Sunday, 10 December 2017

Update: White Boy and the Average Rat Band - Selftitled [Remastered] + Bonus Tracks (US 1980)

Size: 133 MB
Bitrate: 320
Some Artwork Included
Remastered 2017

Now after all these years this album will finally get a proper reissue, fully digitally re-mastered from the original tapes and released on CD limited to 500 copies worldwide, with a booklet containing lyrics and liner-notes by guitarist Mike Matney. The CD version will also include 5 bonus tracks that will only be available on CD version.

Also White Boy And The Average Rat Band debut LP will be re-released for the first time officially on vinyl in a limited 500 pressing; 100 coke-clear and 400 black pieces. The album will be fully re-mastered from the original tape sources to assure that best sound quality possible. This will be the only official reissue of this release, others are unofficial bootlegs taken mastered from vinyl sources.

Link, if you would like to buy: White Boy...

Fans of early Sabbath, Priest, Motorhead, Axe, Wicked Witch, A Band Called Death, Roky Erikson, The MC5, and Iggy and the Stooges will certainly find this to be appealing.

Mike Matney - Lead Guitars and Vocals
Tommy Altizer - Bass Guitars
Seth Kelly - Rhythms

Tim Gilbert - Percussions

[Tracks 01-13 Update & Remasteed 2017]
01. Prelude 01:30
02. Neon Warriors 04:47
03. Sector 387 03:24
04. Maybe I'm a Fool 02:03
05. The Prophet Song 04:25
06. Leaving Tonight on Vacation 02:47
07. Blue Moon 04:16
08. Oriental Doctor 06:10

Unreleased Tracks on The Remastered 2017 Version:
09. Tell Someone  02.34
10. Will to Fight  05.25
11. Smokehouse Blues  06.26
12. Phone Call From New York  03.02
13. If I Found Love 03.35

1. White Boy [Update]
2. White Boy [Update]
3. White Boy [Update]

Monday, 4 December 2017

Grandfather - Dear Mr. Time (Progresseive Rock UK 1971)

Size: 143 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

Melody Maker 1971: “As album conceptions become more ambitious, so standards of judgement become harsher. This one makes it. It’s an album to listen to. The ideas incorporated in the lyrics are imaginative. 

The music is carefully stitched into the fibre of the album. Although a large amount of instruments is used, there’s nothing that’s superficial. Most of the songs are written by Chris Baker (lead guitar). His lyrics are simple and effective.”

"Some of the best psych/prog rock came out of the UK in the 1970s. Dear Mr Time is a band that never made it big, but in my opinion they should have done. It's a concept album based around the life of one man. So yeh, maybe the idea is a little corny now, but, hey, this is from 40 years back. 

The musicianship and the vocals are excellent and a real variety of instruments is used - typical of the time. Nice guitar and keyboard work (mellotron?). Some gentle songs as well as some real riff-based rockers. Best tracks ? Your Country Needs You, Make your Peace, Light up a Light and the haunting Years and Fortunes. If you can find this on vinyl get it - it's a real collectors item and well worth a listen."

Highly sought-after on the collectors’ circuit for many years, the Dear Mr. Time album Grandfather is an obscure but genuinely impressive example of the British late psychedelic/early progressive rock sound, firmly in the same vein as the likes of the Moody Blues and early King Crimson. Originally released in February 1971 by the small independent label Square Records, it now finally receives a first-ever official reissue. 

Taken from the original master tapes, this definitive release adds a batch of home demos of similar vintage by the band’s guitarist and chief songwriter Chris Baker. It also tells the band’s story for the first time and includes many previously unpublished photos.

“As concept albums go, Dear Mr Time’s Grandfather could be a distant relative of S. F. Sorrow, being a WW1-based reverie upon one man’s episodic lifestyle. The very minute the brooding King Crimson flute and pious Moodies harmonies kick in on ‘Birth, The Beginning’, it is instantly apparent upon which side these Chelmsford challengers liked their bread buttered. 

Originally issued in a meager run of 1000 copies on the miniscule independent Square label in 1971, Grandfather may well wear its influences like peacock feathers – see also the ‘Schizoid Man’-derived stop-time riffing of ‘Your Country Needs You’ and ‘A Distant Moonshine’, and the ardent Graeme Edge-style spoken word passages in ‘On A Lonely Night’ – but it earns its own validity thanks to guitarist Chris Baker’s propensity for penning uncommonly pretty acoustic vignettes (‘Yours Claudia’, ‘Years And Fortunes). Besides which, you wouldn’t find the chuckling banjo and floppy boot stomp of the excellent single ‘A Prayer For Her’ on any King Crimson album.” 

Bass Guitar, Backing Vocals – Dave Sewell
 Lead Guitar, Acoustic Guitar, Backing Vocals – Chris Baker 
 Organ, Piano, Harpsichord, Lead Vocals – Barry Everitt
 Percussion, Drums – John Clements 
 Saxophone, Flute, Acoustic Guitar, Backing Vocals – Jim Sturgeon
 Vocals – Chris Baker (tracks: 03)

01. Birth - The Beginning  03:58
02. Out Of Time  04:30
03. Make Your Peace  05:22
04. Your's Claudia  02:53
05. Prelude (To 'Your Country Needs You?')  03:02
06. Your Country Needs You?  03:37
07. A Dawning Moonshine  03:48
08. Years And Fortunes  04:07
09. A Prayer For Her  02:53
10. Light Up A Light  03:25
11. On A Lonely Night  04:18
12. Grandfather  02:42

Bonus Tracks
13. Only Fooling  02:39
14. Henrietta Hall  02:03
15. Not Now At All  02:16
16. Victorian Blue  01:04
17. This Place Was Us Was Home  03:28

1. Grandfather
2. Grandfather
3. Grandfather

Wednesday, 22 November 2017

Savoy Brown - A Step Further (Bluesrock UK 1969)

Size: 98,1 MB
Bitrate: 320
Ripped by ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster 2017

A Step Further is the fourth album by the band Savoy Brown. It was released by Decca in the U.K. and by Parrot in the U.S. in August 1969.

Side Two was recorded live at The Cooks Ferry Inn, Edmonton, London on Monday 12 May 1969.

With Kim Simmonds and Chris Youlden combining their talents in Savoy Brown's strongest configuration, 1969's A Step Further kept the band in the blues-rock spotlight after the release of their successful Blue Matter album. While A Step Further may not be as strong as the band's former release, all five tracks do a good job at maintaining their spirited blues shuffle. Plenty of horn work snuggles up to Simmonds' guitar playing and Youlden's singing is especially hearty on "Made up My Mind" and "I'm Tired." 

The first four tracks are bona fide Brown movers, but they can't compete with the 20-plus minutes of "Savoy Brown Boogie," one of the group's best examples of their guitar playing prowess and a wonderful finale to the album. This lineup saw the release of Raw Sienna before Lonesome Dave Peverett stepped up to the microphone for Looking In upon the departure of Youlden, but the new arrangement was short lived, as not long after three other members exited to form Foghat. As part of Savoy Brown's Chris Youlden days, A Step Further should be heard alongside Getting to the Point, Blue Matter, and Raw Sienna, as it's an integral part of the band's formative boogie blues years.

Part of the late-'60s blues-rock movement, Britain's Savoy Brown never achieved as much success in their homeland as they did in America, where they promoted their albums with nonstop touring. The band was formed and led by guitarist Kim Simmonds, whose dominating personality has led to myriad personnel changes; the original lineup included singer Bryce Portius, keyboardist Bob Hall, guitarist Martin Stone, bassist Ray Chappell, and drummer Leo Manning. 

This lineup appeared on the band's 1967 debut, Shake Down, a collection of blues covers. 

Seeking a different approach, Simmonds dissolved the group and brought in guitarist Dave Peverett, bassist Rivers Jobe, drummer Roger Earl, and singer Chris Youlden, who gave them a distinctive frontman with his vocal abilities, bowler hat, and monocle. With perhaps its strongest lineup, Savoy Brown quickly made a name for itself, recording originals like "Train to Nowhere" as well. 

However, Youlden left the band in 1970 following Raw Sienna, and shortly thereafter, Peverett, Earl, and new bassist Tony Stevens departed to form Foghat, continuing the pattern of consistent membership turnover. Simmonds collected yet another lineup and began a hectic tour of America, showcasing the group's now-refined bluesy boogie rock style, which dominated the rest of their albums. The group briefly broke up in 1973, but re-formed the following year.

Chris Youlden – vocals
 Kim Simmonds – guitar
 Lonesome Dave – guitar
 Roger Earl – drums
 Tony Stevens – bass
 Bob Hall – piano

01. "Made Up My Mind" (Chris Youlden) – 2:56
02. "Waiting in the Bamboo Grove" (Youlden) – 3:37
03. "Life's One Act Play" (Youlden) – 6:29
04. "I'm Tired" (Youlden) – 3:21
05. "Where Am I" (Youlden) – 1:51
06. "Savoy Brown Boogie" (Live) (Kim Simmonds, Youlden) – 22:02
• "Feel So Good" (Chuck Willis)
• "Whole Lotta Shakin' Goin On" (Sunny David, Dave Williams)
• "Little Queenie" (Chuck Berry)
• "Purple Haze" (Jimi Hendrix)
• "Hernando's Hideaway" (Richard Adler, Jerry Ross)

1. A Step Further
2. A Step Further
3. A Step Further

Thursday, 16 November 2017

Savoy Brown - Blue Matter (3rd Bluesrock Album UK 1969)

Size: 129 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

Blue Matter is the third album by the band Savoy Brown. Teaming up once again with producer Mike Vernon, it finds them experimenting even more within the blues framework. Several tracks feature piano (played by Bob Hall, guitarist Kim Simmonds, and vocalist Chris Youlden, who even plays guitar here) as well as trombone.

This album featured a mix of live and studio recordings. The live tracks were recorded on December 6, 1968 at the now defunct City of Leicester College of Education because the band was scheduled to tour the USA and needed additional tracks to complete the album in time for the tour. 

The booking at the college represented their only chance to record the extra tracks in a live venue before embarking on the tour. An offer to perform the concert free of charge was accepted by Chris Green, the college Social Secretary, who had made the original booking, and the concert was duly recorded, a number of the live tracks being added to the album.

Because Chris Youlden was suffering from tonsillitis, Dave Peverett stood in as lead vocalist on the live tracks.

The album track "Vicksburg Blues" had first appeared as the B-side of Decca single F 12797 (released June 1968), fronted by "Walking by Myself".

The third release by Kim Simmonds and company, but the first to feature the most memorable lineup of the group: Simmonds, “Lonesome” Dave Peverett, Tony “Tone” Stevens, Roger Earl, and charismatic singer Chris Youlden. 

Savoy Brown  - Blue Matter Australian Artwork Release

This one serves up a nice mixture of blues covers and originals, with the first side devoted to studio cuts and the second a live club date recording. 

Certainly the standout track, indeed a signature song by the band, is the tour de force “Train to Nowhere,” with its patient, insistent buildup and pounding train-whistle climax. Additionally, David Anstey’s detailed, imaginative sleeve art further boosts this a notch above most other British blues efforts.

 Chris Youlden – Lead Vocal, Guitar, Piano
 Kim Simmonds – Lead Guitar, Harmonica, Piano
 "Lonesome" Dave Peverett – Rhythm Guitar, Vocal
 Tone Stevens – Bass (except on tracks 1, 2 and 4)
 Roger Earl – Drums, Percussion
 Bob Hall – Piano
 Rivers Jobe – Bass (on tracks 1, 2 and 4)

Additional Musicians
 Terry Flannery, Keith Martin, Alan Moore, Brian Perrin, Derek Wadsworth – Trombones (on track 1)
 Mike Vernon – Percussion (on track 1)

01. "Train to Nowhere" (Kim Simmonds, Chris Youlden) – 04:12
02. "Tolling Bells" (Simmonds, Youlden) – 06:33
03. "She's Got a Ring in His Nose and a Ring on Her Hand" (Youlden) – 03:07
04. "Vicksburg Blues" (Bob Hall, Youlden) – 04:00
05. "Don't Turn Me from Your Door" (John Lee Hooker) – 05:04
06. "Grits Ain't Groceries (All Around the World)" (Titus Turner) – 02:42 (Bonus track)
07. "May Be Wrong" (Dave Peverett) – 07:50
08. "Louisiana Blues" (Muddy Waters) – 09:06
09. "It Hurts Me Too" (Mel London) – 06:53

1. Blue Matter
2. Blue Matter
3. Blue Matter

Wednesday, 15 November 2017

Savoy Brown - Looking In (Great BluesRock UK 1970)

Size: 112 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

Savoy Brown's blues-rock sound takes on a much more defined feel on 1970's Looking In and is one of this band's best efforts. Kim Simmonds is utterly bewildering on guitar, while Lonesome Dave Peverett does a fine job taking over lead singing duties from Chris Youlden who left halfway through the year. But it's the captivating arrangements and alluring ease of the music that makes this a superb listen. The pleading strain transformed through Simmonds' guitar on "Money Can't Save Your Soul" is mud-thick with raw blues, and the comfort of "Sunday Night" is extremely smooth and laid back. 

"Take It Easy" sounds like it could have been a B.B. King tune as it's doused with relaxed guitar fingering. The entire album is saturated with a simple, British blues sound but the pace and the marbled strands of bubbly instrumental perkiness fill it with life. Even the Yardbirds-flavored "Leaving Again" is appealing with its naïve hooks, capped off with a heart-stopping guitar solo. This album along with Street Corner Talking best exemplify Savoy Brown's tranquilizing style.

Savoy Brown, originally known as the Savoy Brown Blues Band, are an English blues rock band formed in Battersea, south west London in 1965. Part of the late 1960s blues rock movement, Savoy Brown primarily achieved success in the United States, where they promoted their albums with non-stop touring.

The band was formed by guitarist Kim Simmonds and harmonica player John O'Leary, following a chance meeting at Transat Imports record shop in Lisle Street, Soho, in 1965. The initial constant line-up adjustments were attributed to the "creative accountancy" employed by the band's manager, Harry Simmonds, brother of Kim.

The original line-up included singer Bryce Portius, keyboardist Trevor Jeavons, bassist Ray Chappell, drummer Leo Manning and harmonica player John O'Leary (O'Leary appeared on record with the band on its initial recordings for Mike Vernon's Purdah label). Portius was one of the first black blues musicians to be a part of a British rock band. Jeavons was replaced by Bob Hall shortly after the band's formation, and this was followed shortly by O'Leary's departure and the arrival of Martin Stone on guitars. This line-up appeared on the band's 1967 debut album, Shake Down, a collection of blues covers.

Further line-up changes ensued, with founding members Portius, Chappell and Manning departing along with recently recruited guitarist Stone over a short period of time. Chris Youlden and "Lonesome" Dave Peverett would become the band's new vocalist and 2nd guitarist respectively. Initially Bob Brunning and Hughie Flint (from John Mayall's Clapton-version Bluesbreakers) filled the bassist and drummer positions on the single Taste and Try (Before You Buy), but they were subsequently replaced by Rivers Jobe and Bill Bruford. Within a fortnight of Bruford's arrival in the band, he had been replaced by Roger Earl (Bruford went on to huge success later as Yes's drummer). 

This line-up recorded two albums in 1968, Getting to the Point, and Blue Matter, which demonstrated Youlden's rise as a songwriter alongside Simmonds. It was this line-up that released the single "Train to Nowhere" in 1969. A Step Further was released later that year, and introduced bassist Tony Stevens replacing Jobe. They developed a loyal core following in the United States, due to songs such as "I'm Tired," a driving, melodic song from the album.

Following the release of Raw Sienna (also released in 1969) Youlden departed the band. Raw Sienna had marked the first time that a single line-up of the band had recorded successive albums without any changes in personnel. The band recorded their next album, 1970's Looking In, as a four-piece, and following this album Peverett, Stevens, and Earl left to form Foghat with guitarist Rod Price.

Simmonds continued the band with Dave Walker on vocals, Paul Raymond on keyboards and guitars, Andy Silvester on bass, and Dave Bidwell on drums – almost the complete Chicken Shack line up.

They were one of the bands that UK Decca (US London/Parrot) stuck with through the lean times until they started selling records; it took four or five albums until they started to sell in the US. In the late 1960s and 1970s, the band managed to break into the Billboard Hot 100. The 1971 release "Street Corner Talking" included the songs "Tell Mama" and "Street Corner Talking". Superstardom perpetually evaded them, though, perhaps in part because of their frequent line-up changes. Despite that their next album, Hellbound Train (1972) was a Top 40 album for them in the US. In January 1974, the British music magazine, NME reported that Stan Webb was joining Savoy Brown, following the break-up of Chicken Shack.

In 1978, Simmonds organised a new line up with bassist Don Cook and drummer Richard Carmichael. Cook, who toured as "DC from LA", is currently active in the americana band Gypsy Stew. In the early 1980s, Simmonds organised the band with singer Ralph Morman, formerly of the Joe Perry Project, drummer Keith Boyce and guitarist Barry Paul of Heavy Metal Kids fame, and bassist John Humphrey. 

This line-up recorded the 1981 "Rock 'N' Roll Warriors" album, which gave Savoy Brown more success than the group had seen since the mid-1970s. The single "Run to Me", which was a cover of a song originally recorded by Smokie, became Savoy's highest-charting single in the United States, peaking at number 68 on the Billboard Hot 100 on the week of October 31, 1981. That year found the band performing several major arena shows in the US alongside Judas Priest, and recording a live album at the Rainbow Music Hall in Denver. "Greatest Hits-Live in Concert" was released at the end of the year. Despite the success of this line-up, Simmonds was once again on his own by the Spring of 1982.

Singer Dave Walker returned to the group in the late 1980s and recorded two studio albums and one live album as lead vocalist, but left the group for a second time in 1991. All three of these projects featuring Walker were well received by longtime fans.[citation needed] During the 1990s Simmonds continued working with various line-ups of the band, including a brief stint with future Molly Hatchet lead singer Phil McCormack.

While the band is still active, touring the world and recording regularly, only Simmonds has stayed since the beginning. Original member and harmonica player John O'Leary is still active on the British blues circuit with his band Sugarkane. After leaving Savoy Brown for the first time in the 1970s singer Dave Walker joined Fleetwood Mac for one album, and in early 1978 became the temporary lead singer for Black Sabbath. 

Bassists have included: Andy Pyle, who played with Mick Abrahams from Jethro Tull in Blodwyn Pig, then later with The Kinks; John Humphrey, who would go on to work with many major artists, including Carole King; Gary Moore; and Andy Silvester, who played with Wha-Koo after Chicken Shack. Savoy Brown also provided an outlet for keyboardist and guitarist Paul Raymond, who later went on to join UFO. Drummer Keith Boyce reformed Heavy Metal Kids and is currently active with that group. 

Singer Ralph Morman disappeared from the scene in the mid-1980s until emerging in 2011 with plans for a solo project. Guitarist Barry Paul became a successful studio owner in Los Angeles. Singer Jimmy Kunes, who fronted the band during the mid-1980s, is currently the singer for the reformed supergroup Cactus.

Kim Simmonds — guitar - piano
 Lonesome Dave — vocals - guitar
 Roger Earl — drums
 Tone Stevens — bass

01. Gypsy  00:57
02. Poor Girl  04:05
03. Money Can't Save Your Soul  05:30
04. Sunday Night  05:22
05. Looking In  05:16
06. Take It Easy  05:40
07. Sitting An' Thinking  02:50
08. Leavin' Again  08:26
09. Romanoff  01:00

1. Looking In
2. Looking In
3. Looking In

Friday, 3 November 2017

Cressida - Trapped in Time (The Lost Tapes 1969)

Size: 135 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

All tracks recorded live at Central Sound Studios, Denmark Street, London 1969. Here's a pretty special thing, rescued and heard for the first time over 40 years later; this is the demos that Cressida recorded before they signed to Vertigo. They sound quality is quite good for what these tapes are, and this is a chance to hear the group in a early stage. Most of these recordings were previously released on a very limited, vinyl-only release, but there are two tracks added for this CD release that have never been released before.

Wow, that's the only word I have for this gold nugget, found by the great Esoteric recordings, this gem by Cressida, before their excellent first album! Yes of course there are sound differentials, wolly sound here and there, but who cares this is a prog pearl, a genuine prog history gem! A promo edition of their first material, where some of it made it through to the first fine album!! I love it, I love the way Esoteric Works, they are true to the thought of refining re-mastering those gems of yesteryear!! 

Every serious UK prog/psychedelic/pop/rock history friend/collector should be in awe, supporting this great record company and the bands released herein!! Cressida are superb, even here in their "baby shoes" they are great! With the Hammond to the fore and the excellent vocals of Angus Cullen, this is superb music history!! Thanks to Esoteric Recordings, again!! What? You don't need a review if you are a true prog collector, Cressida should be in your "book"!! A Perfect find, A perfect re-release!! 5 stars for sure!! GET IT!!

Cressida was a British art rock band formed at the tail-end of the 1960s in the shadow of (and their music very much in thrall to) the Moody Blues, with a heavy organ and Mellotron sound courtesy of keyboard player Peter Jennings. The original lineup of Jennings, Angus Cullen (vocals, guitar), John Heyworth (guitar), Kevin McCarthy (bass), and Ian Clark (drums) was signed to Polydor's progressive rock imprint, Vertigo Records. The group had a dense, lyrical sound, and Cullen's singing was of a pleasing, almost pop nature, in a vein similar to Justin Hayward, Paul McCartney, et al. 

Their self-titled debut album was filled with hauntingly beautiful melodies and relatively accessible, straightforward song structures. It was somewhat derivative of antecedents such as the Moody Blues, but it did well enough to justify a follow-up in 1971. 

Heyworth had departed by the time of the second album, entitled Asylum, replaced by John Culley and Paul Martin Layton (of the New Seekers) on guitar, and with Harold McNair added on flute as well. 

That album, produced by Ossie Byrne, was more ambitious instrumentally and, surprisingly, given Byrne's previous work with the Bee Gees and Eclection, less focused on Cullen's vocals. 

By 1972, however, the group had run out of steam and recording contract, and they never really had a chance to develop a history. Ian Clark moved on to a brief stay with Uriah Heep and John Culley became a member of Black Widow.

Angus Cullen - Vocals
 John Heyworth - Guitar
 Kevin McCarthy - Bass
 Lol Coker - Organ
 Peter Jennings - Organ (on tracks 3,4 & 5)
 Iain Clark - Drums

01. To Play Your Little Game 3:09
02. Winter Is Coming Again 3:51
03. Cressida 4:03
04. Depression 3:30
05. Sad Eyed Fairy 3:15
06. Lights in My Mind 3:15
07. Let Them Come When They Will 3:02
08. Situation 3:26
09. The Only Earthman in Town 3:40
10. Down Down 4:29
11. Mental State 3:39

Bonus Tracks:
12. Silent Light [Bonus Track] 05:00
13. Situation (Alternate Version) [Bonus Track] 03:36
14. Wind in the Night [Japan Only Bonus Track] 03:44

1. Cressida 1969
2. Cressida 1969
3. Cressida 1969

Tuesday, 31 October 2017

Wucan - Reap The Storm (German Jethro Tull Alike Retro Rock 2017)

Size: 181 MB
Bitrate: @320
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Wucan are back to reap what they sowed two years ago. And if you sow the wind you can reap the storm, at least if you live in the world of Wucan. Two years their album has grown, it is their second album and from the outside it certainly looks like an improvement from their first one. And I had some hopes for this album considering that the first album was quite brilliant at its best, and they left off with a brilliant tune so why not hope for an impressive continuance? And what about the answer, do they give us that brilliance? Well, I think they kind of do.

The music is the same as the earlier album, a bit more evolved, a bit higher quality production, better sound, better songs and better vocals. 

The album is long with a 74 minute playing time and they have good variation to keep the listener listening for the entire playing time, and the style is similar to bands like Jethro Tull with flutes and that sort of thing. “Hippie rock” is probably a decent way to describe what you get to hear when you listen to this album for over seventy minutes, and Francis the lady who sings manages to sing in both German and English making the album feel a bit exotic even – as they always do when you get to hear the lyrics sung in odd languages. I think this is an album that is clearly better than the predecessor and it is a quality album.

If you had high hopes for this album, you will not be disappointed. To me this is an album that is very close to six points, meaning that it is one of the top albums so far this year. I would describe it as impressive and most impressive is the ending duo of tracks, the two extremely long epics that end this album, the ten-minute opener isn’t shabby either. 

And everything between this is good as well, but as I stated before the ending two tracks are quite special and quite brilliant. The two years from the sowing until the reaping has certainly been doing these guys very good, they have clearly taken several steps forward and I can clearly recommend this album to anyone who likes music – I think I might add this double vinyl record to my collection when it is released, it is that good.

So, I think you should check out this album, it is certainly worth it. It is a really strong album with strong tracks, they are reaping some great stuff here, and eight great reaps, as it would appear. You should really check this album out, it has more or less everything you could want and it ends in the best possible way – it is thumbs up for Reap the Storm, you really should check it out.

Band ♫♪♪:
Francis - Vocals, Flute, Guitar, Theremin
 Tim - Guitar
 Patrik - Bass
 Phil - Drums

01. Wie die Welt sich dreht  09:59
02. Ebb and Flute "The Eternal Groove  06:04
03. Out of Sight, Out of Mind  03:23
04. I'm Gonna Leave You  04:59
05. The Rat Catcher  05:25
06. Falkenlied  04:49
07. Aging Ten Years in Two Seconds  21:05
  - The Years I Haven't Lived
  - Worldwards
  - Flight of the Crows I
  - Afterwards
  - Melinda
  - Onwards
  - Flight of the Crows II
  - Headwards
  - The Years I Won't Live
08. Cosmic Guilt  18:03

1. Reap The Storm
2. Reap The Storm
3. Reap The Storm

Buy the album link (EU): Wucan - Reap The Storm or as Japan Mini LP: Wucan - Reap The Storm

Wednesday, 25 October 2017

Freedom Hawk - Selftitled (Retro Hardrock US 2009)

Size: 89.7 MB
Bitrate: 320
Artwork Included

Hailing from the barrier dunes of Virginia, this quartet blends heavy riffs, a rolling groove, and soulful guitar melodies to produce the sound that is Freedom Hawk. Their brand of heavy rock coupled with a high energy live show, leaves many wondering if they’ve stepped through a time warp that has taken them to rock’s heyday of the 70’s by the power of their dark music fueled by the sun.

Freedom Hawk, out of Tidewater, Virginia, are a four-piece on a mission geared toward ?90s stoner space with just a touch of southern flair. Their self-titled MeteorCity debut, following last year?s nine-song Sunlight on Magic Lady Records, hails a ride in Fu Manchu?s boogie van while jamming out on garage-flavored Sabbath and putting back a couple of Legend brews, raising hell through the countryside.

Vince Burke (Beaten Back to Pure, Hail!Hornet, etc.) recorded, mixed, mastered and remastered the totality of Freedom Hawk, and he did a noble job of bringing forth the Orange-colored fuzz. I caught the band last year in New York after it was announced they?d be working with MeteorCity just to check them out, and compared to their live show, Freedom Hawk on record is a little tighter. Guitarist/vocalist TR Morton runs his voice through a processor basically throughout, and though that can get tiresome, it?s nothing unbearable, especially for fans of Sheavy or the aforementioned Fu Manchu.

Compiled from past EPs both self-released and not, most of Freedom Hawk — ?My Road? and closer ?Hollow Caverns? excepted — was recorded in 2006. No doubt the band thinks they?re beyond this material stylistically by now, but that doesn?t mean faithful heads can?t dig into what they have to offer. Along with Morton, Cave brothers Mark and Matt on bass and guitar, respectively, and drummer Lenny Hines are obviously capable songwriters; a track like centerpiece ?Ten Years? moving deftly through a stream of smooth-styled stoner rock just in time to set up the dirtier, even riffier ?Bad Man? that follows. For beginners and newcomers to the band?s recorded output, like me, it?s a good place to start.

Freedom Hawk aren?t really doing anything that?s never been done before, but it?s easy to see why MeteorCity picked them up. They obviously have the chops playing-wise to nail a release like this to the front door of listeners? minds, and the material is clear cut enough that even stoner rock novices can pick it up and feel right at home. More than that, however, it?s bands like Freedom Hawk that confirm the legacy of the stoner genre, that prove the self-contained importance of the generation before them, and turn it, however slightly, in their own direction. Could you have Freedom Hawk without their sundry ?90s influences? No, but by taking those influences and doing something more than imitating them, Freedom Hawk puts themselves right in line with the tradition of the US scene. At this point, you couldn?t have those ?90s influences without bands like Freedom Hawk to validate them. Again, small wonder MeteorCity signed them.

Though I?ll take the ballsy breakdown of ?Jay Walker? and the swaggering chicanery in ?Bad Man? and the ?100 Degrees?-by-way-of-Brant-Bjork?s-solo-material of ?Hollow Caverns? (listen to the wah guitar and Cave?s bass) over some of the earlier material on the album, Freedom Hawk on the whole delivers the level of quality that heads have come to expect from latter day MeteorCity, which seems to be on a roll with its reissues and new releases alike. It?s a scene release, from a scene band, to the scene. Pretty much begs you to partake.

Man, this band caught me by surprise. I like a lot of heavier slower music, thrash metal, but the big thing I like is that the band is talented and not making the same junk you hear on the radio everyday. I've listened to the album about 5 times in a row now, the sound has similar elements and feeling to some of the best albums from Kyuss, Black Sabbath, the sword, maybe even a little ZZ Top and AC DC. The sound is phenomenal, the riffs and the hooks just seep into your bones. This is an infectious album, you won't be able to get the songs out of your head for months. I started checking out their other albums, and they're pretty excellent as well. I love finding bands that I've overlooked who blow me away.

You can call it retro rock, heavy rock, stoner metal, maybe even a little sludge, I call it damn good.

I accidentally discovered Freedom Hawk on Pandora. I immediately took to their old-school Sabbath sound. On that note, it is true that they are inspired by early Sabbath (singer sound eerily like early Ozzy at times), but they definitely have a sound of their own and offer something new.

My favorite songs on this album are "My Road" and "Hollow Caverns." The guitar solos could be more memorable (much better in Holding On), but overall they are solid enough to sound good with the rest of the music. However, the riffs and main guitar rhythms are truly genius and the effects and mixing are superb. The drummer is absolutely awesome. Thank you for adding to your band's sound an not using the damn double bass and high hat all the time!

In short there is not a bad song on this album or any of their albums. I cannot believe that they are not bigger and more famous. I feel lucky to have found their music. Needless to say I would highly recommend this album to anyone one who likes 70's rock and is ready to be impressed. Their other albums are equally good.

01. On the Other Side 04:24
02. Universal 04:32
03. My Road 03:46
04. Ten Years 04:53
05. Bad Man 06:06
06. Jay Walker 05:02
07. Hollow Caverns 05:06