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

Harlequin - One False Move (1982)

Continuing with another contribution from Harlequin, here's their third and most successful album, "One False Move". Spawning several hits in their native country, the album saw the band fully embracing the AOR sound (with a subtle hint of new wave) of the day and to great effect. I personally consider this the band's finest release and many fans agree. This is a fine slab of arena rock goodness. Need proof? Look no further...this vinyl rip should get you started :)

192kbps @ http://www.megaupload.com/?d=F9XUUF8X

The Rockets - Rockets (1979)

Detroit's Rockets were the creation of Johnny "Bee" Badanjek and Jim McCarty, who had just left Mitch Ryder's Detroit Wheels in late 1972. Looking to find an avenue for his own singing and songwriting, Badanjek drafted a few additional players and the Rockets were off and running. The band spent the next four years slugging it out in the club circuits of the midwest, gaining massive regional popularity. Though Badanjek's voice was strong, the bluesy swagger in the band's music required something with more flash and power. Enter former Amboy Dukes vocalist, Dave Gilbert. Gilbert not only had the voice for the job, but also poster boy looks which gave the band an image and identity. Shortly thereafter, a few personnel changes took place and the Rockets definitive lineup was born.

Their debut was issued in 1977 by local label, Tortoise International, and saw the band supporting huge acts throughout the midwest, bringing them to the attention of RSO Records. By the end of the year, RSO had signed the band and sent them to the studio to cut their follow up. In early 1979, the self-titled sophomore release hit the streets. The album saw the band bringing in elements of funk to the sound, which only served to bring them more attention. Soon, radio stations were pumping out tracks like "Turn Up the Radio" and "Oh Well", which both became minor hits in several markets in the states.

Things were beginning to heat up for the band, partially prompted by a high profile appearance on the successful Midnight Special music television program. However, Gilbert's increasingly erratic behavior, fueled by severe drug use and alcoholism, was also creating faults in the band's foundation. Often, McCarty and Badanjek were forced to confront Gilbert, creating a rift in the band that only grew larger with each passing year. The band pushed forward, issuing their third album, "No Ballads", in 1980. The album spawned another minor single, "Desire", but RSO was in the throws of bankruptcy and by year's end, the band were without a label.

Elektra came calling and two subsequent albums were issued in 1981 ("Back Talk") and 1982 ("Rocket Roll"), though much of the band's steam was lost through changing trends in the business and Gilbert's persistantly destructive behavior. Frustrated, Badanjek opted to retire the band and 1983 saw their final album, "Live Rockets", issued by Capitol. The band performed a farewell show in Detroit and the rest is history. Members would move on to session work and other acts, though Gilbert would spend the next 18yrs languishing in drug addiction and alcoholism before dying from cirrhosis of the liver in 2001.

The Rockets were a classic midwestern bluesy rock band who could muster hard rock and AOR all in one album's worth of material. Much like the Michael Stanley Band or Brownsville Station, they were huge in their region but failed to make a lasting mark on a global level. This album is a cohesive collection of songs that explored old school blues rave ups and hard rock with equal verve. There's no questioning Gilberts pipes, addictions aside, as his charisma translates so well to tape. This album illustrates this in spades throughout. If you need further explanation, I recommend checking this fine album out and listening for yourself. Let the music do the talking!

192kbps @ http://www.megaupload.com/?d=I6M7C5RZ

Doucette - Mama, Let Him Play (1977)

As promised, here's Doucette's debut from 1977. A more varied collection of songs than "The Douce Is Loose", there's plenty of excellent fretwork and melodic hooks to keep you reeled in. With a very west coast sound in place, the album dabbles in power pop, AOR, R&B and there's even a very subtle hint of latin influence in places. Whether this is superior to his 2nd album is up in the air. I think I appreciate this a bit less than his subsequent work, but this isn't awful by any means. Download and find out for yourself!

256kbps @ http://www.megaupload.com/?d=WJQPIZQ5

Skyhooks - Guilty Until Proven Insane (1978)

Australia's legendary weirdos, Skyhooks, came together in Melbourne in early 1973 and quickly created a buzz while doing the rounds in the club circuit. After a disastrous performance at the Sunbury Festival in 1974, vocalist Steve Hill was sacked and replaced by flamboyant showman, Graham "Shirley" Strachan. Thus was the beginning of the notorious lineup that would rule Aussie radio/tv in subsequent years. Signed to fledgling indie label, Mushroom Records, the band issued their debut in 1974. "Living in the 70's" quickly went on to become one of the country's all-time biggest selling albums. Thrust into the spotlight, Skyhooks became the darlings of Australia's most popular music television program, "Countdown". This attention only served to bring more accolades to the band, despite their clearly acerbic lyrical standpoint and controversial subject matter. The band were fortunate enough to overcome being banned by nearly every radio station in their homeland, simply on the strength of word of mouth and television promotion.

Fueled by this exposure, the band issued their 2nd album, "Ego Is Not a Dirty Word", the following year and once again the band saw massive success with numerous singles and successful tours in the region. The hype caught the attention of American critics and by 1976, the band were ensconsed in a tour of the states. With a riotous and theatric stage show in full effect, the band were quickly dismissed by American audiences as mere Kiss clones. This experience sent the band packing back to their homeland, prompting them to issue album number three, "Straight in a Gay Gay World", the same year.

Their fourth effort, "Guilty Until Proven Insane" from 1978, is featured here. The album saw Skyhooks sporting a heavier sound and more thinly veiled biting social commentary than ever before. It also spawned the band's monster hit, "Women in Uniform". I consider this the band's finest hour and despite a few mediocre tracks, the album is absolutely fantastic. With a sound comparable to City Boy, the band charge through nine tracks with precision and aggression.

The album marked the departure of founding guitarist, Red Symons, who was replaced by future Angels axeslinger Bob Spencer. When their subsequent tour reached its end, Shirley also departed, leaving the band in creative limbo. The band sensing there was still unfinished business to tend to, drafted Tony Williams to take over vocals, resulting in a total overhaul in the band's signature sound. The subsequent release, "Hot For the Orient" in 1980, failed to match the band's previous success and audiences were quick to reject the band's attempt to continue on. By the end of the year, Skyhooks were history.

Over the next two decades the band would reform sporadically for one off shows and abbreviated promotional tours, all with great success in their homeland. In 2001, Shirley was killed in an aircrash, prompting a memorial concert the following month that would set a precedent for Skyhooks. Various members past and present participated in the event marking the first and last time an expanded Skyhooks lineup would be featured on the same stage. Another performance took place in 2004 to commemorate the 30th anniversary of the band's debut album, also prompting high profile media coverage. The band's most recent activity took place in 2005 to benefit Greg Hill (guitar), who was battling cancer. All future activity is still open for discussion and surely the world has not seen the last of Skyhooks.

Check out this smoking effort from one of Australia's most beloved and controversial acts. You can't help but admire the band's creative talents and the powerful vocal delivery of Strachan.

320kbps @ http://www.megaupload.com/?d=CAPSFNE8

Mayday - Mayday (1981)

To round out Mayday's recorded output, here's the self-titled debut album from 1981. This album is clearly more aggressive than the band's final album, "Revenge". Bolstering the quality batch of originals, an excellent cover of the Starz classic, "So Young, So Bad" is also included. Overall, "Mayday" is a more consistent affair though "Life in Space" is a rather strange inclusion, with its pseudo european synth pop vibe. That small concession aside, this is a fine album that rarely surfaces in collector circles. Enjoy this one while its available!

320kbps @ http://www.megaupload.com/?d=O690RWK3

Mayday - Revenge (1982)

Mayday were a NY based AOR hard rock band formed in 1980. Headed by singer Steve Johnstad and guitarist Randy Fredrix, Mayday seemlessly blended early new wave with hard rock to create an interesting sound that caused quite a stir in their hometown before landing a contract with A&M in 1981. Their self-titled album was released later that year, but managed to slip through the cracks, failing to chart. With a new drummer in the ranks, Mayday returned to the studio in 1982 for another album and several months later, "Revenge" hit the streets. Despite issuing another consistent album, the band were again met with indifference causing Fredrix to jump ship. It wasn't long before the rest of the band followed suit.

It's too bad Mayday didn't reach the mainstream like they had intended, as both albums have numerous tracks worthy of chart placement. "Revenge" is solid and standout track, "First Impressions", is like a 707 classic that should've taken them places. As it turns out, mass success was not in the cards for Mayday. That certainly doesn't mean you shouldn't check out this solid collection of AOR influenced rock. It's damn good and is worthy of praise, even if it's twenty five years too late!

256kbps @ http://www.megaupload.com/?d=S25GOF5G

Avalanche - Avalanche (1976)

When it comes to classic rock, much less Aussie rock, a million of other artists spring to mind. Avalanche is certainly not among them. This is too bad because this ultra talented Australian based supergroup were deserving of far more kudos than were granted to them during their brief tenure in the mid 70's. Avalanche evolved from the highly talented Bootleg Records house band, The Bootleg Family Band. Acting as sort of an Australian counterpart to Leon Russell's band, TBFB provided session players and live touring musicians to artists signed to the Bootleg label. Over the years, that band saw many lineup changes only to arrive at the Avalanche moniker in late 1975. Avalanche issued their self-titled debut on the Bootleg label in 1976 and wow, what an album it was!

With superior chops and hooks firmly in place, the album captivates from beginning to end. The band experiments with everything from hard rock and pop to bluesy bar band boogie. No matter which direction they wind up in, each track smokes. The vocals are spot on and the musicianship is tight and played with conviction. There's very little to fault with this stellar sole album from Avalanche. The band split in 1978 and little has been heard of the members since. A total loss for Australia and the world at large....this band rocked.

Dig this pristine vinyl rip and be one of the lucky few who own this fabulous effort from down under!

320kbps @ http://www.megaupload.com/?d=8PR2055D

Taste - Knights of Love (1977)

Taste (not to be confused with Rory Gallagher's Taste) were a highly distinct sounding Australian quartet who cranked out two albums before imploding in 1979. This excellent band brought many influences to the table, creating a diverse blend of glam, prog and hard rock. Their debut, issued in 1976, was a pummeling slab of hard rock that somehow fell on deaf ears. Queen, however, took a liking to the band and began hyping them to the press, bringing more attention to their followup album, "Knights of Love".

Though this album is more diverse, it does lack the fire of their debut. That aside, there are tons of gems here, with sinewy arrangements and angular melodies. The standout is, "Boys Will Be Boys", which became their biggest selling single overseas. In fact, Queen even used the song to preface each of their live shows during this period. There hardly anything here to dislike and it's a tragedy that Taste did not experience the crossover success they seemed poised for in the mid 70's.

The members of Taste chose to go their separate ways in the late 70's, subsequently working with artists like Redhouse, Russell Morris, Planet X, Ring of Fire, Derek Sherinian, Mark Boals, Steve Walsh and Southern Sons. A revamped lineup reunited last year and have issued their new album, "Rock Is Dead" earlier this month. Check out this great example of classic Aussie hard rock!

320kbps @ http://www.megaupload.com/?d=771J6LBZ

Goddo - Who Cares? (1978)

Who could forget legendary Canadian power trio, Goddo? This brash Toronto act came together in 1975, headed by Greg Godovitz. The band was fleshed out by members, Gino Scarpelli (ex-Brutus) and Marty Morin. After several years of touring the bar circuit, Polydor snapped up the band in 1977 and issued their eponymously titled debut. The following year, their followup album, "Who Cares?" was released to critical indifference, spawning the single, "Sweet Thing". A number of albums and singles ensued over the next few years before Goddo finally caved in 1990 under the pressure of an evolving music industry. Subsequent reunions in 1992 and 2001 would both yield studio albums, though its clear that Goddo is keeping a rather low profile in comparison to their glory days.

"Who Cares?" is certainly the band's artistic peak, with a sound that runs frantically from supercharged to subdued and back again. Lyrical barbs and punishing guitars are the order of the day here and everything falls into place perfectly. With a very distinct style of their own, it's really hard to pigeonhole Goddo's sound. Suffice it to say, this is quality Canadian rock and you'd be a fool not to check this one out. Try them out and then buy their albums...you can be one of the cool people who actually knows who Goddo is! :)

192kbps @ http://www.megaupload.com/?d=9NC9SXS8

Freeway - Riding High (1975)

Not much is known about Freeway, a short lived quintet who sprang from Melbourne, Australia in the early 70's. Freeway's creative force was legendary aussie guitarist Peter Laffy, who had also been a member of Fox, posted here earlier this week. Another noteworthy member was Criston Barker, formerly of Ash and Hollywood. Freeway's lifespan was rather short, but their sole release, "Riding High" is an impressive one.

Produced by Jim Keays, "Riding High" is a breezy and smooth affair with plenty of piano, organ and female backup vocals fleshing out the sound. The band sounds unusually American and the performances here are flawless. Crunchy in all the right places with plenty of Allman Brothers style twin leads, this sounds almost southern in places. In other places, the band explore high spirited R&B as well as hard rock. Surprisingly, this hodgepodge of styles is seamless and the overall vibe never deviates from one song to the next. Though its nothing revolutionary, the songs are well written and the production is crisp and clear.

Barker later joined Air Supply and Laffy became a well-known television and radio host in Australia, as well as staying active with his own blues act, King Bees. Check this out, you'll dig it!

320kbps @ http://www.megaupload.com/?d=Z27L19QZ

Sweet d'Buster - Friction (1978)

Dutch band, Sweet d'Buster came together in 1975, featuring ex-members of Golden Earring, Chain of Fools and Supersister. Sporting a curious hybrid of funk, progressive rock and hard rock, the band quickly became hugely popular in their native country. Opting to write their songs in english, the band began seeing modest crossover success in parts of Europe. Their self-titled debut was issued in 1976 on Bubble Records and pushed the band to numerous high profile tours of the region that year. After the tour had concluded, the band spent the next six months recording their followup, "Friction", which was released in 1978. The album was a clear evolution from the debut and saw the writing becoming more diverse and multilayered. Multiple lineup changes began to take place in 1979, which plagued sessions for their third studio album, "Shot Into the Blue". By late 1980, the band had reached an impasse and members opted to jump ship, leaving Sweet d'Buster dead in its tracks. Members continued in the business in various Dutch bands, some of which are active at the present.

I must say that, though this style of music isn't normally my cup of tea, this album is an exception. Smooth, bouyant, lively and played with precision, "Friction" is a real gem of long forgotten Dutch rock. With saxophones, violins and various percussion instruments embellishing the core of the band, the sound throughout is dynamic and pulsating with life. Whether I'm alone in this assessment is up for grabs. Check it and draw your own conclusion!

192kbps @ http://www.megaupload.com/?d=OB9ZGWY7

Harlequin - Victim of a Song (1979)

Winnipeg's Harlequin were formed in 1976 and spent the better part of two years on the club circuit before being discovered by producer Jack Douglas at a particularly empty show in Toronto. This later led to a label deal with Epic Records and by 1979, "Victim of a Song" was in stores all over Canada. Three singles were spawned, bringing the album to gold status. The following year, the band released their sophomore album, "Love Crimes" which reached went platinum the following year. Subsequent tours with Triumph, Streetheart, Pat Benatar and Saga ensued, bringing them to a wider audience in their native country. Two more albums were issued over the next few years to even greater success, but popularity aside, the band were brought to a screeching halt in 1986 due to inner turmoil over their lack of a breakthrough in the US. Two decades would pass before Harlequin were active again, embarking on a Canadian reunion tour which led to albums released in 2004 and 2007.

This, their debut, is a solid collection of tracks that at times resemble April Wine at their most reserved. Devoid mostly of keyboards on this album, the band goes for a more organic sound than what was present on some of their later albums. The result is a less dynamic, but rootsier sound that stands apart from the remainder of their catalogue. Depending on your tastes, this can be a good or bad thing, as the band does eschew much of the stadium friendly writing they later became successful doing. As it stands, this album has languished in obscurity for decades and unjustly so. Take a listen and get a look at Harlequin at their most distilled.

192kbps @ http://www.megaupload.com/?d=R3UIJ9SN

All-Sports Band - All-Sports Band (1981)

Anyone who was alive in the 80's will either remember this band firsthand or if anything, heard of the ludicrous concept behind the All-Sports Band. This often maligned gimmick, based in Cleveland, were the creation of Tracy Coats. Mr. Coats, watching the Village People peak during the tail end of the 70's, took it upon himself to create a similarly themed "band" who would inherit the throne of the then faltering Village People. In fact, it was he who drafted two former Village People backing musicians into the lineup, also adding three other players to complete his vision. His vision came to life in 1981, in the form of a sports themed band complete with appropriately costumed members who could utilize various props to bring the concept to fruition.

Well, honestly put, it just never happened. Though the band managed to chart twice in the Top 100 and landed a lauded appearance on American Bandstand, audiences just weren't buying into the whole idea. While the Village People were at least using their concept to push sexual innuendo and double entendre further into the mainstream, the All-Sports Band were merely a cheesy idea that never truly came off as campy or self-deprecating. Had it been, well, who knows where they'd be now? In truth, the band were so widely reviled at the time, that no tour was ever booked and no followup was ever planned. The story basically ended by early 1982 and that was the end of the band.

So what about the music? Well, contrary to popular opinion, there are some excellent tracks here and several of them would've been great candidates for the Billboard Top 40 at least. Sure, some of the songs here are drippy and lightweight synth heavy pop numbers, but there's no denying the potency of tracks like the strutting "Jet Set", the jerky "I'm Hurt" or the arena rock of "Run Away" and "Hit 'n Run". "Jet Set" easily wins top honors with a hooky melody and bouncy rhythm. It surprises me that this one didn't have a better showing as a single. Instead, "Opposites Do Attract" gets honors for being the closest thing to a breakout hit for the band...and that's putting it modestly.

In any case, love them or hate them, here it is in full digital glory. I can almost assure you that this one will never see re-release, so enjoy the next best thing like this clean vinyl rip. You have been warned!

192kbps @ http://www.megaupload.com/?d=65O7CD8S

MPG - MPG (1981)

MPG (aka Miles Per Gallon) were an Atlanta based act who formed in late 1978. Bearing a style reminiscent of Toto or New England, the band rose to notable popularity in the southeast before A&M Records beckoned, prompting the release of their eponymous debut in 1981. Led by singer/keyboardist/songwriter, Steve Carey, MPG typified a sound that was in full swing by the early 80's. With excellent label support and regional airplay, it's quite astounding that the album slipped by audiences and fell into total oblivion. This unfortunate setback led A&M to pull the plug early into the band's contract, leaving them minus the three subsequent albums they had signed on to make. It wasn't long before members began to defect and by 1982, the band were inactive. The members have all gone on to pursue careers in and out of the industry, though nothing quite on the scale of MPG.

Sadly, this well done AOR album has been collecting dust at A&M and there appears to be no sign of a reissue anytime soon. There have been talks of a reunion over the years, but nothing has materialized to that end as of yet. In the meantime, while we wait, take a listen to this exceptional album and enjoy a piece of southern AOR the way it's meant to be done.

192kbps @ http://www.megaupload.com/?d=FG5IXFKJ

Airborne - Airborne (1979)

Ah, good old Airborne. Anyone who has any knowledge of key artists in the AOR movement of the late 70's not only recognize the name, but more than likely heap endless praise upon the band. With a lineup whose pedigree was as impressive prior to 1979 as it was in subsequent years, Airborne was the archetypal arena rock band of its era and a band who mysteriously were met with general indifference during their brief period of activity. The band were masterminded by famed producer, Beau Hill, just weeks prior to their contract with CBS Records. Hill, an accomplished musician, had been demoing material for the better part of a year before it landed on the desk of famed producer, Keith Olsen. It was Olsen who prompted Hill to assemble a band for the recordings and within five weeks, their self-titled album was complete. A promotional campaign ensued and before long, stores across the country were stocked to the gills with copies of the album. For reasons unknown, despite the promotional push and surplus of product available, Airborne's debut failed to ignite. The result was a quick death for not only the album, but the band itself. The rest is, as they say, history.

The album is an astounding collection of slick and energetic AOR with an emphasis on crunchy guitars and soaring harmonies. With formidable vocal gymnastics and a rock solid rhythm section at the fore, the album seethes with power from the onset and never lets up until the very end. Fashioning themselves like a heavier 707 or Shooting Star, Airborne were unique because they had multiple lead vocalists and wrote timeless material that simply transcended the era from which they sprang. Granted, at the time, Airborne were seemingly just another AOR band among thousands...but in retrospect the band has deservedly been the recipients of accolades worldwide.

Sadly, the album has remained in relative obscurity ever since. Members of the band went on to acts like Ken Hensley, Night Ranger, Shanghai, Journey, Ironhorse and Animotion. Hill went on to become an instrumental producer during the 80's hair metal movement and is still active in this role today. Be sure to snap this one up and be amazed at the level of brilliance this all-star act were capable of. You'll surely feel a sense of loss, wondering how this talented band would've evolved over the years.

192kbps @ http://www.megaupload.com/?d=VCZEIEO8

Coloured Balls - First Supper Last (1976)

Australia's Coloured Balls are the sort of thing legends are made of. In their homeland, that's exactly how they're revered, though their impact in the states and other parts of the world has gone virtually unheard. Headed by guitar hero Lobby Loyde, Coloured Balls pioneered a raucous, abrasive and loose sound that at one point became the mantra of skinheads in their native country. It also sparked a movement of similarly heavy bands in the region, though it's clear that none of them ever matched the visceral intensity of Coloured Balls. After issuing a pair of revolutionary albums, "Ball Power" and "Heavy Metal Kid", the band mysteriously split at the height of their visibility in Australia. Posthumously, "First Supper Last" was issued in 1976, perhaps as a means of bolstering Loyde's solo career which was in its infancy at the time. Though the album was issued in '76, it is in fact, the earliest recordings of Coloured Balls. To clarify, Coloured Balls did not yet exist in name, but a good portion of the founding musicians were present for the sessions that are featured here.

"First Supper Last" is the sound of a band finding its sound. Though it is essentially a blues workout on most of the material here, the sound is punishing and energetic. It's evident from the start how this band earned its reputation. The album is padded with numerous cover tunes, but the original material is what really demands your attention. Loydes guitar work is abrasive, chaotic and teetering on the verge of destruction...everything a charged rock and roll album should be.

Though the band's career was brief, their legacy has stood the test of time and solicited the praise of many Australian artists who reached loftier heights than Loyd and company ever did. Sadly, Loyd died of lung cancer in April of this year, though his legendary status is more than assured. Dig this fantastic slab of powerful rock and roll...you too will appreciate the genius of Coloured Balls...

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

Doucette - The Douce Is Loose (1979)

Doucette is the brainchild of Montreal native, Jerry Doucette. After moving at an early age to Ontario, Jerry became ensconced in the club scene for a number of years while working towards a contract with Mushroom Records. That goal came to fruition after Mushroom executive Shelly Seigel encouraged Jerry to assemble a band and sign with the label. In 1977, Jerry's new band (aptly called Doucette) completed sessions for their debut, "Mama, Let Him Play" and Mushroom quickly issued the album that same year. The album abruptly achieved platinum status in Canada and Doucette were sent on the road with the likes of Bob Welch, Eddie Money and Meatloaf.

Due to the overwhelming interest in the band, they were hustled back into the studio (with a largely overhauled lineup) at the end of their tour and by early 1979, "The Douce Is Loose" was unleashed. Further live jaunts with the Doobie Brothers, Atlanta Rhythm Section and the Beach Boys helped to increase their exposure and soon a charting single, "Nobody", hit the airwaves. Oddly, more personnel changes took place and things were beginning to fall apart at the label. Jerry jumped ship and relaunched the band on Rio Records in 1981. "Coming Up Roses" was issued that year, and though it was a respectable effort, the ever changing trends in popular music had left Doucette without an audience. Later than year, the band were defunct and Jerry spent the next decade keeping a low profile, only to reemerge as a solo artist to minor success. He continues to tour at the present, though mostly in his homeland.

This album is a lively blend of AOR and slight southern rock, all the while maintaining a decidedly 70's vibe throughout. Jerry proves himself not only a stellar guitarist, but also a very capable vocalist, with plenty of charisma and flow oozing from the eight tracks presented here. There are hooks all over this album which help maintain consistency from track to track. It's no surprise this was a hit, though it's puzzling that the album has never seen reissue. To remedy matters, here's a vinyl rip for your listening pleasure. Check out one of Canada's unsung heroes and enjoy!

192kbps @ http://www.megaupload.com/?d=ZKZMK2E2

Fox - What the Hell Is Going On? (1974)

Aussie act, Fox, are quite a mystery. There is nary a trace of information about the band anywhere online. This does appear to be their only album. So what about the album? Well, it's a hard one to peg. Musically, the band rock throughout, laying down a curious blend of crunchy hard rock, pub rock and '77 era punk. Punk, you say? Yep...the conversational style of singing found here sounds reckless and somewhat sloppy, but it lends itself very well to the overall delivery of the material. With a leadfooted clunky bottom end (complete with the obligatory use of cowbell), Fox recklessly saunter through ten tracks, only taking a moment to breathe twice (including a cover of Space Opera's "Country Max") in the proceedings. Apparently the band split shortly after this release, and it is known that members went on to other bands like Southern Cross and Mondo Rock.

I highly recommend this fabulous vinyl rip, as it's a glimpse of classic Australian rock that stands a bit left of center. There's plenty of character here and most lovers of classic hard rock will eat this one up. Check it....you know you want to :)

320kbps @ http://www.megaupload.com/?d=UUW7CZH0

Bandit - Partners In Crime (1978)

Like Finch, UK's Bandit are mostly remembered for their connection to AC/DC, this time being the former band of bassist, Cliff Williams. After Williams departed his prior band, Home, he and vocalist Jim Diamond drafted a few other musicians for their new project, Bandit. Arista Records were quick to show interest and by 1977, their self-titled debut had hit record store shelves. Sales were slow and minimal, prompting a return to the studio in 1978, which yielded "Partners In Crime". Though the debut was bluesy hard rock, this album saw the band evolving toward a softer AOR sound. Again sales were weak and when AC/DC requested Cliff's services in 1979, he quickly bailed and Bandit were finished. Members defected to Buck's Fizz in the following years.

The album here is patchy at best, but there are a number of highlights which see the band in fine form, most notably the impressive vocals of Diamond. Lying somewhere between schmaltzy balladry and journeyman hard rock, "Partners In Crime" is a bit schizophrenic in its delivery. Despite its shortcomings, the album is worthy of mention here simply because of its rarity and connections with AC/DC. Fans of Williams will be surprised to hear this side of him. Download and ejoy this one!

320kbps @ http://www.megaupload.com/?d=XM4JQR0A

The B'zz - Get Up (1982)

The B'zz were an Illinois based AOR act, who were essentially an offshoot of The Boyzz. Upon the latter band's dissolution in the late 70's, three of its members formed The B'zz in hopes of capitalizing on the successful formulas of bands like Foreigner, Survivor and others. Within a few months of forming, the band had already amassed an impressive repertoire of music, booked successful tours in the midwest and landed a spot on American Bandstand. They retain the distinction of being the only unsigned band to appear on the show. Epic Records took notice of the band and promptly signed them, enlisting Tom Werman to produce their debut. In 1982, "Get Up" was sprung upon the unsuspecting masses. Though two singles charted respectably, the band were unable to reach a wide enough audience to support global touring and within a year, The B'zz were no more. Members went on to other acts like WASP, L.A. Guns and Raw Dogs.

When compared to the raucous material of The Boyzz, "Get Up" is quite an evolution. One can only assume that the raw vocals of Boyzz frontman, Dan Buck, can be credited for the distinction between the two bands. The B'zz were considerably slicker and the material is easily more pop driven than their bluesy predecessor. The album is energetic, well produced and full of hooks. It's startling that this album has never seen proper reissue, considering the band's bloodline and the quality of material here.

Check out this smoking album and marvel at the impressive chops The B'zz were able to muster up in the studio. Fabulous indeed!

192kbps @ http://www.megaupload.com/?d=GCR8ITQD

Blown Free - Maximum Rock and Roll (1978)

Not much is known about Texas act, Blown Free, so this will be a short synopsis. I can tell you that their only album was actually recorded in 1973, though it was issued (in limited quanitities) later in 1978. The primitive hard rock album is chock full of raw guitar work, gruff vocals and a stomping rhythm section. This fairly good effort is bolstered by a number of outtakes and edits, bringing the track count to fourteen.

If early 70's proto metal (ala Grand Funk), is your thing, you'll likely enjoy this highly obscure release. I suggest you download this one now, as it rarely ever resurfaces.

192kbps @ http://www.megaupload.com/?d=SR2E6V0J

Stonebolt - Stonebolt (1978)

Formed in the late 60's, Stonebolt was the brainchild of Vancouver natives guitarist Ray Roper, drummer Brian Lousley and bassist Danny Atchison. Originally called Perth Amboy, they honed their chops playing practically every small venue in the Vancouver area. They later recruited John Webster on keyboards and brought in David Wills, formerly of the Seattle-based group Shaker, on vocals in 1973. They were mainstays of the BC bar circuit when in 1976, they recorded demos (featuring new vocalist, David Wills) with legendary producer Elliot Mazur in San Francisco, whose previous credits included the likes of Janis Joplin, Journey and Neil Young. They were noticed by Walter Stewart in 1977, the road manager for Johnny Rivers, and signed to a deal with Parachute Records.

They released their self-titled debut the following year, releasing two singles, one of which cracked Billboard's Top 30. Playing places as far abroad as Osaka, LA, and practically every point in between helped gain the group notoriety and landed them in the initial balloting for that year's Grammy's. Between 1978 and 1982, the band released three more albums in the hopes of repeating the success of their first album. Though the albums did chart in Canada, the band's lack of presence in the US prompted an inevidable split in early 1983. Members later worked with Red Rider and Trama.

This, their debut album, is a mixed affair. With slight touches of country in places, most of the material here is a bit too vanilla for my tastes. There are some highlights, such as the edgier "The Shadow", but ultimately the material comes across flat and faceless. The band's later releases are noticably more dynamic and will likely be featured here in the coming weeks. For now, check out this clean vinyl rip and decide for yourself, awful or wonderful?

256kbps @ http://www.megaupload.com/?d=0P1WIW9O

Thunderhead - Thunderhead (1975)

Thunderhead were a briefly active hard rock/blues act formed in New Orleans in the early 70's. Their only album, "Thunderhead", was picked up by ABC/Dunhill Records and issued in 1975. Though the band enjoyed minor success in portions of the country, their relentless touring and promotion of the album was met with general indifference and the band members parted ways the following year. Several of them went on to work with Johnny Winters and in studio production and engineering.

This album is an excellent foray into bluesy southern hard rock, much like early Point Blank or Hydra. The vocal harmonies are stellar and the performances are fluid and powerful. It's quite a shock that this band has been relegated to obscurity, as the songwriting is top notch and the production is quite exceptional given the year the album was recorded. The band's gritty style is embellished with flutes and congas, making them entirely unique entries in the southern rock genre.

I suggest you download this fabulous slab of goodness and see what I'm talking about. You'll be glad you did!

LINK REMOVED AT REQUEST OF ARTIST

Speedway Blvd - Speedway Blvd (1980)

Speedway Blvd were a New York based act assembled by famed bubblegum impresarios, Kasenetz and Katz. Looking to capitalize on the booming arena rock sensation that was sweeping the nation at the dawn of the 80's, the duo put Speedway Blvd together strictly as a studio project. Allowing the musicians their own creative freedom, the unique assemblage of players concocted a potent blend of AOR, new wave and progressive rock. The results were astounding and Epic Records quickly released the album with a massive promotional campaign in tow. For reasons unknown, audiences just didn't have a clue how to take Speedway Blvd and the album tanked. The project was essentially abandoned and various members went on to Balance and later Dream Theater.

This album is a fine example of music that was ahead of its time. I can't explain it any other way. With sharp vocals, wicked synths and clever arrangements, the album is truly unique. I recommend this one heartily. Check out this fairly good vinyl rip.

192kbps @ http://www.megaupload.com/?d=PUO1VSBU

Bad Boy - The Band That Milwaukee Made Famous (1976)

Milwaukee's Bad Boy sprang from the ashes of local favorites, Crossfire, in 1975. Through rigorous touring in the midwest, the band were able to secure a contract with United Artists Records in 1976. Later that year, the band's debut "The Band That Milwaukee Made Famous" was issued. Despite considerable industry hype, the album failed to chart and sank quickly into oblivion. The band shuffled into the studio the following year to issue its 2nd album, "Back To Back", which again failed to garner national attention. Soon the band were dropped and spent the next two years writing, recording and preparing their own self-financed release, 1981's "Private Party". Over the next five years, the band continued to release albums with only regional succes and eventually split before the end of the decade.

Bad Boy's debut is actually a charming slice of straightforward journeyman hard rock. Though there's nothing that reinvents the wheel, it's competent and memorable in places. The album sounds like anything you'd expect from a second tier midwestern 70's band, lifting elements from their contemporaries like REO Speedwagon, Head East, Starz, Aerosmith and many more. For their lack of originality, the band manages to excel musically by providing airtight performances across the board. It appears the audiences were quick to dismiss the band, and ultimately Bad Boy became one of many forgotten bands from the era.

Amazingly, the band (in a slightly altered lineup) regrouped in the late 90's and actually released another album in 2003, followed by a live recording in 2005. If you prefer to dip back into the band's early years, this is as good a place as any to start. Check it and get hip to a band the general public has long forgotten...

LINK REMOVED AT REQUEST OF ARTIST

Wrabit - Wrough & Wready (1981)

Canada's Wrabit (previously known as Tellemann) at one time seem poised for a major breakthrough, drawing massive crowds to their shows and creating a buzz in the industry upon signing a deal with MCA Records. It was 1981 when their debut, "Wrough & Wready" (aka "Wrabit" in the US), hit store shelves and prompted an onslaught of radio support in both their native country and portions of the US. With a journeyman arena rock sound like Journey, Styx, Survivor and Kansas, Wrabit saw reasonable success almost from the start. However, lineup changes began to plague the band and it wasn't long before half of the band had jumped ship. From that point onward, the next two releases each saw various members coming and going. By the band's final album, "West End Kid" in 1984, the majority of radio support was going towards synth pop, leaving the band's brand of AOR virtually obsolete. The band split that year and members fled to Max Webster, Hanover Fist, Lee Aaron and Big Smile.

As for this album, well, it's quite a powerful first statement for the band. Brandishing an instantly more aggressive tone than what was typical of the day, the album charges from the starting gates with hook laden track after hook laden track, all with impeccable harmonies. Though Nadeau's voice does take some getting used to, his delivery throughout is directly on target, elevating this from what could've been average to something stellar. This kind of transcendence can be felt from the opening track to the final salvo of the ending number. It's really quite startling that this album did not garner the band far greater success than it actually did. Yes, it's that solid.

Since the album is now fetching hefty prices for import only out-of-print CDs, I've included it here for your listening enjoyment. I'll be posting the remainder of the band's recorded output here over the next week or so, but for now, download and be amazed. This rocks!

192kbps @ http://www.megaupload.com/?d=6MR41EUR