U.s.a Flatlinerz

Bloodrock U.S.A. is the fourth album by the Texan hard rock band Bloodrock, released under Capitol Records in 1971. The album was the first produced by the band alone without Terry Knight and the last studio album to feature original members Jim Rutledge (vocals) and Lee Pickens (lead guitar).

S.U.S.A.R is Polish band Indukti's debut album. Most of the compositions here are instrumentals in the six- to seven-minute range that build tension through repetition of increasingly loud and aggressive melodic themes. Mariusz Duda, vocalist of Riverside, guests on two tracks. Dark, moody, S.U.S.A.R. has a rich, full sound that contrasts heavy, almost metallish riffing against slowly-building spacy sections. Tool circa Lateralus is indeed a good comparison in this manner, but Indukti's sound is a bit warmer - always intense, but more mysterious than it is menacing.

Paul Desmond, Wes Montgomery, Bill Evans, Charlie Byrd, Milt Jackson, Cal Tjader and many others.
The Jazz Club series is an attractive addition to the Verve catalogue. With it's modern design and popular choice of repertoire, the Jazz Club is not only opened for Jazz fans, but for everyone that loves good music.

Underground, heavy-psych rock Texas classic with impressive, tight sound and some rural and progressive leanings. Album is full of complex songs, great dual guitar work, fine vocals and busy drumming - with some tasty, mellotron sounds. Homer LP was originally released in 1970 on tiny label and today in near mint condition is worth over 800 dollars! This remastered issue was prepared with great care from the original source (in opposite to the previous, compressed and tacky editions) and sounds really great!

Sonny Criss - Jazz U.S.A. (1956) {Liberty Japan TOCJ-5329 rel 1990}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 247 Mb | MP3 @320 -> 104 Mb
Full Artwork @ 300 dpi (jpg) -> 37 Mb | 5% repair rar
© 1956, 1990 Imperial / Liberty / Toshiba-EMI | TOCJ-5329
Jazz / Bop / Hard Bop / Saxophone

The sessions of Sonny Criss for the Imperial label deserve at least as much attention as his better known Prestige albums of the sixties. They show an alto saxophonist of tremendous power and authority. The uptempo standards on Jazz U.S.A. are particularly overwhelming.