Old School music from the 60's 70's and 80's Jazz and Metal and tons of classic Rock and Soul some book reviews and just a little bit of everything I can think of!!!
Triumph was a Canadian power trio, often compared to fellow Canadians Rush.[1] The band's musical style was hard rock and heavy metal although the band itself was reluctant to embrace this label. Moore once described Triumph as a cross between Emerson, Lake & Palmer and The Who.[2] Guitarist Emmett's songwriting style showed a progressive rock influence, as well as displaying his classical music influence; each Triumph album included a classical guitar solo piece. Moore also doubled as lead singer on many of the band's heavier songs; bassist and keyboardist Levine produced their early albums. Triumph's style proved unpopular with rock critics, much like many other progressive rock and heavy metal bands. Rolling Stone reviewers labeled them a "faceless band
my 2 cents
Oh I admit it I do love this album , I'm sure when it came out it caused a minor uproar in the early 80's Canadian rock scene. Kids put down their Rush albums for a couple of minutes and took in some Triumph , dice was rolled and experience points collected in some dark corner of a Toronto basement.
1. Fool for Your Love (4:32) 2. Magic Power (4:55) 3. Air Raid (1:20) 4. Allied Forces (5:04) 5. Hot Time (In This City Tonight) (3:24) 6. Fight the Good Fight (6:31) 7. Ordinary Man (7:17) 8. Petite Etude (1:16) 9. Say Goodbye (4:34)
OK one of my favorite country/rock albums ever, this album released first in 1970 and was initially a commercial failure until someone named Janis covered "Me & Bobby McGee"and Boom!! a career was born. Kristofferson's writing on this album is superb and almost every song on this album is a great listen, my favorites include "To Beat the Devil" and "Sunday Morning Coming Down" a song that was covered by Johnny Cash later in the 70s. Honestly there is nothing better than grabbing a beer and a smoke and relaxing to this gem.
TRACKS:
1. Blame It On The Stones 2. To Beat The Devil 3. Me And Bobby McGee 4.
The Best Of All Possible Worlds 5. Help Me Make It Through The Night 6. The Law
Is For Protection Of The People 7. Casey's Last Ride 8. Just The Other Side Of
Nowhere 9. Darby's Castle 10. For The Good Times 11. Duvaliers Dream 12. Sunday
Mornin' Comin' Down
Most people are familiar with Tommy James and the Shondells through their impressive string of radio hits, but what few people realize is that, alongside said bubblegum classics, the band was busy laying down some of the weirdest rock and roll of the era. 1969′s Cellophane Symphony is a beautiful case in point, and in fact doubles as an excellent gateway into the Shondells’ discography.
Few rock and roll groups have ever been adventurous enough to open an album of catchy, psychedelic rock and roll with a droning, ten minute space rock instrumental. Highly recommended for any psychedelic music lover.
over a 100 million records sold got to be the hair , talent has nothing to do with it bitches!!!
Well what can I say I've been passing up this band for years and years , I just never paid much attention to them because who hasn't heard "stuck in the middle with you" a million times....but I finally bought their first album for a buck and low and behold I really dug the rest of the album too good stuff , I'll have to get the rest in due time. Never judge a book by its Rafferty I guess.
Death was a garage rock and protopunk demo band formed in Detroit, Michigan, in 1971 by the brothers Bobby (bass, vocals), David (guitar), and Dannis (drums) Hackney. The African American trio started out as an R&B band but switched to rock after seeing an Alice Cooper show.[1] Music critic Peter Margasak (incorrectly denoting the youngest brother) retrospectively wrote of their musical direction: "The youngest of the brothers, guitarist David, pushed the group in a hard-rock direction that presaged punk, and while this certainly didn’t help them find a following in the mid-70s, today it makes them look like visionaries
"Keep on Knocking" (David Hackney, Bobby Hackney) – 2:50
"Rock-N-Roll Victim" (D. Hackney) – 2:41
"Let the World Turn" (D. Hackney, B. Hackney) – 5:56
"You're a Prisoner" (D. Hackney, B. Hackney) – 2:24
Wow!! I highly recomend this album to anyone interested in something strange, but really cool at the same time
Now-Again Records presents a new, essential entry into the growing phenomenon known as Psych-Funk with Those Shocking Shaking Days: the untold story of Indonesia’s various underground 70s musical scenes. This anthology contains 20 tracks of hard, psychedelic, progressive rock and funk that has been largely unheard or ignored outside of the confines of this island nation.
1. Here Come the Warm Jets - Brian Eno 1974 Island Records
Here Come the Warm Jets is the debut solo album by Brian Eno. Produced by Eno, it was released on Island Records in 1974. The musical style of Here Come the Warm Jets is a hybrid of glam rock and art rock, similar to Eno's previous album work with Roxy Music but with songs that are more quirky and experimental. The album features various guest musicians, including Robert Fripp of King Crimson and members of Roxy Music, Hawkwind, Matching Mole, and The Pink Fairies. In developing the album's words and music, Eno used unusual methods such as dancing for his band members and having them play accordingly, and singing nonsense words to himself that would form the basis of subsequent lyrics
Michigan had one of the most vital rock & roll scenes of the 1960s, and while many of the best known Michigan bands came from the psychedelic-era movement that centered around Detroit's Grande Ballroom (most notably the MC5 and the Stooges), there was already a thriving rock scene going back to the early years of the decade, and one of the great movers and shakers in Michigan rock was a guy named Jeep Holland. Based in Ann Arbor, Holland managed one of the city's best record stores, booked bands, and launched a record label, A Square Records, that released classic sides from some of the area's most notable bands. A-Square (Of Course) is a fine and long-overdue retrospective of material from the A Square vaults, though the disc cheats a bit as a label overview. Instead of simply collecting A Square releases, compiler Alec Palao has also included material from a number of acts that Holland booked and managed, and while this gives a broader picture of the Ann Arbor/Detroit music scene in the mid-'60s (as well as a more detailed look at the sort of music Holland championed), if you're looking for an accurate history of the A Square label, some of the music here will throw you off the trail. And perhaps the best and best-known tracks on here, "Looking At You" and "Borderline" by the MC5, weren't really released by A Square -- the band's manager, John Sinclair, simply put the label's name and logo on their self-released single! But these minor gripes aside, this is a great sampler of top-notch mid-'60s rock & roll with the classic Michigan sound and feel. The Scot Richard Case (who later evolved into SRC) are represented with five songs, and while they weren't much on original material (the spooky "Who Is That Girl" is the only group-penned tune here), Scott Richardson was one of the best vocalists on the scene and their covers of "Get the Picture," "Midnight to Six Man" and "I'm So Glad" rock convincingly. The Thyme land a whopping eight songs on this collection, and while they weren't quite so remarkable to merit so much attention here, they had a sure hand for folk-rock (not a common thing in Michigan at the time) and "Window Song," "Love to Love" and "Very Last Day" are fine stuff. Dick Wagner, who later went on to star status backing up Alice Cooper and Lou Reed, is represented with three tunes by his early group the Bossmen (most notably a solid psych-tinged ballad "Listen My Girl") as well as a version of the Frost's "Mystery Man" that predated their speaker-shattering debut album Frost Music. James Osterberg, a year away from changing his name to Iggy Pop and forming the Stooges, handles both drums and vocals on the Prime Movers' raw reworking of "I'm a Man," and the Up's "Just Like an Aborigine" is nearly as good a summation of the White Panther Party ethos as anything the MC5 ever waxed. Anyone with a taste for mid-'60s rock will find plenty of buried treasure on A-Square (Of Course), and it's a must for anyone interested in the history of Midwest music.
Rarities is a compilation album released by Capitol Records featuring a selection of songs by The Beatles. The album was inspired by an earlier compilation of the same name which was released as part of The Beatles Collection box set. Most of the tracks on The Beatles Collection album called Rarities were already available on American Beatles LPs. As a result, Capitol assembled an album of Beatles tracks which were considered rare in America. They include tracks not previously issued on a Capitol or Apple LP and alternative versions of several well-known songs which were also not readily available in the U.S. The gatefold of the album cover features the original controversial "butcher" cover photo of the Yesterday...and Today album.
Stereo, new mix compiled from US single and UK album mixes: six-bar intro and extra beats before the "Yellow matter custard" verse; not available on CD
Stereo, new version compiled from the German true stereo version with the US promotional mono version's extra piccolo trumpet solo added onto the ending; not available on CD
Mono, ends at first fadeout without Ringo Starr's "blisters" outburst (first pressings of the album erroneously attribute the statement to John Lennon)[1]; available on The Beatles in Mono
