Secret Oyster - Straight To The Krankenhaus (1976)

Year: 1976 (CD 2007)
Label: The Laser's Edge (US), LE1049
Style: Jazz Rock, Instrumental, Art Rock
Country: Denmark
Time: 52:34
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

SECRET OYSTER became somewhat of a super group when members of BURNIN'RED IVANHOE, CORONARIAS DANS and HURDY GURDY formed this unit. By the end of BURNIN' RED IVANHOE's career (that spawned seven years), Karsten Vogel started forming a new band taking along with him BRI's drummer Thrige and often jazz-partner bassist Vinding with him. Knowing from the Danish circuit guitarist Claus Bohling, he enticed him into the band that took its name from a track from BRI's second album Secret Oysters Service. The last to join was keyboardist Knudsen, who had never played an electric instrument prior to entering this outfit, but was playing in a piano avant-garde trio. Knudsen would prove particularly helpful as the second songwriter of the group and allowing Vogel to leave the keyboards at will to play wind instruments.
Their sound recalled MAHAVISHNU ORCHESTRA, NUCLEUS, Herbie Hancock's Mwandishi and Sextant albums as well as Miles DAVIS's Bitches Brew. Quite a success and this prompted their record company to release that album internationally but under the title "Furtive Pearl". After a line-up changze that saw the rhythm section get a complete overhaul (Staer for Vinding and Streenberg for Thrige) their second album, Sea Son, is even better but failed to get international public recognition, even if all connoisseur will mostly agree on this album being the band's apex. At one point the line-up of this group was also exactly the same as BURNIN' RED IVANHOE (after it got revived because they also developed rockier material) as well as a third outfit, "Day Of The Phoenix". This did not stop them from writing the music to a ballet "Vidunderlinge Kaelling" released as an album under the name of "Astarte", with very mixed results just a few months before their final album, the much better "Straight From The Krankenhaus" also known as "Orlander".
Aside from their confusion of their album names and general discography, SECRET OYSTER is a great jazz-rock/fusion outfit that deserved a lot more attention for they were almost as good as the groups named above.
(progarchives.com/artist.asp?id=1381)

01. Lindance (01:14)
02. Straight to the Krankenhaus (02:49)
03. My Second Hand Rose (04:17)
04. High Luminant Silver Patters (05:37)
05. Delveaux (07:57)
06. Stalled Angel (03:57)
07. Rubber Star (04:17)
08. Traffic & Elephants (06:11)
09. Leda & the Dog (05:51)
10. Alfred (03:54)
11. Glassprinsen ( Glass Prince ) (06:24)

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Hatfield And The North - Hatfield And The North (1974)

Year: February 1974 (CD 2009)
Label: Esoteric Records (UK), ECLEC2139
Style: Jazz Rock, Canterbury Scene
Country: Canterbury, England
Time: 60:17
Format: Flac Tracks 16/44,1 kHz
Size: 345 Mb

The band grew out of a line-up of friends in mid-1972 consisting of Phil Miller (guitar, from Matching Mole), Phil's brother Steve Miller (keyboards, from Caravan, Pip Pyle (drums, from Gong) and Richard Sinclair (bass and vocals, from Caravan).
The band played a few live shows between July and September that year, and gained their first record contract with Virgin Records with the 'Sinclair cousins'...as Steve Miller was replaced by Dave Sinclair (from Matching Mole and Caravan), the band soon changed their name to Hatfield and the North.
The Delivery line-up reunited for a BBC session in November 1972 with Steve Miller, Phil Miller, Lol Coxhill, Roy Babbington (bass), Pip Pyle, and Richard Sinclair on vocals. (Steve Miller went on to release a couple of duo albums with Coxhill in 1973/74.)
Dave Sinclair left in January 1973, shortly after the band's appearance (with Robert Wyatt on guest vocals) on the French TV programme "Rockenstock", and was quickly replaced by Dave Stewart (from Egg) before the band's first recordings were made.
The band recorded two albums, Hatfield and the North and The Rotters' Club. Backing vocals on the two albums were sung by The Northettes: Amanda Parsons, Barbara Gaskin and Ann Rosenthal. On the Autumn 1974 "Crisis Tour", which Hatfield co-headlined with Kevin Coyne, the opening act was a duo of Steve Miller and Lol Coxhill (also previously of Delivery) and Coxhill usually guested with Hatfield on the jamming sections of "Mumps".
After disbanding, Dave Stewart formed National Health with Alan Gowen from Gilgamesh; Phil Miller was a member throughout the band's existence, and Pyle joined in 1977. (Richard Sinclair also sat in on a couple of gigs and a BBC radio session that year.) Hatfield and the North and Gilgamesh had played a couple of shows together in late 1973, including a joint "double quartet" set, in some ways the prototype for National Health. Miller, Stewart, Pyle and Sinclair also worked together in various combinations on other projects.
The name of the band was inspired by the road signage on the main A1 road heading north from London, where the a succession of signs referred to the first major town, and the overall direction, as 'A1 Hatfield & the North'. This style of sign from the 1970s has now been replaced by a slightly different variant, as shown in the current picture to the right.
(jaz.fandom.com/wiki/Hatfield_and_the_North)

01. The Stubbs Effect (00:22)
02. Big Jobs (Poo Poo Extract) (00:36)
03. Going Up to People and Tinkl (02:25)
04. Calyx (02:45)
05. Son of 'There's No Place Lik (10:10)
06. Aigrette (01:38)
07. Rifferama (02:56)
08. Fol De Rol (03:07)
09. Shaving Is Boring (08:46)
10. Licks for the Ladies (02:37)
11. Bossa Nochance (00:40)
12. Big Jobs No. 2 (by Poo and t (02:14)
13. Lobster in Cleavage Probe (03:57)
14. Gigantic Land Crabs in Earth (03:21)
15. The Other Stubbs Effect (00:38)

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Mike Scott (ex The Waterboys) - Bring Em All In (1995)

Year: 18 September 1995 (CD 1995)
Label: Chrysalis Records (UK & Europe), 7243 8 35200 2 2
Style: not Blues, not Rock, not Folk - agreeable mix of all three
Country: Edinburgh, Scotland (14 December 1958)
Time: 43:23
Format: Flac Tracks 16/44,1 kHz
Size: 266 Mb

Bring 'Em All In is the debut solo studio album by Scottish singer-songwriter Mike Scott, released by Chrysalis on 18 September 1995. The cover and album photography were provided by Niko Bolas, Stefano Giovanni, Jeff Mitchell and Scott. The song "What Do You Want Me to Do?" was later covered by Rod Stewart.
Upon its release, Music Week stated, "Not blues, not rock, not folk, but an agreeable mix of all three from the former Waterboys frontman. Occasionally beautiful." Neil McKay of Sunday Life described Bring 'Em All In as Scott "back to form with his most consistent, most satisfying album since This Is the Sea" and one which presents him "stripped raw, both musically and lyrically". He noted the "gorgeously simple melodies" of "Wonderful Disguise", "She Is So Beautiful" and the title track, and considered "Long Way to the Light" to "partially explain the spirituality that imbues all 13 tracks". Simon Evans of The Birmingham Post considered it an "intensely personal and courageous collection of songs" presented in a "simple setting". He did not feel that Scott "convey his spiritual awakening as powerfully as Bob Dylan on 'Precious Angel' or even, in a different context, John Lennon's 'God', but considered the album, for "all its faults", including the "occasional lapses into lyrical naivety", to be a "brave and admirable [one] worthy of further investigation".
(en.wikipedia.org/wiki/Bring_%27Em_All_In)

01. Bring 'em all in (03:58)
02. Iona Song (02:47)
03. Edinburgh Castle (04:37)
04. What do You want me to do? (03:05)
05. I know she's in the Building (03:16)
06. City Full of Ghosts (Dublin) (02:47)
07. Wonderful Disguise (03:32)
08. Sensitive Children (02:40)
09. Learning to Love him (01:39)
10. She is so Beautiful (04:05)
11. Wonderful Disguise (Reprise) (00:29)
12. Long Way to the Light (06:32)
13. Building the City of Light (03:49)

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T2 - It'll All Work Out In Boomland (1970)

Year: 31 July 1970 (CD 2008)
Label: Acme Records (UK), ACLN1010CD
Style: Hard Rock
Country: London, England, United Kingdom
Time: 66:10
Format: Flac Tracks 16/44,1 kHz
Size: 442 Mb

T2 evolved from an earlier band, Neon Pearl, which was led by their drummer, Pete Dunton. Dunton was by 1968 a member of Please, which also included fellow Neon Pearl member Bernard Jinks. When that band broke up in 1969, due to Dunton's joining Gun alongside Adrian Gurvitz, Jinks became a member of Bulldog Breed.
T2 was formed when Dunton reunited with bassist Jinks and late period Bulldog Breed guitarist, Keith Cross. The trio played a form of psychedelic or proto-prog rock, which was similar in content to that played by the earlier bands its members had been in. T2 were formed and managed by John Morphew, who had previously managed Bulldog Breed; he financed the formation and successfully signed them to Decca for the then enormous sum of ?10,000 in advance royalties. However, internal strife caused Morphew to give up on T2 and leave them to their own devices.
After recording their debut album, It'll All Work Out in Boomland, T2 played a series of successful dates, including an appearance at the Isle of Wight Festival 1970, write-ups for which likened Cross to a new Eric Clapton. They did a spot on BBC 2 and then returned to the studio to begin work on their follow-up. However, the number of LPs pressed was limited and associated publicity was poor; hence, finding a copy in a record shop was difficult. In 1972, while recording material for their second album, T2 disbanded due to internal conflict. The breakup caused the unfinished album to be shelved until the early 1990s.
It'll All Work Out in Boomland was issued on CD by the German label World Wide Records, remastered from the original recording tapes. However, apparently both the original mix down information and the original mix down tapes had been lost, and as a result there are minor aural differences between the LP and CD versions. A South Korean label issued the album on CD, but this was suspected to have been copied from an original vinyl pressing. The CD issue sparked a brief T2 reunion, but without Keith Cross, who was the band's breakout star. The band now consisted of Dunton, Jinks and Moore. T2 released Second Bite (1992), Waiting For The Band (1993) and On The Frontline (1994). By the time Waiting For The Band was released, Jinks had left T2 and Moore had shifted to bass to accommodate their new guitarist, Ray Lee.
In 1992, the Swedish neo-prog band Landberk covered "No More White Horses" on their album Lonely Land. Decca Records released the box sets Legend of a Mind (2003) and Strange Pleasures (2008). Each included a remastered track from It'll All Work Out in Boomland, respectively "No More White Horses" and "JLT".
Concurrent with the reformation of T2, an album of acetate demos recorded in 1970 was released in 1997. Known initially as Fantasy and later issued simply as T2 or 1970, this album featured material written by the original lineup after the release of It'll All Work Out In Boomland. In 2012, a third album of demos entitled 1971-1972 was released by Acme Records, compiling material written and recorded by Dunton and a further succession of musicians, after Cross and Jinks had departed the lineup.
Drummer and vocalist Peter Dunton died of brain cancer on January 20, 2022.
(en.wikipedia.org/wiki/T2_(band))

01. In Circles (08:39)
02. J.L.T. (05:57)
03. No More White Horses (08:39)
04. Morning (21:18)
05. Questions And Answers (05:22)
06. CD (07:06)
07. In Circles (09:07)

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Bill Medley (ex The Righteous Brothers) - Bill Medley 100 (1968) [mp3 320kbps]

Year: 1968 (LP 1968)
Label: MGM Records (US), ST-91609
Style: Oldies, Pop, Soul
Country: Los Angeles, California, U.S. (September 19, 1940)
Time: 35:47
Format: mp3 320kbps
Size: 82 Mb

William Thomas Medley (born September 19, 1940) is an American singer best known as one-half of the Righteous Brothers. He is noted for his bass-baritone voice, exemplified in songs such as "You've Lost That Lovin' Feelin'". Medley produced a number of the duo's songs, including "Unchained Melody" and "(You're My) Soul and Inspiration".
Medley is also a solo artist. His million-selling No. 1 duet with Jennifer Warnes, "(I've Had) The Time of My Life" (1987), won a number of awards.
Medley was born September 19, 1940, in Santa Ana, California to Arnold and Irma Medley. He attended Santa Ana High School, graduating in 1958. Raised a Presbyterian, he sang in the church choir, and his parents had a swing band. He became interested in R&B music through listening to black-oriented radio stations. An early influence he has cited is Little Richard, who he first heard when he was fifteen or sixteen years old, and later Ray Charles, Bobby "Blue" Bland, and B.B. King.
Medley first formed a singing duo called The Romancers with his friend Don Fiduccia, who also played the guitar. He began to write songs and record multi-track recordings in his living room. At 19, he had two songs, "Womaling" and "Chimes of My Heart," recorded by vocal group The Diamonds. Medley and Fiduccia then formed a group called The Paramours in 1960, with Sal Fasulo and Nick Tuturro, later joined by Mike Rider and Barry Rillera. The band had its first paying gig at Little Italy restaurant in Anaheim, California. The Paramours were signed to Mercury Records' subsidiary label Smash Records, releasing such songs as "That's the Way We Love" and "Miss Social Climber" in 1961.
(en.wikipedia.org/wiki/Bill_Medley#Albums)

01. Brown Eyed Woman (03:19)
02. Let The Good Times Roll (03:26)
03. You Don't Have To Say You Love Me (02:57)
04. Run To My Loving Arms (02:37)
05. You're Nobody 'Til Somebody Loves You (02:30)
06. The Quest (The Impossible Dream) (03:12)
07. I Can't Make It Alone (02:35)
08. That's Life (03:35)
09. One Day Girl (02:52)
10. Show Me (02:34)
11. Goin' Out Of My Head (03:02)
12. Who Can I Turn To (When Nobody Needs Me) (03:01)

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John Lennon & Yoko Ono - Unfinished Music No. 1. Two Virgins (1968)

Year: 11 November 1968 (CD 11 Nov 2016 )
Label: Secretly Canadian Records (US/Europe), SC289/CHIM27
Style: Avant-Garde, Sound Collage
Country: Liverpool, England / Tokyo, Japan
Time: 33:05
Format: Flac Tracks 16/44,1 kHz
Size: 180 Mb

Oh no! It's Yoko! Part I
The one where John Lennon loses his mind and predicts what Captain Beefheart will sound like to people who don't like Captain Beefheart.
You know, a lot has changed about me and my taste in the four years since I first heard Unfinished Music 1: Two Virgins. For one thing, I've grown accustomed to avant-garde art. I find a lot more to appreciate in music such as this very album, where it clearly isn't conventional music, and many are going to despise its very existence. One thing that hasn't changed, however, is the fact that Two Virgins is STILL a shitty album.
Yeah, I'll admit, I returned to this album hoping I would enjoy it more now that my taste has evolved so much. But having periodically returned to Two Virgins over the years, I can't say I ever grew to love it. And listening to it these past few days in preparation for this Yoko binge, I really can't say any light has been shone on whatever the hell they were trying to do.
Here's the thing; while avant-garde music has this rep that "You don't actually have to do anything that requires actual effort. Just record the beep boop noises of the microwave, just slam a fist on a piano, just scrape scrap metal and call it art," it DOES, in fact, require some thought of what you're doing. As much as the average person wants to believe that Sachiko M or Merzbow or whoever were taking the piss, taking advantage of snobs and whatnot, there is actually a method to the madness. The same cannot be said of John and Yoko's first collaboration.
It's clear that, with Yoko introducing John to avant-garde records, they thought they could make some "high art" themselves. Just dope up on the hallucinogens and fuck around for 30 minutes in their home studio! The result is a wild ride, but one that is perhaps a bit TOO wild. You're left wanting to puke your guts out.
Sure, there's some ideas here. Some INTERESTING ideas, I might add. The field recordings, the Musique concrete near the beginning of side two, but through it all, you have Yoko screaming like the madwoman she is, and John talking in the background in a silly radio host voice, and it really is just them taking the piss.
Two Virgins is John Lennon and Yoko Ono fucking around, having fun, being silly and stupid in the studio. Perhaps the vitriol this album gets is unwarranted, but I can't say this music is good at all. Even as someone who has grown to respect Yoko a lot, this album very much isn't a good introduction to her, and it's no wonder most people turned their backs on her the second John released this.
It's funny; I can't say I like this album, but the bonus track is one I appreciate a lot. Remember Love certainly isn't a groundbreaking track (at least nowhere near as groundbreaking as the main album), and it's pretty conventional 1960s hippie messaging. But it shows Yoko's heart. Through her soft vocals and the simple acoustic in the background, this track comes out of the end of these hellish recording sessions as a nugget of gold. Granted, it's too little too late, not being anything particularly noteworthy, but hey, it's a nice peace from the chaos.
(albumoftheyear.org/user/justsomeguy/album/18566-unfinished-music-no-1-two-virgins/)

01. Two Virgins Side One (14:17)
02. Two Virgins Side Two (14:45)
03. Remember Love (04:03)

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The Beach Boys - Friends [Japan Ed.] (1968)

Year: June 24, 1968 (CD Aug 30, 1989)
Label: Capitol Records (Japan), CP21-6014
Style: Rock, Pop
Country: Hawthorne, California, U.S.
Time: 25:39
Format: Flac Tracks 16/44,1 kHz
Size: 128 Mb

Friends is the fourteenth studio album by the American rock band the Beach Boys, released on June 24, 1968, through Capitol Records. The album is characterized by its calm and peaceful atmosphere, which contrasted the prevailing music trends of the time, and by its brevity, with five of its 12 tracks running less than two minutes long. It sold poorly, peaking at number 126 on the Billboard charts, the group's lowest U.S. chart performance to date, although it reached number 13 in the UK. Fans generally came to regard the album as one of the band's finest.
As with their two previous albums, Friends was recorded primarily at Brian Wilson's home with a lo-fi production style. The album's sessions lasted from February to April 1968 at a time when the band's finances were rapidly diminishing. Despite crediting production to "the Beach Boys", Wilson actively led the entire project, later referring to it as his second unofficial solo album (the first being 1966's Pet Sounds). Some of the songs were inspired by the group's recent involvement with Maharishi Mahesh Yogi and his Transcendental Meditation practice. It was the first album to feature songs from Dennis Wilson.
One single was issued from the album: "Friends", a waltz that reached number 47 in the U.S. and number 25 in the UK. Its B-side was the Dennis co-write "Little Bird". In May, the group scheduled a national tour with the Maharishi, but it was canceled after five shows due to low ticket sales and the Maharishi's subsequent withdrawal. A standalone single, "Do It Again", was released in July. It reached the U.S. top twenty, became their second number one hit in the UK, and was included in foreign pressings of Friends.
Friends received favorable reviews in the music press, but like their records since Smiley Smile (1967), the album's simplicity divided critics and fans. Despite the failure of a collaborative tour with the Maharishi, the group remained supporters of him and his teachings. Dennis contributed more songs on later Beach Boys albums, eventually culminating in a solo record, 1977's Pacific Ocean Blue. In 2018, session highlights, outtakes, and alternate takes were released for the compilation Wake the World: The Friends Sessions.
(en.wikipedia.org/wiki/Friends_(The_Beach_Boys_album))

01. Meant For You (00:41)
02. Friends (02:33)
03. Wake The World (01:31)
04. Be Here In The Morning (02:19)
05. When A Man Needs A Woman (02:09)
06. Passing By (02:26)
07. Anna Lee, The Healer (01:55)
08. Little Bird (02:00)
09. Be Still (01:25)
10. Busy Doin' Nothin' (03:06)
11. Diamond Head (03:42)
12. Transcendental Meditation (01:48)

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The In-Sect - Introducing The In-Sect Direct From England (1965) [mp3 320kbps]

Year: 1965 (CD 2004)
Label: Rock-In-Beat-Records (Germany), RBPC 224
Style: Beat, Pop
Country: London, England
Time: 23:20
Format: mp3 320kbps
Size: 54 Mb

Originally known as the Rebs, the group's line-up featured Robin Hunt (lead vocals, drums), Ian Baldwin (bass), George Haywood (lead guitar), Brian Gill (lead guitar) John Da Costa (rhythm guitar, keyboards), and Peter Dunton (drums). In 1966, the band recorded a British Invasion-exploitation album on RCA Records, Introducing the In-Sect Direct from London, under the name In-Sect, with all but one of the tracks on the piece being cover versions of contemporary pop hits. Later in the year, the group, then known as No Flies on Us, auditioned for Decca Records by presenting them two demos of songs with one later appearing on the band's debut single: a rendition of Paul Revere and the Raiders' tune "(I'm Not Your) Stepping Stone" and "Just Won't Do". The Decca label negotiated a record deal with No Flies on Us after they agreed to shorten their moniker to the Flies.
In October 1966, the band re-recorded a psychedelic pop-oriented cover of "(I'm Not Your) Stepping Stone", along with the new composition "Talk to Me" for the respective A-side and B-side of their debut single. The record became a regional hit, peaking at number 11 on the Wonderful Radio London Fab 40 charts. With a substantial following circulating around the Flies, the group was picked up as the opening live act for popular English bands such as the Move, the Who, and the Moody Blues. In addition, the Flies held a prominent slot alongside the Jimi Hendrix Experience at the popular club, the Roundhouse, in February 1967. The band became notorious for their sometimes outrageous stage acts, particularly their April 1967 appearance at the 14-Hour Technicolor Dream psychedelic festival where the group arranged hundreds of bags of flour to explode and consequently cover the unsuspecting audience. They also heckled Pink Floyd as "sell outs" during the latter's sets at the UFO Club. By way of retaliation, Pink Floyd frontman Syd Barrett included the line "I see the Flies" in out-take solo song "Birdie Hop" (eventually released on compilation album Opel) and used a painting of flies as the cover art for his second solo album.
(en.wikipedia.org/wiki/The_Flies_(English_band))

01. Reelin' and Rockin' (02:23)
02. Ticket to Ride (02:57)
03. Help Me Ronda (02:34)
04. There Ain't No Woman (01:54)
05. Yes It Is (02:42)
06. Can't You Hear My Heartbeat (02:18)
07. Do the Freddie (01:42)
08. Silhouettes (01:58)
09. The Biggest Lie (02:33)
10. You Were Made for Me (02:14)

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Merrilee Rush And The Turnabouts - Angel Of The Morning [Japan Ed.] (1968)

Year: 1968 (CD Apr 21, 2004)
Label: BMG Records (Japan), BVCM-37488 (82876-60902-2)
Style: Oldies, Pop
Country: Seattle, Washington, U.S. (January 26, 1944)
Time: 33:35
Format: Flac Tracks 16/44,1 kHz
Size: 214 Mb

From the author of the release: it is interesting to listen to two songs performed by Merrilee Rush: "San Francisco (Be Sure To Wear Some Flowers In Your Hair)" and "Hush", better known to us by the performers: the first by The Mamas & The Papas, the second, oddly enough, by Deep Purple.
Merrilee Rush (nee Gunst; January 26, 1944) is an American singer, best known for her recording of the song "Angel of the Morning", a top-10 hit which earned her a Grammy nomination for female vocalist of the year in 1968.
In 1965, the pair formed Merrilee Rush and the Turnabouts, who soon became a popular act on the Pacific Northwest's teen dancehall circuit, touring throughout Washington and Oregon. A member of the group's road crew also worked for Paul Revere & the Raiders, and through this connection, Rush was invited to be the opening act on the Raiders' tour of the southern United States in 1967. While in Memphis, Tennessee, Raiders lead vocalist Mark Lindsay introduced Rush to record producer Chips Moman.
"Angel of the Morning" was written and composed by the songwriter Chip Taylor. Rush's version was recorded at Moman's American Sound Studio in Memphis in early 1968, and was produced by Moman and Tommy Cogbill. Released by Bell Records, the song climbed to No. 7 in late June 1968 on the U.S. Billboard Hot 100 chart, No. 1 in Canada, and was a major hit in several other countries. The one millionth sale of this record was reported by the Recording Industry Association of America (R.I.A.A.) in 1970. Although credited to "Merrilee Rush and the Turnabouts", both the single and subsequent album (also called Angel of the Morning) were recorded using the same musicians who played on Elvis Presley's Memphis recordings.
"Angel of the Morning" garnered Rush a Grammy Award nomination for best Contemporary Pop Female Vocalist of the year. She was nominated along with Barbra Streisand ("Funny Girl"), Dionne Warwick ("Do You Know the Way to San Jose"), Aretha Franklin ("I Say a Little Prayer"), and Mary Hopkin ("Those Were the Days"). Warwick was the eventual winner.
The song has been featured in the major motion pictures Jerry Maguire and Fingers.
Merrilee Rush and the Turnabouts released one more single on Bell, "That Kind of Woman", in 1968. It reached No. 28 in Canada.
Her next single titled "Reach Out" on AGP Records reached No. 89 in Canada.
(en.wikipedia.org/wiki/Merrilee_Rush)

01. It's Worth It All (02:41)
02. Sandcastles (02:51)
03. Billy Sunshine (03:15)
04. Handy (02:50)
05. San Francisco (Be Sure To Wear Some Flowers In Your Hair) (02:36)
06. Angel Of The Morning (03:12)
07. That Kind Of Woman (02:39)
08. Working Girl (03:16)
09. Observation From Flight 285 (In 3-4 Time) (02:31)
10. Hush (02:37)
11. Do Unto Others (02:40)
12. Sunshine & Roses (02:22)

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Connie Smith - Born To Sing (1966) [mp3 320kbps]

Year: September 1966
Style: Country
Country: Elkhart, Indiana, U.S. (August 14, 1941)
Time: 28:35
Format: mp3 320kbps
Size: 40 Mb

Born to Sing is the fifth studio album by American country singer Connie Smith. It was released in September 1966 by RCA Victor and contained 12 tracks. The album was her first to include string instrumentation. It reached the top five of the Billboard Country LP's chart and included the single "Ain't Had No Lovin'".
In 1964, Connie Smith emerged with the number one single titled "Once a Day". The song jump started her career and helped bring the singles "Then and Only Then" and "If I Talk to Him" into the country top ten. During the mid 1960s, country music record producers saw potential to expand into pop markets. They encouraged several artists to record music tailored in this direction. RCA Victor producers Chet Atkins and Bob Ferguson (the latter was Smith's producer) saw crossover potential in her music. In 1966, they organized Smith's sessions for her next album to be recorded with more pop influences. Ferguson brought in arranger Bill Walker to include string instrumentation. This would be Smith's first album to have a string section. This decisions crafted Smith's next studio album Born to Sing. The album was named for the title track, which was composed by Cy Coben.
(en.wikipedia.org/wiki/Born_to_Sing_(Connie_Smith_album))

01. Strange (02:12)
02. Ain't Had No Lovin' (02:19)
03. Five Fingers To Spare (02:21)
04. Paper Roses (02:25)
05. My Little Corner Of The World (02:36)
06. Gone (02:09)
07. Go Away Stranger (02:54)
08. I Don't Know Why I Keep Loving You (02:37)
09. Born To Sing (02:09)
10. Invisible Tears (02:20)
11. I Will (02:18)
12. A Touch Of Yesterday (02:10)

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Barclay James Harvest - Octoberon [Japan Ed. 5 bonus tracks] (1976)

Year: 1 October 1976 (CD Apr 26, 2006)
Label: Universal Music (Japan), UICY-93045
Style: Pop Rock, Art Rock
Country: Oldham, England
Time: 74:15
Format: Flac Tracks 16/44,1 kHz
Size: 410 Mb

For me this album is fantastic, a summa of Barclay James Harvest kind of music. It opens with a classic with an optimistic note from the pen of Les Holroyd titled "The World Goes On". This is the first use of the orchestra from Moonwater (1972). Other two Holroyd's' contributions are Believe In Me and Rock'n'Roll Star which is a beautiful live classic for the band, with an obvious reference to the Byrds "So You Wanna Be A Rock'n'Roll Star". It was also compared to the Eagles "One Of These Nights". John Lees' pieces are all very good, expecially the explosive Polk Street Rag, inspired by the porno film Deep Throat, starring Linda Lovelace (Polk Street is in San Francisco's red light district). The final song Suicide? is simply one of the best songs for John Lees. This beautiful ballad, in predominant acoustic guitar, ends with sounds effect of the death of the character of the songs, falling from the top of a building. The question, marked in the titled, underline the central point: did he jump or was he pushed?. Stuart "Wooly" Wolsteholme composition is the epic of ancient Egypt "Ra" wich demonstrates the high synphonic ideas of this great composer.
Octoberon (only n.19 in the U.K. charts) is a title that combine the fact that is the eight album for Barclay james Harvest and the shakespearen character Oberon.
I highly recommend this pearl to all the people who love melodic/synphonic/prog.
(progarchives.com/album.asp?id=3388) Review by Andrea Cortese. August 8, 2005
Ew, guys, no. Barclay James Harvest's Octoberon sees the band moving to counterbalance the soft rock influences that had crept into their sound by amping up the orchestral content of their music, but this is applied tastelessly and occasionally simply to provide filler. Too often the band are entirely overwhelmed and you're just left with the orchestra noodling away prettily but aimlessly, as though they are performing the into for a song which never quite starts. There's indications of rifts opening up within the band too, with the different songwriters' contributions not really coming together to form a cohesive aesthetic whole - Polk Street Rag, for instance, really doesn't fit the rest of the album, or the band's direction in general. Tasteless bilge.
(progarchives.com/album.asp?id=3388) Review by Warthur. June 25, 2013

01. The World Goes On (06:30)
02. May Day (07:58)
03. Ra (07:20)
04. Rock N' Roll Star (05:17)
05. Polk Street Rag (05:38)
06. Believe In Me (04:23)
07. Suicide? (07:59)
08. Rock N' Roll Star [Early Mix] (04:55)
09. Polk Street Rag [First Mix] (05:34)
10. Ra [First Mix] (07:24)
11. Rock N' Roll Star [Recorded at Marquee Studios] (03:19)
12. Suicide? [First Mix] (07:53)

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Lucifer's Friend - Banquet (1974)

Year: 1974 (CD 2015)
Label: Repertoire Records (Europe), REPUK 1274
Style: Progressive Rock, Jazz Fusion
Country: Hamburg, West Germany
Time: 42:09
Format: Flac Tracks 16/44,1 kHz
Size: 298 Mb

Banquet is the fourth album by German progressive rock band Lucifer's Friend, released in 1974. By this time there was no hard rock sound, it was now strictly progressive rock mixed with jazz fusion. The song "Our World Is a Rock 'n' Roll Band" was the opening track on some versions (i.e. the U.S. version) of the original LP release, but the only CD releases to date do not include this track, which can instead be found as a bonus track on the Repertoire Records CD release of their self-titled debut.
(en.wikipedia.org/wiki/Banquet_(album))

01. Spanish Galleon (11:52)
02. Thus Spoke Oberon (06:47)
03. High Flying Lady Goodbye (03:43)
04. Sorrow (11:39)
05. Dirty Old Town (04:48)
06. Our World Is A Rock 'N' Roll Band (Bonus Track) (03:18)

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Wishbone Ash - Wishbone Four (1973)

Year: 11 May 1973 (CD 1991)
Label: MCA Records (Europe), MCAD-10350
Style: Art Rock, Progressive Rock, Rock
Country: Torquay, Devon, England
Time: 43:37
Format: Flac Tracks 16/44,1 kHz
Size: 245 Mb

Wishbone Four is the fourth studio album by British rock band Wishbone Ash, released in 1973. It was a departure from their previous album, Argus, in that it lacked that recording's overall cohesion and atmosphere and the loose conceptual framework of a stately, pastoral and warring medieval England. Containing only hints of the extended twin-lead guitar harmonies, Wishbone Four's stylistic variety found its footing in acoustic folk elements in half of the eight-song set ("Ballad of the Beacon", "Everybody Needs a Friend", "Sorrel" and "Sing Out the Song"), two aggressive and melodic starters on each side of the vinyl release (Side 1: So Many Things to Say" and Side 2: "Doctor"), and the band's first use of horns on the semi-autobiographical "rave-up" touring song "No Easy Road".
Although the sombre, sensitive and rather more fragile acoustic songs contained the wistful intro elements that featured on the previous album, the lead guitars lacked the slow climb of the band's trademark duelling crescendos and energetic fretwork expected from the band at the time, tending to a more subtle and subdued interplay on the longer tracks. Wishbone Four was popular among fans upon its release as it implied musical growth and a willingness to experiment in the band's divergence of a successful formula (similar at the time to the effect of Led Zeppelin III's contrast to that band's previous efforts).
Wishbone Four was also the first release not produced by Derek Lawrence but by the band themselves. There's the Rub, the band's next and fifth studio album, was the first album to feature guitarist-vocalist Laurie Wisefield, who would be a major part of the band's creative direction for the next 11 years, as founding member Ted Turner left the band after the subsequent Wishbone Four tour.
The album peaked at No. 12 in the UK Albums Chart.
(en.wikipedia.org/wiki/Wishbone_Four)

01. So Many Things To Say (05:06)
02. Ballad Of The Beacon (05:04)
03. No Easy Road (03:47)
04. Everybody Needs A Friend (08:24)
05. Doctor (05:53)
06. Sorrel (05:03)
07. Sing Out The Song (04:24)
08. Rock 'n Roll Widow (05:51)

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The Who - Quadrophenia [2CD. 24kt Gold. MFSL CD] (1973)

Year: 26 October 1973 (CD 1991)
Label: Mobile Fidelity Sound Lab (US), UDCD 2-550
Style: Rock Opera, Art Rock
Country: London, England
Time: 40:33, 41:44
Format: Flac Tracks 16/44,1 kHz
Size: 259, 271 Mb

The original release of Quadrophenia came with a set of recording notes for reviewers and journalists that explained the basic story and plot.
The narrative centres on a young working-class mod named Jimmy. He likes drugs, beach fights and romance, and becomes a fan of the Who after a concert in Brighton, but is disillusioned by his parents' attitude towards him, dead-end jobs and an unsuccessful trip to see a psychiatrist. He clashes with his parents over his use of amphetamines, and has difficulty finding regular work and doubts his own self-worth, quitting a job as a dustman after only two days. Though he is happy to be "one" of the mods, he struggles to keep up with his peers, and his girlfriend leaves him for his best friend.
After destroying his scooter and contemplating suicide, he decides to take a train to Brighton, where he had enjoyed earlier experiences with fellow mods. However, he discovers the "Ace Face" who led the gang now has a menial job as a bellboy in a hotel. He feels everything in his life has rejected him, steals a boat, and uses it to sail out to a rock overlooking the sea. On the rock and stuck in the rain, he contemplates his life. The ending is left ambiguous as to what happens to Jimmy.
(en.wikipedia.org/wiki/Quadrophenia)

01. I Am The Sea (02:09)
02. The Real Me (03:20)
03. Quadrophenia (06:13)
04. Cut My Hair (03:48)
05. The Punk Meets The Godfather (05:13)
06. I'm One (02:39)
07. The Dirty Jobs (04:30)
08. Helpless Dancer (02:35)
09. Is It In My Head (03:45)
10. I've Had Enough (06:15)

01. 5-15 (05:04)
02. Sea And Sand (05:05)
03. Drowned (05:27)
04. Bell Boy (04:57)
05. Doctor Jimmy (08:35)
06. The Rock (06:40)
07. Love, Reign O'er Me (05:53)

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Various Artists - Tapestry Revisited - A Tribute To Carole King (1995)

Year: 1995 (CD 1995)
Label: Lava Records (US), 92604-2
Style: Pop
Country: Various
Time: 50:58
Format: Flac Tracks 16/44,1 kHz
Size: 348 Mb

Carole King's 1971 album Tapestry was one of the best-selling LPs of the early '70s and has had a lasting influence on pop singer/songwriters ever since. The idea of this tribute album was to re-create the album track-for-track using other artists. Since King had begun her career as a songwriter, with songs such as "Will You Love Me Tomorrow?" and "(You Make Me Feel Like) A Natural Woman" hitting for other artists before turning up on Tapestry, it was an appropriate concept. Though each artist was asked to submit a finished track, there was some musical continuity in that several tracks -- "You've Got a Friend," by BeBe & CeCe Winans, featuring Aretha Franklin, "Will You Love Me Tomorrow?," by the Bee Gees, and "Smackwater Jack," by the Manhattan Transfer -- were produced by Arif Mardin, and a couple of others -- "So Far Away," by Rod Stewart, and "(You Make Me Feel Like) A Natural Woman," by Celine Dion -- were handled by David Foster. In such a project, casting is everything, and the best versions were turned in by artists who grew up with the original album, such as Amy Grant ("It's Too Late"), Richard Marx ("Beautiful"), and Faith Hill ("Where You Lead"). Such artists achieved a reasonable compromise between the King versions and their own sound. Artists like the Bee Gees and Stewart, who were King's contemporaries, seemed to be going through the motions, and a raft of newer artists, such as Eternal, Curtis Stigers, Blessid Union of Souls, All-4-One, and Dion, seemed to be on the album because someone at their management companies thought it would be a good idea and displayed little feel for the material. But King's music has a flexibility that allows for many interpretations, and while this album could not be recommended over the original, the new performances didn't do it much harm.
(allmusic.com/album/tapestry-revisited-a-tribute-to-carole-king-mw0000179836)

01. I Feel The Earth Move (Eternal) (04:59)
02. So Far Away (Rod Stewart) (04:25)
03. It's Too Late (Amy Grant) (03:59)
04. Home Again (Curtis Stigers) (03:41)
05. Beautiful (Richard Marx) (03:46)
06. Way Over Yonder (Blessid Union Of Souls) (03:54)
07. You've Got A Friend (BeBe & CeCe Winans, Featuring Aretha Franklin) (06:03)
08. Where You Lead (Faith Hill) (03:32)
09. Will You Love Me Tomorrow? (Bee Gees) (05:02)
10. Smackwater Jack (The Manhattan Transfer) (04:37)
11. Tapestry (All-4-One) (03:12)
12. (You Make Me Feel Like) A Natural Woman (Celine Dion) (03:42)

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Queen - Deep Cuts 3 (1984-1995) [Compilation] (2011)

Year: September 5, 2011 (CD Sep 5, 2011)
Label: Queen Productions Ltd. (Germany), 278 002 9
Style: Rock, Pop Rock
Country: London, England
Time: 63:26
Format: Flac Tracks 16/44,1 kHz
Size: 439 Mb

Released as a companion to the expanded Queen reissues of 2011, the Deep Cuts series digs deep into the classic rock band’s albums, culling a collection of overlooked fan favorites. This was somewhat easier to do on the first two volumes, which covered the group’s heyday, but Vol. 3 rounds up highlights from 1984-1995, when Queen weren’t anywhere near their prime. That much is evident on this edition of Deep Cuts, which never raises much beyond the level of “very solid.” That's enough for an album but not a compilation intended to convince doubting punters there was more to be found than what is usually showcased on hits collections. Although that's not the case here, this still could have some use for the curious Queen fan who doesn’t want to go to actual latter-day albums.
(allmusic.com/album/deep-cuts-vol-3-1984-1995-mw0002200258)

01. Made In Heaven (05:28)
02. Machines (Or 'Back To Humans') (05:08)
03. Don't Try So Hard (03:41)
04. Tear It Up (03:25)
05. I Was Born To Love You (04:51)
06. A Winter's Tale (03:52)
07. Ride The Wild Wind (04:45)
08. Bijou (03:37)
09. Was It All Worth It (05:46)
10. One Year Of Love (04:29)
11. Khashoggi's Ship (02:54)
12. Is This The World We Created...? (02:15)
13. The Hitman (04:57)
14. It's A Beautiful Day (Reprise) (03:24)
15. Mother Love (04:48)

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Sandy Denny (ex Fairport Convention) - The North Star Grassman And The Ravens (1971)

Year: September 1971 (CD May 2, 2005)
Label: Universal Island Records (Europe), IMCD313/982 802-1
Style: Folk Rock
Country: Surrey, England (6 January 1947 - 21 April 1978)
Time: 57:03
Format: Flac Tracks 16/44,1 kHz
Size: 349 Mb

The North Star Grassman and the Ravens is a 1971 album by English folk rock singer-songwriter Sandy Denny. Built mostly around her own compositions, The North Star Grassman and the Ravens is distinguished by its elusive lyrics and unexpected harmonies. Denny launched the sequence of solo albums that underlie the claim that she is one of Britain's finest recent singer-songwriters.
Two original compositions from the Fotheringay 2 sessions, "Late November", inspired by a dream and the death of Fairport Convention band member Martin Lamble, and "John the Gun" were re-worked for the album and supplemented by a further six self penned songs and two cover versions, Bob Dylan's "Down in the Flood" and "Let's Jump the Broomstick", recorded by Brenda Lee. Sessions began with Andy Johns producing but in the end the album was produced by Denny herself, former Fairport Convention bandmate Richard Thompson and John Wood, who recommended to Denny the film-score arranger Harry Robinson, who added strings to "Next Time Around", a cryptogram about former boyfriend Jackson C. Frank (one of her many portraits in song) and "Wretched Wilbur". Robinson would arrange strings for Denny's further albums as well as for Nick Drake and other artists signed to the same company.
The first songs recorded were the traditional "Blackwaterside" and "Let's Jump the Broomstick" in March 1971 at Sound Techniques. Sessions continued the following month until the end of May at Island studios, where the album was completed with the cutting of the title track, a sea voyage as a metaphor for death inspired by the loss of her friend 'Tigger' (Paul Bamber) who was in the Merchant Navy.
The album was issued in a gatefold sleeve with a distinctive cover photograph of Denny weighing seeds in an old fashioned apothecary shop (surely casting tea leaves). The image covered both the front and rear sleeve, and was taken by Keef (Macmillan) who went on to do a lot of work with another British female singer-songwriter: Kate Bush.
(en.wikipedia.org/wiki/The_North_Star_Grassman_and_the_Ravens)

01. Late November (04:30)
02. Blackwaterside (04:13)
03. The Sea Captain (03:08)
04. Down In The Flood (03:19)
05. John The Gun (04:37)
06. Next Time Around (04:24)
07. The Optimist (03:25)
08. Let's Jump The Broomstick (02:43)
09. Wretched Wilbur (02:36)
10. The North Star Grassman And The Ravens (03:29)
11.  Crazy Lady Blues (03:26)
12. Late November (Bonus Track) (04:30)
13. Walking The Floor Over You (Bonus Track) (04:21)
14. Losing Game (Bonus Track) (03:28)
15. Next Time Around (Bonus Track) (04:45)

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Marillion - Misplaced Childhood (1985)

Year: 17 June 1985 (CD 1998)
Label: EMI Records (Europe), 7243 4 97034 2 1
Style: Pop
Country: Aylesbury, Buckinghamshire, England
Time: 41:16, 61:28
Format: Flac Tracks 16/44,1 kHz
Size: 262, 400 Mb

Charts: UK #1, CAN #88, FIN #29, GER #3, NL #6, NOR #10, SWE #15, SWI #6, US #47. SWI: Gold; UK & GER Platinum.
The best of the Fish-era Marillion albums, Childhood has an "edge" that was lacking on Script and Fugazi. From the sweetness of "Kayleigh" to the edgy jokiness of "Lavender," from the solid-rock brilliance of "Heart of Lothian" (one of the best rockers in prog-rock) to the cathartic "Childhood's End," Fish & Co. are at their combined musical peak here. A must-have for prog-rock fans.
(progarchives.com/album.asp?id=890) Review by maani
Wow. One of the most disappointing CD purchases I've ever made. After all the glowing praise for this album and this band, I was ready to heave off my bias against post-70's prog and revel in an absolute masterpiece. Instead I was introduced to a singer who makes me want to vomit being backed by a crew of anonymous, unremarkable musicians. Fans of classic prog (Gentle Giant, Yes, ELP) take note: you won't find anything remotely like that here. To the more "open minded" listener (or maybe a semi-deaf Genesis fanatic), this may end up a dear treasure to you like it is to so many others. Your call, best of luck.
(progarchives.com/album.asp?id=890) Review by corbet

01. Pseudo Silk Kimono (02:14)
02. Kayleigh (04:03)
03. Lavender (02:25)
04. Bitter Suite - I Brief Encounter, II Lost Weekend, III Blue Angel (07:56)
05. Heart Of Lothian - I Wide Boy, II Curtain Call (04:02)
06. Waterhole (Expresso Bongo) (02:13)
07. Lords Of The Backstage (01:52)
08. Blind Curve - I Vocal Under A Bloodlight, II Passing Strangers, III Mylo, IV ... (09:29)
09. Childhoods End? (04:33)
10. White Feather (02:25)

01. Lady Nina (05:50)
02. Freaks (04:08)
03. Kayleigh (Alternate Mix) (04:03)
04. Lavender Blue (04:22)
05. Heart of Lothian (Extended Mix) (05:54)
06. Pseudo Silk Kimono (Album Demo) (02:11)
07. Kayleigh (Album Demo) (04:06)
08. Lavender (Album Demo) (02:37)
09. Bitter Suite (I. Brief Encounter II. Lost Weekend) (Album Demo) (02:54)
10. Lords Of The Backstage (Album Demo) (01:46)
11. Blue Angel (Album Demo) (01:46)
12. Misplaced Rendezvous (Album Demo) (01:56)
13. Heart Of Lothian (I. Wide Boy II. Curtain Call) (Album Demo) (03:49)
14. Waterhole (Expresso Bongo) (Album Demo) (02:00)
15. Passing Strangers (I. Mylo II. Perimeter Walk III. Threshold) (Album Demo) (09:17)
16. Childhoods End? (Album Demo) (02:23)
17. White Feather (Album Demo) (02:18)

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Rick Wakeman And His Band - Cirque Surreal (1995)

Year: 1995 (CD 1998)
Label: Magnum America (UK), MACD 075
Style: Rock, Art Rock
Country: Middlesex, England (18 May 1949)
Time: 55:05
Format: Flac Tracks 16/44,1 kHz
Size: 399 Mb

Wakeman wrote this music to accompany performances of the Cirque Surreal, a modern, all-human circus employing high-caliber gymnasts and lighting effects. There are a variety of tracks, all of which are dominated by Wakeman's fine playing: uptempo rockers with screaming guitar solos, tuneful keyboard-led instrumentals, and a few slower pieces (one of which is, for some reason, punningly titled "Tubular Balls"). Four tracks feature vocals by Chrissie Hammond; the rest are instrumental. This is one of Wakeman's strongest rock band efforts since the '70s.
(allmusic.com/album/cirque-surreal-mw0000231265)

01. Gnash (05:05)
02. Balance of Power (05:32)
03. Wings of Fortune (03:12)
04. Static (04:10)
05. The Party (04:05)
06. Wired for Sound (06:04)
07. Juliet (06:04)
08. Tubular Balls (05:03)
09. Carlos (06:04)
10. The Love That I Know (04:07)
11. The Jig (05:35)

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Buffalo - Dead Forever (1972)

Year: 1972 (CD 03 Apr 2006)
Label: Aztec Music Records (Australia), AVSCD010
Style: Hard Rock, Psychedelic Rock
Country: Sydney, New South Wales, Australia
Time: 65:09
Format: Flac Tracks 16/44,1 kHz
Size: 431 Mb

Buffalo was an Australian rock band formed in August 1971 by founding mainstay Dave Tice on lead vocals (ex-Head). Fellow founders, also from Head, were Paul Balbi on drums, John Baxter on guitar, and Peter Wells on bass guitar; together with Alan Milano on lead vocals (ex-Mandala). Milano left after their debut album, Dead Forever... (June 1972), and Balbi was replaced on drums by Jimmy Economou. Their next two albums, Volcanic Rock (July 1973) and Only Want You For Your Body (June 1974), were also issued by Vertigo Records. After 1975 line-up changes resulted in a more commercial sound and the group disbanded in March 1977. Australian musicologist Ian McFarlane noted that there was "nothing subtle about Buffalo's primal, heavyweight sound, but it was delivered with a great deal of conviction ... combining the dense, occult riffing ... with the progressive blues chops ... the band certainly captured the arrogant disposition of the times in a bold and thunderous fashion". Alongside Billy Thorpe & The Aztecs and Blackfeather, Buffalo pioneered Australia's heavy metal, pub rock and psychedelic rock movements. Peter Wells died on 27 March 2006, aged 58.
Dead Forever... is the debut album by Australian proto-heavy metal band Buffalo, recorded and originally released in 1972. Considered by some to be the first Australian heavy metal album, Dead Forever... also strongly displayed the band's progressive rock and psychedelic influences. Significantly, it was the first release by a non-British and non-European artist on the legendary Vertigo label. The album was remastered and reissued in March 2006 by Australian record label Aztec Music on CD with additional tracks, including an A-side and B-side released by the pre-Buffalo outfit Head.
(en.wikipedia.org/wiki/Buffalo_(band))

01. Leader (06:03)
02. Suzie Sunshine (02:53)
03. Pay My Dues (05:34)
04. I'm a Mover (10:46)
05. Ballad of Irving Fink (04:30)
06. Bean Stew (07:05)
07. Forest Rain (06:30)
08. Dead Forever (05:39)
09. Hobo (A-side) (02:46)
10. Sad Song, Then (B-side) (02:37)
11. No Particular Place to Go (B-side) (04:53)
12. Just a Little Rock And Roll (A-side) (02:24)
13. Barbershop Rock (B-side) (03:24)

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The Rolling Stones - Flowers (Japan Ed.) (1967)

Year: 26 June 1967 (CD 2006)
Label: ABKCO, Universal Music (Japan), UICY-93025
Style: Classic Rock, Rock, British Rhythm and Blues
Country: London, England
Time: 37:20
Format: Flac Tracks 16/44,1 kHz
Size: 214 Mb

Flowers is the second compilation album by the Rolling Stones, released in the summer of 1967. The group recorded the songs at various studios dating back to 1965. Three of the songs had never been released: "My Girl", "Ride On, Baby" and "Sittin' on a Fence", the first of which was recorded in May 1965 during the sessions for "Satisfaction", and the other two of which were recorded in December 1965 during the first lot of Aftermath sessions. The rest of the album tracks either appeared as singles or had been omitted from the American versions of Aftermath and Between the Buttons.
The title refers to the album's cover, with flower stems underneath the portrait of each of the band members. Bassist Bill Wyman claims that Mick Jagger and Keith Richards deliberately arranged the stem of Brian Jones's flower so that it had no leaves, as a prank.[citation needed] The portraits are from the British version of Aftermath. Flowers reached number three in the US during the late summer of 1967 and was certified gold.
(en.wikipedia.org/wiki/Flowers_(Rolling_Stones_album)

Here’s the original track listing for Flowers:

1. “Ruby Tuesday” -- A great song, and the most 1967-sounding (complete with double-bass and recorder)...because it had already been released in 1967, on Between The Buttons. Rip-off #1
2. “Have You Seen Your Mother, Baby, Standing In The Shadow?” -- The last single from 1966, mostly forgotten now, but it’s a winner: A total electric freak-out, awash in feedback, with chaotic mariachi-style horns going crazy in the background.
3. “Let’s Spend The Night Together” -- Again, great song. Again, already on Between The Buttons. Rip-off #2.
4. “Lady Jane” -- Already on Aftermath. Inclusion here a total mystery. Rip-off #3.
5. “Out Of Time” -- Formerly only available on the British version of Aftermath. A sibling to “Under My Thumb,” utilizing the same lead instruments: the marimba (a type of African xylophone), and fuzz bass, and with the same quasi-misogynistic lyrical themes.
6. “My Girl” -- Previously unreleased, and with good reason. It’s terrible. It’s the oldest track here, dating from the May 1965 sessions that also produced “Satisfaction.” Whoever thought it would be a kick for them to do a half-assed run-through of this Temptations classic should be boiled in patchouli oil. I suspect it was their loopy “producer”/manager Andrew Loog Oldham (fired around the time of Flowers' release), because it was he that supervised the hasty overdubbing of a string section in the fall of 1966. It still wasn’t deemed releasable, until London Records, nosing around in the vaults, decided to put it on Flowers. Even though it had never been heard before, I’m going to call this rip-off #4, because no one should have heard it. Ever.
7. “Backstreet Girl” -- From the British version of Between The Buttons, and a highlight of that album, which lacked the one-two punch of “Ruby Tuesday” and “Let’s Spend The Night Together.” Those were only a single in Britain (confused yet?). Gentle accordion flourishes give this a Parisian atmosphere.
8. “Please Go Home” -- Also from the U.K. Between The Buttons. Not much substance here, but it certainly sounds cool -- a Bo Diddley-style guitar shuffle drenched in swirling echo.
9. “Mother’s Little Helper” -- The opening track of the British Aftermath. Even though it had the droning Indian instrumentation found on psychedelia of a slightly later era, its propulsive amphetamine rush and clattering percussion meant it was anything but mellow.
10. “Take It Or Leave It” -- Buried on Side Two of the British Aftermath, it was a universal consensus that this flat, melody-free acoustic lament was the weakest track on that otherwise fine album. Naturally, it was given top priority for Flowers over other more worthy choices. I say, rip-off #5.
11. “Ride On, Baby” -- Previously unreleased track from the Aftermath sessions. Exotic instrumentation included a harpsichord and Japanese koto, both played by multi-instrumentalist Brian Jones, who by the time of Flowers’ release, was already being edged out of the band due to his druggy unreliability. Conspiracy theorists after the fact noticed that Brain’s flower stem on the cover was missing its leaves.
12. “Sittin’ On A Fence” -- Another previously unreleased Aftermath outtake, this dark folk tune with delicate finger-picked guitar work has always been one of my favorite early Stones songs.

01. Rolling Stones, Ruby Tuesday (03:17)
02. Have You Seen Your Mother, Baby, Standing in the Shadow? (02:35)
03. Let's Spend the Night Together (03:38)
04. Lady Jane (03:08)
05. Out of Time (03:42)
06. My Girl (02:39)
07. Backstreet Girl (03:26)
08. Please Go Home (03:19)
09. Mother's Little Helper (02:47)
10. Take It or Leave It (02:47)
11. Ride On, Baby (02:53)
12. Sittin' on a Fence (03:02)

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Jethro Tull - Heavy Horses (1978)

Year: 10 April 1978 (CD ????)
Label: Chrysalis Records (UK), CDP 32 1175 2
Style: Gothic Rock, Classic Rock
Country: Blackpool, Lancashire, England
Time: 42:41
Format: Flac Tracks 16/44,1 kHz
Size: 260 Mb

Charts: UK #20, AUS #17, AUT #18, GER #4, NOR #13, SWE #27, SWI #30, US #19. UK: Silver; CAN & US: Gold.
While continuing the folk rock style of Songs From the Wood, Heavy Horses sees a tonal shift into more earthly and realist themes of country living, compared with the fantasy and mythology of the previous album. Anderson was again inspired by daily life at his recently purchased country estate in Buckinghamshire, saying that "I was living in the same house in the same place, and getting a bit more involved in farming and other rural stuff... so the horse-hoeing husbandry of the original Jethro Tull era was in the back of my mind." Several of the album's songs were directly inspired by Anderson's personal life at the estate: "...And the Mouse Police Never Sleeps" was partially inspired by his cat Mistletoe, "No Lullaby" was written as an "anti-lullaby" for his son and "Rover" was partially inspired by his dog Lupus. Other songs on the album such as "Weathercock" and the title track paint a cold and practical picture of country living, with the latter track described by Anderson as "a lament for the passing as working animals of those magnificent beasts, the heavy farm horses." Other track's lyrics were inspired by literature, such as "One Brown Mouse" inspired by the Robert Burns poem "To a Mouse" and "Moths" inspired by the John le Carre novel The Naive and Sentimental Lover.
Anderson stated that the recording of the album came at a time when other artists were moving towards the new trends in music, and the band decided they did not want "to appear as if we were trying to slip into the post-punk coattails that were worn by The Stranglers or The Police."
(en.wikipedia.org/wiki/Heavy_Horses)

01. ...And the Mouse Police Never Sleeps (03:14)
02. Acres Wild (03:25)
03. No Lullaby (07:55)
04. Moths (03:27)
05. Journeyman (03:57)
06. Rover (04:16)
07. One Brown Mouse (03:23)
08. Heavy Horses (08:59)
09. Weathercock (04:02)

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Stanley Turrentine - Common Touch (1969)

Year: Recorded August 30, 1968 (CD 1997)
Label: Blue Note Records (Europe), CDP 7243 8 54719 2 6
Style: Jazz
Country: Pittsburgh, U.S. (April 5, 1934 - September 12, 2000)
Time: 50:37
Format: Flac Tracks 16/44,1 kHz
Size: 295 Mb

Stanley William Turrentine (April 5, 1934 – September 12, 2000) was an American jazz tenor saxophonist and record producer. He began his career playing R&B for Earl Bostic and later soul jazz recording for the Blue Note label from 1960, touching on jazz fusion during a stint on CTI in the 1970s. He was described by critic Steve Huey as "renowned for his distinctively thick, rippling tone [and] earthy grounding in the blues." In the 1960s Turrentine was married to organist Shirley Scott, with whom he frequently recorded, and he was the younger brother of trumpeter Tommy Turrentine, with whom he also recorded.
Turrentine was born in Pittsburgh's Hill District, Pennsylvania, and was raised at 908 Bryn Mawr Road Pittsburgh PA 15219 on the 3rd floor Apartment. United States, into a musical family. His father, Thomas Turrentine Sr., was a saxophonist with Al Cooper's Savoy Sultans, his mother played stride piano, and his older brother Tommy Turrentine was a trumpet player.
He began his prolific career with blues and rhythm and blues bands, and was at first greatly influenced by Illinois Jacquet. He first toured with Lowell Fulson's band in 1951, at 17, and in 1953 Earl Bostic asked him to join his band, replacing John Coltrane. He also played in groups led by the pianist and composer Tadd Dameron.
Turrentine received his only formal musical training during his military stint in the mid-1950s. In 1959, he left the military and went straight into the band of the drummer Max Roach.
He married the organist Shirley Scott in 1960 and the two frequently played and recorded together. In the 1960s, he started working with organist Jimmy Smith, and made many soul jazz recordings both with Smith and as a leader. Scott and Turrentine divorced in 1971.
Turrentine turned to jazz fusion and signed for Creed Taylor's CTI label. His first album for CTI, Sugar, recorded in 1970, proved one of his biggest successes and a seminal recording for the label, closely followed by Don't Mess with Mister T. (1971). He worked with Freddie Hubbard, Milt Jackson, George Benson, Bob James, Richard Tee, Idris Muhammad, Ron Carter, Grant Green and Eric Gale. He returned to soul jazz in the 1980s and into the 1990s.
Turrentine lived in Fort Washington, Maryland, from the early 1990s until his death.
He died of a stroke in New York City on September 12, 2000, aged 66, and was buried in Pittsburgh's Allegheny Cemetery.
(en.wikipedia.org/wiki/Stanley_Turrentine)

01. Buster Brown (05:25)
02. Blowin' In The Wind (05:55)
03. Lonely Avenue (08:07)
04. Boogaloo (06:25)
05. Common Touch (06:21)
06. Living Through It All (07:17)
07. Ain't No Way (11:03)

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