TRIBAL TECH - Tribal Tech (1991) FLAC (tracks+.cue), lossless

Guitar god Scott Henderson is a fusion fanatic's dream, by virtue of his wild yet fluid and even melodic riffs. Bassist Gary Willis lacks Henderson's range compositionally and as a player, but still manages to keep the proceedings grooving. Backed by the keys of David Goldblatt, Joey Heredia's drums and the percussion of Brad Dutz, the two form a powerful musical bond as Tribal Tech. Unlike their previous album, TT's new disc features more melodies (the best ones, "Peru" and "Signal Path" are by Henderson), the softening effect of Goldblatt's key soloing and a tighter tune structure and production all around. There's still lots and lots of improvising, but on the less memorable Willis tunes, it seems to go on interminably. Pop jazz fans will finally be able to relate to Henderson's solid playing by virtue of a smoother context, but it's still mostly geared for the guitar lover or student. Extra credit is due for the very creative song titles, including "Elvis at the Hop" and "The Necessary Blond." by Jonathan Widran

Tracklist:

1 Signal Path 6:26

Scott Henderson

2 Big Girl Blues 6:15

Scott Henderson

3 Dense Dance 4:51

Gary Willis / Scott Willis

4 Got Tuh B 6:43

Gary Willis / Scott Willis

5 Peru 7:23

Scott Henderson

6 Elvis at the Hop 4:34

Scott Henderson

7 The Necessary Blonde 6:52

Gary Willis / Scott Willis

8 Fight the Giant 4:05

David Goldblatt

9 Sub Aqua 5:30

Scott Henderson

10 Formula One 4:44

Scott Henderson

11 Wasteland 8:03

Gary Willis

Credits:

Bass, Synthesizer, Producer – Gary Willis

Drums – Joey Heredia

Guitar, Guitar Synthesizer, Producer – Scott Henderson 

Keyboards, Producer – David Goldblatt

Percussion – Brad Dutz

Written-By – Willis (tracks: 3, 4, 7, 11), Henderson (tracks: 1, 2, 5, 6, 9, 10)

APHRODITE'S CHILD - 666 (1972-2014) RM / Mini LP PT-SHM Universal Japan / FLAC (image+.cue), lossless

An amazingly bombastic concept album about the Apocalypse of St. John seen as a rock spectacle. Demis Roussos wails the lyrics in a frantically operatic falsetto, while the band pound fiercely through Vangelis' furiously complex music. It certainly has its moments, but the entire set eventually becomes too overwhelming to sit through. by Steven McDonald
Tracklist:
1 The System 0:27
2 Babylon 2:54
Lead Vocals – Demis Roussos
Tenor Saxophone – Michel Ripoche
3 Loud, Loud, Loud 2:43
4 The Four Horsemen 5:55
Lead Vocals – Demis Roussos
5 The Lamb 4:32
6 The Seventh Seal 1:30
7 Aegian Sea 5:24
8 Seven Bowls 1:29
9 The Wakening Beast 1:12
10 Lament 2:45
11 The Marching Beast 2:01
12 The Battle Of The Locusts 0:56
13 Do It 1:44
14 Tribulation 0:32
15 The Beast 2:26
Lead Vocals – Lucas Sideras
16 Ofis 0:16
17 Seven Trumpets 0:35
18 Altamont 4:35
19 The Wedding Of The Lamb 3:40
20 The Capture Of The Beast 2:17
21 ∞ 5:16
Lead Vocals – Irene Papas
22 Hic Et Nunc 2:57
Lead Vocals – Demis Roussos
Tenor Saxophone – Michel Ripoche
23 All The Seats Were Occupied 19:32
24 Break 3:00
Lead Vocals – Lucas Sideras
Personnel

Vangelis Papathanassiou (Evangelos Odysseas Papathanassiou) - keyboards, organ, piano, vibraphone, bass, flute, percussions, backing vocals ("Lament", "The Beast", "Break")

Demis Roussos (Artemios Ventouris Roussos) - lead vocals ("Babylon", "The Four Horsemen", "Lament", "Hic et Nunc"), bass, guitar, backing vocals

Lucas Sideras - drums, lead vocals ("The Beast", "Break"), backing vocals

Silver Koulouris (Anargyros Koulouris) - guitar, percussion

Guest musicians

Harris Halkitis - bass, tenor saxophone, congas, percussion, backing vocals

Michel Ripoche - trombone, tenor saxophone ("Babylon", "Hic et Nunc")

Irene Papas - vocals ("∞")

John Forst - English narration

Yannis Tsarouchis - Greek narration ("Ofis")

Daniel Koplowitz - voice ("Loud Loud Loud")

Costas Ferris - lyricist

GRAND FUNK - We're an American Band (1973-2014) RM / SHM-CD / FLAC (image+.cue), lossless

Having made several changes in their business and musical efforts in 1972, Grand Funk Railroad made even more extensive ones in 1973, beginning with their name, which was officially truncated to "Grand Funk." And keyboardist Craig Frost, credited as a sideman on Phoenix, the previous album, was now a full-fledged bandmember, filling out the musical arrangements. The most notable change, however, came with the hiring of Todd Rundgren to produce the band's eighth album. Rundgren, a pop/rock artist in his own right, was also known for his producing abilities, and he gave Grand Funk exactly what they were looking for: We're an American Band sounded nothing like its muddy, plodding predecessors. Sonically, the record was sharp and detailed and the band's playing was far tighter and more accomplished. Most important, someone, whether the band or Rundgren, decided that gruff-voiced drummer Don Brewer should be employed as a lead singer as often as guitarist Mark Farner. Brewer also contributed more as a songwriter, and the results were immediate. The album's title song, an autobiographical account of life on the road written and sung by Brewer, was released in advance of the album and became a gold-selling number one hit, Grand Funk's first really successful single. Despite the band's previous popularity, for many, it must have been the first Grand Funk record they either heard or bought. Elsewhere on the album, Farner contributed his usual wailing vocals and guitar, singing of his heartfelt, if simpleminded, political concerns. But We're an American Band really belonged to Brewer and Rundgren, and its success constituted a redefinition of Grand Funk that came just in time. by William Ruhlmann  
Tracklist:
1 We're An American Band 3:25
Written-By – Don Brewer
2 Stop Lookin' Back 4:51
Written-By – Don Brewer, Mark Farner
3 Creepin' 7:01
Written-By – Mark Farner
4 Black Licorice 4:43
Written-By – Don Brewer, Mark Farner
5 The Railroad 6:07
Written-By – Mark Farner
6 Ain't Got Nobody 4:19
Written-By – Don Brewer, Mark Farner
7 Walk Like A Man 4:03
Written-By – Don Brewer, Mark Farner
8 Loneliest Rider 5:19
Written-By – Mark Farner
Credits:
Bass – Mel Schacher
Organ, Synthesizer [Moog], Electric Piano, Clavinet – Craig Frost
Vocals, Drums, Percussion – Don Brewer
Vocals, Guitar, Acoustic Guitar, Congas, Electric Piano – Mark Farner

JERRY GOODMAN - On the Future of Aviation (1985) APE (image+.cue), lossless

After ten years away from recording, Jerry Goodman returned at the height of the new age trend of the mid-'80s. The violinist, a former member of the Flock and the Mahavishnu Orchestra, fit right in on the Private Music label, which was devoted to new instrumental music played on electric as well as acoustic instruments, in contrast to the Windham Hill model of strictly acoustic instrumentation. (In 2000, Goodman's three-album Private Music catalog was licensed and reissued by One Way.) Fans of the original Mahavishnu lineup may have expected a jazz fusion effort with Goodman's amplified violin soaring above all; instead, On the Future of Aviation contains pop-style compositions in which individual virtuosity is only a part of the overall conception, and on which Goodman seems to be playing guitars and synthesizers as much as violin. But if this is not a fusion record, neither is it a typically laid-back new age album. Rather, it fits in with Private Music labelmate Yanni's approach to new age, lively synth-based instrumental pop that draws upon many musical styles to create a hybrid. The most striking piece is "Orangutango," which typically mixes a tango rhythm with jungle sounds, exotic percussion, and a buoyant melody. As long as listeners are willing to encounter a stimulating composer rather than the violin soloist of old, they will enjoy Goodman's return to active duty. by William Ruhlmann  
Tracklist:
1 On The Future Of Aviation 6:36
Vocals – Linda Sears
2 Endless November 8:40
3 Outcast Islands 6:34
Synthesizer – Jeffery Vanston (C.J.) 
4 Orangutango 6:26
Drums – Phil Gratteau
5 Waltz Of The Windmills 5:50
Vocals – Linda Sears
6 Sarah's Lullaby 5:42
Vocals – Linda Sears
Credits:
Drums – Paul Wertico
Producer – Jerry Goodman, Martin Rubenstein
Programmed By [Fairlight Cmi] – Sanford Ponder
Synthesizer [Yamaha Dx-7, Oberheim Obx], Piano – Fred Simon
Violin [Acoustic], Electric Violin, Acoustic Guitar, Electric Guitar, Mandolin, Viola [Violo], Synthesizer – Jerry Goodman
Written-By, Arranged By – Jerry Goodman

RARE BIRD - Rare Bird (1969-1990) FLAC (image+.cue), lossless

This debut featured an organist and an electric pianist, but no guitarist, resulting in a moody Hammond-heavy album from a band that would later become more progressive and varied in its sound. "Beautiful Scarlet" shifts easily from histrionic soul to offhanded slow-four interludes, and the instrumental "Iceberg" shows off the organist Graham Field and the rest of band's chops well. The whispered vocals and weird background noises of "God of War" achieves the kind of creepy gloom appropriate to an era of carpet bombing and napalm. Indeed, the production and instrumentation of this album makes it very much of a period piece, though certainly not in any derogatory sense.by Paul Collins
Tracklist
1 Iceberg 6:46
2 Times 4:00
3 You Went Away 4:17
4 Melanie 3:27
5 Beautiful Scarlet 5:23
6 Sympathy 2:30
7 Natures Fruit 2:32
8 Bird On A Wing 4:13
9 God Of War 5:08
- Bonus Tracks -
10 Devil's High Concern
11 Sympathy (Mono)
Credits
Bass Guitar, Lead Vocals – Steve Gould
Drums, Timpani, Backing Vocals – Mark Ashton
Electric Piano – David Kaffinetti
Organ – Graham Field
Written-By – Rare Bird

ELOY - Eloy (1971-2008) RM / FLAC (image+.cue), lossless

This is the debut recording from one of Germany's most accomplished progressive rock bands. The band was originally co-led by vocalist Erich Schriever and guitarist Frank Bornemann, and the two differed on musical direction, which is evident here. The band was essentially a hard rock act at this time with a sound similar to Black Sabbath and Atomic Rooster. Although the production is lackluster and their technical abilities were not yet fully developed, it does have an intrinsic quality. "Today," in particular, demonstrates the band's abilities to create catchy rock songs. While Eloy would move in a more progressive direction, which would yield more consistent results, they would never sound as honest and vulnerable as they do here. Humble beginnings for one of progressive rock's most underrated bands. by Robert Taylor
Tracklist
1. Today 6:07
2. Something Yellow 8:14
3. Eloy 6:17
4. Song Of A Paranoid Soldier 4:54
5. Voice Of Revolution 3:09
6. Isle Of Sun 6:07
7. Dillus Roady 6:34
- Bonus Tracks -
8. Walk Alone 2:43
9. Daybreak (1970) 2:41
10. Vibrations Of My Mind 3:36

ELOY - Inside (1973-2000) RM / FLAC (image+.cue), lossless

Eloy was only on their second album when they introduced their first major change of direction in sound. With the departure of founding member Erich Schriever, Frank Bornemann found himself able to take the group on a more resolutely progressive rock road. Still strongly hard-rocking, though, the music is dominated in turns by Bornemann's guitar solos and Manfred Wieczorke's Deep Purple-esque overdriven Hammond organ. The 17-minute "Land of No Body" tries too hard to emulate the clichés of the prog rock epic. A space-related theme ties together a string of riffs and extended solos. It lacks meat around the bone, and in the end sounds a lot like Benefit-era Jethro Tull. The shorter tracks are more satisfying. "Inside" and "Future City" rock hard and efficiently, the former pushing Wieczorke up front, the latter featuring Bornemann's best vocal impression of Ian Anderson. The closer, "Up and Down," remains, for the most part, a dazed piece filtered by Led Zeppelin and Procol Harum. Compared to the following year's Floating, Inside represents a transition from Eloy's first incarnation and a first exhibition of their leader's main influences -- influences that he still needed to digest. The 2001 remastered edition from EMI adds the two tracks from the 1973 single "Daybreak"/"On the Road." by François Couture   
Tracklist
1 Land Of No Body 17:20
2 Inside 6:35
3 Future City 5:35
4 Up And Down 8:25
5 Daybreak 3:39
6 On The Road 2:30
Credits
Bass Guitar – Wolfgang Stöcker
Drums, Acoustic Guitar, Percussion, Flute – Fritz Randow
Guitar, Vocals, Percussion – Frank Bornemann
Organ, Guitar, Vocals, Percussion – Manfred Wieczorke
Written-By – Eloy

ELOY - Floating (1974-2000) RM / FLAC (image+.cue), lossless

With Floating, Eloy hit their first artistic peak. The German group's brand of hard rock meets prog rock gelled beautifully for this set of five songs. The structural shortcomings of the longest track from the previous album are now things of the past: "The Light From Deep Darkness" is a 15-minute roller coaster. The opening title track gets very close to early Santana, thanks to a spirited drum track and Manfred Wieczorke's organ work, closer this time to Gregg Rollie than Jon Lord (Deep Purple). But the album's highlight resides in the infectiously heavy riff of "Castle in the Air," maybe the most recognizable sound bit in Eloy's first three albums. New bassist Luitjen Janssen gives the song a tremendous momentum. The lyrics to "Plastic Girl" are more down to earth (and relate to Frank Zappa's "Plastic People") than the group's growing interest in metaphysics and space-age references. The album is capped by "Madhouse," a frantic rocker that shows how Bornemann has integrated the influence of Jethro Tull in his music. Fans of Eloy's concept albums (Dawn, Ocean, Planets) have a tendency to look snobbishly at the first three LPs, but Floating stands as a great rock achievement, no matter what the group will record next. The music did not have to adapt to a plot and is not drenched in synthesizers. As a result, it feels more honest and direct. The 2001 EMI remastered edition adds three live bonus tracks.  by François Couture 
Tracklist
1 Floating 3:59
2 The Light From Deep Darkness 14:37
3 Castle In The Air 7:13
4 Plastic Girl 9:05
5 Madhouse 5:16
- Previously Unreleased -
6 Future City (Live) 4:59
7 Castle In The Air (Live) 8:08
8 Flying High (Live) 3:30
Credits
Arranged By, Producer – Eloy
Bass – Luitjen Janssen
Drums – Fritz Randow
Organ, Guitar – Manfred Wieczorke
Painting – Jacques Wyrs
Vocals, Guitar – Frank Bornemann

ELOY - Ocean (1977-2004) RM / FLAC (image+.cue), lossless

As good as Dawn was, the weight of the orchestra prevented it from being truly compelling, while its story seemed a bit thin. Eloy fixed both flaws for Ocean, creating their most striking album, a true classic of progressive rock history in Germany and abroad. Written by drummer Jurgen Rosenthal, the lyrics relate to Greek mythology, combining the tale of Poseidon and the myth of Atlantis. Man lost the paradise on Earth that was Atlantis because of his violent nature -- an obvious metaphor of the nuclear menace that was still very much alive in 1977. The album consists of four extended pieces that combine atmospheric keyboards (think early Vangelis), progressive rock developments à la Pink Floyd-meets-Yes, and occasional recitatives inspired by the Moody Blues' storytelling form (In Search of the Lost Chord, On the Threshold of a Dream). Frank Bornemann sings slightly better than usual, his voice carrying more emotion. The band hits the perfect balance between heaviness and lightness: the riffs are solidly anchored, yet the music really floats, especially in "Atlantis' Agony at June 5th -- 8498, 13 P.M. Gregorian Earthtime." "Incarnation of Logos" provides the best moments. Three of the four songs are also featured on the Live album, released a year later, which revealed how little musical material they actually had. Their strength resides in the rich studio arrangements. by François Couture   
Tracklist
1 Poseidon's Creation 11:38
Engineer [Remixing] – Günther "Felix" Beyer
2 Incarnation Of The Logos 8:25
Engineer [Remixing] – Günther "Felix" Beyer
3 Decay Of The Logos 8:15
Engineer [Remixing] – Georgi Nedeltschev
4 Atlantis' Agony At June 5th - 8498, 13 P.M. Gregorian Earthtime 15:35
Engineer [Remixing] – Georgi Nedeltschev
Credits
Composed By, Arranged By, Producer, Performer [Played By] – Eloy
Crew [Road Crew] – Delle Hä!, Klaus The Soldier
Engineer [Recording Engineer], Other [Creative Ideas & Great Sound] –  Georgi Nedeltschev
Lyrics By, Drums [Sonor Genuine Rosewood], Cymbal [Paiste], Timbales, Rototoms, Drums [Kettle Drums], Temple Block, Bells [Tubular Bells], Voice, Triangle, Flute, Other [Morse Key & Paper] – Jürgen Rosenthal
Organ [Hammond], Synthesizer [Mini-moog], Synthesizer [Arp], Mellotron, Computer [Rmi Keyboard Computer], Xylophone, Voice [Angelic] – Detlev Schmidtchen
Painting [Cover] – Wojtek Siudmak
 Producer, Lead Vocals, Guitar [All Electric & Effect], Acoustic Guitar – Frank Bornemann
Vocals, Bass Guitar [Thunderbird- And Fender Fretless] – Klaus-Peter Matziol

ELOY - Colours (1980-2005) RM / FLAC (image+.cue), lossless

A new decade, a new lineup, with Frank Bornemann on guitar and vocals, Klaus-Peter Maziol (who stayed on from the previous lineup) on bass, Hannes Folberth on keyboards, Hannes Arkona on guitars, and British born drummer Jim McGillivray. This marked a new direction for the band, a more accessible, direct approach in their music. The guitars tend to be heavier, the keyboards aren't so drench in atmosphere as Detlev Schmidtchen had. Still, this is the sound of the band reluctant to enter the 1980s (and that holds true with their following two albums, "Planets" and "Time to Turn"), and Folberth sticks with strictly '70s keyboards here (but more early '80s keyboards will enter the setup after this album) like Mini Moog, string synths, Hohner Clavinet, and Hammond organ.

The album opens up with "Horizons", complete with clavinet and female chorus, with quote from YES' "Tales From Topographic Oceans" in the lyrics. "Child Migration", "Giant", "Silhouette", and "Gallery" all show the more straighforward direction, a lot of this reminding me of the ALAN PARSONS PROJECT. Some of this music borders on AOR. "Sunset" is an instrumental, synth dominated piece with spacy Moog. web

Tracklist:

 1. Horizons (3:20)

2. Illuminations (6:19)

3. Giant (6:05)

4. Impressions (3:06)

5. Child Migration (7:23)

6. Gallery (3:08)

7. Silhouette (6:57)

8. Sunset (3:15)

- Bonus Tracks - 

9. Wings Of Vision 4:14

10. Silhouette (Single Edit) 3:30

Line-up / Musicians

- Frank Bornemann / lead vocals, acoustic & electric guitars, co-producer

- Hannes Arkona / acoustic & electric guitars

- Hannes Folberth / keyboards

- Klaus-Peter Matziol / bass, backing vocals

- Jim McGillivray / drums, percussion

With:

- Edna & Sabine / lead vocals (1)

CZAR - Czar (1970-2005) FLAC (tracks+.cue), lossless

In kind of the same way some Nektar tracks can't fail to bring a smile to your face in their close-but-no-cigar similarity to Pink Floyd, Czar's sole and obscure album sometimes sounds like an earnest if inferior emulation of King Crimson's first album. Nowhere is that more apparent than the opening track, "Tread Softly on My Dreams," which comes off a bit like King Crimson's "21st Century Schizoid Man" and "In the Court of the Crimson King" with perhaps a dash of "Epitaph" thrown into a blender. It may be derivative (and Czar guitarist Mick Ware does acknowledge King Crimson having had a huge impact on the band in the liner notes to the 2007 expanded-CD edition), but that doesn't mean it's not enjoyable for those with a yen for early keyboard-heavy British prog rock. Certainly few other tracks by anyone came as close to re-creating King Crimson's ominous Mellotron sound as "Tread Softly on My Dreams." And while the King Crimson influence (especially via that Mellotron, though also with foreboding crunching guitar riffs) is heard on the rest of the album as well, it's not as blatant on the other tracks. Czar has a greater tendency toward songs with a West Coast psychedelic influence, and a greater willingness to use vocal harmonies and organ that echo Keith Emerson as well as King Crimson. It is, however, those passages that stress the creepiest aspects of Bob Hodges' accomplished keyboards (whether Mellotron or other instruments) that are most impressive, if not among the more original such things to be heard in British prog rock. A nifty curiosity on its own terms, its length is doubled by the expanded edition, which adds historical liner notes and eight bonus tracks. One, the heavily classical-influenced (but rocking) outtake, "Ritual Fire Dance," would and should have fit in fine on the LP; the non-LP 45, "Oh Lord I'm Getting Heavy"/"Why Don't We Be a Rock and Roll Band?," in contrast, is far more straight-ahead rock than the material on the album, and far less distinguished. The five final tracks, all previously unreleased 1971 demos, could almost be the work of a different band, the keyboard prog rock menace having been jettisoned in favor of so-so period good-time rock with a slight rootsy/country influence (and, on "I Laid It on the Line," an apparent attempt to follow in the steps of T. Rex).  by Richie Unterberger   
Tracklist
1 Tread Softly On My Dreams
2 Cecelia
3 Follow Me
4 Dawning Of A New Day
5 Beyond The Moon
6 Today
7 A Day In September
Credits
Bass, Acoustic Guitar, Vocals – Paul Kendrick
Drums – Del Gough
Guitar, Acoustic Guitar, Vocals – Mick Ware
Mellotron, Piano, Organ, Celesta, Harpsichord, Vocals – Bob Hodges
Noises – Dave, Roger

COLLEGIUM MUSICUM - Collegium Musicum (1970-2007) RM / FLAC (image+.cue), lossless

This band was active from 1971 until 1981 with six releases plus one live album. Their style is similar to Emerson Lake & Palmer, Rick Wakeman, and The Nice. There are clear Classical influences. The bands music consisted of Ludovít Nosko (vocals, guitars), Marián Varga (keyboards), Karel Witz (guitars), Fedor Freso (bass) and Dusan Hájek (drums).

Their albums contain long tracks all composed by Varga. The compositions are solid and have Classical inspirations. An example is "Hommage a J.S. Bach" or "Concerto in D" and other tracks, the guitar have much space supported by superb keyboards (Hammond organ, mini Moog, piano). I support people who think this is one of the best east Europe bands of ever. Collegium Musicum official website

Tracklist  

1 Hommage À J. S. Bach 7:16
Composed By [Uncredited] – Dušan Hájek, Fedor Frešo, Marián Varga
2 Ulica Plná Plášťov Do Dažďa 6:43
Composed By [Uncredited] – Dušan Hájek, Marián Varga
3 If You Want To Fall 13:24
Composed By [Uncredited] – Marián Varga, Peter Saller
4 Strange Theme 13:40
Composed By [Uncredited] – Marián Varga, Peter Saller
5 Concerto In D 12:35

Composed By [Uncredited] – Joseph Haydn

Conductor [Diriguje] [Uncredited] – Vladimír Popelka
Credits
Bass Guitar, Vocals [Zpěv] – Fedor Frešo
Drums [Bicí Nástroje] – Dušan Hájek
Guitar – Pavel Váně (tracks: 1, 2), Rastislav Vacho (tracks: 3, 4, 5)
Organ, Harpsichord [Cembalo] – Marián Varga

CAROL OF HARVEST - Carol Of Harvest (1978-2001) FLAC (image+.cue), lossless

One of the many German bands to release a single album on a private label and watch it grow into a collector's dream. Carol of Harvest played a dreamy blend of Progressive Rock and Folk with female vocals that might be compared with Mellow Candle and early Clannad mixed with Jane, Pentangle and Renaissance. The music has the added edge of long arrangements with Moog synth and acid guitar solos, and in reality has little to do with Krautrock.
Information on the band members is very hard to find, helping to shroud this hard to find album with an air of mystery.  progarchives
Tracklist:
1. Put On Your Nightcap (16:02)
2. You And Me (2:31)
3. Somewhere At The End Of The Rainbow (6:26)
4. Treary Eyes (4:17)
5. Try A Little Bit (9:59)
Total Time: 39:14
- Bonus Tracks -
6. River (2:36)
7. Sweet Heroin (7:04)
8. Brickstone (1:14)
Total Time: 50:08
Credits
Bass – Heinz Reinschlüssel
Drums – Roger Högn
Guitar – Axel Schmierer
Keyboards – Jürgen Kolb
Producer – Carol Of Harvest
Producer, Recorded By – Peter Klimek
Technician – Helmut Reinschlüssel
Voice – Beate Krause

MARILLION - Script for a Jester's Tear (1983) FLAC (image+.cue), lossless

At the time, Marillion's remarkable, full-fledged 1983 debut Script for a Jester's Tear was considered an odd bird: replete with Peter Gabriel face paint and lengthy, technical compositions, Marillion ushered in a new generation of prog rock that bound them forever to the heroics of early day Genesis. Intricate, complex, and theatrical almost to a fault, Script for a Jester's Tear remains the band's best and sets the bar for their later work. Filled with extraordinary songs that remained staples in the band's live gigs, the album begins with the poignant title track, on which Fish leads his band of merry men on a brokenhearted tour de force that culminates with the singer decrying that "…the game is over." "He Knows You Know,," a song sprinkled with drug paranoia and guilt; as the song veers to its chorus, Fish announces, "Fast feed, crystal fever, swarming through a fractured mind." If "The Web" hints at a grain of commercialism, "Garden Party" is a joyous anthem that showcases Marillion at the peak of its powers. Bogged down by some hilariously over-the-top British poetry, "Chelsea Monday" may be one of the album's lesser moments (if there are any), but the magical "Forgotten Sons" concludes the opus magnificently. Luckily for Marillion fans, EMI released a remastered version of Script with two different versions of "Market Square Heroes," "Three Boats Down from the Candy," "Grendel," "Chelsea Monday," the demo of "He Knows You Know," and an alternate track titled "Charting the Single." A vital piece for any Marillion head and an essential work for any self-respecting first- or second-generation prog rock fan. by John Franck  
Tracklist:
1 Script For A Jester's Tear 8:39
2 He Knows You Know 5:22
3 The Web 8:48
4 Garden Party 7:15
5 Chelsea Monday 8:16
6 Forgotten Sons 8:21
Credits:
Bass [Rickenbacker 4000], Bass [Fender Perc. Fretless] – Pete Trewavas
Choir – Marquee Club's Parents Association Children's Choir
Crew – Dave Walden, Deek, Gary Townsend, Priv Hedge, Tom Boyle
Drums [Tama Kit], Cymbal [Paiste Cymbals], Percussion – Mick Pointer
Effects – Peter James
Electric Guitar [Yamah SG 2000, Squire '57 Strat, Fender Strat], Acoustic Guitar [Yamaha Acoustic] – Steve Rothery
Grand Piano [Steinway], Harpsichord, Synthesizer [Mini Moog, Roland JP8, PPG Wave 2-2, Emulator, Pro One, Yamaha CS-15, Organ [Korg CX3] – Mark Kelly
Lyrics By – Fish
Voice – Fish
Voice [Newscaster] – Peter Cockburn
Written-By, Arranged By, Performer – Marillion

MANDOKI SOULMATES - Living in the Gap + Hungarian Pictures (2019) 2CD / FLAC (image+.cue), lossless

Born in Budapest, the drummer and bandleader of German descent László (Leslie) Mandoki belonged to the 1970s' student opposition in communist Hungary. Far beyond the system-conform mainstream, his Jazz-Rock formation "JAM" symbolized the longing for a free world. In 1975, he was forced to leave the country because of governmental repression. Accompanied by his two closest friends, László Bencker and Gábor Csupó, their flight was followed by a long odyssey. On his quest for freedom, he found more than that: a new home - in Germany.

In the "Golden West", after having been taught the hard way by the free market music industry, Leslie became established as a musician. After working as a singing drummer in various theatres, cafés with dancing and jazz festivals, he soon made a name for himself as a studio musician. As front man and lead singer of the band "Dschingis Khan", he then, almost unintentionally, won public recognition with no.1 hits in many countries and innumerable awards, gold - and platinum records. While being far away from his own artistic and musical visions, his years with Dschingis Khan have served Leslie as a kind of apprenticeship. His studio work and his first successes as a songwriter as well as dealings with various useful divisions of the commercial music industry finally enabled him to gain artistic freedom. In this time he made the acquaintance of many influential "men of action" of the music scene, who became friends over the years, such as Monty Lüftner, the founder of the BMG (Bertelsmann Music Group).

With his old school friend and so-called "muse twin", top arranger László Bencker, he founded the Park Studios in Munich, where he began to put his musical visions into practice with a small team under the name "Red-Rock Production". It was their perfectionism and hard work which brought Leslie and Laszlo their first gold and platinum records as well as various other awards as producers; at the time they worked on productions of such different artists as Engelbert, Placido Domingo, M.S.S.O. or Leslie's companion at the time, Ami Stewart, an American disco-singer with two international no.1 hits.

At the opening festivities of the Olympic Games in Seoul, Leslie sang alongside a number of world stars; the Mandoki/ Bencker- song became a no.1 hit in Asia.

Many years of common experience have turned Leslie Mandoki and Laszlo Bencker into a well-attuned team; as graduate musicians they are open for different styles and genres, true to their motto: "Music is a matter of taste; recording is a matter of dedication and professionalism." In the course of the years, many artists coming from the most diverse musical backgrounds have put their trust into Leslie and Laszlo, for example Milva, Karel Gott, Howard Carpendale, but also Kenny Loggins, Sigue Sigue Sputnik, Jermaine Jackson, Pia Zadora, and many others.

In their studio work and the resulting music production, Leslie and Laszlo finally found a way to realize their original artistic vision. Leslie never let go of his passion for his artistic roots, the jazz-rock of the 1970s and intellectual pop music. Consequently, alongside his various productions, he created the Man Doki project featuring Ian Anderson (Jethro Tull), Jack Bruce (Cream), David Clayton-Thomas (Blood, Sweat & Tears), Bobby Kimball (Toto), multiple Grammy-winners Michael and Randy Brecker, Pino Palladino (Elton John, Billy Joel, Phil Collins), Nik Kershaw, Steve Khan, Al Di Meola, Bill Evans (Miles Davis Band), Larry Coryell, Anthony Jackson (Steely Dan, Paul Simon, Bee Gees, Chick Corea) and Victor Bailey (Madonna, Weather Report, Mary J. Blige). These old and close friends of Leslie's were joined by Chaka Khan, Steve Lukather (Toto), Guru (Jazzmataz) and Joshua Kadison to work on the album "People In Room N° 8" which was introduced to the public in Thomas Gottschalk's
Parallel to the TV broadcast the CD "50 Jahre Rock" was released and immediately reached the top of the charts, where it remained for several weeks.
In the year 2005, the "50 Years Of Rock" line up participated in the Bambi-awarded ZDF (Second German Television) fundraising gala for the victims of the Tsunami. Leslie Mandoki was also in charge of one of the telephone lines for donations during the charity show, which entered the Guinness Book of Records as the TV show with the highest amount of received donations ever. The final song of the Charity Gala was also performed by the Man Doki Soulmates featuring Jon Lord, Greg Lake, Paul Carrack, Ian Anderson, Bobby Kimball and greatly successful young shooting-star Katie Melua. progarchives
Tracklist:
Living In The Gap
1 Living In The Gap 7:06
2 Young Rebels 4:25
3 Turn The Wind 5:17
4 Where We Belong 5:05
5 Let The Music Show You The Way 4:12
6 Too Much Pride 6:54
7 Old Rebels 4:43
8 Welcome To Real Life 7:45
9 Hottest Queen Of Cool 3:46
10 Wake Up 4:25
11 Mother Europe 3:40
12 I'm Not Your Enemy 8:47
Hungarian Pictures
1 Sessions In The Village 6:50
2 Utopia For Realists 2:09
3 Transylvanian Dances 19:02
4 You'll Find Me In Your Mirror 2:35
5 Return To Budapest 4:36
6 Barbaro 4:32
7 The Torch 5:51
Credits:
6-String Bass – Steve Bailey
Accordion – Fausto Beccalossi
Alto Saxophone – Max Merseny
Bass, Vocals – Richard Bona
Drums – Simon Phillips
Grand Piano – Béla Szakcsi Lakatos
Guitar – Al Di Meola, Mike Stern
Piano, Organ – Cory Henry, Gyula Papp
Soprano Saxophone, Tenor Saxophone – Ada Brecker
Tenor Saxophone, Soprano Saxophone – Bill Evans
Tenor Saxophone, Soprano Saxophone, Alto Saxophone, Clarinet – John Helliwell
Trumpet – Till Brönner
Trumpet, Flugelhorn – Randy Brecker
Violin – Edvin Marton
Vocals – Bobby Kimball, Chris Thompson, Jesse Siebenberg, Julia Mandoki, Nick Van Eede, Peter Maffay
Vocals, Bass – Jack Bruce
Vocals, Drums, Percussion, Udu – Leslie Mandoki
Vocals, Flute – Ian Anderson
Vocals, Piano, Organ – Tony Carey

GARIBALDI - Nuda (1972-1992) RM / WV (image+.cue), lossless

The Gleemen quartet from Genoa is rather a typical for Italian prog groups, generally avoiding the heavily slanted symphonic influences most of their countrymen were choosing and were relying on a heavy guitar-based sound and were often hard rocking. Their first album (1970) is still regarded nowadays as a gem from collectors all over the world, although it will surprise progheads a bit with its very 60's sound and major Hendrix influences, and absolutely stupendous artwork.
Having changed their name to a more Italian sounding name (Garybaldi being some hero of the late XIXth century in Liguria and neighbouring French Provence), they proceeded to record two further album with the same heavily slanted Hendrix influences even if the keyboards are also a good part of the sound). The first one sports an astounding and complex artwork by future Italian comix superstar Guido Crepax. Sidelong tracks are a common feature in those albums and they are self-indulgent, either.
Fosastti then disbanded the group, and with drummer/singer Cassinelli went on to form La Bambibanda E Melodia that released one record late 74. Guitarist Fossati has reformed the group (although he was the only original member) during the late 80's but the general sound was much bluesier and released one album.
Somehow their short career is almost parallel to Flea/Etna group (they also changed their name while retaining the same line-up), developing the same kind of unusual (for Italy) guitarey hard prog during the same years. progarchives
Tracklist:
1. Maya Desnuda (6:08)
2. Decomposizione, Preludio E Pace (1:55)
3. 26 Febbraio 1700 (7:20)
4. L'Ultima Graziosa (5:22)
5. Moretto Da Brescia:
- a. Goffredo (6:15)
- b. Il Giardino Del Re (9:16)
- c. Dolce Come Sei Tu (5:19)
Total Time: 41:35
Line-up / Musicians
- Bambi Fossatti / guitars, vocals
- Angelo Traverso / bass
- Maurizio Cassinelli / drums, vocals
- Lio Marchi / keyboards

THE GUESS WHO - Wheatfield Soul / Share the Land / Canned Wheat (2010) 3xCD / RM / FLAC (tracks+.cue), lossless

Wheatfield Soul (1969)

1 These Eyes 3:45

2 Pink Wine Sparkles In The Glass 2:13

3 I Found Her In A Star 2:36

4 Friends Of Mine 10:05

5 When You Touch Me 3:38

6 A Wednesday In Your Garden 3:22

7 Lightfoot 3:08

8 Love And A Yellow Rose 5:05

9 Maple Fudge 1:53

10 We're Coming To Dinner 2:45

Share The Land (1970)

1 Bus Rider 2:58

2 Do You Miss Me Darlin' 3:58

3 Hand Me Down World 3:26

4 Moan For You Joe 2:41

5 Share The Land 3:56

6 Hang On To Your Life 4:11

7 Coming Down Off The Money Bag / Song Of The Dog 3:57

8 Three More Days 8:56

9 Palmyra 5:48

10 The Answer 4:07

Canned Wheat (1969)

1 No Time (First Version) 5:36

2 Minstrel Boy 3:19

3 Laughing 3:06

4 Undun 4:18

5 6 A.M. Or Nearer 5:25

6 Old Joe 2:58

7 Of A Dropping Pin 3:42

8 Key 11:17

9 Fair Warning 1:46

10 Miss Frizzy* 5:09

11 Silver Bird 2:43

QUIET SUN - Mainstream (1975-1989) RM / FLAC (image+.cue), lossless

British progressive rock band. A kind of seminal super-group Quiet Sun existed in two phases:the original band formed in 1969 who disbanded after Phil Manzanera joined Roxy Music, and then again in 1975 they reformed specially to record the music they had originally composed 5 years earlier. web

Tracklist:

1 Sol Caliente 7:35
2 Trumpets With Motherhood 1:47
3 Bargain Classics 5:48
4 R. F. D. 3:23
5 Mummy Was An Asteroid, Daddy Was A Small Non-stick Kitchen Utensil 6:01
6 Trot 5:18
7 Rongwrong 9:28
Credits:
Backing Vocals [Back-up Voices] – Ian MacCormick
Bass [Electric, Treated], Backing Vocals [Back-up Voices] – Bill MacCormick
Drums, Percussion, Keyboards, Voice – Charles Hayward
Electric Guitar [6 & 12 String Guitars], Guitar [Treated Guitars], Electric Piano [Fender Rhodes] – Phil Manzanera
Grand Piano [Fender Rhodes, Steinway], Organ [Farfisa, Hammond], Synthesizer [Vcs 3] – Dave Jarrett
Producer – Quiet Sun
Synthesizer, Performer [Treatments & Oblique Strategies] – Eno
Written-By – MacCormick (tracks: 5), Hayward (tracks: 2, 7), Jarrett (tracks: 3, 4), Manzanera (tracks: 1, 6)

SPLASH - Ut Pa Vischan! (1972-2019) RM / FLAC (image+.cue), lossless

Swedish jazz and rock band, combining Zappa influences, prog, soul and Nordic folk.
Tracklist:
1 Jag Minns Min Gröna Dal 5:19
2 Jag Drömmer Om En Annan Värld 6:16
3 Stormen 4:34
4 Ut På Vischan 3:58
5 Frihet 3:01
6 Spelmannen Och Forskarlen 6:51
7 Vår Dröm 3:47
8 Smutsig Jord 4:59
Credits:
Bass, Vocals – Kaj Söderström
Drums – Jan-Erik Westin
Guitar, Vocals – Christer Jansson
Organ, Piano – Gösta Rundqvist
Saxophone, Bassoon, Clarinet – Christer Holm
Saxophone, Flute – Håkan Lewin
Trombone – Lennart Löfgren
Trumpet – Leif Halldén

SPLASH - Splash (1974-2019) RM / FLAC (image+.cue), lossless

Tracklist:
1 Karottorokokrockokrokorock (Elephant Nilson) 21:02
2 Tiokronorspolkan 6:53
3 Sambahmadu 13:47
Credits:
Bass, Vocals – Kaj Söderström
Design [Cover] – Ardy Strüwer
Drums – Henrik Hildén
Flute [Flutes], Saxophone [Saxophones] – Torbjörn Carlsson
Guitar, Violin, Vocals – Christer Jansson
Maracas – Sven-Åke Eriksson (tracks: 3)
Percussion – Ahmadu Jarr (tracks: 3)
Piano, Organ, Synthesizer [Mini-Moog], Violin, Vocals – Thomas Jutterström
Producer [Produced By] – Splash
Saxophone, Clarinet, Bassoon – Christer Holm
Trombone, Flugelhorn – Lennart Löfgren
Trumpet, Flugelhorn – Leif Halldén
Vocals [Presley-Vocal] – Gunnar (tracks: 1)
Voice [Announcing In Kolgujev] – Jan-Erik Westin (tracks: 1)