Ozzy Osbourne (Black Sabbath) - Ordinary Man [Japan Ed.] (2020)

Year: 21 February 2020 (CD 21 Feb 2020)
Label: Epic Records (Japan), SICP 31355
Style: Heavy Metal, Hard Rock, Glam Metal
Country: Warwickshire, England (3 December 1948)
Time: 51:14
Format: Flac Tracks 16/44,1 kHz
Size: 378 Mb

Charts: UK #3, AUS #4, CAN #3, FIN #3, GER #2, NOR #3, NZ #12, SWE #1, SWI #2, US #3. Canada and US: Gold.
Ordinary Man is Osbourne's first studio album as a solo artist in ten years following Scream (2010). It is also his first album overall since he reunited with Black Sabbath's Tony Iommi and Geezer Butler for their final album 13 (2013), with him as lead singer. After the release of 13, they went on a farewell tour titled The End Tour, which ended in Birmingham, England on 4 February 2017. After Black Sabbath concluded their farewell tour, Osbourne kept working on new material. In September 2019, he was featured alongside American rapper Travis Scott on American rapper Post Malone's "Take What You Want", from Malone's third studio album Hollywood's Bleeding, which went on to become Osbourne's first Billboard Hot 100 top 10 in over 30 years, thus making it the longest gap between top 10 appearances in the chart's history. On 8 November 2019, it was revealed that Osbourne had worked with Guns N' Roses bassist Duff McKagan, and Red Hot Chili Peppers drummer Chad Smith on the album. Speaking about the recording, he commented that the entire album process is done "in just a short time", adding "Duff and Chad came in and we would go in and jam during the day and I would go work out the songs in the evenings. I previously had said to Sharon I should be doing an album, but in the back of my mind I was going, 'I haven't got the fucking strength.' But Andrew pulled it out of me. I really hope people listen to it and enjoy it, because I put my heart and soul into this album."
(en.wikipedia.org/wiki/Ordinary_Man_(Ozzy_Osbourne_album))

01. Straight To Hell (03:45)
02. All My Life (04:18)
03. Goodbye (05:34)
04. Ordinary Man (05:01)
05. Under The Graveyard (04:57)
06. Eat Me (04:19)
07. Today Is The End (04:06)
08. Scary Little Green Men (04:20)
09. Holy For Tonight (04:52)
10. It's A Raid (04:20)
11. Take What You Want (03:49)
12. Darkside Blues (Bonus Track) (01:47)

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Savoy Brown - Getting To The Point (1968)

Year: July 1968 (CD 1990)
Label: Deram Records (Germany), 820 922-2
Style: Rock, Blues Rock
Country: London, England
Time: 51:03
Format: Flac Tracks 16/44,1 kHz
Size: 300 Mb

Savoy Brown, one of the best blues bands, were a creative group in the late 60s’ and early 70s’ - if we’re gonna decide the best albums during that period, then Getting To The Point is the most overlooked and under-rated.
The album kicks off and wraps up with pure blues that is combined with an eclectic mixture of rock, boogie, and blues between. Chris Youlden vocal chop is just another plus and you surely are in for a treat when he starts to sing. While Bob Hall’s rocking piano really sets the mood for the album and makes it very different from other Savoy Brown records. Lastly, Kim Simmonds just killing it off on lead guitar. Some of the must-listen tracks on the album are, Flood In Houston; Someday People; Mr. Downchild; Stay With Me Baby; and title track; Getting To The Point and, of course; The Incredible Gnome Meets Jaxman.
The final three were not included in the original, and among these three Someday People is by far the song. Savoy Brown knew how to draw some songs out in lengthiness, and they are pretty apparent on Honey Bee and You Need Love that kicks ass making this a very fine album.
Savoy Brown has transformed a lot during their long career, but the best material they’ve ever released was the Simmonds/Youlden period. Fans of blues rockin’ recordings, this is a must-own album, Getting To The Point is one of the best examples of the British-style blues available on the market.
(rockpasta.com/album-review-getting-to-the-point-by-savoy-brown/)

01. Flood In Houston (03:53)
02. Stay With Me Baby (02:41)
03. Honey Bee (06:33)
04. The Incredible Gnome Meets Jaxman (03:31)
05. Give Me a Penny (04:23)
06. Mr. Downchild (05:31)
07. Getting to the Point (04:00)
08. Big City Lights (03:19)
09. You Need Love (07:41)
10. Walking By Myself (02:30)
11. Taste and Try, Before You Buy (02:26)
12. Someday People (04:33)

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Kim Simmonds and Savoy Brown - The Devil To Pay (2015)

Year: 2015 (CD 2015)
Label: Ruf Records (Germany), RUF 1220
Style: Blues
Country: Newbridge, Caerphilly, Wales (5 December 1947)
Time: 58:04
Format: Flac Tracks 16/44,1 kHz
Size: 382 Mb

A writer, a poet or the scribe of combined lyrics and sweated out notes should never stop searching for a truth, should never allow the music that floats in their head to become stifled or desolate, to become as barren and featureless as the deserts or as bland as deep black space when there is no cosmos to stare in open-mouthed wonder at. The music should never be seen as suffocating or unbearable to be around, it should never consume to the point of being bled dry and if does, if it should manage to challenge this and win through, then it is time to either call it a day or walk away for a while and regroup.
For Kim Simmonds and Savoy Brown, the word stifling only enters the dictionary as a gathering point between star and stunning and the welcome to the Blues genre that the songs from the new album have made is intense, almost verging on the beautifully uncontrollable and the sense of the cool that is thrust into the limelight is to be believed as one believes in the singular truth that carries a person’s being through life.
The Devil To Pay might be a tough credit account to keep in the black, but the blues always finds a way to keep the balance from entering the red, and certainly since the start of the turn of the century, that balance has crept ever higher and not found its way into the recession of disturbing insipid Blues. The Devil To Pay is no Faustian Pact either by either the band or Kim Simmonds, this is just the accumulation of great musicianship made honest and real and with the knowledge that the tracks on the album are as good as anything laid down before them.
Songs such as Bad Weather Brewing, the sincerity that resonates in Grew Up In The Blues, Stop Throwing Your Love Around and the reversal of gender stereotypes in the culture of drinking in Whiskey Headed Baby all combine to give the devil his due but also stir up such emotion in the angels that the Blues knows that it lives and breathes still as the 21st Century progresses ever onwards.
The mischievous spirit lives on, the Devil plays unheard sax in the background and the tune is enough to keep on rocking, The Devil To Pay grins with healthy roguish charm.
(liverpoolsoundandvision.co.uk/2015/10/15/kim-simmonds-and-savoy-brown-the-devil-to-pay-album-review/)

01. Ain't Got Nobody (05:28)
02. Bad Weather Brewing (04:31)
03. Grew Up In The Blues (04:08)
04. When Love Goes Wrong (04:04)
05. Oh Rosa (03:36)
06. The Devil To Pay (04:21)
07. Stop Throwing Your Loving Around (04:17)
08. Snakin' (03:57)
09. Got An Awful Feeling (05:59)
10. I've Been Drinking (03:49)
11. Watch My Woman (04:06)
12. Whiskey Headed Baby (04:31)
13. Evil Eye (05:11)

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Soft Machine - Drop [Live] (1971)

Year: November 1971 (CD 2009)
Label: Moonjune Records (US), MJR023
Style: Jazz Rock, Contemporary Jazz
Country: England
Time: 62:10
Format: Flac Tracks 16/44,1 kHz
Size: 388 Mb

For Soft Machine fans, Drop may well be the Holy Grail of live recordings from a legendary British group that began in psychedelia, ended in riff-based fusion, and traversed considerable stylistic territory in between. A four-month tenure might be nothing more than a footnote to some, but Phil Howard contributes to one of the group's greatest triumphs-electric, ear-shattering free improvisation of more reckless abandon than anything before, or after, the Australian drummer's brief stay.
Soft Machine's greatest strength came from a dynamic and often inflammatory tension, the result of the collision and concurrence of vastly differing personal musical goals. This combination created a fertile testing ground-and a classic period documented on three studio albums from Third (Sony/BMG, 1970) through Fifth (Sony/BMG, 1972)-that positions Soft Machine alongside innovative fusion work by post-Bitches Brew Miles Davis and early Weather Report.
Keyboardist Mike Ratledge may have written some of the group's most complex compositions, but he was an equally powerful improviser, as the incendiary solos on his mid-tempo "Slightly All the Time" and higher velocity title track demonstrate. Bassist Hugh Hopper was also interested in composition-albeit of a more oblique nature-but here he proves capable of both anchoring this liberated incarnation and responding to Howard's rhythmic maelstrom on Dean's "Neo Caliban Grides" and Ratledge's melodically episodic "Pigling Bland." Dean's free improv proclivities were already well-known-surfacing more vividly on the sessions for his debut, Just Us (Cuneiform, 1972)-but he was still a melodist at heart, as focused in construction as he was visceral in intensity. His fiery saxello solo on "Slightly All the Time" is, quite simply, one of his best on record.
Howard was already playing with Dean in early 1971 (he can also be heard on Just Us), and his unrestrained and unconstrained approach-resembling Tony Williams' fierceness but more unfettered in its view of time-created a perfect foil. When founding member Robert Wyatt left Soft Machine in August 1971, Dean suggested Howard as the ideal replacement. Howard may not have ultimately proven ideal-driving the band so far away from form was simply too much for Ratledge and Hopper at the time, resulting in the drummer's termination mid-way through the Fifth sessions-but more than lighting a fire, Howard dropped a nuclear bomb on the group, pushing it to some of its greatest and most transcendent extremes.
Soft Machine's live performances were always continuous; here it finds new ways to segue from one tune to the next in an hour-long set of unrelenting creativity. Howard's turbulence blurs some of the arrangements as he pushes his way through some of the more challenging constructs rather than playing with them, but he possesses a pulse all his own-his own kind of swing.
Any doubts that Soft Machine was on equal footing with its American counterparts of the time can finally be put to rest once and for all with the spontaneous combustion of Drop. Too late for 2008 "best of" lists, it's the first clear entry for best historical release of 2009.
(allaboutjazz.com/drop-soft-machine-moonjune-records-review-by-john-kelman)

01. Neo Caliban Grides (06:23)
02. All White (06:14)
03. Slightly All The Time (13:16)
04. Drop (07:40)
05. M.C. (03:24)
06. Out-Bloody-Rageous (11:30)
07. As If (06:09)
08. Dark Swing (01:54)
09. Intropigling (00:52)
10. Pigling Bland (04:44)

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Mike Oldfield - Amarok [Japan Ed.] (1990)

Year: 28 May 1990 (CD Jul 21, 1990)
Label: Virgin Records (Japan), VJCP-38
Style: Instrumental, Progressive Pop, Electronic
Country: Reading, Berkshire, England (15 May 1953)
Time: 60:05
Format: Flac Tracks 16/44,1 kHz
Size: 333 Mb

In July 1989 Oldfield released Earth Moving, his twelfth album for Virgin Records. By this time, his relationship with the label had become increasingly fraught as a result of disagreements over his contract, royalties, and the lack of effort in promoting his albums. Earth Moving was an album whereby he "listened to Virgin totally" in regards to its musical direction, which became a success in continental Europe, but received a disappointing reaction in England, for which Oldfield received "some flak" from Virgin over the matter. Oldfield was now required to deliver two more albums as part of his Virgin contract and in the summer of 1989, he started on one with the aim of pleasing his fans while annoying Virgin executives. Oldfield deemed Amarok his "personal revenge" for Virgin's lack of support.
The idea for Amarok originated in August 1989, when Oldfield recorded a session for broadcast on BBC Radio 1 that included a 7-minute excerpt of his debut album Tubular Bells (1973) performed by himself. Oldfield had fun in the process, which inspired him to make Amarok in such a way. When Oldfield started to write and arrange "Amarok", he ignored the pressures of delivering commercial material for Virgin and instead "let it all come out without any interference. I felt I was getting ideas from somewhere inside me, and six months later I had a whole album." He decided upon an album that contained one 60-minute piece which, unlike his previous long tracks, was not split into sections. Such a format would create difficulty for Virgin to market or promote with radio airplay. He avoided letting a theme become something that Virgin might have identified suitable for a single, and developed ideas by "imagining sound, not picture".
Oldfield's contract with Virgin expired on 1 January 1991.
(en.wikipedia.org/wiki/Amarok_(Mike_Oldfield_album))

01. Amarok (1:00:05)

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Hurdy Gurdy - Hurdy Gurdy (1971)

Year: 1971 (CD 1992)
Label: Background Records (UK), HBG 122/11
Style: Progressive Rock, Rock, Hard Rock
Country: Denmark
Time: 40:27
Format: Flac Tracks 16/44,1 kHz
Size: 253 Mb

Hurdy Gurdy emerged from the Danish group Peter Belli and the Boom Boom Brothers (aka The B.B. Brothers) in June 1967, when three members of the B.B. Brothers, guitarist Claus Bohling, drummer Jens Peter Marquard Otzen and British vocalist and bassist Mac MacLeod formed the power trio.[1] Inspired by Cream but with more psychedelic leanings, they split from Peter Belli and MacLeod named the band 'Hurdy Gurdy'. They had considerable success in Scandinavia, breaking many attendance records for their live shows.[citation needed] The band moved to England in early 1968, after MacLeod had been deported from Denmark.
From Denmark, MacLeod wrote to Donovan's manager Ashley Kozak on 19 December 1967 to ask if he could help the band in any way. Donovan wrote his song "Hurdy Gurdy Man" for them as a gift for MacLeod. MacLeod came back to the U.K. in the new year to see Donovan and, a few weeks later, the rest of the band followed. After hearing Donovan's demo tape, the band set up outside his Little Berkhamsted cottage and played their version of the song. Donovan did not like the heavy take on the track they played as he wanted a softer, acoustic arrangement. Soon after, he released his own version of the song which became a hit, his version in the end had a similar arrangement to the Hurdy Gurdy version. Donovan told Keith Altham of the NME (and Hit Parader) in December 1968:
"Hurdy Gurdy Man" was originally written for a Danish group by that name (...) There is a friend of mine in the group - Mac MacLeod - whom I looked to in the early days to learn how to pick the guitar. I wrote the song especially for them but then we got into a disagreement over how it was to be produced. I wanted to do it one way and they another. So I said, 'Right then - I'll do it myself because I think it's good enough for a single.' So I did it. And it's out.[2][3][4]
While they were in the UK, they did some recordings produced by Chris White and Rod Argent of The Zombies. Two tracks by the MacLeod era of Hurdy Gurdy, "Tick Tock Man" and "Neo Camel", are on the Mac MacLeod anthology The Incredible Musical Odyssey of the Original Hurdy Gurdy Man and showcase the free-flowing power trio psychedelic rock sound.
Otzen and Bohling had to return to Denmark shortly after those recordings, as they were unable to secure work permits from the Musician's Union. A new bassist (Torben Forne) was recruited to replace MacLeod and, in early 1971, they released a self-titled album for CBS which has recently been reissued on CD. MacLeod briefly joined the post-Zombies group Argent.
In 1993, Bohling re-formed the band and performed two concerts at the Cavern Club in Exeter.
(en.wikipedia.org/wiki/Hurdy_Gurdy_(band))

01. Ride On (05:10)
02. The Giant (05:00)
03. Tell Me Your Name (04:29)
04. Peaceful Open Space (05:20)
05. Babels Tower (03:17)
06. Spaceman (04:20)
07. Lost In The Jungle (08:45)
08. You Can't Go Backwards (04:02)

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Emerson, Lake & Palmer - Emerson, Lake & Palmer [Japan Ed.] (1970)

Year: 20 November 1970 (CD Jun 23, 2010)
Label: Victor Records (Japan), VICP-70148
Style: Symphonic Rock
Country: London, England
Time: 58:56
Format: Flac Tracks 16/44,1 kHz
Size: 397 Mb

Charts: UK #4, AUS #9, CAN #17, GER #7, ITA #20, NED #4, NOR #18, JP #66, US #18. UK & US: Gold.
They were not the first rock supergroup, a distinction I would accord to Blind Faith. And their first album was not the first progressive rock album by any means. But Emerson, Lake & Palmer was the first progressive rock album recorded by a supergroup, which makes it an important work in the annals of rock and roll. It also happens to be an awesomely cool album that merges the better parts of The Nice and King Crimson into arguably the truest vision yet of a classical/rock hybrid.
Keith Emerson is the band’s grand sonic architect. He creates complex classical arrangements and adaptations of classical composers (Bela Bartok, Leos Janacek, J.S. Bach) on organ, piano and synthesizer. For the opening of Take a Pebble, he even strums the strings of a grand piano like a harp. He’s not quite a one-man band, but he does carry the lion’s share of the music on his shoulders. Emerson was the main attraction in The Nice too, but with ELP he was given even more space to shine.
Greg Lake was previously the bass player and singer in King Crimson, a group whose first album, In the Court of the Crimson King, is universally recognized as one of the earliest and best examples of progressive rock. Lake played a smaller role in Crimson, which was Robert Fripp’s band from the beginning. In ELP, more emphasis was placed on his wonderful voice and soulful balladry. As a bass player, he’s no Jack Bruce, as a guitarist, no Robert Fripp, but as a singer you couldn’t do much better.
Carl Palmer was arguably the least known of the three, having appeared briefly with Arthur Brown and Atomic Rooster. He and Emerson are the band’s two strongest musical contributors. Just as Emerson’s playing had a decidedly English feel to it that leaned heavily on pomp and circumstance, Palmer’s drumming often felt like a marching boy gone mad, his disciplined rhythms played with mathematical precision on snare, cymbals and assorted drums.
(full version: progrography.com/emerson-lake-palmer/review-emerson-lake-palmer-1970/)

01. The Barbarian (04:35)
02. Take A Pebble (12:38)
03. Knife Edge (05:10)
04. The Three Fates: Clotho (Royal Festival Hall Organ) / Lachesis (Piano Solo) /... (07:47)
05. Tank (06:53)
06. Lucky Man (04:49)
07. The Barbarian (Live At The Isle Of Wight Festival) (05:08)
08. Take A Pebble (Live At The Isle Of Wight Festival) (11:53)

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Electric Light Orchestra - Face The Music [4 bonus tracks] (1975)

Year: 1 September 1975 (CD September 11, 2006)
Label: EPIC/LEGASY Records (US), 82796 94278 2
Style: Progressive Pop, Rock
Country: Birmingham, England
Time: 52:33
Format: Flac Tracks 16/44,1 kHz
Size: 328 Mb

Face the Music is more fine work from the Electric Light Orchestra, which rather quietly has evolved into a most consistent septet. Leader Jeff Lynne remains one of a few Sixties rockers who has developed a new and more adventurous style with a minimum of chaff in the process. In this setting he has successfully integrated a recognizable string trio (an achievement in itself) with his own melodic strings, producing a stately music without being stuffy or saccharine. Nor do the cellos and violin seem a mere afterthought.
All eight compositions are strong and fully realized: "Poker" with its hard rock guitar explosions, the oddly workable C&W flirtation "Down Home Town" and an instrumental with lavish but spirited orchestration. The seven outdo themselves, however, on "One Summer Dream," a beautiful and evocative tune sung touchingly by Lynne. A trifle sentimental perhaps, but lyrically and musically, it displays more emotion (not to mention pure ability) than one ordinarily hears from a rock group. Most importantly the song, and the rest of Face the Music as well, reiterates that rock can be complex, ambitious and "arty," yet still remain rock.
(Charley Walters, Rolling Stone, 1-1-76.)

The Electric Light Orchestra, led by former Move member Jeff Lynne, is better than most groups who try to combine rock with classical motifs. At least the ELO is skillful and unpretentious. But what is the sense of mixing whiskey and wine? The powers, techniques, effects, and schematics of rock and classical music are at polar odds with one another. Outside of relief from the boredom of playing the twang-thump of rock, there doesn't seem to be any valid reason to try to achieve this mutant sound. And, even though ELO's classical orchestrations are neatly done, they cannot disguise the basic weakness of the rock material.
(Joel Vance, Stereo Review, 2/76.)

Another beautiful set from the seven Brits who helped pioneer the merger of classical and rock on a mass basis. Divided fairly equally into smooth, flowing melodies fronted by equally relaxing singing and easy rockers, the guitar, vocals and writings of Jeff Lynne remain dominant. New to the group, however, is Kelly Groucutt, who handles bass and takes over on lead vocals from time to time. With a softer voice than Lynne's, Groucutt provides the balance that has been missed in past albums. Guitars, violins and cellos melt together easily under Lynne's production, and the unlikely combination works as well as anything the band has ever done. Musically, a truly beautiful LP. Best cuts: "Waterfall," "Evil Woman," "Poker," "Down Home Town."
(Billboard, 1975.)

Superb production and a good song lineup featuring "Evil Woman" and "Strange Magic."
(Bruce Eder, The All-Music Guide to Rock, 1995.)

ELO's formula first jelled into a sleek hit-making machine with Face The Music, an album on which Jeff Lynne's producing chops first match his songwriting prowess -- fueled by songs such as the radio staple "Evil Woman" and dreamy ballad "Strange Magic."
(Eric Deggans, Musichound Rock: The Essential Album Guide, 1996.)

01. Fire On High (05:31)
02. Waterfall (04:11)
03. Evil Woman (04:29)
04. Nightrider (04:26)
05. Poker (03:32)
06. Strange Magic (04:29)
07. Down Home Town (03:54)
08. One Summer Dream (05:51)
09. Fire On High Intro (Early Alt Mix) (03:23)
10. Evil Woman (Stripped Down Mix) (05:00)
11. Strange Magic (U.S. Single Edit) (03:27)
12. Waterfall (Instrumental Mix) (04:15)

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J.S.Bach - Ton Koopman - Amsterdam Baroque Orchestra [2CD] (1994)

Year: 1994 (CD 1994)
Label: Erato Records (Europe), 4509-94675-2
Style: Classical, Baroque
Country: Eisenach, Germany (21 March 1685 - 28 July 1750)
Time:
Format: Flac Tracks 16/44,1 kHz
Size: 229, 178 Mb

Ton Koopman’s zest for the baroque master shone through in a joyful programme of some of his best-known music, even if the lack of instrumental balance would have triggered the symmetry-loving composer.
Ton Koopman’s enthusiasm for the bread and butter of his long career – for the music of JS Bach, and for playing it with the Amsterdam Baroque Orchestra, which he founded in 1979 – hasn’t faded. This all-Bach programme read like a greatest hits tracklist, yet the music sounded unflaggingly fresh.
(full version: theguardian.com/music/2022/sep/19/amsterdam-baroque-orchestra-koopman-review-bach-wigmore-hall)

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Steve Marriott's All Stars (ex Humble Pie) - Clear Through The Night [Compilation] (1999)

Year: April 13, 1999 (CD 2007)
Label: 2000 FruitGum Corp. (Russia)
Style: Rock, Rhythm and Blues
Country: Essex, England (30 January 1947 - 20 April 1991)
Time: 57:03
Format: Flac Tracks 16/44,1 kHz
Size: 309 Mb

Stephen Peter Marriott (30 January 1947 – 20 April 1991) was an English actor, musician, guitarist, singer and songwriter. He was a student at the Italia Conti Academy of Theatre Arts in London and appeared in the West End, before taking a role in music. He co-founded and played in the rock bands Small Faces and Humble Pie, in a career spanning over 20 years. Marriott was inducted posthumously into the Rock and Roll Hall of Fame in 2012 as a member of Small Faces.
In Britain, Marriott became a popular, often-photographed mod style icon. Marriott was influenced by musicians such as: Miles Davis, Buddy Holly, Booker T & the MG's, Ray Charles, Otis Redding, Muddy Waters and Bobby Bland. In his later life, Marriott distanced himself from the mainstream music industry and turned away from major record labels, remaining in relative obscurity. He returned to his musical roots, playing in local pubs and clubs around London and Essex.
Marriott died on 20 April 1991 when a fire, which was thought to have been caused by a cigarette, swept through his 16th-century home in Arkesden, Essex. He was 44 and posthumously received an Ivor Novello Award in 1996 for his "Outstanding Contribution to British Music", and was listed in Mojo as one of the top 100 greatest singers of all time.
(en.wikipedia.org/wiki/Steve_Marriott)
The man put out a lot of live cd's, but only about 4 cd's of solo studio music. His first cd Marriott is by far the best and a must have. His last cd of covers 30 Seconds to Midnight is just okay. The only other two worth having are the Official Receivers (live & studio cuts) and this one Clear Through the Night. This is a compilation of unreleased stuff and it covers a variety of styles--mostly rock and bluesy tunes and is filled with quality music.
Record companies have since compiled more cd's of this and other less quality stuff----the last one being Need Your Love. That one will sell because of the two Frampton/Marriott tunes which can also be found on Peter Frampton's Shine on Collection. Anyway, between his first cd, Official Receivers, and this one you will be set with your Marriott solo collection.
(amazon.co.uk/Clear-Through-Night-Steves-Marriott/dp/B00000I4MK) Review by michael d. 8 June 2014

01. Midnight Rollin' (03:20)
02. Wham Bam Thank You Mam (03:40)
03. Street Rat (02:48)
04. High 'N' Happy (02:43)
05. Ruthy (04:11)
06. Shake (02:50)
07. Don't Take But A Few Minutes (03:41)
08. Cocaine (03:48)
09. Bluegrass Interval (03:37)
10. You're A Heartbreaker (01:49)
11. Be My Baby (02:39)
12. It's All Over (03:36)
13. The Things You Do (06:02)
14. Lord Help Me Hold Out (03:27)
15. I Need A Star In My Life (02:53)
16. Signed Sealed (02:43)
17. The Times They Are A Changin' (03:10)

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Ekseption - Ekseption (1969)

Year: 1969 (CD 2012)
Label: Universal Music (Netherlands), 371 914-9
Style: Progressive Rock
Country: Haarlem, Netherlands
Time: 32:31
Format: Flac Tracks 16/44,1 kHz
Size: 203 Mb

What I do know is the band wasn't known for a steady lineup, and most people lost interest in the band after keyboardist Rick van der Linden left in 1973 to form TRACE. It seems no matter who was in the band, bassist Cor Dekker was the one constant. This was their first album, which consisted of covers of classical (which they were best known for), one original, and more. They do a cover of Beethoven's "Fifth Symphony", entitled "The 5th", which actually became a hit. This is basically a rock version of the famous Beethoven composition, with organ, guitar, bass, drums, and horns. The song starts off with the famous symphony version (sounds like a recording sampled from a real symphony orchestra), but then quickly changes to a rock version. They do a cover of JETHRO TULL's "Dharma For One", which is quite a bit tamer than the original, not so aggressive. They even include the proper, Ian Anderson-like flute where needed (just like the original). "Little X-Plus" is a band original, and a nice piece with some jazz influence and nice use of flute. "Ritual Fire Dance" is a nice number complete with horns, some '60s sounding guitar. They also cover George Gershwin's "Rhapsody in Blue", which is truly the album's high point. There's also Bach's "Air on G String", which is the song that PROCOL HARUM borrowed for their hit "A Whiter Shade of Pale". This of course, is the Bach composition done EKSEPTION style, with harspichord from Rick van der Linden, and horns, and you won't mistake this for Procol Harum.
EKSEPTION is one of those bands that don't have much middle ground, you either dig the band or you don't. It all depends how much you like the idea of a band "rocking the classics". I still think this is much better than what Apollo 100 done (Apollo 100 was a British group who gave us the hit "Joy", which was a pop take on Bach's "Jesu, Joy of Man's Desiring", and most of the rest of the stuff they did was rock versions of classical songs, and in my opinion, not as good as what EKSEPTION did).
If you do enjoy the music of EKSEPTION, this is a nice album to own.
(progarchives.com/album.asp?id=6480) Review by Proghead. March 20, 2005

01. The 5th (03:25)
02. Dharma For One (03:28)
03. Little X Plus (03:31)
04. Sabre Dance (03:47)
05. Air (02:53)
06. Ritual Fire Dance (02:15)
07. Rhapsody In Blue (04:02)
08. This Here (04:12)
09. Dance Macabre Opus 40 (02:23)
10. Canvas (02:30)

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Styx - Equinox [Japan Ed. SHM-CD] (1975)

Year: December 1975 (CD October 26, 2016)
Label: Universal Music (Japan), UICY-77883
Style: Rock, Pop Rock, Progressive Rock
Country: Chicago, Illinois, U.S.
Time: 34:50
Format: Flac Tracks 16/44,1 kHz
Size: 232 Mb

Charts: US #58. US: Gold; CAN: Platinum.
After dropping four poorly-received prog-driven studio slabs, the Chicago-birthed brigade, Styx, were rescued from the bottom rungs of rock’s tour circuit overnight when their 1973 album cut, “Lady,” became a surprise international smash in the spring of 1975. In short order, the five-piece combo graduated from the indie Wooden Nickle label and signed to music giant, A&M Records.
Styx benefited immediately from newfound major label resources. But while not a bona fide blockbuster, their fifth album, Equinox, certainly helped break the band on a larger scale. And along with the classic Led Zeppelin set, Physical Graffiti, it ranked quickly as one of my personal top two stoner 8-tracks when it arrived in stores worldwide. That was a very long time ago - 45 years ago next week, to be exact.
The last Styx effort to feature co-founding guitarist, John Curulewski, the self-produced eight-song LP was the gateway to the group’s unimaginable future, with fresh-faced 22-year-old Alabama guitar ace, Tommy Shaw, soon joining their ranks, just in time for the ensuing tour. Simply put, Equinox revealed the stylistic blueprint for what would define the band’s impeccable decades-long brand. And it sounded as big as the arenas they soon would be headlining.
“Light Up” set the stage perfectly as a mighty record opener. A high-energy, coliseum-caliber sing-along, the tune was brought to life by the iconic lead vocals of Dennis DeYoung and his magnificent, Mainstreet Electrical Parade-flavored keyboard work. The combination of Chuck Panozzo’s throaty bass chug and his brother, John Panozzo’s iron-pumping drum work lit up not only “Light Up,” but also provided the backbone for the entire record. DeYoung’s transparent lyrics more than adequately conveyed the song’s good-time, party-hearty message. As a result, the intro’s joint-toking sound effect and the outro’s “smoke it – smoke it” mantra both were gratuitous and kinda silly.
Crisp and catchy, “Lorelei” was the second Styx single to crash Casey’s Countdown - an upbeat, radio-friendly rocker that provided the crunchier yin to the softer “Lady” yang. Another noteworthy standout, “Mother Dear” was a delightful sonic cocktail - mixing psychedelia-soaked vocals with “Karn Evil”-inspired keys and stadium-sized guitars.
Bursting with ferocious riffs and wailing vocals, the James “JY” Young-penned, “Midnight Ride” was a white-knuckled excursion. Young’s soon-to-be signature guitar sound was like clanging sheets of metal - like two of Detroit’s finest colliding at a previously undiscovered intersection.
Highlighted by Curulewski’s masterful acoustic guitar work, DeYoung’s heart-stopping six-and-a-half-minute opus, “Suite Madame Blue,” would become a staple at Album Oriented Rock (AOR) FM radio. One of the band’s all-time greatest achievements, it remains a much-loved fan favorite.
Prior to arriving at a place of pop prominence as platinum purveyors of prom night provolone, Styx were an authentic hard-hitting rock act with plenty of street cred to spare. And 45 years later, Equinox stands tall as an important entry in their impressive catalogue - serving as a vivid snapshot of the band’s golden era.
(v13.net/2020/11/styx-equinox-retro-album-review/)

01. Light Up (04:24)
02. Lorelei (03:23)
03. Mother Dear (05:30)
04. Lonely Child (03:55)
05. Midnight Ride (04:22)
06. Born For Adventure (05:16)
07. Prelude 12 (01:24)
08. Suite Madame Blue (06:33)

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Mike Oldfield - Earth Moving [Japan Ed.] (1989)

Year: 10 July 1989 (CD Jul 21, 1989)
Label: Virgin Records (Japan), 41:25
Style: Pop Rock, Electronic
Country: Reading, Berkshire, England (15 May 1953)
Time: 41:25
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

Charts: UK #30, AUT #21, GER #1, NL #55, SPA #21, SWE #21, SWI #3. GER, SWI & SPA: Gold.
Oldfield used several vocalists on the album, including his then girlfriend, Anita Hegerland. The album's music was performed mainly with synthesizers. It was the first time Oldfield recorded an album without an instrumental piece; each track being vocal-based pop and rock songs. Oldfield's only other album free of instrumentals is 2014's Man on the Rocks.
The final track, despite appearing to be a lengthier piece, consists of two short, apparently unconnected songs, combined into one track, with a noticeable pause in between. According to Oldfield, the album was made in full compliance with his recording company, Virgin Records, which demanded he create more commercially oriented material than his previous albums. After recording Earth Moving Oldfield wanted to move away from 'computerised music' and return to real musicians and instruments; this is evident in his next album, Amarok.
(en.wikipedia.org/wiki/Earth_Moving)

01. Holy (Vocals Adrian Belew, Phil Spalding) (04:37)
02. Hostage (Vocals Max Bacon, Nikkie 'B' Bentley) (04:09)
03. Far Country (Vocals Mark Williamson) (04:25)
04. Innocent (Vocals Anita Hegerland) (03:30)
05. Runaway Son (Vocals Chris Thompson, Phil Spalding) (04:07)
06. See The Light (Vocals Chris Thompson, Phil Spalding) (03:59)
07. Earth Moving (Vocals Max Bacon, Nikkie 'B' Bentley) (04:04)
08. Blue Night (Vocals Daniel Lazerus, Maggie Reilly) (03:48)
09. Nothing But / Bridge To Paradise (08:42)

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Savoy Brown - Shake Down (1967)

Year: September 1967 (CD 1990)
Label: Deram Records (Germany), 844 549-2
Style: Rock, Blues Rock, Psychedelic Rock
Country: London, England
Time: 41:06
Format: Flac Tracks 16/44,1 kHz
Size: 255 Mb

Shake Down is the debut studio album by the British blues rock band Savoy Brown. It was released in 1967 (on Decca SKL 4883) under the name of Savoy Brown Blues Band and is mainly an album of covers, featuring three songs penned by blues singer Willie Dixon. In addition to Dixon, the band covers John Lee Hooker and B.B. King. The album was not originally issued in the US, but was available as an import, until released on CD in 1990.
(en.wikipedia.org/wiki/Shake_Down_(album))

01. Ain't Superstitious (03:32)
02. Let Me Love You Baby (03:06)
03. Black Night (04:54)
04. High Rise (02:48)
05. Rock Me Baby (03:03)
06. I Smell Trouble (04:37)
07. Pretty Woman (02:34)
08. Little Girl (01:43)
09. The Doormouse Rides The Rails (03:36)
10. It's All My Fault (05:02)
11. Shake 'Em On Down (06:05)

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Kim Simmonds and Savoy Brown - Goin' To The Delta (2014)

Year: 2014 (CD 2014)
Label: Ruf Records (Germany), RUF 1196
Style: Blues Rock, Chicago Blues
Country: Newbridge, Caerphilly, Wales (5 December 1947)
Time: 60:18
Format: Flac Tracks 16/44,1 kHz
Size: 410 Mb

On 2011’s “Voodoo Moon” veteran bluesman Kim Simmonds produced some excellent songs, mainly in a blues-rock vein. This time around Kim has opted to go back to basics and record as a three piece so Joe Whiting, who shared vocals and played some sax on “Voodoo Moon”, is not involved and there are no additional instruments, just the trio of Kim on guitar and vocals, Pat DeSalvo on bass and Garnet Grimm on drums. Apart from the lack of harmonica the sound here is a return to the ‘British Blues Invasion’ of the late 60’s of which the original Savoy Brown were a part. Since then a lot of water has flown under the bridge, Kim has been resident in the US for many years and Savoy Brown are probably better known in the States than in the UK.
Kim’s voice is not his finest asset but it works fine on this material, all of which was written by Kim who recorded and produced the album in Syracuse, NY. In a trio format the main instrumental focus is on the guitar and Kim seems to be up to the task as he opens the album in great style with a rocking “Laura Lee” and continues with a rolling “Sad News” both of which feature some solid playing. “Nuthin’ Like The Blues” has a Magic Slim vibe and “When You’ve Got A Good Thing” finds Kim hitting some sweet notes on a mid-paced tune before we get some John Lee Hooker style riffing on the instrumental ”Cobra” over which Kim finds some fine, biting phrasing. A similar guitar feel is there at the start of “Backstreet Woman”, a slower blues in which Kim’s anguished words about his ill-fated relationship with the title character are reflected in his strong playing.
The title track is excellent, Kim’s guitar riding over the core rhythm as he sings of having “Vicksburg on my mind” and the fact that he has “waited too long to knock on your cabin door” - obviously a man inspired - as he is again shortly afterwards in the uptempo shuffle “Turn Your Lamp On”. Separating these two tracks is the classy slow blues “Just A Dream”. The slow-rolling blues “I Miss Your Love” finds Kim playing some exciting slide over a steady rhythm section before a shuffle with some classic blues themes (“she changed the locks on my door”) explains why Kim is “Sleeping Rough”. The album closer “Going Back” ups the pace a bit with some nice guitar flourishes over a rock-solid foot-tapping rhythm.
When so many albums in the blues field are as much rock as blues it is relatively unusual to find one that has 100% blues content, but that is what Kim and his band have produced here. This is a solid album that can easily be recommended to blues fans out there for a dose of classic electric blues.
(bluesblastmagazine.com/kim-simmonds-and-savoy-brown-goin-to-the-delta-album-review/)

01. Laura Lee (04:23)
02. Sad News (06:13)
03. Nuthin' Like The Blues (04:56)
04. When You've Got a Good Thing (05:17)
05. Cobra (04:25)
06. Backstreet Woman (06:06)
07. Goin' To The Delta (05:55)
08. Just A Dream (04:54)
09. Turn Your Lamp On (03:47)
10. I Miss Your Love (04:56)
11. Sleeping Rough (04:59)
12. Going back (04:23)

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Michael Bolton - Greatest Hits 1985-1995 (1995)

Year: September 19, 1995 (CD 1995)
Label: Columbia Records (Europe), 481002 2
Style: Soft Rock, Pop, Pop Rock
Country: New Haven, Connecticut, U.S. (February 26, 1953)
Time: 74:42
Format: Flac Tracks 16/44,1 kHz
Size: 534 Mb

Charts: US #5, AUS #6, AUT #13, GER #8, NOR #6, NZ #8, SWE #13, SWI #16, UK #2. UK: Platinum; AUS: 2x Platinum; CAN & US: 3x Platinum.
Greatest Hits (1985–1995) is a compilation album by American singer Michael Bolton, released in 1995. The album features Bolton's biggest hit singles from his four previous albums: The Hunger, Soul Provider, Time, Love & Tenderness and The One Thing, plus five new recordings. The album achieved a great deal of success, going 3? platinum in the US.
(en.wikipedia.org/wiki/Greatest_Hits_(1985%E2%80%931995))

 

01. Soul Provider (04:26)
02. (Sittin' On) The Dock Of The Bay (03:53)
03. How Am I Supposed To Live Without You (04:15)
04. How Can We Be Lovers (03:56)
05. When I'm Back On My Feet Again (03:49)
06. Georgia On My Mind (04:57)
07. Time, Love And Tenderness (04:18)
08. When A Man Loves A Woman (03:51)
09. Missing You Now (04:25)
10. Steel Bars (03:30)
11. Said I Loved You . . . But I Lied (05:00)
12. Lean On Me (04:21)
13. Can I Touch You . . . There? (05:17)
14. I Promise You (05:21)
15. I Found Someone (03:53)
16. A Love So Beautiful (04:07)
17. This River (05:15)

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The Guess Who - This Time Long Ago [2CD Compilation '67-'68] (2001)

Year: 1967-1968 (CD July 12, 2001)
Label: Ranbach Music Ltd. (Canada), L-00013
Style: Garage Rock, Hard Rock, Psychedelic Rock
Country: Winnipeg, Manitoba, Canada
Time: 44:45, 50:41
Format: Flac Tracks 16/44,1 kHz
Size: 251, 320 Mb

In the CD era, the catalog of the pre-Wheatfield Soul Guess Who has been very hard to come by. Together with Sundazed's Shakin' All Over! (which focuses on their hardest-rocking mid-'60s cuts), this two-CD Canadian collection of rare and unreleased 1967-1968 recordings fills in the gap well. A few of these songs did appear on non-LP Canadian and/or U.K. singles, like the devastating garage punkers "It's My Pride" and "If You Don't Want Me" (which are also on the Sundazed comp); the sappy 1967 ballad "His Girl," heard here in two versions, which was actually a minor British hit; "Flying on the Ground Is Wrong," one of the first (if not the first) covers of a Neil Young song; and unbelievably awful versions of Steve Lawrence's "Pretty Blue Eyes," recorded by the band in an attempt to get their label to release them from their contract. ("Croyez-Moi," an awkward French version of their 1966 single "Believe Me," appears for the first time here.) Most of this set, however, is devoted to unreleased material, recorded in 1967 and 1968 in the studios for CBC TV shows. Some of those performances are marginalia, like the almost note-faithful cover versions of "Light My Fire," "White Room," and "Love Is All Around," and the psychedelic instrumental "Sitar Saga." Much of disc two, however, is devoted to late-'60s originals that find the band starting to arrive at their own hard pop/rock identity, including early versions of four songs apiece from Wheatfield Soul and Canned Wheat. The standouts are early versions of "These Eyes" and the Doors-ish psychedelic suite "Friends of Mine," which includes contributions from members of the Winnipeg Symphony and some free jazz sax near the end. A CBC version of the single "When Friends Fall Out" (later to appear on American Woman), which alternates between grinding riffs in the verse and contemplative balladry on the bridge, saw Burton Cummings start to fully form his tense, belting vocal style. There's a sense of a band fishing for a style throughout much of this anthology, not always successfully, but it documents an important transitional phase in the group's evolution.
(allmusic.com/album/this-time-long-ago-mw0000011209)

01. His Girl (02:57)
02. It's My Pride (02:49)
03. If You Don't Want Me (03:05)
04. Croyez-moi (03:03)
05. His Girl (03:03)
06. This Time Long Ago (02:26)
07. Flying On The Ground is Wrong (02:38)
08. There's No Getting Away From You (02:53)
09. Miss Felicity Grey (02:19)
10. Summertime Blues (03:47)
11. Love is All Around (02:49)
12. Sitar Saga (04:43)
13. Pretty Blue Eyes (02:36)
14. Pretty Blue Eyes (02:35)
15. We're Coming to Dinner (02:55)

01. Light My Fire (03:21)
02. Light My Fire (02:55)
03. Shadow Cross The Shadows (04:15)
04. These Eyes (03:42)
05. Wednesday In Your Garden (03:23)
06. When Friends Fall Out (02:57)
07. Maple Fudge (01:54)
08. I Found Her In A Star (02:09)
09. 6 a.m. or Nearer (03:58)
10. I'm In The Mood For Love (04:08)
11. White Room (04:31)
12. Of A Dropping Pin (02:22)
13. Friends of Mine (11:00)

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Ozzy Osbourne - No Rest For The Wicked (1988)

Year: October 1988 (CD 2002)
Label: Epic Records (Europe), 502046 2
Style: Heavy Metal, Hard Rock
Country: Marston Green, Warwickshire, England (December 3, 1948)
Time: 51:28
Format: Flac Tracks 16/44,1 kHz
Size: 374 Mb

Charts: UK #23, AUS #40, FIN #7, GER #29, NOR #12, SWE #18, SWI #26, US #13. UK: Silver; AUS: Gold; CAN: Platinum; US: 2x Platinum.
No Rest for the Wicked is the recording debut of lead guitarist Zakk Wylde. After firing lead guitarist Jake E. Lee in 1987, Osbourne received a demo tape from Wylde and later hired him after an audition.
Bassist/lyricist Bob Daisley made his return to Osbourne's band after the two had a falling out in 1985. Once the album's recording was complete, Daisley was once again out, replaced by Osbourne's former Black Sabbath bandmate Geezer Butler for subsequent promotional tours.
"Miracle Man", "Crazy Babies", and "Breakin' All the Rules" were released as singles with accompanying music videos. The song "Hero" was an unlisted hidden bonus track on the original 1988 CD and cassette releases. The song "Miracle Man" was a pointed barb aimed at televangelist Jimmy Swaggart. Swaggart had long been critical of Osbourne's music and live performances, before he himself was involved in a 1988 prostitution scandal. The song "Bloodbath in Paradise" references Charles Manson and the Manson Family murders.
Creative Director John Carver was hired by Osbourne's management to conceptualize and direct the album sleeve for "No Rest For the Wicked". Carver's concept was to portray Osbourne as Jesus Christ, with photographer Bob Carlos Clarke taking the cover photo.
(en.wikipedia.org/wiki/No_Rest_for_the_Wicked_(Ozzy_Osbourne_album))

01. Miracle Man (03:44)
02. Devil’s Daughter (Holy War) (05:14)
03. Crazy Babies (04:14)
04. Breakin’ All the Rules (05:14)
05. Bloodbath in Paradise (05:02)
06. Fire in the Sky (06:24)
07. Tattooed Dancer (03:53)
08. Demon Alcohol (04:30)
09. Hero (04:48)
10. The Liar (04:32)
11. Miracle Man (live) (03:47)

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Savoy Brown - Jack The Toad - Live '70-'72 (2000)

Year: 2000 (CD 2000)
Label: Mooncrest Records (UK), 052 Z / 052 - EXPORT
Style: Blues Rock
Country: London, England
Time: 74:29
Format: Flac Tracks 16/44,1 kHz
Size: 333 Mb

The music on this CD is great, the jamming is there, the energy and fun that Savoy Brown had is evident, and its the only live recording I know of of Hellbound Train. Is it worth having, yes, for dedicated SB fans but the sound quality is sure to dissappoint. The bass is muddied and too out front, the drums just have no snap, and worse of all, Kim Simmons guitar sounds like somebody forgot to turn up his amp. You really have to perk your ears to hear him at all on many cuts. Overall, it sounds like somebody recorded this concert from outside the building on a portable cassette player, in a barrel. I did enjoy a listen to this based on the music and historical content but I just won't be able to repeat this cd to many times because of the sound quality.
(amazon.co.uk/Jack-Toad-Live-70-72/dp/B00004RGPD) Review by Timothy Barrow. 19 May 2001
Not quite sure why the guys across the pond give this such unflattering reviews; whilst it's fair to say the sound is a touch muddy and Kim Simmond's guitar is way too low in the mix, there is an energy and soul in this album that other bands can only dream of. It is very much the sound of a good bootleg, listenable but by no means perfect and therefore for fans only.
(amazon.co.uk/Jack-Toad-Live-70-72/dp/B00004RGPD) Review by Francesco. 24 April 2013

01. So Tired (04:35)
02. Let It Rock (05:48)
03. The Saddest Feeling (04:21)
04. Jack The Toad (06:51)
05. I Hate To See You Go (08:02)
06. Love Me Please (08:20)
07. Tell Mama (05:38)
08. Shake Rattle & Roll (07:43)
09. Hellbound Train (10:33)
10. All I Can Do (12:34)

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Raspberries - Fresh [Japan Ed.] (1972)

Year: November 13, 1972 (CD Oct 24, 2007)
Label: Capitol Records (Japan), TOCP-70207
Style: Power Pop, Pop Rock
Country: Cleveland, Ohio, U.S.
Time: 31:19
Format: Flac Tracks 16/44,1 kHz
Size: 225 Mb

Charts: US #36, AUS #31, CAN #19.
The Raspberries were an American pop rock band formed in 1970 from Cleveland, Ohio. They had a run of success in the early 1970s music scene with their pop rock sound, which AllMusic later described as featuring "exquisitely crafted melodies and achingly gorgeous harmonies." The members were known for their clean-cut public image and matching suits, which brought them teenybopper attention as well as scorn from some mainstream media outlets as "uncool". The group drew influence from the British Invasion era-especially the Beatles, the Who, the Hollies, and the Small Faces-and its mod sensibility. In both the US and the UK, the Raspberries helped pioneer the power pop music style that took off after the group disbanded. They also have had a following among professional musicians such as Jack Bruce, Ringo Starr, and Courtney Love.
The group's "classic" lineup consisted of Eric Carmen (vocals, guitars, bass, piano), Wally Bryson (guitars), Dave Smalley (guitars, bass) and Jim Bonfanti (drums). Their best known songs include "Go All the Way", "Let's Pretend", "I Wanna Be with You", "Tonight", and "Overnight Sensation (Hit Record)". Producer Jimmy Ienner was responsible for all four of the Raspberries' albums in the 1970s. The group disbanded in 1975 after a five-year run, and Eric Carmen proceeded to a successful career as a solo artist. Bryson and Smalley resurrected the group's name in 1999 for an album, which included singer/songwriter Scott McCarl as vocalist. In 2004, the original quartet reunited and undertook a well-received reunion tour in 2005.
(en.wikipedia.org/wiki/Raspberries_(band))

01. I Wanna Be with You (03:07)
02. Goin' Nowhere Tonight (02:06)
03. Let's Pretend (03:40)
04. Every Way I Can (02:47)
05. I Reach For the Light (03:53)
06. Nobody Knows (02:22)
07. It Seemed So Easy (03:55)
08. Might As Well (02:28)
09. If You Change Your Mind (03:56)
10. Drivin' Around (03:02)

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The Ace Of Cups - It's Bad for You But Buy It [Compilation 60's] (2003)

Year: 60's (CD 2003)
Label: Big Beat Records (UK), CDWIKD 236
Style: Blues Rock, Psychedelic Rock, Folk Rock, Garage Rock
Country: San Francisco, California, U.S.
Time: 73:36
Format: Flac Tracks 16/44,1 kHz
Size: 339 Mb

The Ace of Cups formed in San Francisco in 1967 and has been described as one of the first all-female rock bands. The members of the Ace of Cups were Mary Gannon (bass), Marla Hunt (organ, piano), Denise Kaufman (guitar, harmonica), Mary Ellen Simpson (lead guitar), and Diane Vitalich (drums). Making their mark in the burgeoning counterculture of the 1960's, they shared stages with Jimi Hendrix, Jefferson Airplane, and the Grateful Dead.
Marla, Denise, Mary Ellen, Diane and Mary found each other during the 60's as the San Francisco scene was just beginning. They were in the middle of it: Haight Ashbury and Waller St. where they played their first few notes, in Golden Gate Park's Panhandle where the Diggers fed those who were hungry , where artists made paintings, where jewelery was made from acorns, where children played ball with the smell of patchouli oil in the air, and where they opened for Jimi Hendrix. It was a creative time when you could choose to pursue anything that was new. This was a new beginning and people could be anything that they wanted. The music was the most important thing and the most fun.
The Cups played for the sake of the music, not for the possibility of stardom, although there were no other girl bands around during that time in San Francisco and the possibility was there. The Ace of Cups' name came from the Tarot card: 5 streams of water flowing from the hand of the Almighty and the 5 girls going with the flow to see where this music would take them. It took them to the Straight Theater on Haight St., the Avalon Ballrom, the Fillmore, where Bill Graham introduced their opening, the Carousel Ballroom, on the road with Jefferson Airplane to Vancover, Canada and to Winterland opening for The Band. In Chicago, where they opened for Muddy Waters and Michael Bloomfield, they went to the south side with renowned drummer Sam Lay where he had the Ace of Cups play at his club. Not bad for a girl group just wanting to write and play their songs!
(aceofcups.com/herstory)

01. Music (02:08)
02. Boy, What'll You Do Then (02:31)
03. Glue (04:38)
04. Taste of One (02:03)
05. Stones (04:46)
06. Looking for My Man (07:10)
07. Afro Blue (06:39)
08. Pretty Boy (03:44)
09. Waller Street Blues (04:46)
10. I Wanna Tesify (02:59)
11. Gospel Song (06:05)
12. Circles (05:00)
13. Catch You Later (03:56)
14. Simplicity (04:52)
15. Medley- Life in Your Hands-Thelina (07:30)
16. Hear Every Sound (04:43)

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The Rolling Stones - Exile On Main St. [Japan Ed. 2CD] (1972)

Year: 26 May 1972 (CD May 19, 2010)
Label: Polydor Records (Japan), UICY 1478/9
Style: Rock and Roll, Hard Rock
Country: London, England
Time: 67:16, 45:22
Format: Flac Tracks 16/44,1 kHz
Size: 482, 348 Mb

CD1: Exile On Main St. (album. 2LP on 1CD). CD2: bonus tracks.
Charts: UK #1, US #1, AUS #2, CAN #1, FRA #97, GER #2, JPN #7, NLD #1, NOR #1, SWE #1. UK, AUS & US: Platinum.
Exile on Main St. was originally met with mixed reviews before receiving strong reassessments by the end of the 1970s. It has since been recognized as a pivotal hard rock album, viewed by many critics as the Rolling Stones' best work and as one of the greatest albums of all time. Rolling Stone magazine ranked the album number 7 on its list of the "500 Greatest Albums of All Time" in 2003 and 2012, with it dropping to number 14 in the 2020 edition, consistently as the highest-ranked Rolling Stones album on the list. In 2012, the album was inducted into the Grammy Hall of Fame, the band's fourth album to be inducted. A remastered and expanded version of the album was released in 2010 featuring a bonus disc with 10 new tracks. Unusual for a re-release, it also charted highly at the time of its release, reaching number one in the UK and number two in the US.
(en.wikipedia.org/wiki/Exile_on_Main_St.)

01. Rocks Off (04:32)
02. Rip This Joint (02:23)
03. Shake Your Hips (02:59)
04. Casino Boogie (03:34)
05. Tumbling Dice (03:47)
06. Sweet Virginia (04:26)
07. Torn & Frayed (04:17)
08. Sweet Black Angel (02:57)
09. Loving Cup (04:25)
10. Happy (03:04)
11. Turd On The Run (02:38)
12. Ventilator Blues (03:24)
13. I Just Want To See His Face (02:53)
14. Let It Loose (05:18)
15. All Down The Line (03:50)
16. Stop Breaking Down (04:34)
17. Shine A Light (04:16)
18. Soul Survivor (03:48)

01. Pass the Wine (Sophia Loren) (04:54)
02. Plundered My Soul (03:58)
03. I'm Not Signifying (03:56)
04. Following the River (04:51)
05. Dancing in the Light (04:21)
06. So Divine (Aladdin Story) (04:32)
07. Loving Cup (05:26)
08. Soul Survivor (03:59)
09. Good Time Women (03:21)
10. Title 5 (01:49)
11. Unknown Track (04:09)

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ZZ Top - Rio Grande Mud (1972)

Year: April 4, 1972 (CD ????)
Label: Warner Bros. Records (Germany), 7599-27380-2
Style: Southern Rock, Pop Rock, Blues Rock
Country: Houston, Texas, U.S.
Time: 36:57
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

There are probably thousands of bands across the country like ZZ Top that remain provincial favorites because they rarely play anywhere further than a few hundred miles from home. So far, ZZ Top has confined major tours to its native Texas and neighboring states in the South and Southwest. This in part explains why few listeners outside these regions have heard or heard of ZZ Top, which is a shame, really, because its two records, First Album (London PS584) and Rio Grande Mud are solid works that deserve some attention.
ZZ Top is a blues-rooted powerhouse trio featuring guitarist Billy Gibbons, bass player Dusty Hill, and Frank Beard on drums. All are abnormally talented and resourceful performers, but I would hesitate to single out one member as a “leader” because each of their contributions, whether in composition, arrangement or performance, is vitally important. By nature of the group’s structure, guitarist Gibbons appears at the center of action most frequently. He sings most leads in a dark brown voice reminiscent of ex-Savoy Brown vocalist Chris Youlden and handles all instrumental solos by playing lead and slide guitar and harp. His partners take no extended breaks on either album.
ZZ Top sounds more like a British blues outfit than an American group. The band churns out sizzling electrical blues in a style not far removed from John Mayall’s original Bluesbreakers and early Fleetwood Mac. In Rio Grande Mud‘s lone instrumental, “Apologies to Pearly,” guitarist Gibbons quotes freely from Elmore James’ “Dust My Broom” and Freddie King’s “Stumble” in an arrangement that could easily fit onto A Hard Road. ZZ Top does not, however, limit its material to re-workings of previously recorded blues.
Nine of the record’s ten selections were written by various members of the band and five of those were co-authored with producer Bill Ham. As expected, ZZ Top emphasizes music over lyrics, which function principally as something to accompany instrumental arrangements. In “Just Got Paid,” for example, Gibbons slurs through two short verses in an anomalous Johnny Winter-ish voice to quickly reach the bridge where he cuts loose with a torrid slide guitar solo. Bassist Hill sings lead for “Chevrolet” and “Francene,” the band’s current single, and does a nice job at that. Other especially good tracks include “Ko Ko Blue,” “Bar-B-Q” and “Whiskey ‘n Mama”–spunky little rockers all.
With wider airplay and a little promotion, ZZ Top could, indeed, reach the top. Rio Grande Mud is a good album for people who enjoy uncompromising rock & roll at uncompromising volume. If the shoe fits, wear it.
(beatpatrol.wordpress.com/2008/11/06/zz-top-rio-grande-mud-1972/)

01. Francine (02:53)
02. Just Got Paid (03:48)
03. Mushmouth Shoutin (03:45)
04. Ko Ko Blue (04:23)
05. Chevrolet (03:19)
06. Apologies To Pearly (02:47)
07. Bar-B-Q (03:22)
08. Sure Got Cold After The Rain Fell (06:49)
09. Whiskey'n Mama (03:20)
10. Down Brownie (02:26)

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