Mr.rain Due Altalene

Few rock groups can claim to have broken so much new territory, and maintain such consistent brilliance on record, as the Velvet Underground during their brief lifespan. It was the group's lot to be ahead of, or at least out of step with, their time. The mid- to late '60s was an era of explosive growth and experimentation in rock, but the Velvets' innovations which blended the energy of rock with the sonic adventurism of the avant-garde, and introduced a new degree of social realism and sexual kinkiness into rock lyrics were too abrasive for the mainstream to handle.

These 25 tracks represent the Marmalade's complete recorded output for CBS Records, including a pair of outtakes. The band simply moves from strength to strength during their period with CBS, starting with the superb Mike Smith-produced "It's All Leading up to Saturday Night," with its great beat and catchy choruses, and getting better from there. The title track has a special resonance; it's a glistening piece that mixes hard-rock guitar and bass with exquisite harmonies in a manner that overlaps with the Hollies. Yet, with its careful use of guitar distortion pumped up to sound like an orchestra, and a soaring choral phrase or two, the song also strangely anticipates the sound of the Electric Light Orchestra at their most poppy…

These 25 tracks represent the Marmalade's complete recorded output for CBS Records, including a pair of outtakes. The band simply moves from strength to strength during their period with CBS, starting with the superb Mike Smith-produced "It's All Leading up to Saturday Night," with its great beat and catchy choruses, and getting better from there. The title track has a special resonance; it's a glistening piece that mixes hard-rock guitar and bass with exquisite harmonies in a manner that overlaps with the Hollies. Yet, with its careful use of guitar distortion pumped up to sound like an orchestra, and a soaring choral phrase or two, the song also strangely anticipates the sound of the Electric Light Orchestra at their most poppy…

The world of pop music was hardly ready for the Velvet Underground's first album when it appeared in the spring of 1967, but while The Velvet Underground and Nico sounded like an open challenge to conventional notions of what rock music could sound like (or what it could discuss), 1968's White Light/White Heat was a no-holds-barred frontal assault on cultural and aesthetic propriety…

Townes Van Zandt - Rain On A Conga Drum - Live In Berlin (1991) {SilenZ Records 269575 2}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 341 Mb | MP3 @320 -> 149 Mb
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© 1991 SilenZ Records | 269575 2
Folk / Country / Folk Rock / Acoustic / Progressive Country

This 18-track, 63-minute import disc was Townes Van Zandt's third live album, recorded in October 1990. It shared eight selections with his first, Live at the Old Quarter, Houston, Texas, and five with his second, Live & Obscure. Distinguishing this set were some interesting covers, including Lightnin' Hopkins' "Short-Haired Woman Blues" and the Rolling Stones' "Dead Flowers," a long, funny story concerning the composition of Van Zandt's most famous song, "Pancho & Lefty," and the otherwise unrecorded original "Catfish Song," a typically poetic and downcast Van Zandt composition. And, if you didn't have any of Van Zandt's other albums, discovering material like "If I Needed You," "To Live Is to Fly," and "Tecumseh Valley" would be a revelation.

In the beginning there was John Coltrane. Teodross Avery experienced an epiphany at 13 when he first heard Trane’s “Giant Steps.” He emerged in the mid-1990s with two critically hailed releases for GRP/Impulse! Avery’s long and productive journey has taken him down many musical paths, from gigs with jazz legends and hip hop stars to sessions with NEA Jazz Masters and platinum pop albums. With his Tompkins Square label debut After The Rain: A Night for Coltrane, Avery has found his way back home, reasserting himself as a supremely eloquent exponent of the post-Trane jazz continuum.​