The Butterfield Blues Band - East-West Live [Live] (1966)

Year: 1966 (CD 1996)
Label: Winner Records (US), WINNER 447
Style: Psychedelic Rock, Blues Rock, Instrumental
Country: Chicago, Illinois, U.S.
Time: 56:47
Format: Flac Tracks 16/44,1 kHz
Size: 222 Mb

Rock & roll prophets without honor, the Paul Butterfield Blues Band -- in its original incarnation with ace guitarist Mike Bloomfield -- made its greatest musical strides from 1965 to 1967, caught in the matrix of the Top 40 pop revolution and the quantum leap of psychedelia. But in that time, the mighty Butterfield lineup with Bloomfield and second guitarist Elvin Bishop laid the cornerstone for blues rock and then upped the ante by incorporating extended improvisation influenced by modal jazz and Indian classical music.
The best example of that vision and fiery virtuosity is the 1966 album "East-West"; on the 13-minute title track, the Butterfield band combined elements of John Coltrane, Ravi Shankar, the Yardbirds and the Byrds' "Eight Miles High" into an audacious, spiraling jam. Tales of the group's high-voltage live explorations of "East-West" have circulated for years; the three takes on "East-West Live," recorded onstage in clubland low-fi and collated by Butterfield keyboard player Mark Naftalin, confirm the legend. The performances -- one from early 1967 and two from 1966 -- bristle with the excitement of a band sailing headfirst into uncharted waters.
Bloomfield, who died in 1981, is the unquestioned star of the record. Lacing bluesy lines through Eastern-flavored permutations, he sets up a series of rough-hewed melodies that form a road map for the rest of the band, particularly the passionate blowing of Butterfield on harmonica. Bloomfield may not have played with the gutsy finesse of Eric Clapton or the sonic invention of Jimi Hendrix, but he was a bold musician with both facility and imagination.
The 1966 tapes mix the spark of discovery with the hesitancy of the new. By the time of the 1967 recording -- a 28-minute monster recorded just before Bloomfield quit the group to form the Electric Flag -- the Butterfield band had mastered the tune and its potential, adding new motifs in a suitelike form. You can hear the genesis of the jam aesthetic that stretches from the early Allman Brothers Band to Blues Traveler and beyond. One of the finest archival projects of the year, "East-West Live" fills in a crucial gap in the histories of a great American band, an underappreciated instrumentalist and even rock itself (RS748).
(bluespower.com/447rev.htm)

01. East-West Live Version 1 (12:41)
02. East-West Live Version 2 (15:59)
03. East-West Live Version 3 (28:06)

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Monks - Black Monk Time (1966)

Year: March 1966 (CD 2009)
Label: Light In The Attic (US), LITA 042
Style: Garage Rock, Psychedelic Rock
Country: U.S. / West Germany
Time: 47:15
Format: Flac Tracks 16/44,1 kHz
Size: 303 Mb

The Monks, referred to by the name monks on record sleeves, were an American rock band formed in Gelnhausen, West Germany, in 1964. Assembled by five American GIs stationed in the country, the group grew tired of the traditional format of rock, which motivated them to forge a highly experimental style characterized by an emphasis on rhythm over melody, augmented by the heavy use of distortion. The band's unconventional blend of shrill vocals, confrontational lyrics, feedback, and guitarist David Day's six-string banjo baffled audiences, but music historians have since identified the Monks as one of the most innovative rock bands of their time. The band's lyrics often voiced objection to the Vietnam War and social alienation, prefiguring the harsh and blunt social and political commentary of the punk rock movement. The band's appearance was considered as shocking as their music, as they attempted to mimic the look of Catholic monks by wearing black habits with cinctures symbolically tied around their necks, and hair worn in partially shaved tonsures.
In late 1964, while known as the Torquays, the band issued the self-financed single "There She Walks"; however, the release barely hinted at the music the group would record the following year. With the help of a German management team, they decided to change their name to the Monks and released the "Complication" single to coincide with the distribution of their one and only studio album, Black Monk Time, in May 1966 via Polydor Records. Though the album and additional singles issued throughout 1966 and 1967 achieved limited success at the time, they have since become highly regarded amongst music enthusiasts and commentators.
A few days after the release of the compilation album Five Upstart Americans in 1999, all five of the original band members held a reunion concert at the Cavestomp festival in New York City, followed by sporadic touring in the 2000s. The band has acquired a cult following as a result of the newfound interest in Black Monk Time and appearances on several compilations, most notably the 1998 expanded version of Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968. Punk rock bands and acts of other genres from the 1980s and 1990s, such as the Dead Kennedys, the Fall, and Beastie Boys, have credited the Monks as an influence on their music.
(en.wikipedia.org/wiki/The_Monks)
From the author of the release: a great band. Better than Pretty Things. Monks has a great sound engineer.

01. Monk Time (02:44)
02. Shut Up (03:14)
03. Boys Are Boys and Girls Are Choice (01:25)
04. Higgle-Dy - Piggle-Dy (02:28)
05. I Hate You (03:33)
06. Oh, How To Do Now (03:16)
07. Complication (02:22)
08. We Do Wie Du (02:11)
09. Drunken Maria (01:46)
10. Love Came Tumblin' Down (02:30)
11. Blast Off (02:14)
12. That's My Girl (02:25)
13. I Can't Get Over You (02:44)
14. Cuckoo (02:43)
15. Love Can Tame the Wild (02:38)
16. He Went Down To the Sea (03:01)
17. Pretty Suzanne (03:55)
18. Monk Chant (live) (01:59)

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The Yardbirds - Roger The Engineer (1966)

Year: 15 July 1966 (CD 1994)
Label: Edsel Records (UK), ED CD 116
Style: Psychedelic Rock, Rhythm and Blues
Country: London, England
Time: 36:41
Format: Flac Tracks 16/44,1 kHz
Size: 224 Mb

Roger the Engineer (originally released in the UK as Yardbirds and in the US, West Germany, France and Italy as Over Under Sideways Down) is the only UK studio album and the third US album by the English rock band the Yardbirds. Recorded and released in 1966, it contains all original material and is the only Yardbirds album with guitarist Jeff Beck on all tracks. It was produced by bassist Paul Samwell-Smith and manager Simon Napier-Bell.
Although the British edition is still officially titled Yardbirds by authoritative chart sources, such as Official Charts Company, it has since been referred to, first colloquially, then semi-officially, as Roger the Engineer, a title stemming from the cover drawing of the record's audio engineer Roger Cameron by band member Chris Dreja.
It is the only Yardbirds album to appear in the UK Albums Chart, where it reached number 20. In the US, it reached number 52 on the Billboard 200 album chart, making it the band's highest-charting studio album in the US. It reached number 8 in Finland. The album's best-known song, "Over Under Sideways Down", was released as a single in May 1966, two months before the album.
The album is included in Robert Dimery's 1001 Albums You Must Hear Before You Die. In 2012, the album was ranked number 350 on Rolling Stone's list of the 500 greatest albums of all time.
(en.wikipedia.org/wiki/Roger_the_Engineer)

01. Lost Women (03:17)
02. Over Under Sideways Down (02:24)
03. The Nazz Are Blue (03:04)
04. I Can't Make Your Way (02:26)
05. Rack My Mind (03:15)
06. Farewell (01:30)
07. Happenings 10 Years Time Ago (02:58)
08. Psycho Daisies (01:50)
09. Hot House Of Omagararshid (02:39)
10. Jeff's Boogie (02:25)
11. He's Always There (02:15)
12. Turn Into Earth (03:06)
13. What Do You Want (03:22)
14. Ever Since The World Began (02:03)

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Love - Da Capo (1966)

Year: November 1966 (CD 1988)
Label: Elektra Records (US), 74005-2
Style: Psychedelic Rock, Hard Rock, Jazz Rock, Garage Rock
Country: Los Angeles, California, U.S.
Time: 36:16
Format: Flac Tracks 16/44,1 kHz
Size: 210 Mb

The album was recorded during September and October 1966 at RCA Studios in Hollywood, California, with the exception of lead single "7 and 7 Is", recorded the previous June. The single was a departure for the band and became their highest charting, reaching No. 33 on the Billboard Hot 100. Despite the success of "7 and 7 Is", a string of well received live performances at the time and contemporary critical acclaim for the album upon its release, it peaked at No. 80 on the Billboard 200.
Prior to the album's recording, the band had grown dissatisfied with Elektra and attempted to leave the label but were placated with a cash advance and an increased royalty rate. The album marked several significant changes for the band, including a new studio (RCA), engineer (Dave Hassinger) and producer (Paul A. Rothchild). Additionally, there were several lineup changes in the band, with drummer Alban "Snoopy" Pfisterer moving to keyboards and Michael Stuart recruited to take his place on drums, as well as the addition of jazz saxophonist and flautist Tjay Cantrelli. The songs were composed by frontman Arthur Lee but "rewritten and rearranged in the studio", with the band members developing their own parts.
In contrast to the band's first album, Love (1966), which had been dominated by garage rock and folk rock, Da Capo features a wide range of musical styles, including psychedelia, baroque pop, jazz, Latin music and proto-punk. The album is also regarded as one of the first examples of "jazz rock", and Lee and guitarist Johnny Echols credited jazz musicians Miles Davis and John Coltrane as having influenced the sound. Some critics have considered Da Capo to be a stylistic bridge between Love and their acclaimed third studio album, Forever Changes (1967), regarding Lee's smoother vocal tone and more autobiographical lyrics on Da Capo to be a harbinger of his work on Forever Changes and later Love albums. The album's title derives from the Italian musical term "da capo", meaning "from the beginning".
Da Capo has been included in several critics' record guides and all-time lists, including John Tobler's 100 Great Albums of the Sixties (1994), Colin Larkin's All Time Top 1000 Albums (2000), Tom Moon's 1,000 Recordings to Hear Before You Die (2008) and Robert Dimery's 1001 Albums You Must Hear Before You Die (2005).
(en.wikipedia.org/wiki/Da_Capo_(Love_album))
Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Stephanie Knows Who (02:34)
02. Orange Skies (02:53)
03. iQue Vida (03:42)
04. Seven & Seven Is (02:19)
05. The Castle (03:03)
06. She Comes In Colors (02:45)
07. Revelation (18:56)

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Bob Dylan - Blonde On Blonde [Japanese Ed. 2LP on 1CD] (1966)

Year: June 20, 1966 (CD Mar 6, 2013)
Label: Sony Music (Japan), BSCD2
Style: Folk Rock, Blues Rock, Country Rock
Country: Duluth, Minnesota, U.S. (May 24, 1941)
Time: 73:00
Format: Flac Tracks 16/44,1 kHz
Size: 480 Mb

Charts: US #9, AUS #4, FRA #30, SPA #11, UK #3. UK: Platinum; US: 2x Platinum.
Blonde on Blonde is full of that "not around" chill - Dylan mixes up the Texas medicine and the railroad gin for a whole album of high-lonesome late-night dread, blues hallucinations and his bitchiest wit. Still only 24, writing songs and touring the world at a wired lunatic pace that would come crashing to a halt in a couple of months, Dylan was on a historic roll, dropping this double-vinyl epic just 14 months after going electric with Bringing It All Back Home in March 1965 and Highway 61 Revisited in August. He was moving too fast for anyone to keep up, and writing masterpieces faster than he could release them. Yet Blonde on Blonde still feels like it came out of nowhere, with a sound he never attempted again, and neither Dylan nor the rest of the world has ever quite figured out how it happened. As organist Al Kooper put it, "Nobody has ever captured the sound of 3 a.m. better than that album. Nobody, even Sinatra, gets it as good."
If you want to argue that Blonde on Blonde isn’t as perfect as Highway 61 Revisited or Bringing It All Back Home, you may have a point. It’s a wide-ranging double album with some lightweights on Side Three and one profoundly annoying novelty song - which happens to be the leadoff track and hit single. "Rainy Day Women #12 & 35," man - it’s like if the Beatles decided to begin Revolver with "Ob-La-Di, Ob-La-Da" or "Hello Goodbye." But it’s his greatest album anyway, creating a sustained 68-minute spell unlike any other listening experience in rock & roll. Hearing Blonde on Blonde puts you in the position of the night watchman who clicks his flashlight at all the losers and freaks and neon madmen and wonders if it’s him or them that’s insane. In these songs, it’s probably both.
(rollingstone.com/music/music-news/blonde-on-blonde-at-50-celebrating-bob-dylans-greatest-masterpiece-158223/)

01. Rainy Day Women 12 - 35 (04:36)
02. Pledging My Time (03:50)
03. Visions Of Johanna (07:33)
04. One Of Us Must Know (Sooner Or Later) (04:54)
05. I Want You (03:07)
06. Stuck Inside Of Mobile With The Memphis Blues Again (07:05)
07. Leopard-Skin Pill-Box Hat (03:58)
08. Just Like A Woman (04:52)
09. Most Likely You Go Your Way And I'll Go Mine (03:30)
10. Temporary Like Achilles (05:02)
11. Absolutely Sweet Marie (04:57)
12. 4Th Time Around (04:35)
13. Obviously 5 Believers (03:35)
14. Sad Eyed Lady Of The Lowlands (11:20)

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The Beatles - Revolver [Japanese Ed.] (1966)

Year: 5 August 1966 (CD 11 Mar 1998)
Label: Toshiba-EMI Ltd. (Japan), TOCP-51117
Style: Rock, Pop, Psychedelic Rock
Country: Liverpool, England
Time: 34:59
Format: Flac Tracks 16/44,1 kHz
Size: 213 Mb

Charts: UK #1, AUS #1, FRA #5, GER #1, NOR #14. Brazil & Italy: Gold; AUS & NZ: Platinum; UK & CAN: 2x Platinum; US: 5x Platinum.
Beatles biographer Nicholas Schaffner cites 1966 as the start of the band's "psychedelic period", as do musicologists Russell Reising and Jim LeBlanc. Schaffner adds: "That adjective [psychedelic] implies not only the influence of certain mind-altering chemicals, but also the freewheeling spectrum of wide-ranging colors that their new music seemed to evoke." Music journalist Carol Clerk describes Revolver as having been "decisively informed by acid", following John Lennon and George Harrison's continued use of the drug LSD since the spring of 1965. Through these experiences, the two musicians developed a fascination for Eastern philosophical concepts, particularly regarding the illusory nature of human existence. Despite his bandmates' urging, after Ringo Starr had also partaken of the drug, Paul McCartney refused to try LSD. Intent on self-improvement, McCartney drew inspiration from the intellectual stimulation he experienced among London's arts scene, particularly its thriving avant-garde community. With Barry Miles as his guide, he became immersed in the nascent British counterculture movement, which soon emerged as the underground.
While arranging dates for the band's world tour, Epstein agreed to a proposal by journalist Maureen Cleave for the Beatles to be interviewed separately for a series of articles that would explore each of the band members' personality and lifestyle beyond his identity as a Beatle. The articles were published in weekly instalments in London's Evening Standard newspaper throughout March 1966, and reflected the transformation that was underway during the group's months of inactivity. Of the two principal songwriters, Cleave found Lennon to be intuitive, lazy and dissatisfied with fame and his surroundings in the Surrey countryside, while McCartney conveyed confidence and a hunger for knowledge and new creative possibilities. In his book Revolver: How the Beatles Reimagined Rock 'n' Roll, Robert Rodriguez writes that, whereas Lennon had been the Beatles' dominant creative force before Revolver, McCartney now attained an approximately equal position with him. In a further development, Harrison's interest in the music and culture of India, and his study of the Indian sitar, had inspired him as a composer. According to author Ian Inglis, Revolver is widely viewed as "the album on which Harrison came of age as a songwriter".
(en.wikipedia.org/wiki/Revolver_(Beatles_album))

01. Taxman (02:39)
02. Eleanor Rigby (02:07)
03. I'm Only Sleeping (03:01)
04. Love You To (03:01)
05. Here, There and Everywhere (02:25)
06. Yellow Submarine (02:40)
07. She Said She Said (02:37)
08. Good Day Sunshine (02:09)
09. And Your Bird Can Sing (02:01)
10. For No One (02:01)
11. Doctor Robert (02:15)
12. I Want To Tell You (02:29)
13. Got To Get You Into My Life (02:30)
14. Tomorrow Never Knows (02:57)

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Cream - Fresh Cream [24kt Gold] (1966)

Year: 9 December 1966 (UK) January 1967 (US) (CD 1996)
Label: DCC Compact Classics (US), GZS 1022
Style: Psychedelic Rock, Blues Rock, Hard Rock
Country: London, England
Time: 46:35
Format: Flac Tracks 16/44,1 kHz
Size: 284 Mb

Charts: UK #6, AUS #10, FRA #20, FIN #4, US #39. AUS, UK & US: Gold.
Almost as soon as Cream were formed in July 1966, they entered Rayrik Studios at Chalk Farm, London, to begin work on their debut single and album with Robert Stigwood producing and John Timperley as engineer. Clapton later noted that the budget was minuscule, working with four track machines and basically running each song a few times through until they got a satisfactory take, with minimal overdubbing afterward. The first sessions at Rayrik on August 3 produced the outtakes "Coffee Song", "You Make Me Feel" and "Beauty Queen", followed later in the month by the group's debut single "Wrapping Paper", a music hall influenced piece designed to showcase the group's stylistic versatility, but which was received with puzzlement upon its October release by fans expecting a blues-oriented sound.
After the band moved to Ryemuse Studios (now known as Mayfair), the bulk of the album was recorded between September and November, neatly divided between old blues covers ("Spoonful", "Cat's Squirrel", "Rollin' And Tumblin'", "I'm So Glad", "Four Until Late") and original material penned by bassist Jack Bruce, with two contributions by Ginger Baker ("Sweet Wine" and his groundbreaking extended drum solo "Toad") and two by Bruce's first wife Janet Godfrey, who co-wrote "Sleepy Time Time" with Jack and "Sweet Wine" with Ginger. A session in September also produced the single "I Feel Free" (included on the US version of the album), the first product of the songwriting team of Jack Bruce and bohemian poet Pete Brown which proved a more typical representation of their sound than "Wrapping Paper"; released on the same day as the album, it climbed to No. 11 in the UK charts.
Bruce later said that the opening song "N.S.U." was written for the band's first rehearsal. "It was like an early punk song... the title meant "non-specific urethritis. It didn't mean an NSU Quickly – which was one of those little 1960s mopeds. I used to say it was about a member of the band who had this venereal disease. I can't tell you which one... except he played guitar." The mellow pop of "Dreaming" showcased Bruce's ghostly falsetto vocal style, which was also used on "I Feel Free" and would become more prominent on later releases. Clapton's lengthy, swirling solos on "Sweet Wine" and "Spoonful" pointed toward psychedelia and heavy metal, with Clapton employing much echo, fuzz and feedback, which had been directly inspired by his first meeting with Jimi Hendrix on October 1. Overall, the group's fusion of blues with hard rock and improvisational jazz on this record proved seminal on the development of rock music from that point forward.
(en.wikipedia.org/wiki/Fresh_Cream)

01. I Feel Free (Bruce-Brown) (02:56)
02. N.S.U. (Jack Bruce) (02:45)
03. Sleepy Time Time (Bruce-Godfrey) (04:22)
04. Dreaming (Jack Bruce) (02:02)
05. Sweet Wine (Baker-Godfrey) (03:19)
06. Cat's Squirrel (Traditional, Arr. by S. Splurge) (03:09)
07. Four Until Late (Robert Johnson, Arr. by Eric Clapton) (02:10)
08. Rollin' And Tumblin' (McKinley Morganfield aka Muddy Waters) (04:44)
09. I'm So Glad (Skip James) mixed to mono only (04:01)
10. Toad (Ginger Baker) (05:16)
11. Spoonful (Willie Dixon) (bonus track) (06:33)
12. Wrapping Paper (Bruce-Brown) (bonus track) (02:26)
13. The Coffee Song (Colton-Smith) (bonus track) (02:45)

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Chuck Berry - Berry Is On Top (1959) & St. Louis To Liverpool (1964) [MFSL-CD. 2LP on 1CD]

Year: July 1959, November 1964 (CD May 21, 2008)
Label: Mobile Fidelity Sound Lab (US), UDCD 776
Style: Rock and Roll
Country: St. Louis, Missouri, U.S. (October 18, 1926 - March 18, 2017)
Time: 71:27
Format: Flac Tracks 16/44,1 kHz
Size: 338 Mb

Berry Is on Top is the third studio album by rock and roll artist Chuck Berry, released in July 1959 on Chess Records, catalogue LP 1435. With the exception of one track, "Blues for Hawaiians", all selections had been previously released on 45 rpm singles, several of which were double-sided and charted twice. In his review of the album for AllMusic, Cub Koda described it as "almost a mini-greatest-hits package in and of itself" and the most perfectly realized collection of Berry's career. In 2008, Mobile Fidelity Sound Lab reissued the album with St. Louis to Liverpool on an Ultradisc II Gold compact disc. In 2012, Hoodoo reissued the album with One Dozen Berrys on the same CD.
St. Louis to Liverpool is the seventh studio album by the American musician Chuck Berry. Released in 1964 by Chess Records. It peaked at number 124 on the US Billboard album chart, the first of Berry's studio albums to appear on the chart. Music critic Dave Marsh called St. Louis to Liverpool "one of the greatest rock & roll records ever made".
(en.wikipedia.org/wiki/Chuck_Berry_discography)

01. Almost Grown (02:23)
02. Carol (02:50)
03. Maybellene (02:23)
04. Sweet Little Rock & Roller (02:24)
05. Anthony Boy (01:58)
06. Johnny B. Goode (02:41)
07. Little Queenie (02:44)
08. Jo Jo Gunne (02:48)
09. Roll Over Beethoven (02:25)
10. Around And Around (02:44)
11. Hey Pedro (01:59)
12. Blues For Hawaiians (03:27)
13. Little Marie (02:39)
14. Our Little Renezvous (02:03)
15. No Particular Place To Go (02:46)
16. You Two (02:13)
17. Promised Land (02:26)
18. You Never Can Tell (02:44)
19. Go Bobby Soxer (03:02)
20. The Things I Used To Do (02:46)
21. Liverpool Drive (02:58)
22. Night Beat (02:48)
23. Merry Christmas Baby (03:03)
24. Brenda Lee (02:19)
25. Fraulein (02:56)
26. O'Rangutang (03:05)
27. The Little Girl From Central (02:41)

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Pink Floyd - Obscured By Clouds [Japan Ed. 2nd press] (1972)

Year: 2 June 1972 (CD Apr 6, 1987)
Label: Toshiba-EMI Ltd. Records (Japan), CP32-5275
Style: Progressive Rock, Soundtrack
Country: London, England
Time: 40:27
Format: Flac Tracks 16/44,1 kHz
Size: 212 Mb

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

Charts: UK #6, AUS #44, CAN #32, FRA #1, GER #19, NL #3, US #46. UK & US: Gold.
By 1972, Pink Floyd had recorded the soundtracks to the films The Committee (1968) and More (1969), and part of Zabriskie Point (1970). On the back of More's success, its director, Barbet Schroeder, asked them to record the soundtrack to his next major project. The new film, La Vallee, features two travellers on a spiritual quest in New Guinea, and Schroeder thought Pink Floyd would be suitable to provide the music. The group had already started working on another album, The Dark Side of the Moon, including some basic recording and live performances, but took two breaks to Strawberry Studios, Chateau d'Herouville, France, just before and after doing a Japanese tour, to write and record music for the film. The album was mixed from 4–6 April at Morgan Sound Studios in London.
As they had done on More, the band saw a rough cut of the film and noted certain timings for cues with a stopwatch. From this, they created a number of pieces that they felt could be cross-faded at various points in the final cut of the film. They were not worried about creating complete songs, feeling that any musical piece would be workable without the need for any solos, but nevertheless, under pressure to produce enough material, they managed to create a series of well-structured songs. Drummer Nick Mason recalls that the sessions were very hurried, and the band spent most of the time in Paris locked away in the studio.
During the first recording session in February 1972, the French television station ORTF filmed a short segment of the band recording the album, including interviews with bassist Roger Waters and guitarist David Gilmour. In a snippet of interview footage at Abbey Road Studios that appeared in the 1974 theatrical version (later released on VHS and Laserdisc and subsequent "Director's Cut" DVD) of Pink Floyd: Live at Pompeii, Waters said that early UK pressings of the album contained excessive sibilance.
After recording had finished, the band fell out with the film company, prompting them to release the soundtrack album as Obscured by Clouds, rather than La Vallee. In response, the film was retitled La Vallee (Obscured by Clouds) on its release.
(en.wikipedia.org/wiki/Obscured_by_Clouds)

01. Obscured By Clouds (03:04)
02. When You're In (02:27)
03. Burning Bridges (03:29)
04. The Gold It's In The... (03:07)
05. Wot's... Uh The Deal (05:09)
06. Mudmen (04:20)
07. Childhood's End (04:34)
08. Free Four (04:15)
09. Stay (04:06)
10. Absolutely Curtains (05:52)

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Pink Floyd - Meddle [Japan Ed. 1st press] (1971)

Year: 5 November 1971 (CD Sep 21, 1985)
Label: Toshiba-EMI Ltd. (Japan), CP32-5032
Style: Psychedelic Rock, Progressive Rock
Country: London, England
Time: 46:51
Format: Flac Tracks 16/44,1 kHz
Size: 208 Mb

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

Charts: UK #3, AUS #24, AUT #69, CAN #51, FRA #7, GER #11, NL #2, SWI #76, US #70.
Works such as More, Ummagumma, and Atom Heart Mother may have a dedicated cult following nowadays, but the original reviews for the albums weren't of the highest regard. It took Gilmour and Waters quite a bit of experimenting before finally finding a group identity that worked...and Meddle may be the perfect representation of the band finding said identity.
The story behind the album is enough to appreciate the gradual progression of thoughts and ideas to a full-fledged work of art. Going into Meddle, the band had absolutely no clear idea regarding the album's direction. This creative obstacle devised the band to experiment with different sounds and time signatures which would eventually inspire the creation of "Echoes". Without a clear direction for the album, Meddle became what is known today as the most "group orientated" piece that Pink Floyd has released. Although the lyrics were primarily written by Roger Waters, the other band members collectively contributed to the process of song writing as well as overall music composition. Many argue that without Meddle, the creative process behind Pink Floyd's madness may have been completely different.
The album itself is just insane. Each song gradually flows into the next, and the attention to detail is very prevelant. Each song is its own unique experience; however, add the songs together, and you probably have the group's most uniform and cohesive album to date besides The Dark Side Of The Moon. I think it's also important to point out how much of a transition this band went through when they released this album. I'm a pretty big fan of Pink Floyd's earlier albums, but it's safe to say that this album sounds like an ENTIRELY different band. Although their previous works before this album were psychedelic inspired, Pink Floyd had this much rawer sound/tone to their works. A Saucerful Of Secrets has similar elements to Meddle but the overall sound quality and tones of the instruments/vocals are leaps and bounds better on the latter album.The attention to detail and sound quality can really be noticed in songs like "One Of These Days" and "Fearless". You can just see how much they've grown as musicians, lyricists, and human beings through Meddle. However, songs like "San Tropez" and "Seamus" may be fun, light-hearted jams...but they seem more like filler songs that lead up to the great, big "Echoes" finale.
In the end, Meddle rocks from start to finish. The band takes it's biggest leap forward with this album, and the group effort behind the composition is prevelant throughout. It may not be as masterful as Wish You Were Here, The Dark Side Of The Moon, or even The Division Bell...but this may be Pink Floyd's most important album in their discography.
(reddit.com/r/LetsTalkMusic/comments/u85hm5/lets_talk_about_meddle_by_pink_floyd/)

01. One Of These Days (05:57)
02. A Pillow Of Winds (05:11)
03. Fearless (06:09)
04. San Tropez (03:44)
05. Seamus (02:16)
06. Echoes (23:32)

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Queen - Queen II [Japan Ed.] (1974)

Year: 8 March 1974 (CD Apr 22, 1987)
Label: Toshiba-EMI Ltd. (Japan), CP32-5377
Style: Glam Rock, Pop Rock
Country: London, England
Time: 40:36
Format: Flac Tracks 16/44,1 kHz
Size: 234 Mb

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

Charts: UK #5, AUS #79, JPN #26, NOR #19, US #49. UK: Gold.
Artists including Axl Rose and Steve Vai have cited the album as an influence on their own work. And Brian May once told Classic Rock Magazine that it was his favourite album for a long time too, only superseded by Made In Heaven decades later. So the band themselves are very fond of it. They certainly prefer it to their first LP, which they were never fully happy with.
And it’s easy to see (or indeed hear) why Queen II gets so much love, because this is where things really start to get interesting, with its intricately arranged, artistically multilayered and beautifully harmonic compositions in a mixture of styles. It’s essential to listen to the album with headphones to fully appreciate how much work and perfectionism went into it. And they had more of a structure to the album this time, with a White side containing more emotional songs (4 written by Brian and 1 by Roger), and a Black side presenting songs in more of a fantasy vein (all written by Freddie).
Queen were ready to experiment, explore and be excessive. They were keen to push the boundaries and the technology, even wearing the oxide layers off the tapes as they added more and more musical layers to get a grand orchestral effect. And they were determined not to be bossed around or fit in with any expected norms. Yet remarkably they completed the recording within a month. Check out this clip from the Days Of Our Lives documentary for an insight into how it came together.
This was their moment. They needed to stand out from the crowd if they were to have any chance of success. And they did. The album reached number 5 in the UK, staying in the charts for 29 weeks and achieving Gold status, a significant improvement over their debut. Their dominance of overseas markets was still yet to come, but they were already doing a bit better there too, peaking at number 49 in America.
So here’s my review of each of the tracks, including a look at alternate versions, live performances, covers and more that I’m aware of, as explained in my previous post. And as I’ve said before, I’m not a music expert, just a very keen fan, and I’m sure there will be other Queen fans who disagree with some of my opinions, which is fine. Ultimately, this is all just for fun. So I hope you enjoy!
A black drawing of the Queen crest on a white background, below the album's title Queen 2. The crest has a large phoenix with outstretched wings looking over a large letter Q. A royal crown sits inside the Q, on the bottom, while a small crab sits on top of the Q. 2 lions and 2 fairies complete the picture, 1 of each sitting on each side of the Q and facing towards it.
(welleyenever.com/2020/08/15/queen-album-review-queen-ii/)

01. Procession (01:12)
02. Father To Son (06:12)
03. White Queen (As It Began) (04:34)
04. Some Day One Day (04:21)
05. The Loser In The End (04:01)
06. Ogre Battle (04:07)
07. The Fairy Feller's Master-Stroke (02:39)
08. Nevermore (01:17)
09. The March Of The Black Queen (06:03)
10. Funny How Love Is (03:15)
11. Seven Seas Of Rhye (02:49)

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Queen - Queen [Japan Ed.] (1973)

Year: 13 July 1973 (CD Apr 22, 1987)
Label: Toshiba-EMI Ltd. (Japan), CP32-5376
Style: Glam Rock, Pop Rock
Country: London, England
Time: 38:49
Format: Flac Tracks 16/44,1 kHz
Size: 242 Mb

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

Charts: UK #24, AUS #77, AUT #14, GER #6, JPN #34, NLD #14, US #83. UK & US: Gold.

What can we hear?
It’s an incredibly rock-oriented album, which is why we like it so much. Listening to Freddie Mercury with these arrangements is a real delight because he handles it wonderfully. Although Queen was always known as a rock band, their debut album tackles the genre from a more hard-hitting standpoint, with guitar riffs evoking a much heavier sound. However, what’s musically enriching about this is how they combine it with their unique style, largely thanks to Freddie’s voice and Brian’s guitars.
In “Queen,” we hear a band that managed to ground its signature sound from the start. That ‘theatrical opera’ vocal style in “Liar,” Brian May’s characteristic guitar harmonies in “Great King Rat,” John Deacon‘s ever-present bass lines in all the songs, and lastly, Roger Taylor’s finely crafted drums, there’s even a solo in “Keep Yourself Alive.” All of this, combined with Freddie Mercury’s incredible voice and his ever-present piano, makes them a rock band with this series of distinguishing features that had never been heard before.
We hear Queen with a cohesive sound, and although Freddie Mercury deserves much credit for his obvious virtuosity, this sound wouldn’t have been possible without the help of the other band members (something he himself expressed on numerous occasions).

One of Queen's Best Works.
Each song has a special essence, taking you through marked rock paths. One of our favorites is ‘Doing Alright,’ as it presents two sides of the coin passages with Freddie Mercury on the piano contrasting with the madness of fast rhythms, distortions, and Brian May’s guitar solos delivering an energizing hard rock vibe.
It’s commendable how an emerging band dared so much. The album delves into many ‘theatrical’ touches that were risky at the time. That’s why, back then, the genre was termed ‘Rock Opera,’ even though its meaning evolved over the years.
What to say about Freddie Mercury? On this album, we practically hear a debut filled with glory a young musician showcasing all his virtuosity. Perfect pitch, vocal arrangements that not every musician could conceive, and even lyrics that are incredibly imaginative. A one of a kind guy who seems to have recorded dozens of albums before this.
In the second part, the work delves into experimentation, making it even more daring. We hear this in “The Night Comes Down,” with an intro and outro very out of the ordinary, discreetly echoing some influences from Progressive Rock. Following this song, we have a great contrast with ‘Modern Times Rock N’ Roll,’ clearly influenced by Heavy Metal, sung by Roger Taylor. It’s always appreciated to have songs where other band members sing, making the listening experience more diverse.


One of the Best Debut Albums in Rock.
Despite focusing on rock, listening to this self-titled album is very dynamic. Despite its limited instrumentation, the band maximizes each of its working tools. The songs are very different from each other, the melodies are very special, quite uncommon for the time. The instrumental bridges are energetic. Listening carefully to this work for the first time is a guarantee that it will surprise you.
The album finally ends on a high note with “Seven Seas Of Rhye,” an instrumental piece that emphasizes that this work has EVERYTHING, audibly. This song is fully explored in their next album, which seems highly strategic, a subliminal message that there will be more music in the future.
Definitely one of our favorite works, representing Queen very well, an elite start.
(therockreview.net/queen-queen-eng/)

01. Keep Yourself Alive (03:47)
02. Doing All Right (04:09)
03. Great King Rat (05:42)
04. My Fairy King (04:08)
05. Liar (06:25)
06. The Night Comes Down (04:23)
07. Modern Times Rock'n' Roll (01:48)
08. Son & Daughter (03:23)
09. Jesus (03:44)
10. Seven Seas of Rhye (01:15)

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Procol Harum - A Salty Dog [Japan Ed. MFSL-CD] (1969)

Year: April 1969 (US), June 1969 (UK) (CD Jun 1985)
Label: Sanyo (Japan), MFCD 823
Style: Progressive Rock, Art Rock
Country: Southend-on-Sea, Essex, England
Time: 40:51
Format: Flac Tracks 16/44,1 kHz
Size: 204 Mb

Charts: UK #27, CAN #25, NL #8, NOR #19, US #32.
A Salty Dog has an ostensibly nautical theme, as indicated by its cover (a pastiche of the famous Player's Navy Cut cigarette pack). Interspersed with straight rock, blues and pop items, A Salty Dog showed a slight change of direction from its predecessors, being thematically less obscure. The title track itself was the first Procol track to use an orchestra, as would be referred to in the live album performance released some three years later.
The album was the first record produced by Matthew Fisher, who quit the band soon after its release. This was also the last Procol Harum album to feature bass guitarist Dave Knights.
A Salty Dog was recorded in March 1969. The musical tensions between Robin Trower and the rest of the group were beginning to show in this album, and although his guitar sound remains integral to most of the tracks, "Crucifiction Lane" (featuring a rare Trower vocal), in retrospect, shows that Trower was already moving in a different direction from the rest of the band. Still, this album is much more musically varied than the two previous albums, with three Fisher vocals and one by Trower. Many of the instruments the band used on A Salty Dog had been previously used on albums by the Beatles and the Shadows.
When Gary Brooker first performed "A Salty Dog" on piano with Keith Reid's lyrics for drummer B. J. Wilson, the room was filled with sunlight shining through the windows. Wilson, with a sunbeam on his face, told Brooker he thought "it was the most beautiful song he had ever heard." The piano intro riff of the title track is inspired by a train whistle that Brooker heard in Switzerland.
(en.wikipedia.org/wiki/A_Salty_Dog)

01. A Salty Dog (04:40)
02. The Milk of Human Kindness (03:47)
03. Too Much Between Us (03:45)
04. The Devil Came From Kansas (04:38)
05. Boredom (04:36)
06. Juicy John Pink (02:08)
07. Wreck of the Hesperus (03:48)
08. All This and More (03:53)
09. Crucifiction Lane (05:04)
10. Pilgrims Progress (04:31)

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Dave Sinclair (ex Caravan) - Out Of Sinc [Japan Ed.] (2018)

Year: 2018 (CD 2018)
Label: DSINCS Music (Japan), DSINCS CD8
Style: Progressive Rock, Pop Rock
Country: Herne Bay, Kent, England (November 24, 1947)
Time: 61:28
Format: Flac Tracks 16/44,1 kHz
Size: 392 Mb

Dave Sinclair ex. Matching Mole (1971-72), Hatfield and the North (1972-73), Polite Force (1976-77), Camel (1978-1979), Caravan.
The former Caravan keyboard tinkler is far from Canterbury these days - he lives in Japan - and pops out a solo album every four or five years. He was sacked from Caravan some time back over musical differences but, quite frankly, his solo material is so similar to what his old bandmate Pye Hastings produces these days you’d be hard-pushed to slip a thinly-sliced piece of sushi in the gap between them.
Out Of Sinc is a collection of pleasant but mostly unremarkable ballads - melodic and well produced but relying upon some hoary old musical and lyrical cliches. Too many clouds in the sky, hearts feeling free and reaching for the stars - lines that really shouldn’t come from the pen of a grown man.
Wisely, Sinclair gives most of the lead vocals to a very tuneful young lady called Yammy as his voice is a bit thin and undistinguished, and he is supported by a large cast of musicians including old bandmates Pye, Doug Boyle and Geoff Richardson.
There are one or two interesting moments. If I Run thunders along quite nicely thanks to some busy drumming from Jim Bashford (appropriate name there), fluid guitar solos from Takuya Yada and an appealing instrumental section featuring Tony Coe’s clarinet. Sadly, however, there is some unfortunate use of a Vocoder on Sinclair’s voice - the only way to properly utilise a Vocoder is to take it into the garden and demolish it with a sledgehammer.
The simple but winsome Island Of Dreams has an honest, waltz-time charm about it and Home Again manages to remain interesting throughout its 18 minutes. But anyone expecting Nine Feet Underground, Pt2 will be bitterly disappointed - it stays firmly in piano ballad territory, lifted by some welcome guitar work from Camel’s Andy Latimer.
The rest is really too mellow, predictable and unimaginative for my tastes and suggests Sinclair is resting a little too comfortably on his laurels. Perhaps this is the work of someone who wants to take things easy these days - he suffers an irregular heartbeat that two operations have failed to correct. So he is out of sync. See what he did there?
Respect to Dave for continuing to make music after 50 years in the business. But Out Of Sinc shows he’s musically, as well as geographically, far from Canterbury.
(theprogressiveaspect.net/blog/2018/07/09/dave-sinclair-out-of-sinc/) Review by Kevan Furbank. 9 July 2018

01. Blue Eyes (06:44)
02. Back With You (05:21)
03. If I Run (06:36)
04. On My own (04:49)
05. Home Again (17:54)
06. Crazie Blue (05:18)
07. Island Of Dreams (03:42)
08. Out World (05:14)
09. Rings Around The Moon (05:48)

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Matching Mole (Robert Wyatt) - March [Live] (1972)

Year: Recorded Spring 1972 (CD 2002)
Label: ???? Records (Russia, Unofficial Release), RUNE 172
Style: Canterbury Scene, Jazz Rock, Instrumental
Country: Canterbury, England
Time: 47:39
Format: Flac Tracks 16/44,1 kHz
Size: 323 Mb

Matching Mole was the band that drummer/vocalist Robert Wyatt formed after he left the pioneering UK outfit Soft Machine in July, 1971. Soft Machine had been hugely popular in France, and Wyatt named his new band after a play on the French translation of Soft Machine: machine molle. Over the course of its brief, one- year existence, Matching Mole developed a characteristic sound, a unique take on fusion, with interesting structures that encouraged individualistic expression through solos. Its legacy included two studio albums, over fifty concerts in Britain and continental Europe, and a number of TV and radio broadcasts.
Matching Mole's first, self- titled album was released in early 1972. Wyatt originally began it as a solo album in 1971, but midway through the recording broadened its scope. Matching Mole as released featured the band's first quartet line-up - Wyatt and guitarist Phil Miller (Delivery, Hatfield & The North, National Health), organist Dave Sinclair (Caravan), and bassist Bill MacCormick (Phil Manzanera's 801) - as well as a guest, electric pianist, Dave McRae (Mike Westbrook). The group supported the album with shows at home and a European tour. Not long after, Sinclair left the band and McRae joined full time.
The quartet of Wyatt, Miller, MacCormick and McRae proved to be Matching Mole's most experimental as well as most active lineup, performing numerous concerts throughout Europe. The band recorded a second album, Little Red Record, which was produced by Robert Fripp of King Crimson and released in 1972. Shortly after the album's release, Wyatt decided he did not want the responsibilities of band leader and dismantled his band.
In 2001, Cuneiform Records released Smoke Signals, containing previously unreleased live recordings. The material was selected from several different performances and arranged on the CD to replicate a typical Matching Mole concert. The band was so pleased with the way this record came out that when one of the members chanced upon a forgotten live concert from the same period, Cuneiform was contacted and arrangements were made to release this new Matching Mole CD, entitled March.
Like Smoke Signals, Matching Mole's second live album was recorded during the band's most intensive gigging period, the spring of 1972. On the CD, Bill MacCormick, Dave MacRae, Phil Miller and Robert Wyatt, the band's most adventurous line-up, give free-spirited renditions of songs from the ouevre of Matching Mole and some Canterbury friends. The songs include four drawn from Little Red Record as well as two works from the band's first album and a surprising version of Caravan’s "Waterloo Lily". The live recording was remastered and edited by writer Michael King, who compiled the prior live Matching Mole CD and wrote a biography of Wyatt, Wrong Movements (1994, SAF Publishing). Like Smoke Signals, March features cover art (including sculpted/modeled matching /marching moles) by Tom Recchion, an artist, musician, and former Warner Bros, designer based in California.
The two live Matching Mole albums released by Cuneiform double the recorded output of that important Canterbury band. The live recordings illustrate that the band's concert renditions of recorded songs differed dramatically from the heavily overdubbed versions on its studio discs, and thus reveal the integral role that jazz and improvisation played in Matching Mole's work, in theory/aethetic as well as practice/performance. March is sure to prove to be a revelation for both long time fans of and newcomers to the Canterbury school of progressive music and the work of Robert Wyatt.
(disco-robertwyatt.com/images/matching_mole/images/march_big2.jpg)

01. March (04:49)
02. Instant Pussy (04:53)
03. Smoke Signals (06:20)
04. Part Of The Dance (09:54)
05. No Alf Measures (05:44)
06. Lything And Gracing (11:36)
07. Waterloo Lily (04:21)

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National Health - National Health (1978)

Year: February 1978 (CD 2009)
Label: Esoteric Recordings (UK), ECLEC2129
Style: Progressive Rock, Canterbury Scene, Instrumental
Country: Canterbury, England
Time: 49:50
Format: Flac Tracks 16/44,1 kHz
Size: 280 Mb

National Health is the first album recorded by the progressive rock and jazz fusion group National Health, one of the last representatives of the artistically prolific Canterbury scene.
In a retrospective review, All About Jazz wrote that "revisiting the disc over 30 years later reveals a strength in composition, improvisation and orchestration/arrangement that makes it another high point in the careers of everyone involved." In his History of Progressive Rock, Paul Stump said that National Health "retains an askew charm, dominated by a wheezy, rough-and-reedy sound at odds with the amniotic sybaritism of most Progressive production jobs at the time." He opined that despite the album having been criticized for "excessive compositional rigour", the elaborate and inventive compositions actually enabled the soloists to be more adventurous. The Billboard Guide to Progressive Music called the album "easily the best of (National Health's) three releases."
(en.wikipedia.org/wiki/National_Health_(album))

01. Thermos Roads (14:32)
02. Brujo (10:14)
03. Borogoves (Excerpt From Part 2) (04:13)
04. Borogoves (Part 1) (06:30)
05. Elephants (14:20)

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Steve Winwood (ex Traffic) - Steve Winwood [MFSL-CD. 24kt Gold] (1977)

Year: June 1977 (CD February 1997)
Label: Mobile Fidelity Sound Lab (US), UDCD 691
Style: Funk Rock, Pop Rock
Country: Birmingham, England (12 May 1948)
Time: 37:36
Format: Flac Tracks 16/44,1 kHz
Size: 222 Mb

Charts: UK #12, AUS #78, JPN #95, US #22.
Steve Winwood is the debut solo studio album by blue-eyed soulster Steve Winwood. It was released in 1977, three years after the break-up of his former band, Traffic. Though the album sold moderately well in the US, it was a commercial disappointment compared to Traffic's recent albums, peaking at number 22 on the Billboard albums chart. In the UK, where Traffic's recent albums had only been moderately successful, Steve Winwood reached number 12 on The Official Charts. Island Records released two singles from the album, "Hold On" and "Time Is Running Out", both of which failed to chart.
(en.wikipedia.org/wiki/Steve_Winwood_(album))

01. Hold On (04:35)
02. Time Is Running Out (06:34)
03. Midland Maniac (08:34)
04. Vacant Chair (06:56)
05. Luck's In (05:23)
06. Let Me Make Something in Your Life (05:33)

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Savoy Brown - Witchy Feelin' (2017)

Year: 2017 (CD 2021)
Label: Ruf Records (Germany), RUF 1251
Style: Electric Blues, Blues Rock
Country: London, England
Time: 54:54
Format: Flac Tracks 16/44,1 kHz
Size: 343 Mb

Kim Simmonds founded Savoy Brown in October 1965.  At 69 he still is Savoy Brown as the band is pretty much Kim Simmonds on guitar and vocals and whoever he has a back-line.  Here we have him with Pat DeSalvo on bass and Garnet Grimm on drums doing a great job backing up this 69 year old British master of the blues guitar.
"Why Did You Hoodoo Me" is a nice an above mid-tempo blues rocker where Simmonds demonstrates his prowess on guitar for us.  He questions why he’s been cursed by his woman in this slick production.  Kim switches things up with "Livin’ On The Bayou" with a little creole inspired stuff.  A Cajun ballad with some pretty and somewhat ethereal guitar.  "I Can’t Stop the Blues" has Simmonds growling out the lyrics in a song about loneliness.  The guitar work is what this one’s all about- steady handed and cool.  The title cut is up next, a cool slow blues with nice guitar picking, and a ghostly bass line and sound. "Guitar Slinger" picks up the tempo a little and gets into what the title says- guitar slinging.  "Vintage Man" shuffles and shines nicely as Kin sings about being a vintage sort of guy in Levis, blue suede shoes and listening to his record player as he listens to and plays Jimmy Reed.
The slide comes out for "Standing In A Doorway."  Slow blues with voice and slide in a melancholy repartee, nicely done.  "Memphis Blues" gives us a driving beat and some big guitar and some more slide, but this time it’s greasy and slick.  "Can’t Find Paradise" is a big, blues rock anthem sort of piece with some more slide work. Simmonds guitar cries and wails in "Thunder, Lightning and Rain."  It’s a big cut with lots of guitar that goes on for nearly 8 minutes of 6 string soling to a steady bass and drum beat.  The CD closes to "Close to Midnight," a sultry and thoughtful instrumental of Simmonds showing us why he’s highly regard as a guitar man.
If you love Savoy Brown and Kim Simmonds then you’ll be spinning this CD a lot because this is right up your alley.  Simmonds shows us he’s still got what it takes.  The guitar is not overdone, but it’s big and impressively done.  It’s a really enjoyable set of new songs all penned by Kim.
(bluesblastmagazine.com/savoy-brown-witchy-feelin-album-review/)

01. Why Did You Hoodoo Me (05:14)
02. Livin' on the Bayou (06:01)
03. I Can't Stop the Blues (05:27)
04. Witchy Feelin' (04:37)
05. Guitar Slinger (03:53)
06. Vintage Man (03:08)
07. Standing in a Doorway (05:41)
08. Memphis Blues (04:14)
09. Can't Find Paradise (04:29)
10. Thunder, Lightning & Rain (07:56)
11. Close to Midnight (04:08)

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Savoy Brown - A Step Further (1969)

Year: September 1969 (US/Canada), October 1969 (UK) (CD 1990)
Label: Deram Records (US), 844 015-2
Style: Blues Rock
Country: London, England
Time: 40:19
Format: Flac Tracks 16/44,1 kHz
Size: 253 Mb

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

With Kim Simmonds and Chris Youlden combining their talents in Savoy Brown's strongest configuration, 1969's A Step Further kept the band in the blues-rock spotlight after the release of their successful Blue Matter album. While A Step Further may not be as strong as the band's former release, all five tracks do a good job at maintaining their spirited blues shuffle. Plenty of horn work snuggles up to Simmonds' guitar playing and Youlden's singing is especially hearty on "Made up My Mind" and "I'm Tired." The first four tracks are bona fide Brown movers, but they can't compete with the 20-plus minutes of "Savoy Brown Boogie," one of the group's best examples of their guitar playing prowess and a wonderful finale to the album. This lineup saw the release of Raw Sienna before Lonesome Dave Peverett stepped up to the microphone for Looking In upon the departure of Youlden, but the new arrangement was short lived, as not long after three other members exited to form Foghat. As part of Savoy Brown's Chris Youlden days, A Step Further should be heard alongside Getting to the Point, Blue Matter, and Raw Sienna, as it's an integral part of the band's formative boogie blues years.
(allmusic.com/album/a-step-further-mw0000691084)

01. Made Up My Mind (02:58)
02. Waiting In The Bamboo Groove (03:38)
03. Life's One Act Play (06:30)
04. I'm Tired - Where Am I (05:05)
05. Savoy Brown Boogie (Live) (22:06)

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Electric Light Orchestra - A New World Record [Japan Ed. 6 bonus tracks] (1976)

Year: October 15, 1976 (CD Sep 20, 2006)
Label: Epic Records (Japan), MHCP 1097
Style: Progressive Pop, Pop Rock
Country: Birmingham, England
Time: 59:12
Format: Flac Tracks 16/44,1 kHz
Size: 398 Mb

Charts: UK #6, AUS #1, AUT #9, GER #7, JPN #60, NLD #2, NOR #9, SWE #1, US #5. NLD: Gold; UK & US: Platinum; CAN: 2x Platinum.
A New World Record marked ELO's shift towards shorter pop songs, a trend which would continue across their career.
Their second album to be recorded at Musicland Studios in Munich, the LP proved to be the band's breakthrough in the UK; after their previous three studio recordings failed to chart in their home market, A New World Record became their first top ten album in the UK. It became a global success and reached multi-platinum status in the US and UK. The album sold five million units worldwide within its first year of release. The cover art features the ELO logo, designed by Kosh, for the first time; this logo would be included on most of the group's subsequent releases. The album yielded four hit singles, including "Livin' Thing", the transatlantic Top Ten hit "Telephone Line", which became the band's first gold US single, the UK Top Ten hit "Rockaria!", and the US number 24 hit "Do Ya", a remake of the 1972 single by The Move, of which Lynne was a member between 1970 and 1972.
In 1977, four of the album's songs were featured on the soundtrack of the film Joyride. In 2006, the album was remastered and released with bonus tracks on Sony's Epic/Legacy imprint. "Surrender" was also issued as a promotional single and an iTunes download single, which entered the top 100 download chart. The track was originally written in 1976 for a cancelled film soundtrack and was finished in 2006.
(en.wikipedia.org/wiki/A_New_World_Record)

01. Tightrope (05:06)
02. Telephone Line (04:40)
03. Rockaria! (03:12)
04. Mission (A World Record) (04:25)
05. So Fine (03:55)
06. Livin' Thing (03:32)
07. Above The Clouds (02:17)
08. Do Ya (03:45)
09. Shangri-La (05:40)
10. Telephone Line (Different Vocal) (Bonus) (04:41)
11. Surrender (Bonus) (02:37)
12. Tightrope (Instrumental Early Rough Mix) (Bonus) (04:55)
13. Above the Clouds (Instrumental Rough Mix) (Bonus) (01:14)
14. So Fine (Instrumental Early Rough Mix) (Bonus) (04:16)
15. Telephone Line (Instrumental) (Bonus) (04:51)

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Dave Greenslade (ex If & Colosseum) - Cactus Choir (1976)

Year: 1976 (CD ????)
Label: Warner Bros. Records (US), 9 56306-2
Style: Progressive Rock, Pop Rock
Country: Woking, Surrey, England (18 January 1943)
Time: 41:35
Format: Flac Tracks 16/44,1 kHz
Size: 247 Mb

David John Greenslade (born 18 January 1943) is an English composer and keyboard player. He has played with Colosseum from the beginning in 1968 until the farewell concert in 2015 and also from 1973 in his own band, Greenslade, and others including If and Chris Farlowe's Thunderbirds.
Greenslade was born in Woking, Surrey, England, the son of orchestral arranger Arthur Greenslade. Among his works are Cactus Choir, The Pentateuch of the Cosmogony (with art by Patrick Woodroffe) and From the Discworld. Television work includes music for the BBC series Gangsters (1975–1978), Bird of Prey (1982–1984) and A Very Peculiar Practice (1986), the theme to which was sung by Elkie Brooks.
After this he "virtually vanished from sight", becoming, as his friend Terry Pratchett proclaimed, "the man every TV producer in England would call when a new TV theme was needed". Greenslade's association with Pratchett, brought him back out into public view, with the 1994 release of From the Discworld, an album of music inspired by Pratchett's novels. Greenslade was active, between 1994 and 2015, after the re-forming of the band Colosseum.
Two more solo albums appeared, Going South and Routes/Roots, in 1999 and 2011 respectively.
Cactus Choir is the first solo album by British keyboardist Dave Greenslade, released in 1976 soon after the disbandment of his own eponymous band, Greenslade. His Greenslade bandmate Tony Reeves also plays on half of the album's tracks. The artwork for the cover is by Roger Dean.
(en.wikipedia.org/wiki/Dave_Greenslade)

01. Pedro's Party (02:38)
02. Gettysburg (03:58)
03. Swings And Roundabouts (04:19)
04. Time Takes My Time (06:00)
05. Forever And Ever (04:09)
06. Cactus Choir (06:15)
07. Country Dance (05:36)
08. Finale (08:37)

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Steely Dan - Pretzel Logic [Japanese Ed. SHM-CD] (1974)

Year: February 20, 1974 (CD Jun 25, 2008)
Label: Geffen Records (Japan), UICY-93517
Style: Jazz Rock, Pop Rock, Soft Rock
Country: New York, U.S.
Time: 34:03
Format: Flac Tracks 16/44,1 kHz
Size: 227 Mb

Charts: US #8, AUS #18, CAN #5, NZ #23, UK #37. UK: Silver; US: Platinum.
Pretzel Logic contains shorter songs and fewer instrumental jams than Steely Dan's previous album, Countdown to Ecstasy (1973), as the group had decided to attempt to produce complete musical statements within the three-minute pop-song format. Music critic Robert Christgau wrote that the album's solos are "functional rather than personal or expressive, locked into the workings of the music".
The music on the album is characterized by harmonies, counter-melodies, and bop phrasing, and often relies on straightforward pop influences. The syncopated piano line that opens "Rikki Don't Lose That Number" develops into a pop melody, and the title track transitions from a blues song to a jazzy chorus.
Steely Dan often incorporated jazz into their music during the 1970s. For example, on this album, "Rikki Don't Lose That Number" appropriates the bass pattern from Horace Silver's 1965 song "Song for My Father", and "Parker's Band" features riffs influenced by Charlie Parker and a lyric that invites listeners to "take a piece of Mr. Parker's band." Baxter's guitar playing drew on jazz and rock and roll influences, and on the instrumental cover of Duke Ellington's "East St. Louis Toodle-Oo", he recreates a classic Tricky Sam Nanton trombone solo on pedal steel. On that same track, Walter Becker uses talk box guitar to recreate James "Bubber" Miley's famous plunger-muted trumpet melody. Certain songs on the album incorporate additional instrumentation, including exotic percussion, violin sections, bells, and horns. Victor Feldman played a flapamba solo to introduce the song "Rikki Don't Lose That Number" on the album, but this intro was removed from the single release upon orders from Geffen Records.
"Charlie Freak" recounts the tale of a vagrant drug-addict who sells his only possession—a gold ring—to the narrator so he can buy a fix, which kills him.
(en.wikipedia.org/wiki/Pretzel_Logic)

01. Rikki Don't Lose That Number (04:33)
02. Night By Night (03:40)
03. Any Major Dude Will Tell You (03:08)
04. Barrytown (03:22)
05. East St. Louis Toodle-Oo (02:49)
06. Parker's Band (02:45)
07. Through With Buzz (01:34)
08. Pretzel Logic (04:32)
09. With A Gun (02:18)
10. Charlie Freak (02:44)
11. Monkey In Your Soul (02:34)

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Deep Purple - Deep Purple [Japanese Ed.] (1969)

Year: June 1969 (CD Dec 21, 1990)
Label: Warner Bros. Records (Japan), WPCP-4015
Style: Hard Rock, Classic Rock
Country: London, England
Time: 44:38
Format: Flac Tracks 16/44,1 kHz
Size: 272 Mb

Album recorded and mixed in the analog domain - AAD.
A=Analog. D=digital.
The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

In late 1968, Deep Purple had embarked on a successful first US tour to promote their second album The Book of Taliesyn, and returned home on 3 January 1969. The band was considered an underground act in the United Kingdom, but word of their success in America had influenced their reputation at home, as they gradually rose in popularity and request. However, their releases had yet to make an impact in the UK, where their second single, a cover of Neil Diamond's "Kentucky Woman", had not charted and was retired after six weeks, after having peaked at No. 38 in the United States and No. 21 in Canada.
Deep Purple's American label Tetragrammaton Records pressured the band to make a single to match the success of their hit "Hush", and the band had tried to satisfy that request while still in the US for the last dates of their tour; they recorded some covers in a New York studio in December 1968, without worthwhile results. The musicians had come up with much more complex original material for their second album, and making a song that would easily fit the three-minute range was apparently becoming difficult.
A few days after their US tour, Deep Purple settled in with their usual producer Derek Lawrence at De Lane Lea Studios in Kingsway, London, already used for The Book of Taliesyn sessions, to compose and record new songs and solve the new single problem. The song "Emmaretta" (named after the musical Hair cast member Emmaretta Marks, whom singer Rod Evans had met in the US) was composed for that purpose and recorded on 7 January 1969, after four takes. The heavier and more experimental song "The Bird Has Flown" was arranged and recorded later on the same day and was chosen as the B-side for the US release. The instrumental "Wring That Neck" from their previous album was the B-side of the British edition of "Emmaretta", which was issued in February 1969 and promoted by Deep Purple in their first full UK tour. This was the first time that a Deep Purple release appeared in the UK before the US. The tour started in Birmingham on 6 February with a concert broadcast by BBC Radio 1, and went on as a series of one-nighters in clubs and colleges across the country during February and March. Deep Purple's greater visibility and their declared interest in the British public induced local music magazines to print a few articles on them. However, after keyboard player and spokesperson Jon Lord publicly stated that they would play large arenas for ?2500 per show in America then come home and only be able to book small venues paying ?150 a night, typical headlines were "Purple won't starve for an ideal" and "They lose ?2350 a night working in Britain".
(en.wikipedia.org/wiki/Deep_Purple_(album))

01. Chasing Shadows (05:35)
02. Blind (05:27)
03. Lalena (05:05)
04. a. Fault Line b. The Painter (05:38)
05. Why Didn't Rosemary? (05:06)
06. Bird Has Flown (05:36)
07. April (12:07)

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David Bowie - Outside [Japanese Ed. 2CD] (1995)

Year: 25 September 1995 (CD Jun 6, 2007)
Label: Sony Records Int'l (Japan), MHCP 1340-1
Style: Experimental Rock, Ambient, Pop
Country: London, England (8 January 1947 - 10 January 2016)
Time: 74:50, 78:37
Format: Flac Tracks 16/44,1 kHz
Size: 517, 539 Mb

Outside (stylised as 1. Outside and subtitled The Nathan Adler Diaries: A Hyper-cycle) is the twentieth studio album by the English musician David Bowie, released on 25 September 1995 through Virgin Records in the United States and Arista Records, BMG and RCA Records in other territories. Reuniting Bowie with the musician Brian Eno following the late 1970s Berlin Trilogy, the two were inspired by concepts "outside" the mainstream, such as various outsider and performance artists. Recorded throughout 1994, the experimental sessions saw Bowie conceive a world where "art crimes", such as murder, pervade society. The resulting Leon project initially faced resistance from labels due to its uncommercial nature. The project's bootlegging led to additional sessions in 1995 to revise the concept and record more commercial material, inspired by a diary Bowie wrote for Q magazine.
Influenced by the television series Twin Peaks, the nonlinear narrative of Outside concerns the residents of the fictional Oxford Town, New Jersey, and follows the detective Nathan Adler as he investigates the murder of a 14-year-old girl. The tracks show perspectives of specific characters, while spoken word between-song segues convey more character ideals; the story and Adler's diary entries were presented in the album's CD booklet. Musically, Outside displays styles from art rock, industrial rock and jazz, to electronica and ambient. The album cover is a self-portrait of Bowie.
(en.wikipedia.org/wiki/Outside_(David_Bowie_album))

01. Leon Takes Us Outside (01:24)
02. Outside (04:04)
03. The Hearts Filthy Lesson (04:57)
04. A Small Plot Of Land (06:34)
05. Segue - Baby Grace (A Horrid Cassette) (01:39)
06. Hallo Spaceboy (05:14)
07. The Motel (06:50)
08. I Have Not Been To Oxford Town (03:49)
09. No Control (04:33)
10. Segue - Algeria Touchshriek (02:03)
11. The Voyeur Of Utter Destruction (As Beauty) (04:21)
12. Segue - Ramona A. Stone / I Am With Name (04:01)
13. Wishful Beginnings (05:08)
14. We Prick You (04:35)
15. Segue - Nathan Adler (01:00)
16. I'm Deranged (04:31)
17. Thru' These Architects Eyes (04:22)
18. Segue - Nathan Adler (00:28)
19. Strangers When We Meet (05:07)

01. The Hearts Filthy Lesson (Trent Reznor Alternative Mix) (05:21)
02. The Hearts Filthy Lesson (Rubber Mix) (07:48)
03. The Hearts Filthy Lesson (Simple Text Mix) (06:39)
04. The Hearts Filthy Lesson (Filthy Mix) (05:53)
05. The Hearts Filthy Lesson (Good Karma Mix By Tim Simenon) (05:00)
06. A Small Plot Of Land (Basquiat) (02:49)
07. Hallo Spaceboy (12' Remix) (06:44)
08. Hallo Spaceboy (Double Click Mix) (07:48)
09. Hallo Spaceboy (Instrumental) (07:46)
10. Hallo Spaceboy (Lost In Space Mix) (06:34)
11. I Am With Name (Album Version) (04:01)
12. I'm Deranged (Jungle Mix) (07:03)
13. Get Real (02:51)
14. Nothing To Be Desired (02:16)

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