Alexis - Alexis (1977)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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

Blitz - Oga Erutuf (1975)

Like Roxx, Cleveland's Blitz have a similarly shrouded back story. Presumably formed in the early 70's, Blitz took on a theatrical image comparable more to early Sweet than Kiss, complete with tribal makeup and glittery outfits. The band managed to release one album, on the private TEMA label in 1978, though it is noted that the material was actually recorded in 1975. Considering the year of these recordings, there quite a progressive sound here. Not so much traditional "prog" as just hard rock with a very forward thinking point of view, Blitz laid down an album's worth of tracks that sound like they could've been recorded in the late 70's instead. With hooks aplenty and a solid musical foundation, "Oga Erutuf" is strangely prophetic like it's thinly disguised title (Future Ago) and stands as one of the most solidly assembled private recordings of its time. Though the production leaves something desired, the quality of the writing is good enough to overlook this flaw. With straightforward rock and slight folk tendencies, Blitz put together an impressive album that stands the test of time.

Download this monster obscurity and take a listen to Blitz...this is good stuff. I kid you not!

256kbps @ http://sharebee.com/200e5e35

Stumblebunny - Stumblebunny (1979)

Stumblebunny's roots trace back to 1976 in New York City. Masterminded by Chris Robison (Steam and Elephant's Memory) who had recently been released from the New York Dolls touring lineup, Stumblebunny was assembled haphazardly over several months before premiering at Max's Kansas City in early 1977. Shortly thereafter, the band issued a self produced EP to much regional success. Though the band received lukewarm press at best, they did manage to land a contract with european label, Phonogram and toured extensively through the continent until half the band defected in late 1979. With an album "While You Were Out" in stores, the band worked tirelessly to promote themselves, but to little avail. Unable to build upon their momentum, the band began to fracture and members found themselves pursuing other opportunities (i.e. Nite Caps) instead. Robison went on to record solo albums and children's music, which he has done successfully for some years now.

"Stumblebunny" is a rock solid example of late 70's folky powerpop that echoes traces of Badfinger, Raspberries and the Hollies. Though their sound is nothing new to the ears, the album is solid from start to finish. With Robison's thinly veiled references to the homosexual lifestyle, Stumblebunny were one of the forerunners of "gay rock" and are championed by the gay community for their open stance on the subject. Sexual preferences notwithstanding, "Stumblebunny" is a fantastic slab of melodic goodness and I recommend open minded listeners to breathe in the album's every nuance. I'm sure you'll dig it!

160kbps @ http://sharebee.com/b9905df9

Hero - Boys Will Be Boys (1978)

Hero hailed from Los Angeles and came together after several years of gigging under various lineups in the early 70's. Formed by brothers Curt (keyboards) and Mark (bass) Houle, it was 1975 before the band's permanent lineup would take shape. That came with the addition of sixteen year old guitar whiz, Neil Citron and drummer Jeff Jones. When local heroes Hollywood Stars replaced their lead singer, Scott Phares, Hero became his new home. The band signed with Con Merten agency and within a year, producer Michael Lloyd had helped the band to sign with Mercury Records. Their self-titled debut was issued in 1977 and despite a few well written singles, the album stalled and Hero were quickly dropped from their contract.

Merten and Lloyd were unwavering believers in the band and vowed to find the band a new home. The following year, 20th Century Records added Hero to their roster and "Boys Will Be Boys" was released. Again, the band and label were unable to create a buzz and Hero found themselves without a label in 1979. Luckily, Lloyd was able to produce a sole single for the band in 1980, released on Australian label, Interplanetary Records. The single barely dented the charts and Hero's relationship with Merten and Lloyd came to an end. The band returned to the LA club circuit and actively performed there in various lineup until 1983. Citron went on to become a solo artist and session player. Jones and the Houle brothers began a production company and remain active in studio engineering and session work. Phares retired from the business altogether and relocated to Texas.

Hero were one of those bargain bin discoveries of mine while working in radio during the early 80's. I immediately fell in love with their sound and remain an ardent fan to this day. This, their sophomore release, is an energetic batch of songs that are just dying to be heard by the public at large. With emotive vocals from Phares and Houle's insane keyboard runs in full effect, the album creates a sound unlike anything that was popular at the time. Hammond organs were by and large a thing of the past by the end of the 70's and hearing them all over this album gives it an unusual vibe. One listen to the keyboard solo in "You Take My Breath Away" and it's evident that Hero were still tethered to their musical roots, but this works to great effect throughout. With the exception of the corny "Rock & Roll Is Here To Stay" and the drippy "It's Only Make Believe", the rest of the album is stellar. This is primo LA rock with a sound all its own. Snag this fantastic transfer from Rob and crank it up loud. This is a band you don't want to miss!

320kbps @ http://sharebee.com/b7d1fb73

Grand Hotel - Grand Hotel (1979)

Grand Hotel were a british studio project who came and went so quickly that most people are completely unfamiliar with the name. Assembled in the studio by CBS Records, the sextet featured former Bandit guitarist, Danny McIntosh along with Colin Campsie, Robert Green, Ivan Penfold, George McFarlane and Graham Broad. Their sole effort hit store shelves in 1979, but despite major label support, the album slipped into obscurity shortly after its release, thus effectively ending this project for good. McFarlane and Campsie wnet on to form The Quick and later, Giant Steps. McIntosh joined Kate Bush as a supporting guitarist and continues collaborating with her at the present. Penfold kept a low profile until resurfacing in 1995 with Ivan's Head, who released one album that year. Broad has kept busy doing double duty with Roger Waters and Bill Wyman's Rhythm Kings. Green's whereabouts are unknown.

Despite their lukewarm reception, Grand Hotel were capable of creating some dazzling sonics, evidenced here by this fine album. With a potent blend of AOR, progressive rock and funk, the band brings tightness and sheer virtuosity to the fore, with only a handful of weak tracks. The opening track, "Stranger in a Strange Town", is a perfect demonstration of the band's driving rhythms and stellar vocal harmonies. Other highlights include the brass driven funk of "Lightyears", the straightforward punch of "Reach For the Light" and the swaggering "No Dice". The true standouts are "Somebody Please" and "Secret Life", both which are tailored for massive radio airplay. It's a real shame that this album didn't reach wider visibility, since the majority of music here is top notch. There's little to dislike about this fine obscure release from 1979. Check out this sweet transfer from reader 'aor66' and relish in the beauty of this true AOR rarity.

192kbps @ http://sharebee.com/2d04e2ab

Spy - Spy (1980)

Spy were a New England sextet brought together by Don Kirshner in late 1979, likely as heirs to the throne recently vacated by a flagging Kansas. With Kansas exploring new territories to less success than ever before, Spy were assembled in an effort to assure Kirshner's stronghold in the AOR movement that was in full swing during this time. Comprised of seasoned session players and regional talents, the band consisted of vocalist John Visclocky (ex-Mirthrandir), guitarist Dave Nelson (ex-Nektar), violinist Danny Seidenberg, keyboardist Dave LeBolt, bassist Michael Visceglia and drummer Bob Goldman. In 1980, Kirshner Records issued the band's self-titled debut and despite strong material, the band almost immediately imploded. Spy went as quickly as they came, perhaps because audiences weren't interested in a Kansas clone. The members all went on to work with numerous artists like Suzanne Vega, Turtle Island String Quartet and Foreigner, as well as forays into production, session work and film soundtracks.

So were Spy really Kansas clones? Well, yes and no. Bearing the kind of conventional prog style Kansas were known for, the band were more akin to Styx than anyone else. With harmonies and keyboard flourishes inspired by "Pieces of Eight", the band were essentially a second tier tribute to the sounds that other bands had made famous. If one can forgive this creative misstep, the album itself is an impressive batch of songs. The true weak link here is Vislocky, who sounds out of his league in comparison with the wizardry happening on the instrumental end of things. Though their frontman was slightly lacking the chops for the job, the monstrous harmonies dripping from each track were jaw dropping. Though this album could've been more successful had it not been for Kirshners ridiculous hyping of the band at the time of this release, it was soon relegated to the retail cutout bins instead.

In recent years, the album has gained a whole new audience of prog lovers and AOR fanatics who champion the band and album like a priceless forgotten relic. As to whether this kind of fervor is justified, well, you'd best download and decide for yourself. I quite like this effort and am happy to have it in my collection. Thanks to a fabulous rip from Rob, we can all enjoy this gem from 1980!

320kbps @ http://sharebee.com/618bcc1f

Thundermug - Who's Running My World? (1994)

As promised, here is Thundermug's official "comeback" album from 1994. Sounding much more like ZZ Top than the heavy glam sound they pioneered two decades earlier, "Who's Running My World?" may be a shock to the system for ardent Thundermug fans. Though it's clearly inferior to any of the band's classic output and even their final release in 1997, the album is mostly well written bluesy hard rock with plenty of razor sharp wit in the mix. Though the band's musical fireworks are more restrained here, the album is, at worst, a decent entry in the band's canon. For more background on the band, please refer to my earlier posts here,

Please pardon the low bitrate here, as this is the best I have but it does come straight from the out of print CD...enjoy!

128kbps @ http://sharebee.com/7a74e6df

A Quick Head's Up...PLEASE READ!

Just decided to put an email link at the bottom of the right margin on this page. This will be for any requests you might have, as well as any contributions you wish to provide. For now, it will make both processes run a little smoother so that all requests and submissions are filtering through the same place. I just want to be able to keep track of who to credit for submissions and who to direct fulfilled requests to. Fair enough?

Also, I'll be experimenting with Sharebee hosting for the time being. If anyone experiences ongoing trouble with one of the uploads I've sent there, please let me know. I'm hoping this change will accomodate some of our international visitors who cannot access Megaupload. Cross your fingers!

Champion - Champion (1978)

Champion is a name most probably are not familiar with, though their bloodline is littered with acts that have scaled various heights of success both before and after the band's short existence. When David Byron was unceremoniously ousted from Uriah Heep in 1976, he quickly assembled a new band called Rough Diamond. That band featured ace guitarist Clem Clempson, who had previously been with acts like Bakerloo, Colosseum, Humble Pie and Strange Brew. Alongside Clempson was Geoff Britton, who had worked for several years in East of Eden and Wings. Though the band possessed enough talent and drive to take them to new heights, their sole effort on Island Records in 1977 failed to ignite the charts and Byron promptly exited the band later that year. With Byron now pursuing a solo career, the band brought in replacement vocalist Garry Bell and were soon snapped up by Epic Records. In 1978, the band released their self-titled album under their new moniker, Champion.

Essentially, Champion were a studio project and the band did not tour to support the album. The option to tour was left open to the band and label, providing that album sales demanded such...but sales were disappointing and both the band and label agreed to part ways. Clempson and Bell would later issue a double sided single in 1980, and Clempson would continue onward working with Jack Bruce, Jon Anderson and a reunited Colosseum in subsequent years. Britton later joined Keys in the early 80's.

"Champion" is a groovy soul/blues styled album that follows suit with much of what Grand Funk were also doing in the late 70's. With a sound that falls more into MOR territory and less heavy rock, the album is a bit pedestrian in delivery but with its share of hooks. "Sha-La-La", "You Knock Me Out" and "Say Goodnight" are all exceptional tracks, while the remainder of the album is a little more faceless. Despite the blandness here, this is a decent album that deserves at least a spin or two, if anything, because of the band's star studded lineage. Thanks to 'orchman' for this contribution. Check it and see what you think...

192kbps @ http://sharebee.com/5844e279

Couchois - Couchois (1979)

Here's one requested by a reader. Couchois were originally comprised of three brothers, Pat, Mike and Chris Couchois, who along with Chas Carlson and Howard Messer, released two albums in the late 70's. Prior to the formation of the band, Chris, Pat and Howard toured and released two albums with Ratchell in the early 70's. After the dissolution of Ratchell, the trio brought in younger brother Mike and Chas Carlson and dubbed themselves after the family namesake. Couchois secured a contract with Warner Brothers in the late 70's and their eponymous debut came in 1979. Sporting an MOR west coast sound, the band were akin to artists like Pablo Cruise and Firefall. Sadly, with the high profile success of those two bands, Couchois were essentially unable to create an identity to set themselves apart from the herd.

The band did enter the studio to record and release their sophomore album, "Nasty Hardware" in 1980. Though the album featured a slightly more updated sound with light AOR flourishes, it failed to connect with audiences and the band soon faded into oblivion. The Couchois brothers would later work with Eric Burdon in the early 80's. Currently, two of them tour in the Allmost Brothers tribute band.

This album is more an exercise in light than shade, with silky smooth arrangements, bright harmonies and a subtle latin influence in places. Very middle of the road, "Couchois" rarely diverges from being just pleasant. Nothing stellar happening here, and nothing terrible. This is a safe and rather inoffensive collection of soft rock. Though this is not my kind of thing, there's certainly a demand (albeit small) for this kind of period music, therefore it's included here for your consumption. Straight from crisp vinyl, check out Couchois.

192kbps @ http://sharebee.com/9886f2ea

Alpha Centauri - Alpha Centauri (1977)

Alpha Centauri were hatched in Greely, Colorado in 1971. The trio consisted of Jess Redmon (guitar), Kurt Smith (drums) and Randy Thompson (vocals, keyboards) and for four years, the band labored the Colorado club circuit to great local success. In 1975, Garth Hannah (vocals, bass) was brought into the fold, fleshing out the band's sound. Shortly after expanding the lineup, the band packed up and moved to Canada in hopes of reaching a more diverse audience, which ultimately landed them a contract with Salt Records in 1976. Over the next few months, the band worked meticulously in the studio until their self-titled debut hit the streets in early 1977. Canadian audiences took notice of the quartet and soon the band were the subject of a CBC television special.

For the next two years, the band enjoyed success in their new home and anticipated their next album. Sadly, by 1979 things were changing in the music scene at large. Punk and New Wave were stirring things up and Alpha Centauri struggled to keep and expand their core audience. It wasn't until 1983 that the band finally concluded that their time had come and gone, prompting them to split that summer. Redmon went on to work with Chad Allen as well as working in production, eventually forming a band bearing his namesake. He continues performing with them in Greely to this day. Thompson and Smith also returned home, gigging with local band, Eyez. Hannah's post breakup activities are unknown.

Alpha Centauri have often been referred to as the 'World's Best Undiscovered Pomp Band', prompting collector's to doggedly serach for copies of this unsung gem. So is the claim accurate? Well, maybe not completely, but there's no denying the band's talent or the quality of their sole release. With a tip of the hat to Uriah Heep, the band plays with conviction throughout, but points must be docked for their somewhat derivative sound. Complete with Byronesque vocals and slide guitars that evoke Mick Box, it's impossible not to notice the Uriah Heep similarities. "Love Is a Curse" is perhaps the most obvious reference point, with riffing and rhythms that come straight from "Wonderworld" era Heep. In spite of the lack of originality, the album pulses with precision from start to finish and is worthy of review. Subsequent listens may only be optional to those who don't mind hearing something derivative.

Whatever your tastes, a legendary album like this deserves to be heard and since the reissue has long gone out of print, I'm posting it here for your approval. Listen and learn about this often discussed act from Colorado!

192kbps @ http://sharebee.com/dc3ae7e3

Bandit [USA] - Bandit (1975)

Not to be confused with Australia's Bandit, this act sprang from the Pacific Northwest in late 1974 and featured Joey Newman on guitar and keyboards. Newman was quite a figure on the scene, having been a member of Don & the Good Times, Blue Mountain Eagle, Touch and the infamous, Stepson. Bringing his own experience to the fold was drummer Dan Gorman, who had previously played with Los Angeles superstars, The Yellow Payges. Rounding out the lineup were guitarist Davis Della Rosa, bassist Kevin Barnhill and vocalist Tommy Eaton. It's safe to assume that Newman's association with ABC Records during sessions for Stepson's sole release, is at least partly responsible for the formation of Bandit and their self-titled debut, which they issued in 1975.

Taking cues from Stepson, as well as other heavy soul influenced acts like Crow and Mother's Finest, the band's sound was a bit out of sync with much of what was popular in the mid 70's and ultimately this direction was their undoing. The band began imploding at the end of a short tour supporting numerous larger acts and by 1976, ABC chose to drop the band, signalling their death the same year. Little is known about the subsequent activities of the members, though Newman did work with the Osmonds and Shaun Cassidy in later years.

"Bandit" is a fine slab of soul driven hard rock that effortlessly shifts from grit to subtlety. At times, the band goes straight for the Motown sound with total abandon, while at other times they can be heard at full steam, complete with Eddie Hazel inspired guitars and a smoking rhythm section. Eaton's smoldering vocals morph from Gaye smoothness to Cocker bravado all in the span of a single track. The soulful female backup singers provide the proverbial icing on the cake. There's very little not to absolutely love about this well assembled album. Simply awesome. Need proof? Check out this flawless vinyl transfer, brought to you by reader 'mamedia' and get the goods while they're hot...

320kbps @ http://www.megaupload.com/?d=ZVIUU8Q9

Strongbow - Strongbow (1975)

Columbus, Ohio was home to Strongbow, whose life began in the middle of 1973. Initially a four piece, the band expanded to a quintet after a few months of gigging and soon landed a contract with Southwind Records. Over a year of touring, building a fan base and writing ensued before their self-titled debut was issued in 1975. Southwind, a tiny subsidiary of Buddah Records, failed to give the band and album any considerable promotional push and soon the album was lying in cutout bins across the country.

At a time when image conscious artists like David Bowie, Alice Cooper and Kiss were peaking, it appears that Strongbow were just simply overlooked. The band fought onward, attempting to write and record a followup album, but management and the label were deadlocked in contractual disputes causing the band to finally give up the ghost in early 1978. Members went on to continue working the local scene, though the majority of them have long since retired from the business.

"Strongbow" is a fairly decent album, though it does tend to be a bit faceless. Certainly a talented bunch, the performances here are stellar but the bland vocals hinder much of the proceedings. The opening track, "One Armed Bandit" is a standout which balances light progressive flourishes with classic 70's rock to great effect. "Move Over Gloom" packs a great groove, but is somewhat diminished by vapid lyrics. "Wine Eyes" is an edgier track here and is also effective and well written. The rest is a bit questionable, sounding a little like a poor man's Nektar (Magic Is a Child lineup).

Despite being short on stellar material, Strongbow's sole effort is worthy of attention here simply due to its rarity. Whether mid 70's neo prog is your thing or not, this interesting midwestern quintet is worthy of a second look...even if only for a brief moment. Enjoy!

192kbps @ http://www.megaupload.com/?d=OEITO85G

Ziggurat - Melodic Scandal (1982)

This southern quintet, whose name was derived from a type of ancient structure commonly found in the middle east, hailed from Atlanta and presumably formed sometime in the mid 70's. Bearing an interesting blend of southern rock and AOR, the band issued their self-titled debut on Robox Records, a local private label, in 1979. With minimal pressings issued, the album fared well in the region but barely sold on a national level. Such was the case when their sophomore album, "Melodic Sandal" was released in 1982. The emphasis on AOR was even greater at this point, taking on a slight gothic feel in places. As a result, audiences at large were indifferent, leaving the band without enough support to continue onward. The band split in 1983, with members defecting to solo careers and bands like Bombay and Fortnox .

This album has a very subtle dark sound that will appeal to AOR fans looking for something different. Conversely, if bright harmonies and epic melodies are your thing, "Melodic Scandal" will likely fail to satisfy your hunger for such. What we have here is an average collection of hard rock tunes that sound tailored for FM radio. Sadly, the material is just a bit too weak in places to prevent this from ever being regarded a "classic". This aside, there are some highlights worthy of review such as the quirky cover of Graham Gouldman's "For Your Love", the melodramatic "They Only Come Out At Night" or the closing number, "Eight Miles High".

Overall, this is a decent and rather plain effort from an obscure act who failed to extend their fortunes beyond their stomping grounds. Thanks to 'Orchman' for this contribution. Listen and make your own judgement!

224kbps @ http://www.megaupload.com/?d=HL21N5IU

A Word of Thanks & Other Matters...

First off, I'd like to give a huge thanks to everyone for visiting my blog. In a very short period of time, this site went from getting a few visits per week to thousand of visits per day. I'm blown away, folks. I'm very grateful that you all have taken the time to visit, read my blurbs, try out some obscure tuneage, offer your insights and refer others here. It's an honor to do this and your readership is the ultimate reward for the time I put in.

Secondly, I wish to thank all of the kind folks who have helped to contribute to the content here. Filling in the gaps and offering up things that I wish to cover here has taken some of the headache that comes from digging and digging for something that ultimately never turns up. Thanks to you (orchman, mamedia, higginz, micksguitar, fairplaybeach, gary_lankford and numerous anonymous posters) for your contributions here, whether it be uploads or just simple feedback. It really has given this simple blog some depth and I believe that, in itself, will help sustain this site more than anything else. Cheers to all of you.

I wanted to let you all know that I will probably be developing a sub-page soon which will be used as a repository for all the upload links that have been left in the comments. Any future links can also be left there. Initially, it was my intention to just integrate those uploads into the main blog front page (complete with synopsis and thumbnail), which I may still do...but I am tossing this alternate idea around. Just wanted you all to know what's up.

Also, if I DO repost your contribution on the front page, you'll notice that the upload link is completely different. That is because I clean up (usually just EQ or normalize) the files when needed and retag them the way all of my other content is tagged, for consistency's sake.

Finally, if for some reason I choose to delete a prior post (only non music posts like a wishlist req or other notes) and your link was provided there, I will make note of that information before deleting the post. In time, it will be reposted here in the proper context. I do this b/c I'm real particular about maintaining a clean and consistent look on the main page. Ok?

I hope you are all having a smashing weekend. I will be here tomorrow with a new batch of albums! Till then...thanks again :)

Hammersmith - Hammersmith (1975)

Hammersmith rose from the ashes of Canadian rockers, Painter, in late 1974. With principals Doran Beattie and Dan Lowe in the fold, the band's name power helped them to land a deal with Mercury Records and "Hammersmith" was issued in 1975. The band set out on a tour of Canada and through a number of high profile shows and moderately successful singles, the band were granted a healthy budget increase for their followup. That came in 1976 with "It's For You". Though the sound and production was noticeably slicker, the material was weaker and the album failed to ignite Canadian radio. As a result, the band (with a newly revamped lineup) began falling apart at the seams, prompting a full blown split in 1977. Beattie later turned up as a country solo artist, while other members went on to 451° and Moxy.

"Hammersmith" takes cues from The Guess Who in places, which is understandable considering their reverence in their homeland. The album is fairly consistent, with the band keeping a nice balance of hard and soft throughout. The guitar work is stellar and the harmonies are tight, particularly on album highlight "Feelin' Better". This album has earned quite a cult following over the years, but sadly has never been issued on CD. Luckily, my new friend 'Orchman' has made this available here for your listening pleasure. Check out some cool Canadian rock...

224kbps @ http://www.megaupload.com/?d=SU0A2LN7

Fable - Fable (1974)

British quintet, Fable, are perhaps better known for their connections to Trapeze and Uriah Heep than they are for their own music. The Wolverhampton band came together in 1973, with Peter Goalby at the helm handling vocals and guitar. The lineup also included Mac Bailey (guitar), Peter Mackie (bass), Paul Robbins (keyboards) and Keith Tully (drums). Their history is a bit blurry, but the band had a very short lifespan. Magnet Records (owned by Alvin Stardust) picked up the band after hearing demos they'd been working on and in 1974, "Fable" was issued. The response was tepid at best and after a few short mini-tours of the UK, Fable disbanded. Goalby and Mackie would later resurface in a late period lineup of Trapeze. By 1980, Goalby had joined Uriah Heep and remained with them for several years and albums.

The album here is a somewhat schizophrenic affair, with the band bouncing between folk, hard rock, pop and celtic themes. Though this scattershot approach does absolutely nothing for consistency, there are nevertheless some excellent songs here. "Mandolin" is an excellent track, pairing traditional celtic sounds with pop to superb effect. "Thick As a Plank" sounds like something you'd expect from Lovin' Spoonful and is another highlight here. The harder edged numbers here like "Hard Life" and "See My Face", are also great. At least half the album (predominantly the second half) is excellent, though there are really only a handful of throwaways.

This exceptional release has never been reissued and likely never will be. Special thanks goes to 'Orchman' for providing this solid vinyl rip. Enjoy!

192kbps @ http://www.megaupload.com/?d=FD82LY9X

Rabbit - Rabbit (1975)

Australia's Rabbit began its life as a power trio in 1973, based out of Newcastle. Mark Tinson (vocals/guitar), Jim Porteus (bass) and Phil Screen (drums) quickly opted to augment the band with a dedicated vocalist, one Greg Douglas, the following year. That union only lasted months before Dave Evans climbed aboard as the new frontman. Evans, newly ousted from a fledgling AC/DC, was a flashier entertainer and quickly audiences began catching on to the hedonistic image the band was now sporting. Having recently relocated to Sydney and on the strength of Evan's association with AC/DC, CBS Records signed the band the following year, culminating in their self-titled debut, "Rabbit". A few charting singles were issued from the album, prompting the band to engage in an all out war with glam contenders, Hush. Luckily, there was plenty of room in Australia for both bands, and Rabbit's success began to increase over the next year. By this time, a second guitarist named Dave Hinds was added to thicken up the band's sound.

The tougher sound proved to be just what the band needed when they entered the studio in 1976 to record and release their 2nd album, "Too Much Rock & Roll", which only cemented their position in the charts and increased the band's visibility. This was also helped by an appearance on the popular Aussie TV show, Countdown that same year. Just as things were moving along nicely for the band, Tinson and Screen bailed, leaving Rabbit a trio once again. Drummer, Barry Lytten, was brought in on drums and the band carried on as a quartet until finally imploding at the conclusion of a short promotional tour in late 1977. Members later hooked up with other bands like Swanee, Heroes, Finch, Hot Cockerel and Thunder Down Under. Evans later embarked on the revival circuit, mostly capitalizing on his association with AC/DC. He continues recording and touring with his band, The Badasses, to this day.

So what to make of this album? Well, due to its close ties to AC/DC, one can't help but draw comparisons. The problem is that, frankly, most of the writing doesn't stand up to the legacy. There are hooks here and there, but the album and its followup are both devoid of any real staying power, save for a few tracks between them. Hush and Rabbit are actually almost indiscernably identical, different vocalists aside. Nonetheless, this extremely elusive album is highly sought by collectors. This particular rip was passed on to me recently, and for the most part it's a solid conversion. "Running Bear" does cut short, but the rest of the tracks sound clean and mostly free of clicks and pops. Until I secure a pristine copy of the album and rip it myself, this is as good as we'll get for the time being. Download and enjoy!

192kbps @ http://www.megaupload.com/?d=BMOH78J9

Bandit - Bandit (1977)

This is the debut album from Australia's Bandit, whose 2nd and final album was posted here a short while ago. This one is most definitely edgier, though that term is relative in comparison to much of the music I've posted here before. Nonetheless, "Bandit" is not quite as soft and bland as its successor and therefore has a little more character. Overall, the material is pretty standard MOR 70's rock that occasionally veers into boogie oriented hard rock. I'll let you be the judge of which is superior, so check it out and make the call. Special thanks to 'Orchman' for the contribution!

320kbps @ http://www.megaupload.com/?d=W5RMUJ6B

Colours - Colours (1968)

Colours were a west coast psychedelic pop act that came together in 1967 at the request of songwriters, Jack Dalton and Gary Montgomery. Essentially a studio project, Colours featured future Derek and the Dominoes bassist, Carl Radle, who had already made quite a name for himself as a session musician and touring performer. The album was assembled over several months in late 1967, and subsequently issued by Dot Records the following year. Dot, being primarily an easy listening and country label, had little experience dealing with a band like Colours and thusly the album failed to explode as a result of their poor marketing. Quickly, the album became a collector's item and its value has only increased over the years.

Much like the Lemon Pipers or Grapefruit did, Colours attempted to sustain themselves autonomously after their partnership with Dalton and Montgomery had expired. Releasing their followup, "Atmosphere" in 1969, the album was a glaringly inferior effort, eschewing much of the sunny pop leanings of the debut. The album came and went with little fanfare and members began defecting to other musical opportunities. Colours ceased to exist in 1970. Members went on to work with Taj Mahal, Derek and the Dominoes, Eric Clapton, JJ Cale, Joe Cocker and Freddie King. Radle passed away in 1980 from a lethal combination of alcohol and narcotics.

To call this an unsung gem is an understatement. "Colours" is a brilliant Beatlesque masterpiece that, while somewhat derivative, is rife with bouyant arrangements, strong melodic hooks and sophisticated soundscapes. From beginning to end, the album is tight and focused. Like a cross between Left Banke, The Beatles and Orange Bicycle, the band's slight psych temperment is perfectly balanced with their impeccable musicianship and pitch perfect harmonies. One listen to the opener, "Bad Day at Black Rock, Baby" and their mission is crystal clear. The band never relents and at its conclusion, "Colours" leaves you wanting more. Sadly, there wasn't much more left, but damn if this isn't satisfying. Though the album has been bootlegged in Korea on CD, this has never officially been reissued. While we wait (don't hold your breath), check out this clean vinyl rip and marvel...this is good stuff!

256kbps @ http://www.megaupload.com/?d=B9E74LHI

Bones - Bones (1972)

Bones were a logical progression from their predecessor, Peppermint Trolley Company, whose debut spawned a hit single in 1968. Peppermint Trolley Company would continue for a few more years issuing a string of singles that failed to bring success. In 1971, the Faragher brothers (who were the band's principal writers) decided to shift gears and begin assembling a new more soulful act to be known as Bones. Signpost Records opted to issue the band's self-titled debut the following year and quickly, the single "Roberta" made an appearance on the Billboard charts. The single was a midtempo 50's revival workout, which was quite different from the remainder of the album. This confused audiences and resulted in a noticable drop in sales, causing their debut to sink like a stone.

Luckily, MCA Records were there to save the band and undeterred, they stepped back into the studio and in 1973, "Waitin' Here" was issued. Sales were even more lackluster and no singles charted, prompting MCA to abandon Bones. Realizing defeat, the Faraghers disbanded Bones and spent time working with several of their brothers before being branded The Faragher Brothers and later, The Faraghers. One minor single and a few albums came and went before the Faraghers retired to production and other capacities outside of the industry.

The album, "Bones", is a groovy and often soulful experience with the brothers alternating vocals throughout. Breezy in all the right places, the album boldly opens with one of its true highlights, "Good Love". Other standouts are "Prisoner of Love", "Bustin' My Heart" and "Door to Door Love". Much of this album reminds me of late era Grand Funk or the funkier Kenner fronted lineup of James Gang. I even hear a softer early period Humble Pie here and there, with blues and soul being the underlying current in the proceedings. There's also a very slight west coast country rock vibe in places, though its presence is subtle.

Whatever your preference, this tight collection of Faragher originals is guaranteed to appeal to just about everyone's tastes in some capactiy. Give this one a try, you'll be glad you did!

192kbps @ http://www.megaupload.com/?d=RGJKVH0E

Alkana - Welcome To My Paradise (1978)

Another totally obscure band, Alakana, were a vehicle for the guitar talents of Danny Alkana. From the Acid Archives website: "This sought-after hard rock rarity was released in 1978, but sounds like an early 80's record. It has the kind of high vocals and streamlined lead guitar that would soon take over the mainstream hard rock world. The majority of this album is pretty standard macho flashy guitar stuff, better than most of its kind but nothing special unless you're a genre fan. What makes the album special is the 11-minute “The Tower,” an epic that incorporates everything that’s good about the genre: melodic guitar leads, a stunning chorus, a smooth shift from mellow to heavy after a few minutes of the song. It's a classic, and the rest of the album gains appeal by association with it. Pretty album cover, too. Danny Alkana was formerly with Cock Robin, a local band that at times featured Misunderstood legend Glenn Ross Campbell. He later had some success on the classical-inspired metal guitar circuit".

I have to disagree with some of that assessment, as I feel alot of the material here is not only good, but even fantastic. I do agree that the guitar work is decidedly 80's sounding, which makes this all the more interesting since it preceded the era by two years. "On Our Own" and "Freedom Lady" are two highlights that showcase Alkana's interesting melodies as well as inspired fretwork. I can only highly recommend you snap this one up ASAP and grow to appreciate the level of talent this fine album showcases from start to finish...

192kbps @ http://www.megaupload.com/?d=CCHG4K80

Roxx - Get Your Roxx Off (1976)

Minnesota's Roxx is one of the most elusive and obscure acts I've encountered in my many years of music research and collecting. Formed presumably in the early 70's, Roxx issued only one privately pressed album, "Get Your Roxx Off", in 1976 and literally vanished shortly after. I can't tell you anything about the personnel, the history or the current whereabouts of the band. What I can tell you is this grungey and dated effort is brimming with whiskey soaked bluesy hard rock. With slurred vocals, loose arrangements, swirling organs and a slapdash production job (complete with patchy cover art), Roxx are the classic example of homegrown rough hewn mid 70's rock and roll. Most of the material is played with energy and conviction, though the writing almost sounds improvised. This shortcoming aside, "Get Your Roxx Off" deserves to be here simply for its rarity and gruff charm. If anyone has more information on Roxx, please contact me here and I'll gladly expound on this post. In the meantime, check out Roxx...

320kbps @ http://www.megaupload.com/?d=3UF3PBO0