Mayamax Free

Do you make your own choices or have circumstances beyond your control already decided your destiny? For thousands of years, this very question has intrigued and perplexed philosophers, scientists, and everyone who thinks deliberately about how they choose to live and act. The answer to this age-old riddle is universally relevant to our lives. The implications of our views on it can affect everything from small choices we make every day to our perspective on criminal justice and capital punishment. From the Stoics to Boethius, from Kant to Hume, from Sartre to contemporary philosophers, great minds have puzzled over this debate for centuries.

Free - The Complete Mini LP Set (1968-1973) {2002 Island Japan UICY-9130~9203, Disk Union Promo Box}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 2.99 Gb | MP3 @320 -> 1.22 Gb
Full Artwork @ 600 dpi (jpg) -> 138 Mb | 5% repair rar
© 1968-73, 2002 Island / Universal Japan | UICY-9130~32 / UICY-9200~03
Rock / Blues Rock / Hard Rock / Classic Rock

Famed for their perennial "All Right Now," Free helped lay the foundations for the rise of hard rock, stripping the earthy sound of British blues down to its raw, minimalist core to pioneer a brand of proto-metal later popularized by 1970's superstars like Foreigner, Foghat and Bad Company. Free formed in London in 1968 when guitarist Paul Kossoff, then a member of the blues unit Black Cat Bones, was taken to see vocalist Paul Rodgers' group Brown Sugar by a friend, drummer Tom Mautner.

With the possible exception of Richard Pinhas' Heldon, Gilbert Artman's Lard Free was probably the premier French progressive group of the '70s. The prolific Heldon might win in terms of amount of material, but the three near-perfect albums by Lard Free (despite the truly wretched band name) probably have them beat in terms of overall quality. Although Artman, a drummer who also dabbles in synthesizers and piano, called Lard Free a group, he was the only constant member; all three albums have different lineups. 1973's Lard Free consists of relatively short pieces with prominent piano and saxophone parts, and as such is the most jazz-oriented of the three. The following year's I'm Around About Midnight consists of three long pieces with much more synthesizer; at times, it sounds almost like early (pre-ambient) Tangerine Dream, or perhaps Clear Light, the French collective Artman and the then-current lineup of Lard Free occasionally worked with around this time. 1977's Lard Free III, also known as Spirale Malax, is Artman's best work, a pair of side-long experiments that combine space music, jazz, and King Crimson-style heavy progressive rock better than many groups (including King Crimson) could ever hope to manage.