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

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

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

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

LINK REMOVED AT REQUEST OF ARTIST

Snakeye - Blue Feeling (1975)

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

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

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

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

Wizard - Wizard (1979)

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

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

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

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

Vinyl For Sale!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Child – Child 1977 Ariel Recs NM/NM $15.00

Thundermug - Orbit (1973)

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

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

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

The Hello People - Bricks (1975)

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

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

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

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

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

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

Re-Upped: Trooper - Trooper (1975)

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

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

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

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

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

Next... - Dusty Shoes (1971)

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

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

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

Cool Feet - Burning Desire (1976)

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

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

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

Roadmaster - Sweet Music (1978)

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

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

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

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

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

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

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

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

Re-Up Shoutbox

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

Child - Child (1977)

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

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

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

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

Hero - Hero (1977)

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

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

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

Re Upped: Baby - Baby (1975)

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

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

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

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

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

Taggett - Taggett (1974)

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

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

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

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

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

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

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

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

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

Private Lightning - Private Lightning (1980)

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

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

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

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

Doc Rockit - Doc Rockit (1979)

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

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

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

Schloss - Schloss (1975)

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

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

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

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

Charmer - Your Presence Requested (1977)

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

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

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

Azurite - Azurite (1979)

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

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

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

The Equinox - Hard Rock (1973)

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

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

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

Babyface - Babyface (1977)

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

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

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

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

Magnet - Worldwide Attraction (1979)

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

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

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

Skyband - Skyband (1975)

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

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

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

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

Glyder - Glyder (1975)

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

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

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

Wishlist Mega Update!

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

Kid Dynamite - Kid Dynamite (1976)

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

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

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

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

Whiteface - Whiteface (1979)

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

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

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

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

Survivor - All Your Pretty Moves (1979)

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

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

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

Attention contributors!

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

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

Thanks everyone!!!!

Cinema Face - Cinema Face (1983)

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

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

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

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

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

Nantucket - V (1985)

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

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

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

Granmax - A Ninth Alive (1976)

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

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

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

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

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

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

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

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

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

Jade - Faces of Jade (1970)

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

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

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

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

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

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

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

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

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

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