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Last Posts on xxxrockrula : John Mayall - Back To The Roots (1971)320kbps
Procol Harum - In Concert With The Edmonton Symphony Orchestra(1972)320kbps
Groundhogs - Scratching The Surface(1968)320kbps
Bo Diddley - Bo Diddley(1957) - Go Bo Diddley(1959)320kbps
Manfred Mann's Earth Band - Glorified Magnified(1972)320kbps
UFO - Force It (1975)320kbps
Gravy Train - Staircase To The Day (1974)320kbps
Jeff Beck - Beck-Ola(1969)320kbps
Jimi Hendrix Experience - Electric Ladyland(1968)(2CD)
320kbps
Jimi Hendrix's third and final album with the original Experience found him taking his funk and psychedelic sounds to the absolute limit. The result was not only one of the best rock albums of the era, but also Hendrix's original musical vision at its absolute apex. When revisionist rock critics refer to him as the maker of a generation's mightiest dope music, this is the album they're referring to. But Electric Ladyland is so much more than just background music for chemical intake. Kudos to engineer Eddie Kramer (who supervised the remastering of the original two-track stereo masters for this 1997 reissue on MCA) for taking Hendrix's visions of a soundscape behind his music and giving it all context, experimenting with odd mic techniques, echo, backward tape, flanging, and chorusing, all new techniques at the time, at least the way they're used here. What Hendrix sonically achieved on this record expanded the concept of what could be gotten out of a modern recording studio in much the same manner as Phil Spector had done a decade before with his Wall of Sound. As an album this influential (and as far as influencing a generation of players and beyond, this was his ultimate statement for many), the highlights speak for themselves: "Crosstown Traffic," his reinterpretation of Bob Dylan's "All Along the Watchtower," "Burning of the Midnight Lamp," the spacy "1983...(A Merman I Should Turn to Be)," and "Voodoo Chile (Slight Return)," a landmark in Hendrix's playing. With this double set , Hendrix once again pushed the concept album to new horizons.Review by Cub Koda(allmusic.com)
CD1
1. And The Gods Made Love (1:21)
2. Have You Ever Been (To Electric Ladyland) (2:10)
3. Cross Town Traffic (2:24)
4. Voodoo Chile (15:02)
5. Still Raining, Still Dreaming (4:25)
6. House Burning Down (4:33)
7. All Along The Watchtower (4:03)
8. Voodoo Chile (Slight Return) (5:14)
CD2
1. Little Miss Strange (2:53)
2. Long Hot Summer Night (3:29)
3. Come On (Part 1) (4:12)
4. Gipsy Eyes (3:47)
5. The Burning Of The Midnight Lamp (3:42)
6. Rainy Day, Dream Away (3:41)
7. 1983... (A Merman I Should Turn To Be) (4:49)
8. Moon, Turn The Tides... Gently, Gently Away (9:53)
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Fuzzy Duck - Fuzzy Duck(1971)
320kbps
A much sought-after classic of U.K. underground progressive rock and psychedelia, this was originally issued in a scarce edition of 500 back in 1971. The album reached legendary status by affiliation, as it features Mick Harnsworth of Five Day Week Straw People and Andromeda, and Roy Sharland, a keyboardist who later worked with the Crazy World of Arthur Brown and Spice. This album is classic keyboard-driven British progressive rock in the vein of Soft Machine and Caravan and is well-deserving of reissue. The Arkarma issue features four bonus tracks previously unreleased and excellent repackaging that surpasses the originals for quality.Review by Skip Jansen(allmusic.com)
1. Time Will Be Your Doctor (5:08)
2. Mrs. Prout (6:49)
3. Just Look Around You (4:24)
4. Afternoon Out (5:00)
5. More Than I Am (5:34)
6. Country Boy (6:05)
7. In Our Time (6:41)
8. A Word From Big D (1:42)
9. Double Time Woman (3:01)
10. Big Brass Band (2:59)
11. One More Hour (4:00)
12. No Name Face (3:03)
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Nazareth - Play 'N' The Game(1976)
320kbps
Play 'N' the Game found Nazareth continuing in the AOR direction they established with Close Enough for Rock 'n' Roll. Like that album, it trades the driving rock that made the group famous for an experimental sound that toys with several different musical genres. For instance, "Down Home Girl" is a stab at Southern rock, and the group's cover of the Beach Boys classic "Wild Honey" slows down that song's tempo to create an effects-laden psychedelic atmosphere. Elsewhere, the group covers the hard rock bases with "Someone to Roll" and "Born to Love," a pair of energetic, guitar-driven rockers that would have fit in fine on Razamanaz or Loud & Proud. They also cross-breed the energy of these tracks with pop hooks on "L.A. Girls," a nimble bit of pop/rock fusion where speedy guitar riffs duke it out a with handclap-driven pop song beat. However, the undeniable highlights of Play 'N' the Game are its ballads: "I Want to Do Everything for You" is a promise of eternal love built on a swinging and pleasingly earthy bass groove and "I Don't Want to Go on Without You" is a moody tale of lost love that shows off Manny Charlton's ability to craft the soft but powerful guitar riffs necessary for a good power ballad. This album benefits from a more consistent overall sound than Close Enough for Rock 'n' Roll, but its shifts in tone are too abrupt for their own good, making the proceedings come off as a loose collection of songs instead of a fully conceived album. Despite this problem, Play 'N' the Game is an effective slice of AOR that will please the Nazareth fan base.Review by Donald A. Guarisco(allmusic.com)1. Somebody To Roll (3:55)2. Down Home Girl (5:04)3. Flying (4:20)4. Waiting For The Man (4:53)5. Born To Love (3:58)6. I Want To Do Everything For You (4:18)7. I Don't Want To Go On Without You (3:46)8. Wild Honey (3:04)9. L.A. Girls (3:52)10. Good Love (B-side)(bonus) (3:51)11. I Don't Want To Go On Without You (Alternate Edit)(bonus) (3:23)12. Waiting For The Man (Alternate Edit)(bonus) (6:12)13. Somebody To Roll (Edit)(bonus) (3:30)14. Born To Love (Edit Version)(bonus) (3:33)Part1Part2 Pass : xxxrockrula.blogspot.com
Black Widow - Return To The Sabbath(1969)
320kbps
Few albums have undergone such a dramatic transformation in their fortunes as Black Widow's Sacrifice. Best known for so long on the strength of one track ("Come to the Sabbat") on an early-'70s CBS sampler, Sacrifice was for so long the guilty secret of a mere handful of prog fans that it felt like it might never be rediscovered. But it was and, today, no less than three full versions of the seven-song opus are available on CD, the original LP, a spellbinding live version recorded for German TV (with accompanying DVD!), and this, the band's initial 1969 demo. Cut while the group was still known as Pesky Gee!, and working toward the follow-up to its Exclamation Mark debut, it features additional vocalist Kay Garrett alongside the familiar Kip Trevor and, while the lyrics and arrangements are unchanged, there's an urgency to this performance that the vinyl simply cannot match. Added emphasis on sax and organ pushes things hard, while every song is taken just a few beats faster than listeners are accustomed to, to bring a delirium to the performance that is perfectly in keeping with the subject matter. Not even the presence of a little surface noise (the CD was mastered from acetate) can detract from the magnificence of the performance and, if you've spent the last however many years marveling at the Sacrifice that fans know and love, this one will take you even higher.Review by Dave Thompson(allmusic.com)
1. In Ancient Days (9:23)
2. Way To Power (4:08)
3. Come To The Sabbat (4:10)
4. Conjuration (5:52)
5. Seduction (4:40)
6. Attack Of The Demon (3:56)
7. Sacrifice (10:50)
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Taste - Best of Taste(1969-1970)
320kbps
1. Blister on the Moon (3:26)
2. Leaving Blues (4:16)
3. Sugar Mama (7:15)
4. Same Old Story (3:33)
5. Catfish (8:04)
6. What's Going On (2:48)
7. Railway and Gun (3:38)
8. Morning Sun (2:39)
9. Eat My Words (3:47)
10. I'll Remember (3:02)
11. I'm Moving On (2:30)
12. If The Was Any Longer (2:10)
13. If I Don't Sing, I'll Cry. (2:40)
14. Born on the Wrong Side of Time (4:01)
15. Dual Carriageway Pain (3:13)
16. On The Boards (6:02)
17. It's Happened Before, It'll Happen Again (6:33)
18. Hail (2:35)
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Message - The Dawn Anew Is Coming(1972)
320kbps
MESSAGE were a mix of British and German musicians whose debut album “The Dawn A New Is Coming” represents one of this music lovers favourite progressive rock recordings of 1972. Musically this album carries for me some allusions to that of NEKTAR I suspect mostly because of the presence of Taff Freeman and his mellotron on the album. This album carries a slight German underground vibe throughout with heavy rolling bass and drum overlayed with harmonic and clear guitar solos. Keyboards are used to mostly fill in the spaces and add atmospheres to the music. I love this albums characteristics and deep mood swings (even in mid flight) with some fantastic musical moments. If you were going to pick up one album this Christmas I would think this one would make the perfect present under the tree.Review by loserboy (progarchives.com)
1. Changes (3:39)
2. The Dawn Anew Is Coming (8:41)
3. Evil Faith And Charity (4:02)
4. Heaven Knows (9:50)
5. When I´m Home (7:43)
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Buddy Miles - The Best of Buddy Miles(1997)
320kbps
This superb anthology of Buddy Miles' work for the Mercury label includes the Jimi Hendrix-produced "Miss Lady" and "69 Freedom Special," renditions of Neil Young's "Down By the River" and Gregg Allman's "Dreams," and performances of "Them Changes" and "We've Got to Live Together." Review by Jason Ankeny(allmusic.com)
1. Train (4:53)
2. Miss Lady (4:50)
3. 69 Freedom Special (4:44)
4. Texas (7:59)
5. Them Changes (3:21)
6. Dreams (4:54)
7. Memphis Train (2:58)
8. Runaway Child (Little Miss Nothin') (5:01)
9. We Got to Live Together (11:57)
10. Joe Tex (4:59)
11. Don't Keep Me Wondering (2:01)
12. Midnight Rider (3:38)
13. Wholesale Love (2:41)
14. Down By The River (live version) (13:28)
Simon & Garfunkel - Bridge Over Troubled Water(1970)
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Bridge Over Troubled Water was one of the biggest-selling albums of its decade, and it hasn't fallen too far down on the list in years since. Apart from the gospel-flavored title track, which took some evolution to get to what it finally became, however, much of Bridge Over Troubled Water also constitutes a stepping back from the music that Simon & Garfunkel had made on Bookends -- this was mostly because the creative partnership that had formed the body and the motivation for the duo's four prior albums literally consumed itself in the making of Bridge Over Troubled Water. And, ironically, it all grew out of events that went back more than two years, to the hookup between Simon & Garfunkel and film director Mike Nichols on the movie The Graduate. The creative contact between Paul Simon and Nichols had yielded one monster hit ("Mrs. Robinson") and some rejections from the film ("Overs," "Punky's Dilemma"), and also a soundtrack that had greatly broadened the duo's audience; and it had introduced would-be actor Art Garfunkel to Nichols. And, suddenly, Garfunkel was involved in the shooting of Nichols' Catch-22, which took up most of his time for the better part of a year, and Simon was left to his own devices during his partner's absences. Thus, the close collaboration between the two, which had existed in this phase of their lives since 1965, was frayed not just at the edges but down to its very core. The very idea of a concept album such as Bookends had been, even if a concept could have been suggested, was thus out of the question.As it turned out, absent anything as powerful as the sustained first side of Bookends, much of the resulting material here is fine, albeit relatively lightweight: "Baby Driver" with its Jan & Dean-style harmonies and early-'60s rock & roll beat; the upbeat "Cecelia," utilizing the largest array of percussion ever heard on a Simon & Garfunkel song; the live rendition of the Everly Brothers' "Bye Bye Love"; and the reggae beat of "Why Don't You Write Me." Moreover, it was possible to discern a recurring theme on Bridge Over Troubled Water, but this was much more a reflection of the condition of the partnership than a conscious artistic statement -- where Parsley, Sage, Rosemary & Thyme had been built around middle-class teen and post-teen zeitgeist, and Bookends focused on the joys and dangers of growing old, Bridge Over Troubled Water had songs that quietly betrayed the fissures in the partnership: "The Only Living Boy in New York" was Simon's personal account of the isolation he felt on a creative level over Garfunkel's extended absence; "So Long, Frank Lloyd Wright" was a memorial to the architect, written for Garfunkel to sing, but it could just as easily be thought of as a farewell to his longtime collaborator Garfunkel (who had aspirations of being an architect); even "Why Don't You Write Me" was a song about lack of communication that seemed to slot into the division between the two partners.Bridge Over Troubled Water had a lot more in common with the Beatles' Let It Be album than with any prior Simon & Garfunkel release -- except that Simon, in reaching to the bottom of his song bag, along with Garfunkel and producer/engineer Roy Halee, in applying their arranging skills in this dire situation, came up with a transcendent album. The title track was the best example; by some accounts, Garfunkel had insisted that Simon sing "Bridge Over Troubled Water" on first hearing it. The piece evolved in their hands, however, and ultimately benefited from what many regard as the best recorded vocal performance of Garfunkel's career. Similarly, "The Only Living Boy in New York" was an obviously deeply personal song, but Garfunkel managed to add an extraordinary accompaniment to the composer's lead vocal. And there were places where the two were on the same page from the get-go, such as "El Condor Pasa." The overall effect was perhaps the most delicately textured album to close out the 1960s from any major rock act. Comparing other farewells of the same era, either to partnerships or the decade, the Beatles' Let It Be was a flawed, threadbare representation of the group's work, and the Rolling Stones' Let It Bleed, which marked the last musical contributions of Brian Jones and their last new work for their old label, was a nasty, unsettling statement. Bridge Over Troubled Water, at its most ambitious and bold, on its title track, was a quietly reassuring album; at other times, it was personal yet soothing, and at other times, it was just plain fun. Review by Bruce Eder(allmusic.com)
1. Bridge over Troubled Water (4:55)
2. El Condor Pasa (If I Could) (3:09)
3. Cecilia (2:55)
4. Keep the Customer Satisfied (2:38)
5. So Long. Frank Lloyd Wright (3:45)
6. The Boxer (5:13)
7. Baby Driver (3:17)
8. The Only Living Boy in New York (4:02)
9. Why Don't You Write Me (2:46)
10. Bye Bye Love (2:53)
11. Song for the Asking (2:00)
Bonus
12. Feuilles-O (1:45)
13. Bridge Over Troubled Water (4:46)
Greenslade - Greenslade(1973)
320kbps
Not long after the disintegration of Colosseum, Greenslade was born, with their inaugural self-titled album whetting the appetites of progressive rock fans worldwide. Dave Greenslade used the group to showcase his illustrious keyboard intricacies alongside Tony Reeves' bass guitar, Andrew McCulloch's predominant percussion work, and Dave Lawson's vocals, all of which made Greenslade a quintessential prog album. The attention almost never veers from David Greenslade's beautiful organ texturing, alternating between hard and delicate patterns while defining the album's pure progressive sound. Reeves' bass riffs are spatial and thorough, complimenting the keyboard runs when needed while falling in behind the music at the proper times. Although the three instrumental pieces ("An English Western," "Melange," and "Sundance") aim the spotlight straight at Greenslade, the vocal tracks are just as worthy. The lyrics are of a simple nature, unlike Yes' brand of fantastical poetry, and they adhere perfectly to the instruments, especially on the sincere "What Are You Doin' to Me." For this project and the rest of Greenslade's albums, Dave Greenslade exchanges the jazz-infused stylishness of his Colosseum days for the complexities of a progressive rock realm, and his transition ends up being faultless. Bedside Manners carries on with the same rich, keyboard-led sound, while another member from Colosseum, guitarist Dave Clempson, joins on for 1974's Spyglass Guest, in which the electronics were noticeably toned down. Review by Mike DeGagne(allmusic.com)
1. Feathered Friends (6:46)
2. An english western (3:27)
3. Drowning Man (5:50)
4. Temple Song (3:34)
5. Melange (7:29)
6. What Are You Doin' To Me (4:44)
7. Sundance (8:44)
Procol Harum - Something Magic(1977)
320kbps
Of course , this was the end of that band and punk was exploding int the faces of bands like these. This might have been better advised to release this in another era as the wind had changed and most the prog dinosaurs were looking up their arses (Works - ELP , Tales - Yes , Passion Play - Tull etc....) and this one is no exception. Pompous , bombastic , over- indulgent,pretentious & boring.... but this Procol album gets better marks than the other mentioned above because this sounds so naturally like ......Brooker. This is what the man was born to do , so he is less ridiculous than Emerson , Wakeman , Lord etc.....when going overboard.Review by Sean Trane(progarchives.com)
1. Something Magic (3:34)
2. Skating On Thin Ice (4:47)
3. Wizard Man (2:39)
4. The Mark Of The Claw (4:39)
5. Strangers In Space (6:08)
6. The Worm & The Tree (Part One - Introduction - Menace - Occupation) (7:50)
7. The Worm & The Tree (Part Two - Enervation - Expectancy - Battle) (5:29)
8. The Worm & The Tree (Part Three - Regeneration - Epilogue) (5:20)
Albert King - Thursday Night In San Francisco(1968)
320kbps
Recorded live in San Francisco in 1968, here's Albert King pretty much at the top of his game, blasting out tons of great guitar and singing his heart to an appreciative crowd of young hippies. With a tight four-piece road band backing him, King fires up his Flying V and slams down hard on material like Freddie King's "San-Ho-Zay," "you Upset Me Baby," "Call It Stormy Monday," "Crosscut Saw," and "Drifting Blues." This is one of two volumes from the same Fillmore stand and both are absolutely essential to any Albert King collection; in many ways, they're the perfect introduction to this blues giant.Review by Cub Koda(allmusic.com)
1. San-Ho-Zay (0:54)
2. You Upset Me, Baby (4:51)
3. Call It Stormy Monday (8:36)
4. Everyday I Have The Blues (4:16)
5. Drifting Blues (8:04)
6. I've Made Nights By Myself (6:44)
7. Crosscut Saw (3:48)
8. I'm Gonna Move To The Outskirts Of Town (7:40)
9. Ooh-Ee-Baby (7:34)
Derek & The Dominoes - The Layla Sessions: 20th Anniversary Edition(1970)
320kbps
This three-CD box did a lot of good for rock reissues, though not necessarily for the Layla & Other Assorted Love Songs album. It was the first high-profile reissue to treat rock with the same respect that scholars had long accorded jazz, going beyond the finished tracks to the outtakes and anything else usable that turned up in the vaults. Getting to that point, however, involved a mistake that compromised the most attractive element of the box, the remastering of the original album. Layla & Other Assorted Love Songs had been a vexation since the dawn of the CD era, its first issue marred by harsh textures and lots of noise, a result of the multiple overdubs on the original album. Then Polygram issued the Eric Clapton box Crossroads in 1988, which included a new remastering of "Layla" and the handful of other songs from the album; in the course of preparing that set, the producers stumbled upon the long-missing multi-tracks from the Layla album sessions. Thus, they had access to all of the outtakes as well as the raw material needed to remix the whole album. That was what they did on this box, rebuilding each song from its original multi-track session recordings on disc one, assembling various unused alternate masters of six of the songs on disc two, and filling up disc three with 76 minutes of studio jamming by the band, divided into four extended tracks. And the result of all of that work was more harsh criticism from the public and reviewers, who felt that the remixed album lacked the Phil Spector-ish Wall of Sound element that had made the original LP a larger-than-life experience. Still, the concept behind the box was sound, and it is possible for the real fan to appreciate the nuances of the playing on the original tracks as never before, and fascinating to hear, say, the newly exposed solo guitar part on "Anyday" or the layers of instruments throughout. The annotation -- featuring detailed recollections by the late Tom Dowd, who engineered the album -- told of precisely how intense, creative, and quick those recordings were. The producers even included copies of the tracking sheets for the individual songs, the notes by the engineer detailing which recorded tracks to use and how and where solos, vocals, guitar harmony, fades, and other elements of the song related to each other when assembling the finished songs. The jams are primarily for the hardcore fan, though they're not bad -- they're of a piece with (but much more interesting than) the "Apple Jam" tracks off of George Harrison's All Things Must Pass (which, coincidentally, comprised the sessions whence the Dominos were spawned). Clapton and Duane Allman take their playing in consistently interesting directions, with Bobby Whitlock's keyboards not far behind and Carl Radle and Jim Gordon providing a rock-steady rhythm section, even if little of the material is as attractive as the songs off of the finished album; besides, it's difficult to complain of being given the opportunity to hear two of the greatest guitarists in the world stretching out for over an hour of spontaneous playing. Each of the jams has a different beat and character, the first being rather blues-soaked, the second rocking harder, the third more laid-back, and the fourth delving into Booker T. & the M.G.'s territory. This set isn't the ultimate, enveloping experience of the Layla album that it could have been -- a couple of years later, Mobile Fidelity released a CD that captured the majesty of the original album much better, and at the end of the 1990s Polygram followed suit as part of the "Clapton Remasters" series -- but it is still a choice listening experience for any hardcore fan of Eric Clapton, Duane Allman or the Allman Brothers, or the Dominos.Review by Bruce Eder(allmusic.com)
Cd1 - Layla & Other Assorted Love Songs
1. I Looked Away (3:04)
2. Bell Bottom Blues (5:02)
3. Keep On Growing (6:21)
4. Nobody Knows You When You're Down And Out (5:00)
5. I Am Yours (3:35)
6. Anyday (6:35)
7. Key To The Highway (9:45)
8. Tell The Truth (6:39)
9. Why Does Love Got To Be So Sad (4:44)
10. Have You Ever Loved a Woman (6:55)
11. Little Wing (5:35)
12. It's Too Late (3:48)
13. Layla (7:05)
CD2 - Jams
14. Jam I (20:00)
15. Jam II (12:26)
16. Jam III (13:28)
17. Jam IV (12:04)
18. Jam V (18:24)
CD3 - Alternate Masters
19. Have You Ever Loved A Woman (Alternate Master #1) (5:58)
20. Have You Ever Loved A Woman (Alternate Master #2) (5:03)
21. Tell The Truth (Jam #1) (9:40)
22. Tell The Truth (Jam #2) (13:51)
23. Mean Old World (Rehearsal) (14:59)
24. Mean Old World (Band Version, Master Take) (3:39)
25. Mean Old World (Duet Version, Master Take) (3:54)
26. (When Things Go Wrong) It Hurts Me Too (Jam) (1:58)
27. Tender love (Incomplete Master) (2:44)
28. It's Too Late (Alternate Master) (3:50)
Uriah Heep - Look At Yourself (Deluxe Edition - 1971)
320kbps
The third time proved to be the charm for Uriah Heep: on Look at Yourself, the group perfects its fusion of heavy metal power and prog rock majesty, and the result is one of the best albums in the Heep catalog. The gauntlet is thrown down on the title track, a powerful rocker that layers its relentless hard rock attack with ornate vocal harmonies and quicksilver organ runs before climaxing with a tribal-sounding drum jam. The remainder of Look at Yourself presents an effective blend of gutsy guitar rock and organ-fueled prog excursions. In the rock arena, the gems are "Tears in My Eyes," a powerful rocker driven by an almost rockabilly-style riff that stops midway for a surprising vocal harmony break supported by smooth wah-wah guitar, and "Love Machine," a short, punchy slice of hard rock built on an infectious, stomping rhythm. However, the best track on the album is one of the more prog-oriented ones: "July Morning" starts with a pastoral organ riff, then builds into a heavy yet symphonic rock tune that divides its time between gentle acoustic verses and emotional, organ-fueled choruses before climaxing in a monstrous jam dominated by a swirling Moog synthesizer lead. Special note should also be taken of David Byron's vocal performance; his multi-octave, operatic style was no doubt an influence on later metal vocalists like Rob Halford. All in all, Look at Yourself is both one of Uriah Heep's finest, most cohesive albums and a high point of 1970s heavy metal. [The 2003 Deluxe Edition featured seven bonus tracks culled from studio session outtakes, alternate versions, and BBC sessions.]Review by Donald A. Guarisco(allmusic.com)
1. Look At Yourself (5:11)
2. I Wanna Be Free (4:01)
3. July Morning (10:32)
4. Tears In My Eyes (5:01)
5. Shadows Of Grief (8:39)
6. What Should Be Done (4:13)
7. Love Machine (3:42)
Bonus
8. What's Within My Heart (Out-Take From Look At Yourself Sessions) (5:24)
9. Why (Look At Yourself Out-Take) (11:18)
10. Look At Yourself (Alternative Single Version) (3:19)
11. Tears In My Eyes (Extended Version, Previously Unreleased) (5:38)
12. What Should Be Done (Out-Take, Original Studio Version) (4:26)
13. Look At Yourself (BBC Session, Previously Unreleased) (4:32)
14. What Should Be Done (BBC Session, Previously Unreleased) (3:26)
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Johnny Winter - The Winter of '88(1988)
320kbps
1. Close to Me (4:35)
2. Rain (5:31)
3. Stranger Blues (4:08)
4. Ain't That Just Like a Woman (3:00)
5. World of Contradictions (4:20)
6. Lightning (5:43)
7. Looking for Trouble (3:58)
8. Show Me (4:46)
9. Anything for Your Love (4:05)
10. Look Away (6:00)
11. Mother Earth (5:51)
12. It'll Be Me (2:30)
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The Yardbirds - Little Games Sessions & More(1967)
320kbps
In 1967, manager Simon Napier-Bell sold his interests in The Yardbirds to Herman's Hermits pop-svengali Mickie Most. This signalled a near-disaster in terms of musical quality and direction for the guitar-frenzied-experimental and pioneering Yardbirds. Coming off a very-well received US tour and a moderately-commercially successful but historically watershed single, "Happenings Ten Years Time Ago," the Yardbirds needed a sympathetic management and record company position; what they got instead was a slip-shod recording approach and a manager whose only interest was in the single - regarding an album as just an extended platter to market singles with.Jeff Beck had quit, but guitarist Jimmy Page was brimming with technique, sheer fuel and ideas to eagerly lead the Yardbirds with, but his intentions were squandered for the most part, and Keith Relf's interest in the band had started to fade. Recording sessions tended to be first-take or with luck, two takes with an eye on studio time charges and the management's desire to get product out as quickly as possible. The resulting album, "Little Games," was a collection of rushed-takes, demos, and material the band reportedly had not intended for public consumption. Still, the album cover was creative and in-between the sometimes nonsense lyrics and somewhat nasal vocals of Keith Relf, Page, McCarty and newly-inaugurated to the bass guitar Dreja were able to cook musically on several tracks. Sadly the superior music made by this edition of the Yardbirds was on singles and b-sides, the absolutely exquisite "Think About It" and "Puzzles" not appearing on the 12-inch album. While Mickie Most had his way with covers of "Ha Ha Said The Clown" and "Ten Little Indians" by Manfred Mann and Nilsson respectively, the band with the help of Peter Grant more or less self-produced the superior singles and even "Goodnight Sweet Josephine" had some nice licks.Upon the breakup of the Yardbirds into Led Zeppelin and the first incarnation of Renaissance, the sessions for "Little Games" collected dust until brushed off for this 36-track remastered much-expanded 2-disc set. It much better serves the Page-era band, but unfortunately a couple of tracks mentioned by Page in later interviews are missing. "Spanish Blood," a track featuring "Jim McCarty doing his Roger Moore impression on guitar" was apparently not found, or too damaged to recover. One or two other odds and ends also were not used. Still, it's great to have this out for a much better and clearer view of this period of the band, even with the made-up titles by the producer for some studio jams.
CD1
1. Little Games (Stereo Mix) (2:39)
2. Little Soldier Boy (2:44)
3. Puzzles (2:10)
4. I Remember The Night (3:03)
5. Ha Ha Said The Clown (2:30)
6. Ten Little Indians (Vocal) (2:15)
7. Goodnight Sweet Josephine (Ver 1) (2:45)
8. Think About It (3:45)
9. Smile On Me (3:21)
10. White Summer (3:59)
11. Tinker, Tailor, Soldier, Sailor (Vocal) (2:53)
12. 5 Glimpses (Version 1) (4:23)
13. Drinking Muddy Water (Stereo Mix) (2:54)
14. No Excess Baggage (2:39)
15. Stealing Stealing (2:37)
16. Only The Black Rose (2:50)
CD2
1. Little Games (Mono Mix) (2:24)
2. Ten Little Indians (Instrumental) (2:17)
3. Goodnight Sweet Josephine (Version 2) (2:44)
4. Henry's Coming Home [Together] (2:59)
5. Love Mum And Dad [Togeher] (3:50)
6. Together Now (3:05)
7. Shining Where The Sun Has Been (2:54)
8. "Great Shakes" (1:01)
9. You Stole My Love (2:57)
10. White Summer (Acoustic Version) (3:54)
11. Tinker, Tailor, Soldier, Sailor (Instrumental) (2:56)
12. L.S.D. (1:01)
13. Drinking Muddy Water (Mono Mix) (2:52)
14. De Lane Lea Lee (2:35)
15. Glimpses (Version 2) (4:20)
16. Never Mind (2:48)
Thanks To Scion For This Upload!
Spooky Tooth - You Broke My Heart So I Busted Your Jaw(1973)
320kbps
1. Cotton Growing Man (4:40)
2. Old As I Was Born (4:42)
3. This Time Around (4:09)
4. Holy Water (3:29)
5. Wildfire (4:06)
6. Self Seeking Man (3:49)
7. Times Have Changed (3:53)
8. Moriah (6:25)
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Double Trouble - Been A Long Time(2001)
320kbps
Double Trouble: Tommy Shannon (acoustic guitar, bass); Chris Layton (piano, drums, percussion).Additional personnel includes: Doyle Bramhall II, Dr. John, Lou And Barton, Eric Johnson, Susan Tedeschi, Jonny Lang, Malford Milligan, Willie Nelson, Kenny Wayne Shepherd, Charlie Sexton, Jimmie Vaughan, Reese Wynans, Gordie Johnson, Van Wilks, Denny Freeman, Mark Kazanoff, Bill Willis, Riley Osbourn, Tommy Taylor, Derek O'Brien.You have to give the late guitar legend Stevie Ray Vaughan's rhythm section credit for perseverance. Mitch Mitchell and Noel Redding, the rhythm section of the Jimi Hendrix Experience, never took it upon themselves to continue as a recording entity after their leader's passing. Of course, Double Trouble is buoyed on BEEN A LONG TIME by a host of famous friends who offer impassioned performances to occupy Vaughan's vacated frontman spot.Bassist Tommy Shannon and drummer Chris Layton are as rock-solid here as they ever were backing up their erstwhile leader. They don't spend much time looking back, either. BEEN A LONG TIME isn't really a blues album--rather, it's a bluesy rock album with a decidedly contemporary edge that owes little to Vaughan's sound. Jonny Lang, Susan Tedeschi, Charlie Sexton, and many others lend their voices and guitars to BEEN A LONG TIME, but Double Trouble can take the credit for putting (and keeping) the whole thing together.(cduniverse.com)
1. Cry Sky (5:16)
2. Turn Towards the Mirror (4:25)
3. Say One Thing (4:05)
4. Rock and Roll (3:07)
5. Skyscraper (4:27)
6. In the Middle of the Night (3:05)
7. She's All Right (5:22)
8. Groundhog Day (3:57)
9. In the Garden (3:43)
10. Baby, There's No One Like You (5:11)
11. Hidden Track (0:36)
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Alvin Lee & Ten Years Later - Ride On(1979)
320kbps
German reissue of 1979 album from British blues/rock act. Combine live and studio recordings. Tracks include 'Too Much', 'It's A Gaz' and 'Ride On Cowboy', 'Ain't Nothin' Shakin','Scat Encounter' and more. 2000 release. Standard jewelcase.(cduniverse.com)
1. Ain't Nothin' Shakin' (5:32)
2. Scat Encounter (0:58)
3. Hey Joe (5:59)
4. Going Home (8:48)
5. Too Much (3:53)
6. It's A Gaz (4:03)
7. Ride On Cowboy (3:14)
8. Sittin' Here (4:00)
9. Can't Sleep At Nite (2:31)
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David Bowie - Bowie at the Beeb (BBC Session 68-72)
320kbps
Some collectors might complain that the double-disc Bowie at the Beeb, the first official collection of David Bowie's BBC Radio sessions, isn't complete, yet they likely have bootlegs of this material. All other fans are in for a real treat. Spanning from 1968 to 1972, these recordings find Bowie, if not in his prime, at least at a peak, as he developed from a swinging Carnaby Street pop crooner to swaggering glam rock star. Bowie at the Beeb makes this era come alive. Opening with the lovely, florid "In the Heat of the Morning," the sessions spend time with David the Dandy before he delves into his dramatic heavy rock of the early '70s. That's where guitarist Mick Ronson made his public debut with Bowie at the session that comprises the middle of disc one. This is lean, powerful, terrific music, not as pummeling as The Man Who Sold the World, but it's slightly overshadowed by the session that concludes the first disc. It contains the bulk of rarities here, including the never-released "Looking for a Friend," a rollicking cover of Chuck Berry's "Almost Grown," a version of "It Ain't Easy" where Bowie trades verses with Geoffrey Alexander and George Underwood, and a performance of the exquisite "Bombers." After a pair of songs by just Bowie and Ronson, the second disc finds the Spiders From Mars forming and quickly hitting their stride. Since this disc is largely devoted to recordings from 1972, it's a bit more consistent than the first, and it results in a live Spiders album better than any yet officially released. Bowie at the Beeb may not be revelatory, yet this set is filled with wonderful music that deepens appreciation of Bowie's first great blast of creativity. Any true fan needs it in his collection.Review by Stephen Thomas Erlewine(allmusic.com)
Cd1
1. In The Heat Of The Morning (3:02)
2. London Bye Ta Ta (2:36)
3. Karma Man (3:00)
4. Silly Boy Blue (6:08)
5. Let Me Sleep Beside You (3:17)
6. Janine (3:24)
7. Amsterdam (3:18)
8. God Knows I'm Good (3:36)
9. The Width Of A Circle (5:21)
10. Unwashed And Somewhat Slightly Dazed (5:07)
11. Cygnet Committee (9:07)
12. Memory Of A Free Festival (3:18)
13. Wild Eyed Boy From Freecloud (5:55)
14. Bombers (3:19)
15. Looking For A Friend (3:34)
16. Almost Grown (2:44)
17. Kooks (3:32)
18. It Ain't Easy (2:51)
CD2
1. The Supermen (2:51)
2. Eight Line Poem (2:56)
3. Hang On To Yourself (2:50)
4. Ziggy Stardust (3:22)
5. Queen Bitch (2:59)
6. Waiting For The Man (5:24)
7. Five Years (4:24)
8. White Light/White Heat (3:48)
9. Moonage Daydream (4:58)
10. Hang On To Yourself (2:50)
11. Suffragette City (3:28)
12. Ziggy Stardust (3:24)
13. Starman (4:05)
14. Space Oddity (4:16)
15. Changes (3:29)
16. Oh! You Pretty Things (2:57)
17. Andy Warhol (3:14)
18. Lady Stardust (3:25)
19. Rock 'N' Roll Suicide (3:04)
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Black Widow - III (1971)
320kbps
These guys have sometimes been described as a Black Sabbath-like band, and the name Black Widow itself invites a comparison. Yet if that had any validity at the start of their career, by this, their third album, they really sounded more like solid mid-level British prog rockers than satanic hard rockers. This is really closer to early King Crimson and Emerson, Lake & Palmer territory than Black Sabbath, given their lengthy, shifting compositions; stress on forceful organ and vocal harmonies; substantial jazz, classical, hard guitar rock, and folk influences; and the color supplied by Clive Jones' sax and flute. Not that Black Widow is that close to ELP and King Crimson, and the tunes on III aren't nearly as stick-in-the-brain as the songs penned by those two groups in their early days -- but they're respectable within that style. Perhaps some of their supposed satanic mindset is still evident in the opening three-part epic "The Battle," divided into The Onslaught, If a Man Should Die, and Survival sections. Otherwise that isn't evident, and occasionally the tunes are rather cheerful, as on "The Sun." The lack of annoying stentorian qualities in Kip Trevor's lead vocals removes this further from standard hard rock territory. There are even some traces of Crosby, Stills, Nash & Young to be heard in "Old Man," although it was a bad idea to end that tune with quotes from "Hey Jude."Review by Richie Unterberger(allmusic.com)
1. The Battle (10:54)
2. Accident (4:11)
3. Lonely Man (4:50)
4. The Sun (4:30)
5. King Of Hearts (6:40)
6. Old Man (9:11)
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Triumvirat - Mediterranean Tales (Across The Waters)(1972)
320kbps
Triumvirat was from Cologne, Germany and recorded their debut album Mediterranean Tales (Across The Water) in january, 1972, in just 3 days. It is heavely influenced by The Nice, no doubt about it, but since the very beginning they had a proper personality. Those guys who try to pin them up as a mere ELP clone really don´t know what they´re talking about. The group in general, and Jürgen Fritz in parituclar, had their own sound and quite distintictive. Ok, in Miditerranean Tales that sound was still a bit green, relying a lot in their early influences, and yet, their music is different if you pay a little attention.The general sound is pleasant and interesting, showing some promises that were more than fulfilled by the time they released their second LP, the magnificent Illusions On A Double Dimple. Here the album is a little more dated, sounding a lot like many other keyboards driven bands of the time. Also it made clear that Fritz was no singer. Thank god the vocals duties are shared with bassist Hans Papen (who as not a great vocalist himself, but a lot better than Fritz!). The remaster version includes four extra tracks: two edit versions of Be Home For Tea and Broken Mirror, and two tracks recorded later that year and were only released as singles, Ride In The Night and Sing Me a Song. All four were realsed as A and B sides of singles at the time, the latter two a clearly attempt to reach a more pop market.Conclusion: a good debut for an unknown act at the time. The music still stands, but sounds a little dated, something that would not happen in the next four albums Triumvirat recorded after this one. Good, but definitly non essential.Review Tarcisio Moura(progarchives.com)
1. Across The Waters (16:37)
2. Eleven Kids (6:09)
3. E Minor 5 9 Minor 5 (8:03)
4. Broken Mirror (7:20)
Bonus
5. Be Home for Tea (3:38)
6. Broken Mirror (3:24)
7. Ride in the Night (4:28)
8. Sing me a Song (4:37)
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Wigwam - Tombstone Valentine(1970)
320kbps
Released in 1970, WIGWAM's second album “Tombstone Valentine” uniquely stands on its own as not only a precursor to what was still to come but also a wonderful album bubbling over with soul searching folk/psych/prog leanings. The first few WIGWAM albums are truly wonderful and generally cover a wide range of musical ground. This album is a collection is 11 tracks with a heavy focus on folk-blues-rock songs giving at times allusion to the symphonic prog the later albums would explore. Hard to exactly peg down this album but definitely hear some PROCOL HARUM and a piece of maybe folk-era HOELDERLIN. "Tombstone Valentine" introduced us to new WIGWAM members Jukka Tolonen (guitarist) and bassist/composer Pekka Pohjola. WIGWAM were lead by both Jukka Gustavson (organ, piano) and vocalist England’s Jim Pembroke'. Overall this is an excellent album that showed WIGWAM in early form performing unconventional and original selection of folk/prog and clearly shows a young band searching for a chemistry that began to gel on this album.REVIEWER James Unger(progarchives.com)
1. Tombstone Valentine (3:07)
2. In Gratitude (3:49)
3. Dance Of The Anthropoids (1:07)
4. Frederick & Bill (4:27)
5. Wishful Thinker (3:46)
6. Autograph (2:40)
7. 1936 Lost In The Snow (2:13)
8. Let The World Ramble On (3:22)
9. For America (4:23)
10. Captain Supernatural (3:02)
11. End (3:36)
Rare Bird - Rare Bird (1969)
320kbps
Great, underrated debut by this British band that featured two keyboardists, a bassist (who also handles the vocals), a drummer, but no guitarist! Instead we get two guys handling the keyboards, Graham Field on organ, and David Kaffinetti on electric piano. The rest of the band was rounded by Steve Gould on vocals and bass, and Mark Ashton on drums. This is a historic album, for it marks the very first album to ever be released on the Charisma label. The band was said to have formed in October 1969, and to have this album released at the beginning of December 1969. Anyway, the album is best known for the song "Sympathy", which became a hit for them on mainland Europe. But you'll also find the band exploring some great prog rock such as "Beautiful Scarlet", "Iceberg", and "God of War". In between are shorter songs like "You Went Away", "Nature's Fruit", "Bird on a Wing", etc. There's a couple of songs I can live without, such as "Times" which sounds like really bad '50s music, but with the organ replacing the piano (Steve Gould tries so hard to be Little Richard here, it's not even funny, that style of music just isn't Rare Bird), and "Melanie", with lyrics a little too mushy for my liking. But the rest is a demonstration of what was great in the earliest days of prog rock.
01. Iceberg - 6:54
02. Times - 3:25
03. You Went Away - 4:40
04. Melanie - 3:29
05. Beautiful Scarlet - 5:44
06. Sympathy - 2:46
07. Natures Fruit - 2:36
08. Bird On A Wing - 4:18
09. God Of War - 2:49
Thanks To MrJJ For This Upload!
Terry Reid - Self Titled(1969)
320kbps
Reid's initial pair of albums are very similar, and it's really a toss-up as to which one is better. If either rates a slight edge, it would be Terry Reid, as it finds his songwriting skills slightly more developed. The Donovan influence is again apparent on the cover of the Scotsman's "Superlungs My Supergirl," and "Stay with Me Baby" is another well-done blue-eyed soul showcase. As a songwriter, Reid still had a way to go, sounding better on the gentler, folkier numbers than the all-out power trio numbers. Such unfulfilled promise was understandable to a degree, as Reid was not yet 20 when this was released; unfortunately, he would never significantly expand on the promise of his first two LPs. The CD reissue on BGO adds four bonus cuts from the two rare non-LP singles he recorded in 1967 and 1968, prior to the issue of Bang, Bang You're Terry Reid.Review by Richie Unterberger(allmusic.com)
1. Superlungs My Supergirl (2:42)
2. Silver White Light (2:55)
3. July (3:33)
4. Marking Time (3:47)
5. Stay With Me Baby (4:12)
6. Highway 61 Revisited/Friends (8:00)
7. May Fly (3:43)
8. Speak Now or Forever Hold Your Peace (4:25)
9. Rich Kid Blues (4:15)
10. The Hand Don't Fit the Glove (2:57)
11. This Time (1:52)
12. Better by Far (3:30)
13. Fire's Alive (2:54)
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Duane Allman - An Anthology Vol.II(1974)
320kbps
The session work with other players here isn't quite as good as the material on the first anthology, but An Anthology, Vol. 2 does feature a live cut by Delaney & Bonnie, plus a pair of what were then previously unissued Allman Brothers Band live tracks (among them "Midnight Rider" from the Fillmore East in June 1971). There's another good Duane Allman solo number and a good Hour Glass track ("Been Gone Too Long"), more session work with Aretha Franklin and King Curtis, Ronnie Hawkins ("Matchbox"), Wilson Pickett ("Born to Be Wild"), Johnny Jenkins, Boz Scaggs, Sam Samudio, and Otis Rush. The annotation here isn't as thorough as it was on the first volume, but anyone who owns the first double-CD set will almost certainly have to own this one as well, and for a mid-priced set there's a lot of very good music.Review by Bruce Eder(allmusic.com)
CD1
1. Happily Married Man (2:41)
2. Aretha Franklin - It Ain't Fair (3:20)
3. Duane Allman / King Curtis - 03 - The Weight (2:45)
4. Otis Rush - You Reap What You Sow (4:54)
5. Ronnie Hawkins - Matchbox (3:05)
6. Wilson Pickett - Born To Be Wild (2:43)
7. No Money Down (3:27)
8. Hourglass - Been Gone Too Long (3:02)
9. Arthur Conley - Stuff You Gotta Watch (2:14)
10. Lulu - Dirty Old Man (2:21)
11. Herbie Mann - Push Push (9:59)
CD2
1. Johnny Jenkins - Walk On Gilded Splinters (5:17)
2. Boz Scaggs - Waiting For A Train (2:41)
3. Ronnie Hawkins - Don't Tell Me Your Troubles (2:15)
4. Sam Samudio - Goin' Upstairs (5:05)
5. Bonnie Bramlett / Delaney Bramlett - Come On In My Kitchen (3:38)
6. The Allman Brothers Band - Dimples (5:03)
7. Duck And The Bear - Goin' Up The Country (2:35)
8. The Allman Brothers Band - Done Somebody Wrong (4:33)
9. The Allman Brothers Band - Leave My Blues At Home (4:18)
10. The Allman Brothers Band - Midnight Rider (2:55)
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Golden Earring - Together(1972)
320kbps
Together represents an important step forward for Golden Earring. Unlike the group's previous outings, the songs on this album don't fall into strict rock or progressive categories. Instead, the group blurs these strict lines and weaves elements of each genre into a distinctive style that gives the songs their unique flavor. For instance, "Brother Wind" has the complex arrangement and length of a prog rock epic, but it moves forward with the energy and powerful riffing of a hard rock song. The group also makes a concerted effort to give each song a tight arrangement and usually more than one catchy hook. The result is the band's first truly consistent album. Driving rockers abound on Together: "Avalanche of Love" is driven by a procession of gutsy riffs that live up to the song's title, and "Buddy Joe" is a surging, dramatic adventure tale built on a singalong chorus and an insidiously catchy Indian-style guitar riff (this rousing tune has remained a popular part of the band's live set list). "Jangalene" is another highlight, a cleverly arranged tune that starts out as an acoustic blues but flowers into a full-throttle rocker midway through. The downside of Together is that, while the songs are all solid and the arrangements stay interesting, it is slightly less adventurous than previous albums. As a result, its songs never quite hit the manic highs of past classics like "Big Tree, Blue Sea" or "She Flies on Strange Wings." Despite that minor quibble, Together remains an impressive album and clearly shows off the chops and songwriting skills that would bring the group a massive worldwide success the next year with Moontan.Review by Donald A. Guarisco(allmusic.com)
1. All Day Watcher (4:49)
2. Avalanche Of Love (4:15)
3. Cruisin' Southern Germany (3:02)
4. Brother Wind (7:57)
5. Buddy Joe (3:51)
6. Jangalene (5:10)
7. From Heaven From Hell (6:05)
8. Thousand Feet Below You (4:12)
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Bad Company - Rough Diamonds(1982)
320kbps
Instead of capitalizing on their "Rock 'N' Roll Fantasy" resurgence, Bad Company disappeared for another three years before trying it again with Rough Diamonds. Remember, it was not yet common in the music business for major groups to stay away from the marketplace that long. In Bad Company's case, the results were disastrous: the album didn't even make the Top 25 in the U.S. or go gold, much less platinum, and the music was softer and less distinctive than on their earlier records.Review by William Ruhlmann(allmusic.com)
1. Electric Land (5:27)
2. Untie The Knot (4:08)
3. Nuthin' On The TV (3:50)
4. Painted Face (3:28)
5. Kickdown (3:38)
6. Ballad Of The Band (2:16)
7. Cross Country Boy (3:03)
8. Old Mexico (3:51)
9. Downhill Ryder (4:14)
10. Racetrack (4:51)
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Lynyrd Skynyrd - Gimme Back My Bullets(1976)
320kbps
Lynyrd Skynyrd begins to show signs of wear on their fourth album, Gimme Back My Bullets. The band had switched producers, hiring Tom Dowd, the producer who served Atlantic's roster so well during the label's heyday. Unfortunately, he wasn't perfectly suited for Skynyrd, at least at this point in their history. The group had toured regularly since the release of their debut and it showed, not just in their performance, but in the songwriting of Ronnie Van Zant, who had been so consistent through their first three albums. Not to say that he was spent -- the title track was defiant as "All I Can Do Is Write About It" was affecting, while "Searching" was a good ballad and "Double Trouble" was a good rocker. These songs, however, were surrounded by songs that leaned to the dull side of generic (unlike those on Nuthin' Fancy) and Dowd's production didn't inject energy into the group's performances. This doesn't mean Gimme Back My Bullets is a bad record, since the group was still in fairly good shape and they had some fine songs, but coming after three dynamite albums, it was undoubtedly a disappointment -- so much so that it still sounds like a disappointment years later, even though it's one of only a handful of records by the original band.Review by Stephen Thomas Erlewine(allmusic.com)
1. Gimme Back My Bullets (3:29)
2. Every Mother's Son (4:58)
3. Trust (4:26)
4. I Got The Same Old Blues (4:10)
5. Double Trouble (2:50)
6. Roll Gypsy Roll (2:51)
7. Searching (3:19)
8. Cry For The Bad Man (4:50)
9. All I Can Do Is Write About It (4:19)
Bonus
10. Gimme Back My Bullets (Live) (4:18)
11. Cry For The Bad Man (Live) (5:35)
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Paladin - Charge! (1972)
320kbps
Having failed to ignite the populace with their eponymous debut, a set brimming with joie de vivre and creative crossovers, Paladin decided the only way to break into the mainstream was to assault it. And this they set about doing with their sophomore set, 1972's Charge. Far heavier than their previous set, the quintet seemed determined to beat listeners into submission. That's evident from the get go, as they bash their way through the opening track "Give Me Your Hand," a rhythm-heavy number fueled by fiery guitar solos, strident vocals, and a hard rocking sound. The only reminder of their previous musical predilections is the Latin percussion that bubbles up halfway through the piece. But then this is much more a hard rock album, with Derek Foley's guitar now given far more prominence while the vocals stray into Robert Plant territory, and the organ is invariably set towards psychedelia. This inevitably constricts their musical experimentations, yet the band still take some interesting excursions along the way. "Good Lord," for instance, encompasses Latin rhythms, a Southern rock segment, space rock passages, and even pop. "Watching the World Pass By" is even more diverse, kicking off in an easygoing fashion with a jaunty harmonica solo, then running into discordance, a majestic church organ, bouncy blues, a country hoedown, and a jig before a ferocious guitar solo takes the piece out in hard rock style. The Beatles get a nod on "Any Way," funk goes psychedelic on "Get One Together," and the roots of rock are explored on the barrelling "Well We Might," with the rest of the set dedicated to R&B laced rock. Yet somehow it all sounds a bit forced and heavy-handed. Still it's a hard rocking extravaganza. The Roger Dean cover art inevitably excited interest, the band's new hard rock approach garnered them more praise, but not enough to prevent them from calling it a day. In later years, Charge's reputation among prog rock fans soared, more so than their far superior self-titled set.Review by Jo-Ann Greene(allmusic.com)
1. Give Me Your Hand (6:50)
2. Well We Might (5:05)
3. Get one Together (2:38)
4. Any Way (4:20)
5. Good Lord (6:47)
6. Moonbeams (6:03)
7. Watching The World Pass By (9:38)
Alvin Lee - Zoom(1992)
320kbps
Released in Europe on Castle Communications and distributed in the U.S. on Domino Entertainment, a label founded by producer Rob Fraboni, the album's tracks were all shuffled into a different order except for "A Little Bit of Love," "It Don't Come Easy," and "Use That Power." An oddity, but you could put the CD in your player on the shuffle setting and it would remain one of journeyman Alvin Lee's finest statements. The stellar track here is "Real Life Blues," which hit in spots around the states, notably in Texas and in Massachusetts. It was a Top 30 hit on the Billboard charts in Boston when the regional papers published such tracking. The track featured the unmistakable sound of George Harrison on slide guitar and Deep Purple keyboard player Jon Lord. This is a wiser, slower, more methodical sentiment than we once heard Lee make on "I'd Love to Change the World." A 16 page booklet accompanies the cover photo (the bull's eye on Lee's guitar), it's the other side of the flash guitar Lee's been known for. "A Little Bit of Love" is Ten Years After meets Power Station with thunderous drums and very smooth production. Steve Gould and Deena Payne's backing vocals chirp over Alan Young's boom-boom drumbeat on "The Price of Love," a bonafide dance tune that cries for the kind of production that the band Chic made famous -- dance blues. "Moving the Blues" is a fun, Delaney & Bonnie type rocker with Clarence Clemons on tenor sax. Clemons appears on four tracks, including "Use That Power," "Jenny, Jenny" -- a Little Richard meets Mitch Ryder by way of Chuck Berry fun stomper -- and the funky "Wake Up Moma" which has that trademark Jon Lord keyboard filling in nicely. The instrumental "Lost in Love" is very tasteful. This is a major '60s/'70s figure making music on his own terms and it is very satisfying.Review by Joe Viglione(allmusic.com)
1. A Little Bit Of Love (3:56)
2. Real Life Blues (4:35)
3. The Price Of The Love (4:07)
4. Moving The Blues (4:04)
5. Lost In Love (4:08)
6. Wake Up Mona (3:59)
7. It Don't Come Easy (5:08)
8. Remember Me (4:39)
9. Anything For You (4:59)
10. Jenny, Jenny (4:25)
11. Use That Power (4:20)
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Thin Lizzy - Renegade(1981)
320kbps
Thin Lizzy never made a bad album but if ‘Renegade’ is missing from your collection it shouldn’t cause you undue concern. Lizzy albums are supposed to be dynamic and uplifting but with both Phil Lynott and Scott Gorham in the grip of heroin addiction at the time of recording, this one has a curiously directionless and subdued air. Darren Wharton’s keyboard work is perhaps a little too dominant and Snowy White was never the most forceful of guitarists. Scott Gorham has said that ‘Renegade’ was very much a product of the 80s, a decade that was “all about keyboards and poppy little sounds”. He had a point. Gorham was also critical of what he saw as the keyboard-isation of Lizzy, adding: “Lizzy was a guitar band, full stop”. He definitely had a point there. There are several strong tracks – most notably ‘Angel Of Death’ (no relation to the Slayer song of the same name), ‘The Pressure Will Blow’ and the title track – but Lizzy’s estimable standards slip alarmingly on the dull AOR workout ‘Mexican Blood’. On closing track ‘It’s Getting Dangerous’ Lynott reveals his inner torment, where he appears to be talking about himself in the third person: ‘The man finds himself alone for the first time in his life/He’s always got a problem, he’s got to work it out, wrong or right/He’s got to work it out, he's so lonely in the night/He’s got to work it all alone…’(planetrock.co.uk)
1. Angel Of Death (6:18)
2. Renegade (6:08)
3. The Pressure Will Blow (3:46)
4. Leave This Town (3:49)
5. Hollywood (Down On Your Luc (4:10)
6. No One Told Him (3:36)
7. Fats (4:04)
8. Mexican Blood (3:41)
9. It's Getting Dangerous (5:30)
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Ange - Caricatures(1972)
320kbps
Considered the French equivalent of Genesis due to their heavy theatrical version of progressive rock, Ange released 14 albums from the '70s to the mid-'80s. The group was led by vocalists Christian and Francis Decamps and included guitarist Jean-Michel Brezovar, bassist Daniel Haas, and drummer Gerard Jelsch. Though Caricatures was the group's first album, the double LP In Concert was compiled from live shows before Ange recorded in the studio. In 1973, La Cimetiere des Arlequins became the band's best-selling album, earning gold status in France.Biography by John Bush(allmusic.com)
1. Biafra 80 Introduction (2:53)
2. Telsquels (6:53)
3. Dignite (9:31)
4. Ie Soir du Diable (4:36)
5. Caricatures (13:42)
6. Biafra 80 Finale (2:21)
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Eric Clapton - Another Ticket(1981)
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Now, here's a star-crossed album. Polydor rejected the first version of it, produced by Glyn Johns, and Eric Clapton was forced to cut it all over again with Tom Dowd. Then, a few dates into a U.S. promotional tour coinciding with its release, Clapton collapsed and was found to be near death from ulcers due to his alcoholism. Finally, it turned out to be the final record of his 15-year association with Polydor, which therefore had no reason to promote it. Nevertheless, the album made the Top Ten, went gold, and spawned a Top Ten single in "I Can't Stand It." And the rest of it wasn't too shabby, either. The first and last Clapton studio album to feature his all-British band of the early '80s, it gave considerable prominence to second guitarist Albert Lee and especially to keyboard player/singer Gary Brooker (formerly leader of Procol Harum), and they gave it more of a blues-rock feel than the country-funk brewed up by the Tulsa shuffle crew Clapton had used throughout the 1970s. Best of all, Clapton had taken the time to write some songs -- he's credited on six of the nine selections -- and tunes such as the title track and "I Can't Stand It" held up well. This wasn't great Clapton, but it was good, and it deserved more recognition than conditions allowed it at the time.Review by William Ruhlmann(allmusic.com)
1. Something Special (2:38)
2. Black Rose (3:46)
3. Blow Wind Blow (2:59)
4. Another Ticket (5:43)
5. I Can't Stand It (4:10)
6. Hold Me Lord (3:27)
7. Floating Bridge (6:33)
8. Catch Me If You Can (4:26)
9. Rita Mae (5:05)
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Lucifer's Friend - Lucifer's Friend(1970)
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Although they would develop a more prog-influenced style, this debut album finds Lucifer's Friend living up to their sinister name by performing heavy, keyboard-textured rock in the vein of Deep Purple or Uriah Heep. It gets off to a thunderous start with "Ride the Sky," a punchy rocker built on a rumbling, guitar-fuelled melody reminiscent of "The Immigrant Song" by Led Zeppelin. From there, the band works its way through a series of songs that combine heavy guitar riffs with often-complex arrangements that border on prog-rock: "Keep Goin'" builds from organ-led verses into a guitar-dense jam driven home by John Lawton's wailing vocals, and the title track effectively contrasts heavy guitar-laden verses with an eerie chorus full odd keyboard and vocal effects to create its spooky atmosphere. Another highlight is "In the Time of Job When Mammon Was a Yippie," an eccentric but fun rocker featuring Lawton delivering an odd take on biblical history over a steady hard rock groove from the band. A downside of the album is that it lacks the varied instrumental textures that would make Lucifer's Friend's later work so interesting, but it makes up for this problem with a consistently high level of energy, clever arrangements, and a full-throttle vocal performance from Lawton. Repertoire's 1990 CD reissue of Lucifer's Friend further enhances the album's value by throwing in five bonus tracks consisting of non-album singles and B-sides. Highlights in the bonus track area include "Our World Is a Rock and Roll Band," a Beatlesish song built on an impressive wall of sound, and "Alpenrosen," a wild, synthesizer dominated instrumental that moves at a fast pace and allows the band to show off their progish instrumental dexterity. All in all, Lucifer's Friend is a solid debut and a worthwhile album for any listener interested in the roots of heavy metal.Review by Donald A. Guarisco(allmusic.com)
1. Ride in the Sky (2:55)
2. Everybody's Clown (6:12)
3. Keep Goin' (5:25)
4. Toxic Shadows (7:00)
5. Free Baby (5:27)
6. Baby You're a Liar (3:55)
7. In the Time of Job When Mammon Was a Yippie (4:04)
8. Lucifer's Friend (6:12)
Bonus
9. Rock 'N' Roll Singer (4:20)
10. Satyr's Dance (3:17)
11. Horla (2:52)
12. Our World Is a Rock 'N' Roll Band (3:20)
13. Alpenrosen (3:53)
Little Free Rock - Little Free Rock(1969)
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Little Free Rock was a late 1960s Heavy Rock Trio from Preston in Lancashire, England. It featured Peter Illingworth (lead guitar and vocals) (formerly with David John and the Mood who recorded with Joe Meek), Paul Varley (drums) (later with The Arrows) and Frank Newbold (bass and vocals). They began performing covers of The Who, The Creation ("Makin' Time" appeared on their album), Tomorrow but were soon doing mainly own songs.The band performed regularly at the Roundhouse Sunday Night Implosion Events and had numerous residencies at the Marquee Club. As well as performing all over Belgium, Continental Trips included the Star-Club in Hamburg, Essen Jazz and Blues Festival, and festivals in Frankfurt, San Tropez and Santa Margarita de la Costa in Italy.They changed their name from Purple Haze to avoid confusion with Jimi Hendrix' single.Peter Green (Fleetwood Mac) joined the band for a short period, but the recordings were never released.(en.wikipedia.org)
1. Roman Summer Nights (2:47)
2. Lost Lonely (4:18)
3. Blud (3:51)
4. Castles In The Sky (3:53)
5. Dream (3:46)
6. Tingle (3:58)
7. Evil Woman (2:44)
8. Age Of Chivalry (4:24)
9. Making Time (10:18)
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Thin Lizzy - Thunder and Lightning (1983)
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For this album Thin Lizzy went all out and recorded what is arguably the heaviest album in their career, partially due to the intricate guitar work of John Sykes (who would later work with Whitesnake and form his own group called Blue Murder). Phil Lynott's voice is in top form on the album, which contains "Holy Wars," "Cold Sweat," and "Baby Please Don't Go." ~ John Book, All Music Guide
1. Thunder And Lightning (4:54)
2. This Is The One (4:04)
3. The Sun Goes Down (6:20)
4. The Holy War (5:12)
5. Cold Sweat (3:06)
6. Someday She Is Going To Hit Back (4:05)
7. Baby Please Don't Go (5:10)
8. Bad Habits (4:05)
9. Heart Attack (3:39)
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Eric Clapton - Money And Cigarettes(1983)
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Money and Cigarettes marked several important turning points in Eric Clapton's recording career. It was his debut release on his own Duck imprint within Warner Bros.' Reprise Records subsidiary. It was also the first album he made after coming to terms with his drinking problem by giving up alcohol. Newly focused and having written a batch of new songs, he became dissatisfied with his longtime band and fired them, with the exception of second guitarist Albert Lee. In their place, he hired session pros like Stax Records veteran bassist Donald "Duck" Dunn and Muscle Shoals drummer Roger Hawkins, also bringing in guest guitarist Ry Cooder. His new songs reflected on his changed condition, with "Ain't Going Down," a thinly veiled musical rewrite of the Jimi Hendrix arrangement of "All Along the Watchtower," serving as a statement of purpose that declared, "I've still got something left to say." "The Shape You're In" was a criticism of his wife for her alcoholism that concluded, "I'm just telling you baby 'cause I've been there myself," while the lengthy acoustic ballad "Pretty Girl" and "Man in Love" reaffirmed his feelings for her. The album's single was the relatively slight pop tune "I've Got a Rock n' Roll Heart," but Clapton's many blues fans must have been most pleased with the covers of Sleepy John Estes' "Everybody Oughta Make a Change" (significantly placed as the album's leadoff track), Albert King's "Crosscut Saw," and Johnny Otis' "Crazy Country Hop." For all the changes and the high-powered sidemen, though, Money and Cigarettes ended up being just an average effort from Clapton, which his audience seems to have sensed since, despite the Top 20 placement for the single, it became his first album in more than six years to miss the Top Ten and fail to go gold.Review by William Ruhlmann(allmusic.com)
1. Everybody Oughta Make A Chance (3:17)
2. The Shape You're In (4:09)
3. Ain't Going Down (4:02)
4. I've Got A Rock N' Roll Heart (3:16)
5. Man Overboard (3:46)
6. Pretty Girl (5:31)
7. Man In Love (2:47)
8. Crosscut Saw (3:31)
9. Slow Down Linda (4:15)
10. Crazy Country Hop (2:47)
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Jukka Tolonen - Tolonen! (1971)
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When a prog rock guitarist titles his album with only his last name, you know he's serious. This 1971 five track outing from the Finnish cult hero is highlighted by the suite "Elements (Earth/Water/Fire/Air)"(cduniverse.com)
1. Elements: Earth, Wind, Fire, Air (8:08)
2. Ramblin (9:06)
3. Mountains (6:42)
4. Wanderland (5:08)
5. Last Night (3:31)
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Icecross - Icecross (1973)
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Icecross - Icecross CD. Reissue of classic 1973 dark heavy rock blaster from Iceland! The album was recorded in Denmark but issued in Iceland only.This is the out of print no-label reissue version which is using the original black and white cover, instead of the black and red cover seen on the DoDo version (also out of print).Personnel include only 3 members: Axel Einarsson (guitar and vocals), Omar Oskarsson (bass, vocals) and Asgeir Oskarsson (drums, vocals).(rockadrome.com)
1. Solution (5:31)
2. A Sad Man's Story (2:47)
3. Jesus Freaks (5:36)
4. Wandering Around (3:21)
5. 1999 (4:56)
6. Scared (3:51)
7. Nightmare (4:50)
8. The End (5:30)
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Van Morrison – Tupelo Honey(1971)
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Tupelo Honey is typical of Van Morrison's early-'70s work in both sound and structure; after dispensing with the requisite hit -- here, the buoyant, R&B-inflected "Wild Night" -- he truly gets down to business, settling into a luminously pastoral drift typified by the nostalgic "Old Old Woodstock." At the heart of the record are a pair of stunning love songs, "You're My Woman" and the hymn-like title cut, one of Morrison's most enduring and transcendent compositions.Review by Jason Ankeny
1. Wild Night (3:34)
2. (Straight To Your Heart) Like a Cannon Ball(3:42)
3. Old Old Woodstock (4:18)
4. Starting A New Life (2:10)
5. You're My Woman (6:44)
6. Tupelo Honey (6:58)
7. I Wanna Roo You (Scottish Derivate) (3:27)
8. When That Evening Sun Goes Down (3:06)
9. Moonshine Whiskey (6:46)
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Jefferson Starship - Live at Central Park (1975)
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1. Intro - Ride The Tiger (7:42)
2. Off The Trees Pt1 (0:51)
3. Fast Buck Freddie (3:42)
4. The Witcher (5:41)
5. Off The Trees Pt2 (1:08)
6. Devil's Den (8:24)
7. Caroline (7:38)
8. Off the Trees Pt3 (0:44)
9. Driving Me Crazy (7:14)
10. Papa Creach's Down Home Blues (5:00)
11. Off The Trees Pt4 (1:13)
12. Play On Love (4:19)
13. Better Lying Down (4:39)
14. Have You Seen The Saucers (4:38)
15. Come To Life (4:59)
16. White Rabbit (3:42)
17. Off The Trees Pt5 (1:14)
18. Sweeter Than Honey (14:07)
19. Somebody To Love (6:41)
20. Volunteers (6:28)
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Eric Clapton - August(1986)
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Eric Clapton adopted a new, tougher, hard R&B approach on August, employing a stripped-down band featuring keyboard player Greg Phillinganes, bassist Nathan East, and drummer/producer Phil Collins, plus, on several tracks, a horn section and, on a couple of tracks, backup vocals by Tina Turner, and performing songs written by old Motown hand Lamont Dozier, among others. The excellent, but incongruous, leadoff track, however, was "It's in the Way That You Use It," which Clapton and Robbie Robertson had written for Robertson's score to the film The Color of Money. Elsewhere, Clapton sang and played fiercely on songs like "Tearing Us Apart," "Run," and "Miss You," all of which earned AOR radio play. That radio support may have helped the album to achieve gold status in less than six months, Clapton's best commercial showing since 1981's Another Ticket, despite the album's failure to generate a hit single. The title commemorates the birth in August 1986 of Clapton's son Conor. [The CD version of the album contains the bonus track "Grand Illusion."]Review by William Ruhlmann(allmusic.com)
1. It's In The Way That You Use It (4:10)
2. Run (3:38)
3. Tearing Us Apart (4:14)
4. Bad Influence (5:08)
5. Walk Away (3:51)
6. Hung Up On Your Love (3:53)
7. Take A Chance (4:52)
8. Hold On (4:55)
9. Miss You (5:05)
10. Holy Mother (4:54)
11. Behind The Mask (4:46)
12. Grand Illusion (6:22)
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Colosseum - Those Who Are About To Die Salute You(1969)
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Colosseum's debut album is a powerful one, unleashing each member's instrumental prowess at one point while consolidating each talent to form an explosive outpouring of progressive jazz/rock the next. Those Who Are About to Die Salute You is coated with the volatile saxophone playing of Dick Heckstall-Smith, the thunderous keyboard assault of Dave Greenslade, and the bewildering guitar craft of James Litherland. Together, Colosseum skitters and glides through brisk musical spectrums of freestyle jazz and British blues, sometimes held tightly in place by Greenslade's Hammond organ, while other times let loose by the brilliancy of the horn and string interplay. Each song sparks its own personality and its very own energy level, giving the band instant notoriety upon the album's release in 1969. Not only did Colosseum sound different from other jazz fusion bands of the era, but they could easily take the unconventional elements of their style and churn them into palatable and highly significant musical thoroughfares. Some of the more compelling tracks include "Walking in the Park," led by its powerful trumpet segments, and "Pretty Hard Luck," which embarks on a stylish blues excursion with colorful keyboard sections on the periphery. "Beware the Ides of March" borrows a page out of J.S. Bach's notebook and turns his classical poignancy inside out, while "Mandarin" and "Backwater Blues" are created with the perfect jazz and blues friendship in mind, representing Colosseum's fused sound spotlessly. Best of all, the album never strays from its intensity or its creativity, the very foundation that the band is built on. Their next album, Valentyne Suite, mirrors the same instrumental congruity as Those Who Are About to Die, and is equally entertaining.Review by Mike DeGagne(allmusic.com)
1. Walking In The Park (3:53)
2. Plenty Hard Luck (4:27)
3. Mandarin (4:24)
4. Debut (6:20)
5. Beware The Ides Of March (5:36)
6. The Road She Walked Before (2:43)
7. Backwater Blues (7:39)
8. Those About To Die (4:54)
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Curved Air - Airborne(1976)
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The final Curved Air album before the band's late 1976 split is a somewhat under-rated effort, an album that may not be able to hold a candle to the superlative triumphs of their first three records, but still a strong summation of all that made the group so important in the first place. With founders Sonja Kristina and Darryl Way flanked by former Greenslade bassist Tony Reeves, future Police drummer Stewart Copeland and guitarist Mick Jacques, Airborne kicks off with the delicious "Desiree" - the band's last genuine chance of restoring former chart glories - and peaks later with the moving "Heaven (Never Seemed So Far Away". Those two tracks, at least, would not have looked out of place on any of the band's better-feted releases.
The rocky "Touch Of Tequila", too, is a highlight and, if the album elsewhere sinks towards a more-or-less identikit mid-70s rock rut ("Broken Lady", "Hot And Bothered", Kristina and Way, at least, retain enough of their old identity to ensure things never scrape the bottom of the barrel. Indeed, had the band's manic reinvention of "Baby Please Don't Go", a non-album single drawn from the same sessions, only been added to Airborne in favor of either of those turkeys, a mere "listenable" album would have been transformed into something altogether grander.Review by Dave Thompson(allmusic.com)
1. Desiree (3:14)
2. Kids to Blame (3:21)
3. Broken Lady (3:17)
4. Juno (3:24)
5. Touch of Tequila (3:51)
6. Moonshine (11:38)
7. Heaven (Never Seemed So Far Away) (3:20)
8. Hot and Bothered (2:55)
9. Dazed (4:19)
10. Baby Please Don't Go (2:31)
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The Moody Blues - On The Threshold Of A Dream(1969)
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On the Threshold of a Dream was the first album that the Moody Blues had a chance to record and prepare in a situation of relative calm, without juggling tour schedules and stealing time in the studio between gigs -- indeed, it was a product of what were almost ideal circumstances, though it might not have seemed that way to some observers. The Moodies had mostly exhausted the best parts of the song bag from which their two preceding albums, Days of Future Passed and In Search of the Lost Chord, had been drawn, and as it turned out, even the leftover tracks from those sessions wouldn't pass muster for their next long-player project -- but those albums had both been hits, and charted well in America as well as England, and had overlapped with a pair of hit singles, "Nights in White Satin" and "Tuesday Afternoon," on both sides of the Atlantic. Their success had earned them enough consideration from Decca Records that they could work at their leisure in the studio through all of January and most of February of 1969; what's more, with two LPs under their belt, they now had a much better idea of what they could accomplish in the studio, and write songs with that capability in mind. Equally important, they'd just come off of an extensive U.S. tour (opening for Cream) and had learned a lot in the course of concertizing over the previous year, achieving a much bolder yet tighter sound instrumentally as well as vocally, and they could now write to and for that sound as well. So this album is oozing with bright, splashy creative flourishes in two seemingly contradictory directions that somehow come together as a valid whole. On the original LP's first side (which was the more rock-oriented side), the songs "Lovely to See You," "Send Me No Wine," "To Share Our Love," and "So Deep Within You" all featured killer guitar hooks (electric and acoustic) and fills by Justin Hayward; beautiful, muscular bass from John Lodge; and vocal hooks everywhere. It's also a surprisingly hard-rocking album considering the amount of overdubbing that went into perfecting the songs, including cellos, wind and reed instruments, and lots of vocal layers -- yet it even found room to display a pop-soul edge on "So Deep Within You" (a number that the Four Tops later recorded).Side two was the more overtly ambitious of the two halves -- after a pair of songs dominated by acoustic guitar and heavy Mellotron, "Never Comes the Day" and "Lazy Day" (the latter a piece of social commentary showing that Ray Thomas, at least, still remembered his roots in Birmingham), the remainder of the record was devoted to the most challenging body of music in the group's history. Justin Hayward's deliberately archaic "Are You Sitting Comfortably?," a piece that sounds almost 400 years out of its own time, evokes images out of medieval and Renaissance history laced with magic and mysticism, all set to Hayward's acoustic guitar and Thomas' flute, leading into Graeme Edge's poetic contribution, "The Dream," accompanied by Mike Pinder's Mellotrons in their most exposed appearance to date on a record. And all of that flows into Pinder's three-part suite, "Have You Heard, Pt. 1"/"The Voyage"/"Have You Heard, Pt. 2," a tour de force for the band -- check out Edge's and Lodge's rock-solid playing on "Have You Heard" -- and for Pinder, whose Mellotrons, in conjunction with Thomas' flute and supported by some overdubbed orchestral instruments, push the group almost prematurely into the realm of progressive rock. This synthesis of psychedelia and classical music, including a section featuring Pinder on grand piano, may sound overblown and pretentious today, but in 1969 this was envelope-ripping, genre-busting music, scaling established boundaries into unknown territory, not only "outside the box" but outside of any musical box that had been conceived at that moment -- perhaps it can be considered rock's flirtation with the territory covered by works such as Alexander Scriabin's Mysterium, and if it overreached (as did Scriabin), well, so did a lot of other people at the time, including Jimi Hendrix, the Doors, the Who, et al. To show the difference in the times, the Moodies even brought this extended suite successfully to their concert repertory, and audiences devoured it at the time (and evidently still did in 2005, as they brought part of it back to their set list that year). Amazingly, On the Threshold of a Dream was their first chart-topping LP in England, and remained on the charts for an astonishing 70 weeks, a feat made all the more remarkable by the fact that the accompanying single, "Never Comes the Day" b/w "So Deep Within You," never charted at all. ~ Bruce Eder, All Music Guide
1. In The Beginning (2:08)
2. Lovely To See You (2:34)
3. Dear Diary (3:56)
4. Send Me No Wine (2:19)
5. To Share Our Love (2:55)
6. So Deep Within You (3:08)
7. Never Comes The Day (4:43)
8. Lazy Day (2:43)
9. Are You Sitting Comfortably (3:30)
10. The Dream (0:56)
11. Have You Heard Part I (1:20)
12. The Voyage (4:08)
13. Have You Heard Part II (2:36)
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Canned Heat - Livin' The Blues(1968)
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Canned Heat's third collection, Living the Blues [Akarma] (1968), was likewise their first double-LP, heralding the rural hippie anthem "Going Up the Country" as well as the nearly three-quarter-hour "Refried Boogie." However, rather than distracting their audience, it became one of rock & roll's first two-LP sets to make a substantial showing on the charts, reaching the Top 20. Not surprising as the rest of the album -- essentially all of disc one -- is as solid (if not arguably more so) than their previous long player Boogie With Canned Heat (1968). Featured is the "classic" Heat lineup of Alan "Blind Owl" Wilson (guitar/vocals), Larry "The Mole" Taylor (bass), Henry "Sunflower" Vestine (guitar), Adolfo "Fido" de la Parra (drums), and Bob "The Bear" Hite (vocals), who unleash another batch of strong originals and engaging overhauls of a few blues staples -- including the solid cover of Charley Patton's "Pony Blues" that commences the effort. Right out of the gate, the formidable team of Wilson and Vestine explore their musical passions with a focused drive that would significantly diminish in the years and on the records to follow. One of the primary factors in the package's commercial success was their update of Henry Thomas' "Going Down South," which they turned into the breezy "Goin' Up the Country." The song not only became one of their biggest hits, it was also used in the Woodstock (1970) documentary and a live version -- from the actual concert -- was presented on the soundtrack. Canned Heat are joined by one of their contemporaries as Brit bluesman John Mayall contributes to the compact reading of Jimmy Rogers'"Walking By Myself," not on guitar, but rather piano. He also tosses around the '88s during the "Bear Wires" movement of the side-long "Parthenogenesis" suite. While on the subject of guest keyboardists, Mac Rebbenack (aka Dr. John) joins in on the groovy ode to "Boogie Music." "One Kind Favour" (aka "See That My Grave Is Kept Clean") drives hard with Hite belting out behind the ensemble's propelling rhythms. Aside from the slightly indulgent "Refried Boogie," Living the Blues [Akarma] (1968) stands as a testament to Canned Heat's prowess as modernizers of the blues and recommended as one of the most cohesive works from this incarnation.Review by Lindsay Planer(allmusic.com)
CD1
1. Pony Blues (3:48)
2. My Mistake (3:21)
3. Sany's Blues (6:48)
4. Going Up the Country (2:52)
5. Walking by Myself (2:30)
6. Boogie Music (3:14)
7. One Kind Favor (4:43)
8. Parthenogenesis (19:45)
CD2
1. Refried Boogie [live]Part 1 & 2 (40:45)
Eric Clapton - Behind The Sun(1985)
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Eric Clapton's career was in decline in the early '80s when he switched record labels from Polydor to Warner Bros., and his debut Warner album, Money and Cigarettes, became his first to fall below gold-record status in more than six years. As a result, Warner looked critically at his follow-up, the Phil Collins-produced Behind the Sun, in the fall of 1984 and rejected the first version submitted, insisting that he record several new songs written by Jerry Williams, backed by Los Angeles session players under the auspices of company producers Lenny Waronker and Ted Templeman. Warner then emphasized the new tracks, releasing two of them, "Forever Man" (which reached the Top 40) and "See What Love Can Do," as singles. The resulting album, not surprisingly, was somewhat schizophrenic, though the company may have been correct in thinking that the album as a whole was competent without being very exciting. The added tracks were not bad, but they were not the sure-fire hits they were supposed to be. As usual, there was some effective guitar soloing (notably on "Same Old Blues"), but despite the tinkering, Behind the Sun was not one of Clapton's better albums.Review by William Ruhlmann(allmusic.com)
1. She's Waiting (4:56)
2. See What Love Can Do (3:59)
3. Same Old Blues (8:15)
4. Knock On Wood (3:19)
5. Something's Happening (3:23)
6. Forever Man (3:14)
7. It All Depends (5:05)
8. Tangled In Love (4:11)
9. Never Make You Cry (6:07)
10. Just Like A Prisoner (5:31)
11. Behind The Sun (2:11)
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Focus - Moving Waves(1971)
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The album that boosted Focus into at least semi-fame outside of continental Europe, Moving Waves blasts off with their hit single, "Hocus Pocus." Built around a killer guitar hook by Jan Akkerman and a series of solo turns by the band, this instrumental replaced "Wipeout" as a staple of FM radio. The bizarrely hilarious vocal and accordion solos by Thijs van Leer -- one of which absurdly concludes with rousing stadium cheers -- have to be heard to be believed. After this over-the-top performance, the other tracks seem comparatively constrained: the gentle "Le Clochard" features some gorgeous classical guitar over Mellotron strings. The album concludes with "Eruption," which while mimicking the multi-suite nomenclature of Yes and King Crimson, is essentially a side-long jam session. Stop-time Emersonian organ solos alternate with languid sections of jazzy guitar redolent of Santana, while still other sections are flat-out electric blues-rock stomps. It's impressive playing, though it comes off as a bit meandering after the tightly structured solos that began the album.Review by Paul Collins(allmusic.com)
1. Hocus Pocus (6:39)
2. Le Clochard (2:01)
3. Janis (3:08)
4. Moving Waves (2:42)
5. Focus II (4:04)
6. Eruption (23:02)
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H.P. Lovecraft - H.P. Lovecraft II (1968)
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Much more progressive than their first effort, the album also showed the band losing touch with some of their most obvious strengths, most notably their disciplined arrangements and incisive songwriting. The arrangements are more swirling and far denser on this follow-up. Unsurprisingly, the more concise, dual harmony numbers that bear the closest resemblance to the first album work best, especially "At the Mountains of Madness."Review by Richie Unterberger(allmusic.com)
1. Spin, Spin, Spin (3:23)
2. It's About Time (5:19)
3. Blue Jack Of Diamonds (3:08)
4. Electrollentando (6:35)
5. At The Mountains Of Madness (4:58)
6. Mobius Trip (2:44)
7. High Flying Bird (3:23)
8. Nothing's Boy (0:40)
9. Keeper Of The Keys (3:08)
10. Anyway That You Want Me (2:42)
11. It's All Over For You (2:36)
Deep Purple - Live in Paris 1975
320kbps
Recorded in Paris on April 7, 1975, this double CD documents -- in its entirety -- the final concert given by what the liner notes refer to as the "Mk 3" version of the band: Ritchie Blackmore, Ian Paice, Jon Lord, David Coverdale, and Glenn Hughes. You've got to be a deep Deep Purple fan to plumb for this set, as this juncture of the band's career was already well-represented by the 1976 album Made in Europe and the longer archival CD release Mk III the Final Concerts. How's Live in Paris 1975 different from those? It's a little technical and dry to lay out the full explanation, but Made in Europe, which was taken from their last three shows during this European tour, was drawn mostly from their April 5, 1975, concert in Saarbrucken, Germany. Mk III the Final Concerts, with a more extensive though similar track listing, was also taken from these three shows. Live in Paris 1975, naturally, is taken only from the Paris show, and though only three of the nine tracks (the liner notes do not state exactly which ones) were previously unissued, all the tapes have been remixed from 16-track masters. Even Deep Purple fans who've kept up with all these concert releases from Mk 3's final days might find this redundant as all nine of the songs have appeared on the previous live releases taken from this tour, whether performed at Paris or one of the other nights at which the band was taped. More general followers of the band will likely find it notably inferior to what most agree is their best live recording, 1972's Made in Japan. And as a less collector-oriented observation, there's just too much overlong wanking going on, particularly in a 19-minute "You Fool No One" and the entirety of disc two, whose 38 minutes are solely occupied by "Space Trucking" and "Going Down/Highway Star." The CD format does ensure that all 107 minutes or so can be comfortably accommodated into a two-disc set without any sound problems, though, and the 12-page booklet gives a thorough account of the Mk 3 era.Review by Richie Unterberger(allmusic.com)
CD1
1. Burn (9:45)
2. Stormbringer (5:12)
3. The Gypsy (6:10)
4. Lady Double Dealer (4:35)
5. Mistreated (12:48)
6. Smoke on the Water (11:10)
7. You Fool No One (19:29)
CD2
8. Space Truckin' (21:20)
9. Going Down (5:19)
10. Highway Star (11:32)
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John Mayall - USA Union (1970)
320kbps
John Mayall's Turning Point band -- Jon Mark, Johnny Almond, and Steve Thompson -- broke up in June 1970 after a European tour. Mayall then assembled his first all-American band and recorded this album in July. It had more drive than the previous outfit, and Mayall turned to environmentalism on the leadoff track, "Nature's Disappearing." But much of his low-volume, reflective approach remained on an album that was still more of a jazz-pop outing than the blues sessions of his early career. USA Union had the highest U.S. chart peak of his career, hitting #22. But in the U.K., where its title confirmed Mayall's U.S. leanings, the album showed a big dropoff from his usual sales.Review by William Ruhlmann(allmusic.com)
1. Nature's Disappearing (5:59)
2. You Must Be Crazy (3:58)
3. Night Flyer (5:36)
4. Off The Road (2:51)
5. Possessive Emotions (5:23)
6. Where Did My Legs Go (3:48)
7. Took The Car (4:11)
8. Crying (6:30)
9. My Pretty Girl (4:24)
10. Deep Blue Sea (5:06)
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After All - After All (1969)
320kbps
After All may have only been a band in the loosest sense of the term, but its only record is a quite wonderful -- if ultimately difficult to categorize -- one-shot relic of the transitional late-'60s. The four members of the combo were actually friends and acquaintances in different bands on the Tallahassee, FL, rock circuit before culling their skills together, along with lyrical assistance from young local poet and songwriter Linda Hargrove, when an opportunity to record an album in a Nashville studio presented itself. The resulting piece of work is the type of strangely compelling hybrid album that could only have come together in the musical gumbo of the post-psychedelic era. Drummer and primary vocalist Mark Ellerbee wrote most of the music, and his songs are basically freeform, open-ended tone poems that eschew typical verse-chorus and melodic considerations (although the odd melodic hook or harmony surfaces from time to time) for music that is much more amorphous and improvisational. There are elements of rock, R&B, blues, progressive, classical, avant-garde composition, and, to an even greater degree, jazz weaving through the music, while a thick hallucinatory cloud hovers over the whole of the album, giving it an oddly surreal and even ghostly demeanor. It is a complex and ambitious mix that doesn't always come off seamlessly, but is by and large an engaging amalgam, exploring similar territory to that being investigated during the period by much higher profile bands such as Chicago, Procol Harum, and Blood, Sweat & Tears (Ellerbee's singing, in fact, is a dead ringer for David Clayton Thomas). Each band member displays near virtuosity on his instrument, which allows After All to harness all its sonic influences and renders the music exciting to hear even when the songwriting drags the slightest bit or loses its way. But, for the most part, the songs are rather outstanding. "Intangible She" and the psychedelic "A Face That Doesn't Matter" play with the foreboding, seedy flair that frequently made the Doors' songs seem like such ominous musical prophecies, while "Blue Satin" is a bit more swirling and romantic but maintains an edgy sense of intangible mystery, represented by the flute that threads through the song's final moments. "Let It Fly," on the other hand, is pure groove, and maybe the best example of the band's playing capabilities (if not the best song), while "And I Will Follow" builds a slow, tensive burn to match the yearning nature of the lyrics before turning more wistful. Hargrove's beautifully lustful and longing words frequently create an interesting tension with the spacier instrumental interplay, and the music is even more enigmatic as a result. After All is not easy to fully enter, but it is well worth the effort. As obscurities from the era go, it may not be one of the most fascinating, but it may have some of the most accomplished musicianship.Review by Stanton Swihart(allmusic.com)
1. Intangible She (7:15)
2. Blue Satin (3:46)
3. Nothing Left To Do (7:08)
4. And I Will Follow (4:51)
5. Let It Fly (4:33)
6. Now What Are You Looking For (3:06)
7. A Face That Doesn't Matter (4:32)
8. Waiting (4:24)
Ken Hensley - Eager To Please (1975)
320kbps
At first it might seem like Eager To Please is a heavy metal album in the vein of Hensley's day-job group, Uriah Heep: "Eager To Please" boasts a barrage of dramatic power chords and "Stargazer" is built on a chugging electric guitar riff that is pure hard rock. However, this is illusion is dissipated by the rest of the album, which includes several songs in the moody and subtle style of Hensley's previous solo outing, Proud Words On A Dusty Shelf. Eager To Please is a more ambitious and studio-crafted affair than that album, even featuring full-blooded orchestral arrangements on some of its tracks, but it still relies on the same song-focused approach. Highlights this time out include "Through The Eyes Of A Child," a tale of lost innocence that highlights a heart-rending vocal from Hensley against a heart-tugging backdrop of strings, and "House On The Hill," a nostalgic acoustic tune with an intoxicatingly dreamy melody. "Take And Take" is another strong track, a mid-tempo rocker that effectively conveys the strong emotions in its lyrics through a potent combination of slide guitar and soaring background vocals. The only real problem with Eager To Please is that its combination of hard rock and soft rock lacks cohesion and makes this outing feel more like a collection of songs than a fully-coherent album. Despite this quibble, Eager To Please still offers a strong, thoughtfully-crafted batch of songs that show off the range of this oft-underrated songwriter. It is a necessity for Uriah Heep fans and is very likely to appeal to other fans of well-produced 1970's classic rock.Review by Donald A. Guarisco(allmusic.com)
1. Eager To Please (4:53)
2. Stargazer (3:49)
3. Secret (4:04)
4. Through The Eyes Of A Child (2:18)
5. Part Three (3:48)
6. The House On The Hill (3:20)
7. Winter Or Summer (3:00)
8. Take And Take (3:44)
9. Longer Shadows (3:34)
10. In The Morning (2:36)
11. How Shall I Know (4:01)
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Otis Spann - Cryin' Time(1970)
320kbps
While the Muddy Waters sideman is best known for piano, his soulful organ steals the show on this late-'60s release. His singing is serviceable, helped by wife Lucille Spann on two cuts. Country Joe & the Fish co-founder Barry Melton plays lead guitar, with Luther "Guitar Junior" Johnson taking the second chair. ~ Mark Allan, All Music Guide
1. Home To Mississippi (3:26)
2. Blues Is A Botheration (4:02)
3. You Said You'd Be On Time (4:46)
4. Cryin' Time (3:11)
5. Blind Man (3:18)
6. Some Day (4:35)
7. Twisted Snake (3:02)
8. Green Flowers (3:44)
9. The New Boogaloo (2:09)
10. Mule Kicking In My Stall (3:30)
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Wishbone Ash - Twin Barrels Burning(1982)
320kbps
I was pretty surprised the first time I saw Wishbone Ash referred to as a prog-related band. Granted, this is largely based on Argus, a great album but really the odd man out for a band whose career is closing in on forty years and two dozen albums.And I’m not one to quibble about where the progressive lines should be drawn either, being a fan of several bands that have dubious claims to that label.But whatever their earlier career represented, this particular album doesn’t fall into any category except heavily blues-influenced hard rock. The sound here is far closer to the Allman Brothers than it is to Genesis. Guitarist Andy Powell and drummer Steve Upton were the only remaining original members by this point, and Upton would be gone before the end of the decade. John Wetton had abandoned the band after a brief stint to form Asia. And to top all that off, it was the dawn of the 80s, and we all know what that did to most bands that were even passingly progressive.Nothing really stands out much. There are guitar-god love songs (“Genevieve”), back- seat lust songs (“Can’t Fight Love”),missing-my-gal-so-I’m-calling-her-in-the-middle-of- the-night-songs (“Hold On”), picking up skank on the street songs (“Streets of Shame”), you and me against the world songs (“Wind Up”), and a couple of god’s gift to women songs (“Can’t Fight Love”, “No More Lonely Nights”). The only track that really stands out is “Angels Have Mercy”, and that’s only because the mix on this one is particularly fuzzy, and I’m left to wonder if that one was recorded at another time and simply used to fill time here.Weaving all of this together is a two-guitar attack that is sort of like the twin-axe attack the band was known for in the 70s, but not quite. In most cases there is a definitive lead guitar, with the other embellishing somewhat but mostly just providing accompaniment.It’s hard to say why the band went this route on the album, except to say they were probably pressured to deliver one for their management or label, and considering the sketchy lineup this may have been the safe route. These are all songs that could be easily done live as well, and since live concerts are what carried the band through this decade, that would have been a pretty good business decision. Anyway, lots of screaming guitar, and not too much spark on drums, but passable.If you’re a big Wishbone Ash fan you more than likely already own this. If you were a casual fan of the band back in the early 80s (like me), this will most likely be a letdown. If you like The Duane Allman style of blues-rocking then this album will appeal to you. Review by ClemofNazareth (Bob Moore-progarchives.com)
1. Engine Overheat (4:06)
2. Can't Fight Love (3:59)
3. Genevieve (3:36)
4. Me And My Guitar (4:01)
5. Hold On (4:50)
6. Streets Of Shame (4:37)
7. No More Lonely Nights (5:17)
8. Angels Have Mercy (3:55)
9. Wind Up (5:03)
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Jody Grind - Far Canal (1970)
320kbps
JD’s second album is a fairly different affair compared with their debut: gone are the heavy brass arrangements, leaving the group with a much sober (less jam-oriented) songwriting and a harder sound. The group will suffer two major line-up changes and by late 69, only Hinkley was left from the original group. Holland and Gavin were asked to join up.Surprisingly enough, the opening We’ve Had It starts on a classical guitar, but soon veers towards a more realistic form of proto- prog. Bath Sister starts on a blues-rock guitar riff, and while foraying a little, it remains close to the starting motif. Much more enthralling is the 7-min Jumb Bed Jed where past the hard-riffing guitar intro; the track veers very elegantly towards a demonstration of superb interplay and soloing. However the side closer Paradiso is marred by a lengthy drum solo taking up half the track, and it is too bad, because the other half is quite pleasant.The flipside starts with the live-recorded Plastic Shit, which is understandably rougher and rawer than the rest of the album. Vegetable Oblivion is bit of a short instrumental interlude, very pleasant with the guitar gently dominating but has an overall feel of one of those power ballads of the 80’s, but much better. Red Worm And Lice is clearly the album’s highlight is JD’s best track, with its seven minutes of excellent instrumental interplay where Holland’s doubled guitars soars like an eagle in the sky. The closing Ballad For Bridget is a short jazz-inflicted ballad that doesn’t find its place easily in this album.Review by Sean Trane (Hugues Chantraine-progarchives.com)
1. We've Had It (5:08)
2. Bath Sister (3:30)
3. Jump Bed Jed (7:16)
4. Paradiso (7:33)
5. Plastic Shit (7:20)
6. Vegetable Oblivion (2:11)
7. Red Worms & Lice (7:25)
8. Ballad For Bridget (3:43)
9. Rock N' Roll Man (4:33)Bonus Track
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Focus - In And Out Of Focus(1970)
320kbps
Despite certain criticism, the debut album of FOCUS is a quite original and artistically coherent music statement. True, critics are mainly complaining about the weak vocal tracks and surely Black Beauty and Sugar Island are not the kind of songs you cannot live without. But the rest is pretty much excellent!
The opening - vocal - and the closing - instrumental - versions of the self-titled Focus are pretty solid progressive rock statements and present a blueprint for later albums, where this composition would traditionally be re-interpreted. The instrumental Focus contains some wonderful Akkerman's solo parts that suggest a nice, relaxing, almost lounge atmosphere of the kind Peter Green had composed in Albatross.
Anonymous is another gem presenting a mixture of Medieval/Rennaissance elements with a strong, hard-rocking jazz improvisation, with some wild and vivid use of flute, piano and lead guitar. There is a solo part on bass guitar where M. Dresden shows that his performance skills were not the reason for his departure after this album. The bass sounds like the similar part of the crazy Improvisation suite by their fellow countrymen EKSEPTION done few years later.Happy Nightmare and Why Dream are vocal tracks, but both are fine melodic and slightly psychedelic songs, an obvious traces of THE BEATLES and early PINK FLOYD influences. There is a fine chamber jazz section in the former, with Mellotron and strings/violins. The vocals are indeed not very convincing, but I would say there were never meant to be in the forefront - much like its use in later CAMEL or LEB I SOL albums - their role is pure atmospheric. Whether this was an intention of the band while recording this album is a different story and I sense they were rather experimental. On the subsequent albums they were reduced to occasional scat and yodelling and that's what van Leer would become a famous for.Finally, here comes House of the King! Acoustic guitar chords and lively percussive rhythm make just enough space for Thijs van Leer's extravaganza flute solo play. It is one of the most memorable and popular flute solos in rock music, a melody that gained a widespread popularity across generations. I remember it was often used as background music for commercials and announcements in the TV/radio broadcast in the former Yugoslavia, while a popular radio show on Radio Sarajevo in the early 1980s used to have this tune in the opening sequence!In and Out of Focus is excellent debut of the excellent European continental band that is often overlooked in the wake of later stronger albums. But if you disregard certain weak elements of some of the vocal tracks, you will find this record extremely enjoyable, diverse and if you want - influential (CAMEL fans - this is for you!)Review by Seyo (Sead S.Fetahagic-progarchives.com)
1. Focus...(Vocal) (2:44)
2. Black Beauty (3:08)
3. Sugar Island (3:05)
4. Anonymus (6:32)
5. House Of The King (2:51)
6. Happy Nightmare (Mescaline) (3:58)
7. Why Dream (3:59)
8. Focus (Instrumental) (9:45)
Renaissance - Novella(1977)
320kbps
"Novella" was probably the last truly progressive album by Renaissance, although they would go on to find commercial success with the subsequent "A song for all seasons". As someone who found "Scheherazade" to be an over-ambitious release, for me this is a case of the band being back to what they do best. The album marked Renaissance's move to a major label (Warner Brothers) who must have been delighted with the product they were presented with.There are just five tracks in total, the opening "Can you hear me" being a 13½ minute epic which gives our Annie the chance to display here vocal dexterity in full. The striking orchestration and choral arrangements complement the intricacies of the composition superbly. "The sisters" is a beautiful, slightly understated song with a desperate message.Side two opens with the albums two shortest tracks. "Midas man" and "The captive heart" are typical Renaissance album tracks. They reflect the quality of both performance and song writing which the band have achieved repeatedly down the years. "Touching once" dominates this side though, and offers another fine if slightly predictable Renaissance epic.While Michael Dunford and his writing partner Betty Thatcher dominate the writing credits again, John Camp is co-credited with no fewer than 3 of the tracks (and about two thirds of the album), and John Tout one.
An excellent offering from Renaissance who remain more than capable of providing the quality of music others can only aspire to.Mention also needs to be made of the delightful sleeve, which includes fine illustrations by Pamela Brown (someone should have told her how to spell "Wembley"!) and a band portrait by Amy Tuttle.Review byEasy Livin(Bob McBeath-progarchives.com)
1. Can You Hear Me (13:39)
2. Sisters (7:12)
3. Midas Man (5:46)
4. Captive Heart (4:16)
5. Touching Once (Is So Hard To Keep) (9:27)
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Cream - Ricky Tick Club (22th april 1967)
256kbps
1. Sunshine of Your Love (4:43)
2. Hey Lawdy Mama (3:29)
3. Sweet Wine (5:04)
4. Rollin' & Tumblin' (6:00)
5. Spoonful (7:42)
6. Sitting on Top of the World (4:22)
7.Toad (9:33)
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Jefferson Airplane - Bark(1971)
320kbps
By the time of Bark, personnel changes had gutted much of the original version of Jefferson Airplane, especially with the departure of Marty Balin. Paul Kantner and Grace Slick remained, but their compositions were growing increasingly ill-focused, and Jorma Kaukonen and new drummer Joey Covington were ill-equipped to pick up the songwriting slack. The result was an album that bore hallmarks of the classic Airplane sound, but lacked any classic Airplane songs. That said, the record isn't as bad as many reviewers have made it out to be. It's just mediocre, with little that sticks in the memory, despite occasional nice moments in cuts like Covington's "Pretty as You Feel" and Kantner's delicate "Third Week in the Chelsea."Review by Richie Unterberger(allmusic.com)
1.When the Earth Moves Again (3:57)
2.Feel So Good (4:39)
3.Crazy Miranda (3:26)
4.Pretty as You Feel (4:33)
5.Wild Turkey (4:49)
6.Lawman (2:45)
7.Rock & Roll Island (3:46)
8.Third Week in the Chelsea (4:37)
9.Never Argue With a German If You're Tired... (4:35)
10.Thunk (3:01)
11.War Movie (4:41)
White Noise - An Electric Storm (1969)
320kbps
An Electric Storm is justly renowned among techno boffins as one of the first albums to fuse pop and electronic music before the advent of the Moog synthesizer. But you don't have to be versed in the language of sine waves and oscillators to enjoy this mostly delightful and hugely inventive album. For although the White Noise were almost exclusively composed of virtuoso knob twiddlers and tape splicers moonlighting from the BBC Radiophonic Workshop, luckily they were no slouches when it came to penning a decent tune. There's also anarchic humor at play on the manic "Here Come the Fleas," which contains more edits in its two minutes than the whole of Sgt. Pepper's.Yet it's the retro-futurist textures that still grab the ear most. These are sounds that will be familiar to anyone who knows the soundtrack of Forbidden Planet or the early series of Doctor Who, but they had never before been deployed in the service of pop music, nor have they since. And whereas the Moog would supplant all of these primitive, time-consuming techniques of sound generation and manipulation within the year, it also destroyed much of electronic music's spirit of adventure in the process. How could you boldly go where no man had gone before when your sound universe was suddenly overlaid by tram lines and route maps? So although most of the songs that make up the first half of An Electric Storm are pretty much your standard-issue polite British psychedelia (the somewhat embarrassing United States of America-style orgy of "My Game of Loving" aside), the way they're dressed up still sounds innovative decades later. Sometimes songs dissolve into bleeps, whooshes, and gurgles that hurtle between your speakers, but compared to the extended guitar and organ solos that were common currency at the time, they are the very essence of restraint. That said, restraint was put to the sword on the final two tracks, the 12-minute "The Visitations" and the seven-minute "The Black Mass: An Electric Storm in Hell." The former is a decidedly spooky "Leader of the Pack"-style drama with a supernatural twist. The biker, having departed this life, attempts to make one last attempt to cross over and console his grieving beloved, only to fall agonizingly short. If you can suspend your disbelief -- and persuade yourself that the biker's departing spirit doesn't sound like a cappuccino machine -- it's spine-tingling stuff that you won't dare listen to with the lights off. Which is more than can be said for the concluding track, a would-be satanic jam session botched together in a hurry to meet Island's suddenly imposed deadline.Review by Christopher Evans(allmusic.com)
1. Love Without Sound (3:07)
2. My Game of Loving (4:10)
3. Here Comes The Fleas (2:15)
4. Firebird (3:05)
5. Your Hidden Dreams (4:58)
6. The Visitations (11:14)
7. The Black Mass- An Electric Storm in Hell (7:22)
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Thin Lizzy - Life - Live(1983)
320kbps
Thin Lizzy was a hard rock quartet formed by Philip Lynott out of Dublin, Ireland that had numerous charting albums throughout the 70's & 80s. Wounded Bird will be re-issuing five of those albums on CD. Life-Live is a two CD set of the double live album that was originally released in 1984. It features guitarists Gary Moore, John Sykes and Snowy White. This CD features a live version of their biggest hit Boys Are Back In Town. This release features 19 tracks on 2 CD's in a slimline jewelbox.(amazon.com)
CD1
1. Thunder and Lightning (5:11)
2. Waiting for an Alibi (3:16)
3. Jailbreak (4:08)
4. Baby Please Don't Go (5:02)
5. The Holy War (4:52)
6. Renegade (6:14)
7. Hollywood (Down on Your Luck) (4:10)
8. Got to Give It Up (7:04)
9. Angel of Death (5:56)
10. Are You Ready (3:00)
CD2
1. The Boys Are Back in Town (4:53)
2. Cold Sweat (3:07)
3. Don't Believe a Word (5:11)
4. Killer on the Loose (4:59)
5. Sun Goes Down (6:44)
6. Emerald (3:26)
7. Black Rose (6:40)
8. Still In Love With You (8:57)
9. The Rocker (4:46)
The Moody Blues - In Search Of The Lost Chord (1968)
320kbps
In Search of the Lost Chord is the album on which the Moody Blues discovered drugs and mysticism as a basis for songwriting and came up with a compelling psychedelic creation, filled with songs about Timothy Leary and the astral plane and other psychedelic-era concerns. They dumped the orchestra this time out in favor of Mike Pinder's Mellotron, which was a more than adequate substitute, and the rest of the band joined in with flutes, sitar, tablas, and cellos, the playing of which was mostly learned on the spot. The whole album was one big experiment to see how far the group could go with any instruments they could find, thus making this album a rather close cousin to the Beatles' records of the same era. It is all beautiful and elegant, and "Legend of a Mind"'s chorus about "Timothy Leary's dead/Oh, no -- he's outside, looking in" ended up anticipating reality; upon his death in 1996, Leary was cremated and launched into space on a privately owned satellite, with the remains of Star Trek creator Gene Roddenberry (another '60s pop culture icon) and other well-heeled clients.Review by Bruce Eder(allmusic.com)
1. Departure (0:44)
2. Ride My See-Saw (3:39)
3. Dr. Livingstone, I Presume (2:58)
4. House Of Four Doors (4:12)
5. Legend Of A Mind (6:35)
6. House Of Four Doors (Part 2) (1:46)
7. Voices In The Sky (3:29)
8. The Best Way To Travel (3:13)
9. Visions Of Paradise (4:15)
10. The Actor (4:39)
11. The Word (0:48)
12. Om (5:46)
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Stone The Crows - Ontinuous Performance(1972)
320kbps
Much of Ontinuous Performance (and no, there's no C in there) was already in the can when guitarist Les Harvey was tragically electrocuted onstage on May 3, 1972. The band brought in young guitar wiz Jimmy McCullough (ex-Thunderclap Newman) to take his place, but really, in a band like this, no one could have filled his shoes -- a listen to Harvey's guitar work on the instrumental "King Tut" shows how far he'd come, and how integral his particular style of playing was to the band's sound. Ironically, out of tragedy came a brief moment of success, as "Good Time Girl," released as a single (and, except for gender, it was a perfect Rod Stewart song) hit #12 on the U.K. singles chart. But there was also a return to their blues roots with the acoustic "Penicillin Blues," while "One More Chance" offered Maggie Bell an opportunity to show her soulful vocal chops. However, they blew it during the nine minutes of "Niagara," a piece that, it sounded, was never finished before release. It was would have impossible for the band to let go of Harvey without a song, and it comes at the end of the disc, the ballad "Sunset Cowboy," which is touching and heartfelt. After this disc the disheartened band broke up.Review by Chris Nickson(allmusic.com)
1. On The Highway (5:36)
2. One More Chance (6:13)
3. Penicillin Blues (5:34)
4. King Tut (2:40)
5. Good Time Girl (3:28)
6. Niagara (9:15)
7. Sunset Cowboy (6:41)
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The Allman Brothers Band - Live At Ludlow Garage(1970)
320kbps
Live at Ludlow Garage 1970 features 91 minutes of the Allman Brothers Band in concert at a Cincinnati venue that they loved, nearly a year before their legendary Fillmore shows. The acoustics are good, though a little shaky -- the tape was made at seven-and-a-half IPS, the bare minimum professional standard, which leaves more hiss than one might like and a bit less clarity than a fully professional live album might show. On the other hand, the group's sound imparts its own punch and clarity, and it was done in stereo, and if not for the existence of the Fillmore tapes, and the fact that the albums they yielded sold a kajillion copies, this show might well have been released in the 1970s. It isn't as intense as the Fillmore shows, but it does capture the group as a little-known working band with but a single album out and building a reputation -- and with Dickey Betts yet to emerge as either a singer or composer and their sound still being worked out ("Statesboro Blues" gets a startlingly subdued performance, anticipating the acoustic version of "In Memory of Elizabeth Reed" from the '90s recording An Evening with the Allman Brothers Band: 2nd Set). They build their set on ambitious reinterpretations of songs by Blind Willie McTell, Muddy Waters ("Trouble in Mind"), John Lee Hooker ("Dimples"), and Willie Dixon (whose "Hoochie Coochie Man" is a soaring highlight of this two-disc set, in a version that makes every other white band's cover seem wimpy by comparison), climaxing with a searing though somewhat disjointed 44-minute version of "Mountain Jam."Review by Bruce Eder(allmusic.com)
CD1
1. Dreams (10:18)
2. Statesboro Blues (8:15)
3. Trouble No More (4:14)
4. Dimples (5:03)
5. Every Hungry Woman (4:31)
6. I'm Gonna Move To The Outskirts Of Town (9:23)
7. Hoochie Coochie Man (5:25)
CD2
1. Mountain Jam (44:00)
Gandalf - Gandalf(1968)
320kbps
Gandalf's self-titled album has some attractive baroque-psychedelia with a spacey air, though its quality depends very much on the standard of the material. Generally they're better the more they rely on the slightly weird and spacey production, as on "Scarlet Ribbons" and their cover of Tim Hardin's "Hang on to a Dream." On tracks like "You Upset the Grace of Living" there's a nice balance of melody and quasi-classical keyboards on the cusp between pop, progressive rock and psychedelia. "Can You Travel in the Dark Alone," one of the few originals (by Peter Sando), is nice, harmonic sunshine pop with a slightly experimental feel, along the lines of some of the better things being done by Californian cult figures like Gary Usher and Curt Boettcher at the time. Other selections are nothing special, however.Review by Richie Unterberger(allmusic.com)
1. Golden Earrings (2:47)
2. Hang on to a Dream (4:12)
3. Never Too Far (1:51)
4. Scarlet Ribbons (3:03)
5. You Upset the Grace of Living (2:29)
6. Can You Travel in the Dark Alone (3:03)
7. Nature Boy (3:08)
8. Tiffany Rings (1:54)
9. Me About You (4:58)
10. I Watch the Moon (3:54)
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Bruce Springsteen & The E Street Band-Live 1975-1985
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Long before he sold substantial numbers of records, Bruce Springsteen began to earn a reputation as the best live act in rock & roll. Fans had been clamoring for a live album for a long time, and with Live/1975-85 they got what they wanted, at least in terms of bulk. His concerts were marathons, and this box set, including 40 tracks and running over three and a half hours, was about the average length of a show. In his brief liner notes, Springsteen spoke of the emergence of the album's "story" as he reviewed live tapes, and that story seems nothing less than a history of his life, his concerns, and his career. The first cuts present the Springsteen of the early to mid-'70s; these performances, most of them drawn from a July 1978 show at the Roxy in Los Angeles, present the romantic, hopeful, earnest Springsteen. The second section begins with his first Top Ten hit, "Hungry Heart" -- this is the Springsteen of the late '70s and early '80s, an arena rock star with working-class concerns. After an acoustic mini set given largely to material from Nebraska -- songs of economic desperation and crime -- comes a reshuffling of Born in the U.S.A., songs in which the artist and his characters start to fight back and rock out. Finally, he brings it all back home to New Jersey, starting with the unofficial state anthem, "Born to Run." Fans could rejoice in the seven previously unreleased songs, but Live/1975-85 wasn't as funny, moving, or exhilarating as a Springsteen show could be. Maybe no single album could have been, but where Springsteen impressed in concert because he tried so hard, here he seemed to have tried a little too hard to make a live album carry the freight of everything he had to say. ~ William Ruhlmann, All Music Guide
CD1
1. Thunder Road (5:43)
2. Adam Raised A Cain (5:24)
3. Spirit In The Night (6:23)
4. 4Th Of July, Asbury Park (Sandy) (6:32)
5. Paradise By The "C" (3:52)
6. Fire (2:50)
7. Growin' Up (7:55)
8. It's Hard To Be A Saint In The City (4:37)
9. Backstreets (7:33)
10. Rosalita (Come Out Tonight) (10:06)
11. Raise Your Hand (4:59)
12. Hungry Heart (4:28)
13. Two Hearts (3:04)
CD2
1. Cadillac Ranch (4:50)
2. You Can Look (But You Better Not Touch) (3:56)
3. Independence Day (5:06)
4. Badlands (5:15)
5. Because The Night (5:17)
6. Candy's Room (3:17)
7. Darkness On The Edge Of Town (4:17)
8. Racing In The Street (8:09)
9. This Is Your Land (4:20)
10. Nebraska (4:16)
11. Johnny 99 (4:22)
12. Reason To Believe (5:18)
13. Born In The U.S.A. (6:07)
14. Seeds (5:09)
CD3
1. The River (11:39)
2. War (4:51)
3. Darlington County (5:10)
4. Working On The Highway (4:01)
5. The Promised Land (5:35)
6. Cover Me (6:54)
7. I'm On Fire (4:23)
8. Bobby Jean (4:28)
9. My Hometown (5:11)
10. Born To Run (5:01)
11. No Surrender (4:39)
12. Tenth Avenue Freeze-Out (4:19)
13. Jersey Girl (6:26)
Thanks To Cor For This Upload !
Duane Allman - An Anthology Vol. I (1972)
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Duane Allman's greatness was apparent on his recordings with the Allman Brothers, yet there was another side to the superb guitarist. For many years, he was a highly respected session musician, playing on cuts by Wilson Pickett, Aretha Franklin, King Curtis, Boz Scaggs, Delaney & Bonnie, and Clarence Carter, among others. By including those session cuts, as well as a sampling of his brief sojourn in Eric Clapton's Derek and the Dominoes and a few rare solo tracks, along with a number of representative Allman Brothers songs, the double-album Anthology winds up drawing a complete portrait of Allman. He may have recorded plenty of other material worth hearing, but this has the bare essentials for an excellent introduction and retrospective.Review by Stephen Thomas Erlewine(allmusic.com)
CD1
1. The Hourglass - B.B. King Medley (A. Sweet Little Angel-B. It's My Own Fault-C. How Blue Can You Get) (7:06)
2. Wilson Picket - Hey Jude (4:03)
3. Clarence Carter - The Road Of Love (2:55)
4. Duane Allman - Goin' Down Slow (8:46)
5. Aretha Franklin - The Weight (2:59)
6. King Curtis - Games People Play (2:47)
7. John Hammond - Shake For Me (2:42)
8. Boz Scaggs - Loan Me A Dime (13:01)
9. Johnny Jenkins - Rollin' Stone (4:57)
CD2
1. Delaney & Bonnie & Friends - Livin' On The Open Road (3:04)
2. Johnny Jenkins - Down Along The Cove (3:04)
3. Cowboy - Please Be With Me (3:49)
4. Eric Clapton And Duane Allman - Mean Old World (3:51)
5. Derek & The Dominos - Layla (7:06)
6. The Allman Brothers Band - Statesboro Blues (4:19)
7. The Allman Brothers Band - Don't Keep Me Wondering (3:28)
8. The Allman Brothers Band - Standback (3:25)
9. The Allman Brothers Band - Dreams (7:17)
10. The Allman Brothers Band - Litlle Martha (2:07)
Van Morrison - T.B. Sheets (1973)
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Another re-packaging of Bang Records material issued without Van Morrison's approval, this album focuses on Morrison's longer, more ambitious songs, such as the title cut, and is notable for including early versions of "Beside You" and "Madame George," songs that later turned up on Astral Weeks. (Reissued on CD in 1990 by Columbia Records [LCK 46093], T.B. Sheets was superseded by Bang Masters, which contains all of its tracks except "He Ain't Give You None," presented in an alternate take, plus Morrison's other recordings for Bang, in 1991.)Review by William Ruhlmann(allmusic.com)
1. He ain't give you none (5:07)
2. Beside you (6:10)
3. It's all right (5:04)
4. Madame George (5:22)
5. T.B. sheets (9:39)
6. Who drove the red sports car? (5:22)
7. Ro Ro Rosey (3:05)
8. Brown eyed girl (3:00)
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Badfinger - Ass (1973)
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Badfinger produced the sessions for the Straight Up sequel themselves, abandoning its lush production for a live, hard-rocking sound. Apple wasn't keen on the record, insisting that it be remixed, then, once it was remixed, refusing to release it, so the band jumped ship to Warner Bros. in the fall of 1973. Just after Badfinger released their debut single for the label and were prepping a new album, Apple sprung Ass on the world. As it happened, it would be the last record Apple would release, so it was barely given any support by the label and made little impression on the sales charts. Still, it certainly hurt the band, since its heavier rock alienated some pop fans and its chart belly-flop tainted plans for a triumphant return on Warner. Truth is, Ass probably should have remained on Apple's shelves. Their eponymous Warner debut, which appeared just months after Ass, feels more like the sequel to Straight Up than this. Where that album is an unabashed pop record, Ass is the sound of a pop band rocking out rather clumsily. That's not to say it's without its moments, since Pete Ham's "Timeless" and "Apple of My Eye" (a hurt but lovely kiss-off to their label) are pretty good. But, by and large, Ass is a misguided effort, heavy on stumbling rockers and mediocre songs. It may be tempting to lay some of the blame at Joey Molland's feet, since he wrote half of the album, but that's too easy. Badfinger was in a transitional phase and chances are, Ass would have stiffed if Ham had written half of the record. It wasn't fated to be a great album, and it wound up being the weakest thing the original band cut.Review by Stephen Thomas Erlewine(allmusic.com)
1. Apple Of My Eye (3:09)
2. Get Away (4:01)
3. Icicles (2:34)
4. The Winner (3:22)
5. Blind Owl (3:03)
6. Constitution (3:01)
7. When I Say (3:07)
8. Cowboy (2:39)
9. I Can Love You (3:36)
10. Timeless (7:44)
11. Do You Mind [Bonus Track] (3:15)
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Lucifer's Friend - Where The Grupies Killed The Blues(1972)
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On their second album, Lucifer's Friend pushes their sound in a more straightforward prog-rock direction with mixed results. The resulting album, Where the Groupies Killed the Blues, shows the band had the instrumental dexterity necessary for this style of music but lacked the discipline to create focused and coherent art rock. The album is riddled with instrumental solos that seem so different from the songs surrounding them that they often feel like they have been arbitrarily added to the songs. A good example of this problem is "Rose on the Vine": it features an arresting, Black Sabbathish guitar riff that is effectively doubled by the vocal melody but makes the mistake of burying these hooks in a series of noodly keyboard and guitar solos. The numbers that work the best are the ones that cut back the excesses and play up the group's songwriting skills: "Hobo" is a keyboard layered rocker built on a solid array of riffs and a dramatic vocal from John Lawton, and "Burning Ships" is an acoustic-based number that utilizes the band's instrumental chops to create a compelling atmosphere for the strong tune at its core. Ultimately, Where the Groupies Killed the Blues is neither fish nor fowl: it is too artsy and jazzy to please heavy metal fans, yet is too full of guitar bombast to make a comfortable listen for prog fans. It has enough moments of interest for anyone seriously interested in the work of Lucifer's Friend, but will most likely be seen by casual listeners as an interesting misfire.Review by Donald A. Guarisco(allmusic.com)
1. Hobo - Rose On The Vine Mother (3:43)
2. Where The Grupies Killed The Blues (8:20)
3. Prince Of Darkness (7:29)
4. Summerdream (5:08)
5. Delirium (3:51)
6. No Reason Or Rhyme (8:02)
7. Burning Ships (4:34)
Mountain - Mountain High(2002)
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1. Immortal (3:58)
2. Mystic Fire (4:43)
3. Fever (3:21)
4. The Sea (5:18)
5. Mutant X (5:17)
6. Better Off With The Blues (4:15)
7. Mountain Express (Oh Boy) (2:54)
8. Marble Peach/Rotten Peach (part II) (5:01)
9. When Johnny Comes Marching Home (2:50)
10. Nantucket Sleighride (Redux) (7:28)
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Nektar - A Tab In The Ocean (1972)
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A Tab in the Ocean mirrors Nektar's first album, but only to a certain degree. While their sound still basks in lengthy keyboard passages and fantastic lyrics, the psychedelia is traded in for a more directional and established approach, with longer tracks and a tighter progressive structure. There's an obvious cohesiveness between the guitar and keyboard tandem, with an attempt at shaping a concept through the album's five tracks. Both the title track and the 19 minutes of "King of Twilight" are Tab in the Ocean's best examples of Nektar's maturing process, with sleek instrumental runs that taper off into the lyrics as opposed to a more improvised feel that surrounded their last album. A stronger influence can be felt on Roye Albrighton's guitar playing, which is more structural, and Derek Moore's basslines are sturdier and more expressive. Although it's hard to ignore the slight rock feel of the album in parts, the five songs as a whole harbor the band's surreal mien of progressive rock. Even the lyrics sound as if more concern has been given to them, coming off as an equal part of Nektar's music without drifting away into obscurity. Best of all, A Tab in the Ocean completes the task of holding the interest of the fans that enjoyed their debut album.Review by Mike DeGagne(allmusic.com)
1. A Tab In The Ocean (16:51)
2. Desolation Valley,
- Waves (8:12)
3. Crying In The Dark (6:28)
4. King Of Twilight (4:19)
Bonus
5. A Tab In The Ocean (US Mix) (16:03)
6. Desolation Valley,
- Waves (US Mix) (8:33)
7. Crying In The Dark (US Mix) (5:13)
8. King Of Twilight (US Mix) (4:09)
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The Allman Brothers Band - Shades Of Two Worlds(1991)
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The group's follow-up to their comeback album is a major step forward, with more mature songs, more improvisation than the group had featured in their work since the early 1970s, and more confidence than they'd shown since Brothers and Sisters. It's all here, from acoustic bottleneck playing ("Come On In My Kitchen") to jazz improvisation ("Kind of Bird"), with the most reflective songwriting ("Nobody Knows") in their history.Review by Bruce Eder(allmusic.com)
1. End Of The Line (4:38)
2. Bad Rain (5:33)
3. Nobody Knows (10:58)
4. Desert Blues (5:02)
5. Get On With Your Life (6:58)
6. Midnight Man (4:39)
7. Kind Of Bird (8:26)
8. Come On In My Kitchen (6:18)
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John Lee Hooker - Endless Boogie[Beat Goes On](1971)
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This 1971 album features John Lee Hooker surrounded -- in some cases, swamped -- by various rock musicians on long, meandering jams that seem to be more showcases for the soloists than for the star of the show. Although Hooker has always had trouble finding bands that could keep up with his idiosyncratic timing, it's not an impossible task, and the musicians on board for this session just seem to be endlessly riffing rather than providing a sympathetic framework for John Lee to work his magic. By the time this session reaches the end, Hooker is far in the background, just letting the band blow, grabbing the paycheck, and scarcely involved. There are lots of John Lee Hooker albums in the bin; pass this one by.Review by Cub Koda(allmusic.com)
1. (I Got) A Good 'Un (5:16)
2. Pots On, Gas On High (11:23)
3. Kick Hit 4 Hit Kix U (Blues For Jimi And Janis) (6:44)
4. I Don't Need No Steam Heat (4:20)
5. We Might As Well Call It Trough (I Didn't Get Married To Your Two-Timing Mother) (8:07)
6. Sittin' In My Dark Room (5:39)
7. Endless Boogie (Parts 27 And 28) (8:49)
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Robin Trower - Passion(1987)
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Guitarist Robin Trower enjoyed considerable success in the mid-'70s with his tasteful, Jimi Hendrix-inspired style of blues-rock. The Procol Harum veteran's popularity faded as the 1980s progressed, but Trower generally stayed active. 1987's Passion is interesting because it straddles '70s grittiness and '80s slickness. Trower and his band -- lead vocalist Davey Pattison, bass guitarist/vocalist Dave Bronze, and drummer Pete Thompson -- form a tight, efficient unit. The simple textures provided by guest keyboardists Robert A. Martin and Reg Webb give the songs extra depth. "Caroline" earned a bit of rock radio airplay, and justifiably so, thanks to its hooks and Trower's warm guitar solo; Pattison's singing is reliable, but his voice isn't quite as rich, deep and distinctive as that of James Dewar, Trower's best-known vocalist. "If Forever" is a clean, no-frills ballad, and Trower's guitar solo balances blues and pop. Both "Won't Even Think About You" and "Passion" are melodic hard rock. The soothing instrumental "Night" gives Passion an enjoyable change of pace.Review by Bret Adams(allmusic.com)
1. Caroline (4:02)
2. Secret Doors (4:16)
3. If Forever (4:44)
4. Won't Even Think About You (3:37)
5. Passion (3:59)
6. No Time (4:31)
7. Night (3:57)
8. Bad Time (3:26)
9. One More Word (3:44)
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Lynyrd Skynyrd - The Definitive Collection(Box Set-1991)
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It was only fitting that the ultimate Southern rock institution, Lynyrd Skynyrd -- certainly one of the more tragic stories in rock & roll history -- should be one of the first bands to benefit from a comprehensive box set. Following the format of the highly successful Led Zeppelin box set, this three-disc, 47-song anthology provides a near-perfect career retrospective, complete with a carefully researched booklet with meticulous historical essays and rare photos for the new and rabid fan alike. The latter will probably be most interested in disc one, which features a number of early demos dating back as early as 1970 and not featured in prior collections, as well as an embryonic demo of "Freebird" minus its extended-jam coda. The nine-minute version from the band's milestone debut, Pronounced is also featured here, of course, as is most of the material from the group's next album, Second Helping, generally regarded as their career peak. Disc two alone could serve as a greatest-hits set, as classic after classic is rattled off in mind-blowing succession. And even when the creative fires finally begin to wane somewhat as the set approaches the Nuthin' Fancy and Gimme Back My Bullets material (recorded at a time when the band was plagued by overwork and escalating drug abuse), the set wisely offers alternate versions and live renditions to keep things interesting. The first half of disc three alternates never-before-heard concert performances with other, equally inspired live versions. Its second half is dominated by the unintentional swan song Street Survivors. Released only three days before the fateful plane crash, the album saw a re-energized Skynyrd achieving a new level of maturity, power, and purpose. Although most box sets tend to be a bit too much for the casual fan to swallow, this one feels just right.Review by Ed Rivadavia(allmusic.com)
CD1
1. Free Bird (Demo) (4:06)
2. Junkie (Demo) (3:48)
3. He's Alive (Demo) (3:09)
4. One More Time (Original Version) (5:01)
5. Gimme Three Steps (Original Version) (4:08)
6. Trust (Original Version) (4:12)
7. Comin' Home (5:29)
8. Mr. Banker (Demo) (5:18)
9. Down South Junkin' (Demo) (2:53)
10. Truck Drivin' Man (Demo) (5:15)
11. I Ain't The One (Demo) (3:46)
12. Poison Whiskey (Demo) (3:08)
13. Tuesday's Gone (7:32)
14. Things Goin' On (4:58)
15. Free Bird (9:09)
CD2
16. Sweet Home Alabama (4:43)
17. Was I Right Or Wrong^ (5:08)
18. Workin' For MCA (4:46)
19. Don't Ask Me No Questions (3:24)
20. Swamp Music (3:31)
21. The Ballad Of Curtis Lowe (4:50)
22. The Needle And The Spoon (3:52)
23. Call Me The Breeze (5:06)
24. Saturday Night Special (5:08)
25. Made In The Shade (4:39)
26. Am I Losin' (4:33)
27. On The Hunt (5:26)
28. (I Got The) Same Old Blues (4:07)
29. Double Trouble (live) (3:03)
30. Roll Gypsy Roll (2:49)
31. All I Can Do Is Write About It [acoustic] (4:20)
32. Four Walls Of Raiford [undubbed demo] (4:12)
CD3
33. Gimme Back My Bullets [LIVE] (3:36)
34. Searchin' [LIVE] (4:00)
35. Simple Man [LIVE]
36. Crossroads [LIVE]
37. T For Texas [LIVE]
38. Whiskey Rock-A-Roller [LIVE]
39. Ain't No Good Life
40. What's Your Name [Alternate Mix]
41. Georgia Peaches
42. What's Your Name
43. I Never Dreamed
44. I Know A Little
45. Honky Tonk Night Time Man
46. That Smell
47. You Got That Right
Taj Mahal - Taj Mahal(1967)
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Taj Mahal's debut album was a startling statement in its time and has held up remarkably well. Recorded in August of 1967, it was as hard and exciting a mix of old and new blues sounds as surfaced on record in a year when even a lot of veteran blues artists (mostly at the insistence of their record labels) started turning toward psychedelia. The guitar virtuosity, embodied in Taj Mahal's slide work (which had the subtlety of a classical performance), Jesse Ed Davis's lead playing, and rhythm work by Ry Cooder and Bill Boatman, is of the neatly stripped-down variety that was alien to most records aiming for popular appeal, and the singer himself approached the music with a startling mix of authenticity and youthful enthusiasm. The whole record is a strange and compelling amalgam of stylistic and technical achievements -- filled with blues influences of the 1930s and 1940s, but also making use of stereo sound separation and the best recording technology. The result was numbers like Sleepy John Estes' "Diving Duck Blues," with textures resembling the mix on the early Cream albums, while "The Celebrated Walkin' Blues" (even with Cooder's animated mandolin weaving its spell on one side of the stereo mix) has the sound of a late '40s Chess release by Muddy Waters. Blind Willie McTell ("Statesboro Blues") and Robert Johnson ("Dust My Broom") are also represented, in what had to be one of the most quietly, defiantly iconoclastic records of 1968. ~ Bruce Eder(allmusic.com)
1. Leaving Trunk (4:49)
2. Statesboro Blues (3:02)
3. Checkin' Up On My Baby (4:57)
4. Everybody's Got To Change Sometime (2:59)
5. E Z Rider (3:06)
6. Dust My Broom (2:41)
7. Diving Duck Blues (2:44)
8. The Celebrated Walkin' Blues (8:52)
ZZ Top - Tejas (1976)
320 kbps
ZZ Top was riding high in the mid-'70s on the strength of Tres Hombres and Fandango, but they were starting to run out of steam by 1977's Tejas. Its predecessor was padded with a live side, but even if it was close to padding, it was still enjoyable. Tejas, despite sounding pretty good, is just forgettable. It has the patented, propulsive ZZ boogie, but none of the songs are particularly memorable, even if the whole thing sounds pretty good as it's playing. ZZ Top and their label, London, must have noticed this too, since even though the album went gold, they followed it months later with The Best of ZZ Top, which contained none of the songs from this album. Stephen Thomas Erlewine (allmusic.com)
1. It's Only Love (4:24)
2. Arrested for Driving While Blind (3:08)
3. El Diablo (4:22)
4. Snappy Kakkie (2:58)
5. Enjoy and Get It On (3:26)
6. Ten Dollar Man (3:41)
7. Pan Am Highway Blues (3:14)
8. Avalon Hideaway (3:07)
9. She's a Heartbreaker (3:01)
10. Asleep in the Desert (Instrumental) (3:24)
Thanks To MrJJ For This Upload!Here
Pat Travers - Stick With What You Know - Live In Europe(2007)
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1. Life In London (5:19)
2. Crash And Burn (5:43)
3. I Don't Care (5:21)
4. Heat In The Street (4:35)
5. Elijah (5:27)
6. Red House (5:34)
7. If I Had Possession Over Judgement Day (4:53)
8. Oh Pretty Woman (5:01)
9. PT Nutz aka Linus And Lucy (4:04)
10. Snortin' Whiskey (3:46)
11. Boom Boom (Out Go The Lights) (8:00)
12. PT's Solo Time (4:26)
13. Born Under A Bad Sign (10:38)
Karthago - Second Step(1973)
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Reissued 1973/74 albums. Unlike the 1971 debut, which required a mere three weeks of preparations, the band from Berlin presented a carefully planned and intensely recording follow-up album called 'Second Step' in 1973. An article in the German music magazine sounds justly concluded, 'Second Step is a recording which proves that the group has come three steps all at once'.(amazon.ca)
1. Pacemaker (2:44)
2. I Don't Care (5:46)
3. Crosswords & Intermissions (6:44)
4. Don't Send Me Your Money, Send Me Your Heart (5:14)
5. Wild River (5:30)
6. Lamento Juvenil (Start To Fight) (3:50)
7. California Gigging (3:06)
8. Oberbaum Bridge (7:38)
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Ram Jam - Portrait of the Artist As a Young Ram(1978)
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After scoring a major hit with "Black Betty" in 1977, Ram Jam returned in 1978 with another punchy set of hard rock tunes. Though Portrait of the Artist as a Young Ram failed to produce any hit singles like "Black Betty," it actually improves on their previous album by managing to broaden the group's sound without cutting back on the hard rock firepower that got them noticed. For instance, songs like "The Kid Next Door" and "Please Please (Please Me)" add keyboard textures that flesh out the group's sound without distracting from their guitar-driven attack. Ram Jam also makes an interesting departure from their trademark twin-guitar rock sound on the dramatic power ballad "Turnpike": this lost-love lament alternates a hard-rocking chorus with moody piano-driven verses to create an surprisingly ornate blend of AOR melodicism and hard rock bombast. However, the majority of Portrait of the Artist as a Young Ram is devoted to straightforward guitar rock; "Wanna Find Love" and "Saturday Night" blend pop hooks and metal riffs as effectively as anything on Ram Jam. Other tunes up the ante by presenting a frenetic level of energy that borders on punk rock: "Just Like Me" and "Hurricane Ride" both toss out slashing guitar riffs over double-time rhythms to create songs that sound like the Ramones gone metal crazy. Portrait of the Artist as a Young Ram further benefits from short, tight song structures that keep things from getting too excessive (the ambitious "Turnpike" is the only song that runs over 4 and a half minutes). All in all, this is a fine hard rock outing that is worthy of its cult reputation and a treat for anyone who likes hard-driving 1970s rock music.Review by Donald A. Guarisco(allmusic.com)
1. Gone Wild (3:17)
2. Pretty Poison (4:27)
3. The Kid Next Door (3:23)
4. Turnpike (5:42)
5. Wanna Find Love (3:44)
6. Just Like Me (4:14)
7. Hurricane Ride (4:04)
8. Saturday Night (3:32)
9. Runway Runaway (4:47)
10. Please, Please, Please (Please Me) (2:54)
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Buddy Guy - Heavy Love (1998)
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Apparently, Buddy Guy subscribes to the theory "If you can't beat 'em, join 'em." Losing commercial ground to the blonde young guns of Johnny Lang and Kenny Wayne Shepherd, Guy hired their producer, David Z., and set out to record an album of loud, frenzied blues-rock. Purists will cringe at the unabashed commercial concessions Guy makes on Heavy Love -- sure, he covers "Midnight Train," but it's a duet with Johnny Lang, and it complements the funkified "I Just Wanna Make Love to You," the psychedelicized licks, and the ZZ Top cover ("I Need You Tonight") heard elsewhere. Nevertheless, Heavy Love works well when compared to the modern electric blues of the post-Stevie Ray Vaughan era, especially since Guy once again contributes some scorching solos. Granted, his playing may veer too close to rock for some tastes, but anyone wanting an uninhibited, hard rocking Buddy Guy record won't be disappointed with Heavy Love.Review by Stephen Thomas Erlewine(allmusic.com)
1. Heavy Love (5:40)
2. Midnight Train (5:21)
3. I Got A Problem (5:17)
4. I Need You Tonight (5:17)
5. Saturday Night Fish Fry (5:29)
6. Had A Bad Night (4:44)
7. Are You Lonely for Me Baby (3:55)
8. I Just Want To Make Love To You (3:26)
9. Did Somebody Make A Fool Out of You (7:50)
10. When The Time Is Right (4:32)
11. Let Me Show You (5:36)
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Ian Gillan Band - Child In Time (1976)
320kbps
Deep Purple fans were outraged, Heavy Metallurgists ran shrieking for cover. But Ian Gillan's first post-Purple project remains one of the hardest, loudest and most exciting of all the mothership's myriad offspring -- and the fact that Child in Time is such a brutally funky album only amplifies its achievements. How easy it would have been, after all, for Gillan to simply fall back on all the past glories that his audience was hoping he'd be replaying. Instead, even the album's title -- lifted, of course, from one of Purple's most sacred classics -- was a joke. "Child in Time" was replayed within, of course. But you'd have a hard time recognizing it. It's strange -- looking back on the Deep Purple story, it's the arrival of David Coverdale and Glenn Hughes that heralds the band's own flirtation with da funk, and the departure of Gillan and Roger Glover (the latter producer of this album) that allowed them into the family in the first place.You'd never guess that from Child in Time, though, as it bounds turbulently from the full-on crunch of "Lay Me Down," through the Sly Stone-ish "You Make Me Feel So Good," and onto the aforementioned "Child in Time," drawn across a luxurious quiet storm landscape, and squeezing an almost heartbreaking guitar solo out of Ray Fenwick. Other versions of "Child in Time" are louder, harder, more powerful. But this remains the most emotional -- and that's what the song has always demanded. The album's other epic is "Let It Slide" -- apparently a song about premature ejaculation, that contrarily slides on for eleven-plus minutes. Deeply atmospheric, lighter-wavingly anthemic, it's a more a showcase for the band than its singer, confirming both the democracy of this new group and going some way towards explaining the "jazz-rock" label that Child in Time is frequently saddled with. In fact, the album as a whole has more in common with the infusion of funk that was leaking into roughly simultaneous releases by Thin Lizzy ("Dancing in the Moonlight"), T. Rex, and bandmembers Fenwick and John Gustafson's recent past with Fancy and Roxy Music respectively -- not to mention Purple's own Come Taste the Band. But, if purebred, punchy R&B be your poison, Child in Time wipes the floor with the lot of them.Review by Dave Thompson(allmusic.com)
1. Lay Me Down (3:00)
2. You Make Me Feel So Good (3:45)
3. Shame (2:49)
4. My Baby Loves Me (3:39)
5. Down The Road (3:31)
6. Child In Time (7:27)
7. Let It Slide (11:44)
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Rush - Hemispheres(1978)
320kbps
While such albums as 1980's Permanent Waves and 1981's Moving Pictures are usually considered Rush's masterpieces (and with good reason), 1978's Hemispheres is just as deserving. Maybe the fact that the album consists of only four compositions (half are lengthy pieces) was a bit too intimidating for some, but the near 20-minute-long "Cygnus X-1 Book II - Hemispheres" is arguably the band's finest extended track. While the story line isn't as comprehensible as "2112" was, it's much more consistent musically, twisting and turning through five different sections which contrast heavy rock sections against more sedate pieces. Neil Peart had become one of rock's most accomplished lyricists by this point, as evidenced by "The Trees," which deals with racism and inequality in a unique way (set in a forest!). And as always, the trio prove to be experts at their instruments, this time on the complex instrumental "La Villa Strangiato." Geddy Lee's shrieking vocals on the otherwise solid "Circumstances" may border on the irritating, but Hemispheres remains one of Rush's greatest releases.Review by Greg Prato(allmusic.com)
1. Cygnus X-1 Book II - Hemispheres (18:08)
2. Circumstances (3:44)
3. The Trees (4:45)
4. La Villa Strangiato (9:34)
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Capability Brown - Voice(1973)
320kbps
This band's staple diet was mainstream rock with some arty pop leanings. Their From Scratch album had a couple of tracks with more progressive leanings:- Rayge and Sole Survivor. This latter song was about the escape from the coming war with a time machine and culminated in some fine guitar work imitating time machine travel! There are reasonable stabs at Rare Bird's Beautiful Scarlet and Russ Bolland's Liar. They also covered another Rare Bird song Redman, which dealt with the fate of the American Indian. The Liar album is a compilation of their recordings from 1972 and 1973. Kenny Rowe had earlier been in The Moments and both he and Tony Ferguson had been in Harmony Grass. Joe Williams and Dave Nevin may also have been later members of Harmony Grass, whilst Roger Willis had played with The Gremlins. Willis, White and Ferguson went on to Krazy Kat in 1976. From "The Tapestry Of Deliths" by Vernon Joynson
1. I Am And So Are You (3:59)
2. Sad Am I (3:53)
3. Midnight Cruiser (4:00)
4. Keep Death Off the Road (Drive on the Pavement) (6:22)
5. Circumstances: (In Love, Past, Present, Future Meet) (20:51)
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The Who - Quadrophenia(OST - 1979)
320kbps
The film version of Tommy collapsed under Ken Russell's garish vision and untrammeled excess. On the other hand, Pete Townshend's second rock opera Quadrophenia -- while not as well-known as Tommy, a better rock opera -- blossoms as a feature film. Director Franc Roddam wisely chose to avoid turning Quadrophenia into a straight musical, choosing to concentrate on teen angst and the Mod phenomenon of the mid-'60s. Where Townshend suggested a storyline with his songs and libretto, the film follows Jimmy (Phil Daniels), a Mod who struggles to find his own identity. As he searches for love and friendship, he pops pills, fights with his parents, rides his scooter and becomes embroiled in a vicious duel between the Mods and the Rockers. Clearly, the plotline remains a little weak, but thanks to Roddam's keen eye and Daniels' searing performance, as well as strong supporting performances by Leslie Ash and Sting, Quadrophenia feels real -- both as teen movie and as an evocation of a lost era.Review by Stephen Thomas Erlewine(allmusic.com)
1. The Who - I Am The Sea (2:03)
2. The Who - The Real Me (3:31)
3. The Who - I'm One (2:43)
4. The Who - 5:15 (4:53)
5. The Who - Love Reign O'er Me (5:13)
6. The Who - Bellboy (4:57)
7. The Who - I've Had Enough (6:11)
8. The Who - Helpless Dancer (0:22)
9. The Who - Doctor Jimmy (7:31)
10. The High Numbers - Zoot Suit (2:01)
11. Cross Section - Hi Heel Sneakers (2:47)
12. The Who - Get Out And Stay Out (2:28)
13. The Who - Four Faces (3:21)
14. The Who - Joker James (3:13)
15. The Who - The Punk And The Godfather (5:23)
16. James Brown - Night Train (3:39)
17. The Kingsmen - Louie Louie (2:41)
18. Booker T And The MG's - Green Onions (2:47)
19. The Cascades - Rhythm Of The Rain (2:30)
20. The Chiffons - He's So Fine (1:54)
21. The Ronettes - Be My Baby (2:31)
22. The Crystals - Da Doo Ron Ron (2:10)
23. The High Numbers - I'm The Face (2:29)
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Karthago - Karthago(1971)
320kbps
Just months after their formation in Berlin in 1970, Karthago began recording music for their first album. Karthago's sound was influenced more by North American rock than by anything that was coming out of Europe, composed of a tapered and rather simplistic mixture of light funk and freestyle jazz with a basic rock & roll substratum for everything else to rest on. Within the album's nine tracks are melodies that are accommodating and recognizable, quite different than what was otherwise coming out Germany's music scene in the early '70s. "String Rambler," "Black Fire," and "Morning Surprise" best represent Karthago's breezy, undemanding air, led by the bright organ playing of Ingo Bischoff and fastened by Wolfgang Brock's unmitigated drum work. "Why Don't You Stop Buggin' Me" and the shimmering "wow" of "But I Know"'s keyboard-guided intro lead into some electrifying pieces, with comparisons to Steppenwolf, Procul Harum, and even early Chicago arising from the melodies. Although labeled as a progressive band, Karthago's sound is more along the lines of German rock rather than prog, with shorter song lengths and a tendency to balance out the keyboards, guitar, and percussion equally throughout their music. After their fourth album in 1976, Karthago broke up, with Gerald Hartwig joining the more prominent Guru Guru and Bischof hooking up with Kraan. Second Step (1973) and 1974's Rock 'N' Roll Testament begin to show signs of commercial leanings, but their last installment, entitled Live at the Roxy, is just as impressive as their debut album.Review by Mike DeGagne(allmusic.com)
1. String Rambler (5:22)
2. I Don't Live Tomorrow (2:45)
3. But I Know (5:35)
4. Morning Surprise (2:29)
5. I Give You Everything You Want (3:19)
6. I Know What You Can Do My Babe (4:12)
7. Why Don't You Stop Buggin' Me (5:01)
8. Black Fire (4:45)
9. Nos Vamos (1:40)
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Three Dog Night - Joy to the World (1974)
320 kbps
Released shortly before their run of hit singles came to a close, 1974's Joy to the World provides a convenient greatest hits package for the casual Three Dog Night fan. It serves as a collection of hit singles rather than a historical overview of the band, and, to that end, it covers most of the necessary ground. There are some glaring omissions of the group's early tracks — their first hit, "Try a Little Tenderness," the Laura Nyro-penned "Eli's Coming," and the Randy Newman-written number one hit "Mama Told Me (Not to Come)" being the most obvious — but anyone who's acutely aware of these absences is most likely going to spring for a more definitive greatest hits album anyway. Joy to the World is a decent compilation for those who prefer the band's later, less soulful work.Review by Joseph McCombs (allmusic.com)
1. Joy To The World (3:40)
2. One (3:02)
3. Sure As I'm Sittin' Here (4:47)
4. An Old-Fashioned Love Song (3:26)
5. Let me Seranade You (3:18)
6. Shambala (3:25)
7. Black And White (3:51)
8. Never been to Spain (3:46)
9. One Man Band (2:54)
10. Play Something Sweet (Brickyard Blues) (4:49)
11. I'd Be So Happy (4:45)
12. Liar (3:55)
13. The Family of Man (3:34)
14. The Show Must Go On (4:23)
Thanks To MrJJ For This Upload!
Black Widow - The Ultimate Sacrifice (1970)
320kbps
Black Widow may have enjoyed a reasonably long and defiantly varied career. But to anyone who cares, they will be remembered for just one song, "Come to the Sabbat" -- not a hit single, but a standout on a cheapo label compilation in the early '70s, and destined to live on for decades after the band. Naturally, the accompanying Sacrifice album has bounced along in its wake, first as an increasingly expensive vinyl collectors' item, more recently as a regular on the CD reissue circuit, and here it comes again, this time bearing more primal Black Widow than you could ever have dreamed of hearing. Ultimate Sacrifice: One opens, naturally, with the original seven-song album. More fascinating, however, is the chance to hear five of the seven ("Way to Power" and "Attack of the Demon" are absent) in their original demo form, where they are revealed, if anything, to be even more dramatic than on the final vinyl. "In Ancient Days" in particular profits from the looseness of the performance, while "Come to the Sabbat" packs a feel of abandonment that makes the familiar version seem quite sedate. Of course, the bonus tracks are really only of interest if you truly worship the original record, and, once past "Come to the Sabbat," there probably aren't many people who feel that strongly. But the liners tell the band's tale well, the remastering is impressive, and if you're not doing anything next weekend, you might well want to drop by Black Widow's house. They've got somebody visiting, you know. [In 2004, Castle reissued Sacrifice on CD with five bonus tracks, retitling it Ultimate Sacrifice: One.]Review by Dave Thompson(allmusic.com)
1. In Ancient Days (7:35)
2. Way to Power (3:31)
3. Come to the Sabbat (4:54)
4. Conjuration (5:43)
5. Seduction (5:37)
6. Attack of the Demon (5:37)
7. Sacrifice (11:13)
8. In Ancient Days (demo) (9:26)
9. Come to the Sabbat (demo) (4:14)
10. Conjuration (demo) (5:53)
11. Seduction (demo) (4:41)
12. Sacrifice (demo) (10:52)
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The Who - Tommy (1969)
(RePost)
320 kbps
The full-blown rock opera about a deaf, dumb, and blind boy that launched the band to international superstardom, written almost entirely by Pete Townshend. Hailed as a breakthrough upon its release, its critical standing has diminished somewhat in the ensuing decades because of the occasional pretensions of the concept and because of the insubstantial nature of some of the songs that functioned as little more than devices to advance the rather sketchy plot. Nonetheless, the double album has many excellent songs, including "I'm Free," "Pinball Wizard," "Sensation," "Christmas," "We're Not Gonna Take It," and the dramatic ten-minute instrumental "Underture." Though the album was slightly flawed, Townshend's ability to construct a lengthy conceptual narrative brought new possibilities to rock music. Despite the complexity of the project, he and the Who never lost sight of solid pop melodies, harmonies, and forceful instrumentation, imbuing the material with a suitably powerful grace.
Review by Richie Unterberger (allmusic.com)
1 Overture 5:21
2 It's a Boy :38
3 1921 2:49
4 Amazing Journey 3:25
5 Sparks 3:46
6 The Hawker 2:13
7 Christmas 4:34
8 Cousin Kevin 4:07
9 The Acid Queen 3:34
10 Underture 10:09
11 Do You Think It's Alright? :24
12 Fiddle About 1:29
13 Pinball Wizard 3:01
14 There's a Doctor :23
15 Go to the Mirror! 3:49
16 Tommy, Can You Hear Me? 1:36
17 Smash the Mirror 1:35
18 Sensation 2:27
19 Miracle Cure :12
20 Sally Simpson 4:12
21 I'm Free 2:40
22 Welcome 4:34
23 Tommy's Holiday Camp :57
24 We're Not Gonna Take It 7:08
Thanks To MrJJ For This Upload!
Lucifer's Friend - Mind Exploding(1976)
320kbps
Well, actually I used to listen to this album (best of other albums of this band, I think) in classic rock mind. But I think, it’s not a typical classic rock album for this. I can sense it from the music compositions that vary dynamically. “Moonshine Rider” is an energetic rock opened with nice piece combined with piano. The bass playing so dynamic and sets the tune of the track. Lawton voice is really top class. He’s a true rocker. This track rocks!“Blind Boy” to me is a typical mainstream classic rock music with a bit of rock’n’roll. But .. don’t get me wrong because when it enters the interlude, there is a prog bit here. Something that not every classic rock band has ever created. “Broken Toys” is nice, especially in its melody. Excellent acoustic guitar. The chorus reminds me on my childhood.“Fugitive” is one of my favorites in this album. Opened with a stormy and rain sound followed by dynamic bass guitar playing and then vocals part. This track has caused my adrenalin to explode! I mean it. Listen to how the bass guitar is played throughout the entire track; great keyboard playing, and observe how Lawton sings … uuuuhhh … very nice! Galileo! I cannot afford not to repeat this track mannn …. It rocks the world! The track ends nicely with solo keyboard.“Natural Born Mover” is another high energy and nice track. Again, bass playing is great throughout the track. And also the guitar that creates nice sound distortion. Solo guitar at the interlude part is great, backed by nice piano and keyboard sound. This track is bit complicated but very nice.The last two tracks “Free Hooker” and “Yesterday’s Ideal” are also excellent. Again, look at how dynamic the bass guitar part is! These two tracks, probably, that justify this album categorized under prog rock scheme. What is prog, anyway? But these two tracks are top class! “Yesterday’s Ideals” has a very nice narration voice at intro part.Overall, for those of you who like a high energy, upbeat prog music, this probably fits you. Caution only for those who love mellow neo prog that might not like this album. For me personally (I love neo and symp prog) this album is top class! What do you think? –Review by Gatot Widayanto(progarchives.com)
1. Moonshine Rider (4:47)
2. Blind Boy (4:46)
3. Broken Toys (5:53)
4. Fugitive (4:54)
5. Natural Born Mover (4:24)
6. Free Hooker (7:17)
7. Yesterday's Ideas (6:54)
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The Moody Blues - Every Good Boy Deserves Favour(1971)
320kbps
Every Good Boy Deserves Favour is the best realized of the Moody Blues' classic albums. The lush melodies and the sound of Michael Pinder's Mellotron were never richer, and the guitar pyrotechnics on pieces like "The Story in Your Eyes" were never more vivid. "Emily's Song," "Nice to Be Here," and "My Song" are among the best work the group ever did, and "The Story in Your Eyes" is the best rock number they ever cut, with a bracing beat and the kind of lyrical complexity one more expected out of George Harrison at the time. ~ Bruce Eder, All Music Guide
1. Procession (4:40)
2. The Story In Your Eyes (2:56)
3. Our Guessing Game (3:34)
4. Emily's Song (3:42)
5. After You Came (4:39)
6. One More Time To Live (5:41)
7. Nice To Be Here (4:23)
8. You Can Never Go Home (4:14)
9. My Song (6:19)
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Crazy Horse - Crazy Horse (1971)
320kbps
Since Crazy Horse first came to public attention as the backing band for Neil Young in concert and on his albums Everybody Knows This Is Nowhere and After the Gold Rush, it makes sense to expect that the band on its own would play something similar to the hard guitar rock and country-rock heard on those albums, albeit without Young's distinctively quirky singing and songwriting, and that is what one hears to a large extent on the debut album Crazy Horse. (Although this is their first recording under that name, core members Danny Whitten, Billy Talbot, and Ralph Molina have appeared previously on record as part of the doo wop group Danny & the Memories and the rock band the Rockets.) But there is more going on than that. Also joining in, as singers and songwriters as well as sidemen, are veteran arranger/producer Jack Nitzsche and guitarist Nils Lofgren, while Ry Cooder adds slide guitar to a number of tracks. The result is a varied group of songs that range in style from rock and country to blues and folk. The overall quality of those songs is quite high, starting with Nitzsche and Russ Titelman's "Gone Dead Train," previously heard being sung by Randy Newman on the soundtrack to Performance. (Nitzsche and Titelman also contribute the pop-ish "Carolay.") The country hoedown "Dance, Dance, Dance" is a good Young cast-off, while the driving "Beggars Day" and "Nobody" were penned by Lofgren. These contributions serve as the supporting material for Whitten's songs, however, as his five numbers are among the album's best, whether he's rocking out on the ominous "Downtown" (which appears to be about scoring dope) or sadly crooning the heartbreaking ballad "I Don't Want to Talk About It." (After being revived by Rod Stewart on Atlantic Crossing in 1975, the song was a chart single for him and went on to become a minor standard with covers by Rita Coolidge, Everything But the Girl, and Ian Matthews, among others.) Crazy Horse made the case for Whitten as a major talent and for the band as a strong act apart from Young.
Review by William Ruhlmann allmusic.com
1 Gone Dead Train 4:06
2 Dance, Dance, Dance 2:10
3 Look at All the Things 3:13
4 Beggars Day 4:28
5 I Don't Want to Talk About It 5:18
6 Downtown 3:14
7 Carolay 2:52
8 Dirty, Dirty 3:31
9 Nobody 2:35
10 I'll Get By 3:08
11 Crow Jane Lady 4:24
Thanks To MrJJ For This Upload!
The Who - Thirty Years of Maximum R&B(1994)
(4 CD - Box-Set)
320kbps
One of the more overblown box sets, this four-CD collection does include all of the Who's big hits and the lion's share of their key album tracks. Previously unreleased rarities include some interesting selections (the '60s outtakes "Early Morning Cold Taxi" and "Melancholia"), but these bits and pieces, which include some live versions, commercials, Keith Moon sketches, and the like, are mostly inessential. The post-Keith Moon cuts that bring you up to the present are out of the league of the body of the Who's work. As most of the Who's '60s and '70s albums are very strong, cohesive works in and of themselves, this can't be recommended as either a starting point or a necessary addition.Review by Richie Unterberger(allmusic.com)
CD1
1. Pete Dialogue (Live At Long Beach Arena, December 10, 1971) (0:21)
2. I'm The Face (As The High Numbers) (2:27)
3. Here 'Tis (As The High Numbers) (2:08)
4. Zoot Suit (As The High Numbers) (1:59)
5. Leaving Here (As The High Numbers) (2:47)
6. I Can't Explain (2:04)
7. Anyway, Anyhow, Anywhere (3:04)
8. Daddy Rolling Stone (2:50)
9. My Generation (3:17)
10. The Kids Are Alright (3:04)
11. The Ox (3:48)
12. A Legal Matter (2:45)
13. Pete Dialogue (Live At Leeds University, February 14, 1970) (0:57)
14. Substitute (Live At Leeds University, 1970) (2:08)
15. I'm A Boy (2:37)
16. Disguises (3:20)
17. Happy Jack Jingle (0:31)
18. Happy Jack (2:12)
19. Boris The Spider (2:28)
20. So Sad About Us (3:00)
21. A Quick One, While He's Away (Original Version / Live At The Rolling Stones Rock'n'Roll Circus) (9:40)
22. Pictures Of Lily (2:42)
23. Early Morning Cold Taxi (3:03)
24. Coke 2 (0:47)
25. (This Could Be) The Last Time (3:02)
26. I Can't Reach You
27. Girl's Eyes
28. Bag O'Nails
29. Call Me Lightning
CD2
01. Rotosound Strings
02. I Can See For Miles
03. Mary Anne With The Shaky Hand
04. Armenia City In The Sky
05. Tattoo
06. Our Love Was
07. Rael 1
08. Rael 2
09. Track Records , Premier Drums
10. Sunrise
11. Russell Harty Dialogue
12. Jaguar
13. Melancholia
14. Fortune Teller
15. Magic Bus
16. Little Billy
17. Dogs
18. Overture
19. Acid Queen
20. Abbie Hoffman Incident (Live At Woodstock Festival, 1969)
21. Underture (Live At Woodstock Festival, 1969)
22. Pinball Wizard
23. I'm Free
24. See Me Feel Me
25. Heaven And Hell
26. Pete Dialogue (Live At Leeds University, 1970)
27. Young Man Blues
28. Summertime Blues
CD3
01. Shakin' All Over
02. Baba O'Riley
03. Bargain (Live At San Francisco Civic Auditorium, 1971)
04. Pure And Easy
05. Song Is Over
06. Studio Dialogue
07. Behind Blue Eyes
08. Won't Get Fooled Again
09. The Seeker (Edited Version)
10. Bony Moronie (Live At The Young Vic, 1971)
11. Let's See Action
12. Join Together
13. Relay
14. The Real Me (Previously Unreleased Version)
15. 5.15 (Single Version)
16. Bell Boy
17. Love Reign O'er Me
CD4
01. Long Live Rock
02. Life With The Moons
03. Naked Eye (Live At The Young Vic, 1971)
04. University Challenge
05. Slip Kid
06. Poetry Cornered
07. Dreaming From The Waist (Live At Swansea Football Ground, 1976)
08. Blue Red And Grey
09. Life With The Moons 2
10. Squeeze Box
11. My Wife (Live At Swansea Football Ground, 1976)
12. Who Are You (Single Version)
13. Music Must Change
14. Sister Disco
15. Guitar And Pen
16. You Better You Bet
17. Eminence Front
18. Twist And Shout (Live At Shea Stadium, New York, 1982)
19. I'm A Man (Live At Radio City Music Hall, New York, 1989)
20. Pete Dialogue (Live At The Fillmore West, San Francisco, 1969)
21. Saturday Night's Alright (For Fighting)
Here
Nektar - Journey To The Center Of The Eye(1971)
320kbps
"Although my mind is gently weeping" cries NEKTAR from their absolutely stunning Kraut-Rock'ish materpiece of 1971. "Journey To The Centre Of The Eye" is just that and lands with perfection in my opinion carrying some of NEKTAR most treasured musical moments. "Journey..." is in a slightly different vein from later NEKTAR albums, delivering more of a psychedelic/underground flavour. "Journey..." is a wonderful conceptual work of art which really feels like you are on a journey to the centre of an eye. As usual musicanship and song writing is superb with a nice compliment of instruments including the beloved Mellotron! "Journey..." has amazing guitar playing on it throughout and I love the spacey grooves that they get into... some very memorable treasures here. Countenance is the 3rd tracks and in my opinion is one of the greatest prog rock pieces they ever wrote! In my opinion "Journey..." is essential progressive rock...!Review by James Unger(progarchives.com)
1. Prelude (1:26)
2. Astronaut's Nightmare (6:26)
3. Countenance (3:34)
4. The Nine Lifelelss Daughters Of The Sun (2:54)
5. Warp Oversight (4:10)
6. The Dream Nebula Part One (2:16)
7. The Dream Nebula Part Two (2:26)
8. It's All In The Mind (3:22)
9. Burn Out My Eyes (6:35)
10. Void Of Vision (1:55)
11. Pupil Of The Eye (2:07)
12. Look Inside Yourself (0:45)
13. Death Of The Mind (4:07)
14. 1-2-3-4 (3:00)
15. Do You Believe In Magic (3:51)
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