Ruth Copeland - I Am What I Am (71)

Ruth I Love You
From Wikipedia, the free encyclopedia

I Am What I Am is the second album by Folk/Rock/Funk singer Ruth Copeland. The album was released by Invictus Records in 1971 and was produced and arranged by Ruth Copeland, though it is widely believed that the actual producer of the album was her then husband Jeffrey Bowen. As with her debut, Self Portrait, I Am What I Am contains contributions from George Clinton and the musicians from Parliament-Funkadelic, as well as local Detroit session players such as guitarist Ray Monette.

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Icecross - S/T

Info from icecross.net

The album was recorded in Rosenberg Studio Copenhagen 1973 Issued in Iceland only. And just 1000 copies were made.
Published by Icecross Records.


Members of the band were three: Axel Einarsson(guitar and vocals), Omar Oskarsson (bass, vocals) and Asgeir Oskarsson (drums, vocals).


Road manager Ágúst Harðarson (Gústi On picture at the back of the Cover)



Recording engineer was Tommy Seebach.



Cover design: Jón Erlings



Photographs: Júlíus Agnarsson

Pressed by EMI London

Printed by Ingólfsprent Reykjavík



All tracks are self-composed and sung in English:



Side one: 1. Wandering Around 2. Solution 3. A Sad Man's Story 4. Jesus Freaks

Side two: 1. 1999 2. Scared 3. Nightmare 4. The End.



Icecross deliver great heavy and dark hard rock with some searing fuzzed leads that belongs in any respectable hard rock collectors stash! A creeper and a keeper!

Fuck Ye I Will Download This One

Om - Conference Of The Birds

Review from http://www.dustedmagazine.com/reviews/2858

In Hinduism, “om” is the single most important syllable of existence, representing the confluence of deep sleep, dreams, and consciousness, and their mystic separation from the idea of the absolute which is beyond everyday human comprehension. There are also connections with the life cycle - the sound “om” being made of “a” which represents creation and Brahma, “u” which is Vishnu or the middle period of life, and “m” represents Shiva, whose meditation frees us from the concrete world. Om is a trinity, the exact components of which depend on which interpretation you’re using. I won’t pretend to be an expert in Hindu myth or meaning, but these basic tidbits are enough on their own to at least partially explain the sounds contained on Conference of the Birds. And while it may be mere coincidence that Om formed out of two thirds of Sleep (you could probably debate which two parts of the “om” Al Cisneros and Chris Hakius represent, but it would only make any sense if you were either a huge metalhead, a giant stoner, a Hindu scholar, or some combination of the three), the symbolic connection between the two in this context is too much to ignore. To get perhaps a bit too literal here, om is the step beyond sleep towards some kind of transcendence. Which isn’t to say that music of Om is any “deeper” or “more advanced” than that of Sleep, just that it operates on a different level with a different set of tools.

Conference of the Birds is structurally and sonically similar to its predecessor, Variations on a Theme – repeated bass licks and drum patterns that gradually evolve over the course of about 15 minutes. The second song (each song spans about 20 tracks, presumably to thwart piracy), “Flight of the Eagle,” could very easily be the fourth track on Variations both in character and in sound. Cisneros’ bass sound is dense and fuzzy and his vocals are an imposing chant musing on some mythic journey or battle occurring in ancient Egypt, while Hakius keeps a solid beat centered around his bell-like cymbal.

“At Giza,” on the other hand, represents a very different side of the group, one much closer to the concept of om than anything else they’ve done. Simply put, the music is much tauter than before, with less overall weight. The bass tone is clean, devoid of any distracting distortion, the drums are slower, more hypnotic, the vocals more an incantation than a chant, returning to words like “sentient,” “aperture,” and other archaic multisyllabics. And while the imagery is more an opium-den vision than a meditative dream, the words are there more as sounds and rhythm and quickly lose their meaning.

Whether you view it as stoner wisdom, opium hallucination, or mystic journey, this album is about transcendence. The Conference of the Birds is, amongst other things, a 12th century Sufi metaphysical parable on discovering the true nature of God, mimicking the journey of the avatar protagonist of both of Om’s songs. Farid ud-Din Attar’s poem comes to the conclusion that God is not to be found in a single place but all around, in every aspect of life and the world. So despite the fact that Om comes from the Hindu, references the Sufi, and uses the language of the Egyptian, they draw from each the same idea: that the world beyond the tactile is not that far away.

By Dan Ruccia

Lyrics to "At Giza"

Rise aviator - sun will follow.
Aperture on door the wave form school.
Sentient ground of the light shrine shining.
Aperture on door the lind-hymn stone.

Sentient ground of the light shrine shining.
Aperture of door the lind-hymn stone.
The orbits arms oscillate to freedom.
Params the shore of celestial sea.

Rise aviator - sun will follow.
On aperture on door the wave form school.
Sentient ground of the light shrine shining.
Semblates the finite - to autumnate seen.

Electron sea - now set free - takes into the sky above on sentinel stream.
And grant to me - a light to see - and pilgrimage to mountain of the votaric form.
And lighten pon day - the solarics raise - falls upon the ziggurat electron school.
And reap upon field - the host moon fade away - glides the aeronaut toward the object form.

And lighten pon day - as scintillate rays - augurate arrival of a seraphic form.
From Lebanon reels - the obelisk seen - called now inverse upon the currenter-sign.
The matter form wanes - the host moon fades - takes into the sky ascends the freedomward dove.
The rite of fall sealed - descendant orb hails her - down to the ground of electron form.

And travel under twin suns rays - the host-moon fades - takes into the clesiast at oracle school.
An epison raise - the pole star fades - wakes into availed light of aurican form.
To reach a suns rays - through glowing bronze grace - leaves the lake and rises toward empyrean sun.
The swans array - the crane stands veiled grace - tunnement to the omen of the object form.

And travel on toward the lighten pon day - on through a spine's gates - climbs the silken thread to cross a silvering sun.
The Orphic glow seen - as aural sounds ring - climbant to throne within on spine's attuned prow.
Empyrean rays - engulf the nine gates - dove ascends to freedom through a lantern filled sky.
Awakens from field - availed light's salving grace heralds arrival of the solar-object form.

Reemerge to breathe - the outform seen - vivified by illumined glow through auric-clad sheath.
An epison raise - the pole star fades - wakes into availed light of aurican form.
To reach a suns rays - of glowing bronze grace - leaves the lake and rises toward empyrean sun.
The swans array - the crane stands veiled grace - tunnement to the omen of the object form.

And lighten pon day - as scintillate rays - augurate arrival of a seraphic form.
From Lebanon reels - the obelisk seen - called now inverse upon the currenter-sign.
The matter form wanes - the host moon fades - takes into the sky ascends the freedomward dove.
The of fall sealed - cremation now reclaims - bows toward the sun and sheds the object form.

http://www.mediafire.com/?eqbmemtgfzz

Morly Grey - The Only truth

From Wikipedia.com

Morly Grey is a progressive rock band that formed the late 1960s. The group recorded a single album, The Only Truth, which was recorded and released in 1972. Some discographies and music catalogs continue to list the album’s release date as 1968 or 1969.The confusion over the release date may come from the album’s serial number of 69000 (originally released through the unpublished Starshine label) and the fact that the album had a very short release period. The first single from the album was "Who Can I Say You Are". Most pressings of this single incorrectly list the album’s original title—The First Supper. In the 1980s and 1990s, the original vinyl LP pressing of the album had become somewhat of a collector’s item due to its rarity and the fact that it came with a full-size color poster.

Morly Grey is an important historical musical example of the foundations of progressive rock and demonstrates how early 1970s psychedelic-style rock influenced later, more established progressive rock bands like Yes before the genre was know as "progressive".

Musicians: Tim Roller - Composer, All guitars, backing vocals, Mark Roller - Composer, Bass, Lead vocals, Paul Cassidy - Composer, Lead vocals, drums, Bob LaNave - drums (Side II of "The Only Truth").

Review and info from progressiveworld.net

Reviewed by: Keith "Muzikman" Hannaleck, December 2002

Morly Grey had only one album, titled The Only Truth. Originally released in 1969 on the Starshine label, it was a rare collector's item for years. Now it is available as a reissued and digitally remastered LP and CD by Comet Records. The first few original releases came packaged with a poster, which is reproduced beautifully from the original artwork as a bonus to this LP.

This great rock record is one of those amazing classics that you never heard, wish you did, and then wonder why you have not. The music sounds unexpectedly advanced considering the tracks were committed to tape in1969. You will hear rock, psychedelic sounds reminiscent of The Doors and Jimi Hendrix, and jazz-rock fusion, like on the track "Our Time." For a trio, their sound was an electrifying full exciting new sound that was just starting to make its way into the consciousness of young adventurous musicians. Bands like this jump-started the beginning of many major changes in music. The title track, which is a flat out progressive rock tour de force running over 17 minutes long, brings you full circle from a rocking entrance, to a spaced out eerie middle section, then to a meaningful powerful ending. I do not want to imply that it is something that you would hear today. It sounds more like a formative free form track that develops and comes to a head like a musical eruption exploding from the core of their base sound. The group works very hard to maintain and expand this format in many of their songs.

It comes as a shock that they did not continue to record after such a successful recording session as this. One never knows what the circumstances may have been at the time though. One thing I do know, they left their ineradicable mark on early progressive rock music.

Rating: 5/5

More about The Only Truth:

Track Listing: Side One: Peace Officer (5:30) / You Came To Me (4:12) / Who Can I Say You Are (3:40) / I'm Afraid (4:32) / Our Time (6:29)

Side Two: After Me Again (3:07) / A Feeling For You (2:33) / The Only Truth (17:02)

Musicians:
Tim Roller - all guitars, backing vocals
Mark Roller - bass, lead vocals
Paul Cassidy - guest vocals, drums (Side I)
Bob LaKnave - drums, percussion, lead vocals (Side II)

Well, if you havent heard this one, its about time, it is truly amazing.





http://www.mediafire.com/?d0jmdzynjjj

High Tide - Sea Shanties

Bio from progarchives.com

One of the most important underground hard rock band from Britain and also a very influential group , although they never managed much commercial success. Their sound in their two historical album can be likened to BLUE CHEER or STEPPENWOLF ( but with lenghty improvisations in some tracks) and is sometimes mentioned as one of the first example of Heavy Metal music , some progheads on this site even going as far as citing them as the grandfather of Prog Metal.

The Original line-up was a quartet consisting of a superb singing guitarist , A violinist sometimes playing KBs and a good rhythm section. After the second album's release , their drummer left for health reason , and HIGH TIDE did not release another album for some 18 years although they still recorded aopparently fairly regularly with an unstable permanent line-up with Tomlin, Theaker , House and Pavli coming and going almost at will, the only mainstay being Tony Hill. Starting in 88, they will release seven records in a span of three yearts , very confused affairs with tracks from all those lost years appearing on different records and no clear recording dates given. Apparently they played together until 1990 , and their latest release is yet another mixed-bag of tracks from all eras released on Black Widow label in 98, but with recording dates at last clearly mentioned .

HIGH TIDE is a highly influential underground band likely to please all Prog Metal fans looking for roots of their beloved music style.

http://www.mediafire.com/?omvutwcigvo

Masters Apprentices - A Toast To Panama Red

Last album from these great aussies.


Story From http://www.sssc.vic.edu.au/masters/panama/story.htm

In early 1971 the Masters had released Choice Cuts, recorded at the legendary Abbey Road studios.

Relesed and getting rave reviews in England and Europe, Jenny Halsall who worked for EMI alerted her brother, John Halsall a promoter and huge fan. He contacted the Masters in Australia and urged them to come back. They reformed and set off back to England. Again on a boat!

When they arrived 7 weeks later all interest in Choice Cuts had fizzled out (It had sold 12000 copies). EMI had offered to finance the recording of another album. EMI England set the recording date for 3 months away. That gave the band plenty of time to write, rehearse and polish the songs. They went back to Jeff Jarratt and the same team at Abbey Road studios. A Toast To Panama Red was the result.

The title is a homage to an illicit national crop picked up while traveling through the Panama Canal on the way to England.

The band took their time and experimented with a variety of styles and sounds and produced a far more diverse set of songs than those on Choice Cuts. It was a personal creative venture that was the most enjoyable thing they had done.

Recording this time much more relaxed as the Masters new the routine. However Glenn had a part time job that interfered with rehearsals and recording sessions. The upshot of it meant Doug ended up recording some of the bass parts.

The album was released early 1972. Again, like Choice Cuts, to good, solid reviews despite it being undeniably self-indulgent. Doug Ford, whose soloing dominates the album came in for particular acclaim. Europe once again took to the album warmly. It is still a popular bootleg there today.

The band were broke, under-rehearsed with Glenn being part-time and they were unable to promote the new album properly. The single Love Is failed to do anything significant and the end was near.

Glenn left for a lucrative job in Australia and soon after Jim reluctantly quit and returned to Australia, both sad and glad that it was all over. Colin's brother Denny joined on bass and the Masters continued for about 6 months in England. They only recorded one song - Freedom Seekers (available on the Hands of Time CD compilation, also the only Master's song Jim did not contribute too)

http://www.mediafire.com/?ynlmdydut3y

Masters Apprentices - Choice Cuts

Great, great album.

Review from http://www.headheritage.co.uk/unsung/review/1689

1. Rio De Camero
2. Michael
3. Easy To Lie
4. Because I Love You
5. Catty
6. Our Friend Owsley Stanley III
7. Death Of A King
8. Song For A Lost Gypsy
9. I'm Your Satisfier
10. Song For Joey Part II

If you are not yet familiar with The Masters Apprentices, I should direct you to the fabulous anthology "Hands Of Time-1966-1972" on the Raven label. This faultless collection was compiled by Australian rock historian Glenn A. Baker, and provides and excellent introduction to this great Australian group, who along with The Easybeats were the two top acts down under in the late 60's early 70's.

The Masters started life in 1966 as a primal R&B garage outfit that specialized in ultra primitive rock and roll in the style of The Pretty Things and Van Morrison's early group Them. Their early sides were penned by the group's guitarist, a gifted writer named Mick Bower, but their obvious focal point was lead singer Jim Keays. Keays had both style and talent, and possessed a wailing vocal range that would rival Pretty Things lead singer Phil May.

Early Masters recordings such as "Undecided", "Buried And Dead" & "Hot Gully Wind" are top drawer, freakbeat ravers that take a back seat to no-one. As time went on Mick Bower's songwriting became more sophisticated and reflective, tracks such as "Wars Or Hands Of Time", "Theme For A Social Climber" & "Tired Of Just Wandering" showed tremendous maturity. Sadly Bower suffered something of a nervous breakdown and was advised by his doctor to leave the pop business, which he eventually did.

This could have spelled the end for the Masters, but Jim Keays picked up the pieces and weathered the group through the flower-power era. This era of the group was resonsible for the classic "Elevator Driver" 45 and also "But One Day" (which was a Mick Bower holdover.) The Masters entered their next phase leaning towards a harder, more progressive sound which was first introduced with the 1969 album "Masterpiece." All the while the Masters were incredibly popular in Australia regardless of their several lineup shifts. Jim Keays was the one constant that kept the group's head above water. However as 1969 turned into 1970 the group felt they were stagnating in Australia and decided to take a shot at global acceptance and relocated to England.

The Masters arrived in England in the spring of 1970 and signed with the EMI progressive label Regal Zonophone (home to The Move, The Tickle, Procol Harum & others.) This lineup featured Jim Keays on lead vocals, guitarist Doug Ford (previously with The Missing Links & Running, Jumping, Standing Still), Glenn Wheatley-bass and Colin Burgess on drums. This lineup would prove to be group's finest since the Mick Bower days.

The Masters managed to book Abbey Road Studios to record their first album on UK soil. "Choice Cuts" (which was issued in the UK simply as "Masters Apprentices" or the "chair album") was nothing short of a revelation and a quantum leap artistically for the group. This album is just a drop dead classic from the word go. Released in 1970 "Choice Cuts" is the equal of any great record you care to mention from that year. The Masters prove to be just that, masters of any style they chose to attempt, pop, folk, progressive and full tilt, heavy rock. It's all there and it's all good!

"Rio De Camero" is a vibrant opener which combines a latin, shuffle beat with Glenn Wheatley's fluid, upfront bass lines and funky minor chords played by Doug Ford. Keays interjects with his shrieking, double-tracked vocals, the whole thing ends with a rush of guitar muscle (this track was included on the "Hands Of Time" collection.) "Michael" begins as a plaintive acoustic ballad that quickly evolves into an all out heavy guitar blitz that simply never lets up.

"Easy To Lie" is absolutely threatening! It begins with Wheatley's throbbing bass line and leaps right into a massive acid guitar frenzy, Keays has his vocals treated to where he sounds like Ozzy Osbourne. Doug Ford hammers at his axe with the savage intenisty of T.S. McPhee of The Groundhogs, while the rhythm section lays down a sinister, gorilla beat that would have made the Hogs proud. Then comes an absolute curveball in "Because I Love You" which reminds me of Peter Frampton's melodic contributions to Humble Pie, the song employs bright acoustic guitar patterns to a rousing chorus which fades in the manner of The Beatles "Hey Jude" & Donovan's "Atlantis." I'm sure the female fans of the group dug this romantic tune all the way.

"Catty" returns to the blistering hard rock of "Easy To Lie", the spare, punishing guitar chords remind one of Free's late, great guitarist Paul Kossoff. While the overall feel of the number is that of a funky Black Sabbath. "Our Friend Owsley Stanley III" is also in Black Sabbath territory with an equal measure of "Stand Up" era Jethro Tull. Obviously the song is an ode to the US acid kingpin, perhaps acid got to Australia a bit late, as most groups were more into singing about granola and ecology flags in 1970.

"Death Of A King" is another Groundhogs style pissed off heavy ballad which concerns itself with the tragic death of Martin Luther King. This song addresses the subject in a much more convincing fashion than U2's self-serving "Pride" anthem. "Song For A Lost Gypsy" goes for the heavy thud of Blue Cheer with positive results. "I'm Your Satisfier" is a down and dirty, funky number that once again draws a Free comparison. The final piece "Song For Joey Part 2" begins with some lovely acoustic guitar work from Doug Ford before hurling another curveball at the listener, this piece quickly shifts into the greatest Van Morrison copy since the USA garage band Things To Come's "Sweetgina", however this one goes for Morrison's "Astral Weeks" style and Keays and Co. pull it off perfectly.

"Choice Cuts" was greeted by glowing reviews in the UK press but somehow the record failed to attract much action at the shops or on radio and sank into obscurity until being re-discovered by collectors in the 1980's. The record now changes hands for $150+ but it lives up to that lofty price tag with room to spare. There have been a few legal and semi-legal CD re-issues of it down the years, but it seems to be out of print at the moment. Hopefully this will change very soon. "Choice Cuts" is a dazzling blend of folk, heavy and progressive styles that should be in every serious record library. The good news is that the Masters would actually up the ante with "Choice Cuts" brilliant follow-up "A Toast To Panama Red" (more on that one in a bit.)

The Masters Apprentices were one of the great groups of the late 60's early 70's and it's about time their name starts getting mentioned next to the MC5, Pretty Things, Stooges, Groundhogs etc. because they no doubt belong in that company.

http://www.mediafire.com/?23g2zqdhtqm