Gary Moore & Colosseum II - Streets & Walkways - The Best Of Gary Moore & Colosseum II (1996)

Year: December 1996 (CD 1996)
Label: Music Club (UK), MCCD 272
Style: Blues-Rock, Jazz Rock, Hard Rock
Country: Belfast, Northern Ireland, UK (4 April 1952 - 6 February 2011)
Time: 76:28
Format: Flac Tracks 16/44,1 kHz
Size: 516 Mb

Colosseum II was a British progressive jazz-rock band formed in 1975 by former Colosseum drummer and bandleader Jon Hiseman, which featured guitarist Gary Moore.
Following the demise of his previous band, Tempest, Hiseman announced his plan for a new, as yet unnamed, outfit in November 1974, but only Moore was named as a member. Rehearsals were due to begin on 1 January 1975 but a permanent line-up was not finalised until May 1975. Among the musicians considered were singer Graham Bell, keyboardist Duncan Mackay and former Colosseum and Tempest bassist Mark Clarke. The line-up was eventually completed by singer Mike Starrs, keyboardist Don Airey and bassist Neil Murray. The band was oriented toward jazz fusion, much of which was driven by the guitar work of Moore, leading to a much heavier sound than the original Colosseum.
After disappointing sales of their first album, Strange New Flesh, Murray left and Starrs was sacked in July 1976. They continued with a new record label and a new bass player, John Mole, and recorded two further, largely instrumental, but still commercially unsuccessful albums. They also performed on Variations with Andrew Lloyd Webber, which also featured Julian Lloyd Webber on cello, Rod Argent on keyboards and Hiseman's wife, Barbara Thompson, on flute and sax. This album reached number 2 on the UK charts in early 1978.
In August of that year, Moore left to rejoin Thin Lizzy for a fourth spell, and Airey's brother Keith Airey replaced him on guitar. Plans for a fourth album fell through when Don Airey decided to join Rainbow in December 1978.
(en.wikipedia.org/wiki/Colosseum_II)

01. Back On The Streets (04:21)
02. Put It This Way (04:55)
03. Don't Believe A Word (03:44)
04. Desperado (06:01)
05. The Scorch (06:03)
06. All Skin And Bone (03:47)
07. Castles (05:40)
08. Lament (04:41)
09. Wardance (06:01)
10. Fighting Talk (05:54)
11. Song For Donna (05:26)
12. Major Keys (05:13)
13. Hurricane (04:53)
14. Starmaiden-Mysterioso-Quasar (06:23)
15. Parisienne Walkways (03:19)

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Deep Purple - Deep Purple [Vinyl Rip, 180 gram] (1969)

Year: 21 June 1969 (US), September 1969 (UK) (LP 20??)
Label: Tetragrammaton Records (US), T-119
Style: Hard Rock
Country: London, England
Time: 44:14
Format: Flac Tracks 24/96 kHz
Size: 926 Mb

This album marks the official end of Deep Purple, Mk. I. I'm bound by some kind of critic's oath to mention that. Said oath also requires me to soon launch into a discussion of the merits of Marks I and II, but I loathe oaths and the oafs who loaf them. I come, not to bury Mark I, but to kill the myth altogether.
Although the first lineup released three albums together, they did it in the span of less than one year. No one talks about Yes Mk. I or Jethro Tull Mk. I, lineups that lasted longer. The original lineup of Deep Purple was a highly productive, accelerated studio experiment. Their first album was an inspired knockoff of previous power trios (Vanilla Fudge, Cream) plus organ, the second showcased Jon Lord's vision of a classical rock band, the third brings the band's heavy rock and classical halves into better contrast. Listening to them today, the records show marked improvement along the way, but the Purple lineup was far from set in stone.
As the band got heavier (e.g., the second half of "April"), it became clear that they would need a louder singer. Deep Purple is a heavier record than past efforts. Ritchie Blackmore's guitar is better balanced with Jon Lord's organ, so that you're less likely to encounter a one-minute organ solo than in their past and more likely to encounter guitar solos that really rock. At its heaviest ("Why Didn't Rosemary?," "April"), the album points to the future of heavy metal. At its most creative ("Blind," "Chasing Shadows," "April" again), it points to the future of progressive rock. Purple was one of the few bands to straddle both camps; you could argue that Black Sabbath did the same, although both bands had as much in common with each other as they did with Led Zeppelin.
The band's first three records are all worth owning, particularly if your tastes run toward the progressive, with the third perhaps getting the nod as the most accomplished and confident of the three. The Purple that followed was a different beast, but it's not a new chapter so much as a bit of foreshadowing with an unexpectedly early payoff. In the new millennium, the band's third album was released with some bonus tracks including the earlier single, "Emmaretta."
(progrography.com/deep-purple/deep-purple-1969/) Review by Dave Connolly. July 22, 2018

Rod Evans – lead vocals
Ritchie Blackmore – guitar
Jon Lord – keyboards, backing vocals
Nick Simper – bass, backing vocals
Ian Paice – drums
Derek Lawrence – producer, mixing

01. A1 Chasing Shadows (05:34)
02. A2 Blind (05:25)
03. A3 Lalena (05:04)
04. A4a Fault Line, A4b The Painter (05:34)
05. B1 Why Didn't Rosemary (05:01)
06. B2 Bird Has Flown (05:33)
07. B3 April (12:00)

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Frank Sinatra - Duets [24 Karat Gold Ed.] (1993)

Year: November 2, 1993 (CD 1993)
Label: DCC Compact Classics (US), GZS-1053
Style: Soul-Jazz, Big Band, Easy Listening
Country: Hoboken, New Jersey, U.S. (December 12, 1915 - May 14, 1998)
Time: 46:18
Format: Flac Tracks 16/44,1 kHz
Size: 271 Mb

Duets is a moving Experience, if a little surreal. A horde of outsize talent - from Barbra and Aretha to Bono and Luther - gangs up on the genius who more or less invented 20th-century popular singing. Predictably, expert players madly dazzle while Frank shadowboxes his former glory. The recent rage for tributes, duets and high-concept packagings - sometimes nice lovefests, frequently triumphs of marketing over musical inspiration - reaches a zenith with Sinatra's first studio session in a decade. When he finds a pal, the action's nifty - Tony Bennett and Liza Minnelli urge Frank over the respective hurdles of "New York, New York" and "I've Got the World on a String." And the bizarre sound of Bono scat-crooning (and making like Bowie) on "I've Got You Under My Skin" is, um, arresting. Too often, however, such guests as Gloria Estefan, Anita Baker, Julio Iglesias and others overcompensate for sharing a mike with God by going nuts. With Kenny G sweetly accompanying, Frank's real moment is "All the Way/One for My Baby (and One More for the Road)": This is the emotion behind the Voice that once made galaxies swing.
Safer but stronger, Tony Bennett's Steppin' Out finds him reviving Gershwin, Cole Porter, Jerome Kern and Irving Berlin songs that Fred Astaire introduced. Classy, of course, is the operative concept; so, too, is the delightful exuberance that makes Bennett as much a treasure as any of these jewels.
(https://www.rollingstone.com/music/music-album-reviews/duets-2-128290/) Review by Paul Evans. December 23, 1993

01. Luther Vandross / The Lady Is A Tramp (03:27)
02. Aretha Franklin / What Now My Love (03:18)
03. Barbra Streisand / I've Got A Crush On You (03:27)
04. Julio Iglesias / Summer Wind (02:35)
05. Gloria Estefan / Come Rain Or Come Shine (04:07)
06. Tony Bennett / New York, New York (03:33)
07. Natalie Cole / They Can't Take That Away From Me (03:14)
08. Charles Aznavour / You Make Me Feel So Young (03:07)
09. with Carly Simon / Guess I'll Hang My Tears Out To Dry / In The Wee Small Hou... (04:00)
10. Liza Minnelli / I've Got The World On A String (02:21)
11. Anita Baker / Witchcraft (03:25)
12. Bono / I've Got You Under My Skin (03:35)
13. Kenny G / All The Way / One For My Baby (And One More For The Road) (06:05)

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Deep Purple - The Book Of Taliesyn [Vinyl Rip. Mono] (1968)

Year: October 1968 (LP Apr 18, 2015)
Label: Harvest Records (Europe), HVL 751, 2564618347
Style: Hard Rock
Country: London, England
Time: 43:41
Format: Flac Tracks 24/96 kHz
Size: 868 Mb

Early Deep Purple was always quick to write new albums, and 1969 gave life to their second output The Book of Taliesyn. Mark I, led for a great deal by the classically-trained Jon Lord, continues to write more of their own material, but still includes three covers in the album: Neil Diamond's Kentucky Woman, The Beatles' We Can Work It Out and River Deep, Mountain High by Ike and Tina Turner. Taliesyn is often seen as the bridge between the 60's pop/psychedelics and the 70's hard rock Deep Purple would become pioneers of.
And for fans of that hard rock, Taliesyn will be more easily digested than Shades. From the very first notes of Listen, Learn, Read On, a catchy psychedelic/blues rocker, Deep Purple sounds harder-edged. Notable standouts are Pace's drumming, which has now grown much more fierce (a style he would stick with throughout the rest of his career) and Evans' vocals, which have thankfully improved. Evans feels more at ease, it sounds like, and although he would be easily overshadowed by the likes of Gillan and Coverdale in later times, his performance is not as bland as it was on Shades.
Where the first track gave way to show an improved drummer and vocalist, the second track Hard Road (Wring That Neck) reveals the combined talents of the virtuosos Blackmore and Lord. An instrumental track, it starts off with an incredibly tasty jam on the keyboards by Lord, which gets countered one and a half minute in by what is Blackmore's first great (bluesy as it would always be) solo, after which the two continue jamming together until the end.
Although a slight improvement from Shades, the cover work is still nothing especially noteworthy. Closer River Deep, Mountain High is the weakest of these, being too much of a replica of the original. Kentucky Woman might feature a little bluesy improvisation, and Exposition, a prelude to We Can Work It Out but not an actual part of it, is interestingly bombastic, but that does not mean the actual cover work gets anyhow better by it. Luckily, Deep Purple would pursue their very own direction after this album and ditch the covers altogether.
The non-standout The Shield, which is essentially another jam session, reveals that although Deep Purple is developing their trademark sound here, they are not entirely sure of themselves just yet. Anthem hints of a lingering Shades-style, being a rather straightforward 60's pop song, but contains a heavily classical-influenced break that makes no complete sense being there but at the same time provides a surprising interlude for the song.
The Book of Taliesyn is an interesting mixture of a newly found harder sound, remnants of the pop/psychedelic directions found on Shades and another bunch of covers that fail to really add anything, but the transition is sound is the most interesting of its features. Vital to Deep Purple's development, their second album is a step up from their first, but remains merely passable overall.
(sputnikmusic.com/review/32712/Deep-Purple-The-Book-of-Taliesyn/)

- Roderick Evans: Lead Vocals
- Richard Hugh Blackmore: Lead Guitar
- Nicholas John Simper: Bass Guitar, Backing Vocals
- Jon Douglas Lord: Keyboards, Organ, Backing Vocals
- Ian Anderson Pace: Drums

01. A1 Listen, Learn, Read On (04:03)
02. A2 Hard Road (05:13)
03. A3 Kentucky Woman (04:45)
04. A4 a - Exposition, b - We Can Work It Out (06:58)
05. B1 Shield (06:00)
06. B2 Anthem (06:31)
07. B3 River Deep, Mountain High (10:07)

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Bob Dylan & The Band - The Basement Tapes [MFSL CD] (1975)

Year: June 26, 1975 (CD May 2012)
Label: Mobile Fidelity Sound Lab (US), UDSACD 2082
Style: Roots Rock, Country Rock, Acoustic
Country: Minnesota, U.S. / Toronto, Canada - Woodstock, New York, U.S.
Time: 77:35
Format: Flac Tracks 16/44,1 kHz
Size: 416 Mb

The Basement Tapes is the sixteenth album by the American singer-songwriter Bob Dylan and his second with the Band. It was released on June 26, 1975, by Columbia Records. Two-thirds of the album's 24 tracks feature Dylan on lead vocals backed by the Band, and were recorded in 1967, eight years before the album's release, in the lapse between the release of Blonde on Blonde and the subsequent recording and release of John Wesley Harding, during sessions that began at Dylan's house in Woodstock, New York, then moved to the basement of Big Pink. While most of these had appeared on bootleg albums, The Basement Tapes marked their first official release. The remaining eight songs, all previously unavailable, feature the Band without Dylan and were recorded between 1967 and 1975.
During his 1965-1966 world tour, Dylan was backed by the Hawks, a five-member rock group who would later become famous as the Band. After Dylan was injured in a motorcycle accident in July 1966, four members of the Hawks came to Dylan's home in the Woodstock area to collaborate with him on music and film projects. While Dylan was out of the public's eye during an extended period of recovery in 1967, he and the members of the Hawks recorded more than 100 tracks together, incorporating original compositions, contemporary covers, and traditional material. Dylan's new style of writing moved away from the urban sensibility and extended narratives that had characterized his most recent albums, Highway 61 Revisited and Blonde on Blonde, toward songs that were more intimate and which drew on many styles of traditional American music. While some of the basement songs are humorous, others dwell on nothingness, betrayal and a quest for salvation. In general, they possess a rootsy quality anticipating the Americana genre. For some critics, the songs on The Basement Tapes, which circulated widely in unofficial form, mounted a major stylistic challenge to rock music in the late sixties.
When Columbia Records prepared the album for official release in 1975, eight songs recorded solely by the Band-in various locations between 1967 and 1975-were added to 16 songs taped by Dylan and the Band in 1967. Overdubs were added in 1975 to songs from both categories. The Basement Tapes was critically acclaimed upon release, reaching number seven on the Billboard Top LPs & Tape album chart. Subsequently, the format of the 1975 album has led critics to question the omission of some of Dylan's best-known 1967 compositions and the inclusion of material by the Band that was not recorded in Woodstock.
(en.wikipedia.org/wiki/The_Basement_Tapes)

01. Odds And Ends (01:47)
02. Orange Juice Blues (Blues For Breakfast) (03:39)
03. Million Dollar Bash (02:32)
04. Yazoo Street Scandal (03:29)
05. Goin' To Acapulco (05:27)
06. Katies's Been Gone (02:48)
07. Lo And Behold! (02:46)
08. Bessie Smith (04:18)
09. Clothes Line Saga (02:58)
10. Apple Suckling Tree (02:48)
11. Please, Mrs. Henry (02:33)
12. Tears Of Rage (04:16)
13. Too Much Of Nothing (03:03)
14. Yea! Heavy And A Bottle Of Bread (02:14)
15. Ain't No More Cane (03:58)
16. Crash On The Levee (Down In The Flood) (02:04)
17. Ruben Remus (03:15)
18. Tiny Montgomery (02:51)
19. You Ain't Goin' Nowhere (02:42)
20. Don't Ya Tell Henry (03:13)
21. Nothing Was Delivered (04:23)
22. Open The Door, Homer (02:49)
23. Long Distance Operator (03:39)
24. This Wheel's On Fire (03:51)

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Deep Purple - Shades Of Deep Purple [Vinyl Rip] (1968)

Year: 17 July 1968 (US), September 1968 (UK) (LP Apr 19, 2014)
Label: Parlophone Records (UK), PMCR 7055
Style: Hard Rock
Country: London, England
Time: 43:28
Format: Flac Tracks 24/96 kHz
Size: 881 Mb

Billboard 200 (USA) #24; RPM100 Albums (Canada) #19.
Shades of Deep Purple is the debut album by the English rock band Deep Purple, released in July 1968 on Tetragrammaton in the United States and in September 1968 on Parlophone in the United Kingdom. The band, initially called Roundabout, was the idea of former Searchers drummer Chris Curtis, who recruited Jon Lord and Ritchie Blackmore before leaving the project. The Mk. I line-up of the band was completed by vocalist/frontman Rod Evans, along with bassist Nick Simper and drummer Ian Paice, in March 1968.
After about two months of rehearsals, Shades of Deep Purple was recorded in only three days in May 1968 and contains four original songs and four covers, thoroughly rearranged to include classical interludes and sound more psychedelic. Stylistically, the music is close to psychedelic rock and progressive rock, two genres with an ever-growing audience in the late 1960s.
The album was not well received in the UK, where it sold very few copies and did not chart. In the US, on the other hand, it was a success and the single "Hush", an energetic rock track written by Joe South and originally recorded by Billy Joe Royal, became very popular at the time, reaching number 4 on the US Billboard Hot 100 chart. The good sales of the album and the intense radio play of the single contributed largely to the attention Deep Purple would get in their early US tours and also during the 1970s. Modern reviews of the album are generally positive and consider Shades of Deep Purple an important piece in the history of Deep Purple.
(en.wikipedia.org/wiki/Shades_of_Deep_Purple)

01. A1 And The Address (04:41)
02. A2 Hush (04:22)
03. A3 One More Rainy Day (03:39)
04. A4 a - Prelude Happiness, b - I'm So Glad (07:18)
05. B1 Mandrake Root (06:08)
06. B2 Help (06:00)
07. B3 Love Help Me (03:49)
08. B4 Hey Joe (07:27)

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Pat Metheny Group - Letter From Home (1989)

Year: June 29, 1989 (CD Feb 7, 2006)
Label: Nonesuch / Metheny Group Productions (US, Europe), 7559-79940-2
Style: Jazz Fusion, Latin Jazz, Crossover Jazz
Country: Missouri, U.S. (August 12, 1954)
Time: 71:49
Format: Flac Tracks 16/44,1 kHz
Size: 412 Mb

Picking up where Still Life (Talking) leaves off (instead of throwing listeners a curve ball like Song X), the equally triumphant Letter from Home stresses Brazilian elements with superb results. While a number of these treasures -- including "Beat 70," "Have You Heard," and "Every Summer Night" -- are light and accessible enough to have enjoyed exposure on some smooth jazz stations, Letter contains the type of depth and honesty that's sorely lacking in most smooth jazz. Metheny has always known the difference between light and lightweight, and even at his most delicate, he avoids entering "Muzak" territory. True to form, the improviser doesn't shy away from making extensive use of technology, but is insightful enough to do so in a very warm and soulful fashion. Like Still Life, Letter from Home is a fine example of a CD that is both a commercial and an artistic success.
(allmusic.com/album/letter-from-home-mw0000653812)

01. Have You Heard (06:25)
02. Every Summer Night (07:13)
03. Better Days Ahead (03:03)
04. Spring Ain't Here (06:55)
05. 45/8 (00:57)
06. 5-5-7 (07:54)
07. Beat 70 (04:55)
08. Dream of the Return (05:26)
09. Are We There Yet (07:55)
10. Vidala (03:03)
11. Slip Away (05:25)
12. Letter From Home (02:33)

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Yes - Relayer [Japan Ed.] (1974)

Year: 29 November 1974 (CD 22 Jul 2009)
Label: Warner Music (Japan), WPCR-13521
Style: Symphonic Rock
Country: London, England
Time: 69:31
Format: Flac Tracks 16/44,1 kHz
Size: 503 Mb

In 1973 Yes released their most pompous, overblown, and over-the-top effort ever, Tales From Topographic Oceans. Although fans were now somewhat used to longer songs by Yes, four 20 minute songs was not what they had in mind. After the commercial disappointment and mixed reactions from fans, Rick Wakeman decided to leave the band in order to pursue his solo career. This left a large void in Yes, as Wakeman's lead keyboard work was a huge part of the band as we had been shown in such masterpieces like Close to the Edge and Siberian Khatru. The man to replace him was an entirely different type of player, one that would take Yes's sound to a new level that they had not seen before. Coming from a jazz background, Patrick Moraz was not as much of a lead player as Wakeman was, but he was perfect at completing everything that was going on.
By the time Moraz had joined the band, most of the material for the album had been written, so much of his influence is not shown with the exception of the frantic jazz-fusion bazed Sound Chaser. One huge characteristic of this album is that the guitar takes a very leading role along with the drumming, making Relayer the "Steve Howe/Alan White" show. Many of the sounds on Relayer are far more aggressive than previous albums with the guitar at center stage, which is by no means a bad thing. From the get go with The Gates of Delirium, Steve Howe shows us that his leadership can produce great tracks and a great Yes album in general.
This opening track is based off of War And Peace, and is divided into three (or four if you'd like) large sections. Kicking things off we instantly notice a more raw sound to this cd, with Steve Howe's guitar dibbling over a small Patrick Moraz background does a great job of emulating a buildup of some sort. Jon Anderson kicks in with his classic vocals, this time dealing directly with the topics war. Throughout this whole song, there is always a lot going on. Even at slower points, Steve Howe's guitar can run at a frantic pace, and Alan White's drumming is always at a top notch level. Moraz throws in his lead keyboard lines from time to time to continue driving the song forward. Then at 4:30 we see a repeat of keyboard line, but Moraz's genuious shines and we see an awesome intro to this line. After one more round of classic Jon Anderson, we begin to enter into the "battle" section. Starting with a guitar line that we have heard already, it becomes perfect when Moraz repeats the D minor chord from the behind and Steve Howe adds just a little bit more to put it over the top. The battle section is an intense fury of music, Chris Squire finally shines in this part putting in his best bass work, and Alan White comes in full force with perfect drumming alongside some quick Patrick Moraz keyboard work. Throughout this part quick changes come along as Steve Howe will go off on the guitar with a fantastic flurry of notes that is quickly succeeded by Moraz with more lines of keyboard goodness. Eventually this all explodes into one final burst that brings up an ascending keyboard line that just keeps climbing higher and higher until it finally shifts to Steve Howe, who puts it over the edge and sends into the section named "Soon". This section is a large departure from the earlier parts of the song in that it is entire soft, but it is also entirely beautiful. Jon Anderson's vocals shine here and round off this song, making The Gates of Delirium one of the greatest progressive rock tracks ever written.
(full version: sputnikmusic.com/review/11160/Yes-Relayer/) Review by clairvoyant. February 21st, 2007

01. The Gates Of Delirium (21:56)
02. Sound Chaser (09:27)
03. To Be Over (09:19)
04. Soon (Single Edit) (04:17)
05. Sound Chaser (Single Edit) (03:13)
06. The Gates Of Delirium (Studio Run-Through) (21:16)

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Led Zeppelin - Coda [Vinyl Rip] (1982)

Year: 26 November 1982 (LP 1982)
Label: Swan Song Records (Germany), 79.0051-1/UK: a 0051
Style: Hard Rock
Country: London, England
Time: 33:06
Format: Flac Tracks 24/96 kHz
Size: 747 Mb

Charts: UK #4, AUS #9, AUT #17, CAN #3, GER #5, JPN #16, NLD #9, NZ #7, NOR #18, US #6. UK: Silver; US: Platinum.
Coda is a unique album for us to review. Although it is listed officially as the ninth and final studio album by Led Zeppelin, it could just as well be listed as a quasi-compilation of unreleased tracks in the tradition of The Who’s Odds and Sods or Bob Dylan’s Basement Tapes. Like those, this is a fine and entertaining album, and a must-have for any serious fan of the artist. But we internally debated whether it was proper to include Coda with our reviews from 1982. After all, it had been a full two years since the death of drummer John Bonham and the subsequent disbandment of Led Zeppelin as a cohesive group. Also, the most recent recordings on Coda were made four years prior to its November 1982 release, with the earliest recording stretching back to the late 1960s. The truth is, we simply could not overlook this album. After all, this IS Led Zeppelin and this band is likely to be the only one which Classic Rock Review covers every single studio album (I mean, we’ve already done Presence, what can we possibly exclude?)
The album spans the band’s entire career, from live performances just after their debut album to unused songs from In Through the Out Door sessions. However, it focuses mainly on the bookends of very early material and very recent material with very little representation from the band’s most popular “middle” years. This is most likely due to the fact that 1975’s Physical Graffiti included many unreleased songs from that era.
With such a chasm between the early and recent material, producer and lead guitarist Jimmy Page did a great job making it all sound cohesive. This included extensive, yet not overwhelming, post-production treatment of each track. According to Page, the album was released because there was so much bootleg stuff out following the disbandment. However, Coda was not a comprehensive collection in its original form. The 1982 LP contained eight tracks and ran at a mere 33 minutes in length. Eleven years later, four more tracks were added to CD versions of the album, tracks which were mysteriously excluded originally. Some have suggested it was really only released to fulfill a contract obligation to Atlantic Records.
(full version: classicrockreview.com/2012/04/1982-led-zeppelin-coda/)
Matrix - side A: R/S Alsdorf 790051-1 A5x LZ RAYS 49; side B: R/S Alsdorf 790051-1 B LZ RAIS.

01. A1 We're Gonna Groove (02:38)
02. A2 Poor Tom (03:03)
03. A3 I Can't Quit You Baby (04:18)
04. A4 Walter's Walk (04:31)
05. B1 Ozone Baby (03:36)
06. B2 Darlene (05:07)
07. B3 Bonzo's Montreux (04:19)
08. B4 Wearing And Tearing (05:29)

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Elton John - Tumbleweed Connection [MFSL CD] (1970)

Year: 30 October 1970 (CD Jan 1991)
Label: Mobile Fidelity Sound Lab (US), UDCD 543
Style: Rock, Pop, Roots Rock
Country: Pinner, Middlesex, England (25 March 1947)
Time: 47:03
Format: Flac Tracks 16/44,1 kHz
Size: 268 Mb

Charts: UK #2, AUS #4, CAN #4, NLD #4, SWE #14, US #5. US: Gold.
It is a concept album based on country and western and Americana themes. All songs are written by John and Bernie Taupin, with the exception of "Love Song" by Lesley Duncan.
In 2012, Tumbleweed Connection was ranked number 458 on Rolling Stone magazine's list of the 500 greatest albums of all time.
The wraparound cover photo for the album was taken at Sheffield Park railway station in Sussex, approximately 30 miles (50 km) south of London on the Bluebell Railway. Photographer Ian Digby Ovens[10] captured John (seated to the right in the photo but appearing to the left on the front cover, shown above) and Taupin (standing to the left, on the back cover) in front of the late-nineteenth-century station, to represent the album's rural Americana concept despite the English location. Additional photos were taken from the interior of a train on the line for the album liner notes and libretto.
In August 2020, the Bluebell Railway announced that, to mark the 50th anniversary of the release of the album, it had restored the station to look as it did when the cover photo was taken, giving people an opportunity to re-create the scene in their own photos.
(en.wikipedia.org/wiki/Tumbleweed_Connection)

01. Ballad Of A Well-Known Gun (05:00)
02. Come Down In Time (03:25)
03. Country Comfort (05:06)
04. Son Of Your Father (03:47)
05. My Father's Gun (06:21)
06. Where To Now St. Peter? (04:12)
07. Love Song (03:41)
08. Amoreena (04:58)
09. Talking Old Soldiers (04:08)
10. Burn Down The Mission (06:19)

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Sting - The Dream of the Blue Turtles [MFSL CD] (1985)

Year: 17 June 1985 (CD 04 Jan 1990)
Label: Mobile Fidelity Sound Lab (US), UDCD 528
Style: Rock, Pop, Ska, Reggae
Country: Wallsend, England (2 October 1951)
Time: 41:45
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

Charts: UK #3, AUS #1, AUT #13, FRA #4, GER #4, NLD #1, NOR #4, SWE #5, SWI #6, US #2. France & Germany: Platinum; UK: 2x Platinum; US: 3x Platinum.
With the Police on hiatus, Sting had choices galore for ways to make his inevitable solo album. The most obvious was to become the world’s bestqualified Police imitator; what he did instead smacks of brilliantly enlightened self-interest.
Der Stingle chose to form a new band with young jazz hotshots from Weather Report (drummer Omar Hakim) and the Miles Davis group (bassist Darryl Jones), plus saxophonist Branford Marsalis and keyboardist Kenny Kirkland. These aren’t the usual sleepy gang of veteran sidemen; they never bothered to learn pop-jazz cliches, but they know their Jimi Hendrix, Chic, Herbie Hancock and Led Zeppelin, along with their Duke Ellington.
Unlike Joni Mitchell, another Big Blond Star who attempted this kind of jazzification, Sting can swing. You can hear how much fun he’s having, and how much goosing he gets from the band, in the remake of the Police’s "Shadows in the Rain." The spooky, dubwise reggae tune from Zenyatta Mondatta now steams along like a workout by soul-jazz organist Jimmy Smith. Kirkland pumps out organ chords over Hakim’s stomp, while Sting and Marsalis dodge each others’ syncopations around the bass line.
But except for "Shadows," the bluesy "Consider Me Gone" and an instrumental, "Blue Turtles," that grafts progressive 1960s jazz onto a Weather Reporty march, The Dream of the Blue Turtles is a pop record above all. It’s only a jam session between the lines, where Marsalis answers Sting’s voice with slyly ubiquitous fanfares and curlicues and epigrams.
Sting still writes short, modal melody lines, and sometimes he plays around with the Police’s quiet marches (a la "King of Pain") and Afro-Anglo-Caribbean rhythms - to do anything else would be like changing his fingerprints. But if you listen to the way verses and phrases end, there are new twists, surprising extended chords by way of Steely Dan, Weather Report and Ellington. Although Sting is working with world-class improvisers, many of his new band’s arrangements are more structured than tracks by the Police. That amazing trio could juggle rhythm and lead roles like nobody’s business, while a quintet that tried the same openness would find itself in chaos. The new band is also punchier than the Police, because Kirkland’s keyboards - especially the organ - reinforce the rhythm, and the Hakim-Jones team packs a mighty wallop.
Solo albums are traditionally variety shows and statements of purpose, and The Dream of the Blue Turtles is a little of both. Sting delves into neovaudeville with "Moon over Bourbon Street" and serioso classical hymnology with "Russians," a disarmament song. He also comments on the British miners’ strike ("We Work the Black Seam"), on lost generations ("Children’s Crusade") and on matters philosophical and epistemological ("Love Is the Seventh Wave" and "If You Love Somebody Set Them Free").
When I saw the band in concert (as you should when it tours this summer), its musical exuberance was contagious: I kept losing track of the lyrics in the brainy kicks of the music. On record, things are a little more sober - and, to my taste, too earnest.
It was easy to see it coming. Sting has been driven to tears by world problems since the Police’s third-world tour. Yet I’d suspect that the rest of the band edited his pronouncements for commercial zoning; without them, he does tend to go on about "All the bloodshed all the anger/All the weapons all the greed/All the armies all the missiles/All the symbols of our fear," as he does on "Love Is the Seventh Wave."
"Children’s Crusade" makes a rather tenuous connection between soldiers in World War I and young drug users. "We Work the Black Seam" - with a winding melody that suggests climbing and descending and with a rhythm track like the clang of picks - extrapolates from neat denunciations of Thatcherism ("We matter more than pounds and pence/Your economic theory makes no sense") and nuclear power ("Bury the waste in a great big hole") to goofy stuff about the universe. Sting acts worried about carbon 14, which must be easier to rhyme than plutonium.
I’m all for political songs, and there’s no better vehicle for them than a megastar album. Yet Sting sabotages his own good intentions when he gets preachy or spacey or sanctimonious. "If You Love Somebody Set Them Free" is a postgrammatical, T-shirt sentiment and a denunciation of possessiveness that would be a lot more convincing issued by someone other than a millionaire. If Sting really believes that we can be happy with less, he can send me $500,000, care of this magazine.
So dump the lyric sheet and enjoy the tunes: the transparency of "We Work the Black Seam," the way "Children’s Crusade" slowly spirals to its climax, the Caribbean lilt of "Love Is the Seventh Wave," the impassioned singing on "If You Love Somebody Set Them Free" and the delicate-to-martial dynamics of "Fortress around Your Heart," which evokes Pete Townshend and Steely Dan, along with the Police. Sting the musician has more to say than Sting the deep thinker - especially when he’s paced, and pushed, by extraordinary young musicians.
(rollingstone.com/music/music-album-reviews/the-dream-of-the-blue-turtles-190421/) Review by Jon Pareles. June 17, 1997

01. If You Love Somebody Set Them Free (04:19)
02. Love Is The Seventh Wave (03:32)
03. Russians (03:57)
04. Children's Crusade (05:02)
05. Shadows In The Rain (04:50)
06. We Work The Black Seam (05:41)
07. Consider Me Gone (04:20)
08. The Dream Of The Blue Turtles (01:18)
09. Moon Over Bourbon Street (04:00)
10. Fortress Around Your Heart (04:42)

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Three Dog Night - It Ain't Easy [Japan Ed. SHM-CD] (1970)

Year: March 31, 1970 (CD April 24, 2013)
Label: Universal Music (Japan), UICY-75565
Style: Classic Rock, Rock
Country: Los Angeles, California, U.S.
Time: 32:21
Format: Flac Tracks 16/44,1 kHz
Size: 208 Mb

According to lead singer Chuck Negron's book Three Dog Nightmare, the album's working title was The Wizards of Orange, with a cover featuring the band's members wearing orange make-up and posing in the nude. The band's record company, ABC/Dunhill, rejected the original album title and cover art, although some configurations of their first "greatest hits" album, 1971's Golden Bisquits, would later be packaged using It Ain't Easy's original cover photo.
Reviewing in Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau wrote: "Admitting it won't gain me any of the hip cachet I crave, but I admired and enjoyed this group's first LP. I found the second mediocre and the live job that followed it wretchedly excessive, but this one-their fourth in just fourteen months-gets back: exemplary song-finding and not too much plastic-soul melon-mouthing or preening vocal pyrotechnique. Highlights: the hit version of Randy Newman's 'Mama Told Me Not to Come,' with just the right admixture of high-spirited schlock to turn it into the AM giant it deserves to be, and a departure from pre-Beatles times called "Good Feeling (1957)."
(en.wikipedia.org/wiki/It_Ain%27t_Easy_(Three_Dog_Night_album))

01. Women (04:40)
02. Cowboy (03:41)
03. It Ain't Easy (02:47)
04. Out In The Country (03:10)
05. Good Feeling 1957 (03:35)
06. Rock & Roll Widow (02:57)
07. Mama Told Me (Not To Come) (03:19)
08. Your Song (03:59)
09. Good Time Living (04:08)

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Ken Hensley (Uriah Heep) - Free Spirit (1980)

Year: 1980 (CD 1993)
Label: Repertoire Records (Germany), REP 4343-WY
Style: Pop, Pop Rock
Country: London, England (24 August 1945 - 4 November 2020)
Time: 35:06
Format: Flac Tracks 16/44,1 kHz
Size: 219 Mb

From childhood poet to legendary status is a long, long road and it?s hard to cut this particular story short .... so why try?
Born in London with music in his family and in his blood, Ken formed the dream of being a rock star at the age of 11 when he bribed his parents into buying him a guitar.
Armed with not much more than sheer determination he moved from step to step always looking for a way to advance his powerful ambitions.
This was achieved through bands like The Gods which went through several incarnations before recording 2 albums for EMI Records and until the formation of Uriah Heep in 1970, the group in which all of his dreams came true and which changed his life forever and in many ways.
Ken will tell you that he is a first and foremost a writer/composer/lyricist and his enormous history of world-wide hit records is testimony to this, as is his history of world-wide sales of over 40 million records.
After returning to Europe from the US, Ken began the climb back into rock & roll history and in 2007 released the acclaimed rock opera Blood On The Highway.
Steadily Ken grew back into the consciousness of his huge fan base and, either solo or with Live Fire, the live performances thrilled audiences from Norway to Russia and all points in between.
With his classic autobiography, "When Too Many Dreams Come True" printed in English, Russian and Bulgarian, the man who first made his mark in the 20th century is now clearly capturing the 21st.
With a new CD of rare songs already mixed, 2012 saw the release of another stunning solo CD, "Love & Other Mysteries" and the recording of a double live CD and DVD with Live Fire. It was also the 50th anniversary of his life on the road … "50 Years On The Job" !!!
In 2013, Cherry Red Records released a brilliant new Live Fire CD called "TROUBLE" which embodied all the lyrical and musical power of Ken?s best efforts with Heep, transformed into a 21st century classic album.
Live Fire merged some of these great tracks into their live shows as they stormed every market they visited.
2013 also saw a dramatic increase in the demand for Ken?s solo shows and this momentum rolled right into 2014, with Live Fire making its first appearance in Russia, with two sold-out shows in Moscow and Kaluga.
With tours in Ukraine, Crimea, Latvia and Russia, Ken continued to grow the audience for his solo shows and The Legends continued with two memorable concerts on The November "Rock Cruise".
Before anyone knew it, it was already 2015 and Ken began finishing a bunch of new songs for a CD to be recorded this year.
Teamed with Steve Weltman, his partner, manager and friend, they are planning (some would say "plotting") a lot of interesting projects for this year and next, so stay tuned here to get all the updates.
It has been said before and it?s worth saying again .....
Ken Hensley is a rock & roll legend with no plans to stop.
(ken-hensley.com/ken.html) Ken Hensley. An Official Mini Biography

01. Inside The Mystery (04:39)
02. New York (02:25)
03. The System (02:34)
04. When (03:48)
05. No More (04:38)
06. Brown Eyed Boy (04:05)
07. Do You Feel Alright (02:52)
08. Telephone (03:11)
09. Woman (03:23)
10. New Routine (03:27)

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Cream - Live At The Fillmore [Japan Ed. Unofficial Release] (1968)

Year: 1968 (CD 2001)
Label: C R M Records (Japan), CRM 801/2
Style: Rock, Blues Rock, Hard Rock
Country: London, England
Time: 65:45, 60:24
Format: Flac Tracks 16/44,1 kHz
Size: 299, 285 Mb

Recording quality is poor.
Cream, British rock trio that was the first “supergroup” (made up of musicians who had achieved fame independently before coming together as a band). Cream blended rock, blues, psychedelic rock, and a hint of jazz to create a unique sound. It was known for dexterous live improvisations that often turned into extended jam sessions. The members were Eric Clapton (b. March 30, 1945, Ripley, Surrey, England), Jack Bruce (b. May 14, 1943, Lanarkshire, Scotland—d. October 25, 2014, Suffolk, England), and Ginger Baker (b. August 19, 1939, London, England—d. October 6, 2019).
Cream was formed in 1966 while Clapton was still the lead guitarist of the prominent British blues band John Mayall’s Bluesbreakers. Before that he had been the lead guitarist of the Yardbirds (Jeff Beck and Jimmy Page [later of Led Zeppelin] would follow him in that position). Clapton was approached by drummer Baker to form a group focused on expanding the blues-jazz sound. Clapton accepted the invitation with the caveat that Bruce play bass guitar. Despite the long-standing hostility between Bruce and himself, Baker reluctantly agreed, and the three musicians formed Cream. The band’s beginning marked the end of Clapton’s Bluesbreakers’ stint. Before forming Cream, Baker and Bruce had already gained fame as members of British blues musician Alexis Korner’s Blues Incorporated and later as members of the popular Graham Bond Organisation, a jazz and rhythm-and-blues outfit. Bruce and Pete Brown, a poet who was sometimes called Cream’s fourth member, wrote most of band’s lyrics.
Clapton’s style as a guitarist had long been influenced by Chicago and Delta bluesmen such as B.B. King, Robert Johnson, Buddy Guy, Howlin’ Wolf, Muddy Waters, and Elmore James. Bruce (who was also the group’s lead vocalist) and Baker veered more toward jazz, with influences that included Art Blakey, Max Roach, Phil Seamen, Charles Mingus, Charlie Parker, and Dizzy Gillespie. Bruce was especially enamoured of bassist James Jamerson (who played in Motown’s house band, the Funk Brothers), and Baker was also inspired by world music, specifically African popular music.
Many of the tracks on the band’s first album, Fresh Cream (1966), still retained the bluesy sound that its members were accustomed to producing. Although widely considered mediocre by rock critics, it appeared on the top 100 album charts in both the United Kingdom and the United States.
Cream’s second album, Disraeli Gears (1967), veered farther away from the band’s blues comfort zone by incorporating Brown’s and Bruce’s mystical lyrics and guitar techniques that alternated between droning distortion and wailing effects-pedal-assisted riffs. Bruce sometimes played his bass as something of a lead instrument, and Baker’s drumming incorporated jazz tempos—approaches that had not been heard much in rock music at the time. The album broke into the top 10 on both sides of the Atlantic. Its second track, “Sunshine of Your Love,” highlighted the smooth transition from blues to a more psychedelic sound and was touted by critics as the perfect hybrid of hard rock, blues, and psychedelia. It was by far the most popular single from Disraeli Gears and the only Cream single to reach gold status (over 500,000 units sold) in the United States. Cream followed Disraeli Gears with its third and best-selling album, Wheels of Fire (1968), a mixture of studio and live recordings densely packed into two records that became the first platinum-selling (over 1,000,000 units sold) double album. It showcased “White Room,” arguably the group’s most popular song, which layered haunting vocals on top of shimmering guitars. The album also included a live rendition of Robert Johnson’s “Crossroads” that featured an oft-imitated solo by Clapton that is considered by many to be one of the greatest guitar solos ever.
In late 1968 Cream decided to disband—a decision that was largely a consequence of the animosity between Bruce and Baker. The band’s six-track farewell album, Goodbye (1969), featured “Badge,” which Clapton cowrote with George Harrison of the Beatles. The group’s lifespan was just under three years. At the tail end of the 1960s into the ’70s, the former members of Cream went on to establish other supergroups such as Blind Faith and Derek and the Dominos, and Cream’s style greatly influenced progressive rock acts such as Rush and the live “jam band” performances of groups such as the Allman Brothers Band.
Cream was inducted into the Rock and Roll Hall of Fame in 1993, and the group performed for the first time in 25 years at the induction ceremony. In 2006 the band received a Grammy Award for lifetime achievement.
(britannica.com/topic/Cream-British-rock-group) Review by Shirese Franklin. Last Updated: Feb 26, 2024

01. Tales Of Brave Ulysses (04:02)
02. Sunshine Of Your Love (05:28)
03. Nsu (09:49)
04. Lawdy Mama (04:55)
05. Sweet Wine (11:00)
06. Spoonful (12:04)
07. Sleepy Time Time (07:07)
08. Stepping Out (11:15)

01. Nsu (16:49)
02. Politician (05:52)
03. Sunshine Of Your Love (09:05)
04. I'm So Glad (14:08)
05. Stepping Out (14:28)

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Kaleidoscope - Tangerine Dream [4 bonus tracks] (1967)

Year: 24 November 1967 (CD 1998)
Label: Repertoire Records (Germany), PMS 7074-WP
Style: Psychedelic Rock
Country: London, England
Time: 51:40
Format: Flac Tracks 16/44,1 kHz
Size: 267 Mb

Kaleidoscope are an English psychedelic rock band from London that originally were active between 1967 and 1970. The band's songs combined the elements of psychedelia with whimsical lyrics. The band were also known at various times as The Sidekicks, The Key, I Luv Wight and Fairfield Parlour.
Having performed since 1963 under the name The Sidekicks, they became The Key in November 1965, before settling upon the name Kaleidoscope when they signed a deal with Fontana Records in January 1967 with the help of the music publisher Dick Leahy. The group consisted of Eddy Pumer on guitar, Steve Clark on bass and flute, and Danny Bridgman on drums and the vocalist Peter Daltrey, who also played various keyboard instruments. Most of the band's songs were compositions of Pumer's music and Daltrey's lyrics. While the group did not achieve major commercial success in its time, it retains a loyal fan base and its recordings are still held in high regard.
The band's first single "Flight from Ashiya" (b/w "Holidaymaker") was released on 15 September 1967 by Fontana Records, a little earlier than the band's first album Tangerine Dream. The single, with its lyric about an impending plane crash, got critical acclaim and quite an amount of radio airplay but failed to reach the charts. The song has subsequently appeared on many compilation albums, including Nuggets II: Original Artyfacts from the British Empire and Beyond, 1964–1969, the second box set of the Nuggets series, and Acid Drops, Spacedust & Flying Saucers: Psychedelic Confectionery.
Two months later, Tangerine Dream—also produced by Dick Leahy—was released. The album included "Flight From Ashiya", "Please Excuse My Face" and "Dive into Yesterday," now considered some of the band's best songs. Meanwhile, the band performed live on several BBC radio shows. A new single was released in 1968 called "Jenny Artichoke" (b/w "Just How Much You Are"), inspired by Donovan's, "Jennifer Juniper". After the release the band traveled around Europe, supporting Country Joe and the Fish at the Amsterdam Concert Hall while in Netherlands. Faintly Blowing, also produced by Leahy, was released in 1969 by Fontana Records. This time the band's sound was heavier, but the tracks still included psychedelic elements with striking lyrics but it failed to reach the charts. After the failure of Faintly Blowing, they released two more singles.
(en.wikipedia.org/wiki/Kaleidoscope_(British_band))

01. Kaleidoscope (02:15)
02. Please Excuse My Face (02:11)
03. Dive Into Yesterday (04:46)
04. Mr. Small, The Watch Repairer Man (02:43)
05. Flight From Ashiya (02:40)
06. The Murder Of Lewis Tollani (02:47)
07. (Further Reflections) In The Room Of Percussion (03:19)
08. Dear Nellie Goodrich (02:46)
09. Holidaymaker (02:29)
10. A Lesson Perhaps (02:42)
11. The Sky Children (08:00)
12. Flight From Ashiya (mono single version) (02:40)
13. Holiday Maker (mono single version) (02:29)
14. A Dream For Julie (02:47)
15. Please Excuse My Face (mono single mix) (02:11)
16. Jenny Artichoke (02:37)
17. Just How Much You Are (02:11)

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Stray - Stray [Vinyl Rip] (1970)

Year: June 1970 (LP 1970)
Label: Transatlantic Records (UK), TRA 216
Style: Hard Rock, Psychedelic Rock
Country: London, England
Time: 45:00
Format: Flac Tracks 24/96 kHz
Size: 867 Mb

Unknown "Rip".
Stray is an English hard rock band formed in 1966. Vocalist Steve Gadd (born Stephen Gadd, 27 April 1952, Shepherd's Bush, West London), guitarist Del Bromham (born Derek Roy Bromham, 25 November 1951, Acton, West London), bass player Gary Giles (born Gary Stephen Giles, 23 February 1952, North Kensington, West London) and drummer Steve Crutchley (born 1952) formed the band whilst all were attending the Christopher Wren School in London. Richard "Ritchie" Cole (born 10 November 1951, Shepherd's Bush, West London) replaced Crutchley in 1968. They signed to Transatlantic Records in January 1970.
The group's brand of melodic, hook-laden hard rock proved to be a popular draw on the local club scene during the early 1970s. However the band did not have commercial success with its record releases. At one stage Charlie Kray (brother of the Kray twins Ronnie and Reggie), was their manager. Gadd left the band in 1975 due to artistic differences and was replaced on vocals by Pete Dyer. The group's early musical style consisted of blues rock, acid rock and psychedelic rock. They then went on to join the hard rock and progressive rock movement.
The band served as the rhythm section alongside a string orchestra for the 1975 Jimmy Helms Pye Lp Songs I Sing. The original Stray finally dissolved in 1977, although Bromham later continued to play in various resurrected versions of the project well into the 2000s. By the 2010s the band had a settled lineup again, as well as Del Bromham, Pete Dyer returned and Stuart Uren (bass) and Karl Randall (drums) were regularly gigging as Stray. In November 2016 the band hosted a 50th Anniversary celebration concert (featuring all original members) at a sold-out London Borderline.
In 2003 Stray were the support band to Iron Maiden on several of their European dates on the Dance of Death World Tour 2003-2004. These included dates in Spain, Portugal, Poland and France. There are two other Iron Maiden connections to Stray. "All in Your Mind" from Stray's 1970 debut album was covered by Iron Maiden and was included on the 1995 reissue of No Prayer For The Dying, and Maiden bassist Steve Harris's daughter Lauren has covered "Come On Over".
(metal.fandom.com/wiki/Stray_(band))

01. A1 All In Your Mind (09:05)
02. A2 Taken All The Good Things (05:22)
03. A3 Around The World In Eighty Days (03:30)
04. A4 Time Machine (04:34)
05. B1 Only What You Make It (03:54)
06. B2 Yesterdays Promises (04:13)
07. B3 Move On (05:36)
08. B4 In Reverse - Some Say (08:43)

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John & Yoko / Plastic Ono Band - Sometime In New York City - Live Jam [Japan Ed. 2CD] (1972)

Year: 12 June 1972 (CD 2007)
Label: EMI Records (Japan), TOCP-70393 / TOCP-70394
Style: Rock, Pop Rock, Rock & Roll
Country: Liverpool, England (9 October 1940 - 8 December 1980)
Time: 43:37, 47:26
Format: Flac Tracks 16/44,1 kHz
Size: 268, 297 Mb

Some Time in New York City is a part-studio, part-live double album by John Lennon and Yoko Ono as Plastic Ono Band that included backing by the American rock band Elephant's Memory. Released in June 1972 in the US and in September 1972 in the UK on Apple Records, it is Lennon's sixth album to be released under his own name, and his fourth with Ono. Like Lennon's previous solo albums, it was co-produced by Lennon, Ono and Phil Spector. The album's agitprop lyrics are politically charged compared to its predecessors, addressing political and social issues and topics such as sexism, incarceration, colonialism, and racism.
Recording for the album's studio portion took place between December 1971 and March 1972 while the live portion, released as Live Jam, was recorded on 15 December 1969 at the Lyceum Ballroom in London for a UNICEF charity concert and on 6 June 1971 at Fillmore East in New York City. Musicians who contributed to the 1969 performance included Eric Clapton, George Harrison, Nicky Hopkins, Keith Moon and Klaus Voormann, while the 1971 performance featured Frank Zappa and his band the Mothers of Invention.
Preceded by the single "Woman Is the Nigger of the World", which caused controversy due to its title, Some Time in New York City received scathing reviews on release and performed poorly commercially. Reviewers were especially critical of its politically charged content. Zappa was critical of Lennon and Ono's handling of the recordings of the Mothers performance, eventually releasing his own version of the performance on Playground Psychotics (1992). Some Time in New York City was reissued on compact disc in 2005 as a single album, removing several of the Live Jam songs while adding other non-album singles, and again on CD in 2010 in its original double album format.
(en.wikipedia.org/wiki/Some_Time_in_New_York_City)

CD1 "Sometime In New York City":
01. Woman Is The Nigger Of The World (05:17)
02. Sisters, O Sisters (03:48)
03. Attica State (02:57)
04. Born In A Prison (04:05)
05. New York City (04:32)
06. Sunday Bloody Sunday (05:03)
07. The Luck Of The Irish (02:59)
08. John Sinclair (03:30)
09. Angela (04:08)
10. We're All Water (07:13)

CD2 "Live Jam":
01. Cold Turkey (08:35)
02. Don't Worry Kyoko (16:00)
03. Well (Baby Please Don't Go) (04:41)
04. Jamrag (05:36)
05. Scumbag (04:27)
06. Au (08:04)

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Ashton Gardner and Dyke - Let It Roll - Live 1971 (1971)

Year: 1971 (CD 2001)
Label: Purple Records (UK), PUR 307
Style: Rock
Country: London, England
Time: 76:00
Format: Flac Tracks 16/44,1 kHz
Size: 284 Mb

Largely taken from a concert in Belgium in 1971, this captures the offbeat British group when it was at the peak of its popularity. The nine principal tracks are drawn from all three of the band's albums. Included, as most anyone interested in a release like this will be relieved to know, is the trio's big hit, "Resurrection Shuffle," the one Ashton, Gardner & Dyke song that most rock fans will know. That track has enough pizzazz to endure, but otherwise the CD's a quirky and not always pleasant mix of rock, soul, jazz, boogie, and jamming. Tony Ashton's vocals can tend toward the grating, like a hoarse Joe Cocker. A twisting brass section really pushes "It's a Drag, I'm a Drag" along, but some of the songs do drag, particularly the 14-minute "Falling Song." "I'm Dying for You" is distinguished from the studio version by an arrangement that highlights flute rather than fiddle. Drawn from a roadie's soundboard recording, the fidelity is listenable but flawed, marking it as one for the fans and collectors. Three of the 12 songs are "bonus live tracks" that present different recordings of three numbers also heard in the main 1971 Belgium portion: "Billy and His Piano With," "Rolling Home," and, what better for an encore, "Resurrection Shuffle." There's a good history of the band in the 12-page booklet, though.
(allmusic.com/album/let-it-roll-live-on-stage-1971-mw0000754746)

01. It's Gonna Be High Tonight (03:55)
02. Let It Roll (05:01)
03. Mister Freako (06:03)
04. It'a A Drag, I'm A Drag (04:35)
05. (Intro) I'm Dying For You (01:32)
06. I'm Dying For You (02:53)
07. Resurrection Shuffle (06:30)
08. (Intro) Falling Song (00:30)
09. Falling Song (13:52)
10. (Intro) Rolling Home (00:22)
11. Rolling Home (15:05)
12. Billy & His Piano With (04:17)
13. Billy & His Piano With (diff live vsn 1970) (03:53)
14. Rolling Home (diff live vsn 1970) (03:28)
15. Resurrection Shuffle (diff live vsn 1970) (03:58)

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Genesis - Live Over Europe 2007 [2CD Live] (2007)

Year: 26 November 2007 (CD 2007)
Label: Virgin Records (Europe), 5099951 132927
Style: Progressive Rock, Rock, Pop Rock
Country: Godalming, Surrey, England
Time: 72:02, 67:20
Format: Flac Tracks 16/44,1 kHz
Size: 503, 448 Mb

Live over Europe 2007 is the sixth live album by British band Genesis. It was recorded during the Turn It On Again: The Tour of 2007.
Reunited for the first time in 15 years, which was the last time Phil Collins has played live with Tony and Mike as Genesis. It was titled Turn It On Again: The Tour as well as a final time together. Phil indicated that his hearing was not as good as it was. Venues included Manchester United and Twickenham - UK, Hanover and Dusseldorf - Germany, Rome - Italy, Helsinki - Finland, Amsterdam - Netherlands, Paris - France, Prague, Czech Republic.
(en.wikipedia.org/wiki/Live_over_Europe_2007)
That single word was the exact feeling every single Genesis fan had when they heard Peter Gabriel and Steve Hackett would not join the group on their 2007 tour, which most likely due to the retirement of Phil Collins in 2011, is their final tour and the final death of Genesis as a band. Heading into this album, there isn’t much to look forward to as the set list consists of the usual greatest hits from 1983’s “Genesis” to 1991’s “We Can’t Dance”.
Not much from the Gabriel-era is present here with the exception of the obvious songs: “In the Cage” (a pleasant inclusion to say the least) and “I Know What I Like”. A surprising choice was the use of the guitar solo from “Firth of Fifth” and “The Carpet Crawlers”, but that doesn’t change the great disappointment this album is. Yes, there’s the story that Phil wanted to include “Supper’s Ready”, but was vetoed by Tony Banks and Mike Rutherford, but that just makes the disappointment even more daunting when deciding to listen to this record. This time around, there wasn’t even a little medley to even it out, but just three songs. The performance by the band is not their greatest with Tony’s keyboards sounding out right terrible and Phil not giving his best vocal performance (considering his further deepening vocal range and the constant touring). Daryl Stuermer and Chester Thompson both make a return as members of the group and do an astounding job filling their respective roles. Mike does great as part of the rhythm section, particularly on “In the Cage” and “Domino”.
Without complaining about the absence of earlier material, this album holds up well as a live album, but when compared to earlier Genesis live albums, such as 1973’s “Live”, 1977’s “Seconds Out” and 1982’s “Three Sides Live” (The European version, as in the true TSL), “Live Over Europe” just doesn’t have the best set list and instrumentation going for it. It lacks the soul and charm that was present in those respective albums and fails to live up to Genesis’s live standards.
(sputnikmusic.com/review/57056/Genesis-Live-Over-Europe-2007/)

01. Duke's Intro (03:48)
02. Turn It On Again (04:26)
03. No Son Of MIne (06:57)
04. Land Of Confusion (05:11)
05. In The Cage / Cinema Show / Duke's Travel's (13:30)
06. Afterglow (04:27)
07. Hold On My Heart (05:58)
08. Home By The Sea (11:58)
09. Follow You, Follow Me (04:19)
10. Firth Of Fifth (Excerpt) (04:39)
11. I Know What I Like (In Your Wardrobe) (06:45)

01. Mama (06:57)
02. Ripples (07:57)
03. Throwing It All Away (06:01)
04. Domino (11:34)
05. Conversations With Two Stools (06:48)
06. Los Endos (06:24)
07. Tonight Tonight Tonight (Excerpt) (03:49)
08. Invisible Touch (05:35)
09. I Can't Dance (06:11)
10. Carpet Crawlers (06:00)

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