THE opportunity to present this band here:

I discovered the band AREA from italy some weeks ago and I must say, they rule. actually I was to complete my krautrock collection, when I found them.

they started around '72 I think, and their debut, arbeit macht frei, came out in '73.
this is absolutely outstanding musicianship, based on jazz, bluesrock, and early prog rock, combined with some oriental elements. the singer comes up with some really weird styles like "jodeling", if that makes sense for you, but can sing quite "normal" as well.

I would say they considered themselfs as communists but all the potentially radical messages don't deliver too much because my skills in italian are rather small.



right if you like zappa, king crimson, ELP, and you already heard some crazy jazz things and liked it.


(not my link, so no comments about the uncoolness of rapidshare please... )

pindrop is a murky, swirling, pulsating mass. drums are pounded urgently, with organ and voice wavering in and out of the mix like some kind of aural phantasy. composition plays second fiddle to the lyrics, which are often buried in the mix anyway. alienating, even disorienting! and engineered to sound like it was recording in the same olde back alley recording studio where lynch's eraserhead soundtrack was mastered. pindrop is easily one of the most mysteriously brilliant albums ever

scott gibbons

Yeah, this is an album for being on the wrong end of a sunrise. I like!

If any band can lay claim to a seat on the should-have-been shuttle, it's Midnight Flyer, the greatest rock group you've never heard of. This extraordinarily talented quintet comprised veteran artists hailing from a myriad of notable bands -- Stone the Crows, Whitesnake, and Foghat among them. Lead singer Maggie Bell, an ex-Crow and regular winner of a U.K. "Best Of" readers' polls, was the linchpin of the project, piecing together a new group even as her solo albums were receiving rave reviews. Midnight Flyer was everything she hoped for, as it was for most of the other members, each looking to spread wings too often clipped in the past, and all contributed songs to this set. The group inked a deal with Swansong, to whom Bell was already signed as a solo act, with Bad Company/Mott the Hoople's Mick Ralphs brought in as producer. So this set should rock -- hard -- and it does, although the transfer to CD has somewhat flattened the sound. But keep turning up the volume, and when the roof starts shaking you can finally hear the intrinsic power captured on the original vinyl. The remastering does a fine job of pulling John Cook's keyboards up in the mix; unfortunately, it's at the expense of the guitars, another drawback. Yet so potent is the music that even these flaws can't soften the set's potency. And nothing can blunt Bell's edge, as she struts and strolls, wails and rails across the CD. In the end, this is her showcase, as she steals every song out from under her hard-rocking bandmates. She's a star, and there's no eclipsing her. However, this did not prevent the band from dying of benign neglect. In the aftermath of John Bonham's death, labelhead Peter Grant allowed Swansong to drift into free fall. Bad Company and Midnight Flyer consequently suffered the same fate, each drifting on rudderless for a couple of years before calling it a day. Flyer's members went their separate ways, yet each continued to play -- in a dizzying array of bands -- and further stamped their own imprimaturs on the U.K. scene. This superb album captures them all at some of their rockingest heights.

cool thread idea

I think this qualifies as more as something that never had much of a chance, but it's still good rock and roll.

I just downloaded/listened to this and I'm halfway horrified. I won't say it's bad - in fact, it's great at what it wants to do, which is typically unimaginative early 70s blooze rawk - but I think it just gave me ear herpes.

I just downloaded/listened to this and I'm halfway horrified. I won't say it's bad - in fact, it's great at what it wants to do, which is typically unimaginative early 70s blooze rawk - but I think it just gave me ear herpes.

[url=http://www.megaupload.com/?d=DM2AWJLQ]
Link Wray[/url]
...Recorded in a homemade three-track studio fashioned in an abandoned chicken coop on Wray's farm, this album mixes together country, blues, rock, and folk into a unique blend I haven't heard played quite the same way anywhere else. This record is a raw and ragged gem that more people should listen to.

Rads' tenner of Link had 4 selections from it. It's everything you're hankering for Charlie.

My thoughts exactly. I'm hoping we hear more from the wiser Obnerds.

It was really pretty damned good. Top honors for me went to the cover of It's All Over Now Baby Blue though, which is from another album. I enjoyed the whole thing though and still put it on.

Now this I like the sound of.

To be sure, Coloured Balls were not punk rock or even the kind of protopunk associated with the Stooges-MC5-New York Dolls triumvirate. But their supercharged, full-throttle boogie rock 'n' roll knew no peers in the early 1970s, and when one lets a Balls long-player rip and unleashes the beast of searing guitar and jabbing rhythms, the parallels to punk rock are simply stunning. Similar to their spiritual brothers from across the pond, Coloured Balls took the vehicle of early rock 'n' roll like Elvis Presley and Little Richard and remodeled it into a dragster.

But unlike how, for example, the Stooges and Dolls used amateurism to their advantage, Coloured Balls were led by the two-headed dog of lead guitarist extraordinaire Lobby Loyde and rhythm guitarist Bobsy Millar. Loyde had a legacy dating all the way back to the early 1960s, most notably with R&B punks the Purple Hearts and psych-punkers the Wild Cherries, while Millar likewise had been kicking around the scene since the late 1960s. Combine them with a fierce bottom of bassist John Miglans and drummer Trevor Young, and you have one of the most potent rock 'n' roll combos Australia ever produced, symbolized by the title of their first album, 1973's Ball Power.

Once described by Loyde as "our way of saying fuck you" to the music industry

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