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Info By Wiki:Roger the Engineer (original title: Yardbirds, US, German, and French title: Over Under Sideways Down) is an album by the English blues rock band The Yardbirds, released in 1966. It was produced by bassist Paul Samwell-Smith and Simon Napier-Bell.
It was the only Yardbirds album with all originally-written material. Although the record was officially titled The Yardbirds, it has since been referred to, first colloquially, then semi-officially, as Roger the Engineer, a title stemming from the drawing on its front cover, a cartoon of the record's audio engineer Roger Cameron by band member Chris Dreja.
Info By Progarchives:This band was from Scotland, their name is derived from a novel by the poet John Gray in 1728. The musicians of BEGGARS OPERA were Martin Griffiths (vocals), Rick Gardiner (guitar and vocals), Alan Park (keyboards), Gordon Sellar (bass, acoustic guitar and vocals), Virginia Scott (Mellotron and vocals) and Raymond Wilson (drums and percussion). BEGGARS OPERA made a lot of records but remained acting in the shade of most progressive rock bands.Their debut-album 'Act one' (’70) contains fluent and tasteful organ driven progrock with powerful 'Sixties' sounding guitarwork. The long track 'Raymond’s Road' is a splendid tribute to the 'classics' featuring Mozart’s A la Turka, Bach’s Toaccata in d-fuga en Grieg’s Peer Gynt Suite on the Hammond organ.
The second album 'Waters of Change' (’71) is build around the dual keyboardplay of Alan Park and newcomer Virginia Scott and the distinctive, a bit cynical vocals of Gardiner. The nine tracks are beautiful symphonic landscapes with many organ solos, some swelling and glorious Mellotron waves (like The MOODY BLUES and early KING CRIMSON) and fine electric guitarwork.
On the third LP 'Pathfinder' BEGGARS OPERA seems to have reached its pinnacle: strong and alternating compositions with lush keyboards (Mellotron, organ, piano and harpsichord), powerful electric guitarplay and many shifting moods (even Scottish folk with bagpipes). The band released three more albums but, in my opinion, they sounded far less captivating: 'Get your dog off me' (’73), 'Saggittary' (’76) and 'Beggar's can’t be choosers' (’79).Beggar's Opera-Act One @3201. Poet and Peasant2. Raymond's Road5.
Light Cavalry6. Thinkpt1: rapidshare.com/files/116314022/bgsoppt1.zip.htmlpt2: www.zshare.net/download/12305632eed4daae/ps: echoesof-the-past.blogspot.com.
Info by Wiki:Sir Lord Baltimore are a pioneering American heavy metal band from Brooklyn, New York, formed in 1968 by lead vocalist/drummer John Garner, guitarist Louis Dambra, and bass player Gary Justin.Having first met in high school, Garner, Dambra, and bassist Gary Justin started rehearsing together in 1968.At the time of their formation, Dambra (as Louis Caine) was also playing for a group called The Koala, who released an eponymous LP in 1969. Additionally, Justin has cited Cream's Jack Bruce as an influence on his early career choice.After a relatively short time, the new band auditioned for Mike Appel, who was then working as a talent scout and would later launch and manage the career of Bruce Springsteen. Appel agreed to mentor them, reportedly gave them the name Sir Lord Baltimore, and would later co-write and co-produce their debut album.That album, Kingdom Come, was recorded at Vantone Studios in West Orange, New Jersey, with Jim Cretecos serving as Appel's co-producer. Additional mixing was done at New York, New York's Jimi Hendrix Electric Lady Studios by legendary engineer Eddie Kramer, better known for his work with Jimi Hendrix, KISS, and many others.
Roger The Engineer Yardbirds Rar Programs Youtube
Roger The Engineer Yardbirds
A Space in Time is the seventh album by the British blues rock band, Ten Years After. It was released in October 1971 by Capitol Records.Review By George Starostin:Despite all the hype, Ten Years After could never have earned the title of a 'prog-rock' band: sometimes they are mistakenly lumped in with the movement, but Alvin and Co.' S ambitions never really amounted that high - for the most part, they were just hardcore blues rockers with a slight experimental edge, to distinguish them from colleagues like early Fleetwood Mac or Free. Still, if there ever was a period in which they were real close to embodying some 'progressive' tendencies, it was this fall of 1971, with this extremely strange, un-Ten Years After-like album, and this really great bunch of songs, with hardly a major stinker in among all the melodies. Unarguably the band's strongest and most consistent effort since the Ssssh days, A Space In Time continues the line of Watt in its heavy use of synthesizers and special effects, but this time the members probably took out some time to make these thingamajigs actually work. Alvin's guitar is not idle either; and his songwriting reached a peak at this time - never to be surpassed again.One thing strikes you immediately as you let all the tracks flow through your mind, one by one - where's the fingerflashing? This sounds nothing like what we've grown to expect from the band because the main trademark element of the sound, Alvin's blazing speedy chops, are completely missing.
Yardbirds New Album
An intentional move, of course; whereas I wouldn't want to accuse Alvin of sharing the famous 'guitar hero complex' that managed to overtake such six-string greats as Clapton and Jeff Beck in the early Seventies, it's at least clear that on A Space In Time the man was keen on cutting out the crap and fully concentrating on the melodies and real musical substance. He wanted to be able to finally make a record that would feature him as a real solid composer, that would not just keep repeating the same lightning-speed licks over and over again. And while it's rather hard to believe without having heard the record, he did succeed.
On here, you'll find the best batch of melodies ever created by the band - many of them acoustic, showing Alvin's developing passion for the unplugged atmosphere, but some electric as well. Alvin's lyrics rarely match the melodies in skillfulness or deepness, but as usual, he manages to walk the thin line between cliches/banality and pretentiousness just fine. And while his take on the 'we gotta get out of this place' schtick on 'I'd Love To Change The World' is nothing particularly special, it comes along as sincere and never too overblown. Just a guy lamenting over post-Woodstock disillusionment.The opening track, 'One Of These Days' (not to be confounded with the famous Pink Floyd instrumental, or, for that matter, with the ninety thousand other songs by other composers with the same name), kicks in with such a staggering might that it makes you go wow. It's essentially just a slow blues rocker, but produced like they never tried before - with a deep and elaborate sound, echoey guitars, moody swirling organs, and tremendously atmospheric.
My guess is that it probably inspired the Stones for 'Ventilator Blues' (which is a weaker song). It does end in a slightly overlong speedy jam that tends to get a wee bit tedious due to Alvin's self-restriction on the guitar, but never mind - it is all compensated further on.On no other Ten Years After album will you find, for instance, two tracks as moody and 'place-taking' as 'Here They Come' and 'Let The Sky Fall'. Sure, Alvin and the boys did try their hand at 'mystical acoustic shuffles' earlier, particularly on Stonedhenge, but there was basically no melody-creating back then. 'Here They Come', on the other hand, is based on a slow, entrancing acoustic riff with a slight medieval influence; it's dark and a little bit creepy. 'Let The Sky Fall', on the other hand, features a reworking of the 'Good Morning Little Schoolgirl' riff, but with an entirely different purpose: the song is supposed not to let you rock your ass, but to contemplate some vivid psychedelic associations, what with all the backwards guitars and special synth effects.
I love that mood.More acoustic shuffles follow, with pretty folkish melodies that are charming in their naivety and amazing in their professional delivery. Isn't 'Over The Hill' gorgeous? The way the steady acoustic riff and the moderate strings section interact with each other certainly is, and on top of that Alvin delivers a pretty catchy vocal melody.
