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There is no reliable information about the history of this band. Apparently this album was recorded in Wakefield between 1970-1971, England, engineered and produced by Mike Levon.It collects Their Contributions to Astral Navigations, Gagalactyca, Loose Routes I and II. "David J. Smith (formerly of David John and the Mood) co-produced and sang on some tracks of an" ad hoc "group (ie They Were the studio creation) called Thundermother During 1969.This one band shared with lp Light years Away called "Astral Navigations" (Holyground 1971). Thundermother's Contribution was recorded over one weekend.Acid guitars, Hard Acid rock, heavy Acid Psych, Heavy Acid Prog, Acid Blues !! Progressive/hard rock featuring a lot of fuzzed guitar!!

Despite this track record, most likely the reason that the majority of genre fans didn’t know her is because mainstream smooth jazz radio has been flute-resistant for years. They say it doesn’t test well in their demographic research, but anyone who saw Rene electrify the crowd could attest that this is wrongheaded thinking. Given the chance, considering her formidable composing and playing skills, charismatic presence and dynamite looks, she could be a star on the level of Mindi Abair and Candy Dulfer, who makes a memorable guest appearance on one of “No Restrictions” coolest and most melodic midtempo tracks, “Ladies Night Out.

Fred Ho & The Green Monster Big Band - Celestial Green Monster (2009) {Mutable Music–Big Red Media 001}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 449 Mb | MP3 @320 -> 174 Mb
Full Artwork @ 300 dpi (jpg) -> 19 Mb | 5% repair rar
© 2009 Mutable Music / Big Red Media | 001
Jazz / Avant-Garde Jazz / Experimental / Modern Creative / Modern Big Band / Saxophone

Asian-American baritone saxophonist Fred Ho has been a champion of freedom and expressionism in modern creative jazz for some time. A continuing battle with cancer has inspired him to assemble the Green Monster Big Band, with reference to the famed left-field wall at Fenway Park in Boston, but more directly related to the huge sound and diverse ideas this juggernaut ensemble represents. Ho is influenced by the '60s big bands, television or movie themes, and the psychedelic rock he grew up with, all present on this ambitious program.

Archie Shepp - Little Red Moon (1985) {Soul Note SN 1112 CD}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 271 Mb | MP3 @320 -> 108 Mb
Full Artwork @ 300 dpi (jpg) -> 9 Mb | 5% repair rar
© 1985, 1986 Soul Note | SN 1112 CD
Jazz / Post Bop / Free Improvisation / Saxophone

"Serious collectors and devoted Sheppherds only…" By 1985 Archie Shepp's tone on tenor had declined quite a bit from just a few years earlier. This should have been a strong set for the sidemen (trumpeter Enrico Rava, keyboardist Siegfried Kessler, bassist Wilbur Little and drummer Clifford Jarvis) are excellent and the repertoire is both diverse and challenging. However Shepp fouls up "Naima" by playing his out-of-tune soprano, talks and sings on the 18-minute "Little Red Moon" more than he plays tenor and his sax sounds quite sloppy on "Whisper Not" and "Sweet Georgia Brown." Despite some good moments from the supporting cast, this is one to skip.

Blood Sugar Sex Magik is the fifth studio album by American rock band Red Hot Chili Peppers, released on September 24, 1991. Produced by Rick Rubin, it was the band's first record released on Warner Bros. Records. The musical styles of Blood Sugar Sex Magik differed notably from the techniques employed on the Chili Peppers' preceding album, Mother's Milk, and featured little use of heavy metal guitar riffs. The album's subject matter incorporated sexual innuendos and references to drugs and death as well as themes of lust and exuberance. Blood Sugar Sex Magik also ranked number 310 on Rolling Stone's the "500 Greatest Albums of All Time" and number 14 on the "100 Best Albums of the Nineties".

Losing John Frusciante for a second time doesn’t send the Red Hot Chili Peppers into a tailspin. By now, the Chili Peppers shed guitarists like a second skin, changing their outer layer but retaining their inner core. Such is the case with I’m with You, the band’s first album since 2006’s Stadium Arcadium. If that double-disc was defined by its unwieldy sprawl, its songs spewed not sequenced, I’m with You is characterized by its focus, both within individual tunes and the songs as a whole…