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90's to Present Classic Rock / Frozen Planet 69
« on: February 09, 2020, 02:25:40 AM »
Frozen Planet....1969 is an instrumental Space-Psychedelic jam-band featuring members of Mother Mars and Looking Glass. Although the band name suggests otherwise, FP69 dates back to early 2012. It was then that a heavy-psych jam session between two Sydney-based musicians, Paul and Frank Attard, and Canberra-based Lachlan Paine, took place. Luckily, this afternoon of improvisation at the home of Pepper Shaker Records, Frank Street Studio, was recorded. However, it wasn’t until over a year later that the three decided they should finally mix and release some of the material they had created that day. They decided this album would be set out like a soundtrack to a film. That film would be called “Frozen Planet….1969”. Pretty soon this one-off release would become a band called Frozen Planet….1969. The emphasis would be on improvisation. No vocals, just straight-out instrumental jamming. FP69 played its first show in February 2014. It was also around this time that the band recorded another mammoth jam session. From this jam session came the second and third releases for the band, “Lost Traveller Chronicles, Volume 1” (2014) and “Lost Traveller Chronicles, Volume 2” (2015). The concept this time would be a travel journal through the constellations, with each song being a chapter from the journal. Both volumes were released in digital and physical format on Pepper Shaker Records.

Frozen Planet.....1969: (2013)
Lost Traveller Chronicles Volume 1 (2014)
Lost Traveller Chronicles Volume 2 (2015)
Electric Smokehouse (2017)
From The Centre Of A Parallel Universe (2017)
The Heavy Medicinal Grand Exposition (2018)
Meltdown On The Horizon (2019)

This is some spacey jamming shit here...A throwback indeed. Check them out!

Meltdown On The Horizon (2019) full album:

The Heavy Medicinal Grand Exposition (2018) Full album:

Lost Traveller Chronicles Volume 1 (2014) Full album:

Lost Traveller Chronicles Volume 2 (2015) Full album:

The Mystery Wheel (previously unreleased track 2019):

From The Centre Of A Parallel Universe (2017) Full album:

Progressive Rock / Electromagnets (Eric Johnson on Guitar)
« on: February 09, 2020, 01:57:03 AM »

Eric Johnson (guitarist of Cliffs of Dover fame)
Kyle Brock
Stephen Barber

Electromagnets was a Fusion band which was founded in 1973 and only recorded one album in 1974. Their music is very sophisticated and successfully fuses advanced Jazz concepts with raw rock music. The band was founded by Steve Barber and Bill Maddox under the name Aussenhorowitz. For the recording of their self titled album they were joined by Kyle Brock and Eric Johnson. The album was well received among critics and Jazz-Rock fans, but unfortunately the band broke up shortly after the album was recorded.
The Electromagnets, winners of the jazz division of the Sun's band poll, have been blessed from the start with an audience which, if not enormous, has always been fervent. In the summer of 1973, when they made their debut at the Nickel Keg, an out of the way club in San Marcos, it sometimes numbered five.
Some Additional Bio-history (from their website :
The Electromagnets at the 'Dillo!Times have changed. With no loss of enthusiasm, their audiences have multiplied so that the band can count on a couple of hundred listeners at any of their increasingly rare Austin performances. Not bad for a non-boogie, non-glitter, non-progressive country quartet of serious musicians.
Now at last a record has appeared. With it, critical pats on the back have begun to trickle in summer finds them in the process of trying to break from the regional to the national scene, from around the country, and the 'Magnets are thinking of bigger and better things. This an especially tricky feat, since their appeal is to the listener with intellectual quality seldom associated mass audiences.
The Electromagnets music is difficult to describe, but "jazz-rock" is as close as anything else around. Influenced especially by Weather Report and Chick Corea's Return to Forever, the 'Magnets differ from many another group playing jazzy rock by their deep familiarity with jazz structures and their ability to fuse these patterns with, not simply pile them upon, rock rhythms.
At present, Electromagnets is a four man band with Bill Maddox on drums, Kyle Brock on bass, Steve Barber on keyboards, and Eric Johnson on guitar. Their story is a central chapter in the history of jazz in Austin.
Eric Johnson in 1976! The nucleus was a thing called Aussenhorowitz, which consisted solely of Bill Maddox and Steve Barber sounding like twice as many people as they combined drums, keyboards, and a shared bass line to mix jazz-like harmonies with your basic boogie. Aussenhorowitz, however like its prototype, The Booger Band from Atlanta, met with zero commercial success and quickly perished.
Maddox and Barber then picked up bassist Brock and reedman Tomas Ramirez and formed a group called the Edsels. Ramirez of course went on to work with the Lost Gonzo Band and, Lately, the Jazzmanian Devils, but he was one of the first and most important shapers of the jazz element in the Electromagnets.
More jazzmen came and went. The Edsels expanded into an 11 piece band including Larry Crook and Nick Phelps (both now with Nova) and John Treanor (currently with 47X) and changed their name to the Lurching-Id Bop Orchestra. Influenced by a range of musicians from Albert Ayler to Tower of Power, their ascent was incandescent but regrettably brief. The Austin area was not ready for the Lurching-Id Bop Orchestra.
But the LIBO was an interesting and zany focus for the embryonic Austin jazz scene of that time, and out of it came the original Electromagnets in the summer of 73. This band consisted of the original band minus Eric Johnson plus assorted floating percussionists and horn men and was crazy. At the Nickel Keg the band gleefully enjoyed concocting sight gags, ritually sacrificing hamburgers and performing similar spontaneities specifically designed to alienate proponents of boogie music. In between tricks they also played some good stuff. As a San Marcos newspaper, coincidentally named Weather Report, said, "These guys are incredible. Sure it;s hard to boogie to an intricate 35/4 rhythm, but then, this is music…The next morning, I woke up and all my warts were gone."
Stephen Barber in the Electromagnets!In January 74 the Magnets dropped the horn section and added Eric Johnson and their music began growing into its present somewhat more commercially viable form. Although trained in classical music, Johnson was very much influenced by Jimi Hendrix and other hard rockers like Led Zepplin. He came to the Magnets from Mariani, a rock band at on home the bills with ZZ Top and Bloodrock. Johnson is a brilliant guitarist by any standards more accessible to an audience of whom a large part has never heard of John Coltrane or Eric Dolphy. In Johnson's solos you can hear Allman and Clapton–bright stars in his galaxy and his ability to blend rock riffs into jazz arrangements has made the 'Magnets material of models–but if you listen more closely you can sense Django Reinhardt and Charlie Christian coming up over the horizon.
An outstanding trait of the Electromagnets is their ability to listen to one another and therefore to function as a unit rather than a rhythm section supporting a couple of flashy soloists. True, Barber and Johnson often exchange leads in intricate and soaring dialogues that leave the listeners spinning, but their ears remain wired to percussion and bass. A nod from Maddox and the music turns on a dime, the time shifts, Brock bass launches into a run and Johnson and Barber are there riffing behind him. ESP, some call it, but the 'Magnets call it the New Electric Musik.
Larger Audiences and Regular Meals
The Original Album from the Electromagnets!Their new album is called Electromagnets. Recorded at Odyssey Sound in Austin, originally as a demo tape, it was re-mastered at A&R Records in Dallas. To produce the record the 'Magnets formed their own record company, but it will be distributed by Jem Records, Inc. Jem is also chief importer of ECM and Island Records, notable respectively for European jazz and Jamaican reggae.
Mostly pleased with their new effort, the band is hoping that the album will gain them a larger audience and more regular meals. For the 'Magnets are faced with a problem common to avant-garde jazz groups in a schlock-rock culture: how to maintain integrity and at the same time survive. Recently, for example, they were fired from a Houston club because their music "didn't sell enough whiskey." The answer, as they see it, is to educate their audiences–not to drink whiskey, but to appreciate advanced music. So, with over seven hours of material to draw on, they tailor their music to the audience, beginning with the a pronounced rock orientation and gradually moving into more subtle rhythms and harmonic complexities.
The crusade appears successful, since not only 'Magnets audiences but the local jazz scene has grown remarkably in the last three years. Commenting on KLRN'-TV's Austin City Limits program, Electromagnets manager Park Street noted " Jazz in Austin is expanding, while progressive country has leveled out. That title 'Austin City Limits' is totally misleading, and it's a disservice to serious musicians. People will think there's nothing here but rednecks."
Like the 'Magnets live work, most of the material on the album is instrumental. A couple of tracks contain vocal work by Steve Barber and Chris Geppert, but it is mere flavoring. The record's material is obviously the result of a joint effort, and credits are divided fairly evenly among the band, still, the guiding hand of Barber appears most distinctively. This is only natural, since the keyboard man has years of training in composition at Southwest Texas, where he studied harmonics theory and became extremely interested in twentieth century 'serious' music, especially Stockhausen's.
Thus the jazz of the 'Magnets is less blues and funk oriented and more cerebral than is usual. It is also admirably suited to electronic instruments, as Barber's work on electric piano, organ, and Mini Moog synthesizer testifies.
Electromagnets offers a pleasing variety of tunes ranging over the large part of the spectrum from rock to jazz. Tomas Ramirez and John Treanor join the band to good effect on "Minus Mufflers," inspiring hope that the 'Magnets might once more step out into the flora and fauna of horns and reeds. From now on they won't have to play to an audience of five.

* Taken from as I found no wiki page for this band.

1974: (full album and bonus live tracks:

Tears (Weather Report cover) Live Town Hall, Chapel Hill, NC  1975


Black Hole:

Minus Mufflers: Playback Music Show

Playback Music Show 1975 PBS Concert and interview:

Dry Ice:

Chicken Pickin:


Wake Up:

The Guitar Gods / Gabor Szabo
« on: February 09, 2020, 01:37:20 AM »
Gábor István Szabó (March 8, 1936 – February 26, 1982) was a Hungarian American guitarist whose style incorporated jazz, pop, rock, and Hungarian music.

 Gábor Szabó was born in Budapest, Hungary. He began playing guitar at the age of 14. When he was 20, in the aftermath of the Hungarian revolution of 1956, he moved to California and he later attended Berklee College of Music in Boston between 1958 and 1960.

 In 1961, Szabo became a member of quintet that was led by Chico Hamilton and included Charles Lloyd, playing what has been described as chamber jazz, with "a moderate avant-gardism". Szabo was influenced by the rock music of the 1960s, particularly the use of feedback. In 1965 he was in a jazz pop group led by Gary McFarland, then worked again with Lloyd in an energetic quartet with Ron Carter and Tony Williams. The song "Gypsy Queen" from Szabo's debut solo album Spellbinder became a hit for rock guitarist Carlos Santana. During the late 1960s, Szabo worked in a group with guitarist Jimmy Stewart. He started the label Skye Records with McFarland and Cal Tjader.

Szabo continued to be drawn to more popular, commercial music in the 1970s. He performed often in California, combining elements of Gypsy and Indian music with jazz. He returned often to his home country of Hungary to perform, and it was there that he died just short of his 46th birthday.

On June 25, 2019, The New York Times Magazine listed Gábor Szabó among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.


Gypsy '66 (Impulse!, 1966)
Spellbinder (Impulse!, 1966)
Simpático with Gary McFarland (Impulse!, 1966)
At Monterey (Impulse!, 1967)
The Sorcerer (Impulse!, 1967)
More Sorcery (Impulse!, 1967)
Jazz Raga (Impulse!, 1967)
Light My Fire with Bob Thiele (Impulse!, 1967)
Bacchanal (Skye, 1968)
Wind, Sky and Diamonds (Impulse!1968)
Dreams (Skye, 1968)
1969 (Skye, 1969)
Lena & Gabor with Lena Horne (Skye, 1970)
High Contrast (Blue Thumb, 1970)
Magical Connection (Blue Thumb, 1970)
Mizrab (CTI, 1972)
Small World (Four Leaf Clover [Sweden], 1972)
Rambler (CTI, 1973)
Gabor Szabo Live (Blue Thumb, 1973)
Macho (Salvation, 1975)
Nightflight (Mercury, 1976)
Faces (Mercury, 1977)
Belsta River (Four Leaf Clover [Sweden], 1978)
Femme Fatale (Pepita, 1981)
The Szabo Equation: Jazz/Mysticism/Exotica (1990)
In Budapest (Moiras, 2008) 1974 TV recordings

Dreams (1968) full album:

Small World (1972) full album:

Galateas Guitar:


Gypsy Queen (Later redone by Santana):

Los Matadoros:

1969: full album. This one features covers of popular sixties hits (Dear Prudence, Walk Away Renee, Stormy, In My Life, I've Just Seen A Face) good album!

70's & 80's Heavy Metal bands / Re: Black Sabbath
« on: February 09, 2020, 01:10:37 AM »
Good live recording from the Technical Ecstasy Tour
Olympen, Lund, Sweden 4/21/1977

70's & 80's Heavy Metal bands / Re: Black Sabbath
« on: February 09, 2020, 12:55:51 AM »
Live at the Hare Arena, Dayton Ohio 1984 (audio recording) from the Born Again Tour with Iommi, Butler, Gillan and Bevan

Progressive Rock / Re: Patrick Moraz
« on: February 09, 2020, 12:25:26 AM »
Yes studio sessions for Going for the One 1976
Does It Really Happen:
I'd love to hear a proper mixed version of these sessions.

Chris Squire: Hold Out Your Hand/You By My Side (featuring Patrick Moraz and Bill Bruford) Promo Video

Refugee ( Moraz, Jackson, Davison) Gatecrasher:

Mainhorse: Basia

Mainhorse: Such A Beautiful Day

Mainhorse: Pale Sky (Alternate version)/Hellbound:

Moody Blues: Driftwood (Remastered unreleased live) Seattle 1979

Moody Blues: Steppin In A Slide Zone Live Seattle 1979:

Refugee (Moraz, Jackson, Davison) Refugee Jam Live 1974

Progressive Rock / Patrick Moraz
« on: February 09, 2020, 12:15:08 AM »
Patrick Philippe Moraz (born 24 June 1948) is a Swiss musician, film composer and songwriter best known for his tenures as keyboardist in the rock bands Yes and The Moody Blues.

Born into a musical family, Moraz learned music at a young age and studied at the Lausanne Conservatory. He began a music career in the 1960s as a jazz musician, performing with his quartet and quintet that performed across Europe and won several awards. In 1969, he formed the short lived progressive rock group Mainhorse and started work scoring films. He formed Refugee in 1974 and recorded one album before he joined Yes of that year. Moraz stayed with them until 1976; during this time he started a solo career with his first album, The Story of I (1976).

Moraz was a member of The Moody Blues from 1978 to 1991. Since then, he has worked on various solo projects.

1991–present: Solo career
After his dismissal from the Moody Blues, Moraz has primarily concentrated on solo projects. His first of three piano albums, Windows of Time (1994), was recorded in a studio at Full Sail University in Florida. A total of fourteen hours of material was recorded which was cut to exactly one hour. Moraz then spent the next four years developing "hundreds of pieces of music for all instruments, as well as orchestras and choirs", producing several artists, and completed work for the Conference on World Affairs, of which he is an official delegate. He also wished to tour Windows of Time, but thought the style of the music would suffer in a traditional concert setting.

In late 1994, Moraz began a piano tour of the US and Europe with his Coming Home, America Tour (CHAT), which saw him perform at private or semi-private venues for an $800 flat fee, booked entirely by fans through the Internet. One show saw him perform for a couple in their home. The tour ended in November 1995 for a total of 92 performances. One of them was recorded and released as PM in Princeton (1995) for CD and video. In 1997, Moraz started work on a new album, A Way to Freedom, featuring arrangements for a symphony orchestra, percussionists, and a jazz brass band. The project remains a work in progress. From 1998 to 2000, Moraz worked almost exclusively on his second piano album Resonance (2000), which, like Windows of Time, was cut to exactly one hour of music. He also performed at a benefit concert at the request of poet José Ramos-Horta.

By 2001, Moraz had continued with several projects, including researching and preparing film scripts, including one for a potential film adaptation of The Story of I. He released his third piano album, the classically influenced ESP (2003), short for "Etudes, Sonatas and Preludes". In 2012, he issued a compilation of tracks from the three piano albums titled PianissiMoraz (2012).

In 2011, Moraz guested on an album by Panorama Syndicate entitled Skyline, playing piano on the title track.

In April 2014, Moraz took part in the annual progressive rock-themed cruise voyage Cruise to the Edge as a solo artist. In 2015, Moraz and drummer Greg Alban formed the Moraz Alban Project and released a studio album The M.A.P. Project (2015), featuring percussionist Lenny Castro, saxophonist Dave Van Such, bassists John Avila and Patrick Perrier, and Counting Crows guitarist Matt Malley. Moraz and Alban met in 1983 and Alban played drums on Moraz's album Time Code (1984). The project was an Alban solo endeavour at first, with Moraz contributing to the music, but it grew to feature numerous other musicians with the music written around the drums and keyboards. In November 2015, Moraz released a limited edition 19-CD box set of his 18 albums, including Mainhorse (1971), The Story of I (1976) and the live album Music for Piano and Drums: Live in Maryland (2012).

Moraz took part in his second Cruise to the Edge voyage in February 2017.

Moraz reunited with Yes in July 2018. As part of Yes' 50th Anniversary tour, Moraz performed with Yes at two shows in Philadelphia, July 20 and 21. At each show, Moraz played keys during the band's performance of "Soon". Moraz also appeared during the Yes FanFest before the July 21st show, at first performing a 70-minute solo piano show and then appearing on stage with Yes and taking part in a band interview.

Patrick Moraz (full album) 1978-

Refugee (Moraz, Jackson, Davison) Live at the Marquee 1974:

Refugee (Moraz, Jackson, Davison) Someday (1974):

Solo Piano Tour 1995:
Children's Concerto

Best Years of Our Lives (1976):

Steve Howe & Patrick Moraz: Beginnings Live 1975

Yes live 1976 Detroit- Long Distance Runaround/Patrick Moraz Solo:

Impact/Warmer Hands/The Storm/Cachaka: From the 1976 album The Story of I

Out in the Sun:

Los Endos (Genesis cover):

Refugee (Moraz, Jackson, Davison) Live 1974 New Castle City Hall
This band kicked ass and features great keyboard work by Patrick.


Temples of Joy: Opening of the Gates/Overture/The Feast (A Festa): 1978

Yes 50: Fanfest at The Foundry in Philadelphia, PA 7/21/18 Piano Performance

70's & 80's Heavy Metal bands / Re: Great White
« on: February 08, 2020, 11:49:01 PM »
Filed under Jack Russell's Great White.

Jack can still nail the Zeppelin man.

Immigrant Song (Zeppelin cover) live The Canyon, Santa Clarita, CA 1-11-20

Ok everybody, here we are in February. My prediction:

February, 2020 – Whip leaves the band and they get a replacement.

Now while Eddie didn't exactly "quit" the band in September as I predicted, he DID talk about doing a solo album. If you read between the lines, clearly that means he has all but checked out of Queensryche and is only going thru the motions until the inevitable reunion. It might as well be piped-in bass parts coming through those speakers, because Ed obviously wants NO part of this shit. His decision to stay in the band is a bit problematic, because it lessens the impact of everyone coming back together later in the year, but Ed's a wacky guy with wacky ideas. Let's how it all plays out.

NOW THEN. This month we will see Whip either bow out of a bunch of shows because of some "medical issues" or a "family emergency" or he'll just quit the band entirely. And then we'll see him again in the summer with the rest of the Original lineup.

My heart is in my throat.

You been smoking some of that shit Samsara smokes Rockox?  ;D

QUEENSRYCHE: / Re: Queensryche 2020 Live Footage/Performances
« on: February 05, 2020, 01:26:37 PM »

The Rage/Empire tour kicks back into gear tonight in Finland.

Here is the "as of the moment" full tour itinerary as booked thus far from Geoff's website.

Finland: 2/5, 2/7, 2/8
Sweden: 2/12, 2/14, 2/15

US dates begin on 2/19

For those who care, and have access to DIME:
The very first show of the tour is out there, with no less than 3 different sources >:D

So, I'm not at all familiar with this Dime site. How exactly does this site work? and is it a recognized legal site? Give me the rundown on this site and how it works if you could Setzer, and/or anybody else who maybe has used this site. I'm assuming for starters you have to set up an account and join the site?

Unless it’s changed, Dime works in kind of a gray area.  They will only host what they call “recordings of indeterminate origin” or something to that effect, so they won’t allow anything that was been released legitimately, including radio shows that are later released.  They only allow a limited number of members last I checked, so theres usually a waiting list to sign up.  They also have pretty strict rules about your share ratio - in other words, you can’t just get on and leech off everyone else without sharing. This doesn’t mean you have to provide new stuff, it just means that once you’ve downloaded things you have to keep them in your torrent queue so that others can benefit from the availability (which is why bit torrent is so efficient).

ok, thanks for the info. I think I'll stick to you tube for now lol  8)

« on: February 05, 2020, 12:24:47 PM »
Apparently Rustvold saw Queensryche (or "Frankenryche", as he proudly referred to them to Setzer on DTF last year) over the weekend. That explains why he wrote that insincere and embarrassing "confession" last week. 🤣

It was likely a ploy to mooch free tickets from the band. Hopefully they didn't fall for it. EOL has no shame. 😐

Well.... so much for being "done" with Queensryche. Don't believe it when he says he doesn't listen to the current lineup anymore.

For the record, Birdbrain never stopped listening. Fact is, he hasn't gotten anywhere with crying publicly since the band locked the door behind them to keep him out--- five years ago I might add. Unreal. 😪...🙄

You can read all about that in this thread.

Hmmm.... I wonder who sent Whip the post about "Frankenryche"?

Anyone, anyone?

Birdbrain is the best description of him by far. He is some kinda clown lol. No, he definitely never stopped listening and has been glued to it all no doubt. I never bought that bullshit he spouted for a New York minute, remember his moist panties from the Rising West weekend? remember his praise of Todd joining the band and the back to the roots of the band praise? remember the praise bestowed upon the S/T record? remember his glowing review of Condition Human following the botched early streaming release on amazon or whatever it was (the one he allowed to remain on his forum until the bands legal team wanted it removed etc. etc.) You know, the one we didn't post and advertise on here  8) that incident became the one that began the "fallout" after his moist panties then got in a bunch over being reprimanded I'm sure by the band members, little birdbrain suddenly didn't like the band anymore  ::)

I never bought it for a moment, it was all just sour grapes and bullshit. What I didn't expect him to do however, was to do an about face and publicly show all of us that he has been listening, paying attention and following them all along, just the opposite of what he claimed  :D Yep, The Verdict was THAT good.

Well that and the fact that Scott never did join back up with Tate for his Empire tour. Queensryche didn't reunite with Tate (nor do they have any inclination to do so) for the Empire anniversary, Chris DeGarmo is nowhere to be found anywhere near Queensryche, and the band is full steam ahead and ready to start work on the follow up to The Verdict. So where does that all lead...…………………………………………………………………………………………………………………………………………………………………………… exactly, It leads to Birdbrain jumping back on board  :D ;D :o
FOR NOW!                                     

70's Classic Rock / Re: Blue Oyster Cult
« on: February 01, 2020, 02:52:25 AM »
True Confessions (official live video)

This is taken from the new release "40th anniversary: Agents of Fortune live 2016" details are provided in the notes under the video. They are also reissuing Heaven Forbid, which is a GREAT record.   

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