Time Beast

Legendary singer Graham Bonnet (RAINBOW, MSG, ALCATRAZZ, GRAHAM BONNET BAND) has joined forces with Italian axeman and producer Dario Mollo in a new project called EZOO. The band's debut album, "Feeding The Beast", was released on June 2 via earMUSIC. Grooving and stomping music, with the great feeling straight from the golden days of hard rock, EZOO features the immediately recognizable voice of Bonnet and Mollo's melodic and powerful guitars. While Mollo is well known for his collaboration with Glenn Hughes (VOODOO HILL) and his three albums with former BLACK SABBATH singer Tony Martin, you can claim that probably every rock fan has heard the biting and unique voice of Bonnet before.

Buddy Rich - The Roar of '74 (1998) {Groove Merchant–Beast Retro 12842}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 301 Mb | MP3 @320 -> 99 Mb
Full Artwork @ 600 dpi (jpg) -> 39 Mb | 5% repair rar
© 1974, 1998 Groove Merchant / Beast Retro | 12842
Jazz / Bop / Modern Big Band / Mainstream Jazz / Drums

A quite fantastic record where buddy goes for a modern almost rock sound with wha wha guitars and electric keyboards and a funky style with his drumming , some great material as well from his band members. In late 1973, the Buddy Rich big band still featured the explosive drummer in prime, competitive form. The orchestra's key soloist during the era was Pat LaBarbera (doubling on tenor and soprano); guitarist Joe Beck also has a spot on "Big Mac." The charts (by Ernie Wilkins, John LaBarbera, Manny Albam, Greg Hopkins and Don Menza) for this album emphasize hard-driving swing, with the highlights including "Nuttville," "Senator Sam" and Menza's memorable "Time Check."

Preceding Beast Rest Forth Mouth is 2007’s Red Bloom of the Boom, a 7-track, 43-minute exploration that crosses the streams of psychedelia and prog. Pitchfork called it “a true cohesive work in an era when the album-as-art form appears to be slowly dying” (7.8), and The Onion found it “a powerful, functional mix of This Heat, ‘70s soft rock, early Genesis, and oddly, later Pink Floyd.” The album was further informed by a collection of remarkable music videos by the band and their collaborators, providing a mirror into both the creative scope of the Bear In Heaven consciousness, not to mention the day jobs they keep as editors, filmmakers, and designers. The packaging and visuals for Beast Rest Forth Mouth continue in this tradition, the band collaborating with artist Laura Brothers to create the tactile doorway into the sonic swirl of the album.

At over two hours long, Feast/Beast is a thorough reminder of how prolific a remixer Clark was during the 2000s and 2010s. It also reaffirms just how versatile a sound-shaper he is: while there's definitely an aesthetic holding even the wildest moments here together, he never takes exactly the same approach on any two songs. The names represented on Feast/Beast are almost as wide-ranging as the way he refashions tracks for them. Obviously, his remixes for some of the bigger artists are among the standouts, but he's just as creative in his work for lesser-known acts. Not surprisingly, some of the highlights come from his collaborations with fellow Warp artists, whether he's remixing them or vice versa; the Clark tracks remixed by his friends offer yet another perspective on his music…

April Wine (like any good wine) got better with age, and the Canadians' brightest moment only arrived over a decade into their career with 1981's The Nature of the Beast. Opener "All Over Town" lurches into action on a lopsided riff before finding its awesome groove, – a groove they seldom abandon through and to the end of the disc…

Beauty and the Beast, the second LP by Cassiber, was released in 1984 simultaneously on the British label Recommended and the German Riskant with a small difference in contents - the ReR Megacorp CD reissue includes all tracks from both LP versions. This album represents a giant leap from the group's 1982 debut, Man or Monkey. Yet, the same technique was used: No songs were written in advance. Drummer Chris Cutler had written lyrics to be used when considered suitable by singer Christoph Anders and some pieces had evolved from live improvisations. Everything else was improvised on the spot…