Coalition - Bridge Across Time

Bitrate: 320K/s
Year: 2016
Time: 78:45
Size: 181,1 MB
Label: Orbital
Styles: Progressive Rock/Neo-Prog
Art: Front

Tracks Listing:
 1. Across The Sea -  8:22
 2. Fantasy Island -  8:06
 3. Labyrinth -  9:17
 4. Land Of Dreams - 10:08
 5. Lost Soul -  7:33
 6. River Song -  6:25
 7. The Light -  7:31
 8. Valley Of Shadows -  9:46
 9. The Watcher - 11:34

Although the initial creation of this musical project goes back to the early 1990's, COALITION was officially formed as a trio from the United Kingdom in 2010 by Steve GRESSWELL. The initial intent of the creator of COALITION was clear: to record an album. To do so he contacted two of his friends, Phil BRAITHWAITE and Paul BULGER, to help him realize his dream. It became true in March 2012 with the release of "In Search of Forever". Who is Steve GRESSWELL? You may know him from another project of his called The INNER ROAD which was created a year after COALITION and who, up to now, also gave us two albums: "Visions" in 2011 and "Ascension" in 2013 (both were reviewed on the Profile radio show at the time). But let us go back to the main reason for this review, which is the release of the second album of COALITION "Bridge Across Time". With this new release we observe an important change in the line-up, the well-known guitarist Colin TENCH (Corvus Stone) and singer Blake CARPENTER (The Minstrel's Ghost) being the newcomers while Steve GRESSWELL takes care of everything else. By the way, the album will be released in digital format on October 7th.
"Bridge Across time" was created as a concept album which talks about the search for another world where it is possible to be reborn. Reading the titles of the songs could make you believe that some of the songs are dark and oppressive, which is not really the case because the whole album is quite positive. Musically, the listener is treated to a lot. Of course we think of the guitars or keyboards, but there is much more. There is also the effective presence of brass and string sections as well as additional male and female voices which adds even more depth to the compositions. The album begins with two catchy songs: 'Across the Sea' and 'Fantasy Island', melodies which at first may seem easy to play but which contain small treasures. I think here of the really subtle and brilliant guitar playing. And, by further listening to these songs, you will discover many other pleasures such as the various keyboards and the singing accompanied by guitar. The atmosphere changes with the song "Labyrinth", rightly introducing us to brass instruments and classical style voices. Several tempo changes are to the menu and, for our greatest pleasure, the unique guitar style of Mr. TENCH, without forgetting the omnipresence of Steve GRESSWELL. 'Land of Dreams' is where Blake CARPENTER displays all his singing skills to make us feel and live this song. Several complex musical theme variations are shown here with another great performance of Colin TENCH on his 6-strings, all of it in the purest Prog tradition. There are several other interesting moments on this album for the fans, including 'Valley of Shadow' and 'The Watcher' which end this surprising album. All the musical talents mentioned earlier get together giving us, as a final result, a pleasure to renew again and again. So, to sum it up, we have the essential voice of Blake CARPENTER, a great guitar job by Colin TENCH, and Steve GRESSWELL, who masterfully handles keyboards, bass, and drums. There are string and brass sections as a bonus and finally the additional voices who offers the listener surprising and coherent moments. COALITION is a band to be watched and listened today and in the future.

Bridge Across Time

Eric Carmen - Eric Carmen

Bitrate: 320K/s
Year: 1975
Time: 49:19
Size: 113,0 MB
Label: Arista Records
Styles: Rock/Pop Rock/Soft Rock
Art: Full

Tracks Listing:
 1. Sunrise - 5:21
 2. That's Rock & Roll - 3:11
 3. Never Gonna Fall In Love Again - 3:47
 4. All By Myself - 7:17
 5. Last Night - 2:59
 6. My Girl - 3:01
 7. Great Expectations - 3:04
 8. Everything - 1:59
 9. No Hard Feelings - 5:39
10. On Broadway - 3:28
11. All By Myself (single version) - 4:33
12. All By Myself (alternate version) - 4:54

Eric Carmen is the debut album by American rock and roll musician and singer-songwriter Eric Carmen. It is also his first of two self-titled albums, the other released in 1984. It peaked at #21 on the Billboard album chart on its release in 1975 (see 1975) and generated the #2 pop single "All by Myself" in the same year. The song reached #1 on the Cashbox and Record World charts. The album also included two follow-up Top 40 hits, "Never Gonna Fall in Love Again" (#11), and "Sunrise" (#34), both of which charted in 1976. All tracks were written by Eric Carmen except the Drifters' song "On Broadway", which was written by Barry Mann, Cynthia Weil, Jerry Leiber and Mike Stoller. This LP also contained Carmen's original version of "That's Rock and Roll", which became a #3 hit for Shaun Cassidy in 1977.
The album was Carmen's first solo production after leaving the Raspberries, a Power Pop group which scored several Top 40 hits in the early 1970s.
All compositions by Eric Carmen with the exception of "Never Gonna Fall In Love Again", whose melody he borrowed from Sergei Rachmaninoff's "Symphony No. 2", "All By Myself", borrowed from Rachmaninoff's "Piano Concerto No. 2", and "On Broadway", which was written by Barry Mann, Cynthia Weil, Mike Stoller and Jerry Leiber. The uptempo Track #6, "My Girl"—not to be confused with the well-known Temptations hit from 1965--also exploits a Rachmaninoff "Piano Concerto No. 2" theme.

Eric Carmen

Il Baricentro - Trusciant

Bitrate: 320K/s
Year: 1978
Time: 31:39
Size: 73,4 MB
Label: VM2000 Records
Styles: Progressive Rock/JRF
Art: Full

Tracks Listing:
 1. Karwan - 3:21
 2. Trusciant - 5:38
 3. Falo - 3:15
 4. Akua - 4:03
 5. Flox - 3:37
 6. Font'amara - 7:25
 7. Vivo - 4:17

This Italian funky progressive/fusion album is absolutely charming and funny. The influences are so numerous that it is impossible to mention all of them. The miscellaneous keyboards and percussions are very nervous and complex; the keyboards can be also very floating and relaxing. There are rhythmic piano, moog solos a la Triumvirat, rhythmic organ, and the album has an obvious jazzy/funky influence a la Weather Report of the 70's. The VERY elaborated, precise and fast drums have a structured Phil Collins' or Bill bruford's style of the mid 70's. There are TONS of miscellaneous Latin & African percussions. The bass is quite loud and elaborated. The album is fully instrumental.
The first track "Karwan" is very rhythmic and nervous; it contains rhythmic organ & piano, vibraphone-like melodies and TONS of carnivalesque drums & percussions. The second track "Trusciant" begins with an excellent Baroque piano part a la John Tout (Renaissance), then the music becomes quite structured and rhythmic, with a military drumming and fast electric piano notes a la PFM's "Chocolate Kings"; some fast keyboards reminds me some Eddie Jobson's solos with UK. The piano solo is very jazzy and elaborated. There is even a short weird bit which recalls me the Goblin's "Suspiria" album! "Falo'" is a very rhythmic and pleasant track to listen; the elaborated & joyful rhythmic piano, the drums, the bass, the electric guitars and the percussions are perfectly synchronized. The "Akua" track is very mellow and relaxing: it contains ethereal & echoed moog notes, delicate piano, drums and percussions: it slightly reminds me a more simple mellow part of the Happy The Man of the 70's. The next track "Flox" has a Brand X and Weather Report sound and style, with wah-wah electric piano, Collins-esque drums in an overall funky Carnival atmosphere. The first mellow and floating part on the "Font'amara" track has a bit the sound of a relaxing Pat Metheny's track with Lyle Mays on piano and on floating keyboards. The VERY fully interlocking second part contains excellent harpsichord, rhythmic piano, organ and moog: it is an absolute demonstration of perfect synchronization: it ends with a delightful & rhythmic combination of clavinet, acoustic & electric piano. The last track "Vivo" has a piano intro comparable to Keith Emerson's work; the track then continues with an impressive fast & jazzy piano & drums performance, well supported by a loud and punchy bass. The album is unfortunately short: around 32 minutes.

Trusciant

Fuchs - Station Songs

Bitrate: 320K/s
Year: 2018
Time: 65:50
Size: 150,8 MB
Label: Tempus Fugit
Styles: Progressive Rock/Crossover Prog
Art: Full

Tracks Listing:
 1. The Invisible Man - 11:20
 2. Even If the Salary's Low -  6:39
 3. So Many Days - The Great Divide - Under Suburban Skies - 10:46
 4. Crowded Boats on Silent Sea -  2:01
 5. Why Me? -  5:44
 6. How Could I Just Ignore Him? The Night and the Dark and the Pain -  9:08
 7. I'm On My Way Again -  5:12
 8. Sleepwalking Man -  7:45
 9. Will Come What May -  7:11

Fuchs is a personal project of the German composer and multi- instrumentalist Hans-Juergen Fuchs. In fact, he personally participated in the creation of avant-garde rock for a long time, helped his wife to set up a new avant-garde band named Ines in the early 90s, the style was close to IQ, Pendragon, Tony Banks's keyboard effect was obvious, the wife's band A total of four albums have been released, and I am still thinking of Erik Norlander. Returning to himself, he has been committed to the creation of musicals for many years, mostly designed for school performances. In 2012, for the first time, he published his first professional "Leaving Home" in the name of Fuchs, the concept is the story of his grandparents, involving the Nazis. The second is "The Unity Of Two," in 2014. The concept is the many layers of the human soul. Musically speaking, in addition to the influence of the new avant-garde, there is the feeling of Camel and PF (in terms of instrumental performance and atmosphere). Most of the songs have a folk tone, gentle and psychedelic, and sound more pleasing (no harsh, of course not) What heavy metal) is also popular, so it can be said that it lacks some real avant-gardeness and uniqueness. This year's new album called "Station Songs" has three 10-minute epics. From the cover and song titles, the concept seems to be related to the subway station. The opening epic The Invisible Man is atmospheric and very nice, but German English needs to adapt, and it seems that listening to the lack of some real highlights and touch the soul moment. The keyboard at the beginning of the second song Even If The Salary's Low is very good. The expressions of multiple synthesizers evoke the classic symphony orchestras of the 70s. In the end, there are some strings and it is a better song. The third solo, So Many Days/The Great Divide/Under Suburban Skies, is lackluster. The title of the fourth short song, "Crowded Boats on Silent Sea", I think is a good expression of the psychological picture of human groups in the subway operation. The fifth Why Me? is popular. The sixth epic How Could I Just Ignore Him?/The Night And The Dark And The Pain had a typical folk opening, the middle saxophone still had some flavor, and the atmosphere was somewhat close to pf. The seventh I'm On My Way Again is still a folk orientation, but I can't accept German English. The eighth Sleepwalking Man is more dynamic and the final keyboard is still bright. The last Will Come What May seems to be a remake of the previous one - most of the album's songs are a template: folk songs, pop vocals, keyboard solo. Overall, this is a record that sounds pleasing to the ears. However, in the area where the cross is shaken, everyone appears to be in the crowd, and the overall Samsung rating is half.

Station Songs

The Milk Men - Gold Top

Bitrate: 320K/s
Year: 2018
Time: 39:25
Size: 93,0 MB
Label: Skyfire Records
Styles:

Blues Rock
Art: Front

Tracks Listing:
 1. Shoot the Lights - 3:00
 2. Rag 'N' Bone Lady - 4:03
 3. This is the Last Time - 3:16
 4. The Operator - 2:16
 5. Give Me a Reason - 4:04
 6. Tambourine - 4:21
 7. Taking Control - 3:11
 8. Give Me Back My Wig - 2:59
 9. Trouble - 3:24
10. Gimme Some Blues - 3:30
11. Hard Woman to Love - 5:17

UK band THE MILK MEN started it’s life back in 2010 following an initiative by Adam Norsworthy and Jamie Smy, and later on Mike Roberts and Lloyd Green came onboard to complete the line-up. They released their debut album “Full Phat” in 2016, and two years later the reappear with their second album “Gold Top”, this time around opting to release the album through fledgling UK label Skyfire Records.
Blues and blues rock are cited as the key genres of this band, a description that is rather accurate, at least as long as you don’t expect to hear material similar to Gary Moore’s classic ‘Still Got the Blues’ by this band. Blues is a lot more than songs of that nature, and this album showcase that quite well, and explore a lot of different aspects of the blues without ever becoming near the (in)famous hit song references.
Apart from one song that in certain passages reminds me ever so slightly of the late and great Alex Harvey, this is a production I’d place very much in a US tradition as far as the material is concerned. The good, old 50’s rock ‘n roll are given solid nods on multiple occasions, other cuts have been given something of a southern rock touch, and quite a few of the songs strikes me as having something of a country or Americana vibe to them as well. At times these tendencies are explored separately, and on a few occasions two or more facets are included into the totality of the song as well. More often the former than the latter though, and just about always with a sound and mood that gives me stronger associations to a US based band than to a European one at that.
Otherwise I note that the band are keen to create and explore moods and atmospheres with a light toned and playful general nature, kind of breaking the norm there as far as this type of music is concerned when executed in greater parts of an album. It works though, and it is entertaining while listening to the music sober on a Sunday evening, and presumably even more so after a beer or five on a later Saturday night at whatever local pub or live scene this band may perform at.
If you know, love and treasure the blues in all it’s shades, variations and guises, and tend to appreciate a band that seeks to avoid hitting the most cliched aspects of this kind of music, The Milk Men may well be a band you should investigate at some point. Both their albums have similar qualities, and this latest one is as good a place to start with this band as their first one.

Gold Top

Willie Buck - It's Alright

Bitrate: 320K/s
Year: 1982
Time: 39:05
Size: 90,6 MB
Label: Bar-Bare Records
Styles: Blues/Chicago Blues
Art: Front+Back

Tracks Listing:
 1. It's Alright - 3:02
 2. How Can I Be Nice to You - 5:30
 3. I Live the Life I Love - 2:31
 4. I Got a Right to Love My Baby - 4:41
 5. Bring Me Champange When I'm Thirsty - 4:05
 6. There's a Time - 3:40
 7. I Say - 3:50
 8. Sweet Sixteen - 3:03
 9. I Was Home This Morning - 3:51
10. Nineteen Years Old - 4:48

American blues singer /
Mississippi born Blues vocalist Willie Crawford arrived in Chicago in the mid-50s. In the 70s he changed his last name to Buck and gigged steadily through the 70s & 80s. His records are heavy on the Muddy Waters influence (which isn’t a bad thing) and he has a couple of other 45s on the Arrow label.

It's Alright

Deb Rhymer - Don't Wait Up

Bitrate: 320K/s
Year: 2018
Time: 39:42
Size: 91,1 MB
Label: 631280 Records DK
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Heartache & Trouble - 3:50
 2. Let Your Heart Decide - 4:36
 3. Cry for Me - 3:31
 4. Don't Wait Up - 4:19
 5. I Got You (I feel good) - 3:23
 6. Just Enough Blues - 2:39
 7. There's the Door - 4:01
 8. Won't Be Long - 4:01
 9. Waking Up Slow - 4:21
10. Giving Me the Blues - 4:57

Deb was born and raised in Victoria, British Columbia and made her debut as a vocalist at age 17 with the the rock band Hostage. In 1997 she began fronting the blues band No Fixed Address. Her love of the blues had begun! Known for her dynamic voice and unique bluesy style, Deb has had the opportunity to work with some of Victoria's best musicians. Her CD was released in 2006 and has received excellent reviews. Select songs have been featured on the CBC Saturday Night Blues with Holger Peterson. Deb has been featured for many years at the R&B Fest, Vancouver Island Blues Bash and many local clubs. The Deb Rhymer Band also hosts the Sunday Blues Services jam every Sunday afternoon

Don't Wait Up

Coco Robicheaux - Like I Said, Yeah U Rite!

Bitrate: 320K/s
Year: 2008
Time: 44:53
Size: 103,7 MB
Label: Spiritland
Styles: Louisiana Blues
Art: Front + Back

Tracks Listing:
 1. Work of the Devil - 5:01
 2. Revelator - 3:18
 3. Hot Sauce Boogie - 3:53
 4. The Moment - 4:11
 5. Ten Commandments of the Blues - 8:18
 6. If You Still Want Me - 5:02
 7. Home - 4:34
 8. I'm a Musician - 3:04
 9. Decision Blues - 4:16
10. Yeah, U Rite! - 3:11

Louisiana bluesman Coco Robicheaux was no stranger to the blues, either musically or otherwise. He played the blues most of his life, fronting his own band when he was 13 years old, playing Bourbon Street just two years later, and inking a record deal around the age of 18. Sounds like smooth sailing, but that often wasn't the case for the musician. He suffered a broken back when a vehicle struck him, and his lack of health insurance sent him to a charity hospital. In severe pain, he waited more than 24 hours beside a gunshot victim in an emergency room. The experience gave him a firsthand look at what a large segment of the population goes through due to lack of affordable health insurance, and it strengthened his resolve to do something to help.
He was one of the featured volunteer contributors on the CD Get You a Healin', a fundraising project for the New Orleans Musicians' Clinic housed in the Health Sciences Center at LSU. Appearing with Robicheaux on the funk disc were Maria Muldaur, the Funky Meters, Luther Kent, and Dr. John, among others. The album's playful concept centered each track on a part of the body or a health condition, and Robicheaux contributed "Louisiana Medicine Man." Also included were "Rockin' Pneumonia" by the Funky Meters and "Pain in My Heart" from the Gyptians, among other songs. During the '60s in San Francisco, Robicheaux helped establish a free health clinic with another civic-minded crew that counted among its members singer Janis Joplin.
Born Curtis John Arceneaux in 1947 in Ascension Parish, Louisiana, Robicheaux was the oldest child of four born to Virginia and Herman Arceneaux. He made a record in 1965 for Mississippi label JB, but did not record further until the mid-'90s, when he put out Spiritland for Orleans Records. The album was well received, and in 1998 Robicheaux recorded Louisiana Medicine Man and followed up with Hoodoo Party. In 1998, Offbeat magazine dubbed him the winner of its award for the year's Best Blues Album by a Louisiana Artist. He received three nominations, one in the category of Best Blues Artist, from the Big Easy Entertainment Awards the following year. In addition to his New Orleans gigs, he performed in Colorado, New York, South Carolina, Australia, and Paris. He played festivals in Canada and France, and appeared for eight consecutive years at the New Orleans Jazz & Heritage Festival beginning in 1994. He also played annually at the New Orleans French Quarter Festival starting in 1995. After the turn of the millennium, Robicheaux released three albums on the Spiritland label: Yeah, U Rite! (2005), Like I Said, Yeah, U Rite! (2008), and Revelator (2010). Coco Robicheaux died in New Orleans in November 2011 at the age of 64. ~ Linda Seida

Like I Said, Yeah U Rite!

John Mooney - Truth of the Matter

Bitrate: 320K/s
Year: 2017
Time: 35:07
Size: 81,9 MB
Label: Funny Bird Records
Styles: Blues
Art: Front

Tracks Listing:
 1. Truth of the Matter - 4:06
 2. Row My Boat - 3:38
 3. Deal with Love - 3:29
 4. Please Baby - 4:10
 5. Over & Over - 2:21
 6. Jailbird Love Song - 2:38
 7. Push & Shove - 3:26
 8. Standin' still - 4:31
 9. Motherless Child - 3:50
10. Ashes & Ashes - 2:54

Musicians:
John Mooney – vocals, slide guitar
Rene Coman – bass
Doug Belote – drums
Jon Cleary – piano, Hammond B3
John Gros – Wurlitzer, Hammond B3
CR Gruver – Hammon B3
Bruce Barnes – accordion
Alfred “Uganda” Roberts – congas
Jeff Watkins – alto sax, tenor sax
Ian Smith – trumpet, valve trombone
Cornell Williams – background vocals
Peter Skinner – background vocals
Jake Eckert – guitar, rubboard

In the world of blues critics, guitarist, singer, and songwriter John Mooney has long been a favorite. That's because he takes all he learned from classic Delta bluesmen like Son House and others and modernizes their stylings while adding his own unique stamp to classic Delta blues tunes. Even his original songs, often autobiographical, are steeped in the classic blues tradition. Mooney divides his time between residences in Florida and New Orleans, and usually works with a simple guitar-bass-drums trio known as Bluesiana. His vocals are powerful and inspired, and his guitar playing is often loud and electric, but so steeped in the style of House and others classic Delta bluesman, that he transcends generations in the blues idiom.
Growing up in Rochester, New York, Mooney took to the guitar as a ten-year-old and quickly became obsessed with the instrument, initially learning to play tunes by the Beatles and Rolling Stones. When he was 11, a neighbor who worked at WHAM, a Rochester radio station, gave Mooney some recordings by Scrapper Blackwell and Robert Johnson. These recordings turned his head and life around and he soon discovered other great bluesmen, including Muddy Waters, Freddie King, Albert King, and B.B. King. Collecting, repairing, and playing National Steel resophonic guitars became his obsession. He began his professional performing career at 13, at first playing many shows with Rochester area blues guitarist Joe Beard. By his mid-teens, Mooney had worked out a few Son House tunes on his guitar, using his slide. House had moved to Rochester to "retire," but one day Beard suggested that he get Mooney over to House's residence. "Joe said to me, ‘You play so much Son House, you really ought to meet him,' so he introduced us. I was 16 at the time. Son and I would get together at his house. At his house, you couldn't play blues; we'd have to go outside or do a gig in a club somewhere. Even if his wife wasn't there, he still wouldn't play blues in the house."
Mooney left Rochester in 1973 and hitch-hiked his way across the country or hopped freight trains to get to California, Arizona, and Texas. He finally settled in New Orleans in 1976 and a year later, by the spring of 1977, he was playing the New Orleans Jazz and Heritage Festival, which was then getting off the ground. Blind Pig released Mooney's debut album, Comin' Your Way in February, 1979, and he's been actively recording ever since. His other releases include Late Last Night for Bullseye/Rounder in 1980, Telephone Blues in 1984 for Powerhouse Records, and Telephone King in 1991 for the same label, run by D.C.-area blues-rock guitarist Tom Principato. His other albums include Testimony (1992, Domino), Sideways in Paradise (with Jimmy Thackery, Blind Pig, 1993); Travelin' On (1995, CrossCut); Dealing with the Devil (1995, Ruf Records) Against the Wall (1996, House of Blues); Gone to Hell (2000, Blind Pig); All I Want (2002, Blind Pig) and Big Ol' Fiya (2006, Live Music Lives). Mooney continues to tour the U.S., Europe, Japan, and Australia. Anyone who's seen him can tell you how powerful his trio concerts are. ~ Richard J. Skelly

Truth of the Matter

Dialeto - Will Exist Forever

Bitrate: 320K/s
Year: 2008
Time: 42:59
Size: 99,8 MB
Label: Voiceprint/Rock Symphony
Styles: Progressive Rock/Heavy Prog
Art: Full

Tracks Listing:
 1. Vermelha - 3:29
 2. Mme Blavatsky - 3:34
 3. Existence - 5:28
 4. Enigma - 5:12
 5. Animal - 3:09
 6. Anger - 4:06
 7. Seven Drunks - 3:29
 8. Misty Queen - 3:59
 9. Gunga Din - 3:01
10. Just for Free* - 4:21
11. Animal (portuguese)* - 3:07

DIALETO are a power trio from Sao Paulo, Brazil. The first time I heard them I thought of some of those heavy KING CRIMSON-like bands from Chile I like so much. After many listens though I have to say that these guys have their own unique sound. I just have a blast when I play this.The vocalist can be theatrical, and the guitar, bass and drums are so impressive. I guess I just like this style of music a lot, and these guys couldn't perform it any better.
"Vermelha" opens with this atmospheric guitar that goes on and on unil it kicks in before 2 1/2 minutes. Nice. "Mme. Blavatsky" is dark and eerie with drums and bass leading the way. Spoken words a minute in. It;s building and then the guitar starts to solo 2 minutes in. "Existence" has an ethnic flavour to it and I love the sound of the guitar after 1 1/2 minutes and 3 minutes in. Deep bass later. "Enigma" is dark and haunting as spoken words come in. This is so good as he tells this story, I really like his accent too. This gets pretty heavy at times and check out the guitar and bass 4 minutes in. The drums are over "Animal" and the vocals get theatrical in this uptempo rocker. "Anger"has some good bottom end to it and the vocals are again theatrical but laid back this time. "Seven Drunks" opens with what sounds like seven drunks laughing. Guitar then takes over with bass and drums. Great sound. Some angular guitar here too. "Misty Queen" opens with relaxed guitar melodies as reserved vocals join in. It kicks in after 1 1/2 minutes. The guitar is killer 2 minutes in and check out the growly bass. "Gunga Din" has this spooky intro but it changes quickly as the whole band comes in. The guitar solo before 2 minutes as drums pound and bass throbs. I don't usually comment on bonus tracks but "Just For Free" is worth some commentary. The guitar is all over this until the drums and bass arrive 2 minutes in. Great sound a minute later. Highly recommended for fans of Heavy-Prog, this is too much fun.

Will Exist Forever

UHF - If It Was Easy

Bitrate: 320K/s
Year: 2002
Time: 46:04
Size: 105,6 MB
Label: Second Story Record
Styles: Rock/Modern Rock
Art: Front

Tracks Listing:
 1. She Don't Know - 5:02
 2. Mr. Grey - 4:09
 3. She's Going up - 3:41
 4. First Thing in the Morning - 4:30
 5. Easy - 4:16
 6. Toast - 4:45
 7. Moderntown - 3:45
 8. Rain on the Street - 3:29
 9. Last Rays of the Sun - 8:06
10. These Footsteps - 4:17

Portland natives UHF came together in 1998 when drummer Matt Johnson and bassist/guitarist Jeff Nelson met brothers Jeremy and Jordan Leff. Adding the brothers on vocals and guitar, respectively, the four recorded Pieces soon after their formation. In 2000, the concept album Lottery followed it up and became a minor hit in the Northwest indie scene. In 2002, they released another psychedelic pop collection, the Gregg Williams-produced If It Was Easy. ~ Bradley Torreano

If It Was Easy

Konstantin Klashtorni - Groove Jazz N Chill #6

Bitrate: 320K/s
Year: 2018
Time: 55:37
Size: 127,7 MB
Label: Kvk Music
Styles: Jazz/Smooth Jazz
Art: Front

Tracks Listing:
 1. Dearest - 3:51
 2. Love At Midnight - 4:37
 3. Inspiration - 5:30
 4. Serendipity - 4:38
 5. A New Day - 4:44
 6. Four Miles - 4:12
 7. Eyes Like Sapphire - 4:35
 8. It's Only You - 4:39
 9. All The Way - 5:03
10. An Evening's Tale - 4:50
11. Above The Moon - 4:13
12. Still Waters - 4:41

Start with a sonic atmosphere… then layer it with textures of jazz and electronica… throw in some cool beats, erotic grooves – this what Chillaxing Jazz KolleKtion is about. This album is the Volume #5 of bestselling Smooth Jazz on Amazon Mp3.
The mastermind of Kool&Klean series, producer and contemporary saxophonist Konstantin Klashtorni keeps producing smooth tracks for Chillaxing Jazz KolleKtion. His newest album is a special blend of chill out, electro jazz, relaxing grooves and sweet melodies, - relaxing and soothing to your heart and mind.

Groove Jazz N Chill #6

Bobby Radcliff - Absolute Hell

Bitrate: 320K/s
Year: 2016
Time: 32:02
Size: 73,6 MB
Label: Self Released
Styles: Blues/Guitar Blues
Art: Front

Tracks Listing:
 1. Absolute Hell - 3:55
 2. Airport People - 3:11
 3. Sweet Emily - 3:11
 4. Jefferson Air Raid - 2:10
 5. Who Ru ? - 2:51
 6. The Agony Booth - 4:32
 7. Broiled Owl - 2:07
 8. Everybody - 3:27
 9. Krellno Hop - 2:06
10. Fried Mongoose - 4:27

NYC Blues Legend BOBBY RADCLIFF's latest work Absolute Hell. This is the most creative and innovative project Bobby Radcliff has ever recorded. Ten new original compositions are featured. The songs mix blues based roots with rock, jazz, & surf, textures. Recorded in California between 2010 and 2015 with his west coast USA band. Bobby Radcliff (guitar/vocals/producer), Chris Matheos (bass/co-producer), Bob Danielson (drums). Special guests: Clint Warner (second guitar on tracks Fried Mongoose & The Agony Booth), Rockin' Johnny Burgin (second guitar on Broiled Owl), Rob Anderson (drums on Fried Mongoose). This CD is a continuation of the "Freaking Me Out" CD sessions. Only this CD is even more creatively pushing the boundaries of Radcliff's songwriting. Bobby Radcliff's original artwork is featured on the CD cover and CD faces. There is a variety of cover art variations in circulation as well as cd face variations. A CD collectors dream come true!! Radcliff's masterpiece The "City of Hell" is featured on the front cover artwork and in the lyrics of the title track. Some of the CD variations even feature alternate versions of songs (like the title track Absolute Hell and The Agony Booth)!! NOTE: The music on this CD is far more experimental than any of Radcliff's BlackTop Records releases. No overdubs here or heavy over production. Just a live trio/quartet getting creative on some experimental blues based music. This is the second release on Radcliff's own label Krellno Records. Krellno Records "Music for the Insane"!!!!

Absolute Hell

Bobby Radcliff - Crime School

Bitrate: 320K/s
Year: 2018
Time: 61:41
Size: 141,5 MB
Label: Self Released
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Two Heads - 3:00
 2. Mean Ms. Mindy - 3:23
 3. Seyler's Bald - 2:51
 4. Tina's Teenage Dance - 4:12
 5. Forbidden Love - 5:03
 6. Class Reunion - 2:55
 7. Pineapple Storn - 5:25
 8. Plastic Doll Blues - 3:46
 9. Rat's Nest - 2:56
10. Roast Beef Float - 3:55
11. Crime School - 1:52
12. Mouse Man - 6:22
13. Kandy Soup - 6:48
14. Still in Love - 8:21
15. Pork Roll Blues - 0:44

Musicians:
BOBBY RADCLIFF - guitar/vocals;
CLINT WARNER - guitar;
CHRIS MATHEOS - bass;
KEITH HURRELL - drums.

New York Bluesman BOBBY RADCLIFF. One of the most innovative & original musicians on today's blues scene. Although Bobby Radcliff has spent the last 25 years honing his craft in bars around his native Washington, D.C., and in New York City and Chicago, the singer and songwriter came into his prime at the age of 45, in the late 2000s. Born September 22, 1951, Radcliff grew up in Bethesda, Maryland and had easy access to Washington, D.C. blues clubs, where he learned from people like Bobby Parker. Before graduating from high school, he'd already made several trips to Chicago to meet his idol, Magic Sam Maghett, owing to a small but growing blues club scene in Washington. Radcliff began playing when he was twelve, and he started off taking classical guitar lessons. After his guitar teacher showed him some blues, he began buying every blues guitar album he could get his hands on.
In 1977, Radcliff moved to New York City and worked in a bookstore by day until 1987, when he realized he was making enough money playing in clubs to give up his day job. Since he hooked up his recording deal with BlackTop Records, Radcliff has toured the U.S., Canada, and Europe more than a dozen times, and his fiery guitar playing is always a festival crowd-pleaser. Radcliff has three excellent albums out on the BlackTop label that showcase his songwriting, guitar playing, and soulful singing. They include his debut, Dresses Too Short (1989), Universal Blues (1991), and There's a Cold Grave in Your Way (1994). Collectors will seek out his 1985 vinyl release, Early in the Morning, on the A-Okay label. ~ Richard Skelly

 Crime School

Big Harp George - Uptown Cool

Bitrate: 320K/s
Year: 2018
Time: 56:52
Size: 130,2 MB
Label: George Bisharat
Styles: Blues/Harp Blues
Art: Front

Tracks Listing:
 1. Down to the Rite Aid - 5:11
 2. Internet Honey - 4:27
 3. Alternative Facts - 5:30
 4. I Wanna Know - 4:01
 5. Nobody's Listening - 5:09
 6. In the First Place - 4:17
 7. Standing in the Weather - 4:00
 8. Bulletproof - 4:43
 9. Cold Snap By the Bay - 5:48
10. Just Calm Yourself - 3:46
11. Uptown Cool - 4:06
12. Lord, Make me Chaste - 5:48

If I saw the name Big Harp George outside a venue I’d be very disappointed if I found that he was playing a stringed instrument normally associated with the Angels! Yes; this George; the very dapper George Bisharat from San Francisco plays the chromatic harmonica and boy can he play it!
That said; on this his third album George predominantly sings and boy, can he sing too. Alongside an ever growing band, on the opening track Down to the Rite Aid, George swings the life out of a rye observation on the tough life people and in particular musicians have these days.
This is followed by the funky Internet Honey; where our narrator’s friend who is ‘built for love and not for speed’ finds love; and lots of it on the internet. Already you realise that Big George and band have one foot in the past with their classic R&B ‘sound’ but the other is very much in the present with the topics he writes and sings about.
George’s sweet, sweet harp playing obviously drifts in and out of many songs and when it does, it makes the mournful Nobody’s Listening and the tongue in cheek Lord Make Me Chaste (but not yet) quite extraordinary in a world where I thought ‘I had heard it all before.’
I don’t know where or when but there’s one song here that I instantly recognised; yet it appears to be brand new for this album. Cold Snap By The Bay is a deep and insightful tale about three homeless men who died one cold night in San Jose; and the story never made the newspaper never mind the front page.
This song, dear reader is exactly what the Blues has always done better than any other musical genre; prepare to have your heartbroken in six soulful minutes. But the Blues comes in many formats and Big Harp George’s band can play them all with vigour and class. Sizzling guitar; a trombone that sounds like a full Memphis big old brass section, industrial strength drumming and a bass player from the Gods surround George and his harmonicas in a way we thought I could only dream about until now.
Just Calm Yourself is a cool and danceable call and response duet; while the two instrumentals In The First Place and especially the title track Uptown Cool prove that a good tune doesn’t necessarily need words to get the message across.
Then there is the RMHQ Favourite track award; and I’m going for another fun and slightly tongue in cheek song this time; Alternative Facts uses a couple of the President’s ‘favourite phrases’ to describe the way a singer decides to re-write his career so he can make it famous. Yet again George uses a classic Blues tradition (think BB King) but makes his lyrics very, very contemporary for a much younger generation.
What more can I say? Watching bands like this are where I cut my teeth around Newcastle in the 1970’s but sadly technology, Punk and babies came onto the scene and the bands and fans had all moved on by 1980; but thankfully there is still a vibrant Rhythm & Blues scene in the USA with bands prepared to go out on a limb paying homage to the past but bravely writing and singing their own razor sharp material.
(http://www.bigharpgeorge.com)

Uptown Cool

Mystery - Lies and Butterflies

Bitrate: 320K/s
Year: 2018
Time: 64:07
Size: 150,8 MB
Label: Unicorn Digital
Styles: Progressive Rock/Neo-Prog
Art: Front

Tracks Listing:
 1. Looking For Something Else - 16:55
 2. Come To Me -  5:16
 3. How Do You Feel ? -  4:53
 4. Something To Believe In -  7:34
 5. Dare To Dream -  6:54
 6. Where Dreams Come Alive -  7:26
 7. Chrysalis - 15:07

For a band that originated over thirty years ago and has seen the comings and goings of three lead singers and countless band members, Mystery retains one of the most consistent sounds of any progressive rock group. Whether that is a good thing or bad thing is a subjective determination, but as is the case with bands in other genres such as Boston or Katatonia — what you hear is what you get, album after album after album.
Lest that sound like a fatalistic pronouncement, the good news is that for fans of modern progressive rock, Mystery delivers the goods with each and every new release. Beautiful melody lines, lush production, soaring lead vocals, impeccable instrumentation, inspired electric guitar solos…it’s all here. Every album is a polished work of art. Fans can know what to expect – and what NOT to expect – and these expectations are invariable met. Because one thing is definitely not a mystery about this band: the consistency of their output.
New album Lies and Butterflies refuses to fly in the face of Mystery’s formula. Instead, it continues the band’s trajectory of sumptuous epics and shorter, hook-laden prog singles. Starting where previous live album Second Home left off, we hear the cheers of the crowd and the farewell of the band leaving the stage…perhaps to return to the studio where Mystery continues to be “Looking for Something Else”. This opening piece is a clever start to Lies and Butterflies, a slow burner that builds over its 17 minute journey, and bears some relation to the other epic which closes the album, “Chrysalis”, the two forming neat bookends between which are sandwiched five shorter pieces.
Those shorter songs, ranging from 5-8 minutes each, all have their strengths in memorable choruses, well thought-out song structures and prog-jam soloing sections. Several could have radio-friendly potential, such as “Come to Me” which begins with simple acoustic patterns before capturing the listener with its enveloping chorus. “Something to Believe In” nearly veers too closely towards a cliche’d anthemic chord progression which a band like Journey might use to sell thousands of copies. However, a three minute instrumental interlude in the middle maintains the song’s prog cred, while assuring that it will now get little radio airplay unless it has a single-edit.
Traditionally the bulk of Mystery’s songwriting comes from group leader and founder Michel St-Pere. This album contains two notable exceptions: “Dare to Dream” penned by singer Jean Pageau and sporting a truly remarkable chorus; followed by one of the highlights of the album “Where Dreams Come Alive”, with Michel contributing the lyrics and the music being written by the group’s other guitarist Sylvain Moineau. This latter song leads to one of the most thrilling guitar performances on the album, supported by an escalating chord progression.
The centerpiece of the album however is the closer “Chrysalis”, which ties more directly into the album title. This fifteen minute epic includes a little more crunch than the rest of the album, which at this point is very welcome. Unlike many bands who create long epics by stringing together shorter songs with minimal relation, Mystery excels at making these longer pieces flow organically with a natural rise and fall of dynamic expression. Both delicate and hard-edged, “Chrysalis” provides a satisfying conclusion to Mystery’s latest sonic creation.
Throughout Lies and Butterflies we are treated to three particularly noteworthy features via these three Mystery men: lead singer Jean Pageau’s gorgeous vocals, Michel St-Pere’s flawless lead guitar solo sections, and drummer Jean-Sebastien Goyette’s fully embodied approach to the percussion which engages the listener on every tune. Michel’s immaculate production highlights each of these elements and they are richly rewarding. The bass lines, backing vocals, acoustic guitars, occasional flute and multitude of keyboards support the overall sonic experience which makes it very hard not to be swept up in the full majesty that is Mystery.
For all of these superlatives, the truth is that the same could be said about most any of Mystery’s last four studio albums, if not their entire catalog. It may be very hard for a fan to pick out their favorite album or them, because the sound, musicianship and songwriting quality is so consistent. Therefore this album will be unlikely to convert any new fans who previously had no interest, and we also can’t give extremely high marks for originality compared to their previous output. But for those who are already onboard the Mystery train – or as an entry point for newcomers – Lies and Butterflies reaches the sky and beyond.

Lies and Butterflies

Klotet - En Rak Hoger

Bitrate: 320K/s
Year: 2008
Time: 48:29
Size: 112,4 MB
Label: Musea Records
Styles: Progressive Rock/Eclectic Prog
Art: Front

Tracks Listing:
 1. Jagad Av Satan - 2:20
 2. Vanlig Dag Pa Jobbet, Snutjavel - 3:37
 3. En rak Hoger Sa Att Glasogonen Rok - 4:16
 4. Tulpandrakula - 4:17
 5. Den Felande Lanken - 2:48
 6. Skrankel - 0:49
 7. Allt Ar Inte Farligt - 3:48
 8. Ar Detta Humor - 3:49
 9. Makt Korrumperar - 4:50
10. Kontrollapparat - 3:33
11. Baklangesmannen - 0:38
12. Den Miningslosa - 3:54
13. Ugglor I Mossen - 5:13
14. Splitring - 4:30

A cool keyboards sound with an electronic effect and a dominant bass line presents itself as the album begins, presenting gradually what the band has prepared for us. Soon more sounds are added and the rest of the band joins in. And finally the humorous facet of the music is exhibited as a gypsy/eastern sounding tune is played and developed. Melody is their strong side, as is their ability to wrap it with additional layers of instrumentation and effects. The tracks are catchy, fun and charming and are what makes me coming back to this album and even play several tracks again once they're over. The tracks on the album have each a distinct tune that is played and toyed with, then developed, thrown sideways and resumed. The sound is fuzzy and warm, cool and vibrant; at times sounding psychedelic and at others heavy and sharp. The album contains 14 tracks, mostly short (3-4 minutes) and all work well and have interesting ideas and are well developed and played.
The keyboards (organ and Fender Rhodes I think), played by Milvesofia Rydahl, are definitely the hooks, the root of the music here, and very efficienct bass work by David Hallberg as well as drumming by Mikael Styrke accompany it. Guitarist Påhl Sundström plays alternating roles with Milvesofia; they switch positions of front and back up with their instruments, one leading the other accompanying. This is a highly enjoyable album, high energy levels, ear worm melodies and groovy atmosphere.

En Rak Hoger

Progression by Failure - Progression by Failure

Bitrate: 320K/s
Year: 2009
Time: 68:17
Size: 156,5 MB
Label: Musea Records
Styles: Progressive Rock/Symphonic Prog
Art: Full

Tracks Listing:
 1. Intro -  0:27
 2. Dialog With A Selfish -  7:27
 3. Memories Of The Future - 10:17
 4. The Solitude Of A Winter -  7:56
 5. Desparate Anger - 12:24
 6. Talion -  6:59
 7. Progression by Failure - 22:44

Musicians:
Nicolas Piveteau - All The Instruments:

Stunning debut CD of this one man band that reveals the genious of french multi instrumentalist and songwriter Nicolas Piveteau. I was drawn to this CD when I read Ivan Nelgar?s glowing review and, after repeated listenings, I can say he is right on the mark! This is a fantastic work that blends very different styles and genres to produce a music that is, at the same time, original and accessible. What a rare chemistry!  The CD is a totally instrumental affair and is basicly just keyboards and drums but you won?t miss any other instruments on this very well balanced album. It is clear that classical music is the main influence, but there are lots of other sutff in the mix: avant guard, jazz, King Crimson, Erik Satie, prog rock, even thrash metal bits can be traced on some drums patterns and riffs. Some moments are almost chaotic but never to the point of losing its melody line (hence its link with some of KC?s best moments). Some parts are pure lyrical and very, very poignant (The Solitude Of A Winter is a good exemple), some are complex (like the opener Dialog With A Selfish), some are heavy,some are light. In common they have the fact that they are all great!
For a first album this is really a superb work, with a top notch production, fine mix, tasteful arrangements and mature compositions. It?s almost 70 minutes long and yet I think it is too short. I just can?t get enough of this. It?s very elaborate, complex, beautiful symphonic prog music at its best. Highly recommended!

Progression by Failure

Dyonisos - An Incidental Collection

Bitrate: 320K/s
Year: 2007
Time: 61:25
Size: 148,9 MB
Label: Musea Records
Styles: Progressive Rock/Crossover Prog
Art: Front

Tracks Listing:
 1. Visions - 5:17
 2. Reasons - 5:12
 3. Facing Windmills - 5:46
 4. Abstract Visions - 4:47
 5. Leaving Home - 5:07
 6. Pasture in Kahaluu - 8:22
 7. Absolute Center of Nowhere - 4:18
 8. Permanent Disembodiment - 4:10
 9. When Silence Has Spoken - 4:24
10. The Wave - 3:11
11. Ohia Lehua - 4:12
12. Voices - 6:34

Prolusion. "An Incidental Collection" is the second official release by DYONISOS, which is just a moniker for American multi-instrumentalist and songwriter Dan Cowan's individual creative explorations or, rather, rediscoveries. The eponymous Dyonisos debut CD was released some ten months ago.
Analysis. I see no better way to begin this paragraph than by putting nearly the same words I've used in the review of "Headshear". This recording is covered with Pink Floyd's stamp, which automatically means "An Incidental Collection" is musically a blood brother of the previous Dyonisos album, no matter that there are no instrumentals here. Only three of the twelve tracks available, namely Reasons, Leaving Home and Permanent Disembodiment, more or less strongly deviate from the album's prevalent picture, all basically steering towards moderately heavy Space Metal with a strong Eloy vibe (think the most straightforward rockers from "Destination"), but since Dan is rarely untrue to his approach to soloing on guitar, which is modeled after the technique of David Gilmour, the comparisons with Pink Floyd are also inevitable. Two more tunes, Absolute Center Of Nowhere and Ohia Lehua, suggest something halfway between The Alan Parsons Project and you know what. While some echoes of both Eloy and The Alan Parsons Project can be heard on each of the remaining seven songs (Visions, Facing Windmills, Abstract Visions, Pasture In Kahaluu, When Silence Has Spoken, The Wave and Voices) too, it is certainly Mr. Cowan's primary passion that is a dominant force there. Not much to say about the tunes' peculiarities. Facing Windmills is the only one track with the acoustic guitar and piano brought to the fore. Abstract Visions and Pasture In Kahaluu both stand out for their sax solos, which are heavy synthetic for sure, but are delivered clearly in the Pink Floyd fashion. The largely instrumental Pasture In Kahaluu is the longest and, at the same time, most curious track in this collection (which doesn't seem to be incidental at all), sounding like an outtake from Pink Floyd's "Animals" - in a way of course. The playing here is often accompanied with cow moos, some of the guitar riffs-based moves both compositionally and rhythmically referring directly to those in Pigs, but when the 'sax' joins, the picture changes its outline for the sake:-) of Money.
Conclusion. Fans of Pink Floyd-style stuff rejoice: your day has come again. As for me, I don't enjoy music that is so heavily derivative that leaves the impression of being totally calculated - yeah, for success too. Nevertheless I must admit this recording is at least tastier than Nosound's "Sol29" and therefore less annoying.

An Incidental Collection

Angeles - Test of Time

Bitrate: 320K/s
Year: 2018
Time: 34:42
Size: 80,7 MB
Label: SR
Styles: Hard Rock
Art: Front

Tracks Listing:
 1. Not Here to Play - 3:07
 2. Hollywood - 3:08
 3. Chivalry - 3:08
 4. Goodbye - 3:52
 5. Trouble - 3:28
 6. We're No Angels - 3:01
 7. Nothing Left to Gain - 4:08
 8. Lonely Road - 2:38
 9. Here We Go Again - 3:06
10. Deliver the Goods - 2:29
11. Little Bit Faster (Remix) - 2:36

Musicians:
Vince Thriil - Vocals
Dale Lytle - Guitar
Cal Shelton - Bass
Danny Basulto - Drums

"Test Of Time" is the new album by veteran hard rockers ANGELES, one of the most long-lasting indie US rock bands out there. These guys recorded 4 albums, played countless gigs and shared stages with the greats.
All-original rock band ANGELES first started playing Hollywood, CA in the early '80s and has shared the stage with legends such as Motley Crue, Quiet Riot, Gun’s N’ Roses, Ratt, Ronnie James Dio, Bon Jovi, Michael Schenker, Dokken, just to name few. The band has played live extensively and hit quite a few milestones.
Angeles received their first Platinum record award in 2014 with their debut “We’re No Angles” (originally released in 1984) that has been played on nationwide radio stations, and play an Annual benefit show Thunder on the lot for children’s charity.
In 2016 Angeles released their “Crazy” CD featuring their single “God Country and King” with over 1 million views on Vevo.
Indie band, but with a strong following.
Listening to "Test Of Time", it's like 1987 again. They still play the Californian clubs circuit, even The Whikey A Go Go. Angeles perform with heart and refuse to give up their love of music. This is melodic glammy hard rock, with some hair metal on it.
From the start with 'Not Here to Play' there's a feel good vibe, this being this an uptempo rocker with some Twisted Sister influences. There's a solid rhythm section with defined bass / drums, fine vocals and cool guitar riffs.
'Hollywood' sounds like a Motley Crue circa Dr. Feelgood, 'Chivalry' adds some heaviness with raw vocals and darker rhythm, then 'Goodbye' is a pure melodic hard rocker with a semi-ballad tempo so common in 1988.
'Trouble' returns to uptempo hard rock with its little Keel riffs, 'We're No Angels' adds a bit of sleazy, 'Nothing Left to Gain' a bluesy atmosphere akin Cinderella, and 'Here We Go Again' (not a Whitesnake cover) is a cool rocker.
'Lonely Road' is an acoustic (with electrics) fine number, not a ballad, but a dusty rocker with nice raspy vocals.
Angeles still live like if the '80s never ended. They use leather jackets, wigs, wasted boots and play the music they love without a record label interference.
"Test Of Time" is effective, entertaining and very well recorded / produced for an indie. It's classic US glammy hard rock / melodic hard rock with a bit a sleazy, made 2018 but with the feel & sound of the era.
Note there's a digital version flating around, with cuts and noises.

Test of Time

Rastus - Steamin'

Bitrate: 320K/s
Year: 1972
Time: 61:21
Size: 141,1 MB
Label: Rhombus Records
Styles: Progressive Rock/Jazz-Rock
Art: Full

Tracks Listing:
 1. Lucy Bluebird - 6:14
 2. Lazy Kind of Day - 3:27
 3. Big City Letdown Blues - 6:50
 4. Love You - 4:27
 5. Keep on Pushin' - 3:10
 6. I-94 Riff - 5:21
 7. What Will It Take - 5:33
 8. Trying to Find Her - 3:09
 9. She Donit Need Me (Bonus Track) - 2:46
10. Warm (Bonus Track) - 3:20
11. What If I Should Stay (Bonus Track) - 3:04
12. Home Town Blues (Bonus Track) - 4:03
13. Over the Rainbow (Bonus Track) - 3:01
14. Road Rat (Live) - 6:51

Steamin' is 1970s horn rock. They sound like Chicago would have in the 1970s, had Rastus' far more famous counterpoint had not become a singles band. Steamin's tracks stick to song format - not going into the deep jazz progressivism of, say, very early Chicago. But with longer track lengths, breaks into Latin and even some out playing, Rastus made an album that worked as both commercially viable horn rock, and maintained an artistic edge. Maybe there was just too much of this out there for a band like Rastus to stand out, but Steamin' will show you they should have.

Steamin'

Il Ruscello - Paesaggio Solare (Estate 1972)

Bitrate: 320K/s
Year: 2009
Time: 30:36
Size: 70,4 MB
Label: AMS
Styles: Progressive Rock/RPI
Art: Full

TYracks Listing:
 1. Il Cielo In Un Ruscello -  9:58
 2. La Notte Di Una Citta -     3:52
 3. Il Risveglio Di Una Citta -  5:26   
 4. La Quiete -  1:27
 5. Paesaggio Solare (Estate 1972) -  7:20
 6. Orizzonti - 11:49

Here is an album that everybody will want to have in their player: Il Ruscello, a current Italian band whose members happen to be living in England. What they have done is channel all that was wonderful in the beginning of the Italian progressive rock bands.
Let's start with the band: two brothers, Silvio (guitars, drums, vocals) and Giampaolo (bass) Vavallo and Luca Harb (guitars, keys). Despite being a trio, with the layers of instruments they play, Il Ruscello sounds like a much larger ensemble.
Stylistically they are right in the middle of the beat/prog transition. The closest comparison I would make is Le Orme (except for the vocal delivery). You also hear bits of Triade, Garybaldi, and Gli Alluminogeni (the breezy keyboards and psych elements). Some of the acoustic parts are pure Le Orme. The electric pieces show some of melodic harmonies from the 2nd side of the Triade album. You also get a bit of Latte e Miele with some of the keyboards and orchestrations.
This may be one of the best retro albums in recent years. While it sounds like it came from 1972, there is also no question that it is modern. The recording techniques, some of the backing guitar lines are quite contemporary. That makes is a bit different from La Maschera di Cera who keeps the sound in the 70s. This album plays like a compilation of everything Le Orme ever did, but in one album length suite.
It is melodic, gorgeous, energetic. The singing and playing are top notch, although some of the upper registers of the vocal lines are the only weak points. But nothing we haven't heard before in Italian prog.
All I can say is this is a terrific album that needs to land in everybody's collection.

Paesaggio Solare (Estate 1972)

Chris Antonik - Chris Antonik

Bitrate: 320K/s
Year: 2010
Time: 43:31
Size: 99,7 MB
Label: Silverbirch Productions
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. More to Give - 4:43
 2. Roll with it - 3:53
 3. The King of Infidelity - 4:49
 4. If We Start from Here - 3:38
 5. Dhyana - 2:51
 6. She's a Burglar - 3:37
 7. Almost Free - 4:58
 8. Double Trouble - 4:51
 9. Reap what You Sow - 5:38
10. Persevering Kind - 4:28

Toronto-based Chris Antonik is a three-time Maple Blues Award-nominee (Canada's national blues awards) and one of Canada’s most acclaimed blues artists. Blending innovative, thoughtful songwriting with stunning blues guitar work, some music critics have drawn comparisons to Eric Clapton.
In its 2010 year-end review, Chris was named the "future of the blues" by Canada's Blues Underground Network. In 2011, Chris was nominated for Best New Artist of the Year at the Maple Blues Awards.  In 2013, his sophomore album Better for You was hailed by critics as “a masterpiece,” “the best Canadian blues-rock album of 2013,” and “the sound of someone taking the blues to a new place.”
The album spent three weeks at #1 on DAWG FM (Canada's only all blues FM station), attained significant airplay across Canada, the US and Europe, including on Sirius XM Bluesville, and was nominated for Best Blues Album by the German Record Critics’ Association. Oregon’s CascadeBlues Association called it “one of the finest releases from the Great White North in many a year.”
Chris has performed at major blues festivals across Canada, and has toured the US extensively, including performances at Buddy Guy's Legends in Chicago (for the 2015 Buddy Guy's Legends Blues Festival), and Biscuits & Blues in San Francisco. In 2016, Chris returned to Buddy Guy's Legends in Chicago, and also undertook his first UK tour, headlining the Upton Blues Festival.
On April 7, 2017, Chris released his third studio record Monarch, which completed a trilogy of self-expression started in 2010.  The album reached #1 in Canada on the Roots Music Radio Report, and was nominated for Recording of the Year at the Maple Blues Award (Chris was nominated for Producer of the Year).  Chris also received a nomination for Songwriter of the Year.

Chris Antonik