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Friday, September 22, 2017

Green On Red - Here Come The Snakes 1989


Green on Red was an American rock band, formed in the Tucson, Arizona punk scene, but based for most of its career in Los Angeles, California, where it was loosely associated with the Paisley Underground. Earlier records have the wide-screen psychedelic sound of first-wave desert rock, while later releases tended more towards traditional country rock.
The band began in 1979 as The Serfers, a four-piece made up of Dan Stuart (vocals/guitar), Jack Waterson (bass), Van Christian (drums, later of Naked Prey) and Sean Nagore (organ), quickly replaced by Chris Cacavas. In the summer of 1980, the Serfers relocated to Los Angeles, where they changed their name to Green on Red (after the title of one of their songs) to avoid confusion with the local surf punk scene. Christian returned to Tucson and was replaced by Lydia Lunch sideman Alex MacNicol.


When Stuart returned to recording, with the 1989 "Here Come the Snakes", it was essentially as a duo with Prophet, using hired backing including Christopher Holland on keyboards. Three more albums were released before the pair called it quits, after the 1992 Too Much Fun.



Produced by Jim Dickinson and Joe Hardy, Dan Stuart and Chuck Prophet finally cracked the Memphis sound by steeping themselves in the environment and surrounding themselves with the musicians who made their name there. From the get-go, Prophet's guitar is the cornerstone to the Let It Bleed mood that fires this record from "Keith Can't Read" throughout, though it ends up with the very Neil Young-like "D.T. Blues."


TRACKS

01. Keith Can't Read     3:22
02. Rock & Roll Disease     3:08
03. Morning Blue     3:58
04. Zombie For Love     3:53
05. Broken Radio     3:52



06. Change     5:01
07. Tenderloin     5:02
08. Way Back Home     2:29
09. We Had It All     2:52
10. D.T. Blues

Vinyl Rip
Country : Greece
Label : Virgin
Made in Greece
Imported by : Red Rhino Recors
Serial Number : VG 50392


Musisians :

  Bass – Rene Coman
  Drums – Jim Dickinson
  Guitar, Vocals – Chuck Prophet, Dan Stuart
  Harmonica – Ed Kollis
  Piano – Paul Ebersold
  Producer – Jim Dickinson, Joe Hardy
Take it HERE Flac : Size : 87 MB
Take it Here MP3  : Size : 263 MB

Tuesday, September 12, 2017

Iron Butterfly - Metamorphosis 1970



Iron Butterfly is an American rock band best known for the 1968 hit "In-A-Gadda-Da-Vida", providing a dramatic sound that led the way towards the development of hard rock and heavy metal music. Formed in San Diego, California, among band members who used to be "arch enemies", their heyday was the late 1960s, but the band has been reincarnated with various members with varying levels of success, with no new recordings since 1975.

The band's seminal 1968 album In-A-Gadda-Da-Vida is among the world's 40 best-selling albums, selling more than 30 million copies. Iron Butterfly is also notable for being the first group to receive an RIAA platinum award.



The band had been booked to play at Woodstock, but got stuck at LaGuardia Airport. When they called the promoters of the concert, they explained the situation and asked for patience. However, their manager sent a telegram demanding that the Butterfly be flown in by helicopter, whereupon they would "immediately" take the stage. After their set, they would be paid and flown back to the airport.

According to drummer Bushy, "We went down to the Port Authority three times and waited for the helicopter, but it never showed up". Woodstock Production Coordinator John Morris claims he sent the manager a telegram reading: "For reasons I can't go into / Until you are here / Clarifying your situation / Knowing you are having problems / You will have to find / Other transportation / Unless you plan not to come." The first letter of each line in the telegram spelled out an acrostic making clear that the band was not welcome.


Metamorphosis is the fourth studio album by Iron Butterfly, released on August 13, 1970. Though not as successful as its predecessor Ball (1969), it reached number 16 on the US charts.[1] Erik Brann, who left because of band disputes, was replaced by four session guitarists. Two of them, Mike Pinera, and Larry "Rhino" Reinhardt (called El Rhino on the sleeve), would become members of Iron Butterfly shortly after the album's release. Officially, the album is credited not to Iron Butterfly, but to "Iron Butterfly with Pinera & Rhino", in reference to the two aforementioned guitarists.

The album spawned the single "Easy Rider (Let the Wind Pay the Way)", which reached number 66 on the Billboard chart,[1] making it the band's biggest hit aside from "In-A-Gadda-Da-Vida". The album is noted for having one of the earliest uses of the talk box on a rock album.


Tracks

Free Flight     0:40
New Day     3:08
Shady Lady     3:50
Best Years Of Our Life     3:55
Slower Than Guns     3:37
Stone Believer     5:20
Soldier In Our Town     3:10
Easy Rider (Let The Wind Pay The Way)     3:06
Butterfly Bleu     14:03

MP3 Size : 95.6 MB

FLAC Size ; 245 MB

Monday, July 10, 2017

The Sound Explosion : I' ll Shake The Universe 45 RPM Vinyl Single

The Sound Explosion are four youngsters from the suburbs of Athens.Swirling farfisa,throbbing bass, primitive vox guitars and manic vocals create a unique explosive sound that is not common these days.Their aim is to "Shake The Universe" and have pure fun with their wylde and untamed kind of music.After gaining repytation with their frenzyfying live appearences and their first record release,here they are again with two brand dynamites !





First "I'll Shake The Universe" is a really powerful and furious tune.
It will make you wanna do the shake 'till the end of the world !So join in !Go with in-crowd !Follow The Sound Explosion as they drive you a new frantic dimension of sound  .


The Sound Explosion were formed in Athens, Greece, in May 1991 by four young gentlemen obsessed with all the great mid 60's garage and beat bands from all parts of the world. The line up was John (vocals, 6 and 12 string Vox guitar, harmonica), Jim (Eko bass, backing vocals), Stelios (Farfisa organ, maracas, backing vocals) and Stavros (drums, tambourine). The band started playing alone and together with other bands, such us the Fuzztones, Dead Moon, the Marshmallow Overcoat and the Others. Their wylde stage act attracted the attention of garage freaks from all over the globe.






As a result, the band started recording and releasing various 45's and a full length LP/CD, which got rave reviews from fanzines and magazines and considerable airplay from radio stations worldwide. While things started looking promising for the band, studies, day jobs, army obligations, some "internal frictions" ("we hate each other in the band" was a common phrase in the Sound Explosion ranks!), alien abductions etc, sadly put a sudden end to the band in early 1997. It looked like The Sound Explosion were gone for good! Yet, some things never change... So, you're right kids... THE SOUND EXPLOSION ARE BACK!!!

On the other side "Why Can't you see" is one of their most raw and intense recordings.The reason ? Maybe because it was recorded in a night with full moon !

TRAXS

A . I' ll Shake The Universe

B . Why Can't You see ?


Vinyl Rip 
Recorded at Psraxis Studio
File Size : 41.9 MB
Made in : Greece
Label : Dionysous Records
Style : Garage 
Greek Bands 

Take it Here Flac

Complete Discograrhy on this Blog HERE

Tuesday, July 04, 2017

Can : Tago Mago 1971 . 40th Anniversary Edition


Can was a German experimental rock band formed in Cologne, West Germany in 1968 by the core quartet of Holger Czukay (bass), Irmin Schmidt (keyboards), Michael Karoli (guitar), and Jaki Liebezeit (drums).
The group cycled through several vocalists, including Malcolm Mooney ('68–70) and Damo Suzuki ('70–73), as well as various temporary members. Drawing from backgrounds in the avant-garde and jazz, Can incorporated minimalist, electronic, and world music elements into their often psychedelic and funk-inflected music. They have been widely hailed as pioneers of the German krautrock scene.


The band used the names "Inner Space" and "The Can" before finally settling on "CAN". Liebezeit subsequently suggested the backronym "Communism, Anarchism, Nihilism" for the band's name. In mid-1968, the band enlisted the creative, highly rhythmic, but unstable and often confrontational American vocalist Malcolm Mooney, a New York-based sculptor, with whom they recorded the material for an album,Prepared to Meet Thy Pnoom.

The next few years saw Can release their most acclaimed works. While their earlier recordings tended to be at least loosely based on traditional song structures, on their mid-career albums the band reverted to an extremely fluid improvisational style.

The double album Tago Mago (1971) is often seen as a groundbreaking, influential and deeply unconventional record, based on intensely rhythmic jazz-inspired drumming, improvised guitar and keyboard soloing (frequently intertwining each other), tape edits as composition, and Suzuki's idiosyncratic vocalisms. Czukay: "(Tago Mago) was an attempt in achieving a mystery musical world from light to darkness and return."

The later albums Landed (1975) and Flow Motion (1976) saw Can moving towards a somewhat more conventional style as their recording technology improved. Accordingly, the disco single "I Want More" from Flow Motion became their only hit record outside Germany. Co-written by their live sound mixer Peter Gilmour, it reached No 26 in the UK charts in October 1976, which prompted an appearance on Top of the Pops, where Czukay performed with a double bass.

In 1977 Can were joined by former Traffic bassist Rosko Gee and percussionist Rebop Kwaku Baah, both of whom provided vocals to Can's music, appearing on the albums Saw Delight (1977), Out of Reach (1978) and Can (1979). During this period Holger Czukay was pushed to the fringes of the group's activity; in fact he just made sounds using shortwave radios, Morse code keys, tape recorders and other sundry objects. He left Can in late 1977 and did not appear on the albums Out of Reach or Can, although he was involved with production work for the latter album. The band seemed to be in a hiatus shortly afterwards, but reunions have taken place on several occasions since.

Tago Mago is the third album by the German krautrock band Can, originally released as a double LP in 1971. It was the band's second studio album and the first to feature Damo Suzuki after their previous vocalist, Malcolm Mooney, quit the band in 1970 to return to the United States.
Tago Mago has been described as Can's best and most extreme record in sound and structure. The album has received much critical acclaim since its release and has been cited as an influence by various artists.

With the band in full artistic flower and Damo Suzuki's sometimes moody, sometimes frenetic speak/sing/shrieking in full effect, Can released not merely one of the best Krautrock albums of all time, but one of the best albums ever, period. Tago Mago is that rarity of the early '70s, a double album without a wasted note, ranging from sweetly gentle float to full-on monster grooves. "Paperhouse" starts things brilliantly, beginning with a low-key chime and beat, before amping up into a rumbling roll in the midsection, then calming down again before one last blast. Both "Mushroom" and "Oh Yeah," the latter with Schmidt filling out the quicker pace with nicely spooky keyboards, continue the fine vibe. After that, though, come the huge highlights three long examples of Can at its absolute best.

"Halleluwah" featuring the Liebezeit/Czukay rhythm section pounding out a monster trance/funk beat; Karoli's and Schmidt's always impressive fills and leads; and Suzuki's slow-building ranting above everything is 19 minutes of pure genius.



Members

Damo Suzuki – vocals
Holger Czukay – bass, engineering, editing
Michael Karoli – guitar, violin
Jaki Liebezeit – drums, double bass, piano
Irmin Schmidt – keyboards, vocals on "Aumgn"

TRACKS

Disc 1

1. Paperhouse 7:29
2. Mushroom 4:04
3. Oh Yeah 7:23
4. Halleluhwah 18:33
5. Aumgn 17:37
6. Peking O 11:38
7. Bring Me Coffee or Tea 6:47

Total length:     73:31

Flac : Size 457 MB 
MP3 : Size 168 MB




Disc 2

1. Mushroom (Live 1972) 8:42
2. Spoon (Live 1972) 29:55
3. Halleluhwah (Live 1972) 9:12

Total length:     47:49

Flac : Size 250 MB
MP3 : Size 109 MB


Friday, June 30, 2017

ΜΕΓΑΛΟΣ ΔΙΑΓΩΝΙΣΜΟΣ ΤΩΝ " URBAN ASPIRINES "


Απαντήστε και κερδίστε !

1. Τι χρώμα String φοράει αυτή η κυβέρνηση για να τρώει τόσα Μνημόνια όσα και  αγγούρια ;

a . Ροζ
b . Κόκκινα με σήμα το σφυροδρέπανο
c . Με κάνετε και κοκκινίζω . Δε γνωρίζω δεν απαντώ . Μ' αρέσει να τον παίρνω .

2. Τον τρώω και ζορίζομαι ή τον τρώω και δροσίζομαι ;

a . Ζορίζομαι ( Πονάει αλλά μ΄αρέσει )
b . Δροσίζομαι ( Έχω δωρεάν ΕΝΦΙΑ από τον Τσακαλώτο και Siemens από τον         Κυριάκο )
c . Γουστάρω να τον παίρνω ανελλιπώς και στο Ροζ και στο Μπλε . Το χρώμα δε         μετράει , το      μέγεθος με τρελαίνει . Ααααααααααχχχχχ !!!

3. Ποιο είναι το βασικό συστατικό μιας Μολότοφ ;

a. Η μουστάρδα
b. Η σκορδαλιά
c. Γνωρίζω αλλά δεν απαντώ γιατί θα σπάσει η μάσκα ομορφιάς που έχω βάλει στη  μούρη μου 

4. 7 Χρόνια μνημόνια , ποιος παίρνει τις καλύτερες Γερμανικές Πίπες ;

a. Το ΠΑΣΟΚ , η Ν.Δ , ο ΣΥΡΙΖΑ
b. Πως τολμάτε ; Δε σας επιτρέπω ( Τι θα πει ο κύκλος μου ;)
c. Στέγνωσαν τα χείλη μου και το λαρύγγι μου ( Give it to me )

Απαντήστε σωστά και κερδίστε ένα ηλεκτρικό ΚΩΛΟΔΑΧΤΥΛΟ ρεύματος και μπαταρίας .
Οι πρώτοι πέντε που θα απαντήσουν σωστά κερδίζουν επίσης δωρεάν κρουαζιέρα στο Guantanamo και μια νύχτα με τους Cardasians ή μια εβδομάδα με τους βρομύλους του Survivor .
 

Sunday, June 25, 2017

Mazzy Star : Ghost Highway Bootleg CD 2005

Ghost Highway serves up two 1994 portions of Mazzy Star recorded in the moment, one from a live show and one from a radio session. We get a nice mixture of favourites from 1993’s So Tonight That I Might See and early versions of tracks that would later surface on other albums. CD released by FM In Concert.

Hope Sandoval, David Roback, The Winter of ’94 and a year after the release of the sublime “So Tonight That I Might See”, Mazzy Star find themselves still touring and promoting the album, some of the songs featured here are from that album such as Into Dust, Bells Ring the title track and the hit single Fade Into You. Whilst songs like " Flowers in December " would turn up on the next album released a whole two years later. Four of the selections are from the critically acclaimed first album  " She Hangs Brightly " issued in 1990, including the Sylvia Gomez penned  " Give You My Lovin "  and the obscure German band  " Slapp Happy " cover of  " Blue Flower ".
Mazzy Star is best known for the song "Fade into You" which brought the band success in the mid-1990s and was the group's biggest mainstream hit, earning extensive exposure on MTV, VH1, and radio airplay.

Roback and Sandoval are the creative centre of the band, with Sandoval as lyricist and Roback as composer of the majority of the band's material.

HOPE SANDOVAL

Hope Sandoval (born June 24, 1966) is an American singer-songwriter who is the lead singer for Mazzy Star and Hope Sandoval & the Warm Inventions. Sandoval has toured and collaborated with other artists, including  "Massive Attack", for whom she sang "Paradise Circus" on the 2010 album "Heligoland", and "The Spoils" on the 2016 eponymous single.Sandoval performed with the band  " Opal " in the late 1980s a longside David Roback and long-time Roback collaborator Kendra Smith. After Smith's abrupt departure during a tour of the UK (hurling her guitar to the floor at the Hammersmith gig), Sandoval took over lead vocals. At the end of the tour, Roback and Sandoval began writing together and formed the alternative rock band Mazzy Star.

DAVID ROBACK

Roback was born and raised in Los Angeles and attended Palisades High School, graduating in 1975. He and his brother Stephen Roback, a bass guitarist, formed a band called the Unconscious, which also
included Susanna Hoffs, who would go on to become the lead singer of the all-girl band " The Bangles ".Roback was active in the Paisley Underground music scene in L.A. in the early to mid-1980s as the leader of the band  "Rain Parade" which was immensely popular on the L.A. club circuit. Shortly after the release of the band's first album "Emergency Third Rail Power Trip", in 1983, Roback left Rain Parade to join Rainy Day, a collaborative effort with a number of L.A. musicians in the Paisley Underground.
After releasing their self-titled album, Roback formed Opal (which was initially called "Clay Allison"), with vocalist/bassist Kendra Smith, formerly of "The Dream Syndicate".
After one EP and one full-length album Kendra Smith was replaced by Hope Sandoval but this lineup never released an album as "Opal".
Roback changed the name of the band to Mazzy Star in 1989.

Tracks:

1. Flowers In December
2. Ride It On 
3. Into Dust
4. Give You My Lovin’ (Sylvia Gomez)
5. Fade Into You
6. Halah
7. Ghost Highway ( David Roback)
8. Blue Flower 
9. Flowers In December
10.Bells Ring
11.Blue Flower (Peter Blegvad/ Anthony Moore)
12.Halah
13.So Tonight That I Might See

1-8 Recorded The Metro Chicago 12th November 1994
9-13 Recorded at KROQ Los Angeles 10th December 1994

"Flowers In December"

 

Before I let you down again
I just want to see you in your eyes
I would have taken everything out on you
I only thought you could understand

They say every man goes blind in his heart
And they say everybody steals somebody's heart away
And I've got nothing more to say about it
Nothing more than you would me

Send me your flowers of your december
Send me your dreams of your candy wine
I got just one thing I can't give you
Just one more thing of mine

They say every man goes blind in his heart
They say everybody steals somebody's heart away
And I've been wondering why you let me down
And I been taking it all for granted  

"Into Dust"
 


Still falling
Breathless and on again
Inside today
Beside me today
Around, broken in two
Till your eyes shed
Into dust
Like two strangers
Turning into dust
Till my hand shook
With the weight of fear

I could possibly be fading
Or have something more to gain
I could feel myself growing colder
I could feel myself under your fate
Under your fate

It was you
Breathless and torn
I could feel my eyes turning into dust
And two strangers
Turning into dust
Turning into dust





Label : FMIC – FMIC024
Format : CD, Album, Unofficial Release
Country : UK & Europe
Released : 18 May 2015
Genre : Rock
Style : Psychedelic Rock, Alternative Rock

MP3 @ 320   Size : 140 MB
FLAC  Size :  424 MB

OPAL on This Blog  Take it HERE
DREAM  SYNDICATE on This Blog HERE
MAZZY STAR on This Blog HERE

Thursday, June 15, 2017

Fields Of The Nephilim : For her Light ( Two ) 1990

Fields of the Nephilim's initial sound incorporated elements of hard rock, gothic rock, heavy metal and psychedelic rock, and comprised a bass and guitar driven sound underpinned by McCoy's growled vocals.
 

 Lyrically, the band incorporated magical themes, referencing the Cthulhu Mythos, the Sumerian religion, Chaos magic and the works of Aleister Crowley.


The band had a "dust and death" image, associated with characters from Sergio Leone's Spaghetti Westerns and often wore cowboy dusters with a weather-beaten look during photoshoots. This weather-beaten look was attained by dusting themselves down with, by their own admission, Mother's Pride flour. 


This also proved problematic for the band as in May 1988, Nottinghamshire Police detained the band whilst a suspect substance was tested for drugs. This was later determined to be nothing but flour from the stage set.

FOR HER LIGHT  LYRICS

 
How lonely you are waiting at the Sunday park
I'll elude you, I will lose you
Existing were no soul apart

You stand on a platform
Your effigy dissolves in my hands

When I feel like someone to lie on
And I feel like someone to rely on

You can't wake up

Illusions born of the air
Something seems so precious there

I'll elude you, I will lose you
As rehearsal of my despair

When I feel like someone to lie on
And I feel like someone to die on

You can't wake up
Oh here me
I'm what you have left

Here I am
In this necrologue of love

Side A


For her Light ( Two )

Side B


Submission ( Non Resistance )


Vinyl EP
Made in : England
Year : 1990
Label : Beggars Banquet


Thursday, June 08, 2017

Milo Manara : Piranezi . 2002

 This is one of the worst works of Milo Manara . Milo is GREAT  but this one is disappointed .

Nobody knows if Paradise exists. But Hell is real. It's Piranese, the prison planet, where all the outcasts of the empire are held.

No one can escape and the hope of survival is very slim.


But all of a sudden that order is disturbed by the appearance of a young woman who has avoided the genetic control imposed by the guards.


Will she be the liberator that everyone is hoping for?


This is supposed to be the opening chapter in a sci-fi epic, but no others have materialized as yet.


The artwork is fantastic;


Milo Manara never disappoints there.


The story is not interesting, and funny at times, but short. 52 pages in comic format is not much of a story. Still, it is worth a look.


As far as I know, it is out of print, and never published in softcover, so it is something of a collector's item now.


Νο οne escαpes αnd there is οnly the faintest hοpe of survival. But nοw this οrder is disturbed by the αppeαrαnce of α yοung wοmαn whο hαs avoided the genetic tyrαnny of the guardians.


Will she be the liberator thαt αll await?
A fine draftsman, watercolourist and storyteller, Milo Manara is best known, in the US at least, for his sex comedies, the Click series, Butterscotch, etc. which range from light and breezy to downright raunchy (regardless they are always fun), and  illustrated historically-based collaborations with the late Hugo Pratt (creator of "Corto Maltese"), "Indian Summer" and "El Gaucho." and the filmmaker Alejandro Jodoworsky ("Santa Sangre," "El Topo"), "Borgia."



"Piranese: the Prison Planet" falls into neither category: rather "Piranese" represents a disappointingly weak opening chapter in a sci-fi epic, the kind of which is serialized in the US in "Heavy Metal" Magazine (usually beautifully illustrated, though often meandering and often inconclusive). 



Ensuing chapters might get better, once Manara hits his stride with this particular story, but as far as opening chapters go... this really isn't his best work.

Published in Greece by the magazine "Κλικ" 2003