The Hollies Evolution Rar Files
In economics, physical capital or just capital is a factor of production (or input into the process of production), consisting of machinery, buildings, computers, and the like. The production function takes the general form Y=f(K, L), where Y is the amount of output produced, K is the amount of capital stock used and L is the amount of labor used. In economic theory, physical capital is one of the three primary factors of production, also known as inputs in the production function.
The others are natural resources (including land), and labor — the stock of competences embodied in the labor force. 'Physical' is used to distinguish physical capital from human capital (a result of investment in the human agent)), circulating capital, and financial capital.[1][2] 'Physical capital' is fixed capital, any kind of real physical asset that is not used up in the production of a product. Usually the value of land is not included in physical capital as it is not a reproducible product of human activity.
May 15, 2017. Clarke, Hicks & Nash Years: The Complete Hollies April 1963 – October 1968; Box set by The Hollies. Hollies, Would You Believe? Download album1967 hollies evolution exe 4shared hollies rar rapidshare free from TraDownload. Evolution (Vinyl PMC 7022 @. 8217; mythical the and we file you to do Ar. Tabtight professional, free when you need it, VPN service.
Well heres a real beaut and underrated Psych album from Sweden. After the success of Lea Riders Group and their contributions to the documentary 'Dom kallar oss mods'and single with the same name, the band split up. Main man Hawky Frazen went solo, the rest of the guys reformed into Made In Sweden. In 1968 they released this long jam Psych album which has a distinctive San Fransisco vibe. You could say Made In Sweden was at this time SWE's answer to Grateful Dead or Quicksilver Messenger Service. The vibe and jazzy long jam style is similar BUT theres a personality of the band here and these guys are of equal talent as Garcia and Cipolina.That should say something.
This is a vinyl rip of my old LP. Hope you love this as much as I. The Atlanta-based Night Shadows were one of the earliest and longest-lived garage bands in the U.S., with a career that extended from the formative days of rock & roll to the psychedelic era. Guitarists Ronnie 'Goose' Farmer and Johnny 'Cha Cha' Pitner and drummer Craig Wemmers formed their first band, the Kavaliers, in 1956 -- the teens soon recruited friend Aleck Janoulis to play bass, followed by the 1958 addition of keyboardist Mike Moore, who also brought to the proceedings a homemade theremin capable of creating cosmic sonic embellishments that foreshadowed the group's later evolution into acid punk. Upon first hearing the Beatles in late 1963, the Night Shadows immediately shifted gears and adopted a more British Invasion-like sound -- by this point Little Erv & Helene were no longer in the picture, and the remaining members (Janoulis, Newell, Spinks, and guitarist Jimmy Callaway) hired new vocalist 'Little Phil' Ross, a high-school freshman equally adept at belting out R&B standards and Beatlesque rockers. The Night Shadows refined their new approach throughout 1964, although collegiate audiences throughout the South still preferred beach music classics to contemporary rock & roll -- in fact, in an ironic twist of reverse discrimination, many white fraternities refused to book the group on the grounds that they preferred African-American R&B acts.
In 1965 the Night Shadows landed a deal with Dot Records, but the escalating conflict in Vietnam forced Callaway (the only member not attending high school or college) to take a job as a fireman in order to support his pregnant 14-year-old wife. Janoulis lured co-founder Ronnie Farmer back to the lineup after a two-year absence, and thanks to academic commitments and subsequent occupational deferments, all five Night Shadows were able to avoid the military draft, but also severely limited their opportunities to tour outside of the Deep South. Their first Dot single, 'So Much,' appeared in January 1966, enjoying hit status in seemingly random regions of the U.S. -- a national fan club was even established in Texas. The group then opted to re-record an early crowd favorite, the 'Garbage Man' single's equally naughty B-side, 'The Hot Dog Man' -- Dot executives blanched, however, and the single instead appeared surreptitiously on the Banned Records label. By mid-1966 the Night Shadows were experimenting with guitar fuzz, vibrato, and reverb -- their sound eventually grew so distorted that Janoulis was forced to use amplifiers during live performances.
When Lockheed Aircraft, where he worked as an aerospace engineer, assigned him to a six-month project based in Ohio, Janoulis booked the group a stint as the house band at the Atlanta nightclub the Pigalley, recruiting cousin Danny Stephens and friend Dave Gallagher to play bass in his absence. He did return to Atlanta long enough to record the cult classic '60 Second Swinger,' issued on the Gaye label in late 1966. This single represented the first recorded fruits of the Night Shadows' evolving acid punk sound, and by the time of an April 1967 appearance at Emory University, the group had undergone a total psychedelic overhaul, performing with strobe and liquid lights. While still under contract to Gaye, they next cut the single 'Don't Hold Your Breath' for the local Baja label, crediting the record to the Square Root of Two to avoid legal hassles. That summer, Janoulis began work on a full-fledged psychedelic opus, also titled The Square Root of Two -- cobbled together from a variety of tapes recorded on portable cassette machines, the resulting LP appeared in 1968 and remains an underground classic of the era, with original copies fetching upwards of $1,000 on the collectors' market. In August of 1969 Newell left the Night Shadows, bringing to an end the group's heyday -- other members came and went (among them guitarist Barry Bailey, later to resurface in the Atlanta Rhythm Section) before the group finally called it quits in mid-1969.
In fact, two years later one more album appeared signed as Burnin' Red Ivanhoe. Its story is pretty interesting. A Device Driver Has Corrupted The Executive Memory Pool. Vogel was a member of Secret Oyster at that time. He found (Ref.
2) that he collected some compositions that were not appropriate for experimental style of this group and decided to release the new album under old band name. Right On appeared in 1974 and is another 'mandatory' item for BRI fans (unfortunately, this album is extremely difficult to find and very expensive). As for the members, there were former musicians of BRI: Vogel, Andersen, Fick, Secret Oyster: Knudsen and Day Of Phoenix: Karsten Lyng (vocal), so the band name on the album was used rather for formality.
This record has rare moments when you hear the echoes of Burnin' Red Ivanhoe (mainly instrumental parts with sax solos) but more often of Day Of Phoenix' first album. The opening track reminds of Uriah Heep very much! Autodesk AutoCAD V2009 GERMAN. In 1980 the group in old good line-up released Shorts, containing pop-rock compositions, quite enjoyable but it is a different story. Burning Red Ivanhoe was one of the most important and typical Danish rock representatives of that time. Fortunately, its rich discography is the evidence of wonderful musicians' output.
The group charted a world-wide hit with the song 'Venus,' which reached #1 on the U.S. Billboard Hot 100 in February 1970. This was an entirely different song than Frankie Avalon's 1959 hit of the same name. Before the breakthrough of 'Venus,' the group had a minor hit in 1968 with 'Lucy Brown Is Back In Town'. Once Mariska Veres took over the vocals two bigger hits followed, 'Send Me A Postcard' in 1968/69 and 'Long and Lonesome Road' (often mistakenly named as Long Lonesome Road) in 1969. 'Hot Sand', the flip-side of 'Venus' was also heavily plugged on Dutch radio.
The singular odyssey of David Crosby remains one of the more remarkable tales in the annals of music history. As a founding member of the pioneering American groups the Byrds and Crosby, Stills & Nash, he helped create and popularize the highly influential folk-rock sound, forging the richly harmonic, radiantly acoustic approach which defined the West Coast music scene for years to follow; he also sold millions of records and enjoyed a cultural impact equaled by few of his contemporaries. Yet despite his often overwhelming success, Crosby is recognized far less for his artistic achievements than for his larger-than-life off-stage exploits, specifically a long and fantastically excessive battle with drug abuse which seemingly kept him teetering on the brink of death for over a decade; that he not only survived but remained as colorful and newsworthy a character as before is a testament to his continued creativity and unpredictability.
Crosby was born in Los Angeles on August 14, 1941; the son of Academy Award-winning cinematographer Floyd Crosby, he dropped out of drama school to pursue a career in music, touring the folk club circuit and recording as a member of the Les Baxter Balladeers. Under the auspices of producer Jim Dickson, Crosby cut his first solo session in late 1963; early the following year he formed the Jet Set with Jim McGuinn and Gene Clark, and with the additions of bassist Chris Hillman and drummer Michael Clarke, the group was rechristened the Byrds. Although McGuinn chiefly pioneered the Byrds' trademark 12-string guitar sound, Crosby was the architect of their shimmering harmonies; his interests in jazz and Indian music also influenced their subsequent excursions into psychedelic. However, creative differences plagued the group throughout its career, and in 1967 Crosby — reportedly rankled by his bandmates' refusal to release his menage a trois opus 'Triad' — left the Byrds in the wake of their appearance at the Monterey Pop Festival.
Following a sellout CSNY tour, the group went on hiatus, and Crosby resumed work on his long-delayed solo debut, releasing If I Could Only Remember My Name in 1971; the following year, he and Nash issued the first of several duo efforts, and he also took part in a short-lived Byrds reunion. Despite continued creative differences, CSNY reformed for a 1974 tour; Crosby and Nash issued Wind on the Water a year later, and in 1977 Stills returned to the fold for the multi-platinum CSN. However, as Crosby's longstanding drug problem continued to worsen, he eventually fell out with both Stills and Nash, and a planned second solo album, Might as Well Have a Good Time, was rejected by Capitol in 1980.
During the recovery period which followed, Crosby met James Raymond, the son he'd given up for adoption over three decades earlier and a professional musician as well; the two soon began writing songs together, and with guitarist Jeff Pevar they formed CPR, releasing a series of albums and touring regularly. In early 1997, Crosby, Stills & Nash were inducted into the Rock and Roll Hall of Hame; six years earlier, Crosby had first entered the Hall as a member of the Byrds. Young returned to the fold for 1999's Looking Forward, with the resulting millennial tour — dubbed 'CSNY2K' — heralding the foursome's first joint road venture in a quarter century. Crosby was again the subject of tabloid headlines when in early 2000 it was revealed that he fathered the children of singer Melissa Etheridge and her life partner, Julie Cypher; that same year, he also published a second book, Stand and Be Counted, which assembled interviews with actors and musicians to explore the intersection of celebrity and social activism. The second (and arguably most fully realized) album from Texas psychedelic band Fever Tree, Another Time, Another Place owes less to the sound of roots-based contemporaries like the 13th Floor Elevators, Moving Sidewalks, or the Sir Douglas Quintet and more to heavier West Coast acid rock. One of the most underrated '60s psych bands, Fever Tree comes off like a coincidental midnight meeting of Jim Morrison, Steppenwolf, Jefferson Airplane, Iron Butterfly, and Jimi Hendrix at the tail end of a drug and whiskey binge. Luckily, however, the group transcends its influences by sheer force of attitude.
The material here (mostly written by producers Scott Holtzman and Vivian Holtzman) is of generally pretty high quality, wisely avoiding too much of the drippy 'ice cream cones and cosmic smiles' type stuff that bogged down the work of pretenders like Ultimate Spinach and Tricycle. Fever Tree was always a real, down and dirty rock band, and this record is no exception. Although in the liner notes the group stops just short of apologizing for including the oft-covered song 'Fever,' this version actually kicks some serious ass.
Other highlights include the bawdy, roadhouse-style rocker 'What Time Did You Say It Is in Salt Lake City,' 'Grand Candy Young Sweet' (a frightening, tuned-down plodder that sounds like Soundgarden's Kim Thayil jamming with Jandek), and the excellent chamber pop tune 'Death Is a Dancer.' The album's only questionable moment comes with 'I've Never Seen an Evergreen,' a sullen, hazy drug song that might have fit perfectly on a Roky Erikson album, but just sounds out of place here. Also of note is the over seven-minute instrumental 'Jokes Are for Sad People,' which fulfills the unwritten psychedelic statute requiring one long trippy jam per album, but thankfully does so with a minimum of pointless noodling and a generous helping of compositional flair.
~ Pemberton Roach, All Music Guide. Their album, Flashes, was a tense, brooding stew of folk-rock and freaky psychedelia that didn't quite coalesce, with the stirring, assertive vocals of Conny Devaney the best ingredient. Although it was produced by one of the best producers in 1960s rock, Tom Wilson (who had worked with Bob Dylan, Simon & Garfunkel, the Mothers of Invention, and others), it didn't do much, and the Ill Wind disbanded at the end of 1968, though the group re-formed for a few months in 1970. ~ Richie Unterberger, All Music Guide.