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

EPIDERMIS - Genius Of Original Force (1977) FLAC (tracks+.cue), lossless

EPIDERMIS was considered, in the end of the 70's, like the German GENTLE GIANT, but in regard with the group's total discography, this might be quite reductive. They created a moving sonic dreamscape with keys, bass, acoustic and electric guitar, winds, percussion and cannon vocals. Their first album was progressive music of the very dense and complex type, with multi-layered vocal arrangements comparable to GENTLE GIANT and dynamic instrumental arrangements like YES and KING CRIMSON. The four tracks often had sudden shifts of tempo and mood, resulting in exciting music, which was at times disjointed. Often unfairly dissed as a clone band, EPIDERMIS managed to render the GENTLE GIANT realm being only a quartet. They recorded second album in the early 80's called Muster-Burger
On the surprisingly very-good "Feel Me", recorded in the early 90's with the same line-up and a bunch of guest musicians, the band offers a well-researched music, built on some precious sounds (flute, oboe, violin, clarinet, vibraphone) and some complex melodies, the music evolves between GENTLE GIANT ("Free hand" period), UNIVERS ZERO and ANABIS. Progarchives

Tracklist:

1. The non-existent surroundings of god (10:40) 

2. A riddle to myself (6:35) 

3. Genius of original force (11:35) 

4. Prime origin (5:35) 

- Bonus Track - 

5. Feelings (4:52)

Total Time: 39:17

Line-up / Musicians

- Michael Kurz / keyboards, vocals 

- Rolf Lanz / guitar, vocals

- Reiner Neeb / drums, vocals 

- Wolfgang Wünsche / bass, vocals

GONG - Magick Brother (1970-2004) RM / FLAC (tracks+.cue), lossless

In 1970, the world got its first taste of the original pothead pixie, Daevid Allen's Gong, as Magick Brother was released in France on the BYG label. Allen's wife, Gilli Smyth, penned all the tunes on the album, and Allen's now-classic "Ph.P." drawing style graces the inside of the gatefold. Leaning a little toward the pop end of the spectrum, Magick Brother is a fairly light album, devoid of the blatant psychedelic/hippie qualities which shine through so brilliantly on the later Camembert Electrique. Smyth's "space whispering" makes its debut on the opening track, though the album is not as spacy as it is ethereal. "Gong Song" is a highlight, with lyrics describing a pothead pixie who came down from the planet Gong to sing his green song -- the roots of the Gong myth. Allen's guitar sound is a bit flat and hollow throughout the project, dynamics taking a back seat in most of these recordings. He relies on distortion and various guitar augmentations, but this all works quite well in the context of the collective sound. Much of the vocal harmonizing on the album is typical of many '60s pop troupes and sounds fairly dated today. Didier Malherbe's sax and flute playing spices up this mostly pop-oriented prog rock outing, helping to make this a cut above the radio norm. Although this is an interesting release, especially for its status as the first Gong project, it is not typical Gong and is not recommended as a starting point for sampling the band's recordings. by David Ross Smith

GONG - Continental Circus (Original Soundtrack) (1972-1994) RM / WV (image+.cue), lossless

Gong performed the soundtrack for Continental Circus, Jerome Laperrousaz's film about the 1970 Grands Prix 500cc. Laperrousaz also collaborated with Gilli Smyth on the compositions, which are tighter and more intricate than the band's previous release, Magick Brother. This is possibly the smallest number of musicians involved on any Gong project, and it shows in the sound of the music -- straightforward progressive rock with no surprises. Keys and synth are kept to a minimum as the band plunges forth with the standard guitar, bass and drums. Malherbe's playing (sax/flute) has not yet moved to the forefront, and the band decided to drop the psychedelic angle for this outing. Much of the music is strictly guitar-driven, with the final instrumental cut resembling early King Crimson, as is the case on several cuts from the following, far superior release, Camembert Electrique. [There is a bootleg version of Continental Circus in existence with twice as many tracks.] by David Ross Smith
Tracklist:
1 Blues For Findlay 11:19
2 Continental Circus World 4:08
3 What Do You Want? 9:00
4 Blues For Findlay (Instrumental) 9:42
Credits:
Bass – Christian Tritsch
Drums – Pip Pyle
Saxophone, Flute – Didier Malherbe
Vocals [Space Whisper], Written-By – Gilli Smyth
Vocals, Guitar [Glissandoz] – Daevid Allen
Written-By – Jérôme Laperrousaz (tracks: 1, 2)

GONG - Camembert Électrique (1971-2015) Mini LP CD MSI Japan / RM / FLAC (image+.cue), lossless

This is a classic, the epitome of the band's early Daevid Allen phase with Ph.P.'s (pothead pixies) in full, blazing glory. In its infancy, Gong was a unique prog rock band that branched out in all directions at once while most other prog bands chose simply one path or another. Camembert Electrique is a testament to that. The band's eclectic "electric cheese" rock is a mixture of psychedelic rock, spacy atmospherics and lyrics, and doses of jazz often presented with a pop sensibility, yet always intense. From the first cut on Camembert, you are transported to planet Gong via the voice of a "radio gnome" who drops in intermittently to remind you you're not in Kansas anymore. Daevid Allen leads the band through several compositions musically (not lyrically) reminiscent of, and possibly influenced by, early King Crimson -- a hard, raw-edged sound propelled by a strong guitar-sax-percussion combo. Drummer Pip Pyle played on only a few Gong sessions; he is a major figure here, as is saxophonist Didier Malherbe. Both are up front on the wailing progressive rocker "You Can't Kill Me," which also features guitarist Allen in top form. Allen's declarative "I've Bin Stone Before," the first part of an inventive three-song medley, is of particular interest; introductory church organ and avant-garde sax make this another unique Gong experience. But the real gem on Camembert is "Tropical Fish: Selene." This jazzy composition is the most involving and intricate piece on the recording. The band moves tightly through several progressive movements and Gilli Smyth scores with her trademark "space whispering." Camembert Electrique remains undated after over 40 years and hovers "strong and steamin'" over most of the Gong catalog. by David Ross Smith 
Tracklist:
1 Radio Gnome 0:27
Daevid Allen
2 You Can't Kill Me 6:16
Daevid Allen
3 I've Bin Stone Before/Mister Long Shanks/O Mother 4:51
Daevid Allen
4 I Am Your Fantasy 3:39
Gilli Smyth / Submarine Captain Christian Tritsch
5 Dynamite: I Am Your Animal 4:29
Gilli Smyth
6 Wet Cheese Delirium 0:33
Daevid Allen
7 Squeezing Sponges Over Policemen's Heads 0:12
Daevid Allen
8 Fohat Digs Holes in Space 6:20
Daevid Allen / Gilli Smyth
9 Tried So Hard 4:36
Daevid Allen / Submarine Captain Christian Tritsch
10 Tropical Fish: Selene 7:32
Daevid Allen
11 Gnome the Second 0:25
 Daevid Allen
Credits Bass – Submarine Captain Drums, Percussion [Tables, Chairs] – Pip Pyle Guitar, Vocals [Aluminium Croon] – Bert Camembert, Daevid Allen Saxophone, Flute – Blumdido Bad De Grass Vocals [Space Whisper, Lady Voice] – Gilli Smyth, Shakti Yoni Written-By – Tritsch (tracks: 4, 5, 9), Allen (tracks: 1 to 3, 6 to 11), Smyth (tracks: 4, 5, 8)

GONG - Flying Teapot (Radio Gnome Invisible, Vol. 1) (1973-1996) FLAC (image+.cue), lossless

Produced by Giorgio Gomelsky, notable for his work with the Yardbirds, Brian Auger, and Magma, this relatively early Gong project is a great representation of the Daevid Allen-era Gong. Though not as intricate as its follow-up companion piece, Angel's Egg, The Flying Teapot is more of a true prog/space rock outing, where hippie-trippy lyrics and space whispering abound, as evidenced in the opening track, "Radio Gnome Invisible." The following cut, "Flying Teapot," is the sprawling highlight of the album. At times reminiscent of some early Weather Report jams, though not as jazzy, the tune features prominent bass, standout percussion/drums, and space whispering courtesy of Smyth. Improvisational groaning and percussion bring this jam to a close. "Pothead Pixies" is a fun pop (pot?) tune which probably received very little, if any, airplay due to the lyrics, followed by Blake's brief synth interlude, "The Octave Doctors and the Crystal Machine." "Zero the Hero and the Witch's Spell," another lengthy composition, features Malherbe's sax playing, which, at this early point in the Gong evolution, is credited for most of the jazz sounds heard in the music (remember, Pierre Moerlen has yet to join the band). This cut becomes quite heavy near its end before making a clever transition into the final cut, "Witch's Song/I Am Your Pussy." Here you hear Smyth's strange, sexually explicit lyrics, which she embellishes with ethereal voicings and cackling. This, combined with a jazzy sax from Malherbe and some very groovy musical lines near the closing, make for another fun tune. by David Ross Smith 

Tracklist:
1 Radio Gnome Invisible 5:32
Written-By – Daevid Allen
2 Flying Teapot 11:51
Written-By – Daevid Allen
3 The Pot Head Pixies 3:02
Written-By – Daevid Allen
4 The Octave Doctors And The Crystal Machine 1:51
Written-By – Tim Blake
5 Zero The Hero And The Witch's Spell 9:37
Written-By – Christian Tritsch, Daevid Allen
6 Witch's Song, I Am Your Pussy 5:08
Written-By – Daevid Allen, Gilly Smith
Credits
Bass, Piano – Francis Bacon
Congas – Rachid Whoarewe
Design [Cover Design] – Dingo, Maggie, Tom Fu
Drums, Percussion – Lawrence The Alien
Flute, Tenor Saxophone, Soprano Saxophone – The Good Count Bloomdido Bad De Grass
Guitar – Stevie Hillside, The Submarine Captain
Guitar, Vocals – Dingo Virgin
Vocals [Spacewhisper], Organ – The Good Witch Yoni
Synthesizer, Vocals – Hi. T. Moonweed

GONG - Angel's Egg (Radio Gnome Invisible, Vol. 2) (1973-2015) Mini LP SHM-CD Universal Japan / RM / FLAC (image+.cue), lossless

The companion piece to The Flying Teapot, Angel's Egg is not your usual progressive rock album. Very quirky, with many, mostly brief compositions, the album is a tad less spacy than Teapot, with just a few psychedelic-inspired lyrics, and it's very technically adept. Angel's Egg opens with a true space rock cut (one of the few on the album), filled with the usual Gilli Smyth space whispering and Daevid Allen voicings, then leads into the cleverly titled "Sold to the Highest Buddha," with Steve Hillage and Didier Malherbe prominent figures. The instrumental "Castle in the Clouds" finds Hillage coming into his own, with a sound identical to his solo work. "Givin' My Love to You" sounds like a bar song, with no music and a cluster of seemingly drunken fellas trying to sing. The instrumental "Flute Salad" gives way to "Oily Way," a showcase for Malherbe's jazzy flute. "Inner Temple," an instrumental space rock track, moves along with a jazz edge, provided by Malherbe's sax. The final three tracks are the real highlights on Angel's Egg. "I Never Glid Before" is a fantastic prog rock tune, replete with blistering Hillage solo, primo Allen lyrics and vocal, and the precise percussion of new bandmember Pierre Moerlen. This eclectic composition travels through several movements and time changes, and comes across as a perpetually progressing piece. The imaginative and jazzy "Eat That Phone Book Coda" brings the album to a close.  by David Ross Smith  
Tracklist:
1 Other Side Of The Sky 7:40
Written-By – Allen, Blake
2 Sold To The Highest Buddha 4:25
Written-By – Allen, Howlitt
3 Castle In The Clouds 1:09
Written-By – Hillage
4 Prostitute Poem 4:53
Written-By – Smyth, Hillage
5 Givin' My Luv To You 0:42
Written-By – Allen
6 Selene 3:38
Written-By – Allen
7a Flute Salad 2:09
Written-By – Malherbe
7b Oily Way 3:37
Written-By – Allen, Malherbe
8 Outer Temple 1:09
Written-By – Hillage, Blake
9 Inner Temple 2:34
Written-By – Allen, Malherbe
10 Percolations 0:46
Written-By – Moerlin
11 Love Is How Y Make It 3:26
Written-By – Allen, Moerlin
12 I Niver Glid Before 5:37
Written-By – Hillage
13 Eat That Phone Book Coda 3:09
Written-By – Malherbe
Credits
Bass – T. Being Esq
Drums, Vibraphone, Marimba – Pierre de Strasbourg
Glockenspiel – Mirielle de Strasbourg
Lead Guitar [Lewd Guitar] – Sub Capt Hillage
Producer – Gong
Synthesizer, Vocals [Lady Voce] – T. Moonweed
Tenor Saxophone, Soprano Saxophone, Flute, Vocals [Bi-Focal Vocal] – Bloomdido Bad de Grass
Vocals [Local Vocals Aluminium Croon], Guitar [Glissando Guitar] – Dingo Virgin
Vocals [Space Whisper & Loin Cackle] – Shakti Yoni

GONG - You (Radio Gnome Invisible Vol. 3) (1974-2015) Mini LP SHM-CD Universal Japan / RM / FLAC (image+.cue), lossless

You is the final installment in Gong's legendary Radio Gnome Trilogy, and it marks an important turning point for the band. By 1974, the psychedelic hippie/folk-rock element of the sound that was leader Daevid Allen's most important contribution was beginning to disappear. In its place was a more sophisticated musical vision that owed as much to jazz-rock fusion as to fellow space rockers like Pink Floyd and Hawkwind. Ironically, this is Gong's most "spacy" album, full of extended, ethereal passages that would inspire future generations of space rockers. The sound was equally defined however, by the jazzy flights of saxophonist Didier Malherbe and the sinuous rhythms of bassist Mike Howlett and drummer Pierre Moerlen (the band would eventually become the fusion-oriented Pierre Moerlen's Gong). Allen's songs still provide a crucial link to the rest of the trilogy, though the conceptual/mythological aspect is less crucial to You.  by Rovi Staff
Tracklist
1 Thought For Naught 1:30
2 A P.H.P.'s Advice 1:37
3 Magick Mother Invocation 2:11
4 Master Builder 6:09
5 A Sprinkling Of Clouds 8:42
6 Perfect Mystery 2:25
7 The Isle Of Everywhere 10:21
8 You Never Blow Yr Trip Forever 11:24
Credits
Bass Guitar – Mike Howlett
Illustration [Scandalous Mandalous On The Back] – Daevid Allen
Lead Guitar – Steve Hillage
Percussion – Benoit, Mireille, Pierre Moerlen
Synthesizer [Moog And EMS Synthesisers], Mellotron [Mellowdrone] – Hi T Moonweed
Vocals [Vocal Locust], Guitar [Glissandoz Guitar] – Dingo Virgin
Voice [Poems], Vocals [Spacewhisper] – Shakti Yoni
Voice [Wee Voices], Backing Vocals [Chourousings] – Bambaloni Yoni
Wind [Wind Instruments], Vocals – Bloomdido Bad de Grass
Written-By – Gong

GONG - Shamal (1975-2015) Mini LP SHM-CD Universal Japan / RM / FLAC (image+.cue), lossless

Between Daevid Allen's departure from the band and Pierre Moerlen's official takeover of the band, there is Shamal. This transitional album contains none of the Allen-inspired psychedelia, but also very little of Moerlen's jazz influence. Shamal is, for the most part, a progressive rock album, half vocal, half instrumental. Its most accessible tune, the opening "Wingful of Eyes," had the potential for airplay if only it hadn't been so lengthy. Penned by Mike Howlett, his not-so-great-but-appealing vocal style and lyrics will grow on you, given the opportunity. "Bambooji," mostly instrumental, opens with Didier Malherbe's flute, which at times gives this tune an Asian sound. Percussion and flute dominate and yield a Scottish feeling as well. "Mandrake" is the soft, laid-back piece on the album, followed by the closing title cut, a slight foreshadowing of the sound Pierre Moerlen and company assumed on the next several albums. Moerlen, an outstanding, classically trained drummer/percussionist, along with Jorge Pinchevsky on violin color this piece with a Mahavishnu Orchestra hue, although it's still distinctly Gong. by David Ross Smith
Tracklist:
1 Wingful Of Eyes 8:19
Electric Guitar, Acoustic Guitar – Steve Hillage
Written-By – Howlett
2 Chandra 7:16
Lyrics By – Howlett
Music By – Lemoine
Violin – Jorge Pinchevsky
3 Bambooji 5:21
Electric Guitar, Acoustic Guitar – Steve Hillage
Violin – Jorge Pinchevsky
Vocals – Miquette Giraudy
Written-By – Malherbe
4 Cat In Clark's Shoes 7:45
Violin – Jorge Pinchevsky
Voice – Jorge Pinchevsky
Written-By – Malherbe, Howlett, Lemoine
5 Mandrake 5:07
Written-By – Moerlen
6 Shamal 8:58
Violin – Jorge Pinchevsky
Vocals – Sandy Colley
Written-By – Malherbe, Howlett, Bauer, Lemoine, Moerlen
Credits:
Bass Guitar, Vocals – Mike Howlett
Violin, Voice – Jorge Pinchevsky
Drums, Vibraphone, Tubular Bells – Pierre Moerlen
Marimba, Percussion [Assorted], Glockenspiel, Xylophone, Gong – Mireille Bauer
Piano, Organ, Synthesizer [Mini-moog] – Patrice Lemoine
Producer – Nick Mason
Tenor Saxophone, Soprano Saxophone, Flute [Bamboo, C&g Flutes], Gong – Didier "Bloom" Malherbe

GONG - Gazeuse! (1976-2015) Mini LP SHM-CD Universal Japan / RM / FLAC (image+.cue), lossless

Gazeuse! was the first in a successful line of strictly jazz-rock sessions for percussionist Pierre Moerlen and company -- compositions that stressed jazz more than rock and which generally strayed away from lyrical content. This 1976 recording, also released under the title Expresso, was the band's first completely instrumental album, a companion piece to the later, somewhat warmer Expresso II, which is quite similar in sound and structure. To say Gazeuse! is percussive is an understatement. Drummer Moerlen is accompanied by brother Benoit and Mireille Bauer on vibraphones with Mino Cinelu playing other assorted percussion. "Percolations" is a showcase for this foursome: Part one, a display of beautiful vibes and xylophones; part two, a technically superb drum solo. Pierre's playing is fierce in this second part, exhibited by some truly volatile drumming near the close. Allan Holdsworth is the sole guitarist on the album and contributes two of his own compositions. His "Night Illusion" is a standout and reminiscent of Bill Bruford's Feels Good to Me on which Holdsworth collaborated around the same time. Longtime Gong member Didier Malherbe adds spice to the proceedings with jazzy flute on "Shadows Of" and prominent sax on the slightly funky "Esnuria." by David Ross Smith  
Tracklist:
1 Expresso 5:58
Written By, Drums – Pierre Moerlen
2 Night Illusion 3:42
Written By, Electric Guitar – Allan Holdsworth
3 Percolations 10:02
Written By, Drums – Pierre Moerlen
4 Shadows Of 7:48
Written By, Electric Guitar – Allan Holdsworth
5 Esnuria 8:02
Written By, Drums – Pierre Moerlen
6 Mireille 4:13
Written By, Bass Guitar – Francis Moze
Credits:
Bass, Piano, Gong – Francis Moze
Congas, Percussion – Mino Cinelu
Drums, Vibraphone, Marimba, Glockenspiel – Pierre Moerlen
Guitar – Allan Holdsworth
Saxophone, Flute – Didier Malherbe
Vibraphone – Benoit Moerlen
Vibraphone, Marimba, Glockenspiel – Mireille Bauer

GONG - Gong Est Mort (1977-2015) 2 Mini LP SHM-CD / RM / FLAC (image+.cue), lossless

Live album recorded during the first « Gong reunion » in May 28, 1977 in Hippodrome de Pantin (Paris), organised by Jacques Pasquier. The classic Gong line-up with founder Daevid Allen didn’t exist anymore at this date, but reconvened for this event, which also featured all bands formed by ex or current Gong members : Daevid Allen with Euterpe, Didier Malherbe’s Bloom, the « official » Gong led by Pierre Moerlen, Mike Howlett’s Strontium 90, Tim Blake’s Crystal Machine, Steve Hillage’s band etc…
When the newly created label Tapioca announced they will release the Gong recording of this concert, Virgin interjected by legally trying to prevent the release of this album, saying the band and name Gong was signed to Virgin, as well as other artists like Steve Hillage. In an attempt to sabotage the release of the Hippodrome concert, Virgin also quickly compiled live tapes of Gong and issued the Live Etc. album in August 1977, including many pictures of the Hippodrome concert on the insert sleeves ! As a reaction, Daevid Allen and Gong freaks invaded the Virgin offices in London, claiming that Gong belonged to no-one. Eventually, Tapioca was able to release their Gong Est Mort album in September (or November ?) 1977. Though as a side-effect of the dispute with Virgin, Steve Hillage could not be credited on this recording and his face was blanked on the inner gatefold picture. web
Tracklist 1:
1. Can't Kill Me 7:59
2. I've Been Stoned Before / Mr Longshanks / O Mother 06:42
3. Radio Gnome Invisible 03:01
4. Zero The Hero & The Witches Spell 10:03
5. Flute Salade / Oily Way / Outer Temple 10:26
(0:38:13)
Tracklist 2:
1. Inner Temple (Zero Meets The Octave Doctor) 05:54
2. IAO Chant & Master Builder 06:49
3. Sprinkling Of Clouds 04:24
4. From The Isle Of Every Where To The End Of The Story Of Zero The Hero 12:18
5. You Never Blow Your Trip Forever 10:27
(0:39:54)
Credits:
Bass [Souper Bass] – Mister T. Being
Drums – Le Pere Cushion De Strasbourger
Guitar [Glissando Guitar], Vocals [Chant] – Bert Camenbert
Guitar [Uncredited] – Steve Hillage
Mixed By – Christian Gence, Daevid Allen
Saxophone [Saxo Selmer], Flute [Float] – Bloomdido Bad De Grass
Synthesizer, Keyboards – High. T. Moonweed
Vocals [Space Whisper] – Shakti Yoni

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

ALBATROS - Garden of Eden (1978-2000) FLAC (tracks+.cue), lossless

ALBATROS only had one album, in which they were invited into a studio to record. The 3 songs written had to be shortened to fit an LP format. However, this one album was the only effort that we heard from ALBATROS, and that's a shame because their theatric and complex arrangements similar to early GENESIS and EMERSON, LAKE & PALMER, were great to hear, they had a very distinct sound. The band was a sextet and consisted of Peter Breitbarth on guitar, Thomas Büscher on drums, Achim Hubricht on bass, Harald Hubricht on keyboards, Christian Köppen on piano, Hansi Köppen on vocals and Jürgen Polzin on congas. Of course, "Garden of Eden" is recommended, the songs included on it were actual shortened versions of the real arrangements even though they seem extended anyways. It was the only album from them and now that it's on CD, it's a tad easier to find even though there were only 500 pressings of this album. web
Trackslist:
1. A Man Lie me (19:49)
2. Sundriver (11:32)
3. Garden Of Eden (10:13)
Total Time: 41:34
Line-up / Musicians
- Peter Breitbarth / guitar
- Thomas Büscher / drums
- Achim Hubricht / bass
- Harald Hubricht / keyboards
- Christian Köppen / piano
- Hansi Köppen / vocals
- Jürgen Polzin / congas, PA

ZOMBY WOOF - Riding On A Tear (1977-2002) FLAC (tracks+.cue), lossless

Zomby Woof was a German symphonic rock formation, the name is derived from a Frank Zappa's his Mothers Of Invention composition. The band is rooted in 1971 when guitar players Heinrich Winter and Udo Kreuss joined Frank Keinath on bass and Thomas Moritz on drums in order to form a band that still had no name and no gigs. Soon Frank moved away and no replacement was to be found. As a consequence Ulrich Herter, another guitarist, joined the band and Udo Kreuss changes to bass guitar. Shortly afterwards the two keyboard players Matthias Seelman-Eggebert (Hammond organ) and Matthias Zumbroich (keyboards) also joined which meant that the sound changed, influenced by PROCOL HARUM.Eventually the label Jupiter from the capital Munich accepted the band and the recordings started in the Olympia Music Studios in the spring of 1977. There they found a Mellotron, of course out of tune! Thanks to Udo Kreuss this incredible instrument was cleaned untilit functioned again. So despite the fact that the band didn't own a Mellotron, you can enjoy this ubiquitous keyboard on their album. On the cover you can witness the band in front of one of the slides they used during their shows. In the autumn of 1977 the LP was released by Jupiter and distributred by BMG Ariola. One estimates that eventually the sales went up to 5000 copies, a very reasonable number for such an uknown German band! A second LP on the Jupiter label never saw the daylight because Steve Kazan, the man who was responsible for this type of music was sacked because he got on everybody's nerves. In 1979 Berthold Maier and Heinrich Winter left the band to form Alarm. The were replaced by Achim Czech on drums and Harald Horvath as singer but this was not a sudden but rather gradual change in the line-up. Together with an additional vocalist named David Hanselmann (previously with MESSAGE and TRIUMVIRAT), this line-up recorded a second LP named No Hero in 1979 but the band was unable to find a record company. Without a recording contract and future prospects Zomby Woof split up, the last gig took place in their hometown Reutlingen on July 8th in 1980. Their music is very pleasant and melodic, vintage keyboard driven 24-carat symphonic rock. It sounds far from derivative, my closest comparison is Eela Craig and some Camel. The CD release contains the original nine tracks and four bonustracks (the single Dora's Drive and the B-side Mary Walking Through The Woods and two unrelased songs entitled Highwire Dance and Back Home from rehearsals). Progarchives
Tracklist:
1. Introduction (1:56)
2. Suicide (6:25)
3. Riding on a Tear (5:17)
4. Requiem - Part I (5:17)
5. Requiem - Part II (4:07)
6. Dora's Drive (8:52)
7. Mary Walking Through the Woods (5:56)
8. Walking Through the Woods (5:30)
9. Finale (0:13)
- Bonus Tracks -
10. Dora's Drive (5:19)
11. Mary Walking Through the Woods (4:31)
12. Highwire Dance (5:49)
13. Back Home (7:34)
Personnel
Ulrich Herter / Vocals, acoustic - and electric guitar and synthesizer;
Heinrich Winter / Vocals, acoustic - and electric guitar and Hohner D6 clavinet
Matthias Zumbroich / Grand piano, Hammond organ, Minimoog, string-ensemble, synthesizer, Mellotron, electric piano and saxophone
Udo Kreuß / Bass guitar
Berthold Maier / Drums, percussion and tambourine

AINIGMA - Diluvium (1971-2006) FLAC (tracks+.cue), lossless

Tracklist:
1. Prejudice (5:33)
2. You Must Run (7:31)
3. All Things Are Fading (5:15)
4. Diluvium (17:51)
- Bonus Tracks -
5. Thunderstorm (5:15)
6. Diluvium (Instrumental)  17:45
Total Time: 41:25
Line-up / Musicians
- Michael Klüter / Drums, Percussion, Vocals
- Wolfgang Netzer / Guitar, Bass Guitar
- Willi Klüter / Organ, Electric Piano, Lead Vocals

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