Renaissance - Azure D’Or (1979)
Vinyl | LOG | CUE | FLAC | Tags | Full LP Cover (1:1)
24bit/96kHz: 993mb – 16bit/44kHz: 301mb
Genre: Symphonic-Rock | Label: Sire Records Company / SRK 6068 | Release: 1979
In my view, “Azure D’Or” is the latest album of good quality from “Renaissance”. They move away from the long tracks, with commercial music glimpses, but maintaining the style that made them famous.
My ideal collection from this group, does end in “Azure D’Or”.
I chose two exquisite pieces “Golden Key” and “Kalynda” (my favorite).
Absolutely recommended.
Planxty – The Woman I Loved So Well (1980)
Vinyl Rip in 24 Bit-96 kHz | Redbook 16 Bit-44 kHz | FLAC | Cue | HR Covers | 912 MB + 260 MB
1980 / Genre: Irish Folk – Tara Records – IRL
The Woman I Loved So Well is a studio album by Planxty released in 1980. Along with groups like the Bothy Band, Planxty helped to usher in a new era for modern Celtic music. While their sound remained rooted to traditional music, the band’s virtuosic musicianship and high-energy delivery reflected modern influences, while their unique vocal harmonies and instrumental counterpoint were unprecedented in Irish music. “Enjoy this beautiful atmospheric album and new upgrade rip”! H.R. Covers are made by Fran Solo; thank you Fran for the excellent scans”!
Note > No silence was deleted; please burn this album gapless..
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Pete Dello and Friends (Honeybus) – Into Your Ears (1971)
Vinyl rip @ 24/96 | FLAC | Artwork | 1065mb
Pop/Rock, Baroque Pop | 1989 reissue | See For Miles SEE 257
After tasting success in 1968 with the single “I Can’t Let Maggie Go,” Honeybus founder Pete Dello left the band to pursue a more settled lifestyle. His distaste for the rigors of touring left him with a surplus of un-recorded material that would eventually steer him back into the studio to record his first and only solo record. Into Your Ears features 14 songs, each under three-and-a-half minutes long, that prosper through a winning combination of goofy psychedelia and Beatlesque beauty. The sweet melodies and gentle harmonies of “It’s What You’ve Got” and “Taking The Heart Out Of Love” are timeless, devoid of irony, and begging for placement in a Wes Anderson film. “Do I Still Figure In Your Life,” which has since been covered by the likes of Joe Cocker, conveys the same irresistible form of melancholy that permeates a great Randy Newman or Harry Nilsson recording, and more than makes up for the wince-inducing “Uptight Basil” and “Harry The Earwig (the latter inspired the horrific Roger Dean cover art). Dello’s voice is sweet and clear, with only a tinge of the British folk throatiness that ruled the era. The songs, while never complex, benefit from strategically placed string arrangements that rarely disappoint, and crisp production as exemplified on the set closer “Arise Sir Henry.” Also included are the Magic Valley versions of “Taking The Heart Out Of Love” and “Uptight Basil,” which differ only in sound quality (poorer) from the album renditions, and provide collector’s with the definitive edition of this highly sought after (almost) masterpiece. James Christopher Monger, allmusic.
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Mainhorse - Mainhorse (Featuring Patrick Moraz) (1971)
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24bit/96kHz: 860mb – 16bit/44kHz: 249mb
Genre: Symphonic-Rock | Label: Import Records / IMP 1001 | US Pressing |Release: 1971
Anyway, on this album the ‘Swiss poodle’ delivers an impressive Hammond organ sound. The first song is “Introduction”, it features fluent ‘heavy progressive’ with floods of Hammond organ and fiery electric guitarplay, the sound has echoes from ATOMIC ROOSTER, THE NICE and early DEEP PURPLE. The following “Passing Years” is a slow, bluesy like song with mellow organ and a bit melancholic vocals. Then again ‘heavy prog’ with swirling organ and biting electric guitar in “Such a beautiful day”, the climate evokes THE NICE and QUATERMASS. In “Pale sky” a wailing violin and howling electric guitar colour a bluesy atmosphere, topped by strong Hammond play and dynamic drums. This song features halfway a jam with violin, guitars, electric piano, experimental sounds and a hypnotizing rhythm-section, to end with a sensitive electric guitarsolo and loads of Hammond. Next is “Basia”, an up-tempo and catchy song with strong organ – and electric guitarplay, a pumping bass and cheerful vocals, halfway MAINHORSE surprises with a swinging electric pianosolo. The track “More tea vicar” contains subtle changes of rhythm, from soft jazzy to fluent heavy prog with a classical sounding organ (like EKSEPTION), assorted percussion like glockenspiel and fiery electric guitar. The final composition “God” (almost 10 minutes) is the most alternating and dynamic one with many changes of climate with Patrick MORAZ on organ and the ‘Klavio- synthesizer’ and strong electric guitarwork, it sounds like a blend of THE NICE and ATOMIC ROOSTER. THIS ALBUM CONTAINS THE FIRST IMPRESSIVE STEPS FROM PATRICK MORAZ AS A KEYBOARD-WIZARD!
progarchives.com
Stephen Stills – Stills
Vinyl | LOG | CUE | FLAC | Tags | Full LP Cover (1:1)
24bit/96kHz: 836mb – 16bit/44kHz: 246mb
Genre: Country-Rock | Label: Columbia / PC 33575 | First US Pressing | Release: 1975
Unquestionably Stephen Stills is one of the prolific creator of the legendary country-rock quartet C, S, N & Y.
Today I share my beloved LP with all his extra material. The reality is that in this work away from his country roots and hints at his love of Latin rhythms. Markedly Salsa, I remember that in the last section of the beautiful song “Suite: Judy Blue Eyes” ends singing in spanish.
The disc itself I find it great and I like Latin rhythms faced without leaving its essence.
Mellow Candle – Singles (1968-72)
Vinyl | LOG | CUE | FLAC | Tags | Full LP Cover (1:1) | 24bit/96kHz: 291mb
Genre: Progressive-Folk | Label: Rise Above Relics / RARLP007 | Release: 2011
“Arguably the best Acid Folk/Folk Rock’ album ever recorded, 1972’s Swaddling Songs has gone on to be one of the most sought-after records in collecting history.
Presented here as the ULTIMATE band authorised/licensed edition, it includes a fully restored deluxe pressing of the original album, plus two replica’s of the bands ultra rare 7″ singles, including the near mythical Dan The Wing picture sleeve and the 1968 debut Feeling High. Also includes a full sized 12-page booklet featuring many unseen photo’s with new updated sleevenotes by David Wells.
PLUS the bonus 14 track Demos’s & Early Works album!!!”
Rise Above Relics Records
Kevin Coyne – Marjory Razor Blade (1973)
Vinyl rip @ 24/96 | FLAC | Artwork | 1569mb
Rock | 1973 UK double LP | Virgin VD2501
Of the four or five Kevin Coyne albums that fans routinely describe as his best ever, Marjory Razorblade is by far the best known in the wider world, a consequence not only of the enormous critical splash it made upon its original release in 1973, but also because of the ripples it continued sending out long after the fact. Four years later, Sex Pistol Johnny Rotten singled out the album’s “Eastbourne Ladies” as one of his all-time favorite records, while the strumming, thrumming “Marlene” is one of those records whose failure to become a monster hit single continues to baffle and bewilder. (Even Virgin thought so, as they proved when they gave it a second chance in 1977.) Yet “Marlene” is just one highlight amid a storm-tossed sea of the things. A glimpse into Coyne’s early influences is provided by a brace of Carter Family covers, a knockabout romp through “Lonesome Valley” and a nearly bluegrass-colored “Heaven in My View,” while his eye for distinctly English working-class archetypes is unrelenting. Vacationing Anglos romp through “This Is Spain,” a deliciously wry study of the suspicions that beset every Continental tourist during the first years of package holiday-making, while “Jackie and Edna” transplants much the same characters to a dour English beachfront, and turns their discomfort inwards.
The clashing of Coyne’s characteristically sharp, tuneful poetry with deliberately warped imagery is breathtaking. The title track, a couple of minutes of a-cappella poetry sliced out of the live favorite “Suite Marjory Razorblade,” makes an excellent bed for “Marlene” to emerge from, and the remainder of side one (on the original vinyl) rattles along with express-train precision, bound for the furious blues boogie of the aforementioned “Eastbourne Ladies,” a compulsive examination of the elderly inhabitants of that (and every other) English seaside town. But the ramshackle “Karate King,” sounding like it’s being sung through a telephone receiver, the scarcely in-tune and barely controlled “Dog Latin,” offering an acerbic vision of the decline of Catholic worship, and “Good Boy,” a headmasterly recitation of praise that twists almost imperceptibly into viciousness and scorn, jab your ears like thumbtacks embedded in the cushions of a comfortable chair, to ensure that, no matter how much you wind up loving Marjory Razorblade, you will never feel completely at ease with her. Yes, there are four or five Kevin Coyne albums that can be described as his best. But Marjory Razorblade remains the greatest of them all. Dave Thompson, allmusic
John Lennon – Imagine (1971)
Vinyl rip in 24 bit/96 kHz | FLAC tracks, Tech Log | Artwork | 825 Mb
Mobile Fidelity Sound Lab – MFSL 1-277 (2000) (US Remastered) | Rock
Imagine is the second studio rock album by John Lennon. Recorded and released in 1971, it tended towards songs that were gentler, more commercial and less primal rock than those on his previous album, the critically acclaimed John Lennon/Plastic Ono Band. The album is considered the most popular of his works. In 2012, Imagine was voted 80th on Rolling Stone magazine’s list of the “500 Greatest Albums of All Time” (Wiki)
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John Dummer’s Famous Music Band (1970)
Vinyl rip @ 24/96 | FLAC | Artwork | 902mb
Rock, Blues-Rock | 1970 UK LP | Fontana 6309 008
The John Dummer Blues Band were an established act on the blues circuit and had released two pure blues albums “Cabal” and “John Dummer Blues Band” both featuring singer and slide guitarist Dave kelly, later and currently a member of The Blues Band with Paul Jones and Tom McGuinness. Kelly left after “John Dummer Blues Band” and was replaced by multi instrumentalist Nick Pickett. Pickett was a strange choice. His main instrument was the violin and he was from a traditional folk background; but he had songs, lots of them, and the line up of Pickett, Dummer, Thompson and guitarist Adrian Pietryga recorded “John Dummer’s Famous Music Band”.
This is a very strange album. Imagine a folk singer and fiddle player playing over a blues based rhythm section. This contrast is the albums great strength. Pickett obviously doesn’t find singing the blues that easy but he delivers some great vocals on the more upbeat numbers like “Yes Sir, She’s my Baby”, a Pickett original and not the old show tune.There are some great moments: The opener “Lady Luck” is an eerie, percussion soaked rocker and the slow bluesy “No Chance Now” is another high, and the bright, jazzy instrumental “Nine By Nine” was a huge hit on the continent and also dented the charts in the UK.
Ultimately this album is a little schizophrenic and would probably have benefitted from an outside producer.There are also some odd moments: on the song “Changes” a harmonium is featured and you can hear quite clearly the squeaking of the pedals as the player pumps them.But all that aside, I really like this album. If you like off-kilter, bluesy, jazzy, folky music, it’s well worth a listen. Taran Geary, amazon.co.uk
Handel – Water Music – Academy Of St. Martin In The Fields – Neville Marriner – 1980
Vinyl Rip in 24 Bit-96 kHz | Redbook 16 Bit-44 kHz | FLAC | No Cue | No Log | Scans | 0,98 GB + 256 MB
1980 / Genre: Classical – Philips – NL
Rivaled only by Nikolaus Harnoncourt, Neville Marriner was one of the most important of the early figures who spearheaded the reawakening of modern interest in Baroque and early Classical music. In the 1950s, he founded Academy of St. Martin-in-the-Fields, the first British early music ensemble to find a large international audience. Marriner has since become one of the most popular conductors in the world, acclaimed for his interpretations of composers from Bach to Britten.
“It is time for a classic intermezzo; this (nearly mint) LP with energetic and melodic beauty of G.F. Handel (conducted by Neville Marriner) gives me much listening pleasure”. “Maybe you have the same feeling; Enjoy this beautiful recording”!
Denny Gerrard with High Tide – Sinister Morning (1970)
Vinyl rip @ 24/96 | FLAC | Artwork | 809mb
Rock, Folk-Rock | 1970 UK stereo LP | Deram Nova SDN 10
It wasn’t long after arriving in the U.K. that South African student Denny Gerrard began making his mark on the music scene. In 1965, Jimmy Page picked him to become one half of the duo the Fifth Avenue, while Rolling Stones’ manager Andrew Loog Oldham brought him in as arranger for his project the Variations. Gerrard then linked up with Barry Younghusband, and as Warm Sounds they promptly unleashed the Top 30 hit “Birds and Bees.” Swiftly bored with pop the duo soon split, and Gerrard moved into production, overseeing High Tide’s critically acclaimed 1969 debut album, Sea Shanties. No surprise then, that when the South African began work on his own debut, self-produced, full-length, High Tide were by his side. However, the resulting album, Sinister Morning, was far more a reflection of Gerrard’s vision than Tide’s sound. Much of the set has a folkie feel, accentuated by the prolific use of Gerrard’s acoustic guitar and harmonica. Only on “Native Sun” is the band given a real chance to rock out, with the rest of the set given over to more mid-tempo numbers. These gave Gerrard the opportunity to explore his roots and showcase his arrangement skills. His epiphany is found on the final track, a haunting, seven-plus minute instrumental, whose rich “Atmosphere” is conjured up by his acoustic guitar and Simon House’s delicate organ and rich violin. J.J. Mackey provides the spoken word segments that, sadly, are virtually buried in the mix. The album’s other epic track, “True Believer” takes folk to church, with House’s hymnal organ juxtaposed against a rich, Americana tapestry. “Autumn Blewn,” in contrast, counterpoints ’60s R&B with C&W, with Gerrard’s harmonica adding a folkie feel to the intricate piece. “Rough Stuff” also has an R&B bend, but a down-home, Southern rock tinge, while “Stop or Drop It” is even more rousing, as Gerrard plays his pusillanimous acoustic guitar off against Tony Hill’s electric leads. Although kept on a tight leash, High Tide still bring an energy to the set, turning up the heat on virtually all the songs, particularly the poppy “Hole in My Shadow,” which was probably intended for singledom. The production gives the entire album a warm sound. The only flaw within is Gerrard’s decision to over-utilize layered vocals instead of true harmonies, and paying far less attention to his vocals than he did to the rest of the album’s sound. Released on Decca’s mid-price imprint Nova, the album surprisingly sank without a trace, but swiftly became a much sought-after collector’s item. Jo-Ann Greene, allmusic.
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Caravan – Caravan & The New Symphonia
Vinyl | LOG | CUE | FLAC | Tags | Full LP Cover (1:1)
24bit/96kHz: 982mb – 16bit/44kHz: 294mb
Genre: Canterbury-Scene | Label: London Records / PS 650, Decca – PS 650 | Release: 1974
This Caravan record has a very good balance between electric guitars and electric viola: they are often played simultaneously. The electric guitar is really not timid here, and this contributes to give a very good sound to this record. The drums and bass are punchy and quite loud. The songs are recorded live. The main attraction is this omnipresent orchestration (horns and strings): it is absolutely delightful, very present and participating, reminding many orchestrated passages of the Renaissance band, circa “Scheherazade”, “Novella” and “Song for all seasons”. This is the best of the Caravan’s albums I own! This formula of rock-orchestra really works. Do not forget the nice keyboards, having about the same style as on “For girls who grow plump in the night”. Let us also mention the presence of saxes, flute and backing vocals, which complete the loaded ensemble. Very progressive, this record is a pleasure for your ears from the beginning to the end. There are 2 epic songs (12-13 minutes), which are really progressive. Unlike the other albums, this one is slightly less catchy, maybe because of the absence of Richard Sinclair’s lead vocals. Definitely an underrated album, having ALL its songs at least excellent!! If you hate strings ensemble and violins, then this record is not for you!
EXTREMELY RECOMMENDED!
progarchives.com
The Byrds – Dr. Byrds & Mr.Hyde (Featuring: “Drug Store Truck Drivin Man”)
Vinyl | LOG | CUE | FLAC | Tags | Full LP Cover (1:1)
24bit/96kHz: 756mb – 16bit/44kHz: 224mb
Genre: Country-Rock | Label: Columbia / CS 9755 | First US Pressing | Release: 1969
Long, long time ago, I wanted to publish this excellent album from The Byrds. One of his work most rock-oriented, and as always with excellent covers of Dylan.
For me, it is a great work from this group, missing the presence of David Crosby.
Renaissance – Scheherazade And Other Stories
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24bit/96kHz: 978mb – 16bit/44kHz: 280mb
Genre: Symphonic-Rock | Label: Sire Records Company / SASD-7510 | First US Pressing: 1975
When somebody asks me about symphonic prog’ I always think of Renaissance and specially of this amazing release, the arrangements, chorus and Annie Hasslam’s operatic voice are unique in the musical world and represent by own right what the word symphonic should mean.
Renaissance is a piano and vocals dominated band with elaborated arrangements but sometimes a bit light compared to most of the prog’ bands from the 70′s, not weak but softer and warmer. Using a comparison with sports, if Genesis and ELP are heavyweights that can kill the opponent with the first chord, Renaissance is like a middleweight, who also needs style and elegance to win the fight.
“Song of Sheherezade” a 24 minutes epic based on the 1001 Nights, it’s so impressive that people use to forget the rest of the album, something unfair because this release is well balanced and all the tracks have their own merits.
The album begins with a strange song called “Trip to the Fair” that starts with an impressive 3 minutes piano intro with chorus and light percussion that mixes with talent elements of different musical eras, which is suddenly followed by the wonderful voice of Annie. Maybe the problem with this song is that after the strong opening you expect something more powerful, but the band changes the direction of the song towards a softer and dreamy tune with some jazz chords that create a traveling fair atmosphere, but with the sacrifice of the power that the introduction make the listener expect, a good song but a bit uneven.
The second track (“The Vultures Fly High”) has a better balance, starts strong and ends stronger, less symphonic and more rock oriented than the rest of the album but powerful and fast, the band members show they are capable of making good short songs.
Side A (in LP format) ends with “Ocean Gypsy” a softer song where again Annie’s vocals are the highlight, with evident participation of the rest of the members, this song is more predictable than all the other tracks but stronger than the previous because makes clear that Renaissance is a complete band, not only a piano and vocals duet.
Side B is what makes Renaissance a transcendental band, “Song of Sheherezade”, without doubt their most elaborate work, an epic that has everything, solid piano, good orchestra and chorus plus excellent work of all the band, the Arabic atmosphere is perfect and the vocals not exclusively by Annie Hasslam are amazing, if you add the spectacular changes and sudden musical explosions you get an unforgettable masterpiece that must be listened before reading any review.
No progressive collection is complete without this album and “Live in the Carnegie Hall” where you can listen a more solid version of “Song of Sheherezade” (if this is possible).
5 Stars
progarchives.com
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Renaissance – A Song For All Seasons – 1978
Vinyl Rip in 24 Bit-96 kHz | Redbook 16 Bit-44 kHz | FLAC | Cue | No Log | Scans | 942 MB + 290 MB
1978 / Genre: Symphonic-Rock – Warner Bros – UK
A Song For All Seasons was a 1978 album by Progressive Rock band Renaissance. It marked the return of electric guitars to the band’s music after several years of absence. “Northern Lights” became a Top 10 hit on the U.K. charts and was the band’s best selling single. “For sure an attractive and very good sounding album with some great unforgettable tracks to discover… Enjoy this UK vinyl version”!
Note > No silence was deleted; please burn this album gapless..
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