look at me,” it says. And maybe that’s vindication enough. (J. Crosby)

Tracklist
01 "Sad Song" – 2:20
02 "You Can Save Up to 50%, But You're Still a Long Ways from Home" – 0:17
03 "Love Jumped Through My Window" – 2:56
04 "Find Somebody" – 3:47
05 "He Said She Said" – 2:18
06 "Every Time I Look Up I'm Down or White Dog (I Don't Know What That Means!)" – 3:57
07 "Everybody's Gotta Live" – 3:31
08 "You Want Change for Your Re-Run" – 4:17
09 "He Knows a Lot of Good Women (Or Scotty's Song)" – 3:14
10 "Hamburger Breath Stinkfinger" – 2:44
11 "Ol' Morgue Mouth" – 0:53
12 "Busted Feet" – 4:53
Bonus tracks
13 "Everybody's Gotta Live" – 3:37
14 "He Knows a Lot of Good Women" – 3:16
15 "Pencil in Hand" – 2:15
16 "E-Z Rider" – 2:58
17 "Looking Glass Looking at Me" – 4:05

Credits
Arthur Lee - guitar, vocals
Charlie Karp - guitar
Frank Fayad - bass
Clarence McDonald - keyboards
Don Poncher - drums
Craig Tarwater - guitar
David Hull - bass

Here

Roger Chapman – Mail Order Magic (1980 great uk classic rock with powerful vocals - Flac)

Roger Chapman's second studio album, Mail Order Magic, was recorded under some Roger Chapmantough conditions for the singer. Punk and new wave were sweeping England of any "oldies" acts, and Chapman was having trouble taking root in his own country. In addition, the label to which he had signed was folding, giving him a deadline to finish and release the album. Meanwhile Chapman, still high from the success of continental tours, tried to up the ante by recording with better players, including old Family-mate John Wetton. But lack of finances bumped the sessions from studio to studio, and Terry Barham and Paul Smykle (notable for reggae production) were brought in to stitch together the recordings into a pressable album. Considering all of this, the results were fantastic. The hard-edged rock, especially "Unknown Soldier," suited Chapman's edgy voice best. The Shortlist also served up R&B and even a little experimental music ("Ground Floor" sounds like an early demo of "Higher Ground"). Chapman would find a more comfortable career down the road, but the material would rarely be as convincing and as powerful as this.(Patrick Little)

It's hard to keep reviews of obscure 22-year-old recordings in context. In some ways, this CD has not aged as well as others in Roger Chapman's extensive solo discography, yet one has to recall the dreadful state of corporate-run FM radio back then (and now).
This recording is one of the better ones from Chappo's collaborations with guitarist Geoff Whitehorn. Standouts include Unknown Soldier (Can't Get To Heaven), Mail Order Magic, Making The Same Mistake, Barman, Higher Ground, and Ground Floor. Poli Palmer, another Family alum, co-wrote Barman, Higher Ground, and Ground Floor, and John Wetton kicks in some nice bass chops on a couple of tracks. Whitehorn delivers consistent, solid lead guitar, showing some flashes of brilliance (but ultimately making me miss Charlie Whitney's lead all the more).
Chappo is the main attraction, of course, and he delivers the goods, really shining on the title cut, Unknown Soldier, and He Said, She Said.
I doubt that this CD won Chappo many new fans outside of Germany, but it certainly is essential listening for his core faithful.(By Loce The Wizard)

Tracks Listing
01 Unknown Soldier (Can't Get To Heaven) - Roger Chapman 3:44 
02 He Was She Was - Roger Chapman & Geoff Whitehorn 4:48 
03 Barman - Roger Chapman & Poli Palmer 5:24 
04 Right To Go - Roger Chapman 4:05 
05 Ducking Down- Roger Chapman & Geoff Whitehorn  3:53
06 Making The Same Mistake - Roger Chapman & Geoff Whitehorn 4:58 
07 Another Little Hurt - Roger Chapman & Tim Hinkley 3:53 
08 Mail Order Magic - Roger Chapman 4:26 
09 Higher Ground - Roger Chapman 4:15 
10 Ground Floor 1:56 - Roger Chapman & Poli Palmer  

Credits

Roger Chapman - Harmonica, Vocals

Geoff Whitehorn - Guitar

Jerome Rimson - Bass, Vocals

John Wetton - Bass

Tim Hinkley - Keyboards

Poli Palmer - Synthesizer 

John Halsey, Les Binks, Mitch Mitchell - Drums

Netkups

MirrorCreator

Pacific Gas & Electric - Live 'N' Kicking At Lexington (1970 great us rock blended blues & rhythm & blues -2007 Issue - Wave)

The band was formed in Los Angeles in 1967, by guitarist Tom Marshall, bassist Brent Block, second guitarist Glenn Schwartz (previously of The James Gang) and drummer Charlie Allen, who had previously played in the band Bluesberry Jam. When it became clear that Allen was the best singer in the new group, he became the front man, and Frank Cook, previously of Canned Heat, came into the band on drums. Originally known as the Pacific Gas and Electric Blues Band, they shortened their name when they signed to Kent Records, releasing the album Get It On in early 1968. The record was not a success, but following the band's performance at the Miami Pop Festival in May 1968 they were signed by Columbia Records.
Their first album for Columbia, Pacific Gas and Electric, was issued in 1969, but they achieved greater success with their next album, Are You Ready in 1970. The title track reached # 14 on the Billboard Hot 100.[3] After the album was recorded, Cook was injured in a car accident and was replaced on drums by Ron Woods, Cook staying on as manager. Marshall and Schwartz left, and were replaced by Frank Petricca (bass) and Ken Utterback (guitar), with Brent Block moving to rhythm guitar before leaving later in 1970. Unusually for the time, the band contained both black and white musicians, which led to rioting and gunfire on one occasion when the band, who toured widely, performed in Raleigh, North Carolina.
In 1971, the band changed their name to PG&E, following pressure from the utility company of the same name. The band also expanded, Allen, Woods, Petricca and Utterback being joined by Jerry Aiello (keyboards), Stanley Abernathy (trumpet), Alfred Galagos and Virgil Gonsalves (saxophones), and Joe Lala (percussion). They recorded the album PG&E, and also appeared in and provided music for the Otto Preminger film Tell Me That You Love Me, Junie Moon starring Liza Minnelli. The band then split up. A final album using the name, Pacific Gas & Electric Starring Charlie Allen, was recorded by Allen with studio musicians and released on the Dunhill label in 1973. For a time the group also included Rick Durrett formerly of the band The Coven on keyboards.

A real nice 5-piece blues-based, rock and roll band kickin' out the jams, live in Lexington, KY. I'm glad someone realized they had this concert and released the audio for our enjoyment. This is 2 guitars, bass and drums blues-based rock and roll at its finest, vintage 1970. Yowza!(By Ted J. Wagner "Teddy James") 

Tracklist
01- Old Slop In "A"(11:20)
02- Are You Ready (6:25)
03- Next Time You See Me (2:38)
04- Elvira (3:16)
05- 32-20 Blues (6:09)
06- One More River To Cross (3:12)
07- Motor City Is Burning (12:40)
08- Jelly Jelly (16:30)

Credits
Charlie Allen - Vocals
Brent Block - Guitar
Frank Petricca - Bass
Ken Utterback - Lead Guitar
Ron Woods - Drums

Link

McPhee - McPhee (1972 Australian heavy psych prog - Wave)

Recorded in 1972 and re-mastered by producer Martin Erdman in 2009, this rare recording stands as a defining moment in the history of Australian rock. 

  McPhee 'McPhee' In the pantheon of Australian early 70's progressive rockdom, McPhee must rank as one of its most obscure outfits. McPhee's solitary album appeared to little fanfare in early 1972 and simply sank without trace.
  It's likely that only 500 copies were ever pressed so it rates as a significant rarity. More importantly, 'Mc Phee' stands as one of the great lost treasures of Australias progressive rock era, a truly fascinating artefact of tremendous scope. The tapes have been dusted off so that you can hear this hard-hitting underground masterpiece in all its glory.
  McPhee played the local club and bar cicuit around Sydney and in 1971 entered producer Martin Erdman's World Of Sound studio in order to record an album. The sessions yielded material culled from the bands live repertoire including five cover versions. McPhee's influences extended from the prevailing Acid-rock trends of the day, to the emergent sounds of progressive rock with a smattering of contemporary rock hits.
  From the outset it is clear that McPhee is imbued with a crucial kick and gritty sense of purpose. It is brimming with acidy, wah-wah fuelled lead breaks and some of the most awesomely heavy and stunning Hammond organ playing to be heard anywhere on an Australian album.

Tracklist:
01. The Wrong Time - 6:35
02. Sunday Shuffle - 3:22
03. Southern Man - 5:50
04. Indian Rope Man - 7:14
05. Superstar - 5:04
06. I Am The Walrus - 8:00
07. Out To Lunch - 10:38

McPhee:
Faye Lewis - Vocals/Percussion
Tony Joce - Guitar
Benny Kaika - Bass
Jim Deverell - Hammond Organ/Electric Piano/Vocals
Terry Popple - Drums

Link