Robots For Ronnie

Introducing: The Sonic Vault

2011-03-10T17:48:00.000-06:00

http://thesonicvault.blogspot.com/

Hello friends! Well, after some contemplation I have decided to open a new blog for the sole purpose of telling the stories of the many artists I have featured on this very blog over the years, and many others as well. This site will feature content sourced directly from the artists themselves. It is a labor of love that I have touched upon over the years and now with the creation of The Sonic Vault, there will be a place to archive this information. Please take a look, subscribe to the newsfeed and interact with me and others there as we will finally shed light on the artists who have fueled our curiosities for decades.

Coming Soon...

2011-03-03T15:18:00.001-06:00

Keep an eye out for a new feature, where I'll be publishing interviews with bands plucked right out of 60's/70's obscurity. I'll still be bringing the rarities, but will also be spending some time bringing you the fascinating stories of these wrongfully overlooked artists from yesteryear. On the immediate horizon, Bike (Detroit, MI) and Butch (Utica, NY). I'm working on Crystal Haze (Decatur, IL) and Fyter (Little Rock, AR) for future articles. This should be informative and interesting. I have several others lined up and quite a few I'm pursuing as well. 2011 is going to be a GREAT year here at RFR. Rock forth!

Wheatstone Bridge - Bad Connection (1976)

2011-01-23T16:10:00.007-06:00

Wheatstone Bridge are one of those bands that few people have any information about. Aside from the fact that the band were based out of Kankakee, IL and recorded this LP in 1976 at Bob Millsap's Ironside Studios in Nashville, there are precious few historical traces left behind. Guitarist, Joe Bright was presumably the creative force behind the band, given that he is credited for almost all of the album's songwriting. It is also safe to say that Bright sang the material, although drummer Kim Berry and producer George Marakas were also credited for some vocal assistance as well. "Bad Connection" was issued in 1976 by Marakas' publishing/management company, SanRon Music. The album failed to break nationally but in hindsight has found a second life in collector's circles. Acid Archives featured a flattering review of the album and obscurity lovers have raved about if for years.

Musically, the band are a tight well-oiled machine. There's a slight british influence happening in some of the arrangements and a nice blend of distorted and clean guitar tones. Tracks like "Bad Connection", "Make It Rhyme", "Dance The Whole Night Long", "Thunderock" and "Nightflight" all featuring blistering guitars and stand among the best material on the album. There are a couple of ballads present as well that lack the immediacy and impact of the heavier tracks. The production is solid and crisp and the writing is nice and compact. This is definitely one of the better 70's private pressings I've heard in quite awhile. I have no doubt lovers of old-school melodic hard rock will eat this up. Dig this sweet vinyl rip...

320kbps @ http://lix.in/-96d560

Fyre - Pyromancy (1977)

2011-01-22T10:28:00.005-06:00

Fyre's story begins in Hays, KS in 1968, upon the dissolution of midwestern beat group The Blue Things. The Blue Things, who had experienced a lineup change, re-dubbed themselves as Fyre and moved to the west coast in the hopes of gaining massive exposure. The band managed to land a contract with Dot Records and embarked on a national tour with Them, but by early 1970 the band had dissolved with some members staying in California and others relocating back to Kansas. Several years later in Emphoria, KS Fyre were resurrected with a mostly revamped lineup and were packing clubs all over Kansas as well as select venues in Hollywood. By mid-'77, the band were holed up in Leon Russell's home studio tracking their debut LP, "Pyromancy". Upon its release, Billboard magazine were singing the band's praises and expectations were high. However, limited distribution in some markets kept the album from breaking big nationwide and as the 80's were approaching, not much was heard from Fyre. It is presumed the band split sometime early in the new decade. Since then, Fyre embarked on a reunion tour in 2007 and even had their own website at one point before vanishing again shortly thereafter. The activities of the members are currently unknown.

Musically, Pyromancy is one schizophrenic affair. The band dabble in AOR, country, boogie, funk and to a lesser extent, hard rock. As would be expected, this kitchen sink approach does not make for a consistent listen whatsoever, but there are a handful of gems worth noting. "L.A. Lady" is a solid AOR styled track, "Musicband" tastefully lifts from the west coast flavorings of bands like Firefall or Pablo Cruise and "6th Avenue" has great energy and tasteful harmonies. Overall though, Pyromancy lacks the strong identity of the heavy hitters of their era making Fyre a minor curiosity for obscurity hounds.

Dig this satisfactory vinyl rip and enjoy the subtle charms of Kansas' Fyre...

320kbps @ http://lix.in/-97d3b7

Bull - It's A Rock & Roll World (1979)

2010-12-18T14:30:00.004-06:00

Bull was a band from the mid-Atlantic that played between 1976 and 1980. Ray Pittman started this rock group in early 1976 with Clayton Butchard, Richard Cowles, Chris Link and Ricky Lewis. Clayton quit after two months and Bull became a band of four. The next year saw Bull at every southeastern town from Richmond to Miami. They played 268 nights during their 1st twelve months. A club fire destroyed the band's equipment in June and they paused to re-gear the show. They were back on the road by July. They recorded in the late summer of 1977 two songs called "Better Mean What You Say" and "Sometimes". This got some radio exposure which boosted Bull's popularity. Doug Gilcrest became their manager and was instrumental in attaining new opportunities for Bull.

Interest from record companies came after 1977 and Bull was seen on the bill at some major East Coast concert extravaganzas. Early in the spring of 1978, the band signed a contract with "Wheels Records" and Rod Seagream became the new Bull manager replacing Doug. Terry Garland came aboard as second guitarist the Ray became the group's featured lead singer. Bull recorded an LP in the Fall of 1978 featuring songs written by the band. In early 1979, Bull was a promising new recording act. Their album was released on March 20 and a buzz was in the air of the possibilities. The group carried a four man road crew in 1979 and traveled in a new luxury club van. Wheels Records supplied the band with a state of the art sound system, a new equipment truck and complete lighting gear. Bull LPs, T-shirts, buttons and bumper stickers were sold at shows and at record stores. Bull had its own following and was known as a crowd magnet by the establishments who hosted them. College radio stations played tracks from their LP as Bull experienced its peak popularity. Bull had a large fan base and felt positive about their future. Talk of national sponsorship fueled expectations that Bull was on its way to bigger and better things.

The euphoria ended in August with news of dishonesty and fraud on the part of Wheels Records. Bull canned Rod as manager in September and cut ties with Wheels. The band members felt the air had been let out of their balloon. Bull reorganized in early October with Dale Williams on bass. Ricky went to the west coast making Bull again a quartet. Chris left the band in March 1980 as Mike Mann took over as drummer. Terry left in October of 1980 to join Chris Link, Richard Cowles and Bruce Olsen in forming "The Offenders". Bull ended at that point and Ray started an all new group. The Ray Pittman Band issued an LP of Ray's new songs during 1981(Getcha Some). Terry Garland later became an internationally known solo blues singer/guitarist. Chris and Richard continued playing together in Virginia bands for the next 20 years. Ricky Lewis made a name for himself in California and put together "The Ricky Lewis Band". Chris, Ray and Richard worked together again for two years during the early nineties with The Kingpins. Ray Pittman currently performs with his group,"Julius Pittman & the Revival". All former members of Bull are still playing music today! (Bio taken from the band's myspace tribute page)

This somewhat rare album is chock full of very typical late 70's hard rock, which features a slight southern rock edge. Musically, the band are tight and the production is solid for an indie release from this era. There's some great guitar playing across the board, but the tracks do tend to suffer slightly from rather pitchy vocals. Overall it's a difficult album to praise or condemn, simply because while nothing is mindblowing, there's nothing here cringeworthy either. I recommend everyone visit the fabulous Zosopat blog for a download of Ray Pittman's post-Bull album. In the meantime, dig this HQ transfer from virgin vinyl. Merry Christmas!

320kbps @ http://lix.in/-92e004

Diamond Reo - Ruff Cuts (1978)

2010-11-13T18:38:00.005-06:00

Diamond Reo's third and final album marked another stylistic shift in the band's sound. Where their debut was soulful and their sophomore release raucous, "Ruff Cuts" brings in elements of powerpop to the sound, while still retaining some of the edge found on "Dirty Diamonds". The album was their first locally pressed effort as well, being issued by Pittsburgh based Mad Dog Records. The band enjoyed continued regional success, but Nardini's departure in 1979 would prompt a full blown breakup. Members would go on to work as session men as well as involvement in acts like Norman Nardini and the Tigers, The Silencers and numerous local outfits.

"Ruff Cuts" unfortunately suffers from atrocious production, which makes this affair a mixed bag. There are several strong cuts that recall some of the better moments from "Dirty Diamonds", but the muted and muffled sound makes them come across amateurish and clumsy. Quite disappointing. On the upside, there's some real passion in these grooves and tracks like "Electricity" and "Party Girl" are proof. Overall, "Ruff Cuts" may be somewhat low on classic hooks, but the album holds historical importance.

A note about this vinyl transfer. I took a lot of time trying to get this LP to sound great without disrupting the integrity of the original recording. I EQ'd quite a bit, with the intention of bringing out the highs which were sorely absent on the original vinyl. I think it sounds a little better, but you can only 'polish a turd' so much. Your feedback is welcome, as always. Enjoy!

320kbps @ http://lix.in/-94a5c6

Rabbitt - Rock Rabbitt (1978)

2010-09-17T16:31:00.009-05:00

South Africa's Rabbitt formed in the city of Pretoria out of the ashes of local favorites The Conglomeration. The Conglomeration (1968-1971) consisted of Trevor Rabin, Neil Cloud, Ronnie Friedman and Allan Rosenberg and were local favorites, winning a Battle of the Bands competition in 1971. Despite squeaking out a single, "Locomotive Breath" in 1972, the band (now calling themselves Rabbitt) effectively split when Cloud joined the South African Army. Two years later, upon Cloud's discharge, Rabin, Cloud and Friedman regrouped adding Duncan Faure to the lineup.

The band landed a record deal with SA label Jo'Burg Records, as well as international licensing through Capricorn Records (US). By late 1975, the band had recorded their debut "Boys Will Be Boys", which became a huge success in their homeland. The band literally exploded onto the scene and by the time their sophomore album "A Croak And A Grunt In The Night" was issued in 1977, Rabbitt were mega-stars. Soon word spread and North American/European promoters were clamoring at the prospect of bringing the band to a whole new level. Unfortunately, the political upheaval occurring in their homeland brought the band's global aspirations to a halt, prompting Rabin to depart. The band soldiered on as a trio, releasing one last album "Rock Rabbitt" in 1978 before splitting later that year.

Rabin later worked as a solo artist, as well as becoming a key member of Yes. Since 1994, he has worked almost exclusively scoring films. Faure would later join the Bay City Rollers (aka The Rollers) before settling in Los Angeles with bands Karu, The Joybuzzers, Blue Bottles and as a solo performer. Friedman has enjoyed moderate success working in production and Cloud toured with Peter Frampton breifly before retiring from the business. He now manages an office furniture company in South Africa.

"Rock Rabbitt" is easily the most difficult to find of the band's three albums & it is also the only album penned exclusively by Faure. With prominent keyboards & glossy production, the album is somewhat of a stylistic departure from the band's eclectic earlier material. There's a lot of Lennon influences throughout as well as some slight touches of early new wave in places. This would be something Faure would bring with him during his tenure with The Rollers. In fact, "Hello And Welcome Home" (as well as b-side "I Was Eleven" released around this time) would be recut in a rearranged form by The Rollers in 1979.

Though I think this is a fine effort by Rabbitt, there is a fragmented feel in most of the tracks here which I think lack Rabin's knack for clever arranging. In any case, here's a long lost relic from South Africa that I think any Rabbitt, Trevor Rabin or BCR fans will find interesting at the very least. Dig in and enjoy this time capsule from 1978!

128kbps @ http://lix.in/-87a7f9

Bike - Bike (1978)

2010-03-26T03:26:00.015-06:00

Bike were a short-lived Detroit area based outfit who never really made waves outside of their region. It's a shame, as the these boys could muster up a furious cacophony when given the chance. The band basically released this album on a local label before dissolving among the slew of more established acts of the time. Very little is known about the band's background, though vocalist Don Pierle (brother of Indiana band, McKay's Ray Pierle) was a notoriously charismatic figure on the local scene. It is presumed that Bike's lifespan was a rather short one.

So what about the album? Well, many rarities come and go, but this one is easily one of the best I've heard. Scarcity aside, this album is chock full of anthemic and powerful 70's hard rock of the first rate. With a sound that resembles Left End, one can easily get a sense of the quality found in the grooves of this monolithic hard rock relic. It would be quite difficult to pinpoint a highlight, as this album is brimming with quality songwriting throughout. There's truly not a weak track in the lot.

I HIGHLY recommend this beast of an album to anyone craving a heavy dose of powerful in your face rock and roll. Though there's nothing here that reinvents the wheel, there's unquestionably a plethora of pounding riffage to behold. Need proof? Dig in and see what this extremely underappreciated band is all about. Being one of the rarest of its kind, you'll surely get a kick out of Bike's one and only album. Courtesy of Harvey M...

LINK REMOVED MOMENTARILY...NEWS TO FOLLOW

Trigger - Trigger Treat (1975)

2010-03-15T13:59:00.003-06:00

New Jersey's Trigger formed in 1973 and spent its first three years playing the circuit until landing a production deal with Big Guy Productions in 1976. Within the next year, the band had signed with Casablanca Records and began work on its major label self-titled debut. The album hit shelves in early 1978 and was met with critical praise. Follow up work began on the next album the following year, but production complications halted the release, prompting Casablanca to drop the band from its roster. The band soldiered onward and continued playing in various incarnations until 1985. In 2001, guitarist Jimmy Duggan passed away but the band's loyal fanbase never waivered, which prompted a reunion show on August 16th, 2009. Around this time, "Trigger" was issued on CD for the first time. The remaining members are essentially retired from the business, though there are hopes of additional reunion dates in the near future.

What we have here is "Trigger Treat", the band's semi-legendary and quite rare debut album. Released on the band's own label, Parliament Records, the album circulated around the tri-state area in 1975, helping to increase the band's visibility. Though it did little to capture the band's live sound, it was the impetus in getting the band in touch with major players in the music business. If you own the band's LP from '78, you will be quite surprised at the difference heard here. The band's punchy powerpop sound had yet developed, as "Trigger Treat" sees them trying to find their musical identity. Most of side one is comprised of light fare with a decidedly more pedestrian slant. You'll hear lots of pseudo-disco influences creeping into the arrangements and virtually zero distortion. Side two picks up considerably with the first cut being "Somebody Like You", a primitive version of the track that would later be the first single from their Casablanca album. Most of the highlights are found here, with the standouts being "Little Girl (My Sweet Babe)" and "You Can't Stop Now".

Overall, this album nets only an average rating from me, but there's no denying the demand for this rare slab of homegrown vinyl. Trigger fans will most definitely wanna check this out as well as lovers of mid-fi private LP releases. Whatever your tastes, enjoy this HQ rip of this long lost relic!

320kbp @ http://lix.in/-76eaf2

Crystal Haze - Crystal Haze (1977)

2009-12-16T16:32:00.002-06:00

Crystal Haze are mostly shrouded in mystery, however it is known that the band sprang from the Decatur, Illinois sometime in 1975. Basically comprised of high school friends, Crystal Haze tracked their sole album mostly live in the studio with vocal duties being split between the two guitarists, Greg Bickers and Dave Ellis. After a rather slipshod attempt at mixing, the album was pressed as is in extremely limited numbers. It is rumored that only 100 copies were ever pressed. Since the rather low-key release of their debut album, very little has ever been heard of Crystal Haze though it is believed the band continued to gig around the area for another year before dissolving. The band's post-split activities are murky, though Bickers is now fronting local band, The Hitmen in his hometown.

"Crystal Haze" is certainly one of the most elusive mid-70's recordings in existence, fetching insane prices in collector's circles. From a rarity perspective, I can certainly understand the fervor often raised by this album, given how rarely it ever surfaces. What about the music though? Well, let me just say that the fretwork is fantastic. Excellent guitar tones & fiery performances abound here. Overall, the musicianship is pretty solid considering how young the players were at the time. There's some cool dual guitar work here and there as well, which elevates the intensity another notch. Standouts include the opening instrumental, "Flame" as well as two of the mellower tracks, "In The Night" and "Goodnight".

If you are a sucker for homegrown lo-fi 70's rock, I think you'll be pleasantly surprised by "Crystal Haze". Tough to peg and elusive as the Dodo, this album's legend is at least somewhat justified. Dig it...

192kbps @ http://lix.in/-6144d3

Re-upped: Bad Boy - Electric Eyes (1984)

2009-10-16T18:35:00.002-05:00

Continuing with another entry from Milwaukee's Bad Boy, this is their fourth studio release from 1984, "Electric Eyes". In an attempt to remain relevant among the giants of overblown 80's hard rock, Bad Boy update their sound embellishing it with synth pads and noodley fretwork. Does it work? Well, it does a little but even then, it all comes off a bit third tier in the end. With Xeno (original Cheap Trick vocalist) now at the helm, the melodies are more prominent than ever, but the lack of originality reduces this obscurity to nothing more than a curiosity. There are some strong cuts here, but nothing really has staying power. Regardless, here it is in all its newly ripped digital glory. Bad Boy fans will want to sink their teeth into one of the band's forgotten releases.

LINK REMOVED AT REQUEST OF ARTIST

Re-upped: $27 Snap On Face - Heterodyne State Hospital (1977)

2009-09-24T13:50:00.001-05:00

Sonoma County weirdos, $27 Snap On Face, rank among the strangest of west coast cult acts from the 70's. Formed sometime early in the decade by guitarist Bob O'Connor and vocalist David Petri, the lineup was soon complete with the addition of bassist Steve Nelson, guitarist Jim Doherty, keyboardist Frank Walburg and drummer Ron Ingalsbe. Almost immediately, O'Connor and Petri knew they wanted to create something truly bizarre. Though the other members were resistant at first, soon the band were making waves in Sebastopol and its surrounding cities. With over the top performance art integrated into their shows, the band seemed destined for cult status from the get go. The band's history goes blurry from this point onward, though I am aware of at least one single issued in 1975, prior to the "Heterodyne State Hospital" album.

As for this album, well, let's just say it's an acquired taste. Some get it and others don't. I suppose I'm with the latter, though I can appreciate the band's desire to do something unusual. With Zappa flourishes penetrating the music presented here, the album comes across like an inside joke that only a select few were intended to understand. This being said, the listener might often feel a bit alienated by the material here. Sounding like an early Frisco hippie act fronted by Frank Zappa, the focus here is sublime and not so much about musicality as it is lyrical content. The band self-issued 1,000 copies of the album in 1977, though it sounds like it may have been recorded considerably earlier. The band continued for a short time, doing mostly union gigs in the Sonoma County area before eventually calling it a day. O'Connor now lives in Hawaii, Petri is a realtor in Cobb, Walburg runs a vacation community in Santa Rosa and Ingalsbe's whereabouts are unknown. Doherty passed away in 1993.

If weird cult bands are your thing, then you'll surely find something to love about $27 Snap On Face. This elusive piece of west coast psychedelic is, if anything, something you're not likely to ever forget. Enjoy this re-up from 'Gumby'!

224kbps @ http://rapidshare.com/files/284095110/_27_Snap_On_Face_-_Heterodyne_State_Hospital.rar

Bad Boy - Back To Back (1978)

2009-09-19T20:10:00.005-05:00

Back again with another entry from Milwaukee's very own Bad Boy. "Back To Back" was the band's final effort for United Artists Records, released in 1978. The album spawned no singles and failed to chart, prompting the label to opt out of extending the band's contract. The band continued playing the midwest for a number of years before finally fizzling in the late 80's. With the imminent release of a greatest hits album in 1998, the band reunited and has been recording and performing ever since.

"Back To Back" is an improvement over the band's debut, featuring more focused songwriting, a harder sound and more direct melodic hooks. "Back To Back" also marks the band's first foray into power pop, a style that would be fully explored on their follow up release, "Private Party". Though there are a handful of somewhat pedestrian cuts, there are some equally compelling tracks to offset them. "It's Alright" is a powerful opening track, with a sound reminiscent of early Trooper. "Always Come Back To You" and "Accidental" are both brimming with hooks lifted from the Raspberries songbook. "No Stopping Me Now" is easily the heaviest track here, with a sleazy guitar tone to die for. All in all, this is a satisfying listen, especially for Bad Boy fans.

Dig this killer 1st gen vinyl rip, de-clicked and EQ'd for maximum effect. You'll be pressed to find a better transfer anywhere else, folks!

LINK REMOVED AT REQUEST OF ARTIST

New Blog!

2009-09-11T17:45:00.004-05:00

Be sure to drop in and visit my second blog, Planet Powerpop. If you're a lover of huge hooks and Beatlesque melodies, I'm sure you'll find something to love there. I'll continue blogging here, in addition to the new blog. Eat it up!

Bad Boy - Girl On The Run (1986)

2009-09-02T19:35:00.007-05:00

Bad Boy's fourth release came in the form of "Girl On The Run", a five song EP released in 1986. The band opted to release the record on their own label, Legend Records. With the limited distribution that is typical of indie labels, the album failed to launch the band back into the mainstream but it was well-received in parts of the midwest. Over the next few years the band slowly began winding down, as members defected to other area bands and solo projects. In 1998, the band reunited and has been performing locally ever since.

"Girl On The Run" is quite a departure from the band's 70's output, with a strong AOR slant full of embellishments like saxophones and keyboards. The band's grit has been replaced by a slick sheen that was very common for the times. The album's title track is clearly the standout here, though "Hypnotize" and "She Can Drive You Crazy" are also fantastic. Unfortunately, the two remaining tracks fall flat. "Midnight Love" lacks a strong hook and "The Longest Night" comes off sounding very formulaic and stiff. Overall, this is a worthy effort and a fine addition to the Bad Boy musical legacy.

This EP is extremely rare and usually quite expensive whenever it surfaces online. Check out this fantastic vinyl rip I've done and get hip to some rare Milwaukee AOR. You'll dig it.

LINK REMOVED AT REQUEST OF ARTIST

Re-Upped: Bad Boy - Private Party (1981)

2009-08-10T23:07:00.001-05:00

Here's another rarity from Milwaukee's legendary Bad Boy. By the time "Private Party" was in record stores, the band had already spent three years struggling to regain its composure after the sudden split from United Artists Records. With their fanatical hometown following keeping them aloft through this lean period, Bad Boy launched Streetwise Records to issue their third album in 1981. Though the album gained them newfound critical acclaim, it was not enough to launch them into superstar status. The band slagged it out in the midwest for another five years before finally giving up the ghost. A resurgence in interest eventually inspired a reunion in 1998 and the band can still be found conquering venues in their region today.

"Private Party" is an astonishing accomplishment, especially considering the climate in which this album was created. Few commercially successful acts ever have the fortune of trumping their most fruitful period of mainstream visibility, much less those who have never quite bridged the gap between being underground and being household names. Bad Boy had spent several years trying to capitalize on the support they were receiving from United Artists, but mainstream success eluded them in every way possible. So, it's quite amazing that their first self-financed album would not only push their songwriting to a whole new level, but also result in a production that glistens with a punishingly clear sheen that rivals any major label's output from the same time period.

The album swaggers with confidence at every angle, complete with charging guitars, heavyhanded rhythms and a charismatic vocal approach that demands your immediate attention from the very first note. "Private Party" is the sound of a hungry band on fire and hellbent on making a powerful musical statement. There are literally no weak tracks to be found here, folks. It's that damn good. With a sound that blends Cheap Trick, Bachman-Turner Overdrive and Kiss, the band blasts through all ten tracks with total gusto. The result is unquestionably the most relevant collection of tracks this band ever laid to tape. Need proof? Check out this fresh vinyl tranfer done by me. It simply blows away the previous version that was available here!

LINK REMOVED AT REQUEST OF ARTIST

Snakeye - Blue Feeling (1975)

2009-07-30T14:22:00.010-05:00

Snakeye's debut came in 1975, two years after it had been actually recorded. The band were briefly courted by United Artists Records and the label subsequently issued a single "Choked Up" b/w "Blue Feeling" in 1973, but a full fledged contract never happened, leaving the band with master tapes to an album without a label. Eventually Harold Langille's local label, Big Harold's Records, issued the album in a limited pressing. Though the album did quite well for the band regionally speaking, with limited funds and resources, "Blue Feeling" was ultimately destined for the abyss and that's where it has remained ever since.

It's quite unfortunate too, as this album is a pretty enjoyable melange of styles that range from moody ballads to energetic hard rock. The album opener "See The Sun" is an excellent mood setter, with atmospheric flutes, tight vocal harmonies and a captivating dynamic shift throughout. "Something To Believe In" is one of the highlights, with a funky James Gang vibe firmly in place, it should've been a single. Other cuts worth mentioning are the sizzling title track and "I Can Stand" which sounds like David Byron fronting a southern rock band.

The verdict on this elusive relic is mostly positive. Though there are a few missteps sprinkled throughout, this is by and large a fairly tight and concise set of tracks. Check out this vinyl rip, but be aware that you may hear some very subtle pops on occasion. I labored hard over digitally restoring this one, but the source vinyl was only a VG+ rating. I didn't want to filter too much noise, as it would've compromised the music itself. I think you'll dig this one in any case! Dig it...

320kbps @ http://lix.in/-58c27e

Wizard - Wizard (1979)

2009-06-24T14:15:00.003-05:00

Wizard were a Los Angeles based hard rock act which featured brothers Dave Walsh (guitar) and Brian Walsh (drums), as well as Bruffie Brigham (vocals, bass). It's not known when the band was established but their one and only album was self-financed & pressed under the guise of their own label, Future Track Records. The album circulated in nearby shops for awhile before disappearing completely. As the new decade approached, the band fizzled and Brigham moved on to Masque and later worked as a session player. The Walsh brothers activities are unknown.

This album has been fetching ridiculous prices at collector fairs and online auctions for a number of years now and I can't help but wonder why. Sure, the musicianship is decent enough and the songwriting isn't completely terrible by any means but methinks this is a clear case of hype over substance. The production here is half the problem, as the dynamics have all but been tossed out the window. What's left is a leaden and somewhat claustrophobic sounding mix that does no justice to the music at all. There have been many Rush comparisons made about Wizard and I just don't hear it at all. Am I missing something here? Overall, this LP is on the low end of "good", barely scraping by on the fact that there's exceptional musicianship happening here. Otherwise, unless you're a sucker for plodding lo-fi early 80's hard rock, you might want to bypass Wizard.

Unfortunately, this rip leaves alot to be desired. It's fuzzy and part of the opening track has been truncated, but I have seen no alternate rips floating around and until then, this will have to do. Thanks to my friend Orchman, here is Wizard. What do you think?

320kbps @ http://lix.in/-4eacf4

Vinyl For Sale!

2009-06-15T18:46:00.008-05:00

Yep, time to start unloading some of my humble collection. I suffered a 450gb hard drive crash recently and all proceeds from this sale will go towards a reliable 1 or 2tb external drive. This makes my 2nd drive crash since 2005 and this one in particular stings! Fear not, alot of my rarities that I've been waiting to post here have been salvaged, so RFR will only get better and more active as I begin reorganizing files and doing write ups as I go. In the meantime, take a look at the vinyl I'm offering below. All LPs are graded conservatively and freight charges will be calculated on your zipcode or postal code. There will be no extra charges and each item will be shipped within 24hrs of payment, so there'll be no excessive waiting! I'm selling on a first come first serve basis, so use my email link at the bottom right margin of this blog to confirm your selection and we'll exchange contact information. Keep in mind that the gradings are for cover/vinyl. Thanks!

Thundermug – Orbit 1972 Axe Recs EX-/EX $12.00

Thundermug – Strikes 1973 Epic Recs EX-/EX $ 8.00

Thundermug – Ta-Daa!! 1975 Mercury Recs EX-/EX+ $12.00

Trooper – Trooper 1975 MCA Recs NM/EX- $12.00

Hello People – Bricks 1975 ABC Recs NM/NM $ 8.00

FM – City Of Fear 1980 Passport Recs EX-/EX- $10.00

Target – Captured 1977 A&M Recs EX-/EX- $ 6.00

Growl – Growl 1974 Discreet Recs EX-/EX $10.00

Voyager – Halfway Hotel 1979 Elektra Recs NM/NM $10.00

Glider – Glider 1977 United Artists Recs EX/EX+ $12.00

Flying Squad – Flying Squad 1978 Epic Recs EX-/EX+ $15.00

Baby – Baby 1975 Mercury Recs EX/EX+ $12.00

Baby – Where'd All The Money Go? 1976 Chelsea Recs EX/EX+ $12.00

Christ Child – Hard 1977 Buddah/Arista Recs VG+/VG+$ 8.00

Locust – Playgue 1976 Annuit Coeptus Recs NM/EX+ $12.00

Neon – Neon 1970 Paramount Recs VG+/EX- $ 8.00

The Pirates – Hard Ride 1979 Pacific Arts Recs VG+/EX- $ 6.00

Child – Child 1977 Ariel Recs NM/NM $15.00

Thundermug - Orbit (1973)

2009-05-11T20:38:00.007-05:00

I've posted most of Thundermug's recorded output here before, but not their 2nd LP, "Orbit". Prior downloads I've come across from other sources have sounded scratchy and muddy. Not this one, folks. I ripped this myself from clean vinyl and the sound is amazing. The album came in mid '73 and though it was critically acclaimed in Canada, it never made a dent elsewhere in the world. It's a shame, as this is arguably their most cohesive release.

Though the album is notably less experimental as their debut, it makes up for this change in direction by focusing on tighter arrangements and melodies. In fact, later that year Epic records issued a Thundermug compilation LP which contained all but three cuts from this release. Yes, it's that strong. If you are a Thundermug fan or just enjoy clever melodic power pop/hard rock, you will be more tha satisfied with "Orbit". Click the link below and give your ears a taste of one of Canada's best kept secrets.

320kbps @ http://lix.in/-464be8

The Hello People - Bricks (1975)

2009-05-04T19:10:00.008-05:00

I'm back with another post from The Hello People, this one being their final release from 1975, "Bricks". By this point, the band had been pruned down to a quartet and streamlined their musical approach considerably. Under the direction of mentor Todd Rundgren, the band entered the studio in early 1975 and had "Bricks" on store shelves by the summer. Though Rundgren's golden touch had revived many sagging careers of the artists he worked with, The Hello People did not fare quite as well. By early 1977, the band had stopped touring and effectively fizzled by year's end. The post-breakup activities of former members are not known.

If you enjoyed the psychedelic sounds of the band's early albums, you will probably not find much to enjoy with "Bricks". Here we see a pastiche of mellow pop, hard rock and 50's doowop. Though there are highlights such as the perfectly crafted "Pass Me By", which incidentally appeared earlier in a different form on a previous album by the band, most of the material here is rather pedestrian. Despite this flaw, I honestly do enjoy this album from time to time. It's all about moderation folks and this is an album that does not hold up well under repeated listenings. Having said that, this is a relic worth checking out, especially if you are already familiar with the band. Check out this excellent rip from virgin vinyl. Enjoy!

320kbps @ http://lix.in/-488f68

Re-Upped: Baby - Where Did All the Money Go? (1976)

2009-03-29T03:13:00.001-06:00

Back again with another entry from Baby, this time being their 2nd and final release, "Where Did All the Money Go?". From the get go, it is apparent that the band has tempered their sound considerably, transforming from a raunchy southern hard rock sound to a slicker, more laid back bluesy rock style. Some will find this change an improvement, but it's impossible not to notice the decline in songwriting present here. I personally prefer the supercharged crunchiness of the debut, but there are a few standouts here. "Easy Street, Hard Luck Avenue" and "Still in Love" are both closer to the band's signature hard rock sound and are two of the better cuts here. To the band's credit, they've added keyboards to the sound and this enhances the dynamics of the songwriting quite a bit. Whatever your preference, this obscurity deserves to be heard and this new transfer I've done from mint vinyl should please fans and newbies alike.

320kbps @ http://lix.in/-3e088c

Re-Upped: Trooper - Trooper (1975)

2009-03-29T01:57:00.001-06:00

Trooper's roots trace back to 1965 in the fair city of Vancouver, BC, where Ra McGuire (vocals) and Brian Smith (guitar) honed their chops as the creative force behind eccentric rockers, Winter's Green. Though the band enjoyed success on a marginal level in their native region, it wasn't until 1974 that the duo's new group, Applejack, drew the attention of Randy Bachman. Bachman, having been a pivotal player in the success of numerous bands like The Guess Who, Brave Belt and BTO, was instrumental in giving the band its first taste of national exposure and also their subsequent record contract with his own label, Legend Records. That album was released in 1975, under the band's new guise, Trooper. Immediately the band were placed on high profile tours of the US with BTO, Aerosmith, ZZ Top, Fleetwood Mac, AC/DC and the Doobie Brothers, which did little to bring crossover success for the band in the states. North of the border, however, was an entirely different matter as the band enjoyed two high charting singles and a Juno award that same year.

This success prompted MCA Records to step into the picture and for the next five years, the band issued numerous gold and platinum albums and singles, sold out venues from coast to coast and recieved multiple Juno nominations. It wasn't until 1980 that their success began to wane, which resulted in a revolving door of label deals, sporadic releases and lower profile tours over the next eleven years. Trooper, though in a largely different lineup, continue to tour sporadically in their homeland to this day with McGuire and Smith still at the helm.

This album, their eponymously titled debut, is an excellent introduction to the band. With a perfect musical balance of muscle and levity, "Trooper" is chock full of tasteful classic hard rock. With crunchy workouts in the majority here, the album reigns in the energy only a few times to allow the listener a glimpse at the band's subtle interplay. Highlights include rockers like "Roller Rink", "Eddy Take It Easy", "Baby Wontcha Please Come Home" and "Don't Stop Now", while "General Hand Grenade" serves as an interesting diversion in the proceedings. Of Trooper's recorded output, I consider this to be among the best work the band's ever done. Though there's nothing here that reinvents the wheel, McGuire's articulate raspy vocals and sublime melodies elevate this from plain to exceptional.

Newly ripped by me from an excellent quality copy of the LP. Considering the iffy production of the album, this is a fantastic and clear transfer. All the more reason for you to download and get hip to one of Canada's most beloved classic rock acts.

320kbps @ http://lix.in/-411538

Re-Upped: Locust - Playgue (1976)

2009-03-29T01:21:00.001-06:00

This extremely obscure proto arena rock act sprang from Iowa in the early 70's, becoming legendary in their home state while remaining unknown just about everywhere else. Their local fame brought them to Annuit Coeptus Records, who issued their sole release, "Playgue" in 1976. Though the band regularly landed supporting slots for many of the bigger acts touring through Iowa, they never managed to break through to very many other regions outside of the midwest.

So what about the music? Taking on a sound remiscent of Morningstar or early Styx, the band assembles an interesting batch of songs that seem complex in places, yet underdeveloped. With capable vocals, quirky melodies and pitch perfect harmonies, they certainly had the chops to do something spectacular. As it stands, though, "Playgue" is an unremarkably pleasant affair through and through. With lackluster production that sounds more like something engineered in the 60's, alot of the music here suffers from bad sonics. Had the production values been more contemporary, perhaps Locust could have developed their sound more elaborately. The band did split a few years later, frustrated by lack of visibility and not much is known about the members subsequent activities, though bassist Court Hawley would end up in macabre theatrical metal act, Impaler, almost a decade later.

Newly ripped by me from Mint vinyl. This is a huge sonic upgrade from the original posting. In any case, enjoy this HQ vinyl rip and sink your teeth into one of Iowa's few contributions to the AOR genre. Hope you dig it!

320kbps @ http://lix.in/-3f8e6f

Next... - Dusty Shoes (1971)

2009-03-28T23:00:00.001-06:00

Winnipeg's Next were an offshoot of regional heroes The Fifth. After a fairly successful run of singles in Canada, The Fifth split in 1970 with several members of the band defecting to other acts in the region. One such product of the split was Next. The band were quickly able to secure a contract with Warner Brothers and by late 1971, "Dusty Shoes" was released. With somewhat limited exposure and very poor distribution, the album sank without a trace and Next were history by the end of 1973. Members would later turn up in The Guess Who, Harlequin and The Litter.

"Dusty Shoes" is very much typical of the era from which it sprang. Overall, it's tastefully arranged organ/guitar driven pseudo hard rock that recalls Grand Funk Railroad quite a bit in places. With the soulfully gritty vocals of George Belanger, everything here has an edge which makes much of the material here sound harder than it actually is. That subtle dynamic is what carries most of this album and makes it a truly satisfying listen. Check out this obscure offering from Next, contributed by Orchman. Dig it...

192kbps @ http://lix.in/-3c7f57

Cool Feet - Burning Desire (1976)

2009-02-25T12:16:00.006-06:00

Cool Feet are unquestionably one of the most sought after acts from the 70's underground. In fact, their sole full-length release easily fetches a few thousand dollars each time a clean copy surfaces online. Not much is known about this band, but the quartet formed in the Gutland of Luxembourg sometime in the early 70's. One half of the band were German & the other half British. Their self-titled album was recorded at Dierks Studios. Issued in very limited quantities on the small Pallas label, the album virtually came and went without much fuss at the time, though over time it has gained a nearly unparalleled amount of attention due to its scarcity.

So does this album deserve the hype? Well, let's just say that it's most certainly not the masterpiece one might expect, but it's also much better than a good portion of the relics that collectors tend to lavish praise upon. With a sound that references alot of the early Scorpions material, there's some real worthy music happening here. The vocals are eerily quite similar to Birth Control's own Bernd Noske. It's almost uncanny, really. There's plenty of turbocharged hard rock among the batch of tracks presented, along with a handful of more introspective numbers. One such heavy standout is the ballsy "Hello Lucy", with fantastic vocals & perfect rhythmic pacing. If drawing comparisons is your preference, see bands like Doctor Downtrip, Bastard or Hairy Chapter for other points of reference. Whatever your angle, I'm sure many of you will find something to love about Cool Feet. While we wait for a much needed proper reissue, dig into this decent vinyl rip and hear what all the stir is about.

128kbps @ http://lix.in/-423c9f

Roadmaster - Sweet Music (1978)

2009-01-25T16:06:00.000-06:00

In this final entry for Roadmaster, we have the band's 2nd album "Sweet Music". This effort was the first to signal the band's change of artistic direction, which veered away from journeyman boogie to full blown AOR pomp. Nothing signifies this change more than the opening cut, "It Doesn't Mean a Thing". With hooks galore and syrupy synths and strings, it should've been a huge single. Oddly enough, that never happened and it's matters like this that help to explain why Roadmaster never really broke through to the mainstream. Poor promotion, lack of exposure and mismatched touring partners were all to blame and it's a real shame. Needless to say, in the ensuing years since the band's dissolution there has been an all-new appreciation for their music. Whether you dig hard rock, radio friendly ballads or full-blown AOR...Roadmaster had it all. Perhaps it's the bittersweet irony of Roadmaster's fate is what makes them so appreciated in retrospect.

In any case, dig this excellent rip from William and make your Roadmaster collection complete!

224kbps @ http://lix.in/-36d7ec

Mother's Finest - One Mother To Another (1983)

2009-01-24T17:16:00.005-06:00

This rare entry is from Atlanta's hard soul pioneers, Mother's Finest. After enjoying moderate success in the 70's as the most powerful multicultural hard rock act on the concert circuit, the band found themselves at a crossroads as musical climates changed in the early 80's. With the failure of 1981's "Iron Age" release and their subsequent ousting from Atlantic Records, the band reconstructed its sound with a decidedly more R&B slant. Soon Epic Records came calling & before the end of 1983, "One Mother To Another" was released. The album was met with indifference almost from the onset, while also suffering from distribution glitches that would essentially derail the band by the middle of 1984. Members went on to work with Blackfoot, Molly Hatchet, The Outlaws as well as enjoying some success as solo artists. 1989 would see the band regrouping and over the next two decades, they've enjoying moderate success despite an inability to establish a solid musical identity.

For lovers of classic Mother's Finest, this album will surely be a real disappointment. This collection of songs rarely deviates from being straight up MOR commercial soul. No rock hard guitar fireworks, no dual vocals, no intense rhythms...nothing. For all intents and purposes, this is a Joyce Kennedy solo album. There are some moments of inspiration here, like "Take Me to the Middle of Your Luv", but for the most part what you find here is flat and devoid of the groove for which this band has always been known.

Due to its rarity, this album deserves to be shared, especially for completists who have never had a chance to hear the band during this transitional phase of their career. Thanks to Nuxx for sharing this ultra-clean vinyl transfer. Dig in and give "One Mother To Another" a spin.

320kbps @ http://lix.in/-404a94

Re-Up Shoutbox

2009-01-18T15:59:00.003-06:00

Just a quick update to let everyone know that I've added a shoutbox at the bottom right margin of this page. Since many of the older links on this site have either been deleted by nefarious blog trolls or have simply timed out, I'm proposing the usage of this new feature to resurrect dead links. Many of the albums posted here in 2007 and 2008 are no longer in my personal library. This is due to both a data loss and simple inventory control on my part. I encourage visitors looking for re-ups to make their suggestions in the shoutbox. It will provide some of the regular contributors here an opportunity to possibly fill your requests. Fair enough? Let's try this experiment and see if we can make it work. Keep your eyes peeled for a new posting this week!

Child - Child (1977)

2009-01-07T19:54:00.005-06:00

I have very little information about this obscure Seattle outfit, which consisted of Lance Baumgartel, Mick Flynn, Tim Turner and John O'Connor. The band formed in 1969 and spent quite a few years playing the club circuit before finally issuing their self-titled LP on Seattle label, Ariel Records. The band enjoyed local success and issued a few singles before dissolving in 1981. Members went on to production and session work, as well as some sporadic musical activities with bands like Cooltones, The Tim Turner Band and The Mick Flynn Band.

This is an obscurity that has often been sought by collectors over the years. Despite the esoteric cover art, this LP is a collection of strictly meat and potatoes rock. No swirling synths, no flashy organs, no acid drenched guitar tones, no wailing vocals. This is straight down the middle rock, folks. For me, this wouldn't necessarily be a bad thing but this batch of songs really just doesn't stand up on its own. Most of the writing seems half-baked and the vocals come across as a little lazy. There's pretty great guitar work but the weak arrangements fail to capitalize on the band's obvious musical prowess. There are a few uninspired ballads, a few blues workouts and a handful of rock/hard rock cuts. The harder material is easily the best here, particularly "I Just Want to Be With You" which beckons Artful Dodger or late period Raspberries.

I suggest you download this artifact and see for yourself. While certainly not bad, Child isn't exactly setting the world on fire either. Check this rip from virgin vinyl and give Child a spin.

320kbps @ http://lix.in/-3e200c

Updated Wishlist!

2008-12-20T18:19:00.004-06:00

Finally just added some titles that I'd forgotten about. If you or anyone you know has any of these titles in a digital format, I'd be grateful for their contributions! Thanks!!!!

Hero - Hero (1977)

2008-12-19T12:48:00.002-06:00

Continuing on from my previous Hero post, this is the band's self-titled debut issued by Mercury Records in 1977. Backed by Michael Lloyd's credentials and solid promotion, the band issued two singles from the album, but ultimately american radio wasn't biting. The band subsequently lost their label deal, only to find a new home with 20th Century Records. A stronger followup, "Boys Will Be Boys", came the following year but whatever momentum the band had built before was essentially gone. The band fractured in 1980 with members working both in and out of the business. Guitarist Neil Citron resurrected the band in the mid-80's to no avail.

Unlike the muscular "Boys Will Be Boys", this album was closer to harmless pop than robust hard rock. Listening to this gem, one can't help but notice the almost childlike innocence that lies within most of the tracks. There are plenty of standouts like the hook driven "Taxi Driver", "I'm the King, I'm the Star" and "You Are the People". Conversely, there is alot of filler here as well. Tracks like "I Love the Way You Rock & Roll", "Smile", "Runaway" and "You Cheat" aren't necessarily short on hooks, but certainly lacking any real substance or staying power. Regardless, this album is worthy of modest praise and deserves a place in any 70's pop fanatic's collection. Dig this sweet vinyl transfer and pop till you drop :)

320kbps @ http://lix.in/-3a8fef

Re Upped: Baby - Baby (1975)

2008-12-18T17:45:00.000-06:00

Texas hard rockers, Baby, came together in late 1968 as a quintet playing mostly regional high schools. In 1969, the band began stretching out to clubs in the midwest and found themselves gaining quite a following in the process. Within the next year, the quintet underwent a lineup change, bringing hot shot axeslinger Johnny Lee Schell onboard to handle vocals and songwriting. This marked a new beginning for the band, who by this time had adopted a heavier sound. Over the next few years, Baby reigned supreme over the club circuits in the midwest. In 1974, the band financed their own recording and issued their self-titled debut on their own label, Lone Starr Records.

Radio success in the region continued and soon Mercury had licensed the album for national release. Though the material was strong, Baby were unable to break into other markets and soon the album sank without a trace. The following year, Mercury pushed the band back into the studio for another album, "Where Did All the Money Go?". Though the album had its share of decent material, it fared no better and the band were dropped. While in LA on a press junket for the album, the band called it a day and everyone went their separate ways.

Members went on to work with acts like Phantom Blues Band, Taj Mahal, Bonnie Raitt, John Fogerty, Buddy Guy and Melissa Etheridge. Schell also produces acts at his own recording studio and writes film soundtracks. Bassist, Stephen Crane issued a solo album on MCA in 1984.

The album is a pretty solid batch of crunchy Texas boogie, much like early ZZ Top, but with an emphasis on hard rock. Schell's guitar work and vocals are the centerpiece here and rightfully so. The clear standout is "Long Legged Woman", which should've been a huge single for the band. Raunchy, filled with swagger and brimming with energy, the track just rocks from start to finish. The rest of the album is a mix of hard rock and smooth jams, at times bordering on mediocrity but always retaining the band's consistent style and sound. I recommend digging into this one, as it's a mostly satisfying slab of Texas 70's hard rock. Check out this improved vinyl transfer, courtesy of me. Snap it up!

320kbps @ http://lix.in/-316739

Glider - Glider (1977)

2008-12-17T08:36:00.006-06:00

Glider were a studio project assembled by former The Lost & Chamaeleon Church (and briefly Ultimate Spinach) guitarist, Ted Myers. He quickly drafted Scott McCarl (Raspberries), Gene Barkin (The Grassroots), Eddie Tuduri (Boxer) & hotshot session men Steve Halter, Jeff Stillman and Jeff Eyrich to round out the lineup. The band were quickly signed in 1976 to United Artists Records and began production at Conway Recorders in Los Angeles. Subsequent sessions continued throughout most of the year at Sound City, Village Recorder, Studio 55, Whitney Recorders and Heider Filmways. Their self-titled album hit store shelves the following year, with lead-off single, "You're Like a Melody" making a valiant attempt at conquering the airwaves. Despite fairly solid songwriting, the single flopped and quickly the album faded into obscurity. The project was seemingly dead in the water before it really began. Members went on to work with Surf Punks, Tanya Tucker, Air Supply, Natalie Cole, Nick Gilder and John Cale. Myers later became a successful songwriter before eventually transitioning into A&R work for Rhino & Concord Records.

This nugget has been a curiosity for many AOR lovers over the last three decades. With a lavish front cover (courtesy Annie Neilson), one could only assume this is an exercise in pretentious pomp. Well, there's good news and there's bad news. The good news is this is NOT pretentious pomp. The bad news is that it's not a mindblowing collection of lost AOR classics either. Honestly what we have here is a decent batch of mostly MOR 70's pop. Nothing terrible, but nothing really commanding your attention either. To Myers' credit, the writing here is mostly good, but his occasionally tuneless vocal delivery does tend to dull the edges a bit. There are big standouts though...such as the cynical "It's Too Bad", the rootsy "Always the Last One to Know" & my personal favorite "You're Like a Melody". The track bears a certain Pete Townsend stamp that seems at odds with the majority of this album's lightweight material.

Ripped by me (with my new USB turntable) from clean vinyl, here is Glider. Listen without prejudice and enjoy...

320kbs @ http://lix.in/-3a66c3

Taggett - Taggett (1974)

2008-11-24T14:46:00.001-06:00

Taggett were a british based studio project assembled by fairly well-known players from other british bands. Comprised of Peter Arnesen (If, Daddy Longlegs), Colin Horton-Jennings (Greatest Show on Earth), Terry Fogg (Sounds Incorporated) and Tim Wheatley (Gracious), the band hired Tony Hicks (Hollies) and Alan Parsons to produce and engineer their debut. Landing a short-term contract with EMI Records, their self-titled album was finally issued in the UK in early 1974. The album tanked and the members soon split, but two years later, United Artists had issued the album in the US. Expecting to have the band launch a promotional tour for the album, execs were surprised to find the members working on other projects instead. That was essentially the last that was ever heard from Taggett. Members went on to work in various acts like Ian Hunter, Hollies and The Rubettes.

The album is a rather indistinct batch of songs, though there's nothing particularly bad about it either. With a vibe that veers from pub rock to country rock to folk rock, there's really no cohesive sound present. Arnesen's vocals make some of the tracks feel disjointed at times, but there are some highlights here as well. "Lonely Nights, Lonely Days" is hooky enough and "I'll Be You Anchor Man" has a charming cockney approach that's hard not to like. "Time" is also another strong track that has some creative and subtle time signature changes in places. Aside from these tracks, the remainder is predominantly very laid back and unassuming. Perhaps that's the problem. There's just no strong character in much of this album.

In any case, there's certainly an audience for this kind of thing. It's all a matter of taste, folks. Check out this sweet vinyl rip and judge for yourself...

256kbps @ http://lix.in/-3b3785

Missing?

2008-11-24T12:48:00.005-06:00

I've had quite a few inquiries asking where I've run off to. Just dropping in to let everyone know that I'm still around. Honestly, I've been struggling with a number of setbacks as of late which have inhibited my productivity here. I've been getting visits from a few trolls who are trying to use legal harrassment to stifle my posts. I don't know why I've been targeted, but I've seen many of my favorite bloggers close shop because of this kind of thing. On top of that, I am currently using a very faulty DSL connection which makes uploading an absolute nightmare. The first several months of my blogging last year were done using a fantastic cable connection, but things are a little different at the moment. Until I have acquired a better internet connection, my posts will be a bit hit or miss. It's frustrating, but I'm making due until I have better options to work with.

I have quite a few new uploads I want to do, courtesy of a few cool readers and I promise I'll work dilligently to get them up ASAP. I appreciate any contributions some of you have made and continue to make. I WILL get those contributions posted here as quickly as possible. You have my word. Some things you can expect to see here shortly are: Roadmaster, Taggett, Gypsy, Shabby Tiger, Private Eye, Turbo, Trillion, Rox and some really cool super mega rarities that I'd rather leave a surprise for now.

Anyway, that's it for now. I'll see you all soon. I hope the FM repost made a few of you happy, as I know it's been the most requested repost of them all here. Talk to you all very shortly :)

Re-upped: FM - City of Fear (1980)

2008-11-23T19:43:00.001-06:00

Unless you're from Canada or just a geek for obscure prog, the name FM will probably not ring a bell. Not to be confused with the UK artists of the same name, this band was formed in Ottawa in the early 70's and went on to release a string of critically acclaimed albums before splitting numerous times in the 80's and 90's. The earliest and most widely recognized lineup featured Cameron Hawkins (vocals/bass/synths), Martin Deller (drums/percussion) and renaissance weirdo Nash the Slash (viola/electric mandolin). This lineup recorded the excellent "Black Noise" album in 1977 only to find Nash embarking on a solo career the following year. In his absence, the now famous songwriter Ben Mink was drafted as his replacement.

Like the previous FM entry here, this also featured Ben Mink. In fact, this was to be his last recording with the band before the return of Nash the Slash a few years later. Personally, I consider this to be the band's finest album. Though it is noticeably more commercial, the excess has been stripped away, resulting in an album full of compact hook driven neo progressive rock. Cameron Hawkins puts in his finest vocal performance ever laid to tape and Mink's sinewy electric mandolin playing brings a very dissonant vibe to the proceedings. The album as a whole is very dark, which compliments the bands sound very well.

Like most of the band's repertoire, this has never been issued on CD. A fire at Passport Records' storage vault destroyed everything within, including the masters to "City of Fear". Considering that this album will likely never see digital conversion, this particular download will be a pleasant surprise for fans. Ripped from pristine vinyl, here it is...."City of Fear".

224kbps @ http://lix.in/-307ba4

Private Lightning - Private Lightning (1980)

2008-07-23T14:02:00.004-05:00

Boston's Private Lightning came together in the mid 70's, under the direction of brother/sister musicians, Paul and Patty Van Ness. The band built a respectable following along the east coast and soon the band's manager, Fred Heller, had facilitated a contract for the band with A&M Records. The band were jetted off to Monserrat where they spent the next month crafting their debut. It was a short time later before the band were finally able to hear the finished product, which took place at their record release party. The members were horrified to hear that the rough mix and final mix were completely different, as most of the dynamics were muted and the overall production too brittle and trebly.

The band soldiered on and toured the New England region relentlessly, but A&M had usurped most of the band's promotional budget on many of their more established artists, leaving very little to keep the band on the road. The band began work on demos for their followup album, but things finally came to a halt in 1981. Paul now works in film/video production, Patty is a renowned medieval instrumentalist and the remaining members have worked with The Souls and Hank Decken as well as various roles in production/engineering.

The album is a curious blend of art rock, new wave, power pop and AOR. With fluid violin work permeating each of the tracks, there's a unique vibe happening throughout. I hear similarities to late period FM and even Spy to some extent. There's nothing here that leaves a bad taste in my mouth, but the hooks are average to these ears. No doubt, there's an audience for this album and thanks to Steven, we have a sweet vinyl transfer up for grabs. Take a listen already, eh?

320kbps @ http://lix.in/-2a9d6d

Diamond Reo - Diamond Reo (1975)

2008-07-15T17:56:00.008-05:00

Continuing on from my prior Diamond Reo post, this is the band's debut issued by Big Tree Records in 1975. While their sophomore album was on the verge of being proto-metal, this release is considerably more subdued and fluid. Contrary to popular opinion, the album is NOT even remotely close to sounding glam. In fact, there's more of a Clempson-era Humble Pie or Bandit [US] vibe happening here. Though the album is universally panned by classic rock aficionados, I actually prefer this to "Dirty Diamonds" simply because the hooks are more evident throughout. Though it's quite easy to find a clean copy of the album at just about any online merchant, it has been virtually ignored by bloggers...until now. Sink your teeth into this fine contrubtion from Brian and hear Pittsburgh's legendary hard rockers at their earliest stage.

128kbps @ http://lix.in/-2e5c12

Doc Rockit - Doc Rockit (1979)

2008-07-14T15:01:00.001-05:00

Spokane, Washington's Doc Rockit came together in 1974. The power trio spent several years in the club scene before finally issuing their self-titled album in 1979 on the Primo Sound label. Despite a clearly impressive effort, the limited pressing fell by the wayside and the band parted ways in 1981. It wasn't until 1989 that the lineup would reunite for their followup album, "Azugi". Though clearly more mainstream, the album failed to gain attention outside of their cult following and Doc Rockit once again dissolved. Fast forward to 2002, when the band regrouped and issued "Tomorrow Child" on their own label. Nothing has been heard from the band since then, though guitarist/vocalist Martin Bond has worked with several area bands and issued a number of recordings with them.

This is powerful guitar driven hard rock that actually sounds like it could've been recorded in the early 70's. Solid songwriting, fluid playing and capable singing all highlight this visceral pounding release, justifying the accolades it has received decades after its initial release. I highly recommend everyone to get a taste of this ultra-obscure hard rock gem. You'll be glad you did. This one comes courtesy of Brian...

256kbps @ http://lix.in/-313ccc

Schloss - Schloss (1975)

2008-07-13T20:01:00.010-05:00

Schloss were a shortlived german hard rock power trio comprised of Klaus Luley, Roger Kaeschner and ex-My Solid Ground drummer Willy Waid. Early into their career, they were signed to Germany's Oasis Records, which had recently joined up with Casablanca Records for distribution in the states. In 1975, the band's self-titled debut was released in the US but went virtually unnoticed. The band fizzled by the next year, with Luley later reappearing in Tokyo, Craaft and Douglas. The post-split activities of Kaeschner and Waid are unknown.

This album can best be described as straightforward journeyman hard rock. The music often sounds very american, though Luley's accent is detectable in places throughout. Despite a few titles in their native language, all of the lyrics are sung in english. A slight southern rock vibe permeates much of the album, which seems at odds with the european heritage of the band.

In any case, this one is recommended for curious fans of obscure 70's hard rock. Check out this contribution courtesy of Nils and enjoy!

192kbps @ http://lix.in/-2c9dc7

Charmer - Your Presence Requested (1977)

2008-07-06T16:19:00.002-05:00

This mysterious act sprang from FL in the early 70's, essentially as a studio project led by keyboardist Duane Hitchings (ex-Cactus) and his cohort, Mike Pinera (ex-Blues Image). It's believed that this album, comprised of recordings were never intended for release, but Pinera had other plans. The recordings surfaced under the guise of "Charmer" and issued in 1977 on the infamous Illusion Records, a label which was later found to be a cloak for illegal tax activities.

Sporting a sound that blends elements of hard rock and soul, "Your Presence Is Requested" is a fairly decent collection of material, though there's an overabundance of monotonous instrumental jamming sprinkled throughout. If you can get past that, you'll find plenty to enjoy here. Obscurity seekers are encouraged to find their follow up LP, "Do It To It". For now, enjoy the one and only, Charmer.

320kbps @ http://lix.in/-2f2eb3

Azurite - Azurite (1979)

2008-07-01T16:45:00.006-05:00

Azurite are a perfect example of why blogging has become such an important resource for serious music aficionados and rarity seekers. Very little is known about this interesting act, though they did form somewhere along the west coast in the mid 70's. The album (of which there are only 500 copies) is believed to have been the band's only recorded output.

Musically speaking, Azurite take equal measures of AOR, hard rock and prog to create a sound that is distinctly their own. Somehow though, much of this record falls short on cohesive creativity leaving the listener with a handful of rather unremarkable songs highlighted by some fierce guitar and decent harmonies. If you enjoyed the self-titled LPs by Gran Max or Karroll Brothers, you might find more to love here than I do. Nonetheless, here it is (courtesy of Olias) in full digital glory!

256kbps @ http://lix.in/-2f2ea9

Awakenings and more...

2008-07-01T15:26:00.005-05:00

Ok, so wow...it's been quite awhile since I popped in here for an update. I hope many of you are still out there! Anyway, so after a few months away I've decided to start paying more visits here as I slowly work my way towards fully functional. I have some ideas that will improve your experience here and I do believe that in due time, RFR will benefit greatly from them. It's a work-in-progress, folks.

I'll be posting some new music ASAP, so I recommend subscribing to this feed thru your newsreaders so you can stay on top of activity as it happens. I'm still a ways from daily posts, but at the very least I'm hoping for a weekly post. I hope that will suffice for the time being.

I'll be seeing you all in a flash! Till then...

Not Dead Yet

2008-02-15T14:18:00.004-06:00

Just wanted to drop in and let everyone know that RFR is still alive. Due to unforeseen attacks on this site and others, I've had to keep a low profile and rethink exactly how to keep this blog pushing forward in the future. There is a possibility that we'll be securing our own dedicated server to avoid further deletions down the line. I've also been reviewing other file hosts who offer better protection. Additionally, I've been in the midst of a career change, working as a realtor. Between classes, testing & negotiating a contract with a reputable firm, I've been short on time since early January.

Rest assured that RFR will not go down without a fight. I have lots of unfinished business to take care of here and no one will deter me. Please add RFR to your newsreader feeds and standby for forthcoming updates. I'm not dead yet! Thanks for checking in and leaving comments of encouragement. It's crucial to the survival of this site :) See you all soon!

Two Steps Back

2008-01-08T00:37:00.000-06:00

Well, I was preparing to lay down some great posts this week when it came to my attention that many of my recent uploads have been deleted. Apparently there is another blogger or unsatisfied reader who feels that sabotaging my work here is a lot of fun. Though I do foresee a hiatus for a short while to re-up everything I've lost, I will resume posting as I have for almost the last year. There's too much overlooked music waiting to be shared, so please bear with my as I take a sabbatical to reconstruct what has been removed. If anyone cares to contribute new links for the rapidshare uploads I did from Nov-Dec, please contact my email addy listed at the bottom of this blog. I'll repost as they arrive. Thanks again and rock forth.

A Holiday Wish From J

2007-12-24T13:15:00.000-06:00

Here's hoping you all have a wonderful holiday season. I have had a blast talking with all of you and sharing obscurities from all over the world. I'm looking forward to the changes and goodness 2008 has to offer. Be safe, stay tuned and many thanks for your readership. It's only going to get better :) Peace and love to you all...

J @ RFR

The Equinox - Hard Rock (1973)

2007-12-23T13:01:00.000-06:00

Equinox were a short lived british quartet from Chesterfield who came together in 1972. The band spent most of their first year on the club circuit before a chance encounter with the folks at Boulevard Records, a well-known budget label with a nasty reputation for fleecing their artists and releasing substandard product. Naive, the band agreed to record their album (in the engineer's basement) for a mere £25 per member. "Hard Rock" hit store shelves in early 1973 but within a few months the album was already in cutout bins all over the UK. The band were quite surprised to find that the individuals depicted on the cover were not even in the band. Boulevard explained that they were suffering from a cardboard shortage and had decided to recycle some old rejected covers for the "Hard Rock" release. Though the band tolerated this kind of shady treatment, they would eventually cease to exist by January of 1974. Vocalist Mick Shedd continued performing locally and now performs with classic rock cover band, Hellhound. Keyboardist Jon Stoppard has moved into performing celtic music and has released a solo album, "Secret Gardens". The remaining members whereabouts are unknown.

"Hard Rock" is nothing to get excited about, but it's not an awful effort either. Sounding much like many of their peers from the british music scene in the early 70's, The Equinox suffer mostly from lack of identity. The musicianship is decent enough and even some of the writing is fully formed, but sadly most of it is just indistinct. "Land of Blue Fire" and "Black Mike" get the honors here as the standouts. The rest is mediocre at best. Judge for yourself and download this rarity from the UK. Here is The Equinox.

320kbps @ http://rapidshare.com/files/75777643/Equinox320.rar

Babyface - Babyface (1977)

2007-12-22T13:58:00.000-06:00

Babyface were a Wisconsin based quartet who would later evolve into the more well known southern rock/AOR act, Axe. Consisting of Bobby Barth (guitar/vox), Michael Turpin (bass), Edgar Riley (keyboards) and Bob Miles (drums), Babyface gigged around Wisconsin and later Colorado before finally landing a contract with ASI Records. With relatively no studio experience, the band huddled into the studio and over the next few months, recorded an album's worth of material. Producer, Dan Holmes, would later substitute much of the guitar and keyboard tracks with string passages unbeknownst to the band. The album hit store shelves before they were made aware and quickly, "Never In My Life" became a Billboard Top 20 hit.

Though this success was welcomed, the band were quickly labeled 'adult contemporary', though the band's live performances were quite the opposite. As a result, the band's fortunes began to wane by early 1978. Frustrated, the members all went their separate ways, with Barth relocating to Boulder to hook up with Canary guitarist Michael Osbourne. Within months, Barth, Osbourne & the Babyface players all moved to Gainesville, FL to form Axe. Osbourne was killed in a automobile accident in 1984, Barth has since worked with Blackfoot, Angry Anderson and CITA.

"Babyface" is a truly puzzling piece of work. Knowing the work Barth would do in Axe, this effort is such a distinctly different beast that it's honestly difficult to listen without prejudice. The majority of the tracks are fairly well written but come across lifeless and bland. There are a few highlights such as "How Long Can a Rock and Roll Band Keep Carryin' On?", which echoes the Doobie Brothers in places. "Try" and "Songwriter" are also fairly strong and come the closest to actually sounding like Axe. The rest, well...let's just call it an acquired taste. Even Barth looks back in disgust about this album. Download away and satisfy your curiosity. You know you want to! Thanks to Mattias J for the contribution.

256kbps @ http://rapidshare.com/files/75728506/Babyface256.rar

Magnet - Worldwide Attraction (1979)

2007-12-07T15:28:00.000-06:00

Magnet sprung from the ashes of Natural Gas, a british 'supergroup' who issued one album in 1976 only to vanish without a trace a year later. Two of the alumni, Jerry Shirley (Humble Pie) and Peter Wood (Sutherland Brothers & Quiver) continued working together and eventually relocated from Los Angeles to New York City to form another band, which ultimately became Magnet. A&M Records were quick to offer the band a contract in 1978 and by the middle of the following year, "Worldwide Attraction" had landed in record stores all over the USA. It is not known whether the band ever toured behind the album, but Magnet were already history by the following year with Shirley rejoining a reformed Humble Pie and later joining Fastway. Wood would move on to session work for artists like Cyndi Lauper, Carly Simon and John Lennon before passing away in 1994. The activities of the remaining members are unknown.

"Worldwide Attraction" is a decent album, though there's a real mixed bag of material happening here. It seems Magnet were simply without direction, as the tracks sway carelessly from west coast soft rock to AOR and back. The result is a band who doesn't know whether they are Firefall or Survivor. For me personally, it's the harder tracks that get my attention and there are a few worth noting. "I Don't Want To Lose Your Love" and "Night Patrol" both muster enough fire to justify repeated listens. "Underneath the Moonlight" is a decent boogie rock track, though it's nothing mindblowing. The rest of the album unfortunately falls short of praise, with cliched and unimaginative soft rock being in majority. Though I've certainly heard far worse, "Worldwide Attraction" is really just a run-of-the-mill 70's rock album with a few highlights worth hearing. Take a listen and make your own judgement of this fantastic quality vinyl rip by Stephen.

320kbps @ http://rapidshare.com/files/73028728/magnet320.rar

Skyband - Skyband (1975)

2007-11-27T11:27:00.000-06:00

Skyband were a multinational act based out of Los Angeles. Consisting of Peter Beckett (Paladin, Tin Tin) from the UK, Steve Kipner (Tin Tin) from Australia and Lane Caudell from the US, Skyband evolved from the ashes of Friends, a band Steve and Peter had worked in after relocating to the states in early 1974. With the addition of Caudell, the band's lineup was solidified. Quickly snapped up by RCA Records, the band flew to London and self-produced their debut which landed in stores in early 1975.

Though the band had stellar road jaunts with acts like Peter Noone, Jackson 5 and the Alex Harvey Band, their bubbly brand of pop had become obsolete in the face of changing tides within the music industry. RCA dropped the band the following year. Refusing to go down so quickly, the band renamed themselves Zed and began shopping new material to labels but no one was interested. In a few short months, Zed were gone too. Beckett went on to form Player and work in the industry as a songwriter. Kipner also continued working as a writer while recording his own solo material. Caudell performed as a solo artist for a short time before moving into acting. He later moved into the country business as a solo artist, where he resides confortably now.

Ok, so aside from the hilarious cover photo...what else is worth mentioning about Skyband? To be honest, this is actually a great record. With a tasteful balance of glam, Beatlesque pop, bubblegum and west coast rock, their self-titled debut is worthy of praise for its solid writing and production. Tracks like "Bang! Ooh! Ya Got Me", "Pie in the Sky", "Cold Light of Day", "Hollywood" and "Easier Than Saying Goodbye" are all over the place stylistically, but at the core are well written nuggets. Granted, some of this has not aged well, but there's absolutely nothing terrible about this mid 70's effort. I recommend everyone check this one out and find something they like. It won't be hard, I promise :)

320kbps @ http://rapidshare.com/files/72587506/skyband320.rar

Glyder - Glyder (1975)

2007-11-26T15:26:00.000-06:00

Glyder's story is largely a mystery, but this british sextet signed with Warner Brothers in 1974 and released their self-titled debut in early 1975. Though there was plenty of financial muscle backing the band, their MOR pop sound fell on deaf ears and the band was packing it in by the middle of 1976. Kiddier (keyboards) went on to do session work, as well as performing in The Bismarcks and The Watch. Bronze (bass) subsequently worked with Procol Harum,Eric Clapton, Andy Fairweather Low and Robin Trower. Engel (drums) later joined 2 Minds Crack in the mid 80's. The remaining members are unaccounted for at this time.

So what to make of this one? Well, for starters, Glyder are often mistaken for being an AOR act, which is completely unfounded. In fact, Glyder are more akin to MOR pop than anything else. With a pop sound that is firmly rooted in pseudo country rock and celtic themes, the band's music inoffensively drifts by with nary a startling hook or passage. Sure, they don't exactly defy any musical conventions here, but there's nothing to despise either. Truthfully, this is perfect for background music. Don't expect anything more than harmless fluff and you'll be satisfied. The bottom line: Glyder are a decent pop act and though I rarely bother posting this kind of thing here, it's good to have it here for the sake of unraveling some of the mystery surrounding this british band. Enjoy this phenomenal rip by 'Nuxx'...

320kbps @ http://rapidshare.com/files/72550460/Glyder320.rar

Wishlist Mega Update!

2007-11-25T23:58:00.000-06:00

Be sure to check out my newly expanded wishlist on the right margin of this blog, good people! If any of you happen to own some of these titles, be sure to click the "Submissions & Requests" link below the wishlist so we can work something out. Keep an eye out for some interesting rarities in the coming days :) Till then...

Kid Dynamite - Kid Dynamite (1976)

2007-11-24T15:19:00.000-06:00

Kid Dynamite is another one of those ultra mysterious bands whose story is murky at best. It is known that the band emerged in 1975 when two former members (bassist Dicky Thompson and drumer John King) of the Steve Miller Band decided it was time to strike out on their own. Vocalist Val Garcia and guitarist Michael Mallen were later added and Kid Dynamite was born. Opting for a label who would allow the band total control over their direction, the band signed with Alvin Bennett's Cream Records in late 1975 and began working on their self-titled debut with producer Hal Winn at the helm. "Kid Dynamite" was released in January of 1976, but flagging sales and little label support abruptly killed the band at the conclusion of the year. Very little is known about the members post-split activities, though Michael Mallen is rumoured to be teaching guitar in California.

This elusive gem is one that is often discussed in collector circles, but rarely ever recognized as a musically viable effort. I beg to differ. "Kid Dynamite" is a dynamic exercise in genre splicing which works effectively from start to finish. Blending blues, hard rock, soul and funk, the band shows off their musical chops throughout, with a notably scorching effort from Dicky Thompson in particular. Sounding quite similar to Joey Newman's hard soul act, Bandit, the band merges the groove and conviction of classic funk with the forcefulness of 70's hard rock. The outcome is pretty spectacular and it's a real travesty that Kid Dynamite were merely a blip on the radar. Though this band is undoubtedly anonymous in all respects, some listeners may recognize the track "Uphill Peace of Mind", which was sampled and used by Dr. Dre (Nuttin But a G Thang) and Ultramagnetic MC's (Feelin' It) almost twenty years ago.

This one comes highly recommended for fans of soulful hard rock. This tweaked and cleaned vinyl transfer should satisfy ardent lovers of obscure 70's rock. Dig it...

128kbps @ http://rapidshare.com/files/72049721/kiddynamite128.rar

Whiteface - Whiteface (1979)

2007-11-15T16:15:00.000-06:00

Atlanta was home to Whiteface, one of the city's greatest hopes near the end of the 70's. Having conquered the area and honed their skills gigging as the house band at The Bistro, the band came to the attention of Mercury Records and inked a deal in the summer of 1978. Work commenced on their debut, which came in the form of "Whiteface" in 1979. With a highly stylized funk/pop/AOR hybrid sound, the band forged a unique musical vision that failed to net any real success with the masses. Though the band did tour quite a bit during this time, their powerhouse reputation did not translate elsewhere, leaving them frustrated and exhausted. This setback signalled the exit of bassist, Kyle Henderson in 1980.

Determined to move forward, the band ushered Barry Dunaway into Henderson's place and soon began work on their followup. In 1981, "Change of Face" hit the streets and once again Whiteface were met with indifference at every turn. Despite their virtuosity and sleek production, the changing climate in the industry proved to be the death knell, prompting a breakup in late 1982. Henderson went on to success with The Producers for over a decade, while the remaining members worked in various capacities with artists like Blackfoot, Ted Nugent, Pat Travers, John Mayall and Yngwie Malmsteen.

"Whiteface" is a prime example of style over substance. Though there's no denying the band were masters of their instruments, the album falls flat in its own effort to dazzle the senses. Sounding like a cross between Pablo Cruise, Doobie Brothers and Baby Grand, Whiteface fail to make a musical statement here. Sure, it's all well played and there are some hooks....but most of the material here is inoffensive generic pop. There are some highlights like "Talk of the Town" and "Three Ring Circus", but much of this is heavily steeped in whitebread disco, which was sweeping the nation during this time. Simply put, though this is a commendable effort, it misses the mark completely. Be sure to download this pristine vinyl transfer from 'melodicrocker123' and judge for yourself.

192kbps @ http://rapidshare.com/files/68442655/whiteface192.rar

Survivor - All Your Pretty Moves (1979)

2007-11-09T16:18:00.000-06:00

Survivor...a name that has become synonymous with power ballads and radio friendly AOR. But this is not THAT Survivor. This band hailed from Louisiana and formed in the mid 70's, thriving in the relatively low key Shreveport music scene for several years. It wasn't until 1978 that the band began work on their privately financed debut. By early 1979, the album hit store shelves but without the funding to push the album, distribution was limited to the region. Ultimately this would prove to be their undoing, as the band forged on for a few more years before finally calling it a day. By 1983, many of the ex-members had reconvened to work together in Philadelphia, a christian hard rock act. Their current whereabouts are unknown.

"All Your Pretty Moves" is a strange blend of late 70's hard rock and NWOBHM. With a sound that echoes Thin Lizzy and Iron Maiden, this album is fascinating because much of the material predates the trademark NWOBHM sound by several years. Though there are unquestionably some serious flaws in the songwriting, the handful of superior cuts are all excellent. The production is notably bottom heavy & crisp all the way around, which is impressive given that this is a private pressing. Though there's nothing here that reinvents the wheel, it is certainly worthy of a glance for aficionados of 70's cult hard rock. Check this sweet transfer of "All Your Pretty Moves".

224kbps @ http://rapidshare.com/files/68435897/survivor224.rar

Attention contributors!

2007-11-07T14:35:00.000-06:00

As mentioned in my post from last week, I have moved to a new email address. In the process of moving to my new home, all data from my old email address was lost when my old PC was damaged. As a result, I am unable to retrieve all of email addys for those of you who have contributed music and/or plan to contribute in the near future. That means fine folks like TT, Daz, Steffen, Dr.Woe, Ritchie Blackmore, Orchman, ResidentEvil2, aor66, Rob, Gerry, mamedia, fairplaybeach, higginz, gary_lankford and others. If you could please email me at the address linked at the bottom right margin of this page, I would greatly appreciate it. I want to remain in contact with you and want to be sure that your contributions are properly credited for some of my future postings.

If you are a new contributor, please contact me and we'll talk about getting your submission posted here ASAP! If you have a request, get with me and I'll start digging!

Thanks everyone!!!!

Cinema Face - Cinema Face (1983)

2007-11-06T14:45:00.001-06:00

Ontario's Cinema Face began in 1980, brandishing a clever blend of progressive rock and AOR. Combined with the band's theatrical stage show and impressive stage lighting, Cinema Face were quick to establish an impressive following which eventually led them to the studio to craft their self-financed debut. In early 1983, "Cinema Face" was unleashed upon the unsuspecting masses, though distribution issues would quickly dash any hopes of mass marketing for the band. Though efforts to conquer their native country proved disastrous, the band quickly became cult heroes in Japan and parts of Europe. Lack of funding eventually grounded the band before they could ever capitalize on their new found overseas success.

When Pacemaker Records reissued their debut in 1994, the surprising demand for Cinema Face prompted the band to reunite for a followup album. "Face Card" was released in 1996, though the band were incapable of trumping anything they had accomplished in their prior incarnation. It is generally regarded as an inferior followup to their stellar debut. Since then, the band has all but vanished with members embarking on various musical and non-musical projects over the years. Vocalist/guitarist, Franco, has since worked in film, theatre and issued a solo album, "Cydonia Mensae" to critical acclaim.

Cinema Face is truly one of Canada's national treasures. With a sleek, jarring and musically accomplished sound, the band should have been poised for greatness in their prime. As with many other fantastic bands, it was merely a case of bad business and poor timing. With a sound slightly comparable to Zon, Harlequin or Shooting Star, Cinema Face possesses a decidedly darker style than any of the aforementioned artists. Rooted firmly in theatrics, much of what can be found on this release could easily pass for a film score to an intense psychological thriller or sci-fi movie. Perhaps the two strongest cuts here are "You Drive Me Out of My Mind" and "Ugly Sisters", each possessing a brooding intensity that rarely surfaces in this genre.

It is absolutely imperative that fans of progressive AOR dig in and check out this masterwork from Cinema Face. You'll be scratching your head wondering why you ever missed them in the first place. If there was ever a band who truly encapsulates the "talented band who fell thru the cracks" theory, it is Ontario's brilliant Cinema Face.

224kbps @ http://rapidshare.com/files/67962947/CinemaFace224.rar

Nantucket - V (1985)

2007-11-06T14:20:00.000-06:00

Nantucket's final studio album came in the form of "V", released by Executive Records in 1985. With the band's fortunes clearly on the wane, "V" was issued in the hopes of grabbing the brass ring before everything fell apart. Though the band's intentions were noble, the ridiculous modernization of their established sound only assured their status as a band completely without direction. The production alone is almost too overbearing to warrant even a casual listen. With bellowing electronic drums, synth stabs & reverbed guitars, one listen and it is clear...this is NOT the Nantucket fans grew to love. Though there are some viable hooks here and there, the ambience of the album is so distracting that it's nearly impossible to appreciate the artistry of the music itself.

Naturally, this signaled the end of Nantucket for many years, though the band has been enjoying a minor resurgence in their hometown region since the beginning of the millennium. Dig this pristine vinyl transfer from Mike and hear the last studio outing from Nantucket.

224kbps @ http://rapidshare.com/files/67933753/nantucket224.rar

Granmax - A Ninth Alive (1976)

2007-11-03T12:01:00.000-06:00

Omaha, Nebraska was home to 70's hard rock quartet Granmax. Formed in early 1975, the band gained quite a bit of exposure throughout the midwest which culminated in the release of "A Ninth Alive" on Pacific Records in 1976. By the end of the year, the band signed with Panama Records and their debut was reissued to reasonable success in the region. The band tirelessly gigged throughout the midwest for nearly two years, picking up slots on numerous tours before the addition of frontman, Nick Christopher.

Revived and rejuvenated, the band entered the studio in early 1978 to record their sophomore album, "Kiss Heaven Goodbye". With a clearly harder edged sound, the band once again saturated the midwest with promotional gigs and a full tour, but audiences just weren't biting. The band returned to the studio to cut a third album, but things began to unravel during the sessions and Granmax came to a screeching halt before it could be completed. The post breakup activities of the members is unknown.

One listen to this album and you'll be scratching your head wondering why there's so much fervor over Granmax. Most likely it is due to their legendary followup album from 1978, as this release is a rather pedestrian exercise in one dimensional hard rock. Sure the musicianship is tight enough and the production isn't all that horrible, but the songwriting is terribly unoriginal and plodding. The average vocals do virtually nothing to help either. To their credit, there are many ideas that begin so well, only to fall flat by their conclusion. Ranging from hard boogie to folk rock to proto metal, Granmax never quite manage to manifest their ideas into anything memorable. However, since their 2nd album seems to get all of the attention online, it's only fair to offer up this relic for your judgement. Thanks to Alex(?) for this fine vinyl rip!

192kbps @ http://rapidshare.com/files/67259725/Granmax192.rar

Acme Thunder - Let's All Get Naked (1978)

2007-11-03T11:59:00.000-06:00

Chicago's Acme Thunder sprang from the ashes of area group, Aliotta Haynes Jeremiah in 1977. Where AHJ were decidedly hippy influenced, Acme Thunder were unquestionably a full on rock outfit. With essentially the same lineup as AHJ, the band enlisted Harvey Mandel on lead guitar and soon, their debut "Let's All Get Naked" was issued the following year. Though Acme Thunder were a credible act in and around the Chicago area, the addition of Mandel helped elevate the band to a whole other level musically. Having a successful solo career for many years, as well as ties to artists like Canned Heat, John Mayall, The Ventures and Love, Mandel's expertise was an instrumental factor in the development of the band's new sound.

Strangely enough though, the band only lasted two years before fizzling out completely. Aliotta continued in music primarily as a session player, Haynes went on to form his own publishing company and has issued a drug rehabilitation self-help album. Jeremiah is living near St. Louis, but his musical activities are unknown at this time. Mandel continues to thrive as a solo artist.

"Let's All Get Naked" is a respectable effort with a rather schizophrenic viewpoint. Swaying from bluesy rock to hard rock to glossy pop, the album doesn't quite know where it's going. The highlights are undoubtedly the rock tracks like "If I Only Had a Girl", "Go Like a Beast" and "Flowers". Several of the cuts including the fusion jam "Mexico", lack the presence of strong hooks, rendering the overall impression of this album as a bit lopsided in the quality department. Despite the magnificent musicianship here, the album fails to stand up on its own as a whole. Taken in parts, however, "Let's All Get Naked" is an interesting excursion into many genres. Never issued on compact disc, here's a sweet vinyl transfer straight from the archives. Check it...

320kbps @ http://rapidshare.com/files/67248442/AcmeThunder320.rar

Jade - Faces of Jade (1970)

2007-11-01T19:32:00.000-06:00

Cincinnatti's Jade were another one of those elusive early 70's psychedelic acts who left behind only one private pressing before vanishing into the mist. Virtually nothing is known about the band, but collectors have been swarming record fairs and pillaging eBay for years in the hopes of snagging this relic. So does the album live up to its hype? Mostly, yes...

Considering the modest budget of such a DIY undertaking in 1970, the mix is well done and the material is very well constructed. Blending the Beatles, Blossom Toes and a number of other pop/psych acts of the era, Jade create a formidable aural tapestry. With slight folk leanings, each track breezes along quite nicely throughout the duration of the album. The engineering trickery in places here are subtle reminders that Jade were foremost Beatles influenced. Perhaps the strangest track is "My Mary" which is absolutely mindblowing. This ingenius piece of music features backwards accompaniment along with warped vocals that sound deceptively reversed but are actually sung forward. The outcome is like a bent merry-go-round, wobbling in circular motion while the seasick vocals spill out over the arrangement. It's truly a sound to behold. The rest of the album is mostly just as satisfying and any lovers of quirky psych will find alot to enjoy in "Faces of Jade". Check out this sweet overhauled and tweaked vinyl rip and dig the sounds of Jade.

192kbps @ http://rapidshare.com/files/66862394/Jade192.rar

Hush - C'mon We're Taking Over (1974)

2007-11-01T19:31:00.000-06:00

Aussie rockers, Hush, came to life in 1971 as a five-piece unit consisting of Keith Lamb (vocals), Chris Nolan (keyboards), Robin Jackson (guitar), Rick Lum (bass) and John Koutts (drums). The band gigged in this incarnation until the middle of 1972, when Nolan, Jackson and Koutts exited. Les Gock (guitars) and Chris Pailthorpe (drums) were enlisted, leaving Hush as a four piece. This newly revitalized lineup went on to win Hoadley’s National Battle of the Sounds contest later that year, putting them squarely in the spotlight and prompting a recording contract with Warner Brothers. By 1973, "Alive 'n Loud" was issued on the strength of their first single, "Get the Feelin", which peaked at #11 on the Aussie charts. Touring ensued and by early 1974, Hush moved to Wizard Records to record their sophomore album.

"Get Rocked" was released in early spring, spawning three singles that were all met with a reasonable amount of success. However, Wizard was not satisfied with the album's triple gold status. Sensing the impending glam explosion that had already swept the UK, the band were pressured to adjust their look accordingly and focus on finding a glam standout that could send them up the charts. The band were quickly shuffled into the studio to record their third album, "C'mon We're Taking Over", which hit store shelves in September of 1974. The album failed to impress critics and fans, causing their lone single from the album to sink without a trace.

Though their live reputation was formidable, Hush seemed barely on the cusp of something great and luckily Wizard made one last attempt to help the band strike gold. This finally came in 1975, as their fourth album, "Rough Tough n Ready" exploded onto the scene with the help of an explosive cover of "Boney Maroney" and a colorful appearance on the famous, "Countdown" TV program. Soon Hush were the glam darlings of their native country and their tour that year sold out virtually everywhere in Australia. This success lasted thru most of 1976, which also saw the addition of a second guitarist, Jacques DeJongh. This augmented lineup was short lived as Gock departed at the conclusion of the tour in early 1977.

Determined to eclipse the success of their last album, Hush released "Touche" in the summer of 1977, but their audience had all but vanished along with the dying glam scene that helped them achieve such success. One single from the album was issued and failed to chart, prompting Wizard to drop the band later that year. The band effectively ceased to exist by early 1978. In the wake of the split, several of the members went on to issue their own singles to little response. In the years following, Lamb suffered from mental illness and eventually left the business to work in embroidery (Rajmahal) and gaming (TAOC). Gock became a jingle writer and has successfully maintained his career for 20+ yrs. Lum returned to his first career in graphic design, while Pailthorpe became an architect. DeJongh is now a chef. Hush reformed twice, once in 2004 and again in 2006 for short tours but as of this writing, the band is finally put to rest.

"C'mon We're Taking Over" is easily the band's most unusual work which explains why this album seems to be overlooked by fans of the band. Not subscribing to the overt glam stylings of their subsequent work, the band shoot for depth here and to some extent it works. Tracks like "In My Short Life", "Rocking Gypsy Kings" and "Longing To Get Home" show the band at their most subdued, which came as a surprise for ardent fans. Though Hush should be commended for attempting to diversify their sound, these tracks all lack the hooks necessary to make them classics. Predictably, it's the fiery rockers that command attention here, as tracks like "Caroline" and the title track illustrate. In truth, most of the material here is bordering on mediocrity, but this interesting nugget deserves revisiting. It's a clear step in a different direction that Hush would never return to in subsequent years. Enjoy this nice vinyl transfer of "C'mon We're Taking Over"...

256kbps @ http://rapidshare.com/files/66856574/Hush256.rar.html

King Harry - Divided We Stand (1977)

2007-10-30T19:49:00.000-06:00

Little is known about british trio, King Harry. The band landed a deal with the largely progressive rock oriented label, Harvest Records. Given the label's rich history of progressive artists like Pink Floyd, Barclay James Harvest, Edgar Broughton Band, Kayak, Quatermass, Soft Machine and Be-Bop Deluxe, it comes as quite a surprise that King Harry should appear on their roster in 1977. King Harry was hardly a prog act, though there is a certain quirkiness that puts them outside of mainstream rock. Sounding somewhat like fellow brits, Charlie, the band blends shifting chord structures and time signatures with a rather obtuse sense of melody. The band did tour for a short time in 1978, but virtually vanished after Harvest pulled the plug on their contract. The subsequent and current activities of the members is unknown.

With the exception of the fabulous "Dear Matthew" and "Dressed Up To Kill", most of the tracks are lacking a clear hook. Though this unique sound made for a fairly distinct identity, it certainly did not translate into record sales. Easily found in european record shops, this release is among the more elusive albums here in the states. Since it is unlikely to ever be given the digital treatment, this vinyl rip from Steffen will do nicely. Dig this obscurity straight from the UK.

320kbps @ http://sharebee.com/3b2e41f3

Stonebolt - Juvenile American Princess (1982)

2007-10-30T18:18:00.000-06:00

Here it is, the last Stonebolt entry. "Juvenile American Princess", the band's fourth and final album, was released in 1982 and went virtually unnoticed in the states. Canada, however, was a different story as numerous singles came and went with modest success. The next year was spent touring and promoting the album but by the end of 1983, the members amicably laid Stonebolt to rest. Members went on to their own respective projects until reconvening in 1997 for a live appearance and to work on their greatest hits package. Since then, Stonebolt has resurfaced sporadically to perform shows in the Vancouver area.

"Juvenile American Princess" is a decent addition to the band's repertoire, though the material is notably more lightweight than much of their previous output. I would compare this release to their debut, with a less varied approach to the music. There are plenty of hooks to be found here, as evidenced by the compact tightness of tracks like "Slow Dancin", "Are You Listening?" and the title track. Though the band's sense of melody hasn't left them here, many of the songs collapse under the weight of their predictability and MOR tendencies. Whatever the case, this final piece of the Stonebolt puzzle is a must for fans. This clean vinyl rip was contributed by 'Nuxx'. THANK YOU! Enjoy "Juvenile American Princess"...

320kbps @ http://sharebee.com/022bdc48

Contact Update!

2007-10-22T20:25:00.000-05:00

Just wanted to let everyone know that I have a new email address, so if you wish to submit a request or contribution for the site, please update your address book accordingly. You can go straight to my email by clicking the link at the bottom right margin of this blog :)

There will be a new posting coming in the next 24hrs, so keep your eyes peeled. We're getting there, folks. I sincerely appreciate your patience and readership! See you in a short while!

A Word On 'Intellectual Property'...

2007-10-04T19:36:00.000-05:00

Hello everyone, just wanted to drop in for a quick hello and take a moment to address something that I believe is important in maintaining the integrity of the blogging community at large.

It has recently come to my attention that many of the synopses I have written have been reproduced for both other blogs and also various music websites. I am flattered by this, however, I must ask that IF you choose to use any of the content in this blog, please credit me as such. I am passionate about music and sharing it with others is an integral part of that passion. I work very hard in my research before ever posting my findings here, so it's important to me that my work is properly credited. Crediting those who originate the content of their sites not only creates new traffic to the source site, but it also maintains a healthy relationship between bloggers everywhere.

It has always been my aim to make this site not only a repository for lost music, but also a resource for inquiring minds who want to know about the artists behind the music. It would be easy to blindly throw a handful of download links to the site each day and leave it at that, but Robots For Ronnie exists primarily for glorifying artists who escaped mass recognition and appreciation when it mattered most. Nothing would be more rewarding than knowing an artist has visited here and read your comments. As a musician myself, the true reward of writing and performing music is the appreciation and inspiration reciprocated from the listener. My intent here is to bring these artifacts to light, in the hopes that these talented individuals who have left behind the relics we unearth here, will know that time has not forgotten them. Call it overly sentimental, call it cheesy, but this is important to me. Judging from your feedback, many of you find this to be part of RFR's charm. Mission accomplished!

So, I ask...please, if you wish to use the writings or download links I've posted here, please acknowledge the source as well. It's good etiquette, it's ethical and it's just the nice thing to do. Fair?

I'll see you all in a few days. Much love from RFR :)

Missing In Action: A Status Update

2007-09-18T02:46:00.000-05:00

Hello good people and lovers of underappreciated music. You're prob wondering what's been going on with RFR over the last few weeks. The truth of the matter is that I've reached a very transitional phase in my life as of late and the changes occurring have slowed down my activities more than I had intended. No worries, though. In due time, I'll be back at this blog with more consistency than ever. I appreciate everyone visiting and have much more to share as soon as things slow down a little on my end. Fair enough? Contributions and requests are still welcome, so be sure to visit the link at the bottom right of this page for contact info. See you all REAL soon....promise!

Life - Life After Death (1974)

2007-09-12T11:21:00.000-05:00

UK heavy prog act, Life, are another act whose history is shrouded in total mystery. This is particularly odd since their sole album was released by Polydor Records in 1974, but sadly there's nothing I can tell you about the band's accomplishments or their post-breakup activities.

Upon first hearing this fantastic album, distinct shades of Uriah Heep come bursting forth and persist throughout each of the tracks here. In fact, their influence is so prevalent here that it can sometimes be daunting to figure out Life's true creative viewpoint. Taking Heep as a starting point, the band also brings other styles into the mix that each point to some of rock's biggest names. Whether it is just certain instruments, writing styles or entire songs, bands like ELP, Santana, Argent & Kansas (minus violin) all come to mind at certain points on this record. One must acknowledge this overbearing nod to other artists when evaluating Life's writing and perfoming talents. If you can get past the derivative nature of the music, the songs themselves are all well written and dripping with hooks. This is very well done prog influenced hard rock.

Collectors drop good money to snag this album and surprisingly no label has opted to do a reissue. To remedy that problem, enjoy this good vinyl rip and indulge yourself in one of England's most overlooked classic acts.

192kbps @ http://sharebee.com/05c6777f

Stonebolt - New Set of Changes (1980)

2007-09-12T11:20:00.000-05:00

Here's another entry from Stonebolt, 1980's "New Set of Changes". Continuing the band's newfound AOR sound, the album could be easily considered a companion piece to "Keep It Alive" from the prior year. A vast improvement over the debut from 1978, the album is ripe with hooks and smooth melodies that persist throughout the entirety of the recording. Though the band would only have one more album left in them, "New Set of Changes" is an album that belies the band's waning musical fortunes and boldly states that they are firmly in control of their creative vision.

If anyone has a clean rip of "Juvenile American Princess", by all means contact me so we can account for the band's entire body of recorded work. In the meantime, take a listen to this sweet vinyl transfer and dig the sounds of Stonebolt.

256kbps @ http://sharebee.com/6528fb96

Nantucket - No Direction Home (1983)

2007-09-05T18:50:00.000-05:00

North Carolina's Nantucket came to life in 1969 and spent eight years flourishing as one of the area's hottest cover bands until Epic Records stepped in and offered the band a contract in 1977. The following year, "Nantucket" was issued and saw the band entering the billboard charts while touring alongside bands like Mother's Finest, Kiss, Styx, Boston and Journey. The following year, the band issued their sophomore album, "Your Face or Mine?" which failed to take the band any further. More touring ensued, bringing the band to a higher visibility but ultimately no one was listening. At this point, bassist Mike Uzzell took over the reigns as manager while Pee Wee Watson filled his vacant spot in the band. The band released their third album in 1980, titled "It's a Long Way to the Top", a tip of the hat to recently deceased AC/DC frontman Bon Scott. Flattered, AC/DC took the band on the road for a summer tour but sales never improved prompting Epic to drop the band in 1981.

It was only a year before RCA took the band under their wing, later prompting the release of their fourth album, "No Direction Home" in 1983. The label were quick to discover that Nantucket's commercial viability was all but doomed and by 1984, the band were again without a record deal. Frustrated, the band sought local label, Executive Records to issue their fifth album, "V", which hit store shelves in 1985. Though the band's sound had changed radically to fit the times, it was a case of too little too late and the band packed it in at the end of a short tour in 1986. It would be several years before the entire original lineup would regroup to record their only official live album, "Still Live After All These Years". Though the album fared well in the New England region, there wasn't enough widespread interest to inspire a full fledged reunion. Since then, the band has performed sporadically in various configurations along the east coast and have successfully entertained their core audience for over thirty years.

"No Direction Home" is an interesting part of the band's evolution, showing the band blending their old sound with a more contemporary AOR style. There are slight traces of southern rock present also, making the album sound a bit schizophrenic in its execution. In spite of this hodgepodge approach, this is a fairly solid batch of pop driven hard rock. Fans of the band might be a bit put off by the change in sound, but first timers will likely find enough goodness here to warrant its inclusion here. This would be the last decent Nantucket album before the release of the terribly weak, "V" a few years later. Enjoy this excellent vinyl rip by Nantucket!

256kbps @ http://sharebee.com/1e1c2e5d

Jet - Jet (1979)

2007-09-04T19:22:00.000-05:00

Jet is another one of the many acts who came and went with such little fanfare that there is nary a trace of information about them in the online community. In fact, so little is known about this east coast band that I can't tell you specifically where they're from or what has become of the members since the band's split. I can tell you that Michael Nesmith's label, Pacific Arts, signed the band in 1978 and released their sole album, "Jet" the following year.

As for the album itself, well, it's not a fantastic effort but there is charm in some of the material presented. With a style that borrows from the the 50's, early 60's and the mod movement several years later, Jet present an updated sound that reads like a throwback but sounds modern for an album issued in the late 70's. Lyrical banality aside, there are musical highlights that at least warrant a casual listen. With horns buried slightly in the sound, Jet do manage a distinct sound, despite the weaknesses found in their songwriting. Given Nesmith's musical lineage, Jet is a strange choice for a label deal, and perhaps he realized this once the band's debut practically went straight to the cutout bins that same year. Whether this kind of inoffensive fluff is your cup of tea, "Jet" is deserving of a listen, even if you only find one or two tracks that float your boat. A special mega thanks goes to 'TT' who provided this nice clean vinyl transfer. Enjoy!

256kbps @ http://sharebee.com/e966b2b9

White Chocolate - White Chocolate (1973)

2007-09-03T19:22:00.002-05:00

This Connecticut based outfit came together in 1971, after ending their time as the backing band for both Buddy Miles and Arthur Lee. White Chocolate soon dominated the east coast circuit and soon came to the attention of RCA Records, who promptly signed the band and issued their self-titled debut in 1973. Though the album contains some enterprising material, poor promotion resulted in stiffed album sales which eventually killed the band's contract with RCA and ultimately the band itself. The prinicipals of the band quickly regrouped in 1975 under the newly dubbed Dirty Angels and eventually went on to issue two cult classic before imploding at the close of the decade. Members later went on to acts like Joe Perry Project, Farrenheit and Slo Leak.

"White Chocolate" is an excellent example of genre splicing, as the band brings equal amounts of soul, funk, blues and hard rock to the table throughout. Sounding like an anglophile Mother's Finest at times, the band tear confidently through ten songs with absolute ease. This balance of breeziness and brashness makes for a very distinct sounding record that defies strict categorization. In between all of this genre hopping, one can also hear latin flourishes as well as dashes of west coast country rock. Though all of this hodgepodging typically makes for an uneven listening experience, White Chocolate do a superb job in maintaining continuity throughout. This excellent album came and went with little fanfare and has been languishing in the RCA vaults ever since. This outstanding vinyl transfer should be all you need to appreciate the talents of this fine Connecticut trio. Dig in!

320kbps @ http://sharebee.com/7e97fb1e

Badtown Boys - Date With Death (1991)

2007-08-29T03:31:00.001-05:00

Los Angeles punk act, Badtown Boys, came together in the spring of 1985. Comprised of brothers Greg and Chris Keith, Tom Komisar and Tim Cunningham, the band kept a low profile until finally issuing their "Blue" EP in 1987. The four song release caught the attention of Dionysis Records owner, Lee Joseph. Joseph quickly put the band back in the studio to record the "Borrowed Time" EP, which went unnoticed in the states but gained quite a following overseas. Soon, Gift of Life Records came calling and offered the band a contract to record a full length album. That album came in the form of "Badtown Boys", issued in 1990. The album was license by american label New Red Archives and saw the band touring the west coast to modest success.

The following year, "Date With Death" was issued to even greater response and it seemed as if Badtown Boys were on the cusp of becoming punk's new darlings. In 1992, Greg left the band, leaving Chris to take over lead vocals but this change was brief when Greg returned in 1993 to help the band write and record, "Pennyless in Paradise". Over the next six years, the band would see many lineup changes while issuing numerous singles and albums, notably the presence of new singer Stephan X. Taking on a more modern sound, the band's popularity began a downward slide, culminating in a breakup in 1999. Though the band would regroup briefly numerous times over the next few years, the death of Stephan X in 2004 would signify the end of their activity.

"Date With Death" is a powerful and concise blend of 50's music and '77 era NYC punk. With the Ramones as an obvious reference point, each song blends seemlessly to form a perfectly balanced album that begs for repeated listenings. Greg Keith's nasally vocals and Komisar's rapidfire guitars intertwine perfectly from start to finish. Though the band is missing the tongue-in-cheek humor of the Ramones, they compensate by upping the tempos and thickening the sound. You couldn't ask for a tighter and more pulverizing slab of retro punk. New Red Archives has still balked on giving this gem the digital treatment, so be sure to dig into this fantastic vinyl transfer and experience the raw urgency of California's Badtown Boys.

192kbps @ http://sharebee.com/72b69c9d

Wild - Wild 1 (1988)

2007-08-29T03:30:00.000-05:00

Wild's history is vague at best, though it is known that the band came to life in Los Angeles in 1985. Known then as "The Wild", the band featured multi-instrumentalist, Dizzy Reed, of Guns 'n Roses fame. The band were a fixture on the club circuit for several years before being offered a one-off deal from Columbia Records. Essentially a duo in the studio, Reed and vocalist Todd Barrone handled all of the chores (along with producer Andy Wallace) in creating their self-titled debut, which hit stores in early 1988. The album failed to ignite the charts, due mostly to non-existent promotion and corporate shakeups happening at the label that year. As a result, Dizzy Reed jumped ship to join GNR, leaving the band effectively dead in the water. Barrone's whereabouts are unknown, though he is rumored to be a born again minister in Nevada.

So what of this album anyway? Well, folks, I rarely gush over albums released during the hair metal craze of the late 80's, but this is one rare exception. Sporting a futuristic musical viewpoint, "Wild 1" is nothing short of amazing. Taking elements of techno and industrial music (before either term had ever been commercially recognized) blended with hard rock, Wild crafted a sound that in retrospect can be called visionary. Predating the indsutrial metal movement by several years, the band along with Zodiac Mindwarp can be easily credited as forerunners of the genre. With sinewy keyboards, bleeps, triggered drums, guitar synths and sleazy charismatic vocals, "Wild 1" is a fantastic batch of hook driven electronic hard rock. Missing all of the excesses of bands who came along years later, the album sports a sleek and minimalistic approach that allows the arrangements to breathe and the hooks to stand uncluttered. It is really amazing this album failed to reach a wider audience.

Obviously the lack of response then has never inspired Columbia to reissue the album now, so it languishes in the vaults indefinitely. In the meantime, I've included this sweet CD rip for all to enjoy. Check out this highly unique effort from Wild. You will be glad you did :)

192kbps @ http://sharebee.com/2d0e0faf

Indestructible Noise Command - The Visitor (1988)

2007-08-28T03:28:00.000-05:00

Connecticut's Indestructible Noise Command (I.N.C.) were a short-lived techno thrash metal act that struggled in the underground scene at the tail end of the 80's. Consisting of Dennis Gergely, Tony Fabrizi, Erik Barath and Gary Duguay, I.N.C. were able to land a deal with alternative label, Giant Records in 1987. Their debut, "Razorback" hit stores later that year but failed to ignite much more than a cult interest in the band. Lack of a decent budget not only dashed any hopes of a solidly produced album, but national touring was out of the question. The band pushed onward to issue their followup, "The Visitor", which saw release in 1988. Once again, lack of proper funding grounded the band and by 1990, I.N.C. were over. The post-split activities of members are not known.

"The Visitor", despite production limitations, is a visceral collection of lightning fast riffing, syncopated rhythms, flashy guitar work and nasally gruff vocals. In short, it just works. Lyrical silliness aside, this album is brimming with intensity and energy. With a sound that blends elements of Metallica, Watchtower and Nuclear Assault, "The Visitor" shreds from start to finish. Though the sound is clearly dated, there's plenty to enjoy if you are able to hear it in the context of the era from which this sprang. With no reissue in sight and outrageous prices for the original CD, this should be a short-term fix while fans wait for a proper remaster. Enjoy this insane batch of humor laden thrash.

192kbps @ http://sharebee.com/ffa28749

Tarzen - Tarzen (1985)

2007-08-28T03:25:00.000-05:00

Tarzen were a mid 80's hard rock act fronted by Argentinian born Danny Peyronel, who had spent years playing in bands like Heavy Metal Kids, UFO, Blue Max, Riff and Banzai. When Peyronel relocated to Spain in 1984, he quickly assembled a lineup including his brother Michel (drums), Salvador Dominguez (guitar) and Ralph Hood (bass). The band were almost immediately signed to newcomer label, Valentino Records and by early 1895, "Tarzen" was released. A high profile tour with Twisted Sister did little to ignite interest in the band stateside, but soon the band would become headliners all over Europe and South America. This lack of success in America prompted the departure of Dominguez, who was replaced by Laurence Archer in 1987.

Though Archer's residency would be brief, with Dominguez returning in 1988, Hood would eventually desert the band the same year, reducing Tarzen to a trio. Unfazed, the band signed a new deal with indie label, Twins Records and issued their sophomore album "Madrid" in 1989. Poor distribution and changing trends grounded any attempts for mass success and the band folded in late 1990. Peyronel would resurface as an opera tenor, as well as fronting a resurrected Heavy Metal Kids. Dominguez embarked on a solo career that persists to this day. Archer later formed Rhode Island Red, as well as joining a reunited UFO for one album in the 90's. The present activities of Hood and Michel Peyronel are not known.

Considering Peyronel's pedigree as a keyboardist, this album is quite a nice surprise, as Peyronel's throaty Bon Scott style vocals are more than competent throughout. With a sound reminiscent of AC/DC, "Tarzen" is full tilt 80's hard rock in every sense. Though some of the material dips into mediocity at times, there are quite a few standouts, particularly "The Hills Have Eyes" and "Pack Rules". Though the band would migrate to a glossier sound on their followup, "Tarzen" is a nice exercise in crunchy hard rock minus the excess that is often associated with this era of music. Never issued on CD, enjoy this fine vinyl transfer and get hip to a band that few people even remember. You just might love them.

192kbps @ http://sharebee.com/e5578d6d

Rist Rocket - Rist Rocket (1978)

2007-08-27T03:43:00.000-05:00

Rist Rocket hail from southern California, but otherwise have a completely fuzzy backstory. The band issued its self-titled debut in 1978 on Sun West Records. Despite the cheesy artwork, Rist Rocket have been praised by obscurity hounds for many years and in some ways it is justified.

"Rist Rocket" is a decent AOR effort with great harmonies, solid performances and clear production. Though the quality of the material is uneven at times, the band does manage to evoke Boston on some of the better tracks here. Though the vocals and production are missing the flash and fire that is often associated with AOR music, the songwriting is more than enough to state the band's musical viewpoint clearly. Take a chance on this rare recording, courtesy of 'daz'. You just might dig it!

192kbps @ http://sharebee.com/54684c9b

Ziggurat - Ziggurat (1979)

2007-08-27T03:17:00.000-05:00

Rounding out Ziggurat's recorded output, here is the band's self-titled debut issued in 1979. With a smoother and more laid back approach than what can be found on the band's final album, "Ziggurat" is closer to Firefall/Couchois territory than anything else. The west coast sound is deceptive, considering the band's southern roots. Overall, the album is lacking personality, as each track casually passes by with nary a powerful hook demanding your attention. There's nothing here terribly off-putting, but there's nothing here that stands out either. Perhaps this is to blame for Ziggurat's lack of fortune, but there is surely an audience for this kind of easy listening AOR. Whether it's your cup of tea is up in the air, so be sure to snag this one for a preview. Enjoy this great transfer courtesy of 'daz'.

192kbps @ http://sharebee.com/585d7cb4

451° - 451° (1980)

2007-08-24T02:46:00.001-05:00

Canada's 451° were a band whose roots trace back to numerous luminaries in the canadian rock pantheon such as Shades of Blond, 49th Parallel, Painter and Hammersmith. Just as Hammersmith were folding in 1977, two departing members (Dan Lowe and Royden Morice) were already setting the foundation for what would eventually become 451°. Within months Morice had defected and Jim Clench (April Wine/BTO) stepped into his place. After gigging around the region for several years, Pickwick Records signed the band and in 1980 their eponymous debut was released. Despite rigorous touring and promotion, 451° failed to catch fire, prompting the band to split, only to resurface under the name Prototype in 1982. Clench would later rejoin April Wine and remains there to this day. The present activities of the rest of the members is not known.

"451°" is overall a fairly decent album, though there's nothing earth shattering about the material. Sounding basically like a modernized Hammersmith, the album is an early rough edged example of AOR, though the band does dabble in a retro hard rock sound in many places here. With solid production and performances, the album is nothing to scoff at, but there's a lack of real musical identity happening here that undermines the credible writing and performances. Simply a 'good' album, 451° has never been reissued, so perhaps this is a good time to download and draw your own conclusion. Dig this sweet transfer from 'ritchie blackmore'...

320kbps @ http://www.megaupload.com/?d=XLPM8YUO

Roadmaster - Roadmaster (1977)

2007-08-23T02:38:00.000-05:00

Continuing with another entry from Roadmaster, this is their debut from 1977. This album represents an era of the band that preceded the arrival of premier vocalist, Stephen McNally. This album also sees the band in full-on midwestern basr band mode, complete with the rudimentary vocals of Asher Benrubi. It is also noteworthy to mention that this is the only Roadmaster release to feature drummer, Stephen Riley, who would later join The B'zz, WASP and LA Guns.

The album is a somewhat bland MOR effort, though it does feature some diversity with the presence of saxophones, congas and other percussion instruments. This mixture gives the album a certain latin feel, though it is very subtle. Most of the material here is subpar and beckons the Doobie Brothers in many places. A startling contrast to the quality writing that would be seen on subsequent albums, "Roadmaster" is best viewed as something to provide perspective and the evolution of a band that would go on to greater things later. Released on Village Records, this album has yet to see reissue. Enjoy it here and keep that Roadmaster collection growing!

320kbps @ http://www.zshare.net/download/328562716b9837/

Storm - Storm (1983)

2007-08-22T18:50:00.000-05:00

California's Storm came together in early 1976, quickly fashioning a sound unlike anything else springing from the region. Led by the powerhouse vocals of Jeanette Chase, the band built a strong reputation while slugging it out in the trenches of the gritty Los Angeles scene. Soon, The Troubador became regular host to many of the band's legendary shows, which ultimately led the band to producer, Roy Thomas Baker. Though Baker was unable to produce any recordings with the band, he did manage to land the band a recording deal with ABC/Dunhill Records in 1977. Just before the band were set to begin sessions for their debut, a major shakeup at the label prompted MCA Records to take ownership, effectively halting the band's progress. Luckily, MCA agreed to keep the band aboard & after another year of contractual negotiations, Storm completed their self-titled debut, which hit the stores in 1979. Though the album was met with critical approval and european success, the band's unique sound fell upon deaf ears in the states and "Storm" sunk like a stone.

Unfazed, the band spent the next four years securing another contract, and soon Capitol Records were shuffling the band into the studio for their followup in 1983. That year, their sophomore album (another self-titled release) "Storm" hit the streets. In the wake of the burgeoning "hair metal" scene on the west coast, the label spent most of their efforts securing the "next big thing", leaving Storm with little promotion or distribution. As a result, Storm were homeless by 1984 and quickly ceased operations later that year. The whereabouts of band personnel are foggy, but Jeanette later found regional success as a country artist. The band's cult following prompted a mini-resurgence for the band several years ago and now Storm have reformed with the intention of recording a third album.

"Storm" is an incredible piece of cinematic AOR hard rock. Sounding like a heavier female fronted Meat Loaf, the tracks here burst with majestic grandiosity. Track after track the band's sound swells with energy, conviction and an epic power that beckons Queen, Led Zeppelin and Sweet. Gone are the quirky pseudo new wave tendencies and in their place, an edgy hard rock sheen has emerged. With precise production, monolithic arrangements and pitch perfect vocal harmonies, "Storm" sounds like something from a hollywood epic film. Perhaps this over the top sense of perspective was just too much for audiences who were falling in love with three chord glam metal, and it's a real injustice that this band and album were overlooked when it counted. In retrospect, Storm and their body of work have earned accolades of not only diehard obscurophiles, but also industry insiders as well. Not enough can be said about this fine album. Though their debut is also excellent, this release trumps it in every sense. I HIGHLY recommend everyone download this unsung jewel, brought to you by 'daz', and appreciate the brilliance of Storm. Better late than never...

224kbps @ http://sharebee.com/c930068f

Wrabit - West Side Kid (1983)

2007-08-22T18:48:00.000-05:00

And finally, by request, Wrabit's third and final album, "West Side Kid". Issued in 1983, the album marks a clear decline in songwriting for the band. The signature sound has been diluted to mere run-of-the-mill arena rock and it's evident from the opening strains of "Waiting", that this is a band going through the motions. Keyboards take a more prominent role in the proceedings and the vocals have taken a turn towards hard rock histrionics with little dynamic texturing. Put honestly, this is the weakest of this fine band's output. Sounding like a weaker latter day Rainbow, the tracks here just lack the distinctiveness they need to be memorable. There's nothing here offensively bad, but there's nothing here that demands you attention either. In spite of this album's weaknesses, "West Side Kid" is worthy of a second look...if anything, to contrast the the two stronger albums that came before it. This completes the recorded output by Wrabit. Snag this one to complete the collection.

192kbps @ http://sharebee.com/fb3de86d

Snakeye - Shape Up Or Ship Out (1980)

2007-08-21T17:29:00.001-05:00

From the "Nova Scotia Classic Rock" site: Formed under the leadership of Allard Barkhouse (Langley Beach Crowd) in 1971 with Jim White (Pepper Tree), Tony Argent (Pepper Tree) and Ken Umphrie (Melody Fair). This line-up recorded the Keith Jollimore produced "Blue Feelin'" album which was recorded at Toronto's Thunder Sound but not released until 1975. Barkhouse co-wrote all songs with various members and wrote all the lyrics himself. In 1973, the "Choked Up" single was released on United Artists with a horn section added, where the album version had not.

Over the next few years several personnel changes occurred. Umphrie was replaced by Gordon Tucker (Double Blind) for a time but later returned. In June of 1974, Steve Brown (Juckatar) and Cedric Upshaw (Dogrib) replaced White and Argent. When Umphrie left for a second time in 1975, he was replaced by Steve Russell (Shawnasae, Melody Fair). Neil MacKinnon (Sun Machine) joined in 1976 on keyboards replacing Brown. In July 1976, Upshaw left and joined the Halifax Police Department. He was replaced by John Lake (Sandy Road). Lake had to leave the band because of personal commitments and was replaced by Glen Torreson (Taboo) until his return. When MacKinnon returned to Sun Machine, Amherst guitarist Drew Moore (McCreek) was brought in as his replacement. The Barkhouse produced "Shape Up Or Ship Out" was recorded at Solar Audio between March and September of 1979 and released the following year. Lake, Torreson and Moore all played on the album. Two songs "Believe Me Lady" and "See The Sun" that were on the first album were re-recorded for this album. Again, all songs were band originals.

The band toured Quebec, Ontario and the Atlantic Provinces several times before they broke up in 1982. Barkhouse relocated to Toronto for several years before returning to Halifax in the mid 90's and reunited with Lake to form Barkhouse, Lake and Cook. In 1999, he brought back the name Snakeye when Cook was replaced by former Minglewood Band bassist Donnie Hann. Upshaw went on to be one of the founding members of "Blue Thunder".

"Shape Up Or Ship Out" is a solid AOR effort, with less an emphasis on pomp and more focus on solid straightforward rock. With excellent harmonies and vocals that sometimes beckons David Byron, Snakeye put together a credible collection of tunes that belies their homegrown roots. Though this cult band failed to reach a massive audience in north america, the production is sharp and the stunning packaging is quite impressive for a band on a modest budget. Copies of this album are very hard to come by and typically command a high price. The same can also be said about the band's debut, though there's a huge stylistic evolution between the two releases. I recommend this gem if you are a fan of Oakley, Hammersmith or 451°. A special thanks to 'daz' for this fine contrubition.

192kbps @ http://sharebee.com/b729d40f

Alexis - Alexis (1977)

2007-08-21T17:28:00.000-05:00

Denver sextet Alexis were formed in 1974 and spent the first two years hitting the circuit in the southwest before finally landing a contract with MCA Records in 1976. The following year, their self-titled debut was released and the band were on the road with major artists like Foreigner, Styx, UFO and Atlanta Rhythm Section. Despite constant touring, Alexis were unable to generate enough interest to sustain themselves and MCA promptly dropped the band. It is not known how long the band continued on before splitting, but vocalist/keyboardist Eddie Ulibarri did resurface as a session player and currently performs with No Nation.

Alexis were a classic example of a band with enough talent to surpass what they actually created. Put simply, the album is marred by the inconsistency of their songwriting. With erratic changes from style to style, "Alexis" never manages to captivate the listener. There are dashes of greatness, especially the edgier material, but much of the album is mired in banality. Shifting between prog, hard rock and easy listening, there are no audible threads pulling these genre hopping songs together. Sounding like Pablo Cruise meets Head East meets Chicago, there's just no real unity in the music on this record. To their credit, the band are quite accomplished at everything they attempt here, but the scattershot writing undermines any real appreciation of the album as a whole. Having said that, I urge downloaders to approach with caution and expect to only find a few tracks with strong appeal. Have at it and enjoy!

192kbps @ http://sharebee.com/0dea42f4

Stonebolt - Keep It Alive (1979)

2007-08-20T02:23:00.000-05:00

Here's another offering from Stonebolt, who have been featured elsewhere here. "Keep It Alive", is a major improvement over the debut. With a far more balanced AOR stance firmly in place here, the band finally get to show off their great harmonies and musicianship by sidestepping the pedestrian country sound of their debut and opting for a more radio friendly rock direction. The result is a highly improved effort, filled with hooks galore. Though some of the material is muted by plaintive vocals, the songwriting itself is by and large great. This release sparked a series of similarly well written albums from the band over the next few years.

At the present, none of the band's proper studio albums have seen reissue, though a retrospective was issued several years ago. This one needs to heard in its entirety, so I'm including this excellent vinyl rip here for your listening enjoyment. Check out Stonebolt at their most potent...

192kbps @ http://sharebee.com/6f36d0b2

Target - Target (1976)

2007-08-20T00:56:00.000-05:00

Memphis hard rock quintet, Target, were formed in 1974 and featured one Jimi Jameson, who would later turn up in Cobra and Survivor. After a few years of touring the midwest, the band secured a record deal with A&M Records and issued their self-titled debut in 1976. The band immediately took to the road, supporting many of the era's biggest artists, but failed to see any chart action. Undaunted, the band issued their followup effort "Captured" the following year, but sales continued to dwindle until Target were without a contract. They disbanded in 1978 as musical climates were beginning to shift in new directions. Jamison would form Cobra before finally landing a spot in Survivor, where he would enjoy several years of national success. In recent years, Jamison has been recording and touring with his own incarnation of Survivor.

Considering Jamison's reputation as an arena rock frontman, "Target" comes as quite a surprise. With a hard southern rock sound, the album comes closer to Molly Hatchet or Blackfoot than it does anything related to his work with Survivor. Though the hooks are subtle for the most part, this is an excellent batch of heavy 70's rock. Sadly, the band failed to ignite the charts or airwaves perhaps due to lack of a strong indentity. In any case, "Target" is definitely worthy of a download and since there are no reissues on the horizon, this decent vinyl will have to do. Check it and dig Target.

320kbs @ http://sharebee.com/810c20fc

Ironhorse - Ironhorse (1979)

2007-08-19T14:55:00.000-05:00

Winnipeg's Ironhorse were formed in 1978 after Randy Bachman had exited BTO and exeprienced failure as a solo artist. With new label backing by Scotti Brothers, Bachman assembled the band while recording demos for what would eventually become Ironhorse's debut album. The album hit the streets in 1979 and quickly their first single cracked the Billboard Top 40. Two subsequent singles and a North Amercian tour brought the band moderate success, but pressure from the label to refine the sound resulted in the ousting of keyboardist Tom Sparks. Ex-Trooper keysman Frank Ludwig stepped into the vacancy and the band's sophomore album "Everything Is Grey" was released in 1980. The singles from the album failed to chart and the band's fortunes went from hopeful to hopeless, prompting the band to split after their final tour stop in 1981. Bachman would soon draft Ex-BTO bassist CF Turner, as well as two Ironhorse members for his new project, Union. He has also issued numerous solo recordings over the years, as well as several brief reunions with BTO and The Guess Who.

"Ironhorse" unsurprisingly bears shades of late period BTO, with a greater emphasis on pop. Though the material is mostly decent, there does seem to be something lacking in the songwriting. Nothing major, but there's a homogenized sound that sees Bachman at his most frivolous. Without the contrast of Bachman & CF Turner's voices (as had been the case with BTO), Ironhorse simply suffers as a result of Bachman's rather unrefined vocals. Though Sparks vocals are significantly better, the lifeless production renders much of the material bland. Overall, "Ironhorse" is a pleasant album that just never quite reaches transcendence. It's still worth a listen, so be sure to check this offering from 'orchman' and see what Ironhorse was all about.

192kbps @ http://sharebee.com/bab90706

Claw - Diggin' In (1978)

2007-08-18T13:38:00.000-05:00

Claw's backstory is murky at best, but it's believed that the Illinois band came together in the early 70's. They issued a privately pressed album, "Diggin' In" in 1978 and remained in virtual obscurity until eventually folding a few years later. The current activities of the band members are not known.

"Diggin' In" is a real rarity among collectors, though it should be noted that it is likely due to the elusiveness of the record itself moreso than the quality of the music. Quite honestly, the album is a pedestrian blues based hard rock affair with substandard vocals, one dimensional writing and flat production. The band's absolute butchery of "Eleanor Rigby" is a perfect example of what I'm talking about. The songs are merely jams rather than fully fleshed songs. If the musicianship had been stellar, perhaps my opinion would be different, but this is not the case. In the end, Claw sounds like a weaker and lighter Roxx. Since this blog is meant to bring obscurities to the surface, I've included it here for your judgement. Here's "Diggin' In".

192kbps @ http://sharebee.com/a9ba110b

Morningstar - Venus (1979)

2007-08-18T13:36:00.000-05:00

Contrary to the "sophomore jinx" that often plagues bands upon the release of their second album, Morningstar's "Venus" is almost a companion piece to its predecessor. Like the self-titled debut (posted earlier here), the band's sound is laden with a distinct AOR style that brings in very subtle shades of hard rock as well. This time around, the emphasis is placed on straightforward writing and much of the prog leanings are gone, but the band's sense of melody is more obvious here. With a sound not unlike Elefante era Kansas, Morningstar did what they did well, but ultimately the lack of a strong identity kept the band on the fringes while many of their more distinct contemporaries enjoyed success. This shortcoming aside, "Venus" is a fabulous way to familiarize yourself with one of Kansas City's most beloved 70's acts. Dig this excellent transfer from 'residentevil2'...

320kbps @ http://sharebee.com/ee5d0512

Crowcuss - Starting To Show (1980)

2007-08-17T11:43:00.001-05:00

Canada's Crowcuss have the distinction of being one of the better bands with a relation to the legendary Guess Who. Formed by Guess Who alumni, Bill Wallace and Greg Leskiw in 1976, the quintet landed a deal with Stoney Plain Records and released their self-titled debut the following year. Soon the band was off touring the country with many of the successful canadian acts of the era, bringing them to a wider audience in the process. At the conclusion of a long tour, the band entered the studio (sans Leskiw) and recorded their followup, "Starting To Show", which hit the streets in early 1979. More touring ensued, but it wasn't long before internal conflict, managerial disputes and difficulties with their label forced Wallace to jump ship, effectively grounding the band for good.

"Starting To Show" is an excellent effort with a perfect balance of pop and AOR. With inventive melodies, tight instrumentation and fabulous vocal harmonies, it just doesn't get any better than this. Similar to bands like Mayday, MPG and a lighter Wrabit, Crowcuss displays a knack for infectiously addictive songwriting. With a bloodline like theirs, it's really strange that the band were not able to break internationally. With proper promotion and higher visibility, who knows where this would have taken them. Sadly, we'll never know but we can listen to this in retrospect and marvel at this stellar offering from the great white north. Straight from 'aor66', dig this excellent vinyl rip!

SEE COMMENTS REGARDING THE PENDING REISSUE!

Missouri - Welcome Two Missouri (1979)

2007-08-16T13:08:00.000-05:00

Southern rockers, Missouri, hail from Kansas City & came together in 1975. Led by Ron West, brother of Shooting Star's Gary West, the band began as a studio project, but the success of their self-titled debut prompted the band to tour across the country for two years. Released by Panama Records in 1977, "Missouri" spawned a regional hit single "Movin' On" which eventually led to a contract with Polydor Records the following year. The band were shuffled into the studio without much preparation and in 1979, "Welcome Two Missouri" hit store shelves. Though the material was surprisingly strong, especially under the rushed circumstances, the tastes of music lovers were beginning to change and by 1980, Missouri were without a record deal. For four more years, the band struggled to secure a contract, only to split in 1984. Since the split, the band resurfaced for a tour in 1994. Former members went on to performing with various local acts in Kansas City, as well as forays into production and numerous activities outside of the business. Ron West is currently in talks for another band revival.

"Welcome Two Missouri" is an excellent southern hard rock album with just enough sleek precision to please sophisticados. Complete with trademark twin guitars, like many of their southern rock peers, Missouri crank out one classic cut after another to create a consistently strong batch of songs. Unlike the Allman Brothers, Little Feat or Marshall Tucker Band, Missouri craft concise hook driven southern rock without overindulgence. Fans of Atlanta Rhythm Section, Hydra or Blackfoot will find much to enjoy here. Check out this contribution from 'orchman' and see for yourselves.

192kbps @ http://sharebee.com/a31cbb04

Taste - Tickle Your Fancy (1976)

2007-08-16T11:51:00.000-05:00

Here's the debut release from Australia's Taste, who were featured here recently. Unlike the band's second and final album, their debut is a bit heavier and aggressive. Released in 1976, "Tickle Your Fancy" is a tight batch of quirky hard rock songs brimming with a unique melodic point of view. Considering the young age of the band, alot of the material here is surprisingly accomplished, both in performance and songwriting. Though the hooks are very subtle, the entire album taken as a whole is a rewarding listening experience through and through. This unique hard rock effort deserves to be heard, so be sure to download and hear this offering from down under.

320kps @ http://sharebee.com/8b6ec59b

Doc Holliday - Modern Medicine (1983)

2007-08-15T11:48:00.001-05:00

Doc Holliday formed in the late 70's in Macon, Georgia. Led by vocalist/guitarist, Bruce Brookshire, the band built a solid fanbase in the southeast from relentless touring of the region. They soon came to the attention of A&M Records who eventually released their self-titled debut in 1981. The album managed to enter the Billboard Top 40 in the states and soon the band were cultivating a strong cult following in europe. When their followup, "Rides Again" was issued the following year, the band had become celebrities overseas while their career began to wane in the US. This downslide only worsened upon the release of their third effort, "Moden Medicine", which saw the band employing modern hard rock & AOR elements into their southern flavored sound. The lack of response from their stateside following prompted the band to split at the conclusion of their tour in 1984.

Within two years, a restructured lineup resurrected the name and Doc Holliday resumed where they left off, producing five more studio albums and a live album over the next eighteen years. The band continue to tour on both sides of the Atlantic to this day, with their european following intact and still growing.

"Modern Medicine" is a clever balance of Molly Hatchet and Survivor (for lack of a better comparison), with the band modernizing their sound to bring wider appeal. It's less redneck and more arena rock, though Brookshire's voice still brings its southern charm to the mix. Production flaws aside, the album is a fairly consistent batch of AOR melodic rock with just enough muscle to keep the band's edge. With an opening track like, "City Night", one can't help but hear that the band is beginning to run out of original sounding material. This track, in particular, sounds an awful lot like Foreigner's "Head Games". The majority of tracks here, though, are ripe with melodic hooks and subtle new wavey soundscapes, making this a very unique sounding southern rock album. Taken on its own merits, "Modern Medicine" is a worthy effort and deserving of a listen. More Doc Holliday material to come in the coming weeks, but for now, enjoy this nugget from the dirty south.

320kbps @ http://sharebee.com/c8a5102d

Karroll Brothers - Karroll Brothers (1978)

2007-08-15T11:48:00.000-05:00

Canada's Karroll Brothers consisted of three brothers (Peter, Paul and John) and Steven Balison. Formed in early 1970, the Karroll Brothers have a rather foggy backstory, but is is know that they amassed quite a repertoire of original material before finally issuing their self-titled debut on their own private label in 1978. The album fared well in the pacific northwestern region of the states, as well as parts of Canada. Touring in support of many legendary acts ensued over the next few years, while the band continued issuing albums.

Though the band's activities are in flux at the present, the band have stated they intend on recording a live album. Some of the band's previously issued material was remastered for CD in 2001. Peter has also been working in publishing and production for numerous canadian acts like Bif Naked and Annihilator.

"Karroll Brothers" perplexes me, because it does contain some decent material, but it seems tame when considering the band's self-proclaimed "high energy rock" status. Most of what can be found here is decent, if unremarkable, classic rock with slight AOR flourishes. Synths can be found all over the place, but only as a means of coloring the arrangements. The melodies seem to be the downfall here, as they do little to enhance the memorability of the material. Most of the tracks here are midtempo and lackadaisical, doing little to create dynamic peaks and valleys. To their credit, the musicianship is tight and proficient...but ultimately, they fail to mask the ordinary feel of this album. Since this is merely my opinion, I urge everyone to grab this and reach their own conclusion. Enjoy this 'orchman' vinyl rip...

256kbps @ http://sharebee.com/ea96aacc

Potliquor - Potliquor (1979)

2007-08-14T11:47:00.000-05:00

Here's another release from Louisiana's Potliquor. By 1979, the band had undergone noticable changes both with an overhaul of the entire lineup(minus bassist Guy Schaeffer) and the band's musical direction. Where classic Potliquor were drenched in gospel influenced southern rock, this reborn lineup were aiming more for Allman Brothers territory. Along with a lineup change, the band also found a new home at Capitol Records, which presented greater career possibilities than their previous contract with the smaller Janus label. Whether this change prompted mass resistance is not known, but surely fans were divided when the singles from this effort hit the airwaves later that year. It is known that the band toured for a year or so before collapsing completely. Members went on to work in various bands as well as pursuing other interests outside of the business.

So how does it stand up to the Potliquor legacy? It doesn't one way or the other. It's a whole ball of wax in its own right. With Ratzlaff's bellowing voice out of the equation, Potliquor's sound has adopted a more radio friendly style, that is admittedly more faceless than their previous work. In spite of this setback, there are some great moments captured here with a smoother and more refined sound at the forefront. Though the album did manage to net the band airplay in southern markets , it failed to meet both critical and consumer expectations. It's a shame, because taken on its own, "Potliquor" is a decent southern rock effort. Take a quick listen and judge for yourself.

160kbps @ http://sharebee.com/41bd7af7

Snowmen - Snowmen (1982)

2007-08-14T11:46:00.000-05:00

Snowmen were another mystery band, whose roots and history are veiled in obscurity. Hailing from California, the band were known for their bizarre image, with each member dressed fully in white clothing, white facepaint and white hair. The band's sole release was a private pressing on Ice Records, which hit regional music stores in 1982. The band were met with indifference and drifted apart by the middle of 1983. Nothing is known of the members current activities.

"Snowmen" is a pretty solid AOR affair with a dash of early 80's hard rock thrown in for good measure. There's nothing outstanding found here, but the album does contain a Kim Fowley co-write, "Trouble". Overall, this is a respectable effort full of mostly midtempo hard rock. The band's fantastic harmonies, production and musicianship do elevate this above most standard homegrown productions. I'll let you, the jury, decide. Thanks to 'Daz', you can all download and indulge in a truly obscure and theatrical Cali hard rock act.

320kbps @ http://sharebee.com/85eca238

Wrabit - Tracks (1982)

2007-08-13T11:25:00.000-05:00

Continuing with another Wrabit entry, this is their second album released in 1982. Not much has changed since their debut, except the music has gotten a bit heavier. Fans of hard edged arena rock will have little to complain about here. With a slightly different lineup. Wrabit successfully took the challenge and forged ahead with stellar results. "Tracks" is practically a sister album to their debut, with the tone, wuality of musicianship and radio friendly hooks of their first. It seems that Wrabit chose to defy trends by creating an AOR album that features less prominent keyboards, which was typically the reverse of what many other acts were doing during this period. The result is an edgy yet sleek batch of songs that should've been tright at home on FM stations across the contintent.

As fate would have it, America was not listening and thus, Wrabit toiled for another few years before finally throwing in the towel. This, however, is an excellent release that is sure to win more fans now than it ever did in 1982. Try it out and see what you think. This is damn fine canadian rock, folks...

192kbps @ http://sharebee.com/a2e93b63

Cruiser - Rollin' With the Times (1980)

2007-08-13T11:19:00.000-05:00

Montreal's Cruiser are most known for their association with April Wine, having been the home of ex-drummer Richie Henman. Not much is known about the band's history, but their debut, "Rollin' With the Times", was issued in 1980 by Network Records and was seemingly met with great critical favor. Apparently the band even received interest from a major label, but split before their followup album could be completed. After the band split, Ed Stevens continued in the business working with Leyden Zar, as well as releasing instrumental music and working on soundtracks. The remaining member's whereabouts are unknown.

The album is a fantastic and diverse collection of tracks that touches on elements of hard rock, pop and AOR with wry lyricism and clever vocal arrangements. Most of the tracks here are excellent, with no shortage of hooks and tight musicianship. The band really hits its creative stride towards the end of the album, leaving the listener fully satisfied at its conclusion. Fans of Harlequin, Prism or Russia will find something to like here. Snap this one up, straight from the 'orchman' archives and hear the awe inspiring potential of one of Canada's forgotten talents.

256kbps @ http://sharebee.com/a53e9051

Roadmaster - Hey World (1979)

2007-08-11T11:24:00.000-05:00

Another Roadmaster post for everyone here. "Hey World" is their third album, which continues their climb from standard midwest hard rock to AOR pomp. The hooks are still very subtle and the keyboards have taken a more prominent role than before. Depending on your preference, that can be good or bad. The band's sound is a bit softer than their previous releases, with an emphasis on pop more than hard rock. I personally consider this an improvement over their two preceding albums, though it doesn't quite stand up to the band's final studio album, "Fortress". In any case, lovers of midwestern arena rock should devour this one up. It's worthy of its entry here and deserves to be revisited all these years later. Enjoy!

224kbps @ http://sharebee.com/2f4e8338