George Harrison (The Beatles) - Wonderwall Music [Vinyl Rip] (1968)

Year: 1 November 1968 (LP 1978)
Label: Apple Records (France), 2 C 066-90499
Style: Indian Classical, Raga Rock, Experimental, World
Country: Liverpool, England (25 February 1943 - 29 November 2001)
Time: 45:46
Format: Flac Tracks 16/44,1 kHz
Size: 288 Mb

Charts: US #49, CAN #30, GER #22.
Wonderwall Music is the debut solo album by the English musician George Harrison and the soundtrack to the 1968 film Wonderwall, directed by Joe Massot. Released in November 1968, it was the first solo album by a member of the Beatles, and the first album issued on the band's Apple record label. The songs are all instrumental pieces, except for occasional non-English language vocals, and mostly comprise short musical vignettes. Following his Indian-styled compositions for the Beatles since 1966, he used the film score to further promote Indian classical music by introducing rock audiences to instruments that were relatively little-known in the West – including shehnai, sarod, tar shehnai, tanpura and santoor. The Indian pieces are contrasted by Western musical selections, in the psychedelic rock, experimental, country and ragtime styles.
Harrison recorded the album between November 1967 and February 1968, with sessions taking place in London and Bombay. One of his collaborators on the project was classical pianist and orchestral arranger John Barham, while other contributors include Indian classical musicians Aashish Khan, Shivkumar Sharma, Shankar Ghosh and Mahapurush Misra. The Western music features contributions from Tony Ashton and his band the Remo Four, as well as guest appearances by Eric Clapton and Ringo Starr. Harrison recorded many other pieces that appeared in Wonderwall but not on the soundtrack album, and the Beatles' 1968 B-side "The Inner Light" also originated from his time in Bombay. Although the Wonderwall project marked the end of Harrison's direct involvement with Indian music as a musician and songwriter, it inspired his later collaborations with Ravi Shankar, including the 1974 Music Festival from India.
The album cover consists of a painting by American artist Bob Gill in which, as in Massot's film, two contrasting worlds are separated by a wall, with only a small gap allowing visual access between them. Harrison omitted his name from the list of performing musicians, leading to an assumption that he had merely produced and arranged the music. The 2014 reissue of Wonderwall Music recognises his contributions on keyboards and guitar. The album was first remastered for CD release in 1992, for which former Apple executive Derek Taylor supplied a liner-note essay.
While viewed as a curiosity by some rock music critics, Wonderwall Music is recognised for its inventiveness in fusing Western and Eastern sounds, and as being a precursor to the 1980s world music trend. The album's title inspired that of Oasis' 1995 hit song "Wonderwall". Harrison's full soundtrack for the film was made available on DVD in early 2014, as part of the two-disc Wonderwall Collector's Edition. In September that year, the album was reissued in remastered form as part of Harrison's Apple Years 1968–75 box set, with the addition of three bonus tracks.
(en.wikipedia.org/wiki/Wonderwall_Music)

01. A1 Microbes (03:44)
02. A2 Red Lady Too (01:58)
03. A3 Tabla And Pakavaj (01:05)
04. A4 In The Park (04:09)
05. A5 Drilling A Home (03:09)
06. A6 Guru Vandana (01:07)
07. A7 Greasy Legs (01:28)
08. A8 Ski-ing (01:51)
09. A9 Gat Kirwani (01:16)
10. A10 Dream Scene (05:29)
11. B1 Party Seacombe (04:36)
12. B2 Love Scene (04:17)
13. B3 Crying (01:16)
14. B4 Cowboy Music (01:30)
15. B5 Fantasy Sequins (01:50)
16. B6 On The Bed (02:23)
17. B7 Glass Box (01:07)
18. B8 Wonderwall To Be Here (01:29)
19. B9 Singing Om (01:55)

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Lee Morgan, Wynton Kelly - Dizzy Atmosphere (1957)

Year: February 18, 1957 (CD 1991)
Label: Specialty Records (US), OJCCD-1762-2, SP-2110
Style: Jazz, Hard Bop, Swing
Country: U.S.
Time: 55:02
Format: Flac Tracks 16/44,1 kHz
Size: 333 Mb

Dizzy Atmosphere is an album featuring members of Dizzy Gillespie's Orchestra including trombonist Al Grey, saxophonist Billy Mitchell and trumpeter Lee Morgan recorded in 1957 and released on the Specialty label.
The Allmusic review by Scott Yanow stated "the music is modern bop for the period. Highlights include the ten-and-a-half-minute "Dishwater," "Over the Rainbow," and an early version of Golson's "Whisper Not." Morgan plays extremely well throughout the spirited set, and he was just 18 at the time".
(en.wikipedia.org/wiki/Dizzy_Atmosphere_(album))

 

01. Dishwater (take 4 - master) (12:05)
02. Someone I Know (take 6 - master) (03:59)
03. D. D. T. (take 5 - master) (04:04)
04. Whisper Not (take 5 - master) (05:55)
05. About Time (take 5 - master) (03:14)
06. Day By Day (take 2 - master) (03:26)
07. Rite Of Swing (take 3 - master) (03:14)
08. Over The Rainbow (take 4 - master) (04:18)
09. Someone I Know (take 3- alternate) bonus track (04:07)
10. Whisper Not (take 3-4 alternate) bonus track (06:01)
11. Over The Rainbow (take 3 - alternate) bonus track (04:34)

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Ginger Baker and Friends (Cream) - Eleven Sides of Baker [Vinyl Rip] (1976)

Year: 1976 (LP 1976)
Label: Mountain Records (UK), TOPC 5005
Style: Rock, Jazz Rock
Country: South London, England (19 August 1939 - 6 October 2019)
Time: 37:21
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

Peter Edward "Ginger" Baker (19 August 1939 – 6 October 2019) was an English drummer. His work in the 1960s and 1970s earned him the reputation of "rock's first superstar drummer", for a style that melded jazz and African rhythms and pioneered both jazz fusion and world music.
Baker gained early fame as a member of Blues Incorporated and the Graham Bond Organisation, both times alongside bassist Jack Bruce, with whom Baker would often clash. In 1966, Baker and Bruce joined guitarist Eric Clapton to form Cream, which achieved worldwide success but lasted only until 1968, in part due to Baker's and Bruce's volatile relationship. After working with Clapton in the short-lived band Blind Faith and leading Ginger Baker's Air Force, Baker spent several years in the 1970s living and recording in Africa, often with Fela Kuti, in pursuit of his long-time interest in African music. Among Baker's other collaborations are his work with Gary Moore, Masters of Reality, Public Image Ltd, Hawkwind, Atomic Rooster, Bill Laswell, jazz bassist Charlie Haden, jazz guitarist Bill Frisell, and Ginger Baker's Energy.
Baker's drumming is regarded for its style, showmanship, and use of two bass drums instead of the conventional single one, after the manner of the jazz drummer Louie Bellson. In his early days, he performed lengthy drum solos, most notably in the Cream song "Toad", one of the earliest recorded examples in rock music. Baker was an inductee of the Rock and Roll Hall of Fame as a member of Cream in 1993, of the Modern Drummer Hall of Fame in 2008, and of the Classic Drummer Hall of Fame in 2016. Baker was noted for his eccentric, often self-destructive lifestyle, and he struggled with heroin addiction for many decades. He was married four times and fathered three children.
(en.wikipedia.org/wiki/Ginger_Baker)

01. A1 Ginger Man (02:38)
02. A2 Candlestick Taker (02:38)
03. A3 High Life (04:13)
04. A4 Don Dorango (04:35)
05. A5 Little Bird (01:09)
06. A6 N'Kon Kini N'Kon N'Kon (02:47)
07. B1 Howlin' Wolf (04:45)
08. B2 Ice Cream Dragon (03:56)
09. B3 The Winner (02:06)
10. B4 Pampero (04:43)
11. B5 Don't Stop The Carnival (03:47)

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Lennon Plastic Ono Band - Shaved Fish [Japan Ed. Compilation] (1975)

Year: 24 October 1975 (CD Dec 5, 2007)
Label: Apple Records (Japan), TOCP-70398
Style: Rock
Country: Liverpool, England (9 October 1940 - 8 December 1980)
Time: 41:39
Format: Flac Tracks 16/44,1 kHz
Size: 251 Mb

Charts: UK #8, AUs #8, AUT #5, CAN #70, GER #37, JPN #22, NLD #5, NOR #9, SWE #28, US #12. US: Platinum; UK: Gold.
Shaved Fish contains all of the singles that he had issued up to that point in the United States as a solo artist, with the exception of "Stand by Me", which had been released earlier that year. The only compilation of Lennon's non-Beatles recordings released during his lifetime. It was also Lennon's final album released on Apple Records before it was shut down in 1975, to be revived in the 1990s.
Shaved Fish includes many of Lennon's most popular solo recordings in their original 45 rpm single edits. Five of the songs had not been previously issued on an album: "Cold Turkey", "Instant Karma!", "Power to the People", the holiday single "Happy Xmas (War Is Over)" and "Give Peace a Chance". The latter appears in truncated form and opens side one, while an excerpt of a live version of the song closes side two. Eight of these singles made the Top 40 on the Billboard chart, with "Whatever Gets You thru the Night" going to number 1; five made the top ten in the United Kingdom. "Imagine", never previously released as a single in the UK, was issued as such concurrent to the release of this album.
Roy Kohara was the art director of the album, and the illustrations were made by Michael Bryan. The cover is divided into twelve rectangles: one for each of the eleven songs on the LP, and one for the album title, written in Bruce Mikita font (also known as Novel Open). The album title originates from the Japanese food katsuobushi, a kind of dried fish.
(en.wikipedia.org/wiki/Shaved_Fish)

01. Give Peace A Chance (Edited Version) (00:59)
02. Cold Turkey (05:03)
03. Instant Karma! (03:15)
04. Power To The People (03:06)
05. Mother (05:08)
06. Woman Is The Nigger Of The World (04:38)
07. Imagine (03:04)
08. Whatever Gets You Thru The Night (03:06)
09. Mind Games (04:12)
10. #9 Dream (04:48)
11. Happy Xmas (War Is Over) / Give Peace A Chance : Reprise (04:16)

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Kevin Ayers - Whatevershebringswesing [Japan Ed. 10 bonus tracks] (1971)

Year: November 1971 (CD Mar 12, 2014)
Label: Warner Music (Japan), WPCR-15526
Style: Canterbury Scene, Progressive Rock, Experimental Rock
Country: Kent, England (16 August 1944 - 18 February 2013)
Time: 74:22
Format: Flac Tracks 16/44,1 kHz
Size: 442 Mb

In 1971 Kevin Ayers started recording what would become his most acclaimed album, Whatevershebringswesing accompanied by members of Gong and his previous backing band The Whole World. Praised by NME, Record Mirror and Rolling Stone, the album realized all the musical aspirations Ayers had harboured since the inception of Soft Machine.
As with most Ayers albums, a collision of disparate styles confronts the listener but in this instance they work to extremely powerful effect. The title track with Mike Oldfield's guitar accompaniment and Robert Wyatt's wracked harmonies would become a template for Ayers subsequent '70s output.
The album opens with "There Is Loving/Among Us" accompanied by David Bedford's dramatic orchestral arrangement. There follow the vignettes "Margaret" and "Oh My" where Ayers juxtaposes terse lyrics against measured backing. "Song from the Bottom of a Well" marries an explosive arrangement, again featuring Oldfield, to Ayers' cryptic lyric "This is a song from the bottom of a well / There are things down here / I've got to try and tell". The title track is notable for Oldfield's extended bass solo at the beginning, while "Stranger in Blue Suede Shoes", a flirtation with Ayers' love of early rock and roll, would become a staple of his live set for years to come, a song he would re-record twice that decade.
Many critics and fans have cited Whatevershebringswesing as their favourite Ayers album and it remains to this day a best seller in his catalogue.
(en.wikipedia.org/wiki/Whatevershebringswesing)

01. There Is Loving / Among Us / There Is Loving (07:22)
02. Margaret (03:20)
03. Oh My (02:59)
04. Song From The Bottom Of A Well (04:37)
05. Whatevershebringswesing (08:13)
06. Stranger In Blue Suede Shoes (03:24)
07. Champagne Cowboy Blues (03:59)
08. Lullaby (02:11)
09. Lunatic's Lament (BBC Bob Harris Session) (bonus track) (04:28)
10. The Oyster And The Flying Fish (BBC Bob Harris Session) (bonus track) (03:01)
11. Butterfly Dance (BBC Bob Harris Session) (bonus track) (03:36)
12. Whatevershebringswesing (BBC Bob Harris Session) (bonus track) (07:45)
13. Falling In Love Again (BBC Bob Harris Session) (bonus track) (03:25)
14. Queen Thing (BBC Bob Harris Session) (bonus track) (00:52)
15. Another Whimsical Song (BBC John Peel Show) (bonus track) (00:22)
16. The Lady Rachel (BBC John Peel Show) (bonus track) (03:52)
17. Stop This Train (Again Doing It) (BBC John Peel Show) (bonus track) (06:11)
18. Didn't Feel Lonely 'Til I Thought Of You (BBC John Pell Show) (bonus track) (04:35)

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Gong (Pierre Moerlen's Gong) - Gazeuse! [Japan Ed.] (1976)

Year: Late 1976 (CD 29 Jul 2015)
Label: Universal Music (Japan), UICY-77299
Style: Instrumental, Jazz Rock, Fusion
Country: Paris, France
Time: 39:46
Format: Flac Tracks 16/44,1 kHz
Size: 264 Mb

Progressive rock fans will be aware of the Daevid Allen led band Gong. It had a strong presence in the psychedelic/progressive rock scene during the 70s, releasing a number of critically acclaimed albums. The French drummer and percussionist Pierre Moerlen was a member of the original Gong between 1973 and 1975 before the departure of several members eventually led him to lead his own iteration of the band. This incarnation of Gong is far removed from the psychedelic/progressive inclinations of the original version. Rather it is deeply entrenched in jazz fusion/progressive rock territory, with there being a considerable focus on percussions.
The album wastes no time introducing the listener to most of the elements that are present during its 40 minute length. The title track features the instantly recognizable lead guitar work of Allan Holdsworth mixed with energetic bass work, fluid drumming, and a flurry of percussions. The vibraphone, miramba, and glockenspiel in particular are very refreshing aspects of the music with their colourful and bright timbres complementing the more “standard” instruments rather well. This track is very enjoyable and its strength lies in the free flowing style and musicality, aspects that are sprinkled through a large portion of the album.
(full version: sputnikmusic.com/review/63344/Gong-Gazeuse%21-Expresso/)

01. Expresso (05:58)
02. Night Illusion (03:42)
03. Percolations (10:02)
04. Shadows of (07:48)
05. Esnuria (08:01)
06. Mireille (04:12)

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Camel - I Can See Your House From Here (1979)

Year: October 1979 (CD 1990)
Label: Deram Records (Germany), 820 614-2
Style: Art Rock, Pop Rock, Symphonic Rock
Country: Guildford, Surrey, England
Time: 46:10
Format: Flac Tracks 16/44,1 kHz
Size: 262 Mb

Charts: UK #45, NOR #18, SWE #36, US #208.
Like a lot of other 70's Prog Rock bands, Camel go poppier. With that they release another decent and fun record that, unfortunately, will never be able to compete with the greatness of the first four.
Camel were one of the greatest symphonic prog rock groups of the 70's, with the likes of Yes and Rush. They released four amazing albums from '73 to '76, including the masterpiece Mirage.
Camel, like many other Prog Rock bands, became worse as the years went by. Rain Dances was a step down after the fantastic Moonmadness, and deviated from the band's original sound. Breathless was another step-down, but was still decent. When original keyboardist Peter Bardens left, the band seemed a little lost. Fortunately, Camel delivers yet another good album.
While the '78 Breathless had some god-awful tracks like Down on the Farm and You Make Me Smile, I Can See Your House from Here had none, making the album much easier to listen to as a whole. The album preserved some of the poppier sound the previous album had, with tracks like Your Love Is Stranger than Mine and Neon Magic, which were executed perfectly. Most of the album's greatness revolves around the great Latimer leads, like in Neon Magic and Who We Are.
Every song on the album is nice, and while engaging in a more poppy sound, Camel still maintain Prog elements such as odd time signatures. The album contains three instrumentals, seeing as vocals were never the strongest side of Camel anyway. Two of them, Ice and Eye of the Storm, are beautiful, and Ice is probably the greatest track in the record. Rounding up at over ten minutes, Ice is an emotional, atmospheric piece telling the story of a distant desolate landscape. While being far from their greatest, it sounds like no track Camel have done before, and showcases a style Camel would much use on their latter albums. Survival, on the other hand, is a boring unnecessary track, which can only be seen as filler. Luckily, the track following it, Hymn to Her, is one of the greatest on the record; a beautiful ballad with some nice guitar work.
In contrast to the former album, Remote Romance is the only track which can be considered 'average' or 'bad', but it's still pretty fun, and the chorus is catchy. I Can See Your House from Here is a great record, filled with great moments. Unfortunately, it does drag a little in the middle, but the excellent guitar work from Latimer and the catchiness make up for it. This album is recommended for fans of the first four albums. It may not be a classic like the first four records the band have released, but it is still enjoyable in its own right.
(sputnikmusic.com/review/56053/Camel-I-Can-See-Your-House-From-Here/)

01. Wait (05:03)
02. Your Love Is Stranger Than Mine (03:26)
03. Eye Of The Storm (03:52)
04. Who We Are (07:52)
05. Survival (01:12)
06. Hymn To Her (05:37)
07. Neon Magic (04:39)
08. Remote Romance (04:08)
09. Ice (10:18)

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John Mayall & The Bluesbreakers And Friends - 70th Birthday Concert [2CD Live] (2003)

Year: Liverpool, England on 19 July 2003 (CD 2003)
Label: Eagle Records (Germany), EDGCD246, GAS 0000246 EDG
Style: Blues
Country: Cheshire, England (29 November 1933. Age 91)
Time: 73:44, 77:23
Format: Flac Tracks 16/44,1 kHz
Size: 493, 509 Mb

70th Birthday Concert is a live electric blues video recording of John Mayall & the Bluesbreakers to celebrate Mayall's 70th Birthday. Recorded in Liverpool, England on 19 July 2003, the concert was notable as it featured Eric Clapton as a guest, so marked the first time he and Mayall had performed together in almost 40 years, if one discounts Clapton guesting on Mayall's Back to the Roots. The set also features Mick Taylor and Chris Barber.
The gig was released on different formats. The original double CD contains the entire concert, whereas the DVD omitted the first two tracks sung by Buddy Whittington (which did not feature Mayall) and "California", but included an interview with Mayall as bonus. A CD/DVD issue included a heavily abridged version of the concert on CD. Finally, in 2009 the video was reissued on Blu-Ray Disc with the previously omitted three tracks appended as bonus tracks.
AllMusic praised the recording by stating that John Mayall is "on top of his game as ever", the band "play with plenty of fire, brilliant musicianship, and taste", and the whole concert is "a stinging, overdriven performance of modern electric blues by a master bandleader who shows no signs of slowing down physically, and most importantly, creatively."
(en.wikipedia.org/wiki/70th_Birthday_Concert_(John_Mayall_%26_the_Bluesbreaker_album))

01. Grits Ainґt Groceries (05:14)
02. Jacksboro Highway (05:30)
03. Southside Story (07:50)
04. Kids Got The Blues (03:55)
05. Dirty Water (08:08)
06. Somebody's Acting Like A Child (08:00)
07. Blues For The Lost Days (12:26)
08. Walking On Sunset (06:34)
09. Oh, Pretty Woman (09:32)
10. No Big Hurry (06:30)

01. Please Mr. Lofton (07:03)
02. Hideway (04:50)
03. All your love (04:19)
04. Have your heard (18:02)
05. Hoochie Coochie man (06:25)
06. Iґm tore down (05:55)
07. It ainґt right (06:18)
08. California (15:30)
09. Talk to your daughter (08:57)

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The Holy Modal Rounders - 1 & 2 [2 albums on 1CD] (1964, 1965)

Year: 1964, 1965 (CD 1999)
Label: Fantasy Records (US), FCD-24711-2
Style: Folk Rock, Country Rock, Psychedelic Folk
Country: New York, NY, U.S.
Time: 67:40
Format: Flac Tracks 16/44,1 kHz
Size: 365 Mb

    Take me back to Random Canyon,
    Where the gryphon's always riffin',
    And the unicorn is horny in the spring.
    Where the crystal coyote calls
    Over sleepy garden walls
    And the wireless wombat wanders on the wings.
    And the wireless wombat wanders on the wings.
    - The Holy Modal Rounders, "Random Canyon"
In the early 1960s, the Greenwich Village folk scene took a left turn away from the clean-cut sounds of, say, The Kingston Trio. Bob Dylan was singing "Masters of War"; Phil Ochs had "Power and the Glory." That didn't sit well with Peter Stampfel. "I really hated the seriousness of the people on the folk music scene," Stampfel says. "I thought it was stupid. I mean, it was beautiful stuff, but it was goofy, too. At least some of it was, and I thought the goofiness was one of the great things about it." Stampfel admits that his own band, the Holy Modal Rounders, was silly. But it wasn't doing parodies of old folk songs. Its members knew the music inside and out. "I got the idea in 1963: What if Charlie Poole, and Charley Patton, and Uncle Dave Macon and all those guys were magically transported from the late 1920s to 1963?" Stampfel says. "And then they were exposed to contemporary rock 'n' roll. What did they do? And that sounded way, way, way more interesting than trying to be Mr. Note Perfect 1929."
The Holy Modal Rounders filled out an odd profile in the thick of the 1960s folk movement: It was challenging tradition by taking it into weird and psychedelic realms. The Rounders had a small but intensely devoted following, and one of the group's songs was even included in a major motion picture.
The duo's influence has grown steadily over the intervening decades, inspiring a younger generation of innovative folk musicians - and filmmakers. The Rounders are now the subject of the new documentary Bound to Lose.
(full version: www.npr.org/2009/02/24/101105671/holy-modal-rounders-oddly-influential-folk)

01. Blues in the Bottle (03:27)
02. Give the Fiddler a Dram (02:35)
03. The Cuckoo (03:08)
04. Euphoria (01:34)
05. Long John (02:20)
06. Sugar in the Gourd (01:54)
07. Hesitation Blues (02:22)
08. Hey, Hey Baby (01:22)
09. Reuben's Train (02:33)
10. Mr. Spaceman (01:56)
11. Moving Day (02:34)
12. Better Things for You (03:14)
13. Same Old Man (01:45)
14. Hop High Ladies (02:04)
15. Bound to Lose (04:18)
16. Bully of the Town (03:04)
17. Sail Away, Ladies (02:41)
18. Statesboro Blues (01:40)
19. Clinch Mountain Backstep (02:05)
20. Down the Old Plank Road (02:06)
21. Black Eyed Suzie (01:40)
22. Hot Corn, Cold Corn (02:13)
23. Crowley Waltz (01:36)
24. Fishing Blues (01:44)
25. Junko Partner (01:10)
26. Soldier's Joy (03:11)
27. Mole in the Ground (02:50)
28. Chevrolet Six (02:03)
29. Flop Eared Mule (02:18)

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The Hollies - Would You Believe [Japan Ed. Mono & Stereo] (1966)

Year: June 1966 (CD Dec 18, 2013)
Label: Warner Music (Japan), WPCR-15418
Style: Rock, Pop, Beat
Country: Manchester, England
Time: 75:54
Format: Flac Tracks 16/44,1 kHz
Size: 447 Mb

The album includes covers of Simon and Garfunkel's "I Am a Rock", Chuck Berry's "Sweet Little Sixteen", and Evie Sands' "I Can't Let Go", which became a major hit for the Hollies.
This was the Hollies' last album with original bass player Eric Haydock, who took a leave of absence from the group after the American tour that followed the last recording session for the album, missing the recording session for the follow-up single "Bus Stop".
Both the stereo and mono mixes of Would You Believe? were digitally remastered at EMI Studios (now Abbey Road Studios) by Peter Mew in March 1998. In the UK, the remastered album was released with both mixes on one disc.
Would You Believe? was recorded at EMI Studios in London, UK and was produced by Ron Richards. Recording for the album commenced on 14 September 1965 when the band recorded the traditional folk-song "Stewball". Recording continued on 13 October, when "I've Got a Way of My Own" was put to tape.
The group then did not enter the studio for exactly three months, returning 13 January 1966 to record "Don't You Even Care" and the eventual single "I Can't Let Go" (the latter was later completed on 18 January). Three more songs, "Oriental Sadness", "I Take What I Want", and "Hard Hard Year" were recorded on 28 February. The following day, three more songs were put to tape: "That's How Strong My Love Is", "Take Your Time", and "Fifi the Flea". The final songs recorded before the album's release in June were "Sweet Little Sixteen" and "I Am a Rock" on 25 March.
(en.wikipedia.org/wiki/Would_You_Believe%3F_(Hollies_album))

01. I Take What I Want (Mono) (02:20)
02. Hard Hard Year (Mono) (02:17)
03. That's How Strong My Love Is (Mono) (02:46)
04. Sweet Little Sixteen (Mono) (02:25)
05. Oriental Sadness (Mono) (02:39)
06. I Am A Rock (Mono) (02:52)
07. Take Your Time (Mono) (02:24)
08. Don't You Even Care (What's Gonna Happen To Me?) (Mono) (02:29)
09. Fifi The Flea (Mono) (02:10)
10. Stewball (Mono) (03:08)
11. I've Got A Way Of My Own (Mono) (02:13)
12. I Can't Let Go (Mono) (02:37)
13. I Take What I Want (Stereo) (02:21)
14. Hard Hard Year (Stereo) (02:19)
15. That's How Strong My Love Is (Stereo) (02:48)
16. Sweet Little Sixteen (Stereo) (02:26)
17. Oriental Sadness (Stereo) (02:40)
18. I Am A Rock (Stereo) (02:53)
19. Take Your Time (Stereo) (02:24)
20. Don't You Even Care (What's Gonna Happen To Me?) (Stereo) (02:29)
21. Fifi The Flea (Stereo) (02:10)
22. Stewball (Stereo) (03:09)
23. I've Got A Way Of My Own (Stereo) (02:17)
24. I Can't Let Go (Stereo) (02:28)
25. A Taste Of Honey (Mono Bonus Track) (02:10)
26. A Taste Of Honey (Stereo Bonus Track) (02:12)
27. Stewball (French Mono Bonus Track) (03:06)
28. You Know He Did (French Mono Bonus Track) (02:05)
29. We're Through (French Mono Bonus Track) (02:18)
30. Schoolgirl (Stereo Bonus Track) (03:04)

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Andy Scott's Sweet (ex Sweet) - "A" (1992)

Year: 1992 (CD 1992)
Label: SPV Records (Germany), SPV 084-88832
Style: Hard Rock, Rock
Country: Wrexham, Wales (30 June 1949)
Time: 53:24
Format: Flac Tracks 16/44,1 kHz
Size: 375 Mb

Andrew David Scott (born 30 June 1949) is a Welsh musician and songwriter. He is best known for being the lead guitarist and a backing vocalist in the glam rock band Sweet. Following bassist Steve Priest's death in June 2020, Scott is the last surviving member of the band's classic lineup.
Scott started out playing bass guitar. His first gig was at St Peters Hall in Wrexham with The Rasjaks in November 1963 and then with other bands in Wales such as Guitars Incorporated and 3Ds.
He then progressed to guitar and played with other bands including The Saints, The ForeWinds, and The Missing Links. In 1966 he joined The Silverstone Set (later shortened to The Silverstones), who won the TV show Opportunity Knocks five weeks running, and appeared in the all-winners show for Christmas 1966, losing to Freddie Starr. One of their further highlights was to support Jimi Hendrix in Manchester in January 1967.
When The Silverstones split, Scott went on to form The Elastic Band, who recorded an album called Expansions of Life. Lead singer Ted Yeadon left to join Love Affair, however, before the album's release, the band folded. During this time they also recorded the album Pop Sounds, under the name The Cool.
Scott then played in the backing band for The Scaffold, which also included Mike McGear on bass and saxophone. He went on to join Mayfield's Mule, who recorded three singles, "Drinking My Moonshine", "I See a River" and "We Go Rollin'". An album was also released in Uruguay called Mayfields Mule with the song titles translated on the sleeve into Spanish.
Scott's first single release in 1975 was a reworked version of the Desolation Boulevard track "Lady Starlight" backed by "Where D'Ya Go?". Both songs, recorded during the Give Us a Wink sessions, were written and produced by Scott and Mick Tucker and featured Scott playing all instruments except the drums (Tucker). Scott made a promotional video for the track and also appeared on Mike Mansfield's British TV Show "Supersonic".
Scott released his second solo single, "Gotta See Jane", in 1983 under the name Ladders. It was a cover of the R. Dean Taylor Motown hit and was produced by him and Louis Austin, who had worked with Sweet as their engineer on past ventures. The B-side "Krugerrands", co-written with Chris Bradford, was subsequently released as the follow-up single (as Andy Scott this time), but like its predecessor, failed to chart. Except in Australia where it peaked at number 89 and South Africa where it was a top 10 hit. In 1984, Scott released two more solo singles, "Let Her Dance" and "Invisible". A compilation of all his solo projects, including demos, was released by Repertoire Records in 1993, under the title 30 Years.
(en.wikipedia.org/wiki/Andy_Scott_(guitarist))

01. Do As I Say (04:57)
02. Am I Ever Gonna See Your Face Again (03:59)
03. Stand Up (04:58)
04. Nouveau Rock Star (04:57)
05. Natural (04:53)
06. Mind (04:27)
07. Marshall Stack (04:29)
08. Red Tape (05:18)
09. When Friends Fall Out (03:02)
10. Is It True (05:04)
11. Dangerous Game (04:06)
12. Crudely Mott (03:09)

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Ten Years After - Watt [Japan Ed.] (1970)

Year: December 1970 (CD Oct 27, 2004)
Label: Toshiba Records (Japan), TOCP-67505
Style: Rock, Hard Rock, Rhythm and Blues
Country: Nottingham, England
Time: 38:27
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

Charts: UK #5, AUS #13, CAN #16, DEN #7, FIN #7, GER #9, ITA #8, NOR #8, SWE #13, US #21.
Not exactly 'burnout', but a really disappointing album. Blame it on the heavy touring, though - creatively the guys are still there. But they just didn't have enough time or forces, and Watt is an obvious lightweight toss-off to satisfy the record company and the fans. Musically, there are no advances over Cricklewood Green here, and the atmosphere is quite similar: same sharp riffing, grim atmosphere and angry pissed-off vocals, although in general the mood is a little lighter, simnply because the songs are clearly underdeveloped in every respect and they just didn't have the opportunity to tighten up the production. Or the lyrics - does their catalog of texts contain a line more stupid than 'baby don't you cry don't you cry you shouldn't do that'?
Obviously, they suffer from lack of material; whatever the hell for else should they have put 'Sweet Little Sixteen' from their 1970 Isle Of Wight gig at the end? I mean, it comes off pretty well - fast, furious and driving - but this ain't a live album, so why bother? It doesn't work at all in the context of the album, and it ain't all that interesting musically, just a bunch of power chords and generic Berry-licks. If they were really so deeply bothered, they should have put out the entire Wight gig instead: if you consult the Message To Love video, you'll see Alvin doing a pretty nifty live version of 'I Can't Keep From Crying' on there, with speedy solos, sonic gimmicks and everything that's his trademark style. 'Sweet Little Sixteen' is just unrepresentative.
And if we don't count the short acoustic-driven instrumental link 'The Band With No Name' which sounds like it's been taken directly from an average movie soundtrack (sounds very close to whatever Danny Kirwan was penning for Fleetwood Mac at the time - pleasant, but unsubstantial folk-pop), there's only six songs on here, most of them extended well beyond the expected and necessary running time. That's my main complaint, in fact, because the main melodies themselves are more or less good and show that Alvin's songwriting talents were slightly on the rise (and would reach the apex on the next album); he'd also begun experimenting with complex song structure, not being too successful here but at least laying the ground for more effective things to come.
(full version - https://starlingdb.org/music/tenyears.htm#Watt)

01. I'm Coming On (03:48)
02. My Baby Left Me (05:23)
03. Think About The Times (04:43)
04. I Say Yeah (05:17)
05. The Band With No Name (01:37)
06. Gonna Run (06:02)
07. She Lies In The Morning (07:24)
08. Sweet Little Sixteen (04:09)

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Three Dog Night - Harmony [Japan Ed.] (1971)

Year: September 30, 1971 (CD Apr 24, 2013)
Label: Universal Music (Japan), UICY-75567
Style: Rock, Pop Rock, Soft Rock
Country: Los Angeles, California, U.S.
Time: 35:44
Format: Flac Tracks 16/44,1 kHz
Size: 231 Mb

Charts: US #8, AUS #32, CAN #11. US: Gold.
The release of Harmony in the fall of 1971 gave Three Dog Night their seventh gold record in less than three years, yielding two Top Ten singles with Paul William's "Old Fashioned Love Song" (number four) and Hoyt Axton's "Never Been to Spain" (number five). In addition, William's "Family of Man" would just fail to crack the top of the charts, rising as high as number 12 by March of 1972. This continued commercial brilliance would, unfortunately, have negative repercussions on vocalist Chuck Negron's personal life with a car accident, following a substance-fuelled mixing session, signaling the beginning of his protracted slide into drug addiction and eventual transience. Nevertheless, Harmony remains a showpiece for the group's interpretive talents, the album dividing itself between good-natured communal recklessness (the William compositions, the organ-drenched funk of the group's own "Jam") and more reserved, minor-keyed tradings on the last vestiges of flower-powered earnestness (the melancholic "Peace of Mind," and a dubious cover of Stevie Wonder's "Never Dreamed You'd Leave Me in Summer"). In addition to its continued testament to Three Dog Night's musical versatility, Harmony is historically notable for the fact that the decision to play large venues, like Pittsburgh's Three Rivers Stadium, during the stateside tour to support the release played a large part in ushering in the era of so-called stadium rock.
(allmusic.com/album/harmony-mw0000200798)

01. Never Been To Spain (03:46)
02. My Impersonal Life (04:18)
03. An Old Fashioned Love Song (03:23)
04. Never Dreamed You'd Leave In Summer (03:42)
05. Jam (03:52)
06. You (03:03)
07. Night In The City (03:17)
08. Murder In My Heart For The Judge (03:39)
09. The Family Of Man (03:33)
10. Intro Poem: Mistakes And Illusions / Peace Of Mind (03:06)

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Wild Turkey (Jethro Tull) - Battle Hymn [Vinyl Rip] (1971)

Year: 1971 (LP 1971)
Label: Chrysalis Records (UK), CHR 1002
Style: Rock, Hard Rock
Country: Lancashire, England
Time: 41:34
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

Artist Biography by AllMusic
Bass-player Glenn Cornick (b. 23 April 1947, Barrow-in-Furness, Cumbria, England), then known as Glenn Barnard, began his musical career as a member of the mid-60s outfit, Joey And The Jailbreakers. He also worked with a number of similarly underachieving outfits, such as the Vikings, Formula One, the Hobos and the Executives. Eventually he graduated into Blackpool’s John Evan’s Smash, soon to become known as Jethro Tull. Famous as much for his psychedelic costumes as his musicianship, Cornick spent three successful years with the band until quitting in 1970.
Cornick recruited Jon Blackmore (guitar), Graham Williams (lead guitar), John ‘Pugwash’ Weathers (b. 2 February 1947, Carmarthen, Glamorganshire, Wales; drums, ex-Eyes Of Blue) and Gary Pickford Hopkins (guitar, vocals, ex-Eyes Of Blue) to become Glenn Cornick’s Wild Turkey. However, within months of the band’s first rehearsals, Williams and Weathers had both defected to Graham Bond’s group. Their replacements were Man’s original drummer, Jeff Jones, and lead guitarist Alan ‘Tweke’ Lewis. The band had also shortened its name simply to Wild Turkey by the time its debut, Battle Hymn, was released for Chrysalis Records in 1972. Reviews were good and the band seemed to be in the ascendancy as they played regularly to audiences of up to 20, 000 as support to Black Sabbath. Soon after a successful support to Jethro Tull in America, Jon Blackmore deserted the band for a writing career with the New Musical Express, and Cornick recruited former roadie Steve Gurl (keyboards) and Mick Dyche (drums). The new line up’s only single, ‘Good Old Days’, preceded the release of Turkey in 1973. However, it failed to match the impact of the debut and the band imploded.
Lewis joined Man, and was temporarily replaced by future Whitesnake guitarist Bernie Marsden (b. Bernard John Marsden, 7 May 1951, Buckingham, Buckinghamshire, England). Jones was replaced on drums by Kevin Currie, but no third album was forthcoming. Until, that is, in 1996, when a phone call from Barry Riddington of HTD Records encouraged Cornick to reassemble Wild Turkey, with Pickford Hopkins and Lewis also taking part in the reunion.
Matrix SideA: C HR 1002 A 1-U Rasputin, C HR 1002 B 1-U Rob

01. A1 Butterfly (Cornick) (05:00)
02. A2 Twelve Streets Of Cobbled Black (Blackmore) (03:16)
03. A3 Dulwich Fox (Blackmore) (03:54)
04. A4 Easter Psalm (Blackmore) (03:47)
05. A5 To The Stars (Pickford-Hopkins) (04:28)
06. B1 Sanctuary (Cornick) (04:30)
07. B2 One Sole Survivor (Cornick) (04:13)
08. B3 Battle Hymn (Cornick) (04:43)
09. B4 Gentle Rain (Cornick) (03:16)
10. B5 Sentinel (Blackmore, Lewis) (04:23)

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Jethro Tull - This Was [Vinyl Rip] (1968)

Year: 25 October 1968 (LP Jun 2014)
Label: Chrysalis Records (UK & Europe), 0825646307807
Style: Progressive Rock, Folk Rock, Blues Rock
Country: Blackpool, Lancashire, England
Time: 38:10
Format: Flac Tracks 16/44,1 kHz
Size: 256 Mb

Charts: UK #10, GER #28, US #62.
On October 25, 1968, Jethro Tull's first album, "This Was" was released, a breath of fresh air in the static world of British Blues. Despite the positive reviews and various appreciations, Ian Anderson "veers" 180°, and shortly thereafter will revolutionize the "sound" of Jethro Tull. Not only "blues", but many musical ingredients and styles amalgamated together by the sound of the flute, which will become "Jethro Tull Style", forcing Mick Abrahams to play blues in some London pub.
This Was is the debut studio album by the British progressive rock band Jethro Tull, released in 1968. Recorded at a cost of ?1200, it is the only Jethro Tull album with guitarist Mick Abrahams, who was a major influence for the sound and music style of the band's first songs. When the album was released the band was already performing at the Marquee Club in London, where other successful British groups, such as the Rolling Stones and The Who, had started their careers. This Was was recorded between 13 June 1968 and 23 August 1968 at Sound Techniques, Chelsea, London and was released on 4 October 1968 (UK) and 3 February 1969 (US) on the Island label.
Music: While vocalist Ian Anderson's creative vision largely shaped Jethro Tull's later albums, on This Was Anderson shared songwriting duties with Tull's guitarist Mick Abrahams. In part due to Abrahams' influence, the album incorporates more rhythm and blues and jazz influences than the progressive rock the band later became known for. In particular: The music to "My Sunday Feeling", "Some Day the Sun Won't Shine for You", "Beggar's Farm" and "It's Breaking Me Up" are based on blues progressions, with "Some Day the Sun Won't Shine for You" arranged similarly to Big Bill Broonzy's blues standard "Key to the Highway". "Cat's Squirrel" (included in the album "because people like it", according to the liner notes) was written by Doctor Ross and covered as an instrumental by numerous 1960s British blues bands, including the supergroup Cream. Abrahams would later perform the song in his post-Jethro Tull blues band Blodwyn Pig. The album includes a cover version of Roland Kirk's jazz standard "Serenade to a Cuckoo". According to the liner notes, "Cuckoo" was one of the first tunes Ian Anderson learned to play on the flute. The coda of "My Sunday Feeling" incorporates quotes from two well-known jazz tunes, Henry Mancini's "Pink Panther Theme" (specifically the song's bass line, played as a short solo by Glenn Cornick) and Nat Adderley's and Oscar Brown, Jr.'s "Work Song". This Was also contains the only Jethro Tull lead vocal not performed by Ian Anderson on a studio album, in "Move on Alone". Mick Abrahams, the song's author, provided vocals on the track; Dee Palmer provided the horn arrangement. Abrahams left Jethro Tull following the album's completion in a dispute over "musical differences". Thus, the album's title probably refers to Abrahams' blues influence on the album and how blues weren't the direction Anderson wanted the band to go. As said in the liner notes of the original record, "This was how we were playing then - but things change - don't they?" The song "Dharma for One", a staple of Tull's early concerts (usually incorporating an extended drum solo by Clive Bunker), was later covered by Ekseption, Pesky Gee! and The Ides of March.
This song featured the "claghorn", a hybrid instrument invented by Jeffrey Hammond which combined the body of a recorder, the bell of a toy trumpet and the mouthpiece of a saxophone. Anderson also claims to have invented the instrument.
Reception: This Was received generally favourable reviews and sold well upon its release. Record Mirror thoroughly recommended the album in 1968 for being "full of excitement and emotion" and described the band as a blues ensemble "influenced by jazz music" capable of setting "the audience on fire". Allen Evans of New Musical Express wrote in his review that the album "sounds good and has a lot of humour about it" and that the band "play jazz really, in a soft, appealing way, and have a bit of fun on the side with tone patterns and singing". American critic Robert Christgau, on the contrary, was appalled by the success of a band that combined "the worst of Roland Kirk, Arthur Brown, and your nearest G.O. blues band". Recent reviews of the remastered edition underline the duality of Anderson and Abrahams' songwriting and stage presence, as well as the strong ties of the band to blues in their early days. Sid Smith of BBC Music wrote that "what made Tull stand out from the great-coated crowd (of touring bands) was the high-visibility of frontman Ian Anderson's on-stage Tourette's-inspired hyper-gurning and Mick Abraham's ferocious fretwork". An AllMusic reviewer remarked how Jethro Tull on their vinyl debut appeared "vaguely reminiscent of the Graham Bond Organisation only more cohesive, and with greater commercial sense". David Davies of Record Collector reminds how "This Was only hints at the depth and majesty of the ensuing seven albums", but also wrote that "the direct, unfussy and predominantly blues-based" tracks of the original recordings and the extra tracks of the collector's edition "could well come as something of a surprise" and "be of the greatest interest to Tull aficionados". In the documentary film of the Woodstock Festival, portions of the songs "Beggar's Farm" and "Serenade to a Cuckoo" may be heard on the PA system, indicating the level of notice the album achieved in the United States. The album reached number 10 on the UK Albums Chart and number 62 on the US Billboard 200. It was voted number 574 in Colin Larkin's All Time Top 1000 Albums.
(itullians.blogspot.com/2023/10/on-october-25-1968-this-was.html)

01. Never Been To Spain (03:46)
02. My Impersonal Life (04:18)
03. An Old Fashioned Love Song (03:23)
04. Never Dreamed You'd Leave In Summer (03:42)
05. Jam (03:52)
06. You (03:03)
07. Night In The City (03:17)
08. Murder In My Heart For The Judge (03:39)
09. The Family Of Man (03:33)
10. Intro Poem: Mistakes And Illusions / Peace Of Mind (03:06)

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The Albion Band - Stella Maris (1987)

Year: 1987 (CD 1987)
Label: Making Waves (UK), SPIN CD 130
Style: British Folk Rock, Folk
Country: England
Time: 39:59
Format: Flac Tracks 16/44,1 kHz
Size: 224 Mb

The Albion Band, also known as The Albion Country Band, The Albion Dance Band, and The Albion Christmas Band, is a British folk rock band, originally brought together and led by musician Ashley Hutchings. An important grouping in the genre, it has contained or been associated with a large proportion of major English folk performers in its long and fluid history.
The one constant in the band's history has been the band leader Ashley Hutchings, founding member of two other English folk rock groupings Fairport Convention and Steeleye Span, and it has been the home for most of the projects of his long career, though in the 2011 incarnation of the band he has handed over the reins to his son Blair Dunlop. This version continued until 2014.
Hutchings continues to perform in a separate Christmas-themed incarnation (occasionally featuring Dunlop) The Albion Christmas Band that was first established in 2005.
Initially Hutchings formed the band in April 1971 to accompany his then wife the singer Shirley Collins on her No Roses album. Dave Mattacks, Richard Thompson and Simon Nicol (from Fairport Convention), Lal and Mike Waterson (of The Watersons) and Maddy Prior, were among twenty five credited backing musicians. On a short tour, core members were joined by Richard Thompson and his then wife Linda Thompson. Several members contributed with Hutchings to the project Morris On (1972), including John Kirkpatrick, Richard Thompson and Dave Mattacks, and cumbersomely all their names appeared on the album cover.
(en.wikipedia.org/wiki/The_Albion_Band)

01. Broomfield Hill (03:51)
02. Such A Paradise (04:52)
03. A Vive L'amour, B Masters Of This Hall, C Dirty Harry's Jig (04:23)
04. Orion's Belt (03:18)
05. The Ship (04:08)
06. The Rose And The Rock (03:28)
07. 'til The Time We Meet Again (03:28)
08. The Task (12:27)

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The Doors - Morrison Hotel [24K Gold] (1970)

Year: February 9, 1970 (CD 2009)
Label: Audio Fidelity (US), AFZ 037
Style: Rock, Psychedelic Rock
Country: Los Angeles, California
Time: 45:30
Format: Flac Tracks 16/44,1 kHz
Size: 275 Mb

Charts: US #4, AUS #4, CAN #3, FRA #32, NLD #6, NOR #13, UK #12. SWI, AUT and UK: Gold; US, CAN, FRA, POL and SPA: Platinum; AUS: 2x Platinum.
Morrison Hotel opens with a powerful blast of raw funk called "Roadhouse Blues." It features jagged barrelhouse piano, fierce guitar, and one of the most convincing raunchy vocals Jim Morrison has ever recorded. This angry hard rock is that at which the Doors have always excelled, and given us so seldom, and this track is one of their very best ever, with brooding lyrics that ring chillingly, true: "I woke up this morning and I got myself a beer/The future’s uncertain and the end is always near."
From there on out, though, the road runs mainly downhill. It’s really a shame, too, because somehow one held high expectations for this album and wanted so badly to believe it would be good that one was afraid to listen to it when it was finally released. The music bogs down in the kind of love mush and mechanical, stereotyped rock arrangements that have marred so much of the Doors’ past music. "Blue Sunday" and "Indian Summer" are two more insipidly "lyrical" pieces crooned in Morrison’s most saccharine Hoagy Carmichael style. "Maggie M’Gill" is a monotonous progression in the vein of (but not nearly as interesting as) "Not to Touch the Earth," and "You Make Me Real" is a thyroid burst of manufactured energy worthy of a thousand mediocre groups.
Admittedly, these are the worst tracks, and the rest ranges from the merely listenable to the harsh brilliance of "Roadhouse Blues" or the buoyant catchiness of "Land Ho!", a chanty that sets you rocking and swaying on first listen and never fails to bring a smile every time it’s repeated.
This could have been a fine album; but the unavoidable truth - and this seems to be an insurmountable problem for the Doors - is that so much of it is out of the same extremely worn cloth as the songs on all their other albums. It’s impossible to judge it outside the context of the rest of their work. Robbie Kreiger’s slithery guitar, and Manzarek’s carnival-calliope organ work and whorehouse piano are the perfect complement to Morrison’s rococo visions. But we’ve all been there before, not a few times, and their well of resources has proven a standing lake which is slowly drying up. Perhaps if they recombined into a different group the brilliant promise of the Doors’ first album and sporadic songs since might begin to be fulfilled, but for now they can only be truly recommended to those with a personal interest.
(rollingstone.com/music/music-album-reviews/morrison-hotel-123765/) Review by Lester Bangs (December 14, 1948 - April 30, 1982). April 30, 1970

01. Roadhouse Blues (04:02)
02. Waiting For The Sun (03:57)
03. You Make Me Real (02:51)
04. Peace Frog (02:48)
05. Blue Sunday (02:11)
06. Ship Of Fools (03:10)
07. Land Ho! (04:08)
08. The Spy (04:14)
09. Queen Of The Highway (02:45)
10. Indian Summer (02:34)
11. Maggie M'Gill (04:33)
12. Roadhouse Blues (40th Anniversary Remix) (Bonus Track) (04:09)
13. Waiting For The Sun (40th Anniversary Remix) (Bonus Track) (04:02)

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Jethro Tull - Live At Montreux 2003 [Live 2CD] (2003)

Year: 2003 (CD 2007)
Label: Eagle Records (Germany), EDGCD363, GAS 0000363 EDG
Style: Art Rock, Blues Rock, Progressive Rock
Country: Blackpool, Lancashire, England
Time: 50:48, 56:53
Format: Flac Tracks 16/44,1 kHz
Size: 346, 395 Mb

While the world may not need another live Jethro Tull disc recorded only two years after their last one, this sturdy, nearly two-hour 2003 gig, finds the band in fine form. Anderson and guitarist Martin Barre, the two flagship members, effectively juggle the set to include a few new tracks and some rarities with the handful of hits ("Aqualung," "Locomotive Breath," "My God," "Living in the Past") that the fans demand out of every gig. The double disc is broken down by the band's two sets, the first being primarily acoustic-based, or at least softer material, and the second revving up the electricity and intensity. The other three members (bass, drums, and keys) are accomplished musicians who play with precision if maybe a shortage of personality. But it's really Anderson's and to a lesser extent Barre's show, and they jubilantly lead the ensemble through the blues, prog, jazz, and classical influences that have always distinguished Tull from their contemporaries. Highlights include an acoustic "Fat Man" with Barre playing flute along with Anderson, a stunning 11-minute "Budapest" from Crest of a Knave, and the exotic Middle Eastern worldbeat of "Dot Com." The sound is perfectly recorded and Anderson is in good spirits as he dips deep into the Tull catalog to dust off oldies such as "Some Day the Sun Won't Shine for You" (from the group's 1968 debut), Stand Up's "Nothing Is Easy," and Benefit's "With You There to Help Me." The band injects a twist into the hoary "Locomotive Breath" as it veers off into old British folk territory in its final two minutes, and even "God Rest Ye Merry Gentlemen" (from The Jethro Tull Christmas Album) gets a new lease on life, albeit in a slightly cheesy jazz-classical arrangement reminiscent of "Bouree." Still, this is an impressive document of a band embracing its past while pushing into fresh territory nearly four decades into its existence. Maintaining the old fan base while doing this is a tricky balancing act, but one that Anderson and Barre perform with grace and class.
(allmusic.com/album/live-at-montreux-2003-mw0000578826)

01. Some Day The Sun Won't Shine For You (04:20)
02. Life Is A Long Song (03:31)
03. Bouree (04:57)
04. With You There To Help Me (06:33)
05. Pavane (04:28)
06. Empty Cafe (02:37)
07. Hunting Girl (05:30)
08. Eurology (03:39)
09. Dot Com (04:43)
10. God Rest Ye Merry Gentlemen (05:00)
11. Fat Man (05:25)

01. Living In The Past (06:59)
02. Nothing Is Easy (05:09)
03. Beside Myself (06:38)
04. My God (08:30)
05. Budapest (11:28)
06. New Jig (01:27)
07. Aqualung (08:02)
08. Locomotive Breath (08:36)

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10cc - Essential 10cc [Box Set 3CD] (2021)

Year: 1972-19... (CD February 2021)
Label: Universal Music (UK), UMC 5393208
Style: Art Rock, Art Pop, Progressive Pop, Soft Rock
Country: Stockport, England (1972–present)
Time: 79:29, 77:31, 78:24
Format: Flac Tracks 16/44,1 kHz
Size: 520, 535, 522 Mb

Major 70s UK (founded in Stockport, Greater Manchester, England) pop/artrock band. The original line-up of Eric Stewart, Kevin Godley, Lol Creme and Graham Gouldman had composed together and been in the band Hotlegs (Gouldman only briefly) before forming 10cc in 1972 and signing with Jonathan King's UK Records after being turned down by Apple Records. The band's music is a blend of pop, artrock often drawing on other genres, on the debut album especially the 50s.
The original line-up lasted four years, reaching worldwide success in 1975 with the ballad "I'm not in love". In 1976 Godley and Creme left to form the more arty Godley & Creme while Stewart and Gouldman continued as 10cc. The first album by the new 10cc, the 1977 "Deceptive Bends" maintained the pop appeal of the group, but after 1978 hit "Dreadlock Holiday" from "Bloody Tourists" and Stewart's crisis following a car crash the band never returned to the major pop league.
(discogs.com/ru/artist/39775-10cc)

01. I'm Not in Love (03:45)
02. Life Is a Minestrone (04:26)
03. I'm Mandy Fly Me (05:16)
04. The Second Sitting for the Last Supper (04:23)
05. Brand New Day (04:04)
06. Channel Swimmer (02:49)
07. Good News (03:50)
08. Une Nuit a Paris (part 1) / The Same Night in Paris (part 2) / Later the Same... (08:38)
09. Get It While You Can (02:53)
10. I Wanna Rule the World (03:52)
11. Head Room (04:21)
12. Lazy Ways (04:20)
13. Iceberg (03:43)
14. People in Love (03:43)
15. Marriage Bureau Rendezvous (04:01)
16. Modern Man Blues (live) (08:02)
17. I'm So Laid Back, I'm Laid Out (03:43)
18. Don't Squeeze Me Like Toothpast (03:33)

01. Dreadlock Holiday (04:28)
02. The Things We Do for Love (03:18)
03. The Wall Street Shuffle (live, (04:04)
04. Waterfall (live, 1977) (07:26)
05. Ships Don't Disappear in the Ni (07:33)
06. You've Got a Cold (live, 1977) (03:51)
07. Lifeline (03:26)
08. Take These Chains (02:35)
09. From Rochdale to Ocho Rios (03:44)
10. Last Night (03:09)
11. Nothing Can Move Me (04:04)
12. It Doesn't Matter at All (04:01)
13. Strange Lover (03:40)
14. Welcome to the World (03:43)
15. Dressed to Kill (03:28)
16. Only Child (03:18)
17. I'm Not in Love (live, 1982) (06:35)
18. Dreadlock Holiday (live, 1982) (04:59)

01. Good Morning Judge (02:53)
02. Art for Art's Sake (05:57)
03. The Power of Love (04:14)
04. You're Coming Home Again (04:28)
05. Run Away (04:05)
06. Les Nouveaux Riches (04:36)
07. Don't Ask (04:02)
08. Memories (04:33)
09. Action Man in Motown Suit (04:45)
10. We've Heard It All Before (03:37)
11. Oomachasaooma (Feel the Love) (05:05)
12. Food for Thought (03:26)
13. Yes I Am (06:00)
14. She Gives Me Pain (02:13)
15. Something Special (03:22)
16. Welcome to Paradise (06:12)
17. Don't (03:50)
18. Lost in Love (04:59)

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Jimmy Page & Robert Plant (Led Zeppelin) - Walking Into Clarksdale (1998)

Year: 20 April 1998 (CD Apr 20, 1998)
Label: Mercury Records (Europe), 558 025-2
Style: Blues Rock, Hard Rock
Country: Middlesex, England (9 January 1944), Staffordshire, England (20 August 1948)
Time: 60:50
Format: Flac Tracks 16/44,1 kHz
Size: 397 Mb

Walking Into Clarksdale is the album Led Zeppelin fans have resigned themselves to never getting. The group put a definitive cap on its career almost immediately after John Bonham died in 1980, and the surviving three members - Jimmy Page, Robert Plant, John Paul Jones - regrouped only for dubiously special performances at Live Aid in 1985 and the Atlantic Records' 40th-anniversary concert in 1988. There was certainly a clamor for more, and Plant and Page in particular circled the idea by guesting on each other's solo albums (Page on Plant's Now and Zen, Plant on Page's Outrider). Those collaborations showed they could still play nice together, even if they weren't together.
The tide changed with 1994's No Quarter: Jimmy Page & Robert Plant Unledded, an MTV special turned reunion (sans Jones, acrimoniously) that reworked a batch of Zep favorites and tantalized with four songs. "Never" became "What if?" Four years later the Page-Plant duo answers the latter question to frustrating if occasionally pleasing effect. Walking Into Clarksdale isn't a Led Zeppelin album - couldn't be, for so many reasons both obvious and hidden in the complex web that is the Page-Plant relationship. What it does is return the two to a more basic rock band format, a quartet (with occasional embellishment) that seeks to strip back the orchestrated ambitions of No Quarter and bring Page and Plant back to their comfort zone. It's time to get the real Led out again, or so it seems, for the first time since In Through the Out Door in 1979.
But anyone who's paid attention during the interim, particularly to Plant's work, knows we aren't bustling in the hedgerow anymore. The singer has forayed into all sorts of sonic terrain, embracing influences and ambiences that separate him from the Golden God of yore. Page has made his moves, too, more so on Outrider and his soundtrack work than with the Firm, his two-album team-up with Paul Rodgers. Growth and evolution aren't just cliches for these two by the late '90s.
Page and Plant are also aware of what's going on around them and want to be relevant to the scene that has sprouted during the decade leading into Clarksdale. That leads them to bring in Steve Albini - an alt-rock kingpin whose hip cred includes work with Pixies, Nirvana, PJ Harvey and his bands Big Black and Shellac - to engineer the sessions and put the duo on a contemporaneous sonic footing. That much is achieved: Albini brings a particularly jagged, cheap amp tone to Page's guitar and a dry, clean spaciousness to the band ambience that offers a different kind of punch than we got from the Zeppelin releases of the '70s - more of a jab than a haymaker, and appropriate for the pristine CD era. It certainly feels fresh and even crisp, though it takes a minute to get used to if Houses of the Holy or Physical Graffiti are more your meter.
Clarksdale, which was released on April 21, 1998, begins by walking out of Led Zeppelin III territory, with the shimmering acoustic strum of "Standing in the Light," embellished by strings and a dancing bass line before Page cranks up the electrics for the chorus. It's a joyous celebration of love, more buoyant than In Through the Out Door's "All My Love" and a hopeful start for this new chapter of Page and Plant's association. Standouts include "Most High," a swaggering, Moroccan-flavored rock raga that updates "Kashmir" with help from Tim Whelan of Britain's Transglobal Underground on keyboards. More polarizing is "Please Read the Letter," an abrasive and electrified front-porch Hill Country blues with Plant's harmonies echoing back from the holler.
That balance of ethereal roots and modern rock is Walking Into Clarksdale's crossroads, including the tempo-shifting title track, the anthemic "House of Love" and the blues and surf collision of "Burning Up." The two longest tracks, each running more than six minutes, are evocative: "When the World Was Young" is a shotgun wedding of the Middle East and desolate Texas with lots of air, space and vibe, while "Blue Train" sounds like it was targeted for U2's The Joshua Tree until it bursts into Page's late-song fusillade. Their attempts to recapture rock 'n' roll Valhalla on "Upon a Golden Horse" and the closing "Sons of Freedom" do kick up some dust but won't replace "Whole Lotta Love" or "Rock and Roll" on your playlists.
And that's the leveling issue here: Plant and Page want it both ways on Clarksdale - to be embraced because of their past but not to relive it, which is admirable but challenging and an eternal struggle for any musician entering "revered veteran" status.
(ultimateclassicrock.com/jimmy-page-robert-plant-walking-into-clarksdale-review/)

01. Shining In The Light (04:01)
02. When The World Was Young (06:13)
03. Upon A Golden Horse (03:52)
04. Blue Train (06:45)
05. Please Read The Letter (04:21)
06. Most High (05:36)
07. Heart In Your Hand (03:50)
08. Walking Into Clarksdale (05:18)
09. Burning Up (05:21)
10. When I Was A Child (05:45)
11. House Of Love (05:35)
12. Sons Of Freedom (04:08)

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