Led Zeppelin 384

Led Zeppelin's fourth album, Black Sabbath's Paranoid, and Deep Purple's Machine Head have stood the test of time as the Holy Trinity of English hard rock and heavy metal, serving as the fundamental blueprints followed by virtually every heavy rock & roll band since the early '70s…

Brownsville Station - No BS (1970) {Wounded Bird Records WOU 1888 rel 2005}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 206 Mb | MP3 @320 -> 70 Mb
Full Artwork @ 300 dpi (jpg) -> 11 Mb | 5% repair rar
© 1970, 2005 Palladium Records / Wounded Bird Records | WOU 1888
Rock / Boogie Rock / Hard Rock / Rock & Roll

I saw the Beatles, The Rolling Stones, The Doors (a lot), Country Joe and the Fish, Jefferson Airplane and many other groups too numerous to name in the '60's and '70's but when people ask me who put on the the most energetic, entertaining live show, it was Brownsville Station. Brownsville Station, led by Cubby Koda and Michael Lutz, with TJ Cronley and Tony Driggins played the grand venue of the Falls Church (Virginia) Community Center in the early 70's. What a show! They were Led Zeppelin playing loud "electric" high energy versions of fifties boogie rock! And they knew how to rock and roll.

Deep Purple are an English rock band formed in Hertford in 1968. Along with Led Zeppelin and Black Sabbath, they are considered to be among the pioneers of heavy metal and modern hard rock, although some band members believe that their music cannot be categorised as belonging to any one genre…

A uniquely talented British heavy rock band, Rumplestiltskin was the brainchild of American producer Shel Talmy. It was his idea to form a 'supergroup' that might rival the highly successful outfits that dominated the early Seventies, such as Status Quo and Led Zeppelin…

Two albums on one disc-72 minutes in length approximately. This set is somewhere between 3 and 4 "stars". The sound has been remastered from the original tapes and is clean, with good separation between the instruments…

Perhaps the only subject more interesting than headlining act making major waves while on tour is the history of the venues where this occurs, and few places inspire such inquiries to the same degree as London’s The Roundhouse. Originally constructed in 1846 as a turntable engine shed for the London and Birmingham Railway, by the mid-20th century it had become an important performing arts and concert hall that would be a favorite venue for such iconic bands and artists as Pink Floyd, Jimi Hendrix, Jeff Beck, Led Zeppelin, The Ramones and Motörhead. Suffice it to say, such a location is a prime outlet for one of Germany’s most ferocious purveyors of thrash metal to record their first live album following 2017’s “Live Antichrist” release. Relative to said release, Kreator’s latest foray into neck-ruining mayhem outside of the recording studio dubbed “London Apocalypticon – Live At The Roundhouse” ups the epic factor something fierce while sparing no expense in the aggression department…

In 1969, Sea Shanties established High Tide as one of Britain's heaviest bands and the choice of George Chkiantz (who had previously worked with Jimi Hendrix and Led Zeppelin) as co-producer for their second album seemed to signal the group's intention to continue in the same direction. In comparison with their hefty debut, however, the self-titled follow-up is a relatively subdued affair. The interplay of guitarist Tony Hill and violinist Simon House is still very much at the core of High Tide's distinctive hybrid of psychedelia, prog, and hard rock, but while Hill lays down his characteristically intricate, searing guitar lines, he forgoes the sort of weighty, molten riffage that made Sea Shanties such a behemoth.