Ted Nugent - Shutup&Jam! (2014

Tracklist

1.  Shutup&Jam!  (2:53)

2.  Fear Itself  (4:40)

3.  Everything Matters  (3:19)

4.  She's Gone  (met Sammy Hagar)  (2:58)

5.  Never Stop Believing  (6:10)

6.  I Still Believe  (3:43)

7.  I Love My Bbq  (2:51)

8.  Throttledown  (2:52)

9.  Do-Rags and A.45  (2:12)

10.  Screaming Eagles  (2:52)

11.  Semper Fi  (2:36)

12.  Trample the Weak Hurdle the Dead  (3:27)

13.  Never Stop Believing (Blues)  (6:14)

download

Robin Beck - Sweet Talk (1979)

Track listing

1. Sweet Talk - 6:17

2. Dream - 3:51

3. Suddenly - 4:01

4. Hold On - 5:30

5. Little Devil - 5:57

6. Shake It Through The Night - 3:30

7. Hello, It's Me - 5:51

8. Hot Nights (Party Lights) - 4:30

download

Slade - Merry Xmas Everybody (2009)

Track listing

1.  Merry Xmas Everybody

2.  Santa Claus Is Coming to Town

3.  Mama Weer All Crazee

4.  Let The Good Times Roll / Feel So Fine

5.  Coz I Love You

6.  Gudbuy T'Jane

7.  We're Really Gonna Raise the Roof

8.  Cum on Feel the Noize

9.  My Baby Left Me

10.  Skweeze Me Pleeze Me

11.  Let's Have a Party

12.  Hey Ho Wish You Well

13.  Let's Dance

14.  I'm a Rocker

15.  My Oh My [Swing Version]

16.  Standing on the Corner

17.  Do You Believe in Miracles

18.  All Join Hands

19.  Okey Cokey

20.  Here's To... (The New Year)

download

Peter Tosh And Friends - Black Dignity (Early Works Of The Steppin' Razor) (2005)

Black Dignity is by no means the only Peter Tosh collection anyone should own, since it covers a tumultuous sliver of time. The tracks here are Trojan Records-associated songs that come from the early '70s, a time when Tosh was issuing solo singles out of resentment for the slow pace his band, the Wailers, was taking and resentment for the back seat he was taking to the Wailers' leader, Bob Marley. You miss the earlier Tosh carving out a solo career and all the post-Wailers success that was to come, but the Wailers' most distrustful and urgent member didn't issue anything without a purpose. The singles here are all important and as the excellent, career-spanning liner notes by Rick Glanvill point out, the producers Tosh was working with were in their prime, most notably Joe Gibbs. It was a producer/singer match made in heaven with Gibbs tempering Tosh's venom with sweet but very certain soul. On the Gibbs tracks it feels like that tense moment right before the kettle is about boil, something you'll feel when the excellent "Maga Dog" comes through the speakers. Black Dignity fills a void just by including the heralded Gibbs version of the track, but it also includes no less than four mostly faceless dub versions of the song that contain little or no involvement from Tosh (to be fair, the cover does mention "and friends"). The wild "Here Comes the Judge" -- which is followed by two of its dubs -- and the earthy, nyahbinghi-flavored "(Earth's) Rightful Ruler" are also crucial cuts the collection makes easy to obtain, the latter featuring an appearance by a young, very different-sounding U-Roy. The Lee "Scratch " Perry tracks are the Tosh-centered cuts he did with the Wailers and do a good job of representing the singer's contribution to the group. "Brand New Second Hand" shows what the Wailers were like with Tosh at the controls and makes a great argument that there should have been more of it. The track list doesn't flow as well as one would hope, but this is a more academic outing without any best-of disguise. Taking that into account and looking at the scant bit of Tosh Trojan has in its vaults, one can't help but respect how well Black Dignity brings the singer's "lost years" into the light. Start elsewhere if you're a newcomer, because this is a gap-filling gift for hardcore fans.

1.  Peter Tosh & The Wailers - Brand New Second Hand - 3:11 

2.  Peter Tosh - Them A Fe A Beaten - 1:53 

3.  Winston Wright & Larry McDonald - Reuben - 2:03  

4.  Peter Tosh & The Wailers - Stop The Train - 2:22 

5.  Peter Tosh - Here Comes The Judge - 3:27  

6.  Winston Wright - Rebelution - 3:19 

7.  The Destroyers - Ah So - 3:17 

8.  Peter Tosh & The Wailers - Soon Come - 2:20  

9.  Peter Tosh & The Wailers - Memphis - 2:08 

10.  Peter Tosh - Arise Black Man - 2:36 

11.  Peter Tosh & The Wailers - Four Hundred Years - 2:32  

12.  Peter Tosh - Maga Dog - 2:44 

13.  Peter Tosh & Winston Scotland - Skanky Dog - 2:36  

14.  The Now Generation - Boney Dog - 2:38 

15.  Bunny Flip - Maingy Dog - 2:59 

16.  Joe Gibbs, The Love Generation - Fat Dog - 2:57  

17.  Peter Tosh & The Wailers - Go Tell It On The Mountain - 3:12  

18.  Peter Tosh - Nobody's Business (Aka Leave My Business) - 3:11 

19.  Peter Tosh & The Wailers - Downpressor - 3:12 

20.  Peter Tosh & The Soulmates - Rudie's Medley - 3:!2 

21.  Peter Tosh & The Wailers - Can't You See 2:42 

22.  Peter Tosh - Black Dignity - 3:37 

23.  Peter Tosh & U Roy - (Earth's) Rightful Ruler - 2:33  

24.  Peter Tosh & The Wailers - Brand New Second Hand (Alternate Version) - 3:54

Label - TrojanRecords

Sad Lovers And Giants - Epic Garden Music (1982)

Sad Lovers & Giants are a rock band from Watford, England which formed in 1980. Their sound blends post-punk, atmospheric keyboards and psychedelia.

The original lineup included vocalist Garçe (Simon) Allard, guitarist Tristan Garel-Funk, bassist Cliff Silver, drummer Nigel Pollard and keyboardist/saxophonist David Wood.

Following their debut EP Clé and the "Colourless Dream" single, both issued in 1981, they released their debut studio album, Epic Garden Music in 1982.

It reached No. 21 in the UK Independent Albums Chart.

Working hard to further their penchant for hashing together paisley underground psychedelia and classic post-punk, Sad Lovers and Giants followed their first two acclaimed singles with the hefty EP Epic Garden Music in fall 1982. With a delicious blend of gloomy guitar and bass infused with punch and verve that recalls early Cure, and a sophisticated wordplay that was uniquely their own, the quintet split the songs between seaside and countryside, between earth and air, and inflected a little of each into the music. Absolutely cohesive and completely on track, the songs on this set are slick and smooth.

From the opening "Echoplay" and the foggy "Clocktower Lodge," which walk a quiet edge, to the pure pop of "Alice (Isn't Playing)" and the ominous closer "Far From the Sea," which sounds as if vocalist Garce Allard sang his part through a window outside the studio, each moment is a masterpiece.

And, though most of the songs maintain similar a tempo and intensity, "Clint" snaps heads around, while "Lope" features a sublimely off-kilter sax solo from David Wood. It's an addition that brings the closing dregs of a traveling circus to mind -- or, perhaps in a nod to the side's vibe, a closing seaside town that has turned a woolen shoulder to November wind and rain.

Sorely overlooked outside of England, Sad Lovers and Giants may have been lost in the wake of the post-punk generation's heroes, but they haven't been forgotten.

They remain a small pearl -- a gem of the ocean that birthed them.

All tracks written by Sad Lovers and Giants (Garce, Cliff Silver, Tristan Garel-Funk, David Wood, Nigel).

       Seaside  

A1. Echoplay - 2:55 

A2. Clocktower Lodge - 4:17 

A3. Clint - 3:27 

A4. Lope - 3:28 

       Countryside  

B1. Cloud 9 - 3:21 

B2. ART (By Me) - 3:04 

B3. Alice (Isn't Playing) - 3:44 

B4. Far From The Sea - 4:45 

Label - Midnight Music  pass: monomod

Buckwheat Zydeco - Buckwheat's Zydeco Party (1987)

Raucous, rowdy, and rambunctious in the best possible light, Buckwheat's Zydeco Party presents nimble-fingered, showstopping accordionist and band-leader Buckwheat Zydeco pulling the listener in for a Louisiana-styled throw down. 

The rhythms are hot and crazy, the band is tight, and the party is an explosion of two-steps and R&B flavored melodies. Included are the regional hit "Ya-Ya," a fiery take on Zydeco granddaddy Clifton Chenier's "Hot Tamale Baby," and a mix of traditional and original tunes. 

A smart, and with seventeen tracks, generous, collection culled from Buckwheat's two Rounder albums. ZYDECO PARTY includes a previously unreleased and absolutely blistering version of "Hot Tamale Baby" that's actually even more exciting than the slick remake done for Island the same year (1987).

As usual, Zydeco and his crack band avoid purism. There's lots of authentic zydeco ("Madame Pitre," "Lache Pas La Patate") to be sure, but there are also cover versions of two '50s rock standards (Little Richard's "Tutti Frutti" and Fats Domino's "Walking to New Orleans," both of which sound fresh as paint here), a pulsating big band blues ("Someone Else is Steppin' In"), and even a reggae version of Lee Dorsey's "Ya Ya." Great stuff, brilliantly played.

1.  Hot Tamale Baby - 4:41  

2.  Ya Ya - 3:34  

3.  Someone Else Is Steppin' In - 3:58  

4.  Lache Pas La Patate - 2:53  

5.  Turning Point - 6:03  

6.  Walkin' To New Orleans - 4:35  

7.  Zydeco Boogaloo - 3:53  

8.  This Must Be Love - 4:04  

9.  Your Man Is Home Tonight - 5:04  

10.  Buck's Boogie - 3:05  

11.  Madame Pitre - 2:38  

12.  Help Me Understand You - 3:18  

13.  Tutti Frutti - 2:30  

14.  My Feet Can't Fail Me Now - 3:07  

15.  Tee Nah Nah - 4:44  

16.  Let The Good Times Roll - 4:59  

17.  Warm And Tender Love  - 5:01  

18.  Zydeco La Louisianne - 5:08 

Label -Rounder Records

Victor Brady - Brown Rain (1970)

At its core, New York City based Brady, an African-American, has created a seriously heavy psych album, with non stop fuzz and plenty of ranting ala Frankie Dymon or Gil Scott-Heron. Some of the material is more pop oriented, but still maintains the heavy fuzz throughout. 
But we haven't got to the weird part yet. The lead instrument? Caribbean steel drums! Unfortunately after awhile, it all starts to sound more like a gimmick rather than as accompaniment. 

Perhaps it's the association of the instrument with island vacations, but it doesn't give off the right feeling when compared with the rest of the instrumentation and atmosphere. I mean, I wouldn't want to hear someone wailing on harmonica through a similar set of tunes either. In any case, quite a find and definitely recommended for a couple of listens. Take it in small doses though. 

Victor Brady apparently was associated with the "Sound of Central Park" and, according to their website: "Victor Brady went on to cut a record deal with Polydor Records and released the album “Brown Rain”. 

Victor subsequently released a classical album called “Classical Soul” and later appeared in Las Vegas with Charo, on PBS’s Sesame Street, wrote a book about the steel drum, and performed and lectured at the Smithsonian Institute". Sounds like a true Renaissance man!

1.  Glass House (7:35)

2.  Hallucinodream (2:52)

3.  Soul Fungi (2:26)

4.  Once Upon a Candle (6:39)

5.  Brown Rain (11:30)

6.  It's a Good World Outside (6:51)

Label -Polydor Records

Blondie Chaplin - Blondie Chaplin (1977)

Terence William "Blondie" Chaplin (born 7 July 1951) is a singer and guitarist from Durban, South Africa, where he played in the band The Flames in the mid-to late-1960s. He became known to international audiences in the early 1970s as a singer and guitarist for The Beach Boys. 

He is a long-term backing vocalist, percussionist, and acoustic rhythm guitarist for English band The Rolling Stones on their recordings and tours over a 15-year period, starting in 1997. To date he has released two solo studio albums.

"Rock and roll" is scrawled across of the front of this late-'70s album, but it appears to be simply some well-chosen graffiti in the photograph and not the actual album title. It would have been both generic and appropriate if that had been the choice rather than simply Blondie Chaplin as a title for the debut solo effort from an artist better known for his collaborative efforts with such large-scale cheeses as the Rolling Stones. 

"It's only rock & roll but I like it," was one of the latter band's mantras. Such is the nature of this walloping musical style that listeners could have completely missed out on Chaplin -- indeed, many did -- and really not have missed a thing. At least in terms of this album: although certainly groovy, it doesn't contain a lick that any amount of exposure to '60s and '70s rock wouldn't have already served up. 

These would be many of the stylistic trademarks of this era, particularly the later years and the temporarily hip Asylum label, aspects that will evoke smiles or fits of vomiting depending on the audience's aesthetic. 

To continue the crude comparison to digestive processes, this menu highlights tight arrangements, what they used to call "chick singers" (think "Hummingbird," meticulous horn sections, and a mixture of soul and pop flavors that was only possible in an era when these dishes were constantly served back to back on radio stations). 

Often, however, when a song seems like it is over or an instrumental break not really necessary, here comes the waiter with a dessert tray featuring an assortment of sweet lead guitar solos. One reason this record sounds like so many others is that the people that played on those other records are on this one, too. 

That includes Dave Mason of Traffic fame, Garth Hudson of the Band, and legendary session keyboardist Richard Tee. The South African Chaplin seems obsessed not with sounding different than the heroes of the day, but rather with being able to duplicate any of them at will, a talent that deserves plenty of praise. He can sing like John Fogerty or Spencer Davis yet also shines on complex copies of the Beatles. 

In light of what was happening on the music scene in the '70s, Chaplin must have just seemed like someone whose performances were fun but who never established a sound that he could call his own. Future hitmakers who relentlessly plunder the '60s and '70s make him look good in retrospective -- his tracks sound just as good, if not better, than anything recorded in 2004. 

Note: the title "For Your Love" is a Chaplin original, like everything else on the album, not a cover of the great song by the Yardbirds. 

1.  Bye Bye Babe - 3:22  

2.  Can You Hear Me - 4:18  

3.  Crazy Love - 3:23  

4.  Woman Don't Cry - 3:09  

5.  Loose Lady - 3:32  

6.  Be My Love - 3:51  

7.  Lonely Traveler - 3:15  

8.  Riverboat Queen - 5:48  

9.  Say You Need Me - 5:01  

10.  For Your Love - 2:21  

11.  Gimme More Rock 'N' Roll - 4:15  

Label - Asylum Records

John The Revelator - Wild Blues (1970)

John the Revelator is een bluesband uit Haarlem, vernoemd naar een a capella uitgevoerde bluestraditional van Son House. In 2013 viert de band het 45-jarig bestaan.

 Tijdens een bezoek aan Londen in 1966 ontmoet bassist/zanger Tom Huissen de Britse bluesmuzikant Peter Green. In 1968 sluit hij zich aan bij John the Revelator, de bluesband van onder meer pianist Charles van den Heuvel en slidegitarist Jos de Wilde, die is geïnspireerd door Peter Greens band Fleetwood Mac.

 De band wint de Loosdrecht Jazz Award en brengt bij Phonogram het eerste album Wild Blues uit.

 Op de plaat staan drie eigen nummers, met naast het titelnummer ook Charlie's Drive-In en No Woman, plus nummers van onder meer Albert King, B.B. King en Elmore James. De bezetting op de plaat bestaat in deze periode naast Van den Heuvel, Huissen en De Wilde uit Frans ten Kleij (gitaar, mondharmonica), Henno van Donselaar (altsaxofoon), Charles van der Steeg (baritonsaxofoon, tenorsaxofoon) en Fred Huissen (drums). Er volgen intensieve tournees door Nederland, België, Duitsland en Zwitserland.

1.   John the Revelator  (0:46)

2.   I Can't Stop Lovin' You  (3:02)

3.   Worried Dreams  (5:41)

4.   Charlie's Drive-In  (1:39)

5.   Talk to Me Baby  (5:01)

6.   Personal Manager  (4:35)

7.   Wild Blues  (1:37)

8.   Bleeding Heart  (4:42)

9.   No Woman  (3:12)

10.   Homework  (3:05)

11.   Yeah  (3:03)

12.   Rockin' Squirrel  (3:34)

13.   One Track Mind  (4:44)

14.   I Can't Stop Lovin' You  (3:22)

15.   Little Red Rooster  (4:17)

16.   Worried Dreams (Domi Overveen)  (4:51)

Label - Decca Records

Wilson Pickett - American Soul Man (1987)

If Wilson Pickett had arrived at Motown 20 years earlier, the reaction would have been frenzied. But by the time he joined them in 1987, the once-great company was in the throes of a horrible slump.

Pickett's late-'80s album for them was painful. It wasn't half bad as far as production and arrangements, and Pickett's vocals were better than anticipated. But the songs sounded third-rate, and while he did get one single onto the lower rungs of the charts, "Don't Turn Away," this wasn't the Pickett everyone loved or wanted to hear.

Although not as good as his 60's Atlantic sides, at least these 1987 Motown tracks show that Wilson Pickett's vocal prowess had not waned over the years. In my view, soul lost its way during the 80's and this album gives the impression of both the artist and the record company seeking a new direction.

In that respect it doesn't quite work - not the stereotypical Motown sound and definitely not the Southern Soul of Memphis or Muscle Shoals.

With a mix of both slow and up-tempo numbers, it is the ballads that show Pickett at his best and the MusicHound R&B Essential Album Guide lists this as ".....worth searching for: American Soul Man is a brief stop at the legendary Detroit R&B label that finds Pickett in good voice - perhaps inspired by the hallowed surroundings".

With only nine tracks I was left wanting more (always a good sign), but at least the shortest track is four minutes long with the longest, a live version of "In The Midnight Hour", lasting almost eight minutes.

Sadly, this re-working of his classic hit didn't work for me but others might find it more enjoyable.

1.   A Thing Called Love - 4:09

2.   When Your Hear Speaks - 5:04

3.   Love Never Let Me Down - 3:59

4.   A Man Of Value - 4:06

5.   (I Wanna) Make Love To You - 4:02

6.   In The Midnight Hour - 6:22

7.   Don't Turn Away - 4:27

8.   Just Let Her Know - 4:28

9.   Can't Stop Now - 4:07

Label - Motown Records

Diesel Park West - Shakespeare Alabama demos (1998)

Diesel Park West aren't one of my most powerful hankerings, and maybe not many others as well, but I thought a few of you might enjoy this.

My own appreciation of them revolves more around certain songs, not so much entire albums. These tunes were cut in anticipation of the band's 1989 debut, Shakespeare Alabama.  It's "modern rock" in perhaps the most commercial sense, but there are some real stunners here in the guise of the jangly "All The Myths on Sunday," and the more anthemic "When the Hoodoo Comes."

If you're looking for a few lazy comparisons, DPW run/ran the same gamut as contemporaries Mission UK, latter-80s Alarm, and occasionally Simple Minds.

Like the aforementioned, these Leicester, UK chaps emanated something resembling a social conscience, without ever getting too pious.  This set is well worth checking out, even though the finished versions were minimally revised from these prototypes.

1.   Like Princes Do

2.   All the Myths on Sunday

3.   Bell of Hope

4.   Out of Nowhere

5.   The Waking  Hour

6.   When the Hoodoo Comes

7.   Opportunity Crazy

8.   Here I Stand

9.   Jackie's Still Sad

10.   A House Divided

11.   Don't Be Scared of the Night

12.   What About Us

https://www93.zippyshare.com/v/wkp5SLzP/file.html

Catherine Wheel - Happy Days (1995)

A good percentage of Catherine Wheel's fans might have chucked Happy Days out of their players after the unleashing of Rob Dickinson's David Coverdale-like "oooh" during the brain bash of "God Inside My Head." In the event that the listener had the open-mindedness required to tackle the lengthy record in whole, they would have heard more Headbanger's Ball vocalisms, wanky guitar solos, and some lyrical passages that would lead admirers of Ferment and Chrome to wonder what happened. "Grow my hair long and strange/I'll be a walking mountain range." What?

Although the onslaught of pounding, throbbing hard rock prevails throughout the course of Happy Days, there are moments of respite. "Heal" tugs the heartstrings, summing up the record's theme of combating cynicism and coming to grips with adulthood. (The line "Everyone needs someone to live by" comes straight from Talk Talk.) The smoldering eight-minute "Eat My Dust" is unfortunately buried half way through the record. It's easy to get lost in the web of dazzling atmospherics. But more than anything, the greatest challenge of Happy Days is wading through it. At 14 songs and 58 minutes, it's not necessarily bloated for records of its time, but with the tug of war between cocksure heaviness and grandiose pop, it's a chore to get through. It's only four minutes longer than Chrome, but it feels like it doubles it in length. The band seems like they lowered themselves to make a play for the U.S. alternative charts, but they undeniably sound full of fire. The record undeniably misses the imagination of their previous conquests, and it ultimately sounds like a lesser band.

Happy Days is the third studio album by English alternative rock band Catherine Wheel, released 6 June 1995 by Fontana Records in the UK and Mercury Records in the US. Like its predecessor, Chrome, it was produced by Gil Norton.

"Judy Staring at the Sun" featured guest vocals by Tanya Donelly. On the single mix, Donelly performed the song's chorus and second verse; on the album, however, her vocals appeared only in the chorus, and all verses were sung by Rob Dickinson. The single peaked at No. 22 on the Billboard Modern Rock Tracks chart; second single "Waydown" peaked at number 15 on the Modern Rock chart and number 24 on the Modern Rock Tracks chart.

The album peaked at No. 5 on the Billboard Top Heatseekers chart, and was also the band's first album to chart on the Billboard 200, peaking at No. 163.

1.  God Inside My Head - 3:52

2.  Waydown - 3:14

3.  Little Muscle - 3:04

4.  Heal - 6:13

5.  Empty Head - 3:12

6.  Receive - 3:35

7.  My Exhibition - 2:27

8.  Eat My Dust You Insensitive Fuck - 8:06

9.  Shocking - 3:58

10.  Love Tips Up - 3:55

11.  Judy Staring at the Sun - 3:56

12.  Hole - 3:49

13.  Fizzy Love - 3:34

14.  Glitter - 4:10 (exclusive to vinyl edition)

15.  Kill My Soul - 5:10

https://www110.zippyshare.com/v/paXokxi2/file.html