Anubis Spire - Spooky Action At A Distance

Bitrate: 320K/s
Year: 2017
Time: 72:13
Size: 166,2 MB
Label: Eleventh House Records
Styles: Progressive Rock/Crossover prog
Art: Front

Tracks Listing:
 1. Welcome to Maplecroft - 7:03
 2. Awake the Vanished - 6:30
 3. Time Is a Tyrant - 4:49
 4. Be Numb - 4:24
 5. Heartless White Line - 5:34
 6. Harryhausen in Love - 3:51
 7. Walls of Troy - 4:05
 8. Don't Know How to Roll - 5:06
 9. A Hymn for Gaia - 4:16
10. Throwback - 4:24
11. Ghost Currents - 7:37
12. From the Gallery - 4:38
13. My Soul Free and Clear - 5:03
14. Be Numb (Early Mix) [Bonus Track] - 4:53

SPOOKY ACTION AT A DISTANCE once again shows how amazingly diverse and creative this band is. From straight- ahead rock to noise and ambient, from innocent, upbeat, love songs to brooding, social commentary, the band traverses styles effortlessly. At over 70 minutes in playing length, they take the listener on a wild, sonic, journey that is custom made for those who love traveling by headphone.

Spooky Action At A Distance

Dice - Chance For the Link of a Chain

Bitrate: 320K/s
Year: 2017
Time: 61:13
Size: 140,6 MB
Label: Scene Records
Styles: Progressive Rock/Crossover Prog
Art: Front

Tracks Listing:
 1. Galaxy Song - 13:17
 2. A Link In The Chain - 10:11
 3. Another Place In Space - 10:01
 4. The Magic Key -  9:04
 5. The World Is Changing - 10:43
 6. Cosmic Chain (DICE-Map 4) -  7:55

German band Dice's music is very much planted in the early seventies. Chance For The Link Of A Chain is their latest CD.
The six songs that make up this record are pretty much in the 10 minutes range (+ or - a couple of minutes). Somewhat paradoxically, I consider the first 5 tracks to be ''song based'' (i.e. like ''Stairway To Heaven'' and ''Sweet Madame Blue'' were also song based). This being said, all tracks allow some great instrumentation and nice solos (some on keyboards but mostly on guitar). Often a given song will end with an extensive guitar solo. The last track is an instrumental that gives this very good album a climactic endig.
All the instruments used seem to be vintage (or they sound like it at least). There is a lot of cool organ and synth and the lead guitar has Gimour/Latimer qualities, something I appreciate a lot with the extensive soloing. The songs are dynamic but in a relaxed manner. Camel and Caravan come to my mind as acceptable references, even though none of the songs here actually remind of these two bands. Keyboard player Christian Nove also handles the vocals. He has a voice pretty close to a mellow Roger Waters. His singing fits very well with the music.
I've enjoyed Chance For The Link Of A Chain quite a lot. Low stress but always interesting music that is excellently performed. Those into Retro Prog will certainly enjoy Dice's latest effort. Recommended!

Chance For the Link of a Chain

Andy B. AND - My Roots are Showing

Bitrate: 320K/s
Year: 2016
Time: 31:57
Size: 73,3 MB
Label: Self Released
Styles: Rock/Roots Rock
Art: Front

Tracks Listing:
 1. Great Time Coming - 3:39
 2. One More River - 3:31
 3. In My Dreams - 2:28
 4. Slow Dancin' Barefoot - 4:20
 5. Mary Ellis - 3:33
 6. Break Someone Else's Heart - 4:56
 7. Better do Something 'Bout That - 3:03
 8. Incandescent Lightbulb Blues - 2:59
 9. My Baby's Gone - 3:24

Long-time member of the New Jersey band, the Voodudes, singer Andy B. (Bernstein) has put together a collection that highlights the broad range of his musical influence on an all-original program. “Great Time Comin’” unfolds with numerous biblical references punctuated by stark tones from Gary Ambrosy’s dobro. John Pittas adds a Stevie Wonder – inspired electric keyboard fills. The next track mixes country and gospel a with dueling guitars from Ambrosy and Greg Stier on “One More River”.
Andy B. has an easy-going vocal style, delivered with a deep, gruff voice on tracks like “Incandescent Lightbulb Blues,” a tribute to Thomas Edison that harks back to New Orleans traditional jazz, thanks to Tommy LaBella on saxophone and Perry Leandro on fiddle. Bob Bernstein’s pedal steel work in conjunction with Paul Daloia’ upright bass and Jake O’Handley gives “Better Do Something ‘Bout That” a pronounced western swing feel. “My Baby’s Gone” is highlighted by somber notes Dick Paul pulls out of his fiddle while “In My Dreams” has Pittas switching between accordion and keyboards, giving the mid-tempo ballad a touch of the Cajun sound.
“Mary Ellis” is modern rendering of a story surrounding a grave in movie theater parking lot in New Jersey. Once again, Dick Paul lays down some impressive fiddle work. “Slow Dancin’ Barefoot” glides along, fleshed out by horns and a backing chorus. “In My Dreams” has Andy B. name-dropping Elvis & Ann Margaret while fantasizing about dancing with the woman of his dreams, urged on by John Asti’s tenor sax.
The singer’s finest hour occurs on “Break Someone Else’s Heart,” as his voice takes on a harder edge on a song about love’s betrayal. He finally generates a emotional connection that is lacking in the other tracks. And, in the course of covering all of these musical genres, Andy B. only makes a few fleeting stops at the house of the Blues. It adds up to a wide-ranging project that will be of limited interest to blues fans.

My Roots are Showing

Embryo - Live

Bitrate: 320K/s
Year: 1977
Time: 64:24
Size: 148,7 MB
Label: Garden Of Delights
Styles: Progressive Rock/Krautrock/Jazz-Rock Fusion
Art: Full

Tracks Listing:
 1. Bambus Railway -  5:03
 2. You Can Turn Me On - 13:07
 3. Tiflis -  5:51
 4. Road Song -  3:35
 5. After the Rain -  3:25
 6. Bambule -  3:53
 7. No More Love -  4:34
 8. Sho Do Ima -  1:21
 9. The Orange Man -  7:08
10. Just Arrived (bonus) - 16:23

Neatly recorded in February 1976, it was released on LP in 1977 (April 0003), but has not yet appeared as CD. The gig had taken place in a town near nich. The album features the jazz-rock typical of Embryo, influenced by ethnic music, with scarce vocals and some unusual instruments like marimba, dilruba, oud, and nagasuram. Christian Burchard and Roman Bunka wrote most of the songs together. Only "The orange man" was written by Charlie Mariano. The long CD bonus track "Just arrived" was recorded in Northern Italy on March 6th, 1976, by the very same Embryo line-up and was as yet unreleased. The cover was then designed by Roman Bunka and was used for the CD without any changes.

Live

The Nighthawks - All You Gotta Do

Bitrate: 320K/s
Year: 2017
Time: 42:11
Size: 97,3 MB
Label: Eller Soul
Styles: Blues
Art: Front

Tracks Listing:
 1. That's All You Gotta Do - 3:10
 2. When I Go Away - 4:12
 3. Baby, I Want To Be Loved - 3:45
 4. Let's Burn Down The Cornfield - 3:07
 5. Another Day - 3:03
 6. Voodoo Doll - 2:54
 7. Ninety Nine - 2:54
 8. Three Times Your Fool - 4:44
 9. Isn't That So - 3:52
10. Snake Drive - 3:07
11. Blues For Brother John - 3:13
12. Dirty Water - 4:07

The Nighthawks have been legends for a long time now. For All You Gotta Do, they use all of those years of experience - 43 for vocalist Mark Wenner! - combined with just as much vocal power as they have ever had, to deliver an eclectic mix of songs, a few of which may surprise as well as delight.
The album starts out easy with Wenner delivering a version of "That's All You Gotta Do" that is pure happy rockabilly. The song was written by Jerry Reed and first recorded by Brenda Lee. But then comes the first surprise, as the band changes it up with a cover of the Larry Campbell-written Levon Helm farewell song, "When I Go Away." The gospel inspiration of the tribute tune is beautifully captured on the vocals by drummer Mark Stutso, and it is a moving experience.
The Nighthawks are a Chicago blues band though, so of course they have a Muddy Waters cover, "Baby, I Want to Be Loved," originally written by Willie Dixon. Wenner handles the vocals on this one.
It's time for another surprise: Randy Newman's "Let's Burn Down the Cornfield," a lesser-known song of his that allows guitarist Paul Bell to get in some tasty slide guitar. The band learned the darkly humorous song for a performance of Newman's songs in D.C.
Everybody sings on this record except Bell, who has his hands full being brilliant (on guitar), so Johnny Castle steps up next with his own song, "Another Day," a very topical modern day protest song. Stutso then does his original song, the wry "Voodoo Doll." Love can be torture!
Wenner delivers fantastic harmonica on Sonny Boy Williamson's rocking "Ninety Nine" before Stutso tears your heart out with "Three Times Your Fool," which he wrote with Norman Nardini. The band gets to show off their close harmonies on Jesse Winchester's "Isn't That So," and then cuts loose on R.L. Burnside's "Snake Drive." Then they have some fun turning "Frere Jacques" into "Blues for Brother John." Finally, Castle proves himself a natural down and dirty rocker with his remake of The Standells' "Dirty Water," now a tribute to D.C. rather than Boston.
The goal of The Nighthawks is to have fun, and you will have fun with this album! They would never have lasted this long if they were not awesome.

All You Gotta Do

Monarch Trail - Sand

Bitrate: 320K/s
Year: 2017
Time: 55:22
Size: 127,4 MB
Label: Perpetual Tree
Styles: Progressive Rock/Neo-Prog
Art: Front

Tracks Listing:
 1. Station Theme -  3:52
 2. First Thoughts -  3:22
 3. Back to the Start -  7:11
 4. Missing -  6:29
 5. Charlie's Kitchen -  7:43
 6. Another Silent World -  2:10
 7. Sand - 24:31

Canadian stalwart prog artist Ken Baird returns with a second Monarch Trail album, on the heels of 'Skye', a much vaunted debut that signaled a new route for the up-to-then solo multi-instrumentalist. It must be stated once again that there are musicians out there who have a level of musical education and a personal style that aims at artistic purity (aka lack of commercialism), charming the unsuspecting listener to be wooed and charmed by the proceedings. Throughout Ken Baird's solo career from 1996 to 2009, the confirmation of a special and unique sound encompassed 5 great albums that still enjoy great appeal to me as a prog collector. Also quite interestingly, Ken does the opposite of the accepted norm by starting with a solo career and then morphing into a band format. Cool, no? 'Skye' was pretty much a well-received and critically praised inauguration that garnered quite a reputation back in 2014. Three years have passed in silence and, out of the blue, Ken has returned with a new release 'Sand' that rekindles the progressive blaze and keeps the exact same crew in place: Dino Verginella on bass, Chris Lamont on drums as well as three guitarists in Kelly Kereliuk, Steve Cochrane and John Mamone. Ken sings and handles a slew of keyboards that are unafraid to solo in massive doses. For those of you new to Ken Baird, he will astound you with his musical prowess.
Swirling and twirling synths infuse 'Station Theme' with some very unflappable retro space music, sounding like a jingle for a sci-fi program on the History Channel. The rippling piano showcases a Wakemanesque dexterity that defies logic, booming bass and propulsive drums adding to the loopy instrumental orbit. Ken has one of the most humble and expressive voices, a gentle wail that has huge emotional appeal, though certainly NOT a leather-lunged, air-raid siren howler. 'First Thoughts' is a brief lullaby, washed in cascades of stringed synths and a devilish acoustic guitar foray that simply enchants. Brilliantly simple and perfect.
Full orbital liftoff occurs with 'Back to the Start', a 7 minute rambler that uncoils its symphonic drive with near ritualistic splendor, colossal keyboards led by a gripping bass guitar assault. Ken unveils his craft on the various ivories at his disposal, shifting from delicate to bombastic, from unassuming to complex, with undeniable affluence. Guitarist John Mamone spits off a few slick licks to keep the urge going, another cinematographic piece that would fit nicely in some silver screen epic.
'Missing' weaves a harrowing path through vocal ebbs and instrumental flows, all of Ken's keyboards smoldering furiously, the synths in particular on fire through a multitude of solos that defy logic. There is a slight IQ feel in the melodies and the vocal delivery (though nowhere near the same timbre of voice than Peter Nicholls), perhaps that incisive determination that illustrates a band that has a style and likes to stick to it.
Throwing me for a loop after my preceding comment, 'Charlie's Kitchen' is a bar-room jazz piano ditty that adds slicing guitar (Ken) and a shifting rhythm section that eschews cool and crazy. It slowly morphs into a rather upbeat symphonic promenade, full of pomp and circumstance, garnished with flowery synthesizer plumes on one hand and metrical beat intricacies on the other. Dino peels off quite a four string ride on his bass guitar, showing that the rest of the crew are no slouches either. Tubular bells put this one to rest. Fascinating!
The short and otherwise spectral 'Another Silent World' serves as a clever synth-heavy intro for the lavish title track epic 'Sand', a 24 minute masterstroke that perfectly defines the artist's muse. Beginning with nearly Anthony Phillips-like fragility, all charming voice and flute-patch keyboard accompaniment, there is a bucolic /pastoral ambiance that evolves into a more symphonic coloratura, laden with menacing fright, delicate fear and unsuspecting solitude, verging on theater at times. The mood is an ever-colliding conundrum between the promise of the future and the relative comfort of the past, certainly an apt definition of modern day progressive music as it has clearly become. Arid dunes and lush oasis music. The playing grows in spirit with a sizzling guitar solo from Kelly Kereliuk, constantly challenged by the shrilling synths and the persuasive piano motifs underneath it all. I daresay this may quite well be Ken's finest moment, a thrilling voyage of sound and style that cannot fail to impress even the most casual listener. There are little hints of the classics (snippets of 'Delirium', mosaic Gregorian mellotron tiles and pulsating bridges) that only seek to elevate the pleasure, boldly go beyond the norm as if taken on a magic carpet ride into and towards the stars.
Monarch Trail is back, and fitting for a Canadian band, 'Sand' was unveiled to the public on July 1st, Canada Day. May the 150 years of celebration begin with such musical firewo.

Sand

Monarch Trail - Skye

Bitrate: 320K/s
Year: 2014
Time: 46:01
Size: 105,9 MB
Label: Perpetual Tree
Styles: Progressive Rock/Neo-Prog
Art: Full

Tracks Listing:
 1. Liminescence - 11:14
 2. Silent World -  8:20
 3. East of Fifty -  6:10
 4. Sky Above the Sun - 20:14

Musicians:
Ken Baird - keyboards and vocals;
Dino Verginella - Bass;
Chris Lamont - Drums.
GUEST MUSICIANS:
John Mamone - guitars on tracks 1,2 and 4
Kelly Kereliuk - guitar on track 3
Steve Cochrane- classical and 12-string guitar on track 4

"....When keyboard player/vocalist Ken Baird had written some music which seemed to require more collaborative arrangements than usual, he asked drummer Chris Lamont and Bassist Dino Verginella if they’d  be willing to be a part of “Monarch Trail”. Lamont had played on Baird’s previous three albums and Verginella on the previous two, so it was a natural thing that it could be called a group.
The first stage was to set up several rehearsals for the trio to work on arranging the new pieces. Important changes were made to the charts; an extra set of bars here, a new melody line there, a different tempo over there and so on. Even more importantly, these rehearsals also turned out to be a ton of fun with no lack of shenanigans!
They made the decision to start recording the music right away and add other musicians when needed. As it turned out, there was to be a fair bit of guitar on the record, so guitarist friends were brought in providing “the right part for the right track”. True to the spirit of the project, John Mamone, Kelly Kereliuk and Steve Cochrane all had major creative input on their solos and sections.
The recording was done by Ken Baird, but in the final months of the record, Cochrane also lent his studio and his recording and mastering abilities. Drawings by Annette Roche had initially helped inspire the lyrics, so these drawings ultimately became part of the album artwork.
And so here we have it, the first album from Monarch Trail: “Skye”!
Please scroll down and click “play” to enjoy the first track from the album called “Luminescence”. Also, a link to a mix featuring excerpts from all four songs on the album should “pop up” entitled “Skye collage mix”. Or just click where it says “Monarch Trail” near the top left of the box to go to our soundcloud page".

Skye

Den Fule - Lugumleik

Bitrate: 320K/s
Year: 1993
Time: 57:31
Size: 133,3 MB
Label: Xource (xoucd104)
Styles: Progressive Folk
Art: Full

Tracks Listing:
 1. Tuss Ola - 3:33
 2. Nordafjells - 4:29
 3. Pal Karls Vals - 4:23
 4. Raddaschottis - 4:04
 5. Lugumleik - 5:03
 6. Dickapolskan - 3:24
 7. Langdans - 3:14
 8. Vallat - 6:21
 9. Tre Strommingar - 3:15
10. Slangpolska - 4:39
11. Kopmanspolskan - 3:50
12. Modus Mats - 3:42
13. Psalm - 3:28
14. Nordic Wolf - 3:57

Musicians:
Jonas Simonson - flutes, bass saxophone
Sten Kallman - saxophones, percussion
Henrik Cederblom - guitars, electric violin, percussion
Stefan Bergman - bass
Christian Jormin - drums and percussion
Ingrid Brannstromm -vocals (guest)

Den Fule is a Swedish folk rock band founded in the early 1990s primarily by artists dominant in the Swedish folk rock scene of the 1970s.
Den Fule (meaning "The ugly one") was formed primarily from veterans of the 1970s Swedish folk rock scene. The band produced two albums through Xource Records in the early 1990s then disbanded. Their first album Lugumleik met with immediate critical acclaim and won the Swedish Grammy for "Best Folk Music Album of the Year 1993". The album was described for the Swedish Grammy awards as a blend of jazz, rock, funk and traditional folk music.
Although the band's music is largely adapted from traditional Nordic folk music, it crosses numerous genres, combining R&B elements with rock riffs and jazz phrasing. The melodic component of the music is dominated by flute and saxophone; numerous tracks are instrumental but male and female vocals are occasionally used.
A compilation of their first two albums was released by NorthSide Records in 1997.

Lugumleik

Kate Lush - Kate Lush

Bitrate: 320K/s
Year: 2015
Time: 31:59
Size: 73,6 MB
Label: Self Released
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Groove Me - 3:49
 2. Tired of My Tears - 3:06
 3. Do You Know What Love Is - 4:41
 4. Dust My Broom - 4:43
 5. Loving You Is Sweeter Than Ever - 3:10
 6. True Fire - 4:44
 7. When You Pray (Move Your Feet) - 3:41
 8. Set Me Free - 4:02

"In this crisp, clean and punchy sounding shortish album, old school Kate Lush makes a quick and assured entry into the field of soulful blues. She's got a deep voice that sounds like it has more of the church than the club in it."

Kate Lush

JR Clark - January Rain

Bitrate: 320K/s
Year: 2017
Time: 63:18
Size: 145,3 MB
Label: Self Released
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. January Rain - 4:26
 2. Big Ol' World - 5:02
 3. Train - 3:31
 4. Today I Fell in Love All over Again - 6:13
 5. Still My Baby - 3:52
 6. Something Funny - 5:44
 7. Hard Workin' - 3:47
 8. Storm Blowin' - 5:29
 9. Shakin' Margaritas - 4:45
10. Your Good Lovin' - 4:23
11. After Midnight - 4:01
12. Hot Lunch Mama - 5:10
13. It's a Man's World - 6:48

JR Clark is a guitarist, singer and songwriter from Michigan and this is his fourth studio album. His band bears the impressive title of ‘The Allstar Blues Mob’ and bassist Johnny B Gayden (Albert Collins) and Buddy Guy/Magic Slim drummer Jerry ‘Bam Bam’ Porter are certainly very experienced musicians, alongside keyboard player Willie Styles. A horn section of Johnny Cotton (trombone) and Kenny Anderson (trumpet) add additional firepower to five tracks. JR wrote all the material bar one track and Johnny B had a hand in three arrangements. The album was recorded at JoyRide Studios in Chicago by Blaise Barton and Brian Leach who adds egg shaker, tambourine and ‘Fish’ on “Shakin’ Margaritas”.
The CD opens strongly with the power of the horns driving the title track “January Rain”. JR has a good voice and plays some striking guitar, very much in the Larry McCray, Michael Burks mould. Johnny B’s bass is right up in the mix and adds a funky bottom end to the tale of the girl who is staying out late, arousing JR’s suspicion.
Fans of classic soul music will love “It’s A Big Old World” with JR’s rhythm work underpinning a fine keyboard solo before JR brings out a nicely rounded solo that fits the soulful vibe perfectly (though for this reviewer the Barry White-style spoken section could have been dropped). Similarly “I Fell In Love All Over Again” is classic Philly soul material which JR sings well in a slightly lighter voice, the horns adding to the chorus and JR’s solo fitting well with the mood created by Willie’s excellent electric piano solo.
Two tracks are dedicated to departed guitarists: “Train” is dedicated to Luther Allison and features some appropriately tough guitar and “Still My Baby” thunders along in a good imitation of Magic Slim, JR singing in a harder voice. “Something Funny” discusses hunger, homelessness and unemployment on a tune with a reggae influence. JR ups the tempo on the rocking “Hard Workin’” which has plenty of boogie piano on an autobiographical song about life as a bluesman – broken down van, late arrival at the gig, etc. “Storm Blowin’” equates relationships to storms (“I’ll pick you up when you fall down, will you do the same?”) and is a lyrical song with swirling organ and an extended and dramatic solo from JR, a definite highlight.
Similarly exciting guitar embellishes “After Midnight” as JR reflects on some of the worrying features of our society such as drugs on the streets and racism. Ringing guitars that sound a little like ZZ Top and solid rocking accompaniment feature on “Your Good Loving”. The horns return on the final track, the only cover here, James Brown’s “It’s A Man’s World”, which JR delivers well, sticking reasonably close to the original and giving us one more fine solo before the album ends.
Two comic songs lighten the serious mood of some of the songs here: on “Shakin’ Margaritas” JR has lots of fun with rhymes as Maria works her cocktail magic in the bar, watched by all the guys as uncredited flute and shakers add a different feel; “Hot Lunch Mama” finds JR admiring an attractive lady heading for her regular lunch date with some some double meaning lyrics and fine rolling piano work.
Overall this is an impressive album with no weak tracks. The horns are superb on the tracks on which they feature but the band is strong enough to entertain us throughout the album. This was the first this reviewer had heard of JR Clark but he someone to watch out for. This CD is available from CD Baby and comes recommended!

January Rain

The Sherman Holmes Project - The Richmond Sessions

Bitrate: 320K/s
Year: 2017
Time: 52:26
Size: 120,2 MB
Label: M.C. Records
Styles: Blues/Gospel
Art: Front

Tracks Listing:
 1. Rock of Ages - 3:35
 2. Little Liza Jane - 5:43
 3. Don't Do It - 5:30
 4. I Want Jesus - 5:23
 5. Breaking up Somebody's Home - 6:25
 6. Dark End of the Street - 4:02
 7. Lonesome Pines - 4:40
 8. Green River - 2:49
 9. Wide River - 4:29
10. White Dove - 4:55
11. Homeless Child - 4:50

There is one surviving member of the iconic trio, The Holmes Brothers. Founding member, singer and bassist, Sherman Holmes, now 77, releases his very first solo album July 21st on M.C. Records. Released under the moniker, The Sherman Holmes Project, the record is aptly titled, The Richmond Sessions.
This is also Holmes’ first recording since the passing of his brother and musical partners, Wendell Holmes and Popsy Dixon, both in 2015. But his solo debut, dedicated to their memories, is no somber affair. The blend of bluegrass, gritty rock & roll, and joyful gospel will be familiar from the Holmes Brothers days. With some of his strongest vocals on record, the album shows Sherman is still an artist in his prime.
“Sounds pretty good for a 77-year-old, doesn’t it?” Holmes laughs. “I was overjoyed to do this, because I didn’t know how I was going to restart my career. We chose a good collection of songs that we wanted to do. We got some gospel in there, and some bluegrass. It’s a good mix of the Americana music, as I like to call it.”
Make no mistake, the music of The Richmond Sessions took us to church. We’re not talking about one of those Megachurches often seen in evangelical broadcasts. This is tent revival, foot stomping, back to the roots of it, church. The very first track sets the tone. Filled with fiddle, banjo, dobro and lofting vocals, the traditional hymn, “Rock of Ages,” rocked our socks off. Other great, gospel classics include the Holmes favored, “I Want Jesus,” and “Wide River.”
Throughout the album, background/choir vocals are provided by the Legendary Ingramettes, Richmond’s “first family of gospel,” 50 years standing. Founded by Sister Maggie Ingram, the group is now led by her daughter, Rev. Almeta Ingram-Miller, and includes Cheryl Marcia Maroney, and Ann Cunningham. Rev. Almeta solos a verse in “Rock of Ages,” with her voice reaching the very heavens.
Sherman Holmes Promotional Photo - Concerted EffortsProducer Jon Lohman, who also plays harmonica, made the new album a Virginia-style family affair. Along with the Ingramettes, he brought in Rob Ickes (dobro), Sammy Shelor (banjo), Jared Pool (mandolin/guitar), Jacob Eller (upright bass), David Van Deventer (fiddle), Brandon Davis (guitar), Stuart Hamlin (piano), Calvin “Kool Aid” Curry (bass), and Devon “DJ Harrison” Harris (Hammond B-3). Drumming duties were shared by Harris, Randall Cort, and Clarence Walters, with Holmes providing vocals, bass and keyboards.
From the high-flying traditional gospel of “Rock of Ages,” we’re treated to a cover of the Vince Gill hit, “Liza Jane.” Holmes and company slow this one down, but keep all the bluegrass feel of the original. Speaking of bluegrass, Holmes covers the Stanley Brothers paradigm, “White Dove,” with all the heart a fellow Virginian can muster.
Things get a little more funky on Marvin Gaye’s “Don’t Do It” (nodding to The Band’s famous cover). Harris’ B-3 prowess, the Ingramettes choir-like backup vocals, and Lohman’s harmonica all stand out, but it’s Holmes’ sexy-as-I-wanna-be voice that really makes the song. Along with the years in his voice, we can also hear the mileage, and experience.
Another first-rate cover that came as a surprise was “Green River.” Penned by John Fogerty, and made a hit by Creedence Clearwater Revival, this was one of the last songs that the Holmes Brothers worked on as a group. This updated version features a fresh arrangement, with Ickes’ dobro taking the famous guitar lick. It’s still as swampy as it was meant to be, and in contention as one of our favorite tracks.
Notable guest Joan Osborne duets with Holmes on “Dark End of the Street.” As Holmes explains, “I knew her before she even started singing. She came to New York to study film and one night she walks past Dan Lynch’s, the club we always used to play. She heard our voices outside and walked in; she was almost afraid to say hello because you know, we were a little rough. But we’ve been friends ever since.”
A little gospel, a little bluegrass, a little rock & roll, and whole lot of soul make The Richmond Sessions a delightful must-have.

The Richmond Sessions

A.C. Myles - With These Blues

Bitrate: 320K/s
Year: 2017
Time: 41:36
Size: 95,4 MB
Label: DAF Records
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Key to the Highway - 6:00
 2. Ditch Bank - 3:01
 3. Satisfy My Love - 5:39
 4. Joaquin - 1:53
 5. I'm Serving Time - 3:08
 6. Belmont & Broadway - 3:05
 7. Loner - 3:47
 8. Broke Baby - 3:47
 9. Things That I Used to Do - 5:00
10. Blackstone Boogie - 3:19
11. I'll Go Crazy - 2:52

Over the years, I’ve learned multinational brand-name companies such as Coke and McDonald’s spend a lot more on advertising than manufacturing. They want the packaging to be appealing, not necessarily the product. (Witness how Mickey D’s burgers look in their ads versus real life.) In the case of California’s AC Myles, presenting listeners far and wide With These Blues, the reverse is true. His third CD’s cover art may not be flashy – even downright basic, displaying two black-and-white shots of our guitar hero in action. However, flip its case over and you’ll begin to see the glimmer of gold in this piece of blues-rock ore. Not only does Chris “Kid” Andersen star on B3 organ, but the entire album is “safe for airplay,” as it “contains no restricted or offensive language.” He’s a pure talker in terms of vocals, but he lets his shredder do most of the speaking. On seven originals and four covers, he and his posse give their all, with a refreshing mid-key sound.
According to the “Biography” section of his little corner of the Internet, “Born in California, the only son of production workers, Myles grew up in the migrant worker rurals of the Central California town in which he was raised. Myles spent his later teens and twenties touring with his own band, eventually finding his way to the San Francisco Bay Area and playing sideman to an array of acts. Along the way, with a keen ear and sincere passion, AC has become a gifted entertainer and musician. His personal appearances have a ‘take no prisoners’ approach which, along with a healthy dose of humor, usually gets even the toughest audiences on his side.”
No kidding: He’s appeared with Buddy Guy, Sonny Landreth, and Elvin Bishop, among several world-renowned others. He has also taken the stage at more blues festivals than you can count on three hands, both in the US and worldwide.
Who’s helping lead guitarist and singer AC on this current album? As mentioned earlier, the one and only Chris “Kid” Andersen, along with Phil Santellan on bass and Sky Garcia on drums.
These three original songs prove just how massive of a guitar megalith Myles really is.
Track 02: “Ditch Bank” – At first, yours truly thought this song’s title was a succinct argument for joining a credit union, but that’s not so. It’s a mid-tempo instrumental featuring copious use of a ‘70s-style wah-wah pedal and Andersen’s understated yet keen organ. At live shows, this would be a great time to kick back and finish one’s beverage of choice, whether alcoholic or not. Sometimes the blues is about letting one’s interior engine idle for a bit, not rev forevermore.
Track 04: “Joaquin” – Time for a barroom boogie with some Texas flair! “Joaquin” is short and sweet, with a run time of a too-brief 1:55, but it’ll get people out of their seat and on their feet in no time. One minus: Why is the fadeout so long? Why didn’t this track finish with a bang? Crowds will be at a loss for when to stop dancing. Maybe Myles will play this in a medley.
Track 08: “Broke Baby” – Last in this column, but certainly not least, is Windy City-infused “Broke Baby.” It shows the easygoing chemistry between AC and his fellow musicians, which showcases perfect instrumental balance among all four. This is pure contemporary blues rock, with a smooth yet saucy bass line by Phil Santellan.
Let Cali’s AC Myles entertain you With These Blues, featuring a melodious guitar monster!

With These Blues

Freedom Hawk - Sunlight

Bitrate: 320K/s
Year: 2017
Time: 47:52
Size: 110,7 MB
Label: Self Released
Styles: Hard Rock
Art: Front

Tracks Listing:
 1. Executioner -  4:19
 2. Land Of The Lost -  3:32
 3. Sunlight -  4:55
 4. Stand Back -  3:19
 5. Lightning Charge -  3:50
 6. Going Down -  4:49
 7. Palomino -  5:16
 8. Grab A Hold -  6:08
 9. King of Order - 11:39

Freedom Hawk is:
T.R. Morton - Vocals, Guitars, Organ;
Matt Cave - Guitars;
Mark Cave - Bass;
Lenny Hines - Drums.

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.
Born from similar timbre as Black Sabbath, Zeppelin and Fu Manchu, Freedom Hawk wedges in psychedelia with groove heavy rock and roll. The band knows how to shake ground and be thunderous but also when to ease back, to wallow in the groove, the funk, the palatial sweep of shapely and echoing guitar riffs.
Sunlight transcends the genre, offering more than simply metal for the masses or the skate, surf and stoner crowd. There's no further proof than 'Going Down', a sultry, sexy slow groove that boasts fuzzed out guitar, gentle beats and T.R. Morton's vocals seemingly coming from another dimension. The track is a complete surprise, buried beneath the entire swagger and power found on Sunlight.-- Heavy Planet
Sunlight” is the excellent full-length debut from Virginia hard rock outfit Freedom Hawk. This group is solid. Driven by powerful drum beats and excellently crafted guitar work, Freedom Hawk have composed nine exceptional hard rock tracks that dabble in metal and psychedelic and have a certain timeless quality to them. Attributing to this timelessness is the lead singer’s vocal performance. His melodic high-pitched vocals are reminiscent of Ozzy Osbourne with traces of Robert Plant.
The songs are a lot of fun, meant to be played loud, and will immediately have you either bobbing your head or using your lap as a drum kit. “Sunlight” is well-produced, clean and ready to boom out of a pair of speakers. The title track, “Sunlight,” is a fun track with a great rocking arrangement that gets your head bobbing and features some great drum and guitar work. “Going Down” is a stripped down track with a slow drum beat and minimal guitar work that displays the fantastic vocal capabilities of the lead singer. “Sunlight” takes us back to a time where making hard rock wasn’t about making a lot of noise but rather about making very good music. Freedom Hawk have crafted a gem, and fans of Black Sabbath, Led Zeppelin, and classic hard rock are going to want to pick this one up.

Sunlight

RTFACT - Life Is Good

Bitrate: 320K/s
Year: 2017
Time: 42:34
Size: 101,4 MB
Label: Self Released
Styles: Progressive Rock/Symphonic Prog
Art: Front

Tracks Listing:
 1. Life Is Good - 6:03
 2. Artifact - 6:23
 3. (I Got) Money in My Pocket - 6:12
 4. Hail to the Winner - 3:35
 5. Hail to the Winner. Part II. Tarantella - 3:28
 6. Gotika - 5:02
 7. The King, the Master, and the Timekeeper - 4:30
 8. Hollywood Walk of Fame - 6:02
 9. Life Is Good (remix) - 1:15

Fans of ELP, Gentle Giant and other early 70s prog will dig this grab bag of bright compositions featuring solo performances by Oz Noy, Nad Sylvan, Jeff Scott Soto and many others. Life Is Good – the debut album by Russian/American project RTfact – is an archaeological trove of musical nuggets, with soaring vocals, Hammond B3 wizardry, muscular guitar solos, and a supple rhythm section that grooves as hard as it rocks. Composer Yuri Volodarsky grew up in the USSR, a kind of parallel universe where limited access to Western music only increased his passion for it, while firing his musical imagination. And imagination is everywhere on Life Is Good, from the Spock's Beard-style vocal counterpoint of the title track, to the bizarre saga of an unlucky bank robber in Money in My Pocket, to an epic tribute to ELP in The King, the Master, and the Timekeeper. But while Life Is Good celebrates the joyful, whimsical vibe of early prog rock, the newcomers on the album bring a modern, fluid energy to the party.
credits released August 18, 2017

Musicians:
Jeff Scott Soto - vocals
Nad Sylvan - vocals
Will Champlin - vocals
Oz Noy - solo guitar
Jeff Kollman - solo guitar
Rafael Moreira - guitar
Josh Smith - guitar
Gary Meek - flute, sax
Edward Tsiselsky - keyboards
Dmitry Ilugdin - synthesizers
Eugene Sharikov - bass
Joel Taylor - drums

Life Is Good

Vargton Projekt - ProgXpriMetal

Bitrate: 320K/s
Year: 2011
Time: 75:34
Size: 173,3 MB
Label: Lion Music
Styles: Progressive Metal
Art: Front

Tracks Listing:
 1. Jaipur - 5:28
 2. Ujevkoszonto - 0:48
 3. Uggarderojr - 6:35
 4. Rjoredraggu - 2:47
 5. Birka Trilogy I - The Gathering - 1:48
 6. Birka Trilogy II - Rendition - 4:00
 7. Birka Trilogy III - Defender & Believers - 8:57
 8. Norrsken - 5:30
 9. Lvorna - 7:48
10. Capriccio - 1:07
11. U Playin On My Drum - 5:08
12. Outrott - 1:08
13. Allegro Vivace - 3:09
14. Digerrojr - 1:41
15. Vargton - 6:48
16. Naudljaus - 4:27
17. Tokeri 1 - 5:03
18. Tokeri 2 - 3:09

Vargton Projekt is a band based around some of the finest musical talents to have emerged in recent years from Sweden in guitarist Mats Hedberg, Grammy winning drummer Morgan Agren and vocalist Bjorn Jansson.
Lion Music are proud to introduce the debut release "ProgXpriMetal" from Vargton Projekt, a new band based around some of the finest musical talents to have emerged in recent years from Sweden in guitarist Mats Hedberg, Grammy winning drummer Morgan Agren and vocalist Bjorn Jansson.
"ProgXpriMetal" as the title may suggest is a varied and special release that will satisfy the extremist metal and hard rock fan and Zappa freaks too with its wide ranging sound.
The seeds for what would become Vargton Projekt started 2006 when Mats Hedberg (BFH) contacted Morgan Agren (Frank Zappa/Mats Morgan band) to collaborate together after hearing his drumming on a Fredrik Thordendal (Meshuggah) album. Mats sent some rough demos which caught Morgan’s ear and the pair decided to collaborate on an album together.
Recordings started 2007 in May at Morgan’s "Studio Annanstans" (Stockholm/Sweden) where all drums and basic guitar tracks where recorded. The sessions continued on five other occasions throughout 2008-2010 by the end of which the recordings where ready to be mixed in September 2010 at OSD studios (Bologna/Italy) by Nicola Venieri, and was mastered in march 2011 by Claes Persson at CRP studios (Stockholm/Sweden).
The original thought for the album was to be an instrumental CD but Mats had an idea to ask one of Sweden’s finest metal vocalists Bjorn Jansson (Tears Of Anger / Ride The Sky) to put some vocals on selected tracks with the result in Mats’s own words being "Amazing!". Keyboardist Hans Lundin (Kaipa) was asked to play on 3 tracks and another important element for the sound came from the animal voice of Percussionist Giovanni Imparato (Paco de Lucia) from Naples. Alessandro Gwis contributed additional basic keyboard parts and some electronical stuff which added a further dimension to the music whilst Lars Eric Mattsson performs some guest guitar solo duels with Mats on track 7.
Stylistically "ProgXpriMetal" is high output heavy guitar and drum oriented music with modern nods to the likes of King Crimson and Mahavishnu Orchestra. Yet there are also deft moments of subtlety and atmospheric passages all of which manages to sound open and inviting to the casual listener.
Vargton Projekt have produced an intoxicating blend of progressive thinking and intelligent design and make "ProgXpriMetal" not only one of the most original releases you will hear in 2011 but one of the most musically satisfying

ProgXpriMetal

Hurricane #1 - Find What You Love and Let It Kill You

Bitrate: 320K/s
Year: 2015
Time: 35:21
Size: 81,0 MB
Label: Tapete Records
Styles: Indie Rock
Art: Front

Tracks Listing:
 1. Best Is Yet To Come - 3:00
 2. Crash - 2:39
 3. Feel Me Now Again - 3:47
 4. Think Of The Sunshine - 4:37
 5. Has It Begun (Imitating Life) - 2:58
 6. Coyote Ahoy - 2:45
 7. Round In Circles - 3:40
 8. Heathen Mother - 3:10
 9. Where To Begin - 3:17
10. Leave It All Behind - 3:31
11. Find What You Love and Let It Kill You - 1:51

Sometimes it’s quite fun to give a horrible album a critical kicking, a chance to bring some bratty popstar or pompous rock-god down a peg and show the Emperor has no clothes. This isn’t that kind of bad review. I’m not taking any pleasure in this. I really wanted to like Find What You Love And Let It Kill You because it clearly means a lot to its creators, and beginning to end it’s done with a lot of heart. Hurricane #1 frontman and songwriter Alex Lowe recently survived cancer, and you wouldn’t wish that horrible disease on your worst enemy. That he was able to take that awful experience and channel it into something creative is commendable, brilliant, in fact. If the record’s only purpose is to give Lowe closure and purpose then, fuck it, it’s a 10/10 and I’m glad it happened. In every possible way, good for him. Unfortunately it’s not that easy. The album exists outside of that context, a record company is releasing it, a PR company is being paid to get us to review it, the band are asking people to part with money to hear it – it has to be judged on its own terms, and the results aren’t good. Lowe was obviously aiming at something classic sounding, a little wholesome, a good old fashioned semi-acoustic rock record. It’s nodding to the Eagles, to Crowded House, to Del Amitri, maybe to the Stereophonics. The problem there, is the dividing line between solidly constructed everyman rock and being very boring is quite a thin one. Find What You Love And Let It Kill You is never on the right side of that line.
Context is everything: if it wasn’t Lowe would never have released this record under the name Hurricane #1. A quick history lesson is needed here: Hurricane #1 is the band formed by Lowe in 1996 with former Ride guitarist Andy Bell, who was the group’s principal songwriter. It was the fag end of Britpop, the good bands had all gone stark raving mad and everyone else was copying Noel Gallagher. Having hit the jackpot with (What’s The Story?) Morning Glory Sony-owned label Creation were throwing money at anyone who might repeat the formula: Bell and Lowe seemed perfect. The band enjoyed modest success with two reasonably anthemic singles, ‘Step Into My World’ (no. 29 in 1996) and ‘Only The Strongest Will Survive’ (No. 19,1999), but never reached the commercial heights of their peers or enjoyed much critical acclaim. Bell jumped ship after two albums, eventually joining Oasis who were in the process of replacing poor musicians with good ones while, somehow, getting worse. He would later re-form Ride, the legendary indie-shoegazers he began his career with.
Bell is not involved in the new Hurricane #1, nor are any other original members - Lowe has put a brand new band together. So... we have an album by a barely remembered third-tier act from 20 years ago, without the guy who wrote the songs, and without the original backline to at least justify its existence as an old-times-sake jaunt down memory lane. Alex Lowe is clinging to the only card he has available to him to get the music heard - the name. That makes some commercial sense, but creatively it feels like a cop-out.
I’ve listened to Find What You Love And Let It Kill You six or seven times now, in an attempt to find something more to say than 'well, it’s fine.' In his press release Lowe says 'At the end of the day it's only music and critics get so caught up in it all and they try to analyse songs. Please, don’t do it with this album!', and do you know what? Who are we to argue with him? I’m not got going to pick over these songs one-by-one. I’m not going to piss on Lowe’s chips when he’s poured his heart out. I’ve given you the context, and I’ll say this: I’m going to send it to my Dad, because I think he might like it. This is solidly constructed indie rock, for those who liked mid-period Stereophonics and thought Beady Eye were a bit 'out there.' If that appeals, and it might, then track it down.

Find What You Love and Let It Kill You

Cafewien - Terrae Motus

Bitrate: 320K/s
Year: 1993
Time: 48:47
Size: 112,2 MB
Label: Mellow Records
Styles: Progressive Rock/Jazz-Rock Fusion
Art: Front

Tracks Listing:
 1. Golem - 5:23
 2. La sfera di Itten - 5:21
 3. Aspettando le rose - 5:52
 4. John Keating - 5:25
 5. Cafewien - 9:32
 6. La notte dei cristalli - 4:51
 7. Elementi - 6:20
 8. Senegal - 6:00

CAFEWIEN is an obscure progressive/jazz fusion band from Italy  with only one album released so far from mellow records, named "Terrae Motus" issued in 1994,
but the album is dated from 1990. Great musicianship, every musician knows very well to handle the instruments, creating some if not spectacular, pleasent most
of the time jazz fusion album. Light fusion in aproach with progressive touches,
but not of the mellower kind, well performed, every single piece is a winner, 8 in total.
credits released May 20, 1993

Musicians:
Bruno Comanduli - guitar;
Roberto Cosimi - keyboards;
Maurizio Dell'Olio - bass;
Giancarlo Dossena - drums.

Terrae Motus

The Models - Model

Bitrate: 320K/s
Year: 1979
Time: 32:53
Size: 75,3 MB
Label: Vera Cruz Records
Styles: Rock/Pop Rock
Art: Front

Tracks Listing:
 1. Did It Well - 2:47
 2. Lovin' You, Baby - 3:00
 3. You Gave Up On Love - 4:18
 4. Janie, You're Wrong - 3:18
 5. Heart Like A Wheel - 3:42
 6. Get A Hold Of Your Life - 3:56
 7. To My Heart - 3:23
 8. Gina - 3:14
 9. Victoria Ray - 3:32
10. Did It Well - 1:37

Model
More info:
http://www.canadianbands.com/Models.html

Irrgarten - Home And Sanctuary

Bitrate: 320K/s
Year: 1997
Time: 62:49
Size: 143,8 MB
Label: ID
Styles: Progressive Rock/Crossover Prog
Art: Full

Tracks Listing:
1.Look At This World -  6:12
2.Quiet Room -  8:17
3.Into The Maze -  9:04
4.Summer Afternoon -  5:36
5.Shattered Melody - 12:12
6.Closed Garden - 21:26

Tough to find out anything about this band except for Greg Walker saying they sound like Marillion and IQ. All I know is that this is one special album. Very meaningful lyrics with English vocals. Seems to be a concept album or maybe it just has this theme running through it. Anyway it appears to deal with people (or a person) who are (is) lonely and lost in this world. Some emotional lyrics here. This band is a three-piece consisting of guitar, drums and vocals / flute.They do have guests adding keyboards, cello, bass and sax. There is a three piece choir too.
"Look At This World" opens with lots of people talking then the music kicks in quickly.The guitar is prominant. It settles as vocals join in.Great sound when the vocals and sound get more passionate. Contrasts continue. Check out the guitar after 4 minutes. Just a fantstic song. "Quiet Room" opens with organ and features some excellent guitar as the drums pound. This guy can play a melodic guitar. It settles then vocals come in at 2 1/2 minutes in a reserved manner. Spoken words 4 1/2 minutes in as the music gets tense.The drums and guitar sound so good. Great sound before 6 minutes then it settles again with some beautiful guitar. "Into The Maze" is my favourite. Check out the bass and cello in this song. There's just so much passion. Killer guitar 7 minutes in.This song is so uplifting and emotional.
"Summer Afternoon" has samples of children playing throughout, and it gets more intense towards the end. The lyrics here are about children and they say: "You can see in their eyes they don't need no disguise, look at them play, so innocently finding life's meaning in their games. I wish I could be one of them". The rest of the lyrics here are just as good. "Shattered Melody" has lots of mood shifts and is a darker song than the previous ones.There is some amazing guitar and drum interplay followed by an awesome guitar solo. Synths and drums lead the way late.The final tune "Closed Garden" has a piano intro followed by vocals. We get a fuller sound before 2 minutes. A calm before 4 1/2 minutes with sad vocals and piano. Even the guitar that comes in is melancholic. It turns powerful 7 minutes in as the sax joins in and the tempo picks up.This is so emotional as the sax leads the way.
Highly recommended to MARILLION fans and fans of meaningful and emotional music. I wish this band was more known, they deserve to be.

Home And Sanctuary

Third Quadrant - Layered

Bitrate: 320K/s
Year: 1988
Time: 43:01
Size: 99,0 MB
Label: Mellow Records
Styles: Progressive Rock/Neo Prog
Art: Front

Tracks Listing:
1.Listen to the Sky - 6:56
2.Dreamtime - 5:31
3.With Wings and Sails - 9:53
4.Chicken Run - 6:07
5.Famulus - 7:32
6.Bloodbath - 7:00

For about 5 years nothing have been heard around Third Quadrant and the band was fairly considered dead, but in 1988 they returned with a new cassette album under the title ''Layered''.The official core has been reduced to a trio, as bassist Chris Palin was no more part of the band, and bass duties were provided by Dave Forster.This would have propably remained another very rare album by Third Quadrant, as a few hundred copies were pressed, if it wasn't for the team of Mellow Records, which reissued the album in 1993 on CD.
Soundwise Third Quadrant have not changed much compared to their debut, playing a laid-back Neo Prog with spacey overtones and a discreet New Wave vibe in the vocal parts, building their ideas on electrocacoustic changes reminiscent of YES and spacey keyboard textures in a style closer to PINK FLOYD.The music is quite accesible, often melancholic but always deeply atmospheric with balanced instrumentation, sensitive and clean vocals and a combination of cheerful rhythms and more elaborate synth-drenched textures.However their overall approach still holds strong similarities with the early explosion of the 80's New Wave of British Prog, even if they have adapted some evident New Wave stylings over the years.The material is quite interesting although far from trully exciting, not actually surpassing the quality of their debut for the most of its part.All these just before the ending, stunning instrumental ''Bloodbath'', where the prog influences of the group come fully on surface, offering propably the best track of the band in their early days.Dramatic, semi-symphonic Progressive Rock with PINK FLOYD, CAMEL and GENESIS touches, passing from atmospheric keyboard textures to rockier guitar moves to bombastic Classical-based Prog with a dominant, cinematic sound. The last track along deserves a warm place in the heart of any Neo Progger out there and it's the one that makes ''Layered'' slightly better than Third Quadrant's debut.Recommended to all fans of 80's Neo Prog and even Space Rock.

Layered

Altered Five Blues Band - Charmed & Dangerous

Bitrate: 320K/s
Year: 2017
Time: 48:15
Size: 123,6 MB
Label: Blind Pig Records
Styles: Blues
Art: Front

Tracks Listing:
 1. Charmed & Dangerous - 3:41
 2. Mint Condition - 3:21
 3. Three Forks - 4:04
 4. On My List to Quit - 3:24
 5. If Your Heart Went Public - 4:29
 6. Gonna Lose My Lady - 2:51
 7. Cookin' In My Kitchen - 4:15
 8. She's Still Crazy - 4:03
 9. Eighth Wonder - 4:17
10. Three Alarm Desire - 3:41
11. Small Talk - 3:26
12. Rotten - 3:52
13. Look What You Made Me Do - 2:46

Musicians:
Jeff Taylor -  Lead Vocals
Jeff Schroedl -  Guitar
Mark Solveson -  Bass
Raymond Tevich -  Keyboards?
Alan Arber -  Drums

For 15 years, Altered Five Blues Band has been winning audiences with a swaggering stomp of bruising, barrelhouse grit. According to Downbeat magazine, frontman Jeff Taylor “sings powerfully” and “Jeff Schroedl’s live-wire guitar reaches the high bar of mixed invention and fluidity.” Blues Bytes magazine declares the group features “the funkiest rhythm section outside of Memphis.”
For its fourth album, Charmed & Dangerous, the Milwaukee-based quintet joins forces with Blind Pig Records, one of the world’s premiere blues labels. Produced by multi-Grammy-winner Tom Hambridge, and featuring guests on harmonica and backing vocals, the 13 tracks of original, contemporary blues prove worthy of the recent groundswell of acclaim. The group’s third album, Cryin’ Mercy, reached #3 in the iTunes blues store, hit #1 on the Roots Music Report blues album chart, and won “Best Self-Released CD” at the 2015 International Blues Challenge. The band was also named “Blues Artist of the Year” at the 2014 WAMI Award Show, and was recently asked to contribute a track (“Tightrope”) to a Stevie Ray Vaughan tribute album being released in the fall of 2017.
Charmed & Dangerous delivers blood-pumping blues with a fiery mix of deft songwriting and simmering musicianship. Taylor’s smoldering baritone howls in the opening title track, and breaths fire-and-brimstone on cuts like “On My List to Quit” and “Three Alarm Desire.” The soul-drenched “Eighth Wonder” and scrapyard shuffle “Mint Condition” showcase A5’s songcraft, while “Cookin’ In Your Kitchen” and “If Your Heart Went Public” prove you can still rattle the rafters with pure, stone-cold slow blues. The album’s third track, “Three Forks,” was inspired by legendary Delta bluesman Robert Johnson and features music, adapted with permission, from the seminal classic “Crossroads.” Hambridge also plays drums on all 13 tracks, adding even more energy and authenticity to the record. ?
From day one, Altered Five dared to be different. The quintet formed in 2002 and earned a reputation for its inventive arrangements and distinctive sound. Isthmus magazine called the band “a rising blues unit” and OnMilwaukee.com declared, “The group delivers the element of surprise.”
Within a few years, Altered Five caught the ear of Cold Wind Records and, in 2008, signed a recording contract with the Minneapolis blues label. The debut album featured the band’s penchant for putting an earthy spin on numbers; the aptly titled Bluesified included roadhouse versions of ten popular songs. The group performed live on three television morning shows and honed its sound playing regular club, festival, and concert dates.
???In the ensuing years, Altered Five turned its attention to recording and performing its own material, and the 2012 release of Gotta Earn It drew rave reviews. Barrelhouse Blues called it “a great and powerful recording,” Downbeat commended its “solid songs,” Living Blues called the band “a tight, unified talent” and Big City Rhythm & Blues called A5 “Hands down, one of the best newer blues/R&B bands.”
The band’s third album, entitled Cryin’ Mercy, delivered the next chapter in Altered Five’s musical odyssey. The 11-song set is a fierce collection of original, contemporary blues fused with vintage soul, and the debut release for OmniVibe Records. With Hambridge at the helm, the band hit on all cylinders. “JT” Taylor’s powerful voice anchors the sound and drives home the message in songs like the roaring opener “Demon Woman”; the stinging strut of “Stay Outta My Business,” the vivacious shuffle “I’m in Deep,” the soul-soaked ballad “Find My Wings,” and sassy ”Counterfeit Lover.”  The album earned the band two Blues Blast Award nominations and five WAMI Award nominations, including Artist of the Year, Album of the Year, and Song of the Year (“Find My Wings”). “Find My Wings” also made it to the finals of the International Songwriting Competition.
Bassist Mark Solveson anchors the rock-solid rhythm section with drummer Alan Arber, who joined the band in 2017,  and Raymond Tevich melds his crafty keyboard work to top off the group's signature sound. It’s been said that “the blues is a feeling,” so when the Minneapolis Star Tribune states that the band is a “righteous blast,” you know they play it right.
Ripping up the Midwest band scene for over a decade... Jeff Schroedl's stiletto guitar licks slice around Jeff Taylor's strong, gravelly voice.'' --Living Blues
An outstanding blues and soul band... barrel-chested frontman Jeff Taylor's voice sounds like it was lifted off an old Stax 45.'' --Minneapolis Star Tribune
Explosive, hard driving blue collar rockin blues....muscular blues mixed with vintage soul designed to showcase the mighty vocals of frontman Jeff 'JT' Taylor --No Depression

Charmed & Dangerous

Egidio Juke Ingala Band - Game's Over

Bitrate: 320K/s
Year: 2007
Time: 50:22
Size: 116,0 MB
Label: Kayman Records
Styles: Blues
Art: Front

Tracks Listing:
 1. You Took Me Out - 4:09
 2. Next Time - 4:22
 3. Worried All The Time - 4:18
 4. Frankie & Johnny - 3:29
 5. Game's Over - 3:57
 6. Namaste' - 3:59
 7. Hurry Hurry - 3:12
 8. Shine - 3:22
 9. I Had A Girl - 5:23
10. Squeeze Me - 5:21
11. I'm Wrong - 4:41
12. Sunshine - 4:04

This record represents the fifth official recording for Egidio overall. Game’s Over is comprised of twelve songs, including ten original compositions and two classics covers by Tiny Grimes (Frankie and Johnny) and Pee Wee Crayton (Hurry Hurry), and all twelve songs have been stamped with Egidio's distinctive harp style that draws his inspiration from the Chicago school but add elements of jump Blues and rock 'n' roll into the mix have come up with an exciting new style of West Coast Blues.  The lineup of musicians includes the guitarist Alberto Colombo, Alberto Marsico on piano, Walter Tosin on double bass and Gio Rossi on drums.

Game's Over

Lew Jetton & 61 South - Palestine Blues

Bitrate: 320K/s
Year: 2017
Time: 37:39
Size: 89,0 MB
Label: CSR
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Will I Go to Hell - 4:10
 2. Oh, My My - 3:03
 3. For the Pain - 4:18
 4. Mexico - 5:08
 5. Sold Us Out - 3:43
 6. Drinking Again - 3:58
 7. Don't Need No Devil - 4:07
 8. Christ Have Mercy - 3:53
 9. Drama - 2:47
10. Bout Time - 2:27

Very original. Very dark. Think Gary Clark Jr meets Townes Van Zandt. This is real deal blues focusing on today's problems so many in our country face: joblessness, depression, alcoholism, opiod abuse, struggles between the holy and the profance....
Lew Jetton & 61 South are multi-time "picks to click" on XM-Sirius Bluesville for a reason. They are very original and now, with their latest release, cutting edge, too. Their last release, Rain, spent more than 6 months on the Roots Music Report's Contemporary Blues Charts with radio airplay world wide. Palestine Blues takes it to a whole new level,
Palestine Blues, the new album from Lew Jetton & 61 South is a personally poignant and sometimes brutal memoir of a 10 year period in Jetton's life which included struggles with alcohol, drugs, depression, joblessness, frustration and a spiritual tug of war.
“Palestine is the community in which I live but it's also a place of historic significance for being sacred, while at the same time, a place of conflict. That's kind of where I have been for years. I know a lot of blues which is happy and uplifting. This is not. I'm OK with that. I wanted it to be real blues, in the emotional sense and that's what Palestine Blues is. VERY real Blues” Lew Jetton
Palestine Blues is pure emotion. Recorded three piece for the most part with just Lew on guitar, with bass and drums, so the essence of the songs could show through. No posing. No image over substance. Just the raw feeling, so you really can feel the frustration, the helplessness, the anger, the sadness, that so many are dealing with these days.

Palestine Blues

U-Melt - The I's Mind

Bitrate: 320K/s
Year: 2006
Time: 72:39
Size: 166,7 MB
Label: Self Released
Styles: Rock
Art: Front

Tracks Listing:
1.Air -  5:43
2.Escape -  8:11
3.415 - 11:56
4.Sequel - 10:27
5.Go -  6:12
6.Cloud Box -  7:55
7.Different Things -  9:32
8.Ernest Funknine - 12:39

Organic Progressive Groove.... U-Melt has forged a unique sound that combines infectious dance grooves with captivating compositions, soulful lyrics and virtuosic chops.
If there is one band poised to explode on the scene, it is certainly the trailblazing quartet from New York City, U-Melt. Thanks in part to relentless touring up and down the East Coast for the past three years, U-Melt has forged a unique sound that combines infectious dance grooves with captivating compositions, soulful lyrics and virtuosic chops. After branching out to the Midwest with great success, they are ready to share their organic progressive groove with the rest of the nation.
In only its third summer of existence, U-Melt has already performed at some of the country’s premier festivals, including appearances at Gathering of the Vibes, 10,000 Lakes Festival, Summer Camp, Camp Creek, and moe.’s Snoe.down Winter Music Festival, as well as an upcoming multi-set performance at this year’s moe.down. Based on mesmerizing playing and word of mouth, U-Melt has quickly earned a reputation for creating high energy dance parties and epic late-night performances. From an already legendary overnight set at Strangefolk’s 9th Annual Garden of Eden Festival (in which no member of the band left the stage for more than 7 hours), to brilliantly covering the Pink Floyd album “Wish You Were Here” in its entirety during their all night performance at the Stonehenge Music Festival, U-Melt always has something special planned for their fans, and has built a strong following among festival goers. In fact, U-Melt’s reputation helped them beat out thousands of bands in an on-line “Voting Booth” contest for their performance slot at this year’s 10,000 Lakes Festival, providing the band the opportunity to perform in front of thousands of live music fans in a brand new market.
In February of 2006, U-Melt was honored by Jambands.com with their coveted “New Groove of the Month” award. In his feature on the band, Jambands.com and Relix Magazine writer Mike Greenhaus declares, "Since first linking up in 2003, U-Melt has blossomed into one of the jam-scene's hardest working acts, barnstorming high-profile festivals,...and performing upwards of 300 shows in just under three years. Commanding a clear understanding of the jamband blueprint, U-Melt's varied live show is a throwback to the improvisational bands of yore, stocked with zany covers and high energy segues." U-Melt’s music has also been praised by the likes of Richard Gehr of the Village Voice, Jambase.com, Glide Magazine, State of Mind Music Magazine, KyndMusic.com, Earvolution.com and The Independent, just to name a few. Recently, U-Melt was asked by Relix Magazine and the other Jammys producers to perform a special late-night show at New York City’s B.B. King’s Blues Club as part of the Official Jammys After Party, providing U-Melt with a chance to bring their late-night dance party to a room full of hometown fans, Jammys performers, and new faces.
U-Melt has had the good fortune of having many incredible musicians join them on stage during their shows, including Al Schnier, Rob Derhak and Vinnie Amico of moe.; Jake Cinninger of Umphrey’s McGee; Jon Trafton, Russ Lawton, Erik Glocker, Luke “Patchen” Montgomery and Don Scott of Strangefolk; Rob Somerville of Deep Banana Blackout; Ed Palermo; Gordon Stone; and members of Perpetual Groove, Brothers Past, Max Creek and The Bridge.
In the summer of 2004, U-Melt released their critically acclaimed debut studio album “The Unbelievable Meltdown” to an excited and rapidly growing fan-base. The album appeared on numerous top ten lists and continues to receive airplay in many markets nationwide, including the heavy rotation of the songs “Schizophrenia” and “The Eternal Groove” on the Sirius Jam On 17 station. U-Melt is currently putting the final touches on their eagerly anticipated sophomore release entitled “The I’s Mind” which will be released on September 30th, 2006.
U-Melt is: Adam Bendy (Bass, Vocals), Zac Lasher (Keyboards, Synthesizers & Vocals), George Miller (Drums & Vocals) and Rob Salzer (Guitar & Vocals).

The I's Mind

Kalaban - Edge of Infinity

Bitrate: 320K/s
Year: 2017
Time: 63:46
Size: 146,3 MB
Label: Wiztunes
Styles: Progressive Rock/Symphonic Prog
Art: Front

Tracks Listing:
1.God Is An Avon Lady -  9:00
2.Berlin - 13:45
3.Fields Of Night -  7:10
4.Opus Octopus - 31:14
5.Dusky Loch -  2:35

The name Kalaban is from a concept found in Frank Herbert's book, "The Dosadi Experiment". It is spelled "Caleban" in that volume. Please see the Kalaban history page for a complete explanation of our band name origin and intent. Our name does not come from Shakespeare's character "Caliban" (in his play, "The Tempest").

Edge of Infinity

Grand Mal - Bad Timing

Bitrate: 320K/s
Year: 2003
Time: 40:49
Size: 94,0 MB
Label: Arena Rock
Styles: Alternative Rock, Indie Rock
Art: Front

Tracks Listing:
 1. 1st Round K.O. - 3:01
 2. Bad Timing - 2:55
 3. Quicksilver - 4:28
 4. Old Fashioned - 4:42
 5. Disaster Film - 4:47
 6. Duty Free - 3:21
 7. Get Lost - 3:54
 8. Flowin' Tide - 1:08
 9. Black Aura - 3:58
10. Lay Right Down - 4:09
11. Steal It Back - 4:21

For  Grand   Mal's  third full-length,  Bad   Timing , the band works with its rock & roll strut and campy appeal for a divine garage rock romp. It's obvious that these New York City boys worship the sexy rule of 1970s rock gods -- David Bowie, Mick Jagger, MC5 -- but they're not entirely consumed by such an image either.  Grand   Mal  is strict in defining its own brand of rock & roll on this record, and producer Dave Fridmann (the Flaming Lips, Mercury Rev, Mogwai) keeps  Grand   Mal  in line. While B.R.M.C. turns up the amp all the way,  Grand   Mal  sticks to a lower volume to allow  Bad   Timing  to simply arrive. Songs like "Old Fashioned" and "1st Round K.O. offer a subtle swagger, whereas "Get Lost" and the gospel-tinged "Black Aura" tame the band's ambitious playing style for something more inviting.  Grand   Mal  isn't going for anything bombastic with  Bad   Timing , but it's a good dose, a healthy spoonful of new millennium indie rock.

Bad Timing

The Cinema Show - L'eremita

Bitrate: 320K/s
Year: 2015
Time: 66:34
Size: 153,5 MB
Label: Self Released
Styles: Progressive Rock/RPI
Art: Front

Tracks Listing:
 1. Desidero - 10:53
 2. Cosa il mondo e disposto a fare -  7:31
 3. Il Vento degli Eventi -  1:50
 4. Fioritura -  5:31
 5. Autunno -  6:04
 6. Esilio -  5:20
 7. 07. The Cinema Show - Liberta.mp3 -    
 8. Sperduti -  4:09
 9. Cinematografo - 25:12

Musicians:
Tommaso Clementi - vocal, guitars;
Andrea Gregorini - vocal, keyboards;
Luca Agutoli - bass;
Stefano Della Morte - vocal, drums.

E “L’eremita” il titolo del primo album inciso dai Cinema Show, band tiranese, in commercio da poche settimane. Il gruppo, nato nel 2011, e formato da quattro ragazzi -Tommaso, Luca, Stefano e Andrea - classe ’96, che hanno iniziato nella sala musica dell’oratorio di Tirano con cover dei Pink Floyd per poi arrivare, solo quattro anni dopo, a produrre un album tutto loro. Nove le tracce incise per la durata complessiva di piu di un’ora di musica. Nonostante “L’eremita” sia il primo lavoro della band inciso in maniera autonoma, il risultato e tutt’altro che amatoriale. A partire dalla copertina molto curata a livello grafico, degno biglietto da visita di un duro lavoro di ricerca musicale e spirituale. Una critica alla societa di massa, alle scelte irresponsabili contro il pianeta e insieme un inno all’amore tra le persone, la ricerca della pace interiore e l’equilibrio con il mondo. Un mix intenso di buona musica e parole profonde, nate da una ricerca personale di senso di se e delle cose, che esce dalle mani e dalla mente di quattro ragazzi tiranesi. Se questo e solo l’inizio e un inizio piu che promettente.
Quando avete iniziato a lavorare a questo album? Agus (Luca): «La prima canzone, Desidero, abbiamo incominciato a scriverla tre anni fa. Ci sono voluti due anni per terminarla. Con le successive siamo stati piu veloci». Come sono nate le canzoni nel vostro gruppo? Ste (Stefano): «Solitamente prima scriviamo le parole, la musica viene dopo. Anche il titolo dell’album e venuto dopo le canzoni. L’eremita e lo spunto che ci siamo posti per scrivere le nostre canzoni: la societa, il vivere collettivo creano dei muri. Noi siamo andati dall’altra parte di questi muri per cercare la tranquillita. Nell’album si trovano pacate critiche su temi umani e sociali». Agus: «I testi sono stati scritti singolarmente invece per la musica abbiamo lavorato insieme». Chi ha scritto cosa? Ste: «Io ho scritto Fael. Inizialmente era una canzone unica, ma abbiamo scelto di dividerla in piu tracce (Il vento degli eventi – Fioritura – Autunno – Esilio – Liberta). Fael e l’anagramma di “leaf”, foglia in inglese. La canzone racconta le varie stagioni che attraversano i rapporti tra le persone: nella fioritura va tutto bene, con l’autunno comincia a stagnare mentre il vento rappresenta qualcosa di esterno che divide tutto. Alla fine si puo ripartire dai frammenti e puo riprendere una nuova fioritura. Fael e anche l’acronimo delle quattro tracce Fioritura, Autunno, Esilio e Liberta». Greg (Andrea): «Ho scritto Sperduti, la penultima traccia dell’album. Riflette quell’idea dell’isolarsi dai muri creati dalla societa e trovare un isolamento non come un rifiuto, ma come la ricerca della serenita». Agus: «Io sono l’unico a non aver scritto perche i miei testi sono troppo tristi e apocalittici. Leggendo quelli degli altri mi sembra che il viaggio sia un elemento comune». Ste: «Ho scritto Fael. Cinematografo, l’ultima traccia del cd, dura ben venticinque minuti! Tommy (Tommaso): «Cinematografo, l’ultima traccia, richiama il nome del gruppo. Vista la durata, abbiamo deciso di dividerla in sette parti per renderla piu agevole. E una serie di pensieri o immagini che si susseguono come avviene in un cinematografo. E la critica ad una societa che non trova piu un ideale comune e si cade nel buio della notte. Ma alcuni elementi fanno tornare la luce: la Luna, che riflette la luce del Sole cioe dell’ideale. E una visione ottimista: la luce puo tornare con i sogni». Nei testi dell’album ci sono moltissimi richiami a elementi naturali: le stelle, la Luna, le piante... Greg : «La scelta degli elementi naturali e stata casuale perche ognuno ha scritto i testi in maniera individuale».
A quale canzone siete piu legati? Tommy: «La canzone a cui sono piu legato e Desidero perche e quella piu rodata dal momento che l’abbiamo eseguita da piu tempo e in piu concerti. E poi e l’unica che abbiamo scritto insieme». Ste: «A Fael». Agus: «Sono legato a tutto il percorso». Greg: «Anche a me piace l’idea dell’album come lavoro unitario, e ovviamente sono legato a Sperduti che ho scritto». Da quanto tempo avete in testa di scrivere un album? Agus: «L’idea c’e da cinque anni». Greg: «Gia l’estate scorsa avevamo deciso di registrare, ma abbiamo iniziato realmente solo a febbraio di quest’anno». Quando e iniziata la vostra storia come Cinema Show? Agus: «Il primo concerto che abbiamo fatto risale al 22 dicembre 2011». Greg: «Entro la data del concerto dovevamo comunicare il nome del gruppo e un po’ per caso abbiamo scelto questo». Avete ricevuto pareri positivi sull’album? Tommy: «Qualche giorno fa ci ha contattato un’etichetta, la Lizard Records, che fa solo rock progressive e ci hanno detto che sono interessati all’album». Progetti per l’estate? Ste: «Nel corso di questa estate facciamo conto di suonare ancora quattro o cinque volte. Il prossimo concerto sara al bar Pallino di Tirano il 31 luglio». Cosa significa per voi fare musica e cosa ha significato produrre un album di canzoni vostre? Tommy: «Per me fare musica e fare l’eremita. Mettere da parte le cose, trovarsi con gli amici e fare qualcosa che mi piace. Scrivere e una soddisfazione perche e una cosa tua. E un ciclo che si chiude, sperando che se ne apra un altro. L’album rimarra nel tempo come la testimonianza di un periodo della nostra vita». Agus: «Per me fare musica significa stare con gli altri, accompagnarli. Il mio percorso musicale l’ho fatto tutto con loro, i miei compagni di gruppo. Questo album rappresenta un punto d’arrivo, una stazione che abbiamo fatto insieme». Ste: «La musica e una forma d’espressione bella, raffinata, dionisiaca che provi tu e che fai provare agli altri quando suoni. Lo trovo il modo piu soddisfacente per esprimermi. Sono cresciuto grazie al gruppo, musicalmente e non solo. Con gli anni ci accorgevamo dei progressi ed era bello. In molti ci hanno detto che si sente che suoniamo da tanto e che siamo bravi a suonare insieme, ci amalgamiamo bene. Quello che rimane e quello che c’e dietro a tutto il lavoro». Greg: «Mi piace l’idea della musica come mezzo per portare emozioni sia live che, adesso, attraverso il cd. Le emozioni sono quelle che provi tu in prima persona e quelle che fai provare agli altri quando ti ascoltano. Questo lavoro ci ha aiutati a crescere anche dal punto di vista musicale». Camilla Pitino

L'eremita