Interpose+ - Indifferent

Bitrate: 320K/s
Year: 2007
Time: 41:28
Size: 95,7 MB
Label: Musea/Poseidon
Styles: Progressive Rock/Eclectic prog
Art: Full

Tracks Listing:
 1. Rosetta - 6:49
 2. Man From The Forest - 8:35
 3. Dayflower - Part Three - 6:29
 4. Heliopause - 6:16
 5. Alive - 7:05
 6. Anonymous - 6:11

INTERPOSE+ could well be the new sensation, as far as Japanese Progressive rock is concerned. Its musicians have played together at regular intervals since the Eighties, but they eventually released their first collective opus in 2005, as a joint-venture between the Poseidon and Musea labels. This quintet plays a mainly instrumental music, enhanced by the (Japanese) vocals of the charming Sayuri ARUGA. The contribution of the violinist Akihisa TSUBOY as well as that of his partner from KBB, DANI, are also noteworthy. The eponymous album presents a most symphonic Progressive jazz-rock highlighting the virtuosity of guitarist Kenji TANAKA. These five long pieces are in a vein close to U.K., being even closer to other Japanese bands such as OUTER LIMITS or PAGEANT. The band took particular care of the melodies, both subtle and evocative. A bright performance ! Two years later, the release of INTERPOSE+'s second album shouldn't leave you indifferent. The lyrics now takes an important part in the band's music, still allowing the instrumentists to shine however. In many ways, this group tends to be the nippon ECHOLYN, displaying the same melodic sense and the same energy. "Indifferent" has all to become a milestone ! Eight long years were required to open the third chapter in INTERPOSE+'s history, a wait rewarded with another great masterpiece, "Memories In The Wind". Published in the year 2015 on the Musea Parallele label, these twelve original tracks feature a new bass player, Shibata SHINKO. He, or shall we say "she", is no stranger, as she is also part of the female power-trio ARS NOVA, under the pseudonym of PANKY. An interesting way to electrify a music, already filled with loads of energy. Just excellent !

Indifferent

Interpose+ - Interpose+

Bitrate: 320K/s
Year: 2005
Time: 47:28
Size: 109,6 MB
Label: Musea/Poseidon
Styles: Progressive Rock/Eclectic Prog
Art: Full

Tracks Listing:
 1. Aircon - 11:03
 2. Dayflower Part 1, Part 2 - 10:03
 3. Zitensya -  8:30
 4. Koibumi - 10:34
 5. Last Sign -  7:16

In 1986, Tanaka Kenji (guitar) and Sato Katsu (drums) - both formerly played in the legendary underground band, LIBIDO - got together again and formed a new band, aiming for some different style of music than LIBIDO. First members are a female vocal, two guitars, bass, and drums. They played in some mixture style of jazz rock and progressive rock, with this twin-guitar featured band. On March next year, they played in the first live gig at La.mama, Tokyo. In 1988, they turned into vital action, played in 9 live gigs at SILVER ELEPHANT, CROCODILE, and more clubs, took part in an omnibus album "Canterbury Edge" from MADE IN JAPAN RECORDS label. A guitarist left the band shortly after. Their sound came less jazzy, and more progressive, vocal and guitar-oriented pops style. The next year, they played only one@stage. On February, vocalist has left, and the first period of the band has ended. Remaining members kept their activity in rehearsal studios. But the bassist has also quitted in 1990, Tanaka and Sato started to looking for new members. - They played twice on stage as interpose with guest players at this time. Tanaka found Koike Toshiyuki (bass) and a keyboardist, searching for a new drummer on a rock magazine, made a contact with them and join together. The second period has started with this union. In 1991, members were fixed with a newly joined female vocalist. The sound of this period was changing into symphonic with keyboard sound. First live of this period was on March 1992, at SILVER ELEPHANT. But this period suddenly ended after the gig on October same year, at La.mama. They played only four times on stage at this second period. After that, INTERPOSE stopped their activity for long. Each member went ondifferent ways individually. In 2001, Tanaka and Koike went to see the gig stage of Satoh. They met together and reunited, the third period of INTERPOSE has started. Same year, Yonekura Ryuji (keyboards), who has played with Tanaka at the tribute band for YES, joined the band. Aruga Sayuri (vocal) joined in 2003, and third period members were fixed with new name, INTERPOSE+. Their style came to a mixture of voice and various sounds from each instrument. First live of this period was also at SILVER ELEPHANT, January 2004, and three more stages they played in the year. From February to May 2005, they recorded original songs for their first album CD. Yonekura Ryuji left the band after recording. And Watanabe Nobuo joined as a new keyboardist in July. Finally, the first album "Interpose+" has been released from POSEIDON/MUSEA Label in November. Shortly after, Koike Toshiyuki has quitted in December, and now Dani from KBB plays bass guitar as a guest player.
Why this artist must be listed in www.progarchives.com :
This is a sensational new band from Japan, one of the best releases from the last 10 years!

Interpose+

Cracker - Hello, Cleveland! Live From The Metro

Bitrate: 320K/s
Year: 2002
Time: 49:00
Size: 112,4 MB
Label: Cooking Vinyl
Styles: Alternative Rock/Country Rock/Indie Rock
Art: Front

Tracks Listing:
 1. Seven Days - 4:37
 2. The Good Life - 3:48
 3. Lonesome Johnny Blues - 2:59
 4. Big Dipper - 5:36
 5. Been Around The World - 5:19
 6. Teen Angst - 4:12
 7. Crackersoul - 3:53
 8. Sweet Thistle Pie - 5:15
 9. The World Is Mine - 3:58
10. Low - 4:45
11. Pictures Of Matchstick Men - 4:32

Hello, Cleveland! Live From The Metro is a live album by the band Cracker, released in 2002. It is a live album recorded on November 20, 1999 at the Metro in Chicago, IL.
Despite its title, this disc was recorded in Chicago in November of 1999, and was originally available as a limited-edition bonus disc accompanying Cracker's 2002 Forever album. Reissued as its own entity, and including four music videos of Forever tracks like "Guarded by Monkeys" and "Shine" among others, the disc captures the band in top form on their radio anthems "Teen Angst" and "Low." While the latter highlights the fluid guitar riffing of Johnny Hickman, frontman David Lowery shines on the emotive ballad "The Big Dipper" -- culled from 1996's The Golden Age. If the crowd-pleasing cover of Status Quo's "Pictures of Matchstick Men," (popularized by Lowery's other band, Camper Van Beethoven), seems like an ill fit here, Hello, Cleveland! Live From the Metro captures a strong band tearing through an equally muscular set.

Hello, Cleveland!

Marcus Malone - A Better Man

Bitrate: 320K/s
Year: 2017
Time: 47:57
Size: 110,1 MB
Label: Redline Music
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. House of Blues - 4:17
 2. Better Man - 5:05
 3. Too Long Gone - 4:06
 4. Just Another Heartache - 3:09
 5. Feelin' Bad Blues - 3:09
 6. Philomene - 3:40
 7. Complications - 3:39
 8. The Only One - 4:13
 9. Stand up (Love of Life) - 3:33
10. In Your Arms - 4:40
11. Cant Go Back - 4:04
12. Shine Your Light - 4:17

“Marcus Malone: No hype required”, said the Blues & Soul.com in their review of Marcus’ last album ‘Stand Or Fall’ in 2014. You can’t get a more definite statement on the man than that…
Now Redline Music release ‘A Better Man’ in April 2017 – the first album from Marcus since ‘Stand Or Fall’ – will be available on both CD and vinyl formats.
Produced by Marcus; mixed by Marcus and Jerry Stevenson; engineered by Roger Cotton. Featured players once again include Alan Glen (The Yardbirds, Nine Below Zero) on harmonica and bassist Winston Blissett (Massive Attack) and guitarists Julian Burdock (24 Pesos), Stuart Dixon and Sean Nolan. On keys again is Moz Gamble (24Pesos) and long standing drummer for Marcus – Chris Nugent.
The title track ‘Better Man’ is once again written by Marcus and William Burke.

 A Better Man

Different Light - Il Suono Della Luce

Bitrate: 320K/s
Year: 2011
Time: 74:25
Size: 171,6 MB
Label: Self Released
Styles: Progressive Rock/Neo-Prog
Art: Full

Tracks Listing:
 1. This Is Only the Beginning -  8:06
 2. Burning Memories - 12:10
 3. In the Grey -  5:43
 4. Victim's Eye View -  7:30
 5. The Eyelid Movie Show -  5:32
 6. Educating Jesus -  5:11
 7. Takeshi'c Castle -  3:07
 8. Angel Incarnate -  6:20
 9. A Creature of Habit -  8:58
10. Solitary Heart -  4:38
11. A Life in a Day -  4:30
12. The Few of Us -  2:35

DIFFERENT LIGHT is a band project that serves as the creative vehicle for composer and musician Trevor Tabone. Initially formed in Malta in 1992, the band fell apart around the beginning of the millennium. A few years back, however, Tabone decided to reform the band, but now based in the Czech Republic, sporting a new line-up and a redefined stylistic expression. "Il Suono della Luce" was released in 2011 and is a compilation album tracking all the different phases of the band.
With "Il Suono della Luce" Trevor Tabone appears to have assembled a fair representation of the repertoire and history of his band Different Light, and while it doesn't stand out as a production the general art rock audience will want to explore extensively, I'd advise those who enjoy their classic rock just as much as the first wave of neo-progressive artists to lend an ear to this CD. I suspect quite a few who answer to such a description of their musical tastes will find plenty to enjoy on this one.

Il Suono Della Luce

Noel Bullard - In the Glow

Bitrate: 320K/s
Year: 2017
Time: 45:06
Size: 103,9 MB
Label: Self Released
Styles: Blues/Rockin` Blues
Art: Front

Tracks Listing:
1. Everyday's a Saturday - 3:29
2. Hole in My Heart - 3:44
3. In the Glow - 3:52
4. La Vida Es Sueño - 3:06
5. She's So - 4:29
6. With or Without You - 4:55
7. As The Years Go Passing By - 5:02
8. Are You My Brother - 5:28
9. Dancing in the Rain - 3:11
10. Racetrack Blues - 0:36
11. Ten @ Two (In the Morning) - 2:45
12. Long Day Down - 3:05
13. Oh Little Children - 1:18

This soulful, guitar driven debut album blurs the lines between the analog and digital worlds. Take a step back in time, when warm, analog tones reigned supreme.
Guitar driven blend of Blues, Classic/Southern Rock and R&B takes you back to the golden era of analog recording.

In the Glow

TG Swampbusters - Swamp Rock Country Blues

Bitrate: 320K/s
Year: 2017
Time: 45:33
Size: 104,5 MB
Label: Booze Records
Styles: Blues/Swamp Blues
Art: Front

Tracks Listing:
 1. Honky Tonk Song - 4:12
 2. Five Minutes Past Midnight - 3:54
 3. One Hundred Proof Blues - 4:13
 4. She Always Ate Her Crackers in Bed - 2:41
 5. Pitching a Tent - 3:44
 6. Whiskey Woman - 2:57
 7. The Devil Gets Her Due - 4:40
 8. Georgia Rollin' Stone - 4:03
 9. Twist My Rubber Arm - 3:50
10. Baby Sin - 3:01
11. Cranberry Corners - 4:06
12. She Gave Me the Blues - 4:05

Gritty blues-based rock, the kind of stuff a less-than sober Keith Richards would appreciate.
TG Swampbusters, a.k.a. Hamilton, Ontario’s Tim Gibbons, has released a new 12 song CD recording titled Swamp Rock Country Blues. The follow-up to his acclaimed 2015 release Swamp Tooth Comb, the new album is a nonstop thrill
ride of guitar driven blues music, clever lyrics and Gibbons’ whiskey soaked vocals. Swamp Rock Country Blues is a genre-bending one-way ticket to the mind’s juke joint, with highlight
tracks such as “Honky Tonk Song”, an ode to being a musician on the road; “Five Minutes Past Midnight” celebrating blues on the radio airwaves and how everything is alright when blues music is
on. The rollicking “One Hundred Proof Blues” is a straight up boogie rocker, set in the bayou. Gibbon’s gets somewhat cheeky with his homage to the complexities of relationships on “She Always Ate Her
Crackers In Bed”, “Pitching A Tent”, “Whiskey Woman and "Twist My Rubber Arm”. All 12 tracks were penned by Gibbons, a masterful wordsmith whose song “The Lonely One”
appeared in the Oscar Award winning film Sling Blade in 1996. Swamp Rock Country Blues also features TG Swampbusters’ long time musical cohorts Patch on drums, ‘Swampy’ Joe Klienfiltr on
bass and was recorded at Blue Tilt Studio in Hamilton.

Swamp Rock Country Blues

Grand Mal - Pleasure Is No Fun

Bitrate: 320K/s
Year: 1997
Time: 38:17
Size: 88,0 MB
Label: No. 6 / Number Six
Styles: Alternative Rock
Art: Front

Tracks Listing:
 1. I'm in Trouble - 2:41
 2. Give Yourself to the Devil - 3:28
 3. Whole Lotta Nuthin' - 4:22
 4. Quittin' Time - 3:19
 5. Lucky Stiffs - 2:51
 6. Light as a Feather - 2:49
 7. Superstars - 3:19
 8. Cold as a Donor - 3:07
 9. Blow Your Nose - 3:05
10. The Thing to Do - 5:39
11. Don't Be Late - 3:31

“Bill Whitten did great early-90's work with St. Johnny, and he's at it again with Grand Mal, whose sensational Pleasure Is No Fun CD was one of last year's best. Whitten's strengths with his band are pretty much the same as they were in St. Johnny: huge, bludgeoning hard-rock guitar nicely embellished by alienated-youth lyrics and indie-styled vocals. It's a tough combination to beat”. - New York Press March 4-10, 1998
 Dave Fridmann once again was kind enough to produce/engineer a Grand Mal record for practically nothing. The band at this point consisted of Agitpop leader John DeVries, then of Cellophane, on lead guitar, St. Johnny drummer Thomas P. Goss, and moonlighting A&R guy Phil Schuster on bass. Mercury Rev’s Grasshopper contributed guitar, back-up vocals and sound effects and Carmen Quinones returned to sing back-ups once more and even took the lead on one song, “Don’t Be Late”.
My girlfriend left me for a stand-up comedian while we were making the album. This added a certain frisson to the proceedings, or more likely a death-like pall.
This time we experimented with canned beats and John Devries played dub-style bass on a couple tracks ("Whole Lotta Nothin’" and "Blow Yer Nose").
My favorite songs are “Give Yourself to the Devil” and “Lucky Stiffs”.

Pleasure Is No Fun

Galactic - Late For The Future

Bitrate: 320K/s
Year: 2000
Time: 55:33
Size: 127,7 MB
Label: Polygram
Styles: Jazz-Funk
Art: Front

Tracks Listing:
 1. Black Eyed Pea - 3:48
 2. Baker's Dozen - 4:20
 3. Thrill - 3:30
 4. Century City - 4:56
 5. Jeffe 2000 - 1:00
 6. Doublewide - 4:56
 7. Running Man - 4:14
 8. Villified - 3:05
 9. As Big As Your Face - 6:23
10. Hit The Wall - 6:07
11. Action Speaks Louder Than Words - 3:35
12. Bobski 2000 - 1:43
13. Two Clowns - 6:20
14. Untitled - 1:31

Marketed as an acid jazz band, New Orleans based  Galactic  has little to offer to jazz fans, but is popular with younger audiences who like to dance. They have an infectious groove well suited for the arm waver crowd, and occasionally live up to their name with spacey sounds, but fall way short of Sun Ra, and on an R&B level, Tower of Power or Stuff. Still they're good at what they do, Theryl de'Clouet is a fine soul singer, Stanton Moore a rock-solid drummer, and saxophonist/harmonicist Ben Ellman can play deep bluesy or avant garde themes on command.
The band splits time between instrumental funk or R&B pop. Most creative on "Hit The Wall," they play Balkan flavored funk with Ellman on baritone sax and Roger Lewis (Dirty Dozen) on soprano. Organ fired funk rock informs "Black Eyed Pea" with Ellman going outre, while overdubbed sax and harmonic trade off before contrasting industrial clattering during "Doublewide." Of the vocal tunes "Action Speaks Louder Than Words" is an excellent message and a real potential hit, "Thrill" a pleading love song, "Century City" a ponderous dinosaur rocker laden with electric guitar of Jeff Raines, "Running Man" a basic soul pop tune, and "Baker's Dozen" is a second line funk reminiscent of "Hollywood Swingers."
Fans of Maceo Parker, Medeski, Martin & Wood, or Groove Collective should gravitate toward  Galactic , but they have a way to go before establishing themselves as any kind of innovators or trend setters.

Late   For   The   Future 

Galactic - Crazyhorse Mongoose

Bitrate: 320K/s
Year: 1998
Time: 57:20
Size: 132,5 MB
Label: Capricon
Styles: Jaz-Funk/Soul
Art: Front

Tracks Listing:
 1. Hamp's Hump -  3:45
 2. Love On The Run -  5:45
 3. Crazyhorse Mongoose -  4:47
 4. Witch Doctor -  4:13
 5. Meter Maid -  1:37
 6. Change My Ways (Part 1) -  1:38
 7. Change My Ways (Part 2) -  4:22
 8. Denny's Village Rundown -  2:30
 9. Tighten Your Wig -  3:10
10. Cafe deClouet -  0:21
11. Start From Scratch -  4:12
12. Quiet Please - 20:55

Musicians:
Theryl DeClouet - vocals
Jeff Raines - guitar
Robert Mercurio - bass, vocals, photography
Richard Vogel - keyboards
Stanton Moore - drums, loops
Ben Ellman - baritone, tenor saxophone
Jason Mingledorff - alto, tenor saxophone

Crazyhorse Mongoose is the second studio album by the New Orleans, LA based band Galactic.The album reached a peak position of #24 on the Billboard Top Contemporary Jazz Albums chart.

Crazyhorse Mongoose

Galactic - Coolin' Off

Bitrate: 320K/s
Year: 1996
Time: 54:40
Size: 125,3 MB
Label: Volcano
Styles: Jazz-Funk/Soul
Art: Front+Back

Tracks Listing:
 1. Go Go - 3:01
 2. Welcome To New Orleans - 0:14
 3. Something's Wrong With This Picture - 5:54
 4. Funky Bird - 4:58
 5. Stax Jam - 3:09
 6. Church - 5:53
 7. On The One - 5:30
 8. Mystery Tube - 2:22
 9. Doo Rag - 6:13
10. Percussion Interlude - 0:46
11. Everybody Wants Some (Part 1) - 4:19
12. Everybody Wants Some (Part 2) - 2:23
13. Everybody Wants Some (Part 3) - 5:24
14. Goodnight - 4:24

Galactic staked their place in the rich tradition of Crescent City funk with the release of their long-awaited debut album. Recorded at New Orleans' Sea Saint Studios (where the smell of legendary acts like the Meters, Chocolate Milk, etc. was definitely still in the air) the project was a collaboration between the band and San Francisco producer/engineer Dan Prothero (shown here at the controls).
The end result immediately earned glowing praise from Billboard (where it received a Spotlight Review), LA Weekly (Pick Of The Week), JazzTimes, High Times, and from independent press all over the country. More importantly, it is a document of one of New Orleans' greatest musical success stories in its earliest stage.
Although this record is no longer on the Fog City label (having been licensed to a major label), we are proud to claim it as our first release and to have otherwise served as a launchpad for a major label, world-touring career.
Another aspect of this release we are proud of is its place in history as one of the very first Enhanced CDs. Through the use of cutting-edge (at the time) technology, the disc contained almost an hour of music plus what remains one of the most extensive multimedia on any Enhanced CD. The Coolin' Off CD can be placed in the CD-ROM drive of most computers for an experience that includes bonus tracks (including live performances), videos, interviews, a special electronic edition of On The One magazine (with articles on clubs and restaurants around the Crescent City - from a musician's point of view) and an incredible portfolio by illustrator Tom Lanaux, inspired by the musical heritage of his native New Orleans.

Coolin' Off

John Stewart - California Bloodlines

Bitrate: 320K/s
Year: 1969
Time: 40:32
Size: 93,5 MB
Label: Capitol
Styles: Americana,Country Rock,Folk
Art: Full

Tracks Listing:
 1. California Bloodlines - 3:15
 2. Razor-Back Woman - 2:29
 3. She Believes in Me - 2:38
 4. Omaha Rainbow - 3:10
 5. The Pirates of Stone Country Road - 3:56
 6. Shackles and Chains - 2:56
 7. Mother Country - 4:57
 8. Some Lonesome Picker - 3:13
 9. You Can't Look Back - 2:06
10. Missouri Birds - 3:29
11. July, You're a Woman - 3:18
12. Never Going Back - 5:00

Musicians:
John Stewart – guitar
Fred Carter, Jr. – guitar
Norbert Putnam – bass
Hargus "Pig" Robbins – piano
Charlie McCoy – harmonica
Lloyd Green – pedal steel
Kenneth A. Buttrey – drums

This may be John Stewart’s finest achievement although some fans might argue in favor of the great Willard from 1970.  California Bloodlines was John Stewart’s first true solo disc.  Recorded and released in 1969, Stewart used many of the same musicians as Dylan did for Nashville Skyline.  As expected this disc is much more rustic and country influenced than his work with either Buffy Ford or the Kingston Trio.  Regardless, this is a “must own” for fans of authentic American music.
It took me several spins and a few hours in deep thought to finally come to terms with this classic. John Stewart’s quivering, thin Johnny Cash-like vocals threw me off at first but now I see why many rate California Bloodlines as one of the premier Americana albums.  It’s stacked from top to bottom with great songs and intelligent songwriting.  The opener is one of Stewart’s classics, and while the studio side is excellent in it’s own way,  I prefer the full, live arrangement from October of 69 (Chris Darrow plays fiddle/mandolin on the live version).  Stewart’s songwriting is best heard on gems “Lonesome Picker,” “Missouri Birds,” and “The Pirates of Stone Country Road.”   These cuts are loaded with images of people and places from a bygone era.  He occasionally takes the historical viewpoint a la Robbie Robertson but his songwriting is certainly one of the album’s strengths.  If you’re a fan of Gene Clark or Mickey Newbury I’m sure you’ll be able to appreciate the awesome “Lonesome Picker.”  This track is a spellbinding masterpiece with haunting imagery and lyrics that still cut deep today. My favorite song from the album, “Never Goin’ Back,”  is another standout track that features plenty of buzzing fuzz guitar similar to the Burritos’ classic “Devil In Disguise.”  The rest of California Bloodlines is fleshed out with accomplished country-rockers and pretty country-folk ballads that have great melodies and tight arrangements.

California Bloodlines

Doug Ashdown - The Age Of Mouse

Bitrate: 320K/s
Year: 1970
Time: 44:12
Size: 102,1 MB
Label: Estrella Rockera
Styles: Folk Rock
Art: Front+Back

Tracks Listing:
 1. Who Is It That Shall Come One Day - 2:39
 2. I`ve Come To Save Your World - 3:47
 3. The Day They Freed The Noise - 4:29
 4. California Beachhead - 0:52
 5. And The Lion Roared - 2:34
 6. Galilee - 2:59
 7. Who Is It That Shall Come One Day - 3:13
 8. The Rage - 4:37
 9. Susan Of The Straw - 3:25
10. I Remembered Alice - 3:27
11. Mother Love - 1:43
12. Holly - 2:41
13. Have You Had A Good Day At The Bank - 2:45
14. The Saddest Song Of All - 4:55

Douglas "Doug" Wesley Ashdown (born 29 July 1942) is an Australian folk, country singer-songwriter who had a minor hit with "Winter in America" aka "Leave Love Enough Alone", which reached No. 13 on the Dutch Singles Chart in 1978. In 1988 the song was covered by Dutch singer René Froger, and in 1994 by Australian group The Robertson Brothers. Ashdown reached No. 53 on the Australian Go-Set Singles Chart with "The Saddest Song of All" released in August 1970. In 1977, his album, Trees won the TV Week (an Australian television entertainment magazine) King of Pop Award for 'Best Album Cover'.
Douglas Wesley Ashdown was born in 1942 in Adelaide, South Australia and at the age of 17 he travelled to England to play in a rock band. In 1961 he was back in Adelaide and played guitar alongside Bobby Bright as vocalist in The Bowmen. By 1965, as a solo singer-songwriter, he released his first album, This Is Doug Ashdown. His 1960s popular singles were "Something Strange" in 1968, and in 1969, "Whole Lotta Shakin' Goin On" (cover of the Jerry Lee Lewis' hit).In 1970, he signed with the independent label, Sweet Peach, and issued "The Saddest Song of All" in August which peaked at No. 53 on the Australian Go-Set Singles Chart. The song was written by Ashdown and Jim Stewart, who became his long-term producer and co-writer. The associated album, The Age of Mouse, was the first double LP album of original material released by an Australian.[1] Ashdown and Stewart relocated to the United States, living in Nashville. While in Nashville, the pair co-wrote "Just Thank Me",for David Rogers, who released it in 1973—it peaked at No. 17 on the US Country Music Singles Chart. They also co-wrote "Leave Love Enough Alone" which Ashdown released in 1974 upon relocation to Sydney. He had a minor hit with it when it was renamed as "Winter in America" and released in 1976, it peaked at No.  3 in Brisbane, No. 14 in Melbourne and No. 30 in Sydney.In 1977, his album, Trees won the TV Week, an Australian television entertainment magazine, King of Pop Award for 'Best Album Cover'. Ashdown also worked with science fiction writer/songwriter Terry Dowling on recordings of Dowling's song-cycle "Amberjack", about a stranded time traveller. Ashdown contributed lead vocals and guitar to six of the tracks of Dowling's song-cycle which were broadcast by the Australian Broadcasting Corporation in 1977.He continued to release singles and albums and had minor chart success into the 1980s. As from April 2010, his most recent album was The Folk Centre Concert in 2007.

The Age Of Mouse

Carptree - Emerger

Bitrate: 320K/s
Year: 2017
Time: 54:23
Size: 124,9 MB
Label: Reingold Records
Styles: Progressive Rock
Art: Front

Tracks Listing:
 1. The Fleeting Deep - 7:46
 2. Between Extremes - 7:53
 3. The River - 7:41
 4. Ultimately Lifeless - 6:51
 5. Never to Return and Never Ever Leave - 5:42
 6. Porous - 5:22
 7. Immersive Attention - 6:41
 8. Dwindle Into Greatness  - 6:25

Musicians:
Carl Westholm - keyboards
Nicklas Flinck - vocals
With: No Future Orchestra
Ulf Edelonn - acoustic & electric guitars
Stefan Fanden - bass, guitars, bouzouki, e-bow
Jesper Skarin - drums
Cia Backman - backing vocals
Oivin Tronstad - backing vocals

Swedish prog ensemble Carptree will be releasing their new video titled “Fleeting Deep” in February. The track comes from their highly anticipated forthcoming album “Emerger”, to be released on April 7!

Emerger

Damien Rattler and the Electric Soul Circus - Damien Rattler and the Electric Soul Circus

Bitrate: 320K/s
Year: 2017
Time: 32:19
Size: 74,1 MB
Label:  622558 Records DK
Styles: Blues/Funky Blues
Art: Front

Tracks Listing:
 1. Death of Me - 5:30
 2. Mother Karma - 4:56
 3. Funk Your Blues - 4:39
 4. Tomorrow’s too long - 4:04
 5. Cathouse rag - 8:17
 6. Blue City - 4:51

Musicians:
Damien Rattler - Lead Vocals, Harmonica & Rhythm Guitar;
Christopher Bove - Lead Guitar & Background Vocals;
Mike Policicchio - Bass, Guitar & Background Vocals;
David Bove - Drums;
Patrick Albernaz - Piano, Keyboard & Background Vocals.

Damien Rattler & the Electric Soul Circus is a rhythm and blues band formed in Toronto, Ontario that echo the sounds of Rock, Funk and Folk. The band came together around charismatic Singer/Songwriter Damien Rattler in 2012, adding a new range of styles and instruments to his soul-inspired sound. Characterized by their powerful live performance energy, the Toronto-based quintet (vocalist Damien Rattler, guitarist Christopher Bove, bassist Mike Policicchio, drummer David Bove and keyboardist Patrick Albernaz) have wowed audiences since their conception. After a creative push in early 2015, the band released their first self-titled EP Damien Rattler & the Electric Soul Circus in August of 2015. The album is fueled through funky backbone grooves, electrifying guitars, articulate lines and raw, edgy vocals blended into a soulful blues-heavy gumbo. The band released five singles in 2016: "Bad Luck Son"; "Willow Stand Alone"; "Better Run"; "Need You" & "Downtown Hustle." There is a little bit of everything in their melting pot of music- from deep lyric ballads, upbeat riff rock & roll and raunchy blues. The spirit of Damien Rattler & the Electric Soul Circus is deeply saturated in roots music- fusing both classic and modern styles.

Damien Rattler and the Electric Soul Circus

PSI - Horizonte

Bitrate: 320K/s
Year: 1977
Time: 40:38
Size: 93,0 MB
Label: Chickadisc
Styles: Progresive Rock/JRF
Art: Full

Tracks Listing:
 1. Unter Der Schurze Leigt Die Wurze - 2:29
 2. Bettgerausche - 5:31
 3. Horizonte - 7:29
 4. Elektrisch Kall-Heinzje - 5:04
 5. Urschrei - 2:06
 6. Breikopf - 8:38
 7. Drall / Arkadash - 9:16

PSI is a classic defined German band formed in 1975, consisting of five musicians:, Matthias Frey as keyboardist and vocalist, Volkmar Zimmermann as guitarist, Bodo Feldmann as bassist Robert Jahn as drummer, and Wilfried Junkler as saxophonist (also mentioned as percussionist). Frey is a more prominent artist, by solo works and collaborations in the genre, Trilok Gurtu or Wolfgang Tiepold being top personalities with whom he played or made music.
PSI's referential style is jazz-rock, typical for the German influence, drawing on the Bavarian School of Missus Beastly, Passport, Muniu, taking however the progressive rock angle through some Kraan-like methods. Keen on an artistically music and satisfied by their improvisation impulse, the band shows class and distinguishes memorably. Receptive to ideas and forms, but never estranged by their personal style, warm and comfortable in the end by music flow, by melody arrangement, by maturely shaped harmony and by an uplifting sensation. The routines of the band members (the implied musicianship, of course), their originality and spontaneity together with elaborated compositions make PSI a richly varied and captivating listening experience.
Other style impulses are around the corner, but it's mainly the impression of being diverse. Thus the guitar works seems to speak for themselves. Psi have also been, at first, a krautrock addition. Outside the German possible encouragement, there are small moments to make you think of deep rock.
Their "Horizonte" accomplishment stands as the sole movement and, even more, their exposed history. As little is known in words, music tells the story, creates the impression and gives the focus on the essential. Released in 1977, it summarizes a long and distinct tempo and gives the succinct, but complete sense of two and half years music effort. Solitary but strong, it affirms itself better than the sometimes too often vast but vague. In quality and in refinement, everything played within the album is of a natural mood and an un-shadowed pleasure.
Psi won't be the best word: one album, one expression, soft complexity in a singular fashionably sense, a rarity and an individuality. If there is however something to demonstrate regarding that, it's that music counts and that the particular can mean much more than expected - at least in a contrast with the popular, the enlarged, the characteristic. Strong tone, mature consciousness and interesting spur - that makes it recommended.

Horizonte

Bel Air - Welcome Home

Bitrate: 320K/s
Year: 1986
Time: 40:10
Size: 92,1 MB
Label: LP Private Pressing LC 666
Styles: Progressive Rock/Neo-Prog
Art: Front+Back

Tracks Listing:
 1. A fairy tale -  9:12
 2. Gesprache -  4:54
 3. Emphasis -  4:12
 4. Kein Selbstmitleid -  5:16
 5. Only a cog-wheel - 10:04
 6. A final song -  6:05
 7. It doesn't matter -  0:24

Musicians:
Frank Baur - acoustic & electric guitars$
Fifi Maurer - drums, synthesizer;
Felicitas Oettinger - flute;
Hansjorg Vogt - bass, synthesizers;
Markus Vogt - piano, synthesizers, backing vocals;
Steffen Wertz - vocals, electric guitar.

People often lament prog's near death in the '80s, but it was still very much alive in certain areas of Europe. One such place was Germany, and Peter Wustmann's WMMS label. One of the first bands to come from this fledgling company was Bel Air. In 1986, guitarist Frank Baur, guitarist / vocalist Steffen Wertz, drummer Fifi Maurer, bass player Hansjörg Vogt, keyboard player Markus Vogt, and flautist Felicitas Oettinger got together and recorded "Welcome Home." They had enough success to record a follow up, but three years was enough to take its toll. When they went back to record the follow up, 1989's "The sleeping Beauty," Fifi Maurer had been replaced by Holger Oberfell, Steffen Wertz was replaced by Klaus Meyer, and they brought in Andreas Kanthak to handle lead vocals. They never recorded another album of original music. However, in 1994 the debut was repackaged and released as "A Golden Dream." This version changed the original track order, and added two additional songs.
This very AOR based Neo, although they do break into a little more symphonic styles from time to time. On the whole though, I think they were listening to a lot of Asia. I do find the vocals a bit confusing. After losing Steffen Wertz, they were in the market for not just a guitarist, but also a new lead vocalist. Since they decided to split the duties between two people, I think they could have done much better than Andreas Kanthak. Perhaps that is why they never recorded again.

Welcome Home

Deep Purple - Infinite

Bitrate: 320K/s
Year: 2017
Time: 45:43
Size: 106,3 MB
Label: earMUSIC
Styles: Hard Rock
Art: Front

Tracks Listing:
 1. Time For Bedlam - 4:34
 2. Hip Boots - 3:23
 3. All I Got Is You - 4:42
 4. One Night In Vegas - 3:23
 5. Get Me Outta Here - 3:58
 6. The Surprising - 5:57
 7. Johnny's Band - 3:51
 8. On Top Of The World - 4:01
 9. Birds Of Prey - 5:47
10. Roadhouse Blues - 6:01

Infinite (stylised as inFinite) is the upcoming 20th studio album by English rock band Deep Purple, set to be released on 7 April 2017.The track "Time for Bedlam" was released via YouTube and Spotify on 14 December 2016. The album's first official single is "Time for Bedlam". The track listing was revealed when Amazon posted the details on their online store, before then redacting them; the track titles are still available to view on Amazon's German website. The album contains a bonus DVD entitled "From Here to Infinite". The Japanese limited edition ("first pressing edition") features the album as a SHM-CD on the first disc and with an additional EP, Time for Bedlam.and a special boxed set containing 5 LPs, one CD and a DVD.
The album will be supported during Deep Purple's The Long Goodbye Tour, commencing in May 2017.

Infinite

Killiney Woods - Alligator Road

Bitrate: 320K/s
Year: 2016
Time: 71:55
Size: 166,5 MB
Label: Self Released
Styles: Rock/Psychedelic Rock/Jam Band
Art: Front

Tracks Listing:
 1. Nathan Wilson Hardcore/I Guess I'll Have To Choose - 8:00
 2. High School Reunion - 4:58
 3. Friday - 5:38
 4. Silent Silhouette Creeps - 3:47
 5. Lovecrook - 8:26
 6. Cruel & Kind - 5:02
 7. William's Five & Dime - 2:33
 8. Sandy Bay Squish - 6:05
 9. Everybody Inn - 3:33
10. Turtle Song - 2:34
11. Arrangement - 5:02
12. Drum Circle - 3:22
13. Turtle Song (Reprise) - 4:38
14. The Three - 8:11

Group Killiney Woods presented its new album titled Alligator Road, written in the style of Classic Rock/

Alligator Road

The Mississippi Kings - Long Time Comin'

Bitrate: 320K/s
Year: 2008
Time: 44:24
Size: 102,0 MB
Label: Red Coast Records
Styles: Rock/Rock & Roll/Blues
Art: Front

Tracks Listing:
 1. A Little Bit of Soul - 2:43
 2. Some Revolution - 4:22
 3. Sailing on the Ocean - 4:12
 4. Dirty Old-Time Nursery Rhyme Blues - 4:45
 5. I Tried So Hard - 5:09
 6. This Old Melody - 4:35
 7. In the Pale Moonlight - 2:38
 8. Bad News Blues - 3:57
 9. Shoop (A Loving Sound) - 4:40
10. All Eyes - 3:28
11. Best Be On Your Way (Little Boy) - 3:49

The best foot stomping rock n' soul north of the Mississippi.
If everything old is new again, then The Mississippi Kings, a quintet hailing from Hamilton, Ontario, should take both the old and new world by storm with the release of their debut album, Long Time Comin’.
Breathing new life into the Canadian rock scene, the Mississippi Kings are a band that surely must not be missed. Exploding out of Hamilton’s vibrant music scene, the Kings’ own brand of steel-town grit is delivered with stack soul harmonies and soaring melodies, which will move your body to emotional bliss reviewed Canada Jams in October 2007. Described as “The Band meets Motown,” the Mississippi Kings energetic live show and musical storytelling will transport you to the swampy marshlands of the Mississippi, rather than the muddy waters of the Hamilton Harbour.
The Mississippi Kings were founded in Hamilton in 2006 by Nick Cino (vocals), Mike Ventimiglia (guitar), Dave Marini (bass) and Dan Stajduhar (drums), and later joined by Ivan Katkic (keyboards) in 2007. As the band's primary songwriters, Nick and Mike have created their own distinct style combining a fierce double-vocal attack, stack harmonies and soulful guitar work. The breadth of musical influences, from The Beatles, Bob Dylan and Neil Young to Marvin Gaye and The Temptations, is reflected in their diverse songwriting abilities.
Long Time Comin’ – recorded at Vibewrangler Studio in Hamilton with producers Glen Marshall and Michael Keire (Feist, Tom Wilson, Peter Yarrow) – carries a similar infectious vibe that swathed the Villa Nellcôte recording sessions, where the Stones recorded the legendary Exile on Main Street. Long Time Comin’ was initially released on October 18, 2008 as a free download through the band’s website. Plans are now underway to follow up the album release with some extensive touring in Canada and Europe.
Says Hamilton producer Glen Marshall, “When the Kings play their original songs along side the “rock and soul” songbook standards, the audience rolls right along as if they've known the songs all along. It’s a testament to the Mississippi Kings’ understanding and ability to create and perform truly great original songs that I believe can live easily amongst the cannon of some of the greatest popular songs of the 20th century.”
With the primary goal of making great music – and a cut above everyone else – Long Time Comin’ showcases the band's ability to craft the best foot stompin’ rock ‘n’ soul north of the Mississippi.(https://www.cdbaby.com/cd/mississippikings)

Long Time Comin'

moe. - Warts And All (Volume 1)

Bitrate: 320K/s
Year: 2001
Time: 36:33 + 74:08 + 74:17
Size: 83,9 + 169,9 + 170,3 MB
Label: Fat Boy
Styles: Rock/Jam Bands
Art: Front

Tracks Listing:
CD1
 1. Intro -  1:09
 2. Head - 15:47
 3. The Ghost Of Ralph's Mom -  4:37
 4. Nebraska -  4:55
 5. Crab Eyes - 10:02
CD2
 1. Moth - 17:33
 2. Timmy Tucker - 30:39
 3. Intro -  0:53
 4. Happy Hour Hero - 15:13
 5. Seat Of My Pants -  9:48
CD3
 1. Tambourine -  8:37
 2. Waiting for the Punchline - 16:40
 3. Kyles Song - 13:43
 4. Meat - 29:18
 5. Moth Reprise -  1:46
 6. Encore Intro -  0:56
 7. I Wanna be Sedated -  3:14

Warts and All: Volume 1 is the first volume in a collection of commercially released, full-concert live albums by the American jam band moe. It was recorded live on February 28, 2001 at the Scranton Cultural Center in Scranton, Pennsylvania.
Far more lively than L, moe.'s previous live record, the first volume in the Warts and All series captures a complete show from the upstate New York quintet at the Scranton Cultural Center in Pennsylvania, recorded shortly after the release of Dither. A good cross-section of the band's career is represented over the show's three discs, including some of their earliest songs ("Timmy Tucker," "Meat"), songs from 1998's Tin Cans and Car Tires ("Nebraska," "Head"), tunes from Dither ("The Ghost of Ralph's Mom," "Tambourine"), and songs debuted only a few months before the show ("Crab Eyes," "Kyle's Song"). The focus is on the improvisation, which is still somewhat predictable compared to what the band is capable of, though there are certainly myriad exciting moments throughout, notably on "Meat" and the segue from "Happy Hour Hero" to "Seat of My Pants," a live favorite. In particular, multi-instrumentalist Jim Loughlin shines here, adding electronic vibes and piccolo bass throughout to create a densely melodic wall. Also of note is the album debut of "Crab Eyes," a stunning song which -- with Loughlin's vibes in full effect -- is reminiscent of Ruth Underwood-era Frank Zappa. Though the band is tie-dyed, its post-punk roots are still quite visible with songs like "The Ghost of Ralph's Mom" and an encore cover of the Ramones' "I Wanna Be Sedated."

Warts And All (Volume 1)

Bryn Haworth - Slide Don't Fret

Bitrate: 320K/s
Year: 1995
Time: 51:55
Size: 119,1 MB
Label: Kingsway Music
Styles: Delta Blues/Singer-Songwrite
Art: Front

Tracks Listing:
 1. Slide Don't Fret - 4:35
 2. Cajun Song - 6:03
 3. Home Sweet Home - 4:09
 4. Judgement Blues - 8:33
 5. Will You Be Ready - 3:40
 6. Talk To Me - 4:59
 7. Healing On Me - 3:30
 8. All Because Of You - 4:50
 9. I'm Grateful - 3:23
10. All Things Work Together - 3:35
11. Time For A Change - 4:34

Who'd have thought you could write your Christian testimony in song beginning with the words "Left my home in Lancashire" and put it to a rollicking cajun groove that reeks with the flavour of chicken gumbo rather than Lancashire hotpot? But this then is Bryn Haworth, veteran bluesman of this parish who with this delicious set turns in possibly his finest album yet. Catch "Judgment Blues", an eight minute plus while searing guitar soars over a languid sax cushion, as spine tinglingly moving as anything T-Bone Walker ever concocted, or the romping, tongue-in-cheek opener where the likes of Blind Willie Johnson and Fred McDowell are name checked alongside Ry Cooder and Lowell George. Concentrating on Bryn's slide talents was an inspired concept while that rock solid band have such an infectious, laid back swing that only the most devoted technohead won't be drawn into this timeless celebration of good tunes and old truths.

Slide Don't Fret

Alusa Fallax - Intorno Alla Mia Cattiva Educazione

Bitrate: 320K/s
Year: 1974
Time: 44:43
Size: 102,5 MB
Label: King Record co,Ltd
Styles: Progressive Rock/RPI
Art: Full

Tracks Listing:
 1. Soliloquio - 3:01
 2. Non Fatemi Caso - 4:27
 3. Intorno Alla Mia Cattiva Educazione - 4:08
 4. Fuori Di Me,Dentro Di Me - 3:00
 5. Riflessioni Al Tramonto - 3:04
 6. Il Peso Delle Tradizioni - 1:38
 7. Carta Carbone - 3:38
 8. Perche' Ho Ve Duto Il Mio Sangue - 1:43
 9. Per Inziare Una Vita - 4:19
10. E' Oggi - 3:13
11. E' Cosi' Poco Quel Che Conosco - 2:31
12. Cio' Che Nasce Con Me - 4:11
13. Splendida Sensazione - 5:44

ALUSA FALLAX are amongst the ranks of Italian prog bands who only released one album in their career, perhaps surprising when you realise the band existed for around ten years.
The band was formed in Milan in 1969 by keyboard player Massimo Parretti who went in search of musicians to play on a piece of music he'd been asked to write. His search led him to GLI ADELFI, a band that featured an old school friend on guitar and vocals, Guido Gabet. Impressed, Parretti enlisted their help but shortcomings with the keyboard player led him to take his place for the recording. The band changing its name to ALUSA FALLAX was completed by three brothers with the surname Cirla, Augusto (drums, vocals and recorder), Guido (bass and vocals) and Mario (sax, flute, French horn and vocals).
The result was a single titled "Dedicato A Chi Amo" followed the same year by another called "Tutto Passa". They then started playing live shows but it wasn't until 1974 that the album "Intorno Alla Mia Cattiva Educazione" was released. Musically the album is largely in a symphonic style with classical and occasional jazz influences, with intelligent utilization of acoustic and electric instrumentation. Although comprising of thirteen tracks they are divided into two long suites with strong musicianship throughout.
The album received very little promotion and was only pressed in a quantity of 5000. They continued to make their living from the live circuit but not through playing progressive rock. Disco became big news towards the end of the seventies and they adopted this style for their live shows and even released a single under the name BLIZZARD before finally splitting up in 1979.

Intorno Alla Mia Cattiva Educazione

De De Lind - Io non so da dove vengo e non so dove mai andro. Uomo e il nome che mi han dato

Bitrate: 320K/s
Year: 1972
Time: 38:15
Size: 88,0 MB
Label: Universal Music
Styles: Progressive Rock/RPI
Art: Full

Tracks Listing:
 1. Fuga E Morte - 7:19
 2. Indietro Nel Tempo - 4:17
 3. Paura Del Niente - 7:42
 4. Smarrimento - 7:59
 5. Cimitero Di Guerra - 5:19
 6. Voglia Di Rivivere - 3:34
 7. E Poi - 2:02

A true rarity on an unusual label for the Italian prog (Mercury), and for sure one of the longest LP names ever conceived, Io non so da dove vengo e non so dove mai andro, uomo e il nome che mi han dato is generally considered as one of the top albums in this style. A perfect record, very well played and sung by this band based in Milan. They began their career in 1969, the odd name coming from a popular Playboy model of the early 60's, and only released three singles in their five years career, the first two closer to the Italian beat of the time, while the third had a good rockier B-side in Torneremo ancora. though still far from their LP sound.
The group was a sextet in the picture on the cover of the 1969 single, reduced to a five-piece in the second, a year later. The album came in 1972, the vocal parts are short but very well made by singer Paradiso, leaving plenty of room to acoustic atmospheres and the sudden assaults of guitarist Vitolli and flute/sax/keyboards player Trama, and the seven tracks on the album are all highly regarding, with a mention for Smarrimento with a sweet flute introduction, a furious guitar/flute interplay followed by the acoustic guitar based vocal parts that leads to a powerful guitar-driven end. After the album release De De Lind played at 1973 Rassegna di Musica Popolare held in Rome, and at Be-In festival in Naples, with new drummer Fabio Rizzato. Singer Vito Paradiso had a short solo career in 1978-80, while the rest of the band has totally disappeared. Before forming De De Lind drummer Rebajoli had played with New Dada and I Nuovi Angeli, with which he returned after leaving this group.[Italianprog.com]

Io non so da dove vengo e non so dove mai andro. Uomo e il nome che mi han dato 

Jan Daley - The Way of a Woman

Bitrate: 320K/s
Year: 2017
Time: 41:33
Size: 95,3 MB
Label: Log Records
Styles: Jazz Vocal
Art: Front

Tracks Listing:
 1. Come on Daddy - 3:00
 2. The one I've Been Waiting for - 4:07
 3. The Way of a Woman - 3:48
 4. Cry Me a River - 3:42
 5. Something Old Something New - 4:43
 6. She Was a Dreamer - 4:10
 7. God Bless the Child - 4:23
 8. More Love - 4:11
 9. Skylark - 2:44
10. When Sunny Gets Blue - 3:48
11. I Love You Tonight - 2:52

Jan Daley and Michael B. Sutton, president of iMerica entertainment, have been working hard to bring you the next great smooth jazz album. To be released on April 1, “The Way of a Woman” is shaping up to be a phenomenal set of smooth jazz tunes. Jan Daley recently released her five song EP “When Sunny Gets Blue” and plans to complete the album with six more brand new songs this Spring. After years of work and mentoring with the Great American Songbook composer Jack Segal, Jan Daley’s renditions of the classic songs are truly top-notch. If you haven’t yet, check out Daley’s “When Sunny Gets Blue” EP. It sets a great tone of anticipation for the release of “The Way of the Woman” album and displays the phenomenal musicality and tone that Jan Daley has consistently displayed throughout her smooth jazz career.

The Way of a Woman

Mick Abrahams - See My Way

Bitrate: 320K/s
Year: 2001
Time: 54:20
Size: 124,6 MB
Label: Gonzo (2015)
Styles: Blues
Art: Front

Tracks Listing:
 1. What Kinda Fool - 4:08
 2. Blue Cafe - 3:33
 3. Aint No Smoke - 4:42
 4. Nothin' But Everything - 3:00
 5. Dreaming - 5:47
 6. Dear Jill - 6:26
 7. Don't Make 'em - 3:39
 8. Mercy Mercy - 3:03
 9. Heartbreak Blues - 5:28
10. Ayrs And Graces - 3:39
11. Chettishes - 3:35
12. See My Way - 4:39
13. One Night - 2:37

It is a story as old as time itself.  I'm sure that it predates rock'n'roll, but it is a paradigm which has appeared so many times within the canon of the sort of bands that I have spent the last four decades listening to, but it hardly bears repeating.  Except, of course, that I must - because without the back story the extraordinary tale of Blodwyn Pig would just be another rags to...  well, if not exactly riches, then slightly more expensive rags.
In the beginning there was Robert Johnson who sold his soul to the devil.  The cornute one passed it on to some evangelical promoters in the Thames Valley. The Blodwyn Pig story begins back in the mid-1960s when a whole generation of relatively privileged white kids in the UK discovered the music of a previous generation of reasonably underprivileged black men living in the southern states of the USA.
People quite often forget that Jethro Tull, who are best known for having a personable front man who looked like a tramp and stood on one leg whilst playing the flute didn't start off as a folk band, or even a progressive rock band; they started off as a blues band. Back in the halcyon days of 1967, a couple of members of a Blackpool-based blue-eyed soul band travelled down to the teeming metropolis where they teamed up with two members of a failing, Luton-based blues band.  They appropriated the name of the legendary 18th Century agriculturist (inventor of the rotary seed drill, no less) and the rest is history.  Except, of course, that it is nothing of the kind.
The band signed to the legendary Island Records, home of the cream of what was then known as `the underground`, and during the summer of 1968 recorded their first albumThis Was.  Ian Anderson, the aforementioned gentleman of the rock and roll road, described their music as ‘a sort of progressive blues with a bit of jazz.’ The blues influence came largely from guitarist Mick Abrahams.  It was Abrahams who - on the first album - provided the only non-Anderson lead vocal in Jethro Tull's recorded history, and with the benefit of hindsight it is easy to see that both he and Anderson were jostling for position as the prime creative mover behind the band.
Unsurprisingly, there was a massive falling out between the pair, and Abrahams left the group. He was replaced by Martin Barre (after brief tenures by Toni Iomni, later as Black Sabbath, and Davy O'List of The Nice) and Jethro Tull did their own inimitable thing for the next four decades.
But what of Abrahams? One of the main reasons that he had fallen out with Anderson was that he was a blues purist, and didn't want to follow some of the more esoteric paths that Anderson was to lead the band into.  No, he just wanted to play the blues.  Robert Johnson hadn't sold his soul to the devil in order to make progressive rock albums about a nine-year-old boy poet.  There was a purity and an integrity to the blues, and it was the path along which Mick Abrahams intended to walk.  So he started his own band and for reasons which remain obscure he named it Blodwyn Pig.
Over the years he also recorded a number of solo albums, steeped in the delta blues DNA that had mystically been passed down to him by Robert Johnson. Mick is 70 now, and not in the best of health, but he still has the heart of a bluesman and the remarkable musicianship on this gem of an album pays testament to that.
Dave41 notes on Amazon.co.uk:
“In July of 2000, Mick released his first studio album in three years titled "See My Way", and not surprisingly it had a newly recorded version of that Blodwyn Pig classic, and reunited him with another original member of that group, Andy Pyle.
This is another very strong album from Mick, since coming out of retirement. He wrote all but two of the tracks. Two of the tracks are new versions of tunes he recorded with Blodwyn Pig/

See My Way 

Cindy Bradley - Natural

Bitrate: 320K/s
Year: 2017
Time: 48:13
Size: 110,6 MB
Label: Trippin & Rhythm
Styles: Jazz/Smooth Jazz
Art: Front

Tracks Listing:
 1. Girl Talk - 4:06
 2. Category A - 4:19
 3. Everyone But You - 5:10
 4. Vibralux - 4:10
 5. Imagine That - 4:55
 6. Clean Break - 4:28
 7. Natural - 4:11
 8. Bring it Back - 4:34
 9. She Bop - 4:37
10. Crush - 3:19
11. Coco's Lullaby - 4:18

Trumpeter Cindy Bradley is a successful artist and educator with a bent toward smooth jazz and instrumental pop. Born in North Tonawanda, New York in 1977, Bradley started out taking piano lessons in her youth and by age nine was playing trumpet in the school band. In her teens, she became interested in jazz and eventually enrolled in the jazz studies program at Ithaca College in New York State. After graduating from Ithaca, she earned a degree in jazz trumpet performance from the New England Conservatory in Boston. Since leaving school, Bradley has pursued both a performance and teaching career, and when not playing live and recording, she works as an elementary band teacher in New Jersey. She released her independent debut album, Just a Little Bit, in 2007, followed by Bloom in 2009. Produced by Grammy Award-winning producer Michael Broening, Bloom was a commercial success, hitting number one on the Billboard Smooth Jazz chart. In 2011, Bradley returned with Unscripted, which also landed at number one on Billboard's Smooth Jazz chart, remaining there for over two weeks. In 2014, Bradley released her fourth studio album, the Broening-produced Bliss. ~ Matt Collar

Natural

Bijou - El Profeta

Bitrate: 320K/s
Year: 2005
Time: 61:38
Size: 141,4 MB
Label: Luna Negra
Styles: Progressive Rock/Neo Prog
Art: Front

Tracks Listing:
 1. Los Albores Del Fuego Imperecedero - 6:34
 2. El Camino A Casa - 4:12
 3. Encuentros - 5:42
 4. Imakinacion - 6:23
 5. Triste Euforia - 8:49
 6. Sueno En La Noche De Los Tiempos - 5:49
 7. El Profeta (Part I - El Reino De La Nada) - 5:55
 8. El Profeta (Part II - Recuerdos De Invierno) - 8:20
 9. El Profeta (Part III - En Mi Voz) - 9:50

"El Profeta" ("The Prophet", I believe) is the debut CD by the Spanish quintet BIJOU. Their website is under construction, and the page with the band's bio is so far inaccessible.
As in the case of Sympozion's "Kundabuffer", I perceive the subject of this review to be one of the finest debuts of the past year, the album being impressive not only for its exceptional originality and compositional intelligence, but also for the musicians' mastery. Besides, Bijou appears to be a group of broad-thinking men, for whom work within the framework of one single direction would probably be a sort of self-isolation. With ease, they manipulate several different progressive styles, now giving preference to one of them, then again bravely intermixing them in different variations. Without exaggeration, each of the instruments credited is a showcase instrument for Bijou, though most of all I am impressed with the performance skills of Ruben Garcia, who, I believe, is a classically trained pianist, and Alberto Mateos, whose bass lines are at times more intricate and compelling than guitar solos. That said, these guys are the primary masterminds in the band in addition, which becomes obvious already upon the first spin, without looking into the CD booklet for credits in the songwriting department. Well, it's one of the guitar players, Nacho Moran, who penned the second track. However, it would've been better if he'd had at least some help from his colleagues, because El Camino a Casa turns out to be the only relatively monochromatic track of the nine instrumentals, representing a 'metallized' Hard Rock - which is tasty and mesmerizing, but only semi-progressive in nature. As implied above, piano is the leading keyboard instrument, while the others, synthesizer and string ensemble, seldom come to the fore. The pieces composed primarily by Ruben Garcia: Loas Albores, Encuentros and Triste Euforia are in many ways close to our traditional conception of classic symphonic Art-Rock, although it would be pointless to search even for rough points of comparison in this case. Each piece has a few piano-laden classical-like interludes and is imbued with a magical flavor of Classical music in general, which remains manifest even when the band goes heavier. Sparkling melodies, complex rhythms and many more essential progressive features are inculcated within each, reflected in the fine textural and dynamic nuances and in the skillful interweavings of different instruments. El Reino de la Nada is Cathedral Metal (or progressive Doom Metal) lushly enriched with symphonic features rather than vice versa. Imakinacion and Recuerdos de Invierno are similar, but while the guitars and bass are also often in the lead, both for the most part display well-balanced arrangements for the whole ensemble. There also are emulated string instruments on the latter, giving a wonderful oriental piquancy to the music. Most of the tracks on the album are gems, but the mesmerizing power of Recuerdos de Invierno is overwhelming. It's like a never-heard-before Eastern fairytale with a dramatic, highly intriguing storyline. The remaining two compositions, Sueno en la Noche and En Mi Voz, are notably different from the others, but are equally impressive. Each has a unique combination of symphonic Space Rock and atmospheric Space Fusion in its basis, but the latter at times returns the listener to the Cathedral Metal realm in addition.
Bijou is definitely a band to watch in the future, and their "El Profeto" is quite close to the status of masterwork in my understanding, though I had to get over the first two tracks to come to this conclusion. In any event, I feel fully confident in highly recommending this album to anyone on a good footing with contrasting, stylistically polymorphous Progressive. Those exclusively into traditional, Genesis- or Yes-like, Art-Rock should look elsewhere.

El Profeta

Headspace - I Am

Bitrate: 320K/s
Year: 2007
Time: 25:30
Size: 58,8 MB
Label: Blueprint Management
Styles: Progressive rock/Progressive metal
Art: Front

Tracks Listing:
 1. Never Let Go - 4:12
 2. Sane Life - 6:58
 3. Symbol - 6:15
 4. Sober - 8:04

Headspace is a new band out of the UK that consists of Damian Wilson (vocals), Adam Wakeman (keyboards), Pete Rinaldi (guitar), Lee Pomeroy (bass) and Rich Brook (drums), They quietly released in late 2007 a four song EP called ‘I Am’ I was one of the few, it seems, that received a copy since I saw nothing up on any of the popular progressive rock discussion groups, mailing lists or forums. The only names I’m familiar with in the band are Damian (Threshold, Star One, ex-Landmarq), Adam (son of Rick) & Lee (Rick Wakeman).
The music is a hybrid of Led Zeppelin, Black Sabbath, Yes and Genesis to name a few. The result is a crossover band that would appeal to classic and progressive rock fans alike. Each of the four songs featured have elements of those bands but done in such an original way, in my opinion. I feel this EP is a teaser of the great music that’s to come.
I think evidence of Headspace’s beginnings can probably be found on the Magna Carta Yes tribute album ‘Tales From Yesterday’ when Damian and Adam performed along with Fraser Thorneycroft-Smith (guitars), Tony Fernandez (drums) and Phil Williams (bass) in a band called Jeronimo Road. I always wanted to hear more of that band and now with Headspace, I think more people will. I can’t recommend this band and it’s debut EP enough. Check them out on MySpace and you’ll hear how wonderful their music is.

I Am

Alessandro Meroli - Broken Jazz Dream

Bitrate: 320K/s
Year: 2017
Time: 64:39
Size: 149,2 MB
Label: To Be Jazz
Styles: Jazz/Smooth Jazz
Art: Front

Tracks Listing:
 1. Senor Blues - 4:09
 2. Little Sun Flower - 7:14
 3. Black And Tan Fantasy - 6:51
 4. A Laugh For Rory - 3:44
 5. Naima - 6:16
 6. Peggy Blue Skylight - 5:35
 7. Softly As In A Morning Sunrise - 5:44
 8. Duke Ellington's Sound Of Love (feat. Silvia Donati) - 7:21
 9. Bags Groove - 3:56
10. Sail Away - 6:46
11. You Don't Know What Love Is - 6:58

Alessandro Meroli, sax baritono e flauto, vanta collaborazioni in vari campi musicali. Dagli anni ‘90 ad oggi con gli Splatterpink, miglior gruppo jazz core italiano. Ha collaborato per un decennio sia come musicista che come manager e produttore con Neffa. Turnista molto apprezzato nella musica elettronica sia dance sia di sperimentazione, ha lavorato con le etichette Irma Records, Compost Records, Sony, Universal, BMG, poi con Pasta boys, Dj Rodriguez, Dj Volcov, Ohm Guru, Osun Lade, Black Mighty Orchestra, Dj Trevisi, LTJ experience, Rima, Frankie Valentine, Ninfa, Gunkhole, Atelewo. Membro fondatore dei Faze Liquide gruppo di Nu Jazz il cui lavoro e uscito per la  prestigiosa etichetta dei Jazzanova Sonar Kollektiv. Membro fondatore del quintetto AfroJazz degli Afronauti il cui lavoro A Jazz Odyssey e stato molto ben recensito. Da un anno supporta il produttore Riccardo Rinaldi nella gestione dell’etichetta bolognese To Be Jazz.

Broken Jazz Dream

Mick Simpson - Black Rain

Bitrate: 320K/s
Year: 2017
Time: 47:20
Size: 108,6 MB
Label: Mad Ears Productions
Styles: Blues/Blues Vocals
Art: Front

Tracks Listing:
 1. Sweet Lorraine - 4:19
 2. Destination Blues - 3:47
 3. River of Life (Feat. Eva Carboni) - 4:16
 4. Black Rain - 4:53
 5. To Hell and Back - 3:47
 6. Last Train Home - 4:10
 7. Don't Cry - 4:19
 8. Top of the World - 3:09
 9. When the Sun Goes Down - 5:07
10. Gravy Train - 3:36
11. Promised the Earth - 5:50

An exciting mix of retro rhythm & blues, driving rock anthems, melodic southern rock, and soaring blues guittar.
Mick returns with his 4th studio album 'Black Rain', a collection of 11 great new tracks of soaring blues guitar, driving rock anthems, retro rhythm & blues, and melodic southern rock. The album features a diverse range of guitar syles influenced by the likes of BB King, Gary Moore, Peter Green, Jeff Beck, Derek Trucks, Django Reinhardt and Robert Johnson. Album highlights include the Ray Charles-esque 'Sweet Lorraine', the in your face rocker 'To Hell and Back, the laid back jazz-blues tinted 'River of Life' (Feat. Eva Carboni), and the Irish folk-rock title track 'Black Rain'. Once again Mick teams up with producer & co-writer Andy Littlewood, and guest musician's include Dave Hunt, Michael John McElligott, and Pete Nelson.

Black Rain

Negra Linea - 13 Visions

Bitrate: 320K/s
Year: 2004
Time: 59:59
Size: 139,2 MB
Label: Gazul Records
Styles: Progressive Rock/Crossover Prog
Art: Full

Tracks Listing:
 1. Introduktion a la nuit -  2:10
 2. Premier Rivage -  5:01
 3. All-Night Cinema -  4:35
 4. Closeyes -  2:40
 5. Cegzebox -  4:12
 6. Intermede Pour Petite Tete -  2:06
 7. Eclairci Avant La Descente -  2:39
 8. Hullabaloo -  5:05
 9. Lugano Bar -  5:15
10. Disconatra -  3:03
11. Deep Into The Night -  5:24
12. Kalle Boroka -  4:07
13. Voici le jour - 13:36

"13 Visions" is the debut album by NEGRA LINEA from France. As far as I can figure out the band's name, it should be translated as Black Line, although I feel a bit confused recalling that "black" in French is "noir", and "negra" is in Spanish.
The CD is one hour in duration, and there are 13 tracks, none of which exceeds five and a half minutes. Five of them feature female vocals with lyrics either in French or in English (according to the titles of the songs), and the others are instrumental compositions, even though there is some male narration on a few of them. The songs possess a rather strong mesmerizing effect, which to a great extent is due to the specific, kind of lazy, yet, really charming singing of Alexandra Prat, for whom the participation in this project is by no means the first experience in progressive music. The songs aren't homogeneous structurally, though this remark is topical regarding most of the album's contents in general. It seems the band initially has made a point of not sticking to some special rules when working on the material. There are only a few compositions whose morphology is obvious enough to cast doubt on it, while the others can be described only in a general context. Overall, the music appears as a complex exotic cocktail of maybe a dozen different genres and styles, the most prominent of which are quasi- and genuine Jazz-Fusion, guitar Art-Rock, and Minimalist music. The attendant forms include RIO, free jazz, some kinds of folk, ethnic, electronic and heavy music, to name a few. But while the structural constitution of the album seems to be exceptionally unstable, the arrangements do always have the right vector, which makes them both interesting and rather comprehensible already upon the first spin. The sound is also well balanced, with only the slight predomination of electric instruments over acoustic ones, among which acoustic guitar and saxophone often play the key role, on most tracks. As to the exceptions, all three of them are instrumentals and, what's central, are almost free of jazzy textures, unlike the other compositions. Those two that take the sixth and the seventh position aren't separated by pause. Besides, they are submitted to the same compositional concept, with the central theme played on accordion, and are just parts of the same composition. That's Folk, folks. Finally, there is the rhythmic Disconatra. The only straightforward and, thus, disappointing number in the set, this is somewhat of an electronic minimalism.
From my personal standpoint, keyboards should've been a bit more widely used, but it's just a matter of taste. "13 Visions" is an extraordinary album. It is excellent, but is not everyone's cup of tea. However, those with broad interests in progressive music will certainly give it its due, at least. Recommended.

13 Visions

Cornell Dupree - Doin' Alright

Bitrate: 320K/s
Year: 2011
Time: 66:56
Size: 153,5 MB
Label: Friars Point, Inc. & Bright Echoes, Inc.
Styles: Jazz/Guitar and Hammond Jazz
Art: Front

Tracks Listing:
 1. Doin' Alright - 4:51
 2. I Ain't Got You - 4:47
 3. I Got a Woman - 6:02
 4. Help Me Make it Through the Night - 5:00
 5. Honky Tonk - 5:22
 6. The Bird - 6:12
 7. Erma's Shades - 5:01
 8. Rainy Night in Georgia - 4:52
 9. Squirrel - 4:07
10. Ham - 6:05
11. Cl Blues - 6:14
12. K.C - 4:02
13. I Got A Woman (With The Cornell Stamp) - 4:15

A veteran of over 2,500 recording sessions, guitarist Cornell Dupree worked most prolifically in R&B and blues, but he was equally at home in jazz, particularly funky fusion and soul-jazz. Dupree was born in Fort Worth, TX, in 1942, and by the age of 20 was playing in King Curtis' R&B group. He became a session musician soon after, playing on Brook Benton's "Rainy Night in Georgia," as well as records by stars like Lou Rawls, Paul Simon, Barbra Streisand, Harry Belafonte, Lena Horne, Roberta Flack, Joe Cocker, Michael Bolton, Mariah Carey, and countless others. Dupree was also a member of Aretha Franklin's touring band from 1967-1976, and during that time also became a presence on many jazz-funk recordings, the sort that would find favor with rare groove and acid jazz fans in the years to come. Dupree's first jazz session as a leader was 1974's Teasin', which was followed by Saturday Night Fever in 1977, and Shadow Dancing in 1978. During the same period, Dupree was a member of the studio-musician fusion supergroup Stuff, which signed with Warner Bros. in 1975 and recorded four albums. They also reunited periodically in the '80s and spawned a mid-'80s spin-off group called the Gadd Gang, which Dupree also belonged to. Some of Dupree's most rewarding jazz albums came in the late '80s and early '90s; 1988's Coast to Coast was nominated for a Grammy, and funky sessions like 1991's Can't Get Through, 1992's live Uncle Funky, and 1993's Child's Play received positive reviews. 1994's Bop 'n' Blues was his most straight-ahead jazz album, also ranking as one of his best.
Many words have been used to describe Cornell Dupree's guitar playing over the last 45 plus years, but one label that fits the bill is the ultimate session guitarist. He has over 2500 credits, playing with the likes of King Curtis, Aretha Franklin, Donny Hathaway, Bill Withers, Brooke Benton, Ray Charles, Joe Cocker, the Gadd Gang and of course he was a member of the super session jazz/fusion group Stuff. Known as "Uncle Funky", Cornell, had a slew of well received solo albums over the course of his career, Like "Teasin", "Can't Get Enough", "Childs Play", "Cornell Dupree" "Who It Is" To name a few. Cornell who had been seriously ill over the past few years, passed away in May of 2011, but not before completing the final solo recording of his career, just eight weeks prior to his passing. His final words to his wife Erma was "I'm Doin Alright", hence the title of this cd. As sick as Cornell had been, attached to oxygen, he entered the recording studio, and let his wonderful guitar speak one more time. The result is stunningly well played Jazz/blues, with a touch of funky overtones that has a sound that is vintage Cornell till the end. Highlights include the funky "Doin Alright", a beautiful take on Brooke Benton's "Rainy Night In Georgia', which Cornell played on. He adds spice with a funkified take on "Help Me Make It Through The night". He then uses a jazz shuffle on the tune "I Ain't Got You", complete with sax solo, that will get anyone's feet moving. This is a wonderful farewell recording that should not be missed by anyone who loves Jazz/Rock fusion. He is supported by a tight back-up band in the studio, With B.E Smith "Frosty" on Drums, Mike Flanigin on organ, Nick Connelly keyboards, Ronnie James and Larry Fulcher as well as George Porter on bass. This cd was released as an import under the title "Doin alright", and recently domestically under the title "I'm Alright" Both are exactly the same. It is difficult to find, but it is available on itunes for $7.99. You can also go to [...]. It has been a pleasure to listen to this man's recordings over the past 40 years both as a session and solo artist. I only hope the RRHOF, will see fit to elect Cornell into its session wing, as one of the great influential guitarists of the modern pop era. RIP "Uncle Funky"!

Doin' Alright