Blown Free - Maximum Rock 'n' Roll (1978)

(US, great hard, rough 'n' raw, pre stoner rock, limited release, 300 copies)

BLOWN FREE were a Houston band active between 1978 and 1982. Their history is almost completely unknown, what is known is that the band's leader and main songwriter, David Matthews, has a long history in music. 

He got his start in Wisconsin, playing in some underground psyche bands as early as 1968.

When he moved to Houston he immediately put together his own band and the results of this can be heard on this disc, what recordings survived anyway. 

If there ever was a band that could be classified as "obscure, underground rock" this is surely one. The only known release on this band is a sole 45 released on Excelsior (the label owned by the late Bill Holford, SR. of ACA Studios in Houston).

Mr. Holford would sometimes take a band under his wing and help them through business deals and publishing deals, which is what he did with Blown Free. 

After the dissolution of the band, and the break-up of Matthews' marriage, David took off for greener pastures back in Wisconsin where he started his own label and put together another version of Blown Free, this time under the monniker of The Matthew Davis Project. 

Several tracks from that period are included here as "Lemonade and Suzie Tonight", "A Seedy Reefer", and "The Bash".

Tracks

1.  Baby Come Back - 2:14

2.  My House - 2:57

3.  Sweet Love - 3:52

4.  The Wizard - 3:56

5.  Come Back My Way - 4:58

6.  Rock And Roll Band - 2:48

7.  A Little Bit At A Time - 3:59

8.  My House - 3:11

9.  I Feel Free - 3:54

10.  Blown Free - 5:47

11.  Sweet Love - 4:14

12.  Lemonade & Suzie Tonight - 5:30

13.  A Seedy Reefer - 3:55

14.  The Bash - 4:46

15.  The Wizard - 3:18

Notes

Release: 1978

Genre:  Rock

Length:  58:59

Label:  Shroom Productions

https://mega.nz/file/LIRimTZR#7TFdC8m1d0aKytNFt6jj3cW2QJ7u2zMmFl5997B3TcE

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The Silence Cries - Silent Eyes (1987)

Here’s the debut album from Swiss post-punk/new wave band The Silence Cries, released in 1987. 

This three piece band reminds me quite a bit of Mecano, Svätsox, Razor Penguins, early Modern English, and other rickety, yet powerful post-punk bands from the early/mid 80s. 

There’s also quite a bit of sax, trumpet, and accordion throughout the LP, which adds a nice bit of tension. It’s quite an eclectic album – there’s a lot of variation and dynamic range across the album, and the band occasionally flirts with jangle pop, NDW, and more experimental shades, but still retains that gloomy post-punk sound I love so dearly.

The Silence Cries has a rather modest discography,  three albums and two singles, all of which were released on the Winterschatten label. 

I couldn’t say how their sound evolved on their second and third album, but I’d be curious to find out one of these days. As always, feel free to drop a line if you have any of their other releases, and perhaps you’ll find the band’s first 7” single here soon enough.

Tracklist

1.  Change - 3:42

2.  Emotions - 3:23

3.  Grieni Auge - 4:42

4.  Fische Nur - 2:38

5.  Silent Eyes - 2:53

6.  Violence Is Growing - 6:05

7.  Why Should I Dance - 2:49

8.  Slow Death - 3:36

9.  In My Brain - 3:48

10.  Another Beer - 3:48

11.  Frontiers - 2:48

12.  Killed By Unfeeling - 4:57

Credits

• Engineer – Stefan Hugye
• Producer – Stefan Hugye

Notes

Released: 1987

Genre: Post-punk, New Wave

Length: 45:15

Label: Winterschatten Records

https://systemsofromance.com/SOR/silencecries.zip

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The Pointer Sisters - Only Sisters Can Do That (1993)

Only Sisters Can Do That is the last Pointer Sisters studio album made with founding member June Pointer. 

Issa Pointer, the daughter of longtime group member Ruth Pointer, performed as a background vocalist on two album tracks; she eventually replaced June Pointer in the group's lineup in 2002. 

The album was helmed by producer Peter Wolf and led by the single "Don't Walk Away", which featured Michael McDonald as guest vocalist. 

Originally, the track had been recorded by Ruth Pointer for a solo album that she abandoned in favor of the Only Sisters project. 

Other songs of note include "I Want Fireworks" and "Tell It to My Heart", which were both co-written by Anita Pointer, and the title track, penned by the sisters. 

The track "Feel for the Physical" appeared on the 1995 album Souled by Thomas Anders reworked as a duet by the Pointer Sisters and Anders. 

After a troubled, one-album affiliation with Motown Records, the Pointer Sisters entered into a troubled, one-album affiliation with SBK Records. 

That one album was Only Sisters Can Do That, on which producer/songwriter/synthesizer player Peter Wolf (not to be confused with the J. Geils Band singer), who had given Starship several hits, was intended to take over the job of group Svengali previously handled by David Rubinson and then Richard Perry. 

Wolf put together his typical, highly polished musical tracks, playing most of the instruments himself, over which the Pointers sang with their usual enthusiasm. 

The trouble was that pop production styles had moved to a more intricate, R&B-influenced sound typified by the hits of Mariah Carey and Janet Jackson, so that Wolf's tracks sounded out of date, and none of the compositions was sufficiently memorable to buck the tide. It didn't help that SBK, which had looked like a hot start-up label in the early 1990s with hits by Wilson Phillips, Vanilla Ice, and Jon Secada, was cooling off noticeably. 

Soon, the label was history and, with two consecutive non-charting albums, so were the Pointers as a current recording act.

Tracklist

1. It Ain't a Man's World" (Kim Eurisa, Clemard Harvey, Maya Angelou) – 4:27
2. "I Want Fireworks" (Anita Pointer, Ina Wolf, Peter Wolf) – 4:44
3. "Don't Walk Away" (Andy Hill, Peter Sinfield) – 4:49
4. "Eyes Like a Child" (Ina Wolf, Peter Wolf) – 4:45
5. "Only Sisters Can Do That" (June Pointer, Anita Pointer, Ruth Pointer, Sheldon Reynolds, Ina Wolf, Peter Wolf) – 3:54
6. "Feel for the Physical" (Peter Wolf, Peter Zizzo) – 4:02
7. "Tell It to My Heart" (Anita Pointer, Franne Golde, Allee Willis) – 5:10
8. "Vibe Time" (Peter Zizzo) – 4:03
9. "Lose Myself to Find Myself" (Keith Forsey, Steve Krikorian, Steve Schiff) – 4:45
10. "Sex, Love or Money" (S. Harry) – 4:14

The Pointer Sisters

• Anita Pointer – lead vocals (1, 2, 4, 5, 7–10), backing vocals
• June Pointer – lead vocals (4, 6, 9, 10), backing vocals
• Ruth Pointer – lead vocals (1, 3, 4, 5, 8, 9, 10), backing vocals
• All vocal arrangements by The Pointer Sisters.

Musicians

• Peter Wolf – all other instruments (1–8), backing vocals (5), additional keyboards (7), acoustic piano solo (8)
• Scott Frankfurt – pyrotechnic sounds (2), keyboards (7)
• Arthur Barrow – programming (9), bass (9)
• Steve Schiff – programming (9), guitars (9), arrangements (9)
• Sheldon Reynolds – guitars (1–5, 7, 8, 10)
• Benni Bilgeri – guitars (5)
• David Williams – guitars (6)
• Mark Schulman – drums (9)
• Rafael Padilla – percussion (1, 3, 4, 10)
• Everette Harp – alto sax solo (4, 7)
• Keith Forsey – arrangements (9)
• Issa Pointer – backing vocals (1, 6)
• Michael McDonald – lead and backing vocals (3)
• Thomas Anders – backing vocals (6)

Notes

Released:  November 16, 1993 

Recorded: 1993 

Genre:  R&B/soul 

Length:  44:53 

Producer(s):  Peter Wolf, Keith Forsey 

Label:  SBK Records 

https://shareplace.org/8PhP/Pointer_Sisters_-_Only_Sisters_Can_Do_That_(1993).zip

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The Del-Lords - Howlin' at the Halloween Moon (1989)

The Del-Lords are an American rock and roll band that formed in New York City, United States, in 1982, founded by The Dictators' guitarist Scott Kempner. 

The band combined elements of 1960s garage rock with country, blues and folk influences to become one of the early originators of urban, roots-rock. The band members were Scott Kempner, Manny Caiati, Eric Ambel and Frank Funaro.

Modeled on British bands of the 1960s that used several singers – The Kinks, Beatles, The Who - Kempner's vision was to create an act featuring four singers, that some said was like an "East Coast Beach Boys".

The band took its name from Del Lord, director of many early Three Stooges shorts. 

The four Del-Lords studio albums, released between 1984 and 1990 – Frontier Days, Johnny Comes Marching Home, Based on a True Story and Lovers Who Wander – were released on CD in 2008 by the American Beat label

Howlin' at the Halloween Moon is a live album by The Del-Lords, released in 1989 through Restless Records.

It's the best...Lords since Frontier Days, it still represents a holding pattern more than a return to past glories. The overall sound is pretty hot: Eric Ambel's slide raunch cuts a swath through Scott Kempner's scratchy (and underrecorded) rhythm guitar (Scott guitar is on left channel; Eric guitar is on right channel), while Frank Funaro and Manny Caiati bash'n'crash like a runaway train. The set list is strong (good cover of The Flamin' Groovies' "Jumpin' in the Night"), despite the fact that much of it was taken from their last two so-so records. But, to their credit, "True Love" and "Judas Kiss" have never sounded better...

Track listing

1. True Love - 4:37 

2. Jumpin' in the Night - 5:23 

3. Wastin' Time Talkin' - 3:11 

4. The Cool 'n' the Crazy - 7:43 

5. Judas Kiss - 6:14 

6. I Play the Drums - 5:37 

7. Tallahassee Lassie - 3:11 

All songs written by Scott Kempner, except "Jumpin' in the Night" by Cyril Jordan and Chris Wilson and "Tallahassee Lassie" by Bob Crewe, Frank Slay, and Frederick Picariello. 

The Del-Lords

• Scott Kempner – lead vocals, guitar
• Eric Ambel – guitar, vocals
• Manny Caiati – bass guitar, vocals
• Frank Funaro – drums, vocals

Companies, etc.

• Phonographic Copyright ℗ – Restless Records
• Copyright © – Demon Records
• Mixed At – Quantum Sound Studios
• Published By – Prince Of The Bronx
• Published By – La Rana Music
• Published By – Blue Disque Music
• Published By – Photon Music
• Published By – Connelly Music
• Licensed From – Enigma Entertainment
• Recorded At – Dr. Rockits, London, Ontario
• Recorded By – The Comfort Sound Mobile Recording Unit
• Made By – PDO, UK – 10096051

Credits

• Engineer – Doug McClement
• Engineer [Assisted By] – Andy Skuse , Ike Zimbel
• Mixed By – Gray Russell
• Written-By – Scott Kempner (tracks: 1, 3 to 6)

Notes

Released: 1989

Recorded: Halloween night, 1988 ar Dr. Rockits London, Ontario. 

Recorded:  by Comfort Sound Mobile Toronto Canada

Genre:  Roots rock, Rock and roll

Length:  35:57

Label:  Restless Records

https://bestfile.io/R0BX33bbafPJc9r/file

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Rush - Permanent Waves (1980)

Permanent Waves is the seventh studio album by Canadian rock band Rush, released on January 14, 1980, through Anthem Records. 

After touring to support their previous album, Hemispheres (1978), the band began working on new material for a follow-up in July 1979. 

This material showed a shift in the group's sound towards more concise arrangements and radio-friendly songs (such as "The Spirit of Radio" and "Freewill"), though their progressive rock blueprint is still evident on "Jacob's Ladder" and the nine-minute closer "Natural Science." 

Bassist/vocalist Geddy Lee also employed a more restrained vocal delivery compared to previous albums. Permanent Waves was recorded at Le Studio in Morin-Heights, Quebec with production handled by the group and Terry Brown.

"The Spirit of Radio" featured the band's early experiments with a reggae style in its closing section, which was explored further on the band's next three albums, Moving Pictures, Signals, and Grace Under Pressure. 

The group had experimented with reggae-influenced riffs in the studio and had come up with a reggae introduction to "Working Man" on their tours, so they decided to incorporate a passage into "The Spirit of Radio," as Lifeson said, "to make us smile and have a little fun."Peart wrote the lyrics with Toronto radio station CFNY-FM in mind which had adopted the title as its slogan.

"Jacob's Ladder" uses multiple time signatures, and possesses a dark, ominous feel in its first half. Its lyrics are based on a simple concept: a vision of sunlight breaking through storm clouds. 

The title is a reference to the natural phenomenon of the sun breaking through the clouds in visible rays, which in turn is named after the Biblical ladder to heaven on which Jacob saw angels ascending and descending in a vision. 

Early in Rush's 2015 R40 Live Tour, Geddy Lee incorrectly stated that the song had never been played live before, but was corrected by fans on the internet (the song had been performed during the Permanent Waves tour and a live recording of the song was featured on Exit... Stage Left).

"Entre Nous", French for "Between us", did not receive heavy radio airplay and was not performed live until the Snakes & Arrows Tour in 2007.

While the band began stepping back from the epic song format on this album, the closing track "Natural Science" is more than nine minutes long and is composed of three distinct movements: I) Tide Pools, II) Hyperspace, and III) Permanent Waves. The lyrics are driven by concepts of natural science.

Tracklist

1.  The Spirit of Radio - 4:58 

2.  Freewill - 5:23 

3.  Jacob's Ladder - 7:50 

4.  Entre Nous - 4:37 

5.  Different Strings - 3:50 

6.  Natural Science - 9:27

       I:  Tide Pools

      II:  Hyperspace

     III:  Permanent Waves

All lyrics by Neil Peart except "Different Strings" by Geddy Lee. All music by Lee and Alex Lifeson.

Rush

• Geddy Lee – lead vocals, bass guitar, Oberheim polyphonic synthesizer, Minimoog synthesizer, Taurus pedal synthesizer, Oberheim OB-1 synthesizer
• Alex Lifeson – electric and acoustic six- and twelve-string guitars, Taurus pedals
• Neil Peart – drums, timpani, timbales, orchestra bells, tubular bells, wind chimes, bell tree, triangle, crotales, cover concept

Additional personnel

• Terry Brown – arranger, producer, mixing
• Fin Costello – photography
• Robert Gage – hairdresser to the cover girl
• Bob Ludwig – remastering
• Adam Moseley – mixing assistant
• Craig Milliner – mixing assistant
• Paul Northfield – engineer
• Deborah Samuel – photography
• Flip Schulke – photography
• Ray Staff – mastering on original album
• Hugh Syme – piano, art direction, design, cover concept
• Paula Turnbull – cover girl (credited as "Ou La La")
• Robbie Whelan – assistant engineer

Notes

Released:  January 14, 1980

Recorded:  September–October 1979 Studio Le Studio (Morin-Heights, Quebec)

Genre:  Progressive rock 

Length:  36:05

Producer(s):  Rush, Terry Brown

Label:  Anthem Records

Permanent Waves (1980) - Rush скачать в mp3 бесплатно | слушать альбом целиком онлайн на портале Musify

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Deep Purple - Burn (1974)

Burn is the eighth studio album by English rock band Deep Purple, released in February 1974, and the first release by the Mark III line-up, featuring then-unknown singer David Coverdale and Glenn Hughes, from Trapeze, on bass and vocals.

The album was recorded in Montreux, Switzerland, in November 1973, with the Rolling Stones Mobile Studio. With the addition of David Coverdale and Glenn Hughes, Purple's hard-rock sound became more boogie-oriented, incorporating elements of soul and funk, which would become much more prominent on the follow-up album, Stormbringer.Hughes participated in songwriting, but was not given credit due to unexpired contractual obligations. However, the 30th anniversary edition of the album included Hughes in the credits for all the tracks except "Sail Away", "Mistreated", "'A' 200" and bonus track "Coronarias Redig".

Although it shook the band's fan base to its core, the acrimonious departure of vocalist Ian Gillan and bassist Roger Glover served to rejuvenate Deep Purple in time for 1973's aptly named Burn album, which unquestionably showed huge improvement over their lackluster previous effort, Who Do We Think We Are. 

And in an interesting twist rarely attempted before or since, new recruits David Coverdale (vocals) and Glenn Hughes (bass and vocals, ex-Trapeze) traded lead singing duties on virtually every one of its songs -- an enviable tag team, as both possessed exceptional pipes. 

The phenomenal title track started things off at full throttle, actually challenging the seminal "Highway Star" for the honor of best opener to any Deep Purple album, while showcasing the always impressive drumming of Ian Paice. 

Up next, the intro to the equally timeless "Might Just Take Your Life," however simple from a technical perspective, remains one of organist Jon Lord's signature moments; and the downright nasty "Lay Down, Stay Down" roared behind wildly careening starts and stops and a fantastic Ritchie Blackmore guitar solo which left no doubt as to who was the band's primal force, regardless of lineup. 

Moving right along, though it was rarely included in later-day greatest hits sets, "What's Going on Here" was about as good a single as Purple ever wrote; "You Fool No One" was compelling for its sheer intensity; and the funky "Sail Away" was a sign of the band's direction in years to come. 

Lastly, the fantastic slow-boiling blues of "Mistreated" closed the album proper (let's ignore the record's only throw-away track -- boring final instrumental "A 200") with a command solo performance from Coverdale, as nuanced and sensitive as it was devastating. 

So impassioned was the singer's delivery, in fact, that the song would remain his personal, in-concert trademark with Whitesnake, long after his tenure with Deep Purple came to a close. 

Like the vast majority of Burn this song's greatness qualifies it for the highest echelons of hard rock achievement, and therefore ranks as an essential item in the discography of any self-respecting music fan.

Tracklist

1.  Burn - 6:00

2.  Might Just Take Your Life - 4:36

3.  Lay Down, Stay Down - 4:15

4.  Sail Away  (Blackmore, Coverdale) - 5:48

5.  You Fool No One - 4:47

6.  What's Goin' On Here - 4:55

7.  Mistreated  (Blackmore, Coverdale) - 7:25

8.  'A' 200  (Blackmore, Lord, Paice) - 3:51

All tracks are written by Ritchie Blackmore, David Coverdale, Jon Lord, Ian Paice and Glenn Hughes, except where noted.

Deep Purple

• Ritchie Blackmore – guitar
• David Coverdale – lead and backing vocals
• Glenn Hughes – bass, backing and lead vocals
• Jon Lord – keyboards, synthesizers
• Ian Paice – drums, percussion

Production

• Deep Purple – producer, mixing
• Martin Birch – engineer, mixing
• Tapani Tapanainen – assistant engineer
• Nesbit, Phipps and Froome – artwork
• Fin Costello – sleeve photography
• Candle Makers Supplies – candles

Notes

Released: 15 February 1974 

Recorded:  November 1973 Studio Montreux, Switzerland with the Rolling Stones Mobile Studio 

Genre:  Hard rock  

Length:  38:12 

Producer:  Deep Purple 

Label:  Purple Records 

https://mega.nz/folder/HUN11CqQ#WAYX7noBwkqjj50KNkv8vg

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Chicago - Chicago III (1971) [2LP]

Chicago III is the third studio album by the American rock band Chicago. It was released on January 11, 1971, through Columbia Records. 

The album was produced by James William Guercio and was the band's third consecutive double album in less than two years.

Much like the previous year's Chicago (many times referred to as Chicago II), Chicago III is made up of both multi-part suites and more conventional individual songs. 

The album saw the band integrate a number of different genres including folk and country ("What Else Can I Say", "Flight 602"), free improvisation ("Free Country"), and musique concrète ("Progress?") into their sound, while also continuing in their trademark jazz-rock style.

Chicago III was a critical and commercial success. It peaked at number two in the US, their highest chart placement at that point, and received positive reviews. 

While neither of its singles ("Free" and "Lowdown") matched the success of the band's previous and following singles, both managed to make the top 40, peaking at numbers 20 and 35, respectively. 

After the release of the album, Chicago would become the first rock band to play the famous Carnegie Hall; performances from this run would be released on the following album, Chicago at Carnegie Hall.

The band had used up its storehouse of original material on its first two albums. It needed new material for Chicago III, and the songwriters worked "nonstop" Danny Seraphine said the band "took the opportunity to experiment with instrumentals and showcase our skills as musicians."

Their long hours on the road gave the principal songwriters, Robert Lamm, Terry Kath and James Pankow, much food for thought, resulting in more serious subject matter, which contrasted with the positivity of their first two sets. 

In his retrospective review of the album, Jeff Giles writes that Lamm's "Travel Suite" was "inspired by the boredom, loneliness, and beauty of the road," and characterizes Pankow's "Elegy" suite is an "ecologically minded composition", (an issue Lamm also touches upon in "Mother"). 

While Kath's multi-part "An Hour in the Shower" provides a reprieve from the sobering explorations elsewhere, Chicago III was undeniably the result of a band who had seen the flip side of the world over the last several months. 

"Lowdown", co-written by Peter Cetera and Danny Seraphine, was Seraphine's first co-writing credit, and he was appreciative of the support Cetera gave him during the writing process.

Chicago III incorporates a variety of musical styles. "Sing a Mean Tune Kid" features the influence of funk,"What Else Can I Say" and "Flight 602" have a country feel, while abstract qualities are found in "Free Country" and "Progress?"

Tracklist

A1.  Sing A Mean Tune Kid - 9:15

A2.  Loneliness Is Just A Word - 2:35

A3.  What Else Can I Say - 3:11

A4.  I Don't Want Your Money - 4:48

Travel Suite

B1.  Flight 602 - 2:45

B2.  Motorboat To Mars - 1:30

B3.  Free - 2:12

B4.  Free Country - 5:50

B5.  At The Sunrise - 2:42

B6.  Happy 'Cause I'm Going Home - 7:25

C1.  Mother - 4:28

C2.  Lowdown - 3:34

An Hour In The Shower

C3.  A Hard Risin' Morning Without Breakfast - 1:58

C4.  Off To Work - 0:45

C5.  Fallin' Out - 0:48

C6.  Dreamin' Home - 0:56

C7.  Morning Blues Again - 1:03

Elegy

D1.  When All The Laughter Dies In Sorrow - 1:02

D2.  Canon - 1:05

D3.  Once Upon A Time... - 2:35

D4.  Progress? - 2:32

D5.  The Approaching Storm - 6:33

D6.  Man Vs. Man: The End - 1:33

Chicago

• Peter Cetera – bass, lead and backing vocals
• Terry Kath – guitars, lead and backing vocals
• Robert Lamm – keyboards, lead and backing vocals, spoken word on "When All the Laughter Dies in Sorrow".
• Lee Loughnane – trumpet
• James Pankow – trombone
• Walter Parazaider – saxophone, flute
• Danny Seraphine – drums, percussion

Production

• Producer – James William Guercio
• Engineering – Don Puluse and Sy Mitchell
• Recording – Lou Waxman and Willie Greer
• Logo design – Nick Fasciano
• Album design – John Berg
• Flag design – Natalie Williams
• Photography – Sandy Speiser
• Poster photo – Steve Horn and Norm Griner
• Lettering – Annette Kawecki and Melanie Marder for Poseidon Productions

Notes

Released: January 11, 1971

Recorded: June – December 1970 Studio CBS 30th Street (New York City)

Genre: Soft Rock, jazz fusion

Length: 71:29

Producer: James William Guercio

Label: Columbia Records

https://mega.nz/file/toABQKaJ#2v90QoRsVQAVHHf9TZpmV9M-3-eVJ0_v5R3i2qIt0us

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Cuby + The Blizzards - Appleknockers Flophouse (1969)

Appleknockers Flophouse is het vijfde studioalbum van de Nederlandse bluesband Cuby + Blizzards. De titeltrack is ook op single uitgekomen en is een van de meest succesvolle nummers van de band.

Goede blues van de heren uit Grollo e.o. Vind de stem van Harry Muskee na een paar liedjes niet te harden, dus ik draai em alleen voor de allerbeste nederlandse blues gitarist ooit: Eelco Gelling!

Herman Brood was hier al de band uit geflikkerd omdat een dopehead niet paste bij zuipschuiten.

Laat dit nou net een album zijn waar ik Muskee goed vind zingen.

Appleknockers Flophouse en de laatste vier songs van deze plaat horen bij mijn C+B favorieten. Mooi werk inderdaad van Gelling, behoort tot zijn beste.

Het album Appleknockers Flophouse is opgenomen in 1969 en bevat meest zelf geschreven nummers en een paar covers van bekende, internationale bluesartiesten. De band speelt niet alleen bluesmuziek maar ook wat steviger rock, zoals Midnight mover. 

De gitarist en pianist spelen regelmatig solo's op dit album. Gelling speelt vooral op de elektrische gitaar, maar zo nu en dan speelt hij ook een akoestische solo. 

Black snake wordt helemaal gespeeld met akoestische gitaar, daarbij speelt Harry Muskee op mondharmonica. Help me is een jazz-achtig nummer, met een bassolo van Herman Deinum.

De groep heeft met veel bezettingswisselingen te kampen gehad. De vaste kern bestond uit Harry (Cuby) Muskee en Eelco Gelling. De andere drie leden ten tijde van dit album hebben eerder gespeeld in de formatie Blues Dimension uit Zwolle.

- Harry Muskee (zang en mondharmonica)

- Eelco Gelling (akoestische en elektrische gitaar)

- Herman Deinum (bas)

- Helmig van der Vegt (piano en orgel)

- Hans la Faille (drums)

Tracklist

A1. Appleknockers Flophouse - 2:30

A2. Unknown Boy - 6:45

A3. Help Me - 5:35

B1. Go Down Sunshine - 7:02

B2. Disappointed Blues - 3:20

B3. Midnight Mover - 2:36

B4. Black Snake - 4:20

Companies, etc.

• Recorded At – GTB Studios
• Lacquer Cut At – Phonodisc B.V.
• Pressed By – Phonodisc B.V.
• Published By – Copyright Control

Credits

• Bass Guitar – Herman Deinum
• Design – Jan H. van Uden
• Drums – Hans Lafaille
• Electric Guitar, Acoustic Guitar – Eelco Gelling
• Engineer [Recording] – Eric Bakker
• Photography By [Photo Inside Gatefold] – Eelco Gelling
• Photography By [Photographer] – Herman Baaren
• Piano, Organ [Hammond] – Helmig van der Vegt
• Producer – Anton Witkamp, Cuby + Blizzards

Notes

Release: 1969

Recorded at:  G.T.B. studios, the Hague (Holland)

Genre:  Blues Rock

Tijdsduur:  32:16

Label:  Philips Records

https://www.mediafire.com/download/5xohc8uqj246dpj/Cuby-Appleknockers-Venenos.rar

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The Smiths - Hateful Of Hollow (1984)

Hatful of Hollow is a compilation album by English rock band the Smiths, released on 12 November 1984 by Rough Trade Records. 

The album features tracks from BBC Radio 1 sessions, their first single "Hand in Glove" (a different mix of which had been included on their first album) and two new singles and their B-sides. It was eventually released in the United States on 9 November 1993 by Sire Records, who had initially declined to release the album in the US. Sire instead released Louder Than Bombs in the US in 1987—which is effectively a hybrid of Hatful of Hollow and a subsequent UK compilation album The World Won't Listen plus some tracks which do not appear on either.

The album consists mainly of songs recorded over several BBC Radio 1 sessions in 1983. Tracks shown in bold were included on the album.

1. For John Peel on 18 May 1983 (broadcast 31 May): "Handsome Devil", "Reel Around the Fountain", "Miserable Lie", "What Difference Does It Make?" (all four songs were later released as the Peel Sessions EP)
2. For David Jensen on 26 June 1983 (broadcast 4 July): "These Things Take Time", "You've Got Everything Now", "Wonderful Woman"
3. For Jensen on 25 August, 1983 (broadcast 5 September): "Accept Yourself", "I Don't Owe You Anything", "Pretty Girls Make Graves", "Reel Around the Fountain"
4. For Peel on 14 September, 1983 (broadcast 21 September): "This Charming Man", "Back to the Old House", "This Night Has Opened My Eyes", "Still Ill"

When first broadcast, these radio sessions mainly featured songs which were otherwise unavailable. All were subsequently re-recorded for singles or for the band's debut album the following year. "This Night Has Opened My Eyes" was recorded in the studio in June 1984, but the only version ever released was the September Peel session.

Hatful of Hollow also features the band's debut single, "Hand in Glove", and their two most recent singles prior to the album's release, "Heaven Knows I'm Miserable Now" and "William, It Was Really Nothing", along with their respective B-sides, "Girl Afraid", "How Soon Is Now?" and "Please Please Please Let Me Get What I Want".

"How Soon Is Now?" would receive a separate single release in 1985 in both the UK and the US. It reached No. 24 in the British charts, but failed to chart in the US. Morrissey and Johnny Marr lamented the lack of chart success of what they considered their strongest song thus far. "How Soon Is Now?" also featured on the soundtrack to the 1986 film Out of Bounds, but wasn't included on the accompanying soundtrack album.

In 2000, Q magazine placed the album at No. 44 on its list of the "100 Greatest British Albums Ever". 

Tracklist

1. William, It Was Really Nothing  (Single A-side) - 2:09

2. What Difference Does It Make?  (John Peel session, 18/5/83) - 3:11

3. These Things Take Time  (David Jensen session, 26/6/83) - 2:32

4. This Charming Man  (Peel session, 14/9/83) - 2:42

5. How Soon Is Now?  (B-side of "William, It Was Really Nothing) - 6:44

6. Handsome Devil  (Peel session, 18/5/83) - 2:47

7. Hand in Glove  (Single A-side mix) - 3:13

8. Still Ill  (Peel session, 14/9/83) - 3:32

9. Heaven Knows I'm Miserable No  (Single A-side) - 3:33

10. This Night Has Opened My Eyes  (Peel session, 14/9/83) - 3:39

11. You've Got Everything Now  (Jensen session, 26/6/83) - 4:18

12. Accept Yourself  (Jensen session, 25/8/83) - 4:01

13. Girl Afraid  (B-side of "Heaven Knows I'm Miserable Now") - 2:48

14. Back to the Old House  (Peel session, 14/9/83) - 3:02

15. Reel Around the Fountain  (Peel session, 18/5/83) - 5:51

16. Please Please Please Let Me Get What I Want  (B-side of "William, It Was Really Nothing") - 1:50

All lyrics are written by Morrissey; all music is composed by Johnny Marr

Personnel

• Morrissey – vocals
• Johnny Marr – guitars, harmonica, mandolin, slide guitar on "How Soon Is Now?"
• Andy Rourke – bass guitar
• Mike Joyce – drums, tambourine

Additional musicians

• John Porter – electronic percussion on "How Soon Is Now?"

Production

• John Porter – producer
• The Smiths – producers
• Roger Pusey – producer
• Dale "Buffin" Griffin – producer
• Martin Colley - engineer
• Mike Robinson – engineer ("Accept Yourself")

Notes

Released: 12 November 1984 

Recorded: 1983–1984 

Genre:  Alternative rock, indie pop

Length: 56:11 

Producer (s):  John Porter:  The Smiths, Roger Pusey, Dale "Buffin" Griffin

Label:  Rough Trade Records

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Judas Priest - Defenders of the Faith (1984)

Defenders of the Faith is the ninth studio album by English heavy metal band Judas Priest, released on 13 January 1984. 

The album was certified platinum by the RIAA, and spawned the singles "Freewheel Burning", "Some Heads Are Gonna Roll", and "Love Bites".

Defenders of the Faith was recorded at Ibiza Sound Studios, Ibiza, Spain, and mixed at DB Recording Studios and Bayshore Recording Studios in Coconut Grove, Miami, Florida. 

The last quality album from Judas Priest's commercial period, Defenders of the Faith doesn't quite reach the heights of British Steel or Screaming for Vengeance, in part because it lacks a standout single on the level of those two records' best material. 

That said, even if there's a low percentage of signature songs here, there's a remarkably high percentage of hidden gems waiting to be unearthed, making Defenders possibly the most underrated record in Priest's catalog. 

Musically, it follows the basic blueprint of Screaming for Vengeance, alternating intricate speed rockers with fist-pumping midtempo grooves and balancing moderate musical sophistication with commercial accessibility. 

It's a craftsmanlike record from a band that had been in the game for a full decade already, but was still vital and exciting, and decidedly not on autopilot (yet). 

The record opens high-energy with the terrific "Freewheel Burning" and "Jawbreaker" before moving into lost anthem "Rock Hard Ride Free," the more complex "The Sentinel," the cold, oddly mechanized single "Love Bites," and the slightly darker "Some Heads Are Gonna Roll." 

Coincidentally (both were released the same year), there's a bit of Spinal Tap creeping into the band's approach on side two -- not just in calling a song "Heavy Duty," but also in the ridiculous rough-sex ode "Eat Me Alive," which comes off like an S&M-themed "Sex Farm" (albeit without the tasteful subtlety). 

It wound up getting the band in trouble with Tipper Gore's PMRC, though one wonders if it would have helped or hindered their cause that the song's sexual aggression was, in hindsight, not directed at women. At any rate, Defenders of the Faith charted only one spot lower than its predecessor, and was certified platinum. Hereafter, Priest would have significant difficulties adapting to the fast-changing landscape of heavy metal in the latter half of the '80s.

Tracklist

1.  Freewheel Burning - 4:22

2.  Jawbreaker - 3:26

3.  Rock Hard Ride Free - 5:34

4.  The Sentinel - 5:04

5.  Love Bites - 4:47

6.  Eat Me Alive - 3:34

7.  Some Heads Are Gonna Roll (Bob Halligan, Jr.) - 4:05

8.  Night Comes Down - 3:59

9.  Heavy Duty - 2:25

10.  Defenders of the Faith - 1:30

All tracks are written by Glenn Tipton, Rob Halford and K. K. Downing, except where noted.

Judas Priest

• Rob Halford – vocals
• K. K. Downing – guitars
• Glenn Tipton – guitars
• Ian Hill – bass
• Dave Holland – drums

Production

• Produced by Tom Allom
• Engineered by Mark Dodson, assisted by Christian Eser, Bruce Hensal, David Roeder, Ben King, and Buddy Thornton
• Cover design by Doug Johnson, based on a concept by Judas Priest

Notes

Released: 13 January 1984

Recorded: 1983 Studio Ibiza Sound (Ibiza)

Genre:  Heavy metal

Length:  39:45

Producer:  Tom Allom

Label:   Columbia

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