Riversea - The Tide

Bitrate: 320K/s
Year: 2018
Time: 55:58
Size: 129,2 MB
Label: Self Released
Styles: Progressive Rock/Neo-Prog
Art: Full

Tracks Listing:
 1. The Tide - 5:53
 2. Shine - 4:56
 3. Blasphemy - 5:36
 4. Your Last Day - 5:17
 5. Drowning in Vertigo - 4:43
 6. Strange Land - 5:44
 7. The Design - 4:15
 8. Fallout Warning - 4:34
 9. Goodbye My Friend - 5:09
10. To Those that are Left Behind - 2:09
11. Uprising - 6:37
12. The Tide Reprise - 0:59

UK act RIVERSEA was formed by duo Marc Atkinson (vocals, guitars) and Brendan Eyre (keyoboards) as they started writing material, and through a process that took much longer than initially planned an album's worth of material slowly but surely took shape. With the aid of a multitude of musical friends and acquaintances the creative duo's material was given life and shape in bits and pieces in various studios over several years, and in 2012 the end result was released as Out Of An Ancient World, a production that has been met with generally positive acclaim since it was made available in the summer of 2012.
With some albums, I don’t have much to say about their contents, and so I may get a little stumped about how to start the review. Other albums, however, are so rich and beautiful, like some grand tapestry, that I have too many words crowding my mind.  The result is that I once again have trouble starting the review.  The latter is the case for the sophomore album from Riversea, called “The Tide” and releasing on April 23rd.  I finally decided to write what is on my heart, which is exactly what Riversea is all about: heart, mind, and soul.
The influence and importance of Riversea’s “Out of an Ancient World” in my life cannot be understated. It truly is one of my top albums ever.  I even wrote a spotlight of the deep lyrical content in that album (that spotlight was actually one reason I started TPM).  Naturally, I’ve been dying for a follow up album, and I have been following with great interest the crafting of this offering.  Yes, it has been almost six years since the debut, but “The Tide” is worth every second of that wait time.
Riversea technically consists only Marc Atkinson on vocals and Brendan Eyre on keys. However, David Clements (bass) seems to be a part of the band in some capacity now.  The album includes a huge range of guest musicians: Tony Patterson (keys and flute), Alex Cromarty (drums), Lee Abraham (guitar), Robin Armstrong (guitar), Simon Godfrey (guitar), Paul Cusick (guitar), Peter Aves (guitar), Martin Ledger (guitar), Olivia Sparnenn-Josh (backing vocals), Janine Atkinson (backing vocals), and Louise Dawson (backing vocals).  The range and diversity of the performers is truly astounding, and it gives the album a bigger and deeper feeling than the debut.
“The Tide”, like the debut, is deeply entrenched in beautiful and powerful lyrics. While the debut dealt more with a divine idea of who we truly are as humans, this album dives into a more earthly look at the human condition.  We are a truly troubled race, always spiraling towards self-destruction, and much of that comes with the name of God on our lips.  This album is an uprising against that destructive way of life, and the lyrics will affect you emotionally and spiritually.  I will certainly be reading the lyrics with great interest.
As a result of this dire look at the human condition, this album is quite somber and serious. The tone overall is worshipful and spiritual, begging us to consider what is being said.  While the album is quite sober, it is no less soothing and relaxing to hear than the debut.  It offers absolute tranquility in a way that I really haven’t heard from other artists.  That is the Riversea touch.
Marc’s voice is as effective and smooth as ever. Honestly, his perfect performance of the amazing hooks and melodies on this album gives me chills just thinking about it.  Combining his vocal chops with the serious nature of the lyrics, this album made me tear up no less than 3 or 4 times.  Marc’s voice elicits emotion from me like few others.  Between Riversea, his solo albums, and the other projects of which he has been a part, Marc’s voice has become a soothing, nostalgic presence for me.
Brendan’s keys are once again glorious and synthy. His work is like a revelation sometimes, and I absolutely love it.  Guitars from all the guests are soul-piercingly emotional, as are the backing vocals, too.  David’s bass is a fantastic addition to the Riversea sound, as it comes across as haunting and inventive in each and every song.  In fact, certain songs really rely on his bass skills to be as deep and abstract as they really are.
“The Tide”, like I said, is a bigger album that the debut. I also find that it is “proggier”, for what that’s worth.  The song structures are more diverse and abstract, and there is a good variety of elements here, from Floydian influences to pop to light electronic accents, and so on.  The musical style is progressive rock through and through, but there is plenty of musical space and melodic growth, too.
While I’d love to go over every song (which I may do in a spotlight at a later time), let me go over just my favorites. First off, the title track starts the album with a glorious fade in and plenty of warmth and nostalgia.  The single is “Shine”, and I love the edge to the guitars and the electronic accents.  “Drowning in Vertigo” has one of the most emotional choruses and guitar solos on the album, and the way it just builds and sustains is simply striking.
The album gets even stronger in the second half. “Strange Land” might be my favorite song of the year so far.  The bridge and chorus have such a tight and perfectly performed melody, and it absolutely grabs me every time.  “Fall Out Warning” is a complex song, both musically and lyrically.  It feels like the waves breaking on the rocky shore as the fallout of our human tendencies rears its head.  “Uprising” is a subdued song that feels powerful and purposeful in its tone and lyrics, but the music is subtle and led by flute.  It’s a great contrast that really accents that meaning behind the song.
“The Tide” is not just a solid album from Riversea. It is a triumph.  This offering is nothing short of stellar musically in each and every track, but it also strikes deeply into my heart and mind lyrically.  The spiritual and emotional content here grabs hold of my core, and leaves me thinking and even hopeful.  For the love of all that is holy, please buy this album.

The Tide

Atlantropa Project - Atlantropa Project

Bitrate: 320K/s
Year: 2017
Time: 78:54
Size: 182,9 MB
Label: Progressive Promotion
Styles: Progressive Rock/Crossover Prog
Art: Full

Tracks Listing:
 1. A Continent Of Joy - 2:42
 2. The Great Maker - 5:53
 3. New Sky - Part I - The Plan - 3:25
 4. New Sky - Part II - The Bridge - 0:58
 5. New Sky - Part III - Atlantropa - 2:52
 6. Now Is Always Past - 1:31
 7. Time To Bid Goodbye - Part I - A Key For Peace - 3:02
 8. Time To Bid Goodbye - Part II - Unknown Waters - 1:44
 9. Time To Bid Goodbye - Part III - Last Goodbye - 2:40
10. They Want To Steal The Ocean - 6:56
11. Thinking Further Than A Generation's Life - 1:20
12. Gotta Stem The Greedy Water - 4:51
13. At The Mercy Of Progress - 1:41
14. Walk Across The Sea - 6:17
15. Mare Nostrum Dream - 3:06
16. To Understand What Uunderstanding Means - 1:06
17. When We All Speak Atlantropan - 9:00
18. It`s Time For New Dreams - 1:33
19. Dream My Dream - 6:57
20. Star Atlantropa - Part I - Look To The West - 3:05
21. Star Atlantropa - Part II - We Still Have A Lot To Learn - 5:02
22. Star Atlantropa - Part III - Shining Star - 1:44
23. Reprise - 1:13

The ambitious concept album can be hit or miss and the misses can often sink without a trace. It’s a risk because what is your passion may not necessarily be someone else’s.
Atlantropa Project is the sophisticated, creative outcome of a group of ambitious and experienced musicians to musically explore and honour a great, almost forgotten idea of humanity. German engineer Hermann Sörgel’s plan was to build a huge dam, dry the Mediterranean, obtain new land, unite Africa and Europe and create peace.
To be fair, his plan is no more difficult than the idea of this concept piece but this brilliantly creative group of like minded artists have just about pulled it off. It is a richly rewarding and immersive concept album with a dynamism rarely found these days. The songs have a creativeness and virtuosity that just about overcomes the bloated length of this release.
You cannot listen to this in any other way than in one sitting where the whole story and soundtrack comes together like those great adventure films that graced the silver screen, King Solomon’s Mines and the like, but, ultimately, for this listener, the ambition just outstrips the reality.

Atlantropa Project

Aliante - Forme Libere

Bitrate: 320K/s
Year: 2017
Time: 46:54
Size: 108,4 MB
Label: Self Released
Styles: Progressive Rock/RPI
Art: Front

Tracks Listing:
 1. Forme Libere - 0:54
 2. Kilowatt Store - 5:16
 3. Tre Di Quattro - 9:28
 4. Etnomenia - 6:17
 5. Kinesis - 5:15
 6. Coda: Marea 03 - 1:44
 7. L’ultima Balena - 8:30
 8. San Gregorio - 9:27

ALIANTE (meaning GLIDER in English) are a real surprise in Italian music. They are creative, careful, never dispersive and never excessive.They have clear ideas and the right talent to put them into practice.They know perfectly how to play with melody and with harmonious twists to create evocative and emotional enchanting music.
A new sound sensation that smells of art and cultivated music without being snobbish.Just a gliding and planing flight, calm, reflective, with a few moments of slight madness in a faster descent can fully describe (or at least give the same kind of sensations) of the music you can hear in this album of ALIANTE.
Unpretentious music that wants to open the boundaries of progressive rock to end in wide open skies, where the melody is absolute master and at the same time a travel companion of rhythms and unusual tempos.Moog, piano, organ, etc. combined with bass and drums lead us to an instrumental symphonic prog music, brand new but without forgetting the origins (Trace, Greenslade, Triumvirat, ELP).A flight made of bright and breath-taking sounds, echoes of drums with almost ethnic sounds and the cross-beat of a loud bass. This is the first work of ALIANTE, although the experiences of the three components are many and long.
Just remember that Jacopo Giusti and Alfonso Capasso were members of the group EGOBAND.The album is produced by ALIANTE and VANNUCCIO ZANELLA.

Forme Libere

The Dharma Bomb - Bullseye

Bitrate: 320K/s
Year: 2004
Time: 62:57
Size: 145,3 MB
Label: Crash Media
Styles: Rock/Jam Bands
Art: Front

Tracks Listing:
 1. Jericho Rocks - 3:37
 2. Old Cutler Road - 4:13
 3. Hermosa Beach, 6 AM - 2:54
 4. Trust - 2:59
 5. Bullseye - 6:16
 6. Down - 4:34
 7. No Roof But Heaven - 4:27
 8. Reluctant Superhero - 4:25
 9. Just Don't Get It - 3:26
10. Living Beside the Highway - 5:57
11. Easter Sunday - 5:12
12. Nobody's Girl - 4:18
13. Birthday Cake - 3:49
14. Surrender - 3:51
15. Goodbye - 2:50

The organic grooves of The Dharma Bomb have rocked their home state of Florida for the past few years, and with their excellent new CD Bullseye, they are poised to break out to wider acclaim. Lead singer/songwriter Todd Thompson's earthy piano and organ work complements the textured songs, whether taking center stage on the Traffic-like title track or bursting out in the exuberant piano solo on "Nobody's Girl." The Dharma Bomb's strengths lie in their most heartfelt songs, with Thompson's soulful rasp complementing his able songwriting on the plaintive "No Roof but Heaven" and standout track "Living Beside the Highway. …

Bullseye

Max Sunyer - Babel

Bitrate: 320K/s
Year: 1978
Time: 40:48
Size: 93,7 MB
Label: Picap
Styles: Progressive Rock/Jazz Rock Fusion
Art: Full

Tracks Listing:
 1. Autopista - 10:29
 2. D'una Manera Silenciosa -  9:52
 3. Reflexions (Sobre D'una Canco Anonima Catalana) -  5:46
 4. Les Maquinaries De L'alegria -  5:44
 5. Jo Crec -  8:54

Trust me when I include Max Sunyer's name along with the likes of Al DiMeola, Jorge Strunz, & John McLaughlin. Here is a fusion guitarist from Spain, one the held that instruments position in the little known fusion band from Spain called Iceberg. Sunyer's solo cd Babel, really reminds me of the multi-national fusion ensemble Caldera, in that there are strong leanings towards a latin feel, using percussions, flutes, saxes, acoustical and electric guitars, synths as well as the type of chordal progressions that represent the very substance of this cultural music phenomina, and Sunyers' romantic, expressive style of playing, seems to evoke the very passion of his soul. He also tears into a similar frenetic pizzicato technique used by Al DiMeola and Jorge Strunz. The fact that Sunyer is an accomplished musician in no way deters from what his true admiration of fusion music is, and that is building themes from melody, and a solid musical backdrop with which the soloists are able to release their utmost passionate expressions via their instruments.
This is most certainly a cd that is well worth tracking down if the artists mentioned are in the style of music you like, and I should mention the Iceberg cds are also excellent fusion, also present on this cd is Iceberg's fine keyboardist Josep Mas, who, like Sunyer, is able to play in the styles of the greats, Corea, Zawinul, Del Barrio, etc.
This is vintage fusion, from 1978, and from an artist that was sadly overlooked in his day, but as many readers, prog/fusion heads already know, rediscovery of these retro gems of music are seldom disappointing, and those that long for the heyday of fusion's onset will really find this music very gratifying.

Babel

The Blues Mystery - Soul Memories

Bitrate: 320K/s
Year: 2018
Time: 46:36
Size: 106,8 MB
Label: PBR Records
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. 25 Degress Below Zero - 3:47
 2. Sit Down - 4:13
 3. Has Humankind Lost Its Soul - 4:27
 4. I'm Afraid of the Next Blues - 3:20
 5. 8000 Miles - 3:40
 6. Time to Forgive - 4:45
 7. Reputation - 4:35
 8. Red Hot No Shot - 3:28
 9. High Level Woman - 3:36
10. Risking Love Again - 3:51
11. Keep on Working - 3:01
12. Look out Mama - 3:48

Blues-Rock with a touch of funk and soul. Digging in the blues, inspiring lyrics, female backing vocals and electric guitar solos.
The song BACK TO THE DIRTY TOWN today is a worldwide classic of the fans of blues and Blues Rock. On countless playlists, on YouTube, on Spotify and radio stations this song is heard by tens of thousands of people daily. The Blues Mystery live have been titled as “the blues that makes you happy”. With their unique own style, they've mainly been playing festivals and clubs in Switzerland, Germany and France. Influenced by greats like Eric Clapton, Buddy Guy, Muddy Waters or James Brown, they compose very song oriented as for example Fleetwood Mac, ZZ Top or the Rolling Stones do, they’re not stuck to the 12 bar Blues.
They've released their first album THE BLUES MYSTERY in 2013, the second one called DIESEL ROCK in 2015. Since end of 2017 they’ve launched THE BLUES MYSTERY TV, giving dynamics to their YouTube channel, the first show launched was “Walter’s Blues & Rock Talk”.
New album SOUL MEMORIES
Their third album, released on April 13, 2018, was announced with the provocative single and video clip HAS HUMANKIND LOST ITS SOUL? The Blues Mystery recorded during one whole year, the key to capture intensely and intimately Willy Matt’s voice better than ever before. The instruments sound purer than on the first two albums, and the new element of female backing vocals gives a soulful touch to their typical style. Several songs groove with a funky upbeat touch and encouraging messages, well mixed with melancholic blues tunes carrying heavy lyrics.

Soul Memories

Anglesee - Stories

Bitrate: 320K/s
Year: 2018
Time: 43:18
Size: 100,4 MB
Label: Self Released
Styles: Progressive Rock/Crossover Prog
Art: Front

Tracks Listing:
 1. Water - 7:30
 2. All That I Want - 5:48
 3. Dance On The Waves - 5:58
 4. No One's Home - 5:12
 5. Final Parting - 5:37
 6. Growing Tall - 7:08
 7. Where I Belong - 6:02

The songs on this album are about the less pleasant parts of life.  From youth homelessness in Where I Belong, deforestation in Growing Tall, gaming addiction in No One's Home to losing a loved one in All That I Want.
These songs don't preach they just tell a story and the rest is up to you.

Stories

Defunkt - Thermonuclear Sweat

Bitrate: 320K/s
Year: 1982
Time: 40:04
Size: 92,3 MB
Label: Hannibal
Styles: JRF
Art: Full

Tracks Listing:
 1. Illusion - 5:35
 2. I Tried To Live Alone - 5:09
 3. Cocktail Hour (Blue Bossa) - 3:27
 4. Ooh Baby - 6:04
 5. Avoid The Funk - 4:28
 6. Big Bird (Au Private) - 2:09
 7. For The Love Of Money - 5:57
 8. Believing In Love - 7:13

Musicians:
Bass - Kim Clarke
Drums - Kenny Martin
Guitar - Kelvyn Bell , Richard Martin (3) (tracks: A1, B4) , Vernon Reid (tracks: A2 to B3)
Saxophone - Dave Hubbard
Trombone, Lead Vocals - Joseph Bowie
Trumpet - John Mulkerin
Vocals - Clarice Taylor

Defunkt is the pairing of the first two albums by Joseph Bowie's all-star jazz-funk group, Defunkt, which included such luminaries as Vernon Reid, Kelvyn Bell, Kim Clarke, Kenny Martin, Melvin Gibbs, and others. Defunkt (1980) picked up an aesthetic first put forth by Miles in the mid-'70s, and Ornette Coleman's Prime Time in the late '70s, with the latter adding the hot-foot whomp of James Brown, the tune sparking the fire of Prince and the Downtown New York scene's outsider vision. The formula was refined and perfected in 1982 with the issue of Thermonuclear Sweat, where Bowie's trombone and vocals added more "song" to the groove: the effect was devastating. Defunkt was and is a place where vanguard jazz, hard funk, street savvy, soul, and assaultive rock & roll all blend together in a pool of sheer musical abandon and hedonistic glee. This double-disc package has been augmented with bonus tracks, no less. Disc one carries the 12" version of "Razor's Edge" and three live cuts from 1983 -- including a killer take of "In the Good Times," while disc two contains a live version of "Big Bird (Au Private)" from the same show. Put together, this collection is one of the reissues of the year, as the music vibe has not only not dated, but proven that Bowie and company were far ahead of their time.
Thermonuclear Sweat

Lomo - Painkiller

Bitrate: 320K/s
Year: 2002
Time: 54:35
Size: 125,8 MB
Label: Hammerhead Records
Styles: Progressive Rock/Jazz-Rock Fusion
Art: Full

Tracks Listing:
 1. The Surge - 5:04
 2. Present Climate - 7:48
 3. Blind Pew - 6:34
 4. Cold March - 3:37
 5. Sharkness - 3:25
 6. Serpent Handling - 5:45
 7. Faultlines - 3:52
 8. Centrefold - 6:30
 9. Verad Praise - 5:04
10. Reprise - 6:52

The press say:
'..Their cd Painkiller is unfamiliar yet it seems like it's always there in the back of your mind. The songs have an urbane sheen perfect for a night in town and a warmth suited to relaxing at home. I can't say for sure whether Lomo plays rock for jazz fans or jazz for rock fans. Either way, the grooves are irresistible.
Nick Bensen, Free City Media, February 2003.
'Painkiller is an auspicious and potent mix of jazz and progressive rock with tango vibes.'
Humphrey Inzillo, Rolling Stone, September 2003.
'Painkiller is a crips jazz-fusion outing from British Band Lomo. On tracks too adventerous to be considered smooth, Simon Pearson's drumming is supportive and expressive. Witness his impressive, melodic cymbal work on 'Present Climate', his navigation of the funky opus 'Serpent Handling', and his attention to the pocket and textures on Faultlines.'
Robin Tolleson, Modern Drummer, November 2003.
'The sensation of quasi sorrowful solitude is almost continuously present. We imagine ourselves walking throught the streets of London, Paris, New York in the dead of the night. These compositions are the soundtrack of a tormented but nevertheless saving walk.'
Renaud Rigart, Zoopa Loop, October 2003
'Lomo emphazises silences, making them interesting, and that is their biggest achievement.'
M. Garrido, Cuadernos de Jazz, February 2003
'The paradox surfaces after listening, when we realize we are before a trio that allow themselves a vast array of musical influences. Their sound is solid despite the minimalist angle, they have a harmonic complexity suited to the trio and a timbric depth and schematic rigour that make Painkiller into an unparalelled work in the current music scene. Lomo's music moves and is addictive.'
Jaume Nadal. Margen Magazine, April 2003
'I like how they're not stuck in any easy pigeonhole, and are gushing with stylistic shape shifting while always remaining vividly direct and phisically muscular in their interplay and exchanges.'
George Parsons, Dream Magazine, September 2003

Painkiller

Moondance - North Shore Appeal

Bitrate: 320K/s
Year: 1977
Time: 29:44
Size: 68,6 MB
Label: Big Pink (2014)
Styles: Progressive Rock/Soft Rock
Art: Front

Tracks Listing:
 1. Do the Moondance - 3:16
 2. It's Morning - 3:48
 3. My Lady - 3:00
 4. She's So Fine - 2:55
 5. We Had it All - 3:16
 6. Goodtime Baby - 2:59
 7. My Brother and I - 2:21
 8. Take Me Back - 2:44
 9. Still in my Mind - 5:22

If Crosby, Stills, and Nash were native Hawaiians with a taste for fuzzy guitars and prog-ish elements, this is probably the album they would make. Relentlessly chill and earthy, with some tasty harmonies and rhythms nestled into what are otherwise very standard folk/rock songs. This rare album is certainly worth a few listens if you find a copy.

North Shore Appeal

Eppurse Muove - Pieles Latigazos

Bitrate: 320K/s
Year: 1997
Time: 40:40
Size: 93,8 MB
Label: Self Released
Styles: Progressive Rock
Art: Front

Tracks Listing:
 1. Rodar - 6:43
 2. Suenos Afiebrados - 4:03
 3. Anzuelo - 4:49
 4. Maquinaria - 1:33
 5. Plegaria - 4:12
 6. Cronica - 5:49
 7. Amigo Magistral - 2:25
 8. El Paseo De Los Duendes - 1:48
 9. La costumbre Del Juez - 3:11
10. Targo - 4:41
11. Paisaje final - 1:22

Musicians:
Cristian Antonelli - voice
Raul Diaz - guitar
Andres Camperi - bass
Diego Hobert - guitar
Andres Albarenga - drums

El primer album de los Eppurse, quizas el menos logrado pero aun asi sigue siendo muy bueno, y forma parte de la discografia de la banda, disco que ademas es inconseguible y solamente encontraran en este blog cabezon. Y Sandy lo subio para quienes aun no lo tienen, no se pueden quejar.

Pieles Latigazos

Ashland - Real Time

Bitrate: 320K/s
Year: 2001
Time: 40:40
Size: 93,1 MB
Label: Self REleased
Styles: Progressive Rock
Art: Front

Tracks Listing:
 1. Time Piece - 4:04
 2. Touched - 3:31
 3. Slipping Away - 3:32
 4. Yin And Yang - 2:04
 5. Fallen - 4:24
 6. Mysteries - 3:58
 7. Time For A Change - 3:24
 8. Hit-N-Go - 6:14
 9. Channel 9900 - 5:36
10. October Bleeds - 3:47

Musicians:
Chad McMurray - vocals, bass;
Kevin Brooks - guitar;
Wayne Tapia - guitar, backing vocals;
Dean Katona - drums, percussion.

Ashland began in the Pacific Northwest in 1991, just as grunge fever was breaking out of Seattle and into the mainstream. Despite the temptation to capitalize on the new sound, Ashland decided to go in a progressive rock direction that put them at odds with their minimalist alternative brethren. Bassist/vocalist Chad McMurray, drummer Dean Katona, and guitarists Kevin Brooks and Wayne Tapia began to release albums independently, finding a large audience on the Internet during the release of Real Time in 2001.

Real Time

Claudio Dentes - Pantarei

Bitrate: 320K/s
Year: 1979
Time: 37:00
Size: 85,7 MB
Label: Universal
Styles: Progressive Rock/RPI
Art: Full

Tracks Listing:
 1. Pantarei Parte 1 - 4:20
 2. Pantarei Parte 2 - 5:19
 3. Tarantel - 2:56
 4. Rav - 4:39
 5. Camden Town - 7:06
 6. Imago - 6:26
 7. Rock O'Cockey - 5:22
 8. Untitled - 0:49

A London-born multi-instrumentalist living in Milan, Dentes released his first solo album with the help of many important session musicians. The LP is entirely instrumental, but the result is mediocre and went largely unnoticed.
The album has been reissued on CD in 2010 by Universal as part of the Progressive Italia - Gli anni '70 vol.5 box set.

Pantarei

Henk Werkhoven - Orphical Positions

Bitrate: 320K/s
Year: 1982
Time: 38:41
Size: 90,0 MB
Label: VMU
Styles: Progressive Rock
Art: Full

Tracks Listing:
 1. Orphical Positions - 6:34
 2. Feints Of Love - 2:44
 3. The Witches Charm - 3:20
 4. Avalon - 3:17
 5. Blue Friends - 3:11
 6. Alan's Song - 3:27
 7. Tales In The Morning - 5:03
 8. Eleanor - 3:23
 9. Sylvan Delights - 2:36
10. Orphical Positions Reprise - 5:02

You can read about Mr. Werkhoven online. Another one of those Renaissance guys, constantly in creativity mode, yet few know who he is or what he does. As you read the bio, you could come away thinking this is a new age album. Couldn't be further from the truth. Basically "Orphical Positions" is good old fashioned instrumental progressive rock lead by flute, violin and guitar (acoustic and electric), along with exotics like sitar. A crack rhythm section keeps the proceedings moving along at a crisp pace. At once I'm reminded of Camel's "Snowgoose" and Rousseau's "Flowers in Asphalt". But I also hear Anthony Phillips, Kenso, Flairck, Coda and Verdaguer. A very fine release.
It was a ping-ponged suggestion checked by three teams, Prog Folk, Eclectic Prog and Symphonic Prog, but none of them found their category suitable. It's a bit of a tricky one to classify as a quite easy listening album with folk, world and symphonic rock elements. I like the "exotic" world music qualities, and I don't mind some "syrup" in my listening. Had I still been on the Eclectic Team, I think I would have said yes even if I wouldn't find it an ideal fit, but different people hear things differently. Personally, I find it sufficiently PA worthy and wonder if Crossover might want to give it a go.

Orphical Positions

Arif Mardin - Journey

Bitrate: 320K/s
Year: 1974
Time: 43:18
Size: 99,4 MB
Label: Wounded Bird Records
Styles: Jazz Rock
Art: Full

Tracks Listing:
 1. Street Scene: Strollin' - 4:59
 2. Street Scene: Dark Alleys - 4:08
 3. Street Scene: Love on a Rainy Afternoon - 3:54
 4. Street Scene: Parade - 4:56
 5. Street Scene: A Sunday Afternoon Feeling - 5:30
 6. Journy: Journy - 9:05
 7. Journy: Flight - 6:49
 8. Forms - 3:53

Arif Mardin is best known as one of the top producers for Atlantic Records, especially in the jazz division. Since he was also a musician, he self-indulged himself by putting out a couple of his own albums. Luckily he was able to enlist the services of a host of jazz luminaries. This album features the likes of Billy Cobham, Gary Burton, Hubert Laws, Ron Carter, Michael Brecker, Randy Brecker, Joe Farrell and the list goes on and on. This marks the worldwide CD debut of this fine album.

Journey

Robby Krieger Organization - RKO Live!

Bitrate: 320K/s
Year: 1995
Time: 66:26
Size: 152,8 MB
Label: One Way Records Inc
Styles: Jazz Rock
Art: Full

Tracks Listing:
 1. Revelation -  7:30
 2. Back Door Man -  4:07
 3. Blue Note Shuffle -  5:04
 4. Spanish Caravan/Spain -  8:35
 5. Riders On The Storm -  6:59
 6. So What -  8:15
 7. African Daisy -  5:35
 8. Gavin Leggit -  4:38
 9. Light My Fire - 15:41

Recall the brilliant Paul Rothchild-produced Doors album "Strange Days." Such a tightly structured concept album, perhaps reflecting the all-time greatest blend of unity of a group into single songs (and mood). Robby Krieger, without a pick and employing bottleneck, did the beautiful high-pitched guitar glides and slides and eerie twangs on various songs, played the acid solo in "When the Music's Over," electrified in "My Eyes Have Seen You," and dished out regular great blues and hard rock guitar. The Doors were so together, man--it was not even Jim Morrison and The Doors, always The Doors. But this is a very talented great guitarist, who wrote "Light My Fire," after all. What's he like on his own?
Many years have passed since then, and Robby has become his own man. His accomplishments are many, and his post-Doors production exceeds that of the legendary group. Still, he found demand for Doors songs during his solo career was always there, and in fact increased over time. The Robby Krieger Organization is a revolving door band, no pun intended, known for playing mostly Doors numbers and jazz covers, although they have a few jazz songs of their own. The group on this live CD comprises only Robby and his two-person accompaniment, who perform four Doors songs along with several covers of jazzy instrumental numbers and Robby's own heavy, fuzz-boxey "Gavin Leggit." The songs were performed in small venues fit for the jazz numbers that were included. Robby's beautiful Doors classic "Spanish Caravan" and Chick Corea's "Spain" are combined in a flamenco medley. Another of the jazz numbers, "African Daisy," is a fine composition by RKO percussionist Dale Alexander.
The solos of Robby and his mates cook in the jazz tunes, but I have to be honest, "Spanish Caravan" and the other Doors songs are the highlight. But they are less in the vein of The Doors and more so in that of Robby's group, which is jazz. This includes Willie Dixon's "Backdoor Man," such a defining cover for Jim Morrison's stage persona, but here with Robby on vocals instead. Robby's "Light My Fire," my favorite song of all time, has its solo considerably extended, lending itself to jazzy interpretation. "Riders on the Storm" fits in well because it is arguably more jazzy than any Doors song in original form. But here, it is Skip Vanwinkl's Hammond organ rather than Ray Manzarek's piano we hear, along with Robby's liquid guitar, gliding and flowing, producing a great variation on this hypnotic song. Still, for all I've said about jazz, I must emphasize the eclecticism on the CD, for that is what Robby is all about. He is often described as a flamenco guitarist for want of a single adjective, but The Doors--they were a psychedelic blues band, right? Enough of regular rock and blues is here, along with flamenco and all that jazz.

RKO Live!

Assemble Head in Sunburst Sound - Assemble Head in Sunburst Sound

Bitrate: 320K/s
Year: 2005
Time: 36:19
Size: 84,0 MB
Label: Tee Pee Records
Styles: Psychedelic Rock
Art: Front

Tracks Listing:
 1. Mars - 4:34
 2. Scorpio Sun Queen - 6:00
 3. Creeping Spirits - Talkonaut - 8:03
 4. Sunk Upon Green Sea - 4:14
 5. Storm And Stress - 3:56
 6. Kurtz's Shroud - 2:46
 7. Phantom Ramjet - 6:43

San Francisco’s Assemble Head in Sunburst Sound is a soundtrack for strange days and futures bright and bleak. But there is also a crooked thread that runs backward through every Assemble Head record—the celestial trajectories of The Notorious Byrd Brothers and circa ‘70 Floyd; the dusty canyon stomps of Crazy Horse, slashing action pop of the savage young Who, Italian bastardizations of Lalo Schifrin cop movie scores, and the scuzz-bomb shrapnel of latter-day garage mongers like Mudhoney and Monoshock.
The band’s third LP, When Sweet Sleep Returned, is propelled to some extent by that same glorious distillate. But it also finds the group speaking their own twisted tongue more assuredly than ever—marrying hazy Saturday moods, interstellar sonics and wrecking-ball swing to song and harmony in poems for California, lovers, ghosts, the stars, and a world gone stark raving mad.
For When Sweet Sleep Returned, Assemble Head re-united with engineering mastermind Tim Green, who manned the controls for masterpieces from Howlin’ Rain, Comets on Fire, Six Organs of Admittance, and Earthless, as well as Assemble Head’s 2007 releaseEkranoplan.
The band entered Green’s Louder Studios in October 2008 with an expanded lineup including original trio Michael Lardas, Jefferson Marshall and Charlie Saufley; longtime theremin and synth collaborator Anderson Lanbridge; and mega-multi-instrumentalist Camilla Saufley. The band also reached out to Brett Constatino and Evan Reese of fellow Frisco freaks Sleepy Sun, for vocal harmonies on the beautifully sprawling and soaring “Two Birds.”
Elsewhere, When Sweet Sleep Returned finds Assemble Head exploring the sun-dappled terrain of daydreams on “The Slumbering Ones”, hard-chugging crust-fuzz boogie on “Clive and the Lyre”, bittersweet melodiousness on “By the Rippling Green”, and space-temple chorale chime on “Kolob Canyon.”
All this ecstatic aural gumbo—garnished with illustrations by hyper-surrealist artist Andy Ristaino—will be served up in early April 2009 on Tee Pee Records.

Assemble Head in Sunburst Sound

Uncle Mont's Quandry - Sorrow In Full Strut

Bitrate: 320K/s
Year: 2010
Time: 47:22
Size: 109,0 MB
Label: Regalia
Styles: Rock/Jam-Band
Art: Front

Tracks Listing:
 1. Bottled Devil Blues -  2:51
 2. Ghost of Memory -  4:36
 3. Red Riot Mare Black -  4:24
 4. Roses of Sharon -  6:18
 5. Phoenix Rising -  4:03
 6. Raymond's Children -  5:00
 7. Five Dollar Dead -  3:12
 8. Angel -  4:26
 9. Our Sister Sleep - 12:27

A Raw Ragged and very Real Rock Record Stripped down sound of a Lonesome Vocal, Nasty Telecaster and Drums played by a Master of Sonic Boom.
"This Record was made by Human Beings!" In our opinion some of the Greatest records ever made were based on Vibe and Groove, and Slick..well that's for ice skates. There is some Mud , Blood, and Dirt. There is also a final work that tips the hat to albums like "Raw Power" By The Stooges and "Exile on Main Street" (Still The Stones best) and basically Every Record Link Wray ever made! Rock n' Roll should be a little rough around the edge. We Broke practically every recording rule and embraced the experiment and hope you will too! This is a New Blues.. Not the standard my baby she left me, more often in tune with the visions and mind of Son House and Robert Johnson dealing with The Blues of The Bottle ,The Graveyard, Devils and Angels, Salvation and Solid Doom. Forsaking the 12 bar for wide open sonic instruction and influence. We leave the door open for Rock and Boogie, Psychedelic and Dirt Floor Honkey Tonk to all dance together. Embracing the concept of it may be a little Ragged.. but that means it's REAL. Roger Downs Drums and Percussion / Jimmy Fleming Guitar and Vocal.

Sorrow In Full Strut

D.F.A. - Kaleidoscope

Bitrate: 320K/s
Year: 2007
Time: 67:03 + 65:31
Size: 153,6 MB +150,1 MB
Label: Moonjune Records
Styles: Progressive Rock/Jazz-Rock Fusion
Art: Full

Tracks Listing:
CD1
 1. Work Machine -  7:14
 2. Collage -  7:10
 3. Pantera -  8:48
 4. Pantera -  La Sua Anima -  4:02
 5. Trip On Metro -  6:37
 6. Space Ace Man -  9:52
 7. La Via - 16:22
 8. Work Machine (Live) -  6:52
CD2
 1. Escher - 10:52
 2. Caleidoscopio -  9:37
 3. Esperanto -  8:12
 4. Ascendente Scorpione -  4:32
 5. Ragno - 11:30
 6. Malia -  5:29
 7. Space Ace Man (Live) -  8:48
 8. Collage (Live) -  6:25

Musicians:
Silvio Minella - electric and acoustic guitars;
Alberto Bonomi - Hammond organ, analog and digital synthesizers, mellotron, flute, vocals;
Luca Baldassari - electric bass;
Alberto De Grandis - drums, percussion, lead vocal.
Alberto Piras - vocals (CD №3 );
Giorgia Gallo - vocals (CD2 №6).

Progressive rock may be an even more marginalized musical genre than jazz, but interest has grown in recent years, largely thanks to the ability of the internet to reach out to an international audience from countries that would, under other circumstances, seem unlikely sources. While largely out of fashion in many countries, it's remained consistently viable in Italy, where groups like PFM not only reached international acclaim in the 1970s, but continue to tour and record three decades later. More than just legacy acts, however, newer Italian groups including Deus ex Machina and D.F.A make it clear that it's the combination of reverence for what has come before and a relentless push for what might come after that keeps any genre alive. D.F.A. (Duty Free Area) is especially notable in that it's a part-time band with full-time credentials. With its first two records—Lavori in Corso (Scolopendra, 1996) and Duty Free Area (Mellow, 1999)—out-of-print, the only available document of this inventive guitar/keyboards/bass/drums quartet has been Work in Progress Live (MoonJune, 2001). Recorded at NEARfest in 2000, it's all the more impressive given that this band has performed live less than forty times in its twelve-year existence. Thankfully, MoonJune's Leonardo Pavkovic is one of the band's biggest advocates, reissuing both studio albums on Kaleidoscope in much-improved remastered form.
The addition of three live bonus tracks is just icing on the cake of a double-disc set that's essential listening for anyone looking to hear where the influence of formative progressive groups including Gentle Giant, Peter Gabriel-era Genesis, PFM and British Canterbury artists like Hatfield and the North can lead in the present day. But Italian prog has always demonstrated a certain Mediterranean air, with Silvio Minella's classical guitar and Alberto Bonomi's flute on "Pantera—La Sua Anima" creating a gentle coda to the more fervent and electric "Pantera," which features Minella in more aggressive fusion mode. The symphonic nature of the nearly eleven-minute "Escher," with its heartbeat pulse and synth arpeggios recalls Lamb Lies Down on Broadway-era Genesis, but Alberto De Grandis' percussion overdubs over his in-the-pocket drumming and Luca Baldassari's more lithe bass lines make D.F.A's approach to irregular meters feel more natural. The more oblique and episodic "Work Machine," on the other hand, with its complex counterpoint and thematic trade-offs between the various instruments, references the similarly idiosyncratic Gentle Giant but with less swagger and, again, a more organic groove, despite its many shifts in meter.
As challenging as D.F.A.'s music can be, it remains largely accessible with an appealing blend of soft pastels and more assertive rock stance. Kaleidoscope is an opportunity to hear that progressive rock is alive and well, and that its most important aspect is, indeed, progress.

Kaleidoscope

Mike Mettalia & Midnight Shift - Crescent Moon Deluxe

Bitrate: 320K/s
Year: 2018
Time: 71:02
Size: 162,8 MB
Label: Self REleased
Styles: Blues/Rockabilly
Art: Front

Tracks Listing:
 1. Brooklyn City - 3:38
 2. Midnight Call - 4:44
 3. I Don't Remember - 3:20
 4. Ranchero - 2:58
 5. Willie Told Lillie - 3:19
 6. Description Blues (feat. Jimmy Cavallo) - 4:47
 7. Jumpin' With Jimmy - 4:37
 8. Juicy Fruit (feat. Jimmy Cavallo) - 2:46
 9. Paid The Cost - 3:46
10. Big Bad City (feat. Rayburn Anthony) - 3:15
11. Second Chapter - 3:05
12. Let's Rock And Roll - 2:52
13. Unemployment Risin' - 2:57
14. Rock This Joint (feat. Jimmy Cavallo) - 2:00
15. Crescent Moon - 4:01
16. Rockin' At The Comet - 2:59
17. Song Dedicated To You - 3:45
18. Don't Blame It on Me (feat. Jimmy Cavallo) - 3:44
19. Bullet Proof - 3:47
20. She Knows How to Rock (Live, feat. Rayburn Anthony) - 4:32

Mike Mettalia and Midnight Shift is back with its new CD, Crescent Moon Deluxe which is their fourth one. The new CD is the band’s most adventurous offering yet. Several years in the making with its nineteen tracks featuring guest appearances by 50’s Sun Record Legend Rayburn Anthony, and the return of 50’s rock n roll sax legend Jimmy Cavallo. Crescent Moon Deluxe also offers a special bonus live track recorded during one the band’s tours when they backed up Rayburn Anthony. The CD includes thirteen new originals and several under recorded classic covers including Jimmy Cavallo’s burning rendition of T Bone Walker’s Description Blues.
A burning red hot blend of straight ahead down home electric blues, 50's rock n rockabilly.

Crescent Moon Deluxe

Aisles - The Yearning

Bitrate: 320K/s
Year: 2005
Time: 56:39
Size: 129,7 MB
Label: Mylodon Records (MyloCD031)
Styles: Progressive Rock/Neo-Prog
Art: Full

Tracks Listing:
 1. The Warf That Holds His Vessel - 11:20
 2. Uncertain Lights -  4:04
 3. Clouds Motion -  7:06
 4. The Rise Of The White Sun -  4:56
 5. The Shrill Voice -  4:58
 6. The Scarce Light Birth -  7:34
 7. Grey - 16:37

Founded in Santiago, the year 2001, AISLES represents the new generation of chilean prog. Provided of a style eminently neo symphonic, the band delivers a style of classic roots and influenced by the british school (groups like GENESIS, YES, PINK FLOYD and MARILLION). Their only album is "The Yearning", released in 2005. One of the dinstinctive aspects of this offer is the interesting formation, which nucleus is composed by the Vergara brothers (guitars, keyboards and vocals), that includes the interaction of two keyboardists; also the english lyrics, that gives them the opportunity to enter in bigger leagues of prog.
The AISLES sonorous landscapes are dominated by a melancholic and emotive air, where the melody and long instrumental developments cover all the near path of neo prog; you can hear nice melodies, not only that boring constant soloing we heard from almost all the bands nowadays.
This band, because it's in the frontier of classic and neo prog, is recommended to all fans of the two mentioned genres. Really the chilean prog scene is getting bigger every year!!

The Yearning

Sebastian - Den Store Flugt

Bitrate: 320K/s
Year: 1972
Time: 39:30
Size: 91,3 MB
Label: Harvest
Styles: Folk Rock
Art: Full

Tracks Listing:
 1. Nar Lyset Bryder Frem - 2:50
 2. Lidt For Lidt - 4:32
 3. Da Verden Skreg - 4:25
 4. Den Gamles Drom - 3:22
 5. Status Quo - 4:39
 6. Hvis Du Tror Du Er Noget - 5:17
 7. Hvor Gar Du Hen? - 3:20
 8. Rose - 3:53
 9. Den Store Flugt - 6:35
10. Ende - 0:32

Den store flugt er Sebastians andet studiealbum og hans forste dansksprogede album, udgivet i 1972.Det er indspillet i Rosenberg-studiet i foraret 1972 med Ivar Rosenberg som lydtekniker. Albummet skulle oprindelig have v?ret udgivet pa et nystartet pladeselskab ved navn Forarstegn, ledet af Allan Mylius Thomsen, der ogsa designede pladecoveret. Det lykkedes imidlertid ikke at skaffe penge til at starte pladeselskabet op; bl.a. endte et stottearrangement for projektet i Odd Fellow Pal?et med et stort underskud. Sebastian skrev i stedet kontrakt med EMI, der udsendte pladen den 17. oktober 1972. Albummet blev oprindeligt udsendt som LP og blev genudsendt som CD i 2010 som en del af bokss?ttet Dansk Rock Historie 1965-1978. Den store flugt betod et gennembrud for Sebastian og gav et bl.a. et stort hit med sangen "Hvis du tror du er noget". I 1984 havde albummet solgt omkring 57.000 eksemplarer.[2] I 2002 blev albummet genudgivet i en jubil?umsudgave med en bonus-cd, Silhuetter, bestaende af tidligere ikke udgivne indspilninger fra 70'erne.

Den Store Flugt

Terra Mystica - Carsica

Bitrate: 320K/s
Year: 1998
Time: 60:00
Size: 138,1 MB
Label: Racman
Styles: Progressive Folk
Art: Full

Tracks Listing:
 1. Prebujenje - 4:32
 2. Preobrazba - 1:42
 3. Cirkus 01 - 3:34
 4. Srce In Valovi - 3:00
 5. Ples Kot Dezne Kaplje - 5:18
 6. Nosorog V Katedrali - 5:29
 7. Potovanje V Sredisce - 3:44
 8. Terra Mystica - 4:23
 9. Irska-carsica - 4:25
10. Ukraine's child - 2:26
11. Carmin - 4:33
12. Ej li - 4:43
13. Inside penetralia - 4:12
14. Finale - 4:23
15. Empty (bonus track) - 3:29

Terra Mystica is a project masterminded by guitarist Danijel Cerne, also known as Mystica. Cerne wrote most of the pieces for Terra Mystica and was later also the leading man behind Terra Folk, their folky offshoot.
Their first album, entitled Carsica, was released in 1998 to very favourable reviews and fan responses. They were greatly supported by the television and radio. Although the album and band were very popular at the time, this first album is now quite hard to find.
Many will wonder if it is indeed worth seeking this album out. I myself was very sceptical. How can it be good if it was so popular? I suppose even 10 years ago, popular music was slightly different than nowadays and you could still get away with quality and artistic integrity. The truth is that Terra Mystica created one of the finest Slovenian progressive rock albums of all time and that's saying a lot because the scene was anything but small. I have to say it's my favourite Slovenian album ever. It really is that good – eclectic, original and still highly catchy.
The album opens with Prebujenje (Awakening), which starts off in befitting mystical fashion with the sound of bells. The other instruments join the fun and keep this mood going. This is probably the closest Terra Mystica come to pure symphonic progressive rock.
Preobrazba (Metamorphosis) is a classically oriented piece with lots of strings and piano. It may have been intended as a short interlude, but it works just as beautifully on its own.
Cirkus 01 is exactly what you'd imagine a circus to sound like, except this is a sombre and tired circus in its last breaths. Terra Mystica manage to create a wonderful dichotomy between tradition and progress, the playfulness of the circus and the fatigue which surrounds this dying trade.
Srce in valovi (Heart and Waves) relies heavily on the strings yet again. They create a rhythm which goes on until the end of the song. The drums mimic the beating of a heart and with the steady lull of the waves (strings) create the perfect rhythmical backdrop for this short piece. Only the occasional keyboards, bass and guitars disturb this rhythmical pattern.
Ples kot dezne kaplje (Dance Like Rain Drops) is another piece which imitates the sounds of nature. The percussion works like rain drops and the rest of the instruments create tension, culminating with the sounding of the trumpets, which almost bear a resemblance to some Art Zoyd pieces.
Nosorog v katedrali (Rhinoceros in the Cathedral) sounds uncannily similar to post rock, with a slow build-up and relying more on atmosphere than technique.
Already the next piece brings about another change – blues rock, some reggae, plenty of classical, hard rock are all joined in another splendid concoction that will make you think: "Why didn't I think of that?"
Terra Mystica is the first chance to hear the female vocalist presenting her tender voice, slightly reminiscent of Bjork, except less bizarre and much more delicate.
This obviously marks a change in the album, with heavier emphasis on the vocals. The next piece again offers some nice folkier segments together with a classical feel, where the female voice is predominant.
Ukraine's Child brings forth another successful combination in the merging of folk music with alternative rock (vocals).
Carmin is a jazzier affair with some nice electric piano work. It turns folkier yet again with the addition of strings and acoustic guitars. The rock element comes forward when the singer makes her presence known.
Ej Li starts off as another experiment – mixing classical music, rock and electronic (techno). When the vocals appear, it takes on a distinctly more techno, folk flavour, but there's always a progressive element present throughout (keyboards). The organ solo shows that this isn't your average techno party and when the violin and guitar reappear you know you're in Terra Mystica.
Inside Penetralia is a more typical rocker, but with some tremendously haunting vocal and keyboard themes.
The Finale is a return to their instrumental sound. The opening string work foretell a classical piece and this time they manage to remain fairly predictable for the entire length of the piece, retaining the classical feel throughout, which doesn't diminish the beauty of the piece in the least.
The bonus track Empty fits with the mood (or better – different moods) of the album, with a surf rock number to end things on a slightly low note. Still, the brilliance of the album isn't in question. 
Every piece carries a different mood and almost a different style with it, yet the continuity of the album is undisturbed, as if switching from genre to genre is the most natural thing in the world. We can truly appreciate a band that knows what it's doing and still having fun. There really isn't a single aspect of the album that's lacking – we have some great string work, stylistically different guitar segments, versatile keyboards and any style you can imagine.
I probably prefer the first, instrumental part of the album, but the vocal pieces offer a totally different insight into the band, which you don't get in the first part. In any case, Terra Mystica could do no wrong on this album and I have no reservations calling it a modern day masterpiece. It's just a shame not more progressive music lovers embraced them as their own because they have tremendous appeal for fans of pretty much any subgenre.
Carsica is an extremely dynamic album with pieces ranging from sombre and introspective to pure fun and even experimentation. You'll have a hard time finding another album that's so easy on the ear yet so highly experimental at the same time. Carsica definitely stands as a musical milestone, at least for me, in showing me that it's still possible to create new adventurous music which is highly original. A masterpiece!

Carsica

Marfuz - Estampas

Bitrate: 320K/s
Year: 1996
Time: 37:59
Size: 87,0 MB
Label: DIY
Styles: Progressive Rock/Hard Rock
Art: Front

Tracks Listing:
 1. Pasajeros - 6:18
 2. Otra vez - 3:58
 3. Sombras - 4:55
 4. Estampas - 5:47
 5. Cuerpos de noche - 3:22
 6. Swinf free - 5:04
 7. Ultimatum - 4:27
 8. Blue - 4:04

Musicians:
Gustavo Burgos - guitar, keyboard and vocals;
Patricia Falappa / bass, keyboard and voсals;
Diego Fontau - drums and percussion/

Progressive Trio with reminiscences of RUSH sound and typical South American Hard Rock of seventies. Good combination of male and female voices sung in Spanish.
Este grupo se formo en 1991 y en 1996 saco su primer CD con produccion independiente, llamado "Estampas" y en 1999 su segundo CD llamado "Ultimo eclipse". El estilo de este grupo puede encasillarse dentro del hard progresivo, que sigue la linea de Rush o Dream Theater, y sus influencias son Yes, Kansas, King Crimsom, Steve Vai y Joe Satriani.

Estampas

Jordac - The Passage

Bitrate: 320K/s
Year: 1995
Time: 41:35
Size: 96,2 MB
Label: Self Released (2017)
Styles: Rock/Classic Rock
Art: Front

Tracks Listing:
 1. Night and Fog - 3:56
 2. Altered Landscapes - 4:21
 3. Into the Maze - 5:19
 4. Hercules Dances on the Jagged Edge - 5:18
 5. The Passage - 6:09
 6. This Song is Not Over - 4:41
 7. Intro - 3:46
 8. Wall of Fire - 8:02

JORDAC - "THE PASSAGE" is the second official release from guitarist Jordan Macarus. It was released on compact disc in 1995 on Jordan's own label. This album was recorded live at the Metro in Chicago, IL.
credits released June 21, 2017
With Truce Vol One; Winterhawk Guitarist Jordan Macarus; long known for his intricate, and intensely expressive guitar work in the hard rock and progressive rock realms, steps out further into the space where rock, jazz, blues, the lyric and improvisation cross for a collective purpose. To facilitate this collage of styles required exceptional talent and versatility from the rest of the band: Drummer Kevin Ashford Jr. and Bassist Isaiah Webb:

The Passage

Dr.Aftershave - In The Diving Bell

Bitrate: 320K/s
Year: 1980 (2017,Garden Of Delights)
Time: 42:00
Size: 97,6 MB
Label: Garden Of Delights
Styles: Progressive Rock/Jazz Rock Fusion
Art: Full

Tracks Listing:
 1. Ferrets Run - 5:11
 2. Small Talk Buffy - 2:51
 3. The Three Sons - 1:33
 4. Resurrection Agents - 8:21
 5. The Real Shave - 3:28
 6. Jazzy James - 6:51
 7. In the Diving Bell - 3:27
 8. Spiral Tape - 4:02
 9. Mysterious Pyramids - 6:13

Previously unissued recordings from the renamed Missus Beastly! 'Dr. Aftershave' was not just the title of the third album by Missus Beastly, it was also the name the band used for a short while during its latter period, apx. 1980. These tracks were recorded for an intended album that, in spite of interest from a couple of labels, didn't see the light of day til' this CD-release.The material is in an appealing instrumental fusion/jazz rock style, and pretty much continues where Missus Beastly's last album had left off.

In The Diving Bell

Reckless - Reckless

Bitrate: 320K/s
Year: 1994
Time: 50:30
Size: 117,7 MB
Label:  Zero Corporation/ Master Volume Project
Styles: Hard Rock
Art: Full

Tracks Listing:
 1. Back in Town - 4:05
 2. Mirror - 3:17
 3. Livin' Without You - 3:19
 4. Give Me Your Night - 3:58
 5. Spirit of the Night - 4:01
 6. Stay - 3:11
 7. Got You on My Mind - 4:54
 8. Get Excited , Rock the Nation - 4:15
 9. Liar - 4:08
10. All Their Needs - 3:25
11. Crimes of Passion - 3:50
12. Give Her a Sign - 3:56
13. Can't Reach the Limit - 4:05

The only full-length release by Swedish hard rockers Reckless, who offer a very polished sound. The guitar licks are great - this one definitely rocks, while keyboards add some AOR pomp to proceedings. Singer Axelsson has a voice that at times sounds like your typical hard rock vocalist, hitting all the high notes, but then at other times it has a raspy quality to it. Reckless remind me of a lot of other Swedish bands like Treat, Dalton and 220 Volt, with some Bonfire mixed in.

Reckless

The Dubrovniks - Medicine Wheel

Bitrate: 320K/s
Year: 1994
Time: 49:27
Size: 119,5 MB
Label: Normal Records
Styles: Hard Rock
Art: Full

Tracks Listing:
 1. Pass on By - 3:15
 2. Hemadoe's Hideaway - 4:57
 3. Never Get That Far - 7:37
 4. Holy Town - 4:16
 5. Under Your Skin - 3:36
 6. Hold on to Your Dreams - 6:39
 7. Can't Come Back - 3:41
 8. Out of Bed - 2:16
 9. Next Train - 3:01
10. Working My Way - 4:58
11. Wild Wild Love - 1:51
12. I Don't Owe You - 3:15

The Dubrovniks were an Australian rock band which formed in August 1986 as The Adorable Ones. Early in 1987 they changed their name, which acknowledges two of their founders, Roddy Radalj and Boris Sujdovic, birthplace in Dubrovnik, a town in Croatia. Both Radalj and fellow founder James Baker had also founded Hoodoo Gurus (as Le Hoodoo Gurus) in 1981. All three had earlier associations in the Perth punk scene of the late 1970s. The group issued four albums, Dubrovnik Blues (August 1989), Audio Sonic Love Affair (September 1990), Chrome (June 1992), and Medicine Wheel (1994), before disbanding in 1995.
The Dubrovniks were established in August 1986 as The Adorable Ones with the line up of James Baker on drums (ex-The Victims, The Scientists, Hoodoo Gurus, Beasts of Bourbon, James Baker Experience); Roddy Radalj on guitar and vocals (ex-Exterminators, The Scientists, Rockets, Le Hoodoo Gurus, The Johnnys, Love Rodeo, James Baker Experience); Peter Simpson on guitar and vocals (ex-Teeny Weenies, Super K, Spectre's Revenge, Hoi Polloi); and Boris Sujdovic on bass guitar (ex-Exterminators, The Scientists, Rockets, Beasts of Bourbon). Early in the next year The Adorable Ones renamed themselves as The Dubrovniks to honour the birthplace of Radalj and Sujdovic – the historical Croatian city of Dubrovnik. They had to change their name due to a Brisbane band of that name. Australian musicologist, Ian McFarlane, described their sound as "clattering, yet accessible rock'n'roll was drawn along the lines of The Troggs meets T-Rex by way of New York Dolls".
Citadel Records issued the group's debut single, "Fireball of Love", in April 1988. It was produced by Rob Younger (Lime Spiders, Died Pretty, The Stems).Their second single was a cover version of Alvin Stardust's "My Coo Ca Choo" in November. A third single, "Speedway Girls" appeared in June 1989, followed by their debut album, Dubrovnik Blues, in August.It was produced by Chris Masuak for Timberyard Records. By that time Radalj had left and formed a new band, The Punjabbers, with Brett Ford on drums (ex-Kryptonics, Lubricated Goat); Tony Robertson on bass guitar (ex-The Hitmen, New Christs, Naked Lunch); and Tony Thewlis on guitar (ex-Helicopters, The Scientists).
Chris Flynn on guitar and vocals (ex-Headstones) replaced Radalj and the band signed to Mushroom Records. The band's first album on Mushroom, Audio Sonic Love Affair appeared in September 1990.It was produced by Kevin Shirley (Hoodoo Gurus, The Angels, Cold Chisel) and was preceded by the single, "She Got no Love" in June. Another single, "Love Is on the Loose", followed in October. In between albums, Baker and Sujdovic toured and recorded with Beasts of Bourbon. In early 1991 they severed their commitments to that group to concentrate on The Dubrovniks. Also in that year Glenn Armstrong (ex-Horny Toads, The Girlies) replaced Simpson on guitar.
The band issued their third album, Chrome in June 1992, which was also produced by Shirley. The album provided two singles, "Saigon Rose" (February 1992) and "French Revolution" (June). McFarlane noted that both albums with Mushroom "maintained the revved-up, trashy rock'n'roll tradition". However, Mushroom dropped the group in 1993. German label, Normal, issued their fourth album, Medicine Wheel in Europe, while Mushroom Distribution Services (MDS) distributed it in Australia.
The Dubrovniks broke up in 1995. Afterwards Baker returned to Perth, where he joined a power pop band, Satellite 5.Flynn and Sujdovic formed a new band, Black Dirt, together with Chris Collins and Paul Loughhead. The Dubrovniks reformed in 2015 to play a series of shows in Australia, Greece, Spain and Austria.

Medicine Wheel

Modern Farmer - Hard Row To Hoe

Bitrate: 320K/s
Year: 1994
Time: 38:06
Size: 87,4 MB
Label: Monolyth(MCD 1307)
Styles: Hard Rock
Art: Full

Tracks Listing:
 1. Heal - 5:32
 2. Slave - 5:20
 3. Shot Down In Flames - 4:28
 4. Aeroplane - 5:00
 5. Where Do You Go - 4:05
 6. Suddenly - 4:37
 7. No More - 4:14
 8. Turn Around - 4:47

Musicians:
Reeves Gabrels - Guitars,Vocals,Percussion;
David Hull - Bass,Vocals,Percussion;
James Rubin - Guitars,Vocals,Percussion;
Billy Beard - Drums,Percussion.

Reeves Gabrels (born June 4, 1956) is an American guitarist, songwriter and record producer. A member of British band The Cure since 2012, Gabrels also worked with David Bowie from 1987 to 1999, and was a member of the band Tin Machine. He has lived in New York, Boston, London and Los Angeles, and since 2006 he has been based in Nashville, Tennessee.
As a guitarist, Reeves Gabrels is recognized for his virtuosity and versatility, able to “explore sonic extremes with a great, adaptive intuition for what each song needs most.” He has also been characterized as “one of the most daring rock-guitar improvisers since Jimi Hendrix.”
As a songwriter and composer, Gabrels spanned genres. The songs on Ulysses, an album from 2000, range from “hard-hitting blues rock to 21st century electronica,” as Guitar World reviewer Gary Graff put it.
Describing Rockonica, in 2005 Guitar Player’s Andy Ellis wrote online, “Reeves Gabrels walks the line between song structure and wiggy sonics like no one else… His tunes on Rockonica have familiar verse/chorus construction (and are often maddeningly catchy), and his riffs and solos typically possess the contours that define classic rock. But bubbling and roiling under and around this foundation are layers of eerie, broken sounds and oddball textures. And Gabrels isn’t shy about juxtaposing genres. For example, ‘Underneath’ ends with a trippy melange of Wheels of Fire-era Clapton licks, acoustic Delta blues riffs, and fluttering, guitar-generated helicopter sounds.”

Hard Row To Hoe

James Harman - Side Dishes

Bitrate: 320K/s
Year: 2007
Time: 56:07
Size: 129,5 MB
Label: Gulfcoast Records
Styles: Blues/Harp Blues
Art: Full

Tracks Listing:
 1. (I Got) so Many Womens - 3:36
 2. Jump My Baby - 2:45
 3. Won't Be Goin' Again - 3:49
 4. Just as Well to Kill Me - 4:33
 5. It's Alright Now - 3:48
 6. Swamp Night - 4:15
 7. My Little Girl - 5:58
 8. Three Way Party - 5:39
 9. Leavin' for Memphis - 3:41
10. Decisions - 5:27
11. To Much Family - 2:03
12. Crapshoot - 3:43
13. Lonesome Moon Trance - 6:45

Compiled from twelve of James Harman's most recent CDs, which were originally released between 1981 and 2003, Side Dishes offers a good look at where he's at today. Singing and playing a mean harp, the bluesman packs a wallop into every performance. Based in Los Angeles, he continues to please local audiences just about all year round. Fortunately, Harman isn't one to sit tight for any length of time. He tours frequently and spreads his unique blues message around the world in liberal doses. He believes in pure blues: the kind that comes from the heart, shows a sincere respect for roots tradition, and still manages to rock your boat all night long.
Harman, 61, grew up in Alabama where he lived with the blues on radio, on local street corners, and in his home through piano lessons. He showed a natural talent on his father's harmonicas, giving them a workout every chance he got. As soon as he was old enough, he started working the blues in clubs. The work took him through Panama City (Florida), Chicago, New York, Miami, New Orleans and eventually to Southern California where he found a home for his music. He's collaborated with some of the best in the blues business over the years, and some of his most exciting sidemen are heard here on this compilation.
Harman sings his own compositions. They appear in chronological order on this CD, grabbing onto a Deep South rhythm for their rhythmic wiggle and containing the contemporary blues textures of guitar, bass and drums along with the leader's vocals and harp. At a recent 2007 live appearance in Southern California, Harman used congas, two guitars, upright bass, and drums to deliver original songs with mighty power. As he closed the nineteenth annual Battle of the Blues Harps festival in November, he brought everyone up on their feet for a smokin' finale that will be remembered for years to come.
With the thirteen songs on Side Dishes, Harmon has amassed a thirteen-way tie for his "best of selection. Whether it's "Too Much Family, with guitarist Hollywood Fats, "Jump My Baby, with guitarist Kid Ramos, "Lonesome Moon Trance, with guitarist Nathan James or "Decisions, with guitarist Junior Watson, Harman explores blues from the inside out with an unquenchable spirit.

Side Dishes

Den Of Thieves - Honour Amongst Thieves

Bitrate: 320K/s
Year: 1994
Time: 61:22
Size: 142,1 MB
Label: Zero Corporation (XRCN-1157)
Styles: Hard Rock
Art: Full

Tracks Listing:
 1. Intro-Marie Celeste - 1:36
 2. The Fools You Know - 5:14
 3. Fatal Attraction - 4:02
 4. On a Wing and a Prayer - 5:28
 5. Falling Out of Love - 4:18
 6. Rat Race - 3:13
 7. Memories - 5:30
 8. Never Look Back - 5:23
 9. Tell Tale Heart - 5:01
10. Damned if You Do (But Damned If You Don't) - 3:25
11. Paradies - 6:25
12. Badlands - 3:14
13. Who's Better Than Me - 4:05
14. Spellbound - 4:22

Musicians:
Harv -  Vocals;
Dee McNeilly - Guitar;
Rab Barry - Guitar;
Peter Mackin - Bass;
Alan Wilson - Drums.

Den Of Thieves hailed from Belfast, Antrim formed in 1991, featuring ex. Emerald vocalist Harv, whilst guitarist Dee McNeilly was taught by Vivian Campbell of Dio, Whitesnake, Def Leppard fame. In 1994 the band finally released their debut album through Long Island Records. They play awesome heavy rock in the vein of Cry Wolf, Heaven’s Edge and Dangerous Age. They were active till 2000 release one more album.

Honour Amongst Thieves 

Cirkus IV - The Blue Star

Bitrate: 320K/s
Year: 2017
Time: 44:28
Size: 102,8 MB
Label: Ramshaw Records
Styles: Progressive Rock
Art: Full
Source: Olaf_alien

Tracks Listing:
 1. Crossing The Rubycon - 4:01
 2. I'll Never Know - 7:04
 3. The Blue Star - 4:51
 4. 19 - 4:52
 5. Requiem - 4:37
 6. From The Grey Skies - 4:58
 7. The Heaviest Stone - 4:52
 8. Close Encounters Of The Fifth Kind - 9:09

Formed from the ashes of bands Moonhead and Lucas Tyson, the group’s high standard of musicianship was well known in their native north-east where they attracted much attention and had a devoted following. It was felt that the quintet could achieve success on a national scale, provided management handled matters properly and they got the right breaks. In 1973 they recorded their debut album “Cirkus One” at Sound Associates/Emison & Air Studios and just 1000 copies were pressed up. It is widely regarded by many collectors today as the most musically accomplished private pressing of its kind to emerge out of the UK’s then burgeoning progressive music scene, influenced by King Crimson and Yes. When in 1975 lead vocalist Paul Robson left the group, his replacement was Alan Roadhouse (ex Halfbreed) who also played the saxophone. With Dogg on acoustic and electric guitars, Derek Miller on keyboards, John Taylor on bass and main songwriter Stu McDade providing backing vocals, drums and assorted persussions, this became the new line-up. As a result the band moved away from their early symphonic style adopting a somewhat more mainstream approach albeit maintaining a certain “Cirkus sound”.
In 1977 Circus made an unusual move by touring in a somewhat zany theatre production called “Future Shock”. Based on the musical, an LP of the same name was released, although none of the band members wrote any of the material. The LP was issued by Shock Records and is now very rare. The music is of a whimsical and offbeat nature, a far cry from the outfit’s prog-rock roots and therefore of limited appeal. A year later a Circus track called “I’m On Fire” was featured on a “Battle Of The Bands” LP but this proved to be their final offering before the five went their separate ways in the early ’80s.
In 1994 was released “Cirkus II The Global Cut”, where only Derek Miller features from the original line-up. In 1998 the much anticipated and quite magnificent third Circus “Pantomyne” was finally unveiled. This splendid offering brought original members, and main songwriter, Stu McDade back into the fold and featured cameo performances by an array of other musicians most notably former frontman Alan Roadhouse, who played flute. Anyway “Cirkus One” remains an exquisite album of outstanding creativity much deserving its high standing in the kingdom of progressive rock.
Sadly Stu ‘Blue’ McDade passed away in 2016.
Cirkus IV “The Blue Star” was released on CD on June 19th 2017 and is dedicated to Stu.

The Blue Star

Martin Taylor - Sarabanda

Bitrate: 320K/s
Year: 1989
Time: 48:13
Size: 111,3 MB
Label: Gaia Records
Styles: Jazz/Guitar Jazz
Art: Full

Tracks Listing:
 1. Mornin' - 4:53
 2. Call To Sarabanda - 3:32
 3. Jenna - 4:48
 4. Cherokee Ridge - 4:54
 5. They Can't Take That Away From Me - 3:55
 6. Holiday For Two - 4:20
 7. I Remember Clifford - 4:22
 8. Deja Vu - 6:40
 9. Don't Blame Me - 3:55
10. I Got Rhythm - 4:04
11. An Eilen Dhu (The Dark Island) - 2:47

This is probably the most unusual CD in Martin Taylor's discography, as it includes very dull smooth jazz along side classic swing. The forgettable fluff includes Al Jarreau's tepid "Mornin'" and a cover of Dionne Warwick's tedious hit "Deja Vu." Fortunately the good tracks outnumber the weak: the sterling duet of "Don't Blame Me" with vioilinist Stephane Grappelli, brilliant solo workouts of "They Can't Take That Away From Me" and "I Remember Clifford," and a stunning "I Got Rhythm," featuring trumpeter Sal Marquez and pianist Mike Wofford along with the very talented leader. It's possible that the lack of focus on a release like this one helped put Gaia Records out of business in the early '90s; this CD won't be easy to find for Martin Taylor fans.

Sarabanda