Jimmy Page & Robert Plant (Led Zeppelin) - Walking Into Clarksdale [Japan Ed. SHM-CD] (1998)

Year: 20 April 1998 (CD September 10, 2008)
Label: Universal Music (Japan), UICY-93587
Style: Rock
Country: Middlesex, England (9 January 1944), Staffordshire, England (20 August 1948)
Time: 63:51
Format: Flac Tracks 16/44,1 kHz
Size: 424 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. Shinning 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 (04:07)
13. Whiskey From The Glass (03:01)

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Beggars Opera - Pathfinder (1972)

Year: 1972 (CD 2005)
Label: Repertoire Records (UK), CCD 1331
Style: Art Rock
Country: Glasgow, Scotland
Time: 38:19
Format: Flac Tracks 16/44,1 kHz
Size: 293 Mb

Beggars Opera was a Scottish progressive rock band from Glasgow, Scotland, formed in 1969 by guitarist Ricky Gardiner (born 31 August 1948, Edinburgh, Scotland), vocalist Martin Griffiths (born 8 October 1949, Newcastle upon Tyne), and bassist Marshall Erskine (bass/flute). After working together building parts of the M40 Motorway near Beaconsfield, the three lads moved back to Glasgow to look for an organist and drummer and recruited Alan Park (keyboards) (born 10 May 1951, Glasgow, Scotland) and Raymond Wilson (drums). After an intensive time in rehearsal, they took up residency at Burns Howff club/pub in West Regent Street in the centre of Glasgow. Tours of Europe followed and the band found success in Germany, appearing on German TV's legendary Beat-Club, then at the first British Rock Meeting in Speyer in September 1971.
In 1970, after signing to Vertigo Records, the band recorded their first album Act One, and a single "Sarabande", which charted record in several European countries. The following year, for their second album, Waters of Change, the band were joined by Virginia Scott (mellotron) and Gordon Sellar (bass) (born 13 June 1947, Glasgow, Scotland). The single "Time Machine" from that album was successful in Germany, where the band toured extensively.
Erskine left the band before they recorded their third album, Pathfinder (1972), which included a cover version of Richard Harris' hit "MacArthur Park". Several other personnel changes ensued, with Pete Scott replacing Griffiths in 1972, and Linnie Paterson replacing Pete Scott in 1973. By 1973's final album, Get Your Dog Off Me, Beggars Opera were reduced to a trio of Gardiner, Park and Sellar.
In 1974/76 a new version of Beggars Opera recorded two albums for Jupiter Records in Germany: Sagittary, featuring Gardiner (guitar), Pete Scott (vocals), Virginia Scott (Mellotron) (born 1948, Glasgow,Scotland) and Mike Travis (drums), and Beggars Can't Be Choosers with Clem Cattini replacing Travis on drums.
Gardiner went on to play for David Bowie on the Low album, and with Iggy Pop on the Lust for Life album as well as his Idiot tour of 1976. He co-wrote "The Passenger" with Iggy Pop.
Alan Park (organist) worked with Cliff Richard for many years as musical director.
Griffiths sang and was compere in the working men's clubs in and around Manchester until he left for Germany in 1974. He went on tour and worked with Brian Auger, Osibisa, Ekseption, Klaus Doldinger, Ange and Can before signing a recording contract with Jupiter Records (Ralph Siegel) releasing three singles: "I’ll Be Coming Home", ”Sitting on the Dock of the Bay" and "Israelites", which reached number 3 in the German Disco Charts in 1977.
(en.wikipedia.org/wiki/Beggars_Opera_(band))

01. Hobo (04:24)
02. MacArthur Park (08:18)
03. The Witch (06:04)
04. Pathfinder (03:43)
05. From Shark to Haggies (06:42)
06. Stretcher (04:48)
07. Madame Doubtfire (04:18)

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The Guess Who - On Tour [Live] (1998)

Year: 1998 (CD 1998)
Label: Wise Buy Records (Europe), WB 885992
Style: Rock, Classic Rock
Country: Winnipeg, Manitoba, Canada
Time: 68:51
Format: Flac Tracks 16/44,1 kHz
Size: 446 Mb

the Guess Who, Canadian rock group that was the most successful band in Canada in the late 1960s and early 1970s and that country’s first rock superstars.
In the late 1950s, lead singer Allan formed the Silvertones with fellow Winnipeg teenagers Kale, a bassist; Bachman, a guitarist; and pianist Bob Ashley. With the addition of drummer Peterson, they became Chad Allan & the Reflections and by 1965 were Chad Allan & the Expressions. Heavily influenced by the British Invasion, the group developed a loyal following in Winnipeg, but its recordings suffered from the refusal by most radio stations in Canada to play Canadian groups. In 1965 their cover of Johnny Kidd and the Pirates’ “Shakin’ All Over” was released to radio stations under the moniker “Guess Who?” in the hope that disc jockeys would be more inclined to play a song by a mysterious new British band. Whether this marketing ploy had anything to do with the song’s success is debatable, but it was a chart-topping hit in Canada and reached No. 22 on the U.S. Billboard Hot 100. Later that year keyboardist Cummings joined the group and took over as vocalist and frontman when Allan left in 1966. After a disappointing tour of the United Kingdom in 1967, the group served for two years as the house band on the CBC TV music-variety program Let’s Go, hosted by Allan. From 1966 to 1968, when the question mark was dropped from its name, the Guess Who landed a number of singles in the Canadian Top 40 but its albums sold poorly.
After acquiring the band’s contract from Quality Records for $1,000, producer Jack Richardson placed a second mortgage on his house to finance the album Wheatfield Soul (1969), which yielded the million-selling “These Eyes,” a Top 10 hit in both Canada and the U.S. Canned Wheat (1969) followed and included double-sided hit singles “Laughing” and “Undun.” It was the next album, American Woman (1970), however, that made the Guess Who stars. Its title track, the first recording by a Canadian rock group to hit No. 1 in the United States on the Billboard Hot 100, had serendipitous origins, beginning as a riff improvised by Bachman while tuning his guitar after breaking a string during a concert and was spontaneously augmented by the rest of the group, including Cummings, who added the memorable lyrics “American woman stay away from me.” “No Sugar Tonight,” the B-side for “American Woman,” also was a hit in both Canada and the U.S. “No Time,” which was originally included on Canned Wheat, was re-recorded for American Woman and became its third hit single. American Woman reached No. 9 on the Billboard Pop Albums chart, making it the only Guess Who album to reach the Top 10.
(britannica.com/topic/the-Guess-Who)

01. Bus Rider (03:49)
02. Clap For The Wolfman (03:52)
03. Dancinґ Fool (03:45)
04. Laughing (06:21)
05. No Sugar Tonight (02:47)
06. New Mother Nature (04:06)
07. Hand Me Down World (03:30)
08. Undone (09:08)
09. Share The Land (07:28)
10. American Woman (07:09)
11. These Eyes (07:51)
12. No Time (08:59)

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Three Dog Night - Hard Labor [Japan Ed.] (1974)

Year: March 6, 1974 (CD Apr 24, 2013)
Label: Universal Music (Japan), UICY-75571
Style: Pop Rock, Rock
Country: Los Angeles, California, U.S.
Time: 36:04
Format: Flac Tracks 16/44,1 kHz
Size: 237 Mb

Charts: US #20, AUS #61, CAN #16. US: Gold.
The original album cover, depicting the birth of a record album, was deemed too controversial and was first included with a manila file folder covering most of the cover. This was soon reworked with a huge Band-Aid covering the "birth". Subsequent printings had the Band-Aid printed directly on the cover. The packaging also includes an attached "birth record sheet" for the album. The CD reissue by MCA Records in the 1990s restored the cover to its original look showing the record.
Tom Von Malder of the Daily Herald called Hard Labor the band's finest record up to that point, applauding the production and finding the choice of songs representing the band at "its most competent, most mature level". Malder singled out "The Show Must Go On" and "I'd Be So Happy" as its two best, and "almost perfect", songs. Cash Box called Inner's production "immaculate as always" and wrote that the album was marked by "mood changes both subtle and obvious", making it a "fantastic study in theatrical and musical contrast". Billboard found the track listing a "fine mix of material" and wrote that the instrumental section was "tight and almost perfect".
Circus Raves writer Jon Tiven gave the record "two ears"—indicating an album to "listen to ... 'til the grooves grow old" and wrote that the band "are the best when they're transforming half-arsed songs into good ones, but they run into trouble when the original rendition of the tune was fine in the first place (e.g. 'The Show Must Go On')." Writing retrospectively, Joseph McCombs of AllMusic felt that the album's preference for songs with solo vocals rather than the group's previous use of harmonies led to the band "los[ing] much of their soul and spirit" and saw the album as "show[ing] the growing cracks in the band's armor". Like Malder, McCombs found "I'd Be So Happy" and "The Show Must Go On" the highlights of the album.
(en.wikipedia.org/wiki/Hard_Labor)

01. Prelude (01:01)
02. Sure As I'm Sittin' Here (04:46)
03. Anytime Babe (03:06)
04. Interlde I (00:18)
05. Put Out The Light (03:07)
06. Sitting In Limbo (04:56)
07. I'd Be So Happy (04:56)
08. Interlude II (00:19)
09. Play Something Sweet (Brickyard Blues) (04:46)
10. On The Way Back Home (04:20)
11. The Show Must Go On (04:23)

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Marianne Faithfull - Marianne Faithfull (1965)

Year: 15 April 1965 (CD April 29, 1989)
Label: Deram Records (UK), 820 630-2
Style: Rock, Pop Rock
Country: London, England (29 December 1946)
Time: 53:05
Format: Flac Tracks 16/44,1 kHz
Size: 302 Mb

To the best of my own knowledge, the honor of releasing two different LPs on the exact same day - April 15, 1965, to be precise, and I do mean "different", as in "two thematically and stylistically different entities, rather than an artificially separated double album" - belongs to Marianne Evelyn Gabriel Faithfull, a.k.a. the Honorable Hereditary Baroness von Sacher-Masoch who so narrowly missed a chance at gentrifying Michael Philip Jagger (imagine all those Stones hits credited to "Sacher-Masoch / Richards"!). The story goes thus: after being signed to Decca in the fall of 1964 and releasing two singles, one of which became a pop hit (‘As Tears Go By’) and the other one a folk flop (‘Blowin’ In The Wind’, no less), the label naturally wanted Marianne to concentrate on her pop side and drop the folksinger act. Marianne refused, and the only way to get her to compromise was to allow her to record two non-intermingling LPs in two different styles - a "pure pop" record and a "pure folk" one, releasing both simultaneously. Ironically, both LPs charted, and the folk one (Come My Way) actually rose a bit higher than the self-titled pop one - though both would be Faithfull’s only charting LPs until her 1979 comeback with Broken English, and even then she would never ever break into the Top 20 again.
Although, technically, of the two twin records Come My Way was the first to show its little head (it is catalogued as LK 4688, whereas Marianne Faithfull got LK 4689), we shall still begin with the self-titled record - when all the arguments pro et contra are weighted, Marianne still emerges as more of a "pop" than "folk" artist, and it is this LP that bears her name, after all. In addition, it was the only one of the two to be simultaneously released in the States, where it also climbed up to a respectable #12 on the charts - a mile higher than anything she’d be able to achieve there in the future.
(full version: starlingdb.org/music/new/Marianne_Faithfull.htm)

01. Come And Stay With Me (02:27)
02. If I Never Get To Love You (02:18)
03. Time Takes Time (01:42)
04. He'll Come Back To Me (02:36)
05. Down Town (02:48)
06. Plaisir D'Amour (02:35)
07. Can't You Hear My Hearbeat (02:27)
08. As Tears Go By (02:40)
09. Paris Bells (02:49)
10. They Never Will Leave You (02:13)
11. What Have They Done To The Rain (02:56)
12. In My Time Of Sorrow (02:22)
13. What Have I Done Wrong (01:56)
14. I'm A Loser (02:17)
15. Morning Sun (03:09)
16. Greensleeves (02:48)
17. House Of The Rising Sun - Version 1 (04:17)
18. The Sha La La Song (02:32)
19. Oh Look Around You (03:06)
20. I'd Like To Dial Your Number (02:56)

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Duffy - Scruffy Duffy (1973)

Year: 1973 (CD 2002)
Label: Progressive Line Records (Australia), PL 580
Style: Blues Rock, Progressive Rock, Hard Rock
Country: UK
Time: 35:31
Format: Flac Tracks 16/44,1 kHz
Size: 217 Mb

An undiscovered gem of an album. That’s a familiar phrase, and one that too often disappoints when exposed to the light. Scruffy Duffy doesn’t let us down.
This was Brit band, Duffy’s second album, recorded in Switzerland, released in 1973. Their music had everything, problem being it was all on the same album. One part prog, one part rock and one part working class geezers and a lot of parts pop, blues and rough edges. The UK charts back then were full of disparate sounds, but they could all be easily defined and readily digested. Duffy didn’t fit. The album couldn’t be pigeonholed, which inevitably led to a lack of promotion and limited press coverage.
From the amusing, character driven lyrics of ‘The Browns’ to the drawn out Beatlish pop of ‘Ode To Clay’. From the Uriah Heep-ish ‘Banker’ to the funky, bluesy ‘Joker’, this was a band with ability and talent. But not a future. Strange, one honest listen to the doomy, biting guitar progrock of ‘St John’s’ – a lacerating, nine and half minute slice of social commentary on 70's Britain – and you would think that success would have been guaranteed.
It’s great to see pioneering UK label, Esoteric Recordings reissuing the album. It has been remastered from the original master tape, still held by the Chapter One label. First mixes of five of the album’s key tracks were also “in the vaults”. These are earthier, rawer versions, and these too have been remastered and added to this reissue as bonus tracks.
(getreadytorock.me.uk/blog/2021/06/album-review-duffy-scruffy-duffy-remaster-wbonus-tracks/)

01. Running Away (02:35)
02. Changing My Ways (06:01)
03. Ode To Clay (02:55)
04. The 1959 Rock 'n' Roll Bop (03:01)
05. The Browns (03:04)
06. Banker (04:26)
07. Joker (02:30)
08. I Can't Help The Way I Am (01:22)
09. St John's (09:04)
10. Finale (00:28)

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Jimmy Page - Playin' Up A Storm (2011)

Year: mid-'60s (CD 2011)
Label: The Store For Music (UK), SFD CD 239
Style: Rock, Blues, Rock 'n' Roll
Country: Heston, Middlesex, England (9 January 1944)
Time: 44:38
Format: Flac Tracks 16/44,1 kHz
Size: 277 Mb

Collection of late 60's recordings (pre-Led Zeppelin) of Jimmy Page, Includes guest musicians Albert Lee, John Paul Jones and Nicky Hopkins. This CD will be of interest to more serious Led Zeppelin fans as it brings JPJ and Page together for the first time, and the team-up of blues legend Albert Lee with Jimmy is indicated for the faithful. More casual fans can give it a pass, there's very little on display here by Mr. Page that indicates the "Shapes Of Things" to come, but it gives props to Mr. Page's blues chops. Those looking to hear clearer precursors to Led Zeppelin are directed to the Yardbirds "Where The Action Is" and/or "Live Yardbirds! Featuring Jimmy Page" instead.
(allmusic.com/album/playin-up-a-storm-mw0002133096)
Finally they re-released this old gem filled with some of the finest early Rock'n Roll / Rhythm 'n Blues to ever come from that side of the pond. The album flows perfectly fine, soundquality is excellent, composition are strong and the playing is top notch ! No surprise when you know who played on these songs - the best studio cracks of the times among them Nicky Hopkins on piano, Jimmy Page or Albert Lee on Lead guitars and John Paul Jones on bass .
Some of the finest standars have been chosen for this recording and it is indeed lots of fun hearing these rare gems today - good time music. Wonder if someone knew about this album from back in the days ? This is too good to ignore...
(forums.stevehoffman.tv/threads/jimmy-page-playing-up-a-storm-2011-cd.274602/)

Bass - John Paul Jones
Drums - Clem Cattini
Guitar - Albert Lee (tracks: 1, 4 to 6, 8, 10, 11, 14), Big Jim Sullivan, Jimmy Page (tracks: 2, 3, 7, 9, 12, 13)
Piano - Nicky Hopkins
Producer - Jimmy Page, Reg Tracey
Tenor Saxophone - Chris Hughes
Vocals - Keith David De Groot

01. Lovin' Up A Storm (02:13)
02. Everything I Do Is Wrong (02:54)
03. Think It Over (02:33)
04. Boll Weevil Song (02:08)
05. Livin' Lovin' Wreck (02:13)
06. One Long Kiss (09:48)
07. Dixie Fried (02:25)
08. Down The Line (02:21)
09. Fabulous (02:25)
10. Breathless (02:41)
11. Rave On (02:08)
12. Lonely Weekend (02:25)
13. Burn Up (05:50)
14. Everyday (02:30)

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Beckett - Beckett (1974)

Year: 1974 (CD 2017)
Label: Second Harvest (Russia), 430
Style: Hard Rock
Country: UK
Time: 43:13
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

Beckett were an English hard rock band formed in Newcastle upon Tyne in 1970. The band released one self-titled album in 1974 and disbanded shortly thereafter. Original singer Rob Turner was killed in a car crash and replaced by Terry Wilson-Slesser, who would later go on to perform with Back Street Crawler and then Geordie whose previous front man Brian Johnson left to join AC/DC in 1980.
In 2017, Beckett songwriter Brian Ingham sued Iron Maiden for copyright infringement over two popular songs, "Hallowed Be Thy Name" and "The Nomad", which lifted musical sections and lyrics from the song "Life's Shadow". Iron Maiden manager Rod Smallwood was the agent for Beckett and a teenage Steve Harris saw the band play this song live. Harris and Dave Murray settled with one of the credited songwriters, Robert Barton. Ingham was unaware of the matter until 2011 and Barton claimed to be the sole songwriter during the original settlement. Iron Maiden stopped performing Hallowed Be Thy Name on their 2017 tour as a result. The issue was settled out of court in March 2018.
(en.wikipedia.org/wiki/Beckett_(band))

01. One Upon a Time... The End (00:55)
02. Rolling Thunder (05:23)
03. Rainclouds (05:10)
04. Life's Shadow (06:51)
05. New Dawn Chorus (01:02)
06. A Rainbow's Gold (04:40)
07. Don't Tell Me I Wasn't Listening (05:30)
08. Green Grass Green (04:35)
09. My Lady (03:26)
10. True Life Story (05:36)

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Cyndi Lauper - True Colors - The Best Of Cyndi Lauper [2CD.] (2009)

Year: 1983-1996 (CD June 12, 2009)
Label: Sony Music (Europe), 88697536562
Style: Pop, Dance Pop, New Wave
Country: New York City, U.S. (June 22, 1953)
Time: 74:48, 68:56
Format: Flac Tracks 16/44,1 kHz
Size: 502, 463 Mb

True Colors: The Best of Cyndi Lauper is a 2009 compilation album by Cyndi Lauper, released exclusively in Australia, New Zealand and the European Union as part of Sony Camden, a budget range of compilations by Sony Music.
The set features two discs, both with 18 songs, spanning from the start of Lauper's career (1983's She's So Unusual) through to 1996's Sisters of Avalon. All studio albums through the period are represented, and placed alongside most of the singles from this time are several album tracks. The songs are not placed in chronological order. All of the tracks from A Night to Remember (except "Intro", "A Night to Remember" and "Insecurious") appear on the set. In fact (excluding the latter two of the absent songs), tracks 6 through 13 on the second disc of this compilation are an exact replication of the track order on A Night to Remember. The cover of the album was first used as the cover for her cover of Marvin Gaye's "What's Going On".
(en.wikipedia.org/wiki/True_Colors:_The_Best_of_Cyndi_Lauper)

01. Girls Just Want To Have Fun (03:56)
02. Time After Time (04:02)
03. True Colors (03:49)
04. I Drove All Night (04:13)
05. She Bop (03:49)
06. Iko Iko (02:10)
07. When You Were Mine (05:03)
08. Change Of Heart (04:25)
09. All Through The Night (04:30)
10. What's Going On (03:51)
11. The World Is Stone (04:18)
12. Maybe He'll Know (04:26)
13. Hat Full Of Stars (04:29)
14. Who Let In The Rain (04:37)
15. Money Changes Everything (05:03)
16. Sisters Of Avalon (04:21)
17. Unhook The Stars (03:58)
18. The Goonies 'R' Good Enough (03:40)

01. Calm Inside The Storm (03:58)
02. Lies (03:41)
03. Boy Blue (04:48)
04. Someone Like Me (04:06)
05. The Faraway Nearby (03:02)
06. Primitive (03:50)
07. My First Night Without You (03:03)
08. Like A Cat (03:25)
09. Heading West (03:56)
10. Unconditional Love (03:57)
11. Dancing With A Stranger (04:13)
12. I Don't Want To Be Your Friend (04:23)
13. Kindred Spirit (01:19)
14. Hole In My Heart (All The Way To China) (04:00)
15. That's What I Think (04:19)
16. Sally's Pigeons (03:50)
17. Dear John (03:42)
18. You Don't Know (05:15)

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Mountain - Avalanche [Japan Ed.] (1974)

Year: July 1974 (CD ????)
Label: Sony Music (Japan), SICP 1786
Style: Hard Rock, Rhythm and Blues
Country: Long Island, New York, U.S.
Time: 41:44
Format: Flac Tracks 16/44,1 kHz
Size: 297 Mb

Coming on the heels of their live Twin Peaks, this release features more of a guitar-oriented sound than previous efforts. Highlights include their cover of Jerry Lee Lewis' "Whole Lotta Shakin' Goin' On" and "You Better Believe It," the latter sounding like a return to the Climbing days. The rest, however, sounds like it could have been left buried under the Avalanche. Everything was downhill after this.
(allmusic.com/album/avalanche-mw0000652071)

01. Wholle Lotta Shakin' Goin' On (05:06)
02. Sister Justice (03:59)
03. Alisan (04:42)
04. Swamp Boy (02:55)
05. Satisfaction (05:16)
06. Thumbsucker (03:21)
07. You Better Believe It (05:48)
08. I Love To See You Fly (03:47)
09. Back Where I Belong (02:59)
10. Last Of The Sunshine Days (03:47)

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Renaissance - Illusion (1971)

Year: 1971 (CD 1995)
Label: Repertoire Records (Germany), REP 4513-WY
Style: Rock, Art Rock
Country: London, United Kingdom
Time: 42:33
Format: Flac Tracks 16/44,1 kHz
Size: 251 Mb

Following an American tour to support their first album, the band returned to the studio in the spring of 1970 to begin work on their second. The band recorded "Love Goes On", "Golden Thread", "Love Is All", and "Face of Yesterday" before they began to fall apart. Keith Relf and Jim McCarty were the first to leave, deciding to cease as performing members but remain involved with production and composition for the band. John Hawken recruited singer Terry Crowe and guitarist Michael Dunford (both from Hawken's previous band The Nashville Teens), as well as session drummer Terry Slade to replace Relf and McCarty. Louis Cennamo left shortly afterwards to join Colosseum. Bassist Neil Korner, another former member of The Nashville Teens, replaced him.
This new 6-person line-up, recorded a Dunford composition, "Mr. Pine". However, due to a lack of material for the album, the (already disbanded) original line-up got back together, minus Hawken and plus guest keyboardist Don Shinn, to record "Past Orbits of Dust". Shortly after recording was complete, the only two remaining original members - Jane Relf and John Hawken - left the band, to be replaced by Anne-Marie "Binky" Cullom and John Tout, respectively.
"Mr. Pine" is the only track on a Renaissance album where members of the original line-up (Hawken, Jane Relf) are heard together with a member of the classic line-up (Dunford). It includes a theme that was later used in the far better-known Renaissance song "Running Hard" (from Turn of the Cards, 1974).
One track recorded during the Illusion sessions, a fairly short song called "Statues", was not used on the album. It was eventually released in 2002 on the album Live + Direct. The original album was re-issued on CD in 1995 by Repertoire Records.
Illusion was the first Renaissance album to feature lyrics by Betty Thatcher, who would work with the band throughout its entire "classic" period (1972–79) and beyond. Thatcher was brought to the band by her friend Jane Relf.
(en.wikipedia.org/wiki/Illusion_(Renaissance_album))

01. Love Goes On (02:51)
02. Golden Thread (08:15)
03. Love Is All (03:40)
04. Mr. Pine (07:00)
05. Face Of Yesterday (06:06)
06. Past Orbits Of Dust (14:39)

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Rainbow - Live In Germany [2CD] (1976)

Year: 1976 (CD 1990)
Label: Connoisseur Collection (UK), DP VSOP CD 155
Style: Hard Rock
Country: London & Los Angeles
Time: 44:07, 55:49
Format: Flac Tracks 16/44,1 kHz
Size: 251, 304 Mb

If bigger is better, then Live in Germany 1976 trumps On Stage in that respect as well. With a running time of over ninety minutes, ’76 eclipses On Stage in length by more than fifty percent. With only eight tracks on the album, that equals an average of twelve minutes per song, which can only mean one thing: excessive jamming. Keyboard solo? Check. Drum solo? Check. Vocal/guitar duel? Check. Blues jam?  Check, check, check. Extended guitar solo? Check, check, check, check, check, check, check. If that sounds bloated and overblown, well, it is. It was the Seventies, and as Rick James once said: "Cocaine is a hell of a drug". While the jamming might be excessive, in the hands of this extremely talented group, it is rarely less than entertaining and frequently exhilarating. In the period between the death of Jimi Hendrix and the debut of Eddie Van Halen, Ritchie Blackmore was, arguably, the biggest guitar hero in rock, and Live in Germany 1976 finds him at the height of his powers, delivering an impassioned, multi-faceted performance. Dio’s performance is every bit the equal of Blackmore’s. Ronnie’s voice remained amazingly strong throughout his life, but ’76 showcases Dio in his early thirties, a seasoned veteran,but still in his prime, and at this juncture the strength of his voice seems almost limitless. The rest of the band - drummer Cozy Powell, bassist Jimmy Bain, and keyboardist Tony Carey - makes up the strongest supporting cast that Ronnie and Ritchie had in Rainbow, and each one shines in his respective role.
The highlight of Live in Germany 1976 is, of course, the seventeen minute rendition of "Stargazer". The song begins with a lengthy keyboard intro - into which Tony Carey works some licks from "Tarot Woman" - but once the song-proper starts, the band sticks fairly close to the studio arrangement of the song until the guitar solo, at which time Ritchie Blackmore uses his slide and some slap-back echo to take his leave of planet Earth. Also of note is the band’s blazing stomp through "Sixteenth Century Green Sleeves", and the delicately beautiful "Catch the Rainbow", showcasing some sublime, Hendrix-inspired playing from Blackmore. As did On Stage, ’76 features a rendition of Deep Purple’s "Mistreated". Dio cannot quite match the anguish David Coverdale captures in his renditions of this gut-wrenching blues tune, but what Dio’s voice might lack in vulnerability, it more than makes up for in power, matching Blackmore’s deep-cutting licks slash for slash.
There is no getting around the fact that Live in Germany 1976 is a behemoth of a recording. An hour and a half of arena rock bombast is by no means casual listening, and so it is unlikely to appeal to the casual fan. For the die-hard Rainbow fan, however, Live in Germany 1976 is an all-too-rare opportunity to indulge in the fruit of Dio and Blackmore’s fleeting union, to hear these titans wield their might in their true element: on the stage, where legends are made.
(full version: yourlastrites.com/2011/09/18/15292/)

01. Kill The King (05:32)
02. Mistreated (15:41)
03. Sixteenth Century Greensleeves (08:07)
04. Catch The Rainbow (14:45)

01. Man On The Silver Mountain (13:35)
02. Stargazer (17:00)
03. Still I'm Sad (15:05)
04. Do You Close Your Eyes (10:08)

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Paul McCartney (The Beatles) - Tug Of War [Japan Ed.] (1982)

Year: 26 April 1982 (CD Nov 8, 1995)
Label: Toshiba Records (Japan), TOCP-3135
Style: Rock, Pop Rock, Classic Rock
Country: Liverpool, England (18 June 1942)
Time: 41:10
Format: Flac Tracks 16/44,1 kHz
Size: 270 Mb

Charts: UK #1, AUS #2, BEL #3, GER #1, NLD #1, NOR #1, NZ #4, SWE #1, US #1. UK, CAN & FRA: Gold; AUS & US: Platinum.
Following the release of the solo album McCartney II, McCartney's band Wings regrouped in July and October 1980 to rehearse several songs which later appeared on Tug of War and Pipes of Peace. Feeling the need for direction, McCartney called upon his former producer, George Martin, to begin recording a song written for the animated Rupert Bear character (to which McCartney acquired the film rights in 1970), titled "We All Stand Together", among others. The productive sessions continued until 9 December, the morning McCartney woke up to discover his former songwriting partner and fellow ex-Beatle, John Lennon, had been shot and killed in New York City the previous night. Abandoning that day's session (in which he and Denny Laine were recording future B-side "Rainclouds") part-way through, both Martin and McCartney felt it was best to leave the project for the time being and start anew once they were ready.
In February 1981, two months after Lennon's death, McCartney resumed the sessions, recording that month with Stevie Wonder, Stanley Clarke, Carl Perkins and Ringo Starr, and laying down several songs in the process. The sessions were held at AIR Studios in Montserrat, in the Caribbean, and lasted from 3 February to 2 March, ending with "Ebony and Ivory" and "What's That You're Doing", two songs featuring Stevie Wonder. 10cc guitarist Eric Stewart also became a frequent collaborator of McCartney during this period. Further sessions were undertaken that summer at Martin's AIR studios in Oxford Street, London. The sessions were so productive that several resulting tracks were held over for McCartney's next album, Pipes of Peace, which followed in 1983. The rest of 1981 was spent in a quiet fashion, with McCartney and Martin giving the finishing touches to the album.
(en.wikipedia.org/wiki/Tug_of_War_(Paul_McCartney_album))

01. Tug Of War (04:22)
02. Take It Away (04:16)
03. Somebody Who Cares (03:19)
04. What's That You're Doing? (06:22)
05. Here Today (02:28)
06. Ballroom Dancing (04:08)
07. The Pound Is Sinking (02:55)
08. Wanderlust (03:49)
09. Get It (02:28)
10. Be What You See (Link) (00:33)
11. Dress Me Up As A Robber (02:42)
12. Ebony And Ivory (03:42)

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The Guess Who - Share The Land (1970)

Year: 5 October 1970 (CD 2000)
Label: Buddha Records (US), 74465 99762 2
Style: Rock, Classic Rock
Country: Winnipeg, Manitoba, Canada
Time: 44:00
Format: Flac Tracks 16/44,1 kHz
Size: 298 Mb

Share The Land was their first album following the departure of Randy Bachman, and the band brought in two new guitarists, Kurt Winter and Greg Leskiw. The album was another international success for the band, reaching number seven in Canada and number fourteen in the US, and spawned three hit singles in the title track, "Hand Me Down World" and "Hang On to Your Life".
"Hang On to Your Life" was written by Cummings supposedly after a bad case of sunburn, but many people believe it was written after a bad acid trip. It is an anti-drug song, and was used on commercials to promote stopping the usage of heavy drugs. At the end of the song, Psalm 22:13–15 is quoted. "Hand Me Down World" and "Bus Rider" were from Winter's band Brother, but The Guess Who recorded them before Brother had ever been into a studio. On the 8-track tape edition of the album, the song was edited to make it a bit longer in order to fill out the timing on the first channel (a few extra measures appear before each verse).
When asked how the band knew the Indigenous man on the album's cover, they replied, "central casting". In a 2016 interview with Relix, Burton Cummings was asked about the cover and stated:
Well, don’t forget that the biggest single album of The Guess Who’s career was Share The Land, which was the album that had the Chief of the American Cherokees on the cover. Everybody still thinks I’m native. I just thought that it was a great idea to do that, to put him on the cover. This guy was 81 years old, and we all scampered up a hill for the photo shoot, and he beat us to the top. This guy was crazy; snakes had bitten him something like a hundred times. This guy could bite a snake and kill it, he was 81 and had not a wrinkle on his face.
(en.wikipedia.org/wiki/Share_the_Land)

01. Bus Rider (03:00)
02. Do You Miss Me Darlin'? (03:55)
03. Hand Me Down World (03:27)
04. Moan for You Joe (02:42)
05. Share the Land (03:55)
06. Hang on to Your Life (04:10)
07. Coming Down Off the Money Bag / Song of the Dog (03:57)
08. Three More Days (08:59)
09. Palmyra (bonus track) (05:44)
10. The Answer (bonus track) (04:06)

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Nancy Wilson (Heart) - You And Me (2021)

Year: 2021 (CD May 7, 2021)
Label: Carry On Music (US), COMU-009
Style: Rock
Country: Seattle, Washington, U.S. (March 16, 1954)
Time: 45:22
Format: Flac Tracks 16/44,1 kHz
Size: 304 Mb

The first Heart single to feature Nancy Wilson on lead vocals was “These Dreams,” with an iconic video that featured the guitarist and her sister Ann with peak Eighties hair, silk blazers, fog, and some more hair. But flash-forward to the present — with all that glam preserved on a high shelf like a can of hairspray collecting dust — and the song still holds up, particularly when Wilson performs it on acoustic with her husky vocals. Every second of the night, she’s lived another life.
Wilson carries this well-worn wisdom into her solo debut, You and Me. As her decision to cover Bruce Springsteen’s “The Rising” hints at, You and Me arrives as a healing of sorts, after more than a year of isolation and social upheaval in our country. Best of all, it was unplanned, so the record lacks the kind of “This is a pandemic gift to fans” sentiment and has more of a “stay-at-home-rocker-gets-creative” authenticity. “I’m not going to sit here and do a 1,000-piece jigsaw puzzle,” Wilson said, making the rest of us feel lazy.
You and Me is bookended with tender tributes — the opening title track is for her mother (co-written by longtime collaborator Sue Ennis), while the closer “4 Edward” is an aching acoustic send-off to Eddie Van Halen. In between we get a sprinkling of elite guests, from Sammy Hagar on a cover of Simon and Garfunkel’s “The Boxer” to the dizzying highlight “Party at the Angel Ballroom” with Foo Fighters’ Taylor Hawkins and Duff McKagan of Guns N’ Roses. Then there’s “Daughter” (yes, the Pearl Jam song), which feels unfathomably great when she screams, “She will … rise above!”
At times, the amount of covers on You and Me can feel a bit overwhelming — the need for a rendition of the Cranberries’ “Dreams” is questionable — but Wilson balances it out with her own gems. “The Dragon,” written for Alice in Chains’ Layne Staley in the Nineties, is a gritty slow-burner that’s ripened with age, while “The Inbetween” has a whimsical opening reminiscent of Harry Nilsson’s “Turn On Your Radio.” Decades into her career, the guitarist proves that her legacy is still being made — one puzzle piece after the next.
(rollingstone.com/music/music-album-reviews/nancy-wilson-you-and-me-review-1167232/) Review by Angie Martoccio. May 10, 2021

Angie Martoccio.
Angie Martoccio is a senior writer at Rolling Stone, where she covers music and pop culture. She’s written cover stories on Billie Eilish, Olivia Rodrigo, Boygenius, and others. She’s interviewed iconic musicians and actors like Neil Young, Jamie Lee Curtis, Linda Ronstadt, Carole King, and more. She also focuses on in-depth features on the unsung women of the music industry, from Seventies singer-songwriter Judee Sill to singer Nicolette Larson. Her feature on Michelle Phillips of the Mamas and Papas won The Newswomen's Club of New York’s Front Page Award in 2023.

01. You And Me (feat. Sue Ennis) (03:19)
02. The Rising (05:11)
03. I'll Find You (03:43)
04. Daughter (03:39)
05. Party At The Angel Ballroom (feat. Taylor Hawkins and Duff McKagan) (03:06)
06. The Boxer (feat. Sammy Hagar) (04:43)
07. Walk Away (03:33)
08. The Inbetween (04:00)
09. Dreams (feat. Liv Warfield) (03:31)
10. The Dragon (05:21)
11. We Meet Again (03:29)
12. 4 Edward (01:43)

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Ann Wilson (Heart) - The Ann Wilson Thing! #1 [EP] (2015)

Year: 2015 (CD October 9, 2015)
Label: Rounder Records (US), 11661-38212-02
Style: Pop Rock, Blues Rock
Country: Seattle, Washington, U.S. (June 19, 1950)
Time: 17:29
Format: Flac Tracks 16/44,1 kHz
Size: 104 Mb

Ann Wilson, one of the most iconic voices in rock ‘n’ roll history, is back with a solo EP that sees the talented singer belting out tunes that inspired her as a vocalist, as well as a new track written by Ann titled, "Fool No More."
The four-song EP can only be described as one of the best voices ever cranking up some killer tunes with pure passion! Ann takes on the classic Buffalo Springfield tune "For What It’s Worth" and adds her own spin to the classic song. She takes the classic protest tune and mixes it with a catchy drum beat and electric guitar. The result is a reinterpretation that causes one to listen closely-which was the ultimate goal of this tune in the first place!
"Fool No More" is a bluesy song written by Ann that features heartfelt lyrics and a soulful sound. "Ain’t No Way" sees Wilson taking on Aretha Franklin! The song has a Janis Joplin feel to it and is a one hell of a good tune! "Danger Zone" is the fourth song on the EP, most famous for being performed by Ray Charles. Ann does the song justice and her bluesy voice brings the emotion out of the lyrics.
At the end of the day this is not Heart, nor is it meant to be. It is an Ann Wilson thing! Which is simply a vocalist stretching out, having fun and taking on different styles of music with passion.
Ann is an exquisite talent who continues to impress every time she lets her voice be heard!
(classicrockrevisited.com/show_review.php?id=1540)

01. For What It's Worth (04:18)
02. Fool No More (05:21)
03. Ain't No Way (04:53)
04. Danger Zone (02:56)

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Heart - Dreamboat Annie [Japan Ed. SHM-CD] (1975)

Year: September 1975 (CD May 20, 2015)
Label: Universal Music (Japan), UICY 25529
Style: Rock, Pop
Country: Seattle, Washington, U.S.
Time: 39:54
Format: Flac Tracks 16/44,1 kHz
Size: 251 Mb

Charts: US #7, AUS #9, CAN #20, NL #7, UK #36. Australia: Gold; US: Platinum; Canada: 2x Platinum.
Heart, originally labeled the "female Led Zeppelin," had an impressive debut with Dreamboat Annie. The album was appropriately released on Valentine’s Day in 1976. Produced by Mike Flicker, the album has a simple and direct sound that accentuates the rock dynamics within the instruments and vocals. The Seattle based band recorded the album in Vancouver and first released it in Canada only in 1975 on the Mushroom Records label, which at the time did not have a U.S. distribution system. But, due to heavy sales and radio play in Canada, Mushroom expanded to the U.S. solely to promote Heart, starting in Seattle and then working city by city through the United States, as the band’s popularity spread. The ultimate goal was to land a national distribution contract, but soon relations between the band and Mushroom deteriorated due to questionable ads. The result was Dreamboat Annie never quite reaching the heights that it legitimately deserved as a top-notch rock album with an original approach until the 1980s when Mushroom went out of business and Capitol Records picked up distribution of the early Heart material.
In the mid 1970s, there were very few women who performed and recorded the assertive, Zeppelin-esque rock that Heart had developed. Lead by singer Ann Wilson and her younger sister, guitarist and songwriter Nancy Wilson, the band developed something unapologetically strong and within the realm previously exclusive to male musicians and fans. These strong yet melodic rockers made for a potent combination which would be copied in future decades but was quite unique at the time Dreamboat Annie was released. But even within this new sub-genre, Heart added some variety with ballads and folk-influenced numbers, making this album an interesting listen.
(full version: classicrockreview.com/2011/12/1976-heart-dreamboat-annie/)

01. Magic Man (05:28)
02. Dreamboat Annie (Fantasy Child) (01:10)
03. Crazy On You (04:53)
04. Soul Of The Sea (06:33)
05. Dreamboat Annie (02:01)
06. White Lightning & Wine (03:53)
07. (Love Me Like Music) I'll Be Your Song (03:20)
08. Sing Child (04:55)
09. How Deep It Goes (03:49)
10. Dreamboat Annie (Reprise) (03:47)

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Wild Turkey - Turkey (1972)

Year: 1972 (CD 2002)
Label: Progressive Line (Australia), PL 541
Style: Hard Rock, Rhythm and Blues
Country: Great Britain
Time: 60:03
Format: Flac Tracks 16/44,1 kHz
Size: 365 Mb

Wild Turkey was a hard rock band who was born when bassist Glenn Cornick, after leaving Jethro Tull,  teamed up in 1971 with other musicians to form a band: Graham Williams (guitar), Alan 'Tweke' Lewis (guitar), John "Pugwash" Weathers (drums) and Gary Pickford-Hopkins on vocals. Weathers and Williams left to join Graham Bond's Magick before Wild Turkey recorded any material. They were replaced by Jon Blackmore (guitar and vocals) and Jeff Jones (ex-Man) (drums) who joined Cornick, Tweke and Gary to record Wild Turkey's first album Battle Hymn. The album was promoted on UK and US tours supporting Black Sabbath.
Peel appeared enthusiastic when playing a session from Wild Turkey, calling them a "much improved band" who got "better, better and better" each time he heard them. However, the band was very short lived (they disbanded in early 1974 after only two years of activities), so he didn't seem to have played much music from them. When the band reformed for the first time in 1996, Peel's musical interest had moved towards other genres, so there was no reaction from him. Due to the band's "underground" popularity, we can only speculate if he was even aware of their reunion!
(peel.fandom.com/wiki/Wild_Turkey)

01. Good Old Days (04:12)
02. Tomorrowґs Friend (04:07)
03. A Universal Man (03:49)
04. Eternal Mother / The Return (07:59)
05. Ballad Of Chuck Stallion And The Mustangs (03:40)
06. The Street (04:45)
07. See You Next Tuesday (06:53)
08. Telephone (03:35)
09. Soldier Airplay (live-Bonus) (05:44)
10. Brother (live-Bonus) (07:18)
11. Social World (live-Bonus) (07:58)

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Motley Crue - Dr. Feelgood [2CD. Deluxe Edition] (1989)

Year: August 28, 1989 (CD 2009)
Label: Motley Records (Germany), 2713340
Style: Heavy Metal, Glam Metal, Hard Rock
Country: Hollywood, California, U.S.
Time: 45:11, 42:35
Format: Flac Tracks 16/44,1 kHz
Size: 353, 331 Mb

Charts: US #1, AUS #5, CAN #7, FIN #6,NOR #7, NZ #5, SWE #6, SWI #7, UK #4. SWI & UK: Gold; NZ & AUS: Platinum; CAN: 3x Platinum; US: 6x Platinum.
Producer Bob Rock found working with Motley Crue difficult, describing them as "four L.A. bad asses who used to drink a bottle of wine and want to kill each other." To minimize conflict and allow production to proceed smoothly, Rock had each member record their parts separately.
The lyrics of "Don't Go Away Mad (Just Go Away)" feature a reference to "Too Young to Fall in Love" from the band's 1983 album Shout at the Devil.
The intro track "T.n.T. (Terror 'n Tinseltown)" features a sample of a woman saying "Dr Davis, telephone please". This was the same sample used by the band Queensryche for their song "Eyes of a Stranger" which was off of their album Operation: Mindcrime released one year prior to Dr. Feelgood.
The end of "Slice of Your Pie" is based on "She's So Heavy", from the Beatles' Abbey Road album.
Steven Tyler of Aerosmith sings backing vocals on "Sticky Sweet". "Nikki and Tommy and I hung out a lot," said Tyler, who was in Vancouver around the same time, recording Pump. "Of course, we're all akin by our old drinking and drugging days."
(en.wikipedia.org/wiki/Dr._Feelgood_(album))

01. T.N.T. (Terror 'N Tinseltown) (00:43)
02. Dr. Feelgood (04:49)
03. Slice Of Your Pie (04:31)
04. Rattlesnake Shake (03:40)
05. Kickstart My Heart (04:42)
06. Without You (04:28)
07. Same Ol' Situation (S.O.S.) (04:12)
08. Sticky Sweet (03:51)
09. She Goes Down (04:37)
10. Don't Go Away Mad (Just Go Away) (04:39)
11. Time For Change (04:52)

01. Dr. Feelgood (Demo) (04:45)
02. Without You (Demo) (04:14)
03. Kickstart My Heart (Demo) (04:30)
04. Get It For Free (04:15)
05. Time For Change (Demo) (04:10)
06. Girls, Girls, Girls (Live) (05:41)
07. Red Hot (Live) (03:22)
08. All In The Name Of Rock (Live) (04:54)
09. Dr. Feelgood (Live) (06:41)

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Oktober – Die Pariser Commune [2CD] (1977)

Year: 1977 (CD ????)
Label: Antagon Records (Germany), ALP 3211/1-2
Style: Rock Opera, Experimental, Prog Rock
Country: Germany
Time: 47:45, 38:41
Format: Flac Tracks 16/44,1 kHz
Size: 308, 248 Mb

In German language.
Oktober were a seven piece German band who put on these theatrical shows that were very political. This their second album continues in the same vein as the debut as we get this Symphonic/Krautrock style of music although this is much more symphonic than the debut. The vocalist has a lot of character to say the least. This was a double concept album with four side long suites with plenty of twists and turns including lots of samples and spoken words as well. All singing and speaking is in German and the subject matter is "The Paris Commune" which is about an event that took place in Paris in 1871 where it is believed the first ever government was formed by the working class people. This is a ride folks.
We get started with "Unser Blut-Ihre Geschichte" where we can hear a loud crowd shouting and celebrating before the organ takes over. This is replaced by drums and guitar that builds. Check out the chunky bass and background synths. Man this sounds amazing. The guitar then solos over top 2 1/2 minutes in before it all settles right down as spoken words come in with atmosphere. It all kicks back in at 5 minutes including piano this time. Vocals follow. It settles again with background synths as the vocals continue. Great sound before 8 minutes as it picks up speed then becomes more powerful. I like the way themes are repeated. Impressive instrumental sections follow then I like the calm 14 minutes in as the synths blow like the wind as the drums pound. Ripping guitar after 15 minutes with ground shaking bass as the drums continue to be upfront. A dark calm before 18 minutes with deep sounds and sinister guitar. Spoken words only follow then back to the instrumental work followed by vocals as again themes are repeated. What a track!
(full version: progarchives.com/album.asp?id=42896)

01. Unser Blut (22:13)
02. Ihre Geschichte (25:32)

01. Die Tage der Kommune (23:10)
02. Zwischenlied (15:31)

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Stackridge - Extravaganza [Vinyl Rip] (1974)

Year: 1974 (LP 1974)
Label: Rocket Record (UK), PIGL 11
Style: Rock, Folk Rock
Country: Bristol, England
Time: 42:39
Format: Flac Tracks 16/44,1 kHz
Size: 277 Mb

Extravaganza is the fourth album by the British rock group Stackridge. The album was produced by Tony Ashton at AIR Studios, London. The band experienced a significant lineup change after its previous album, with James Warren, James "Crun" Walter and Billy Sparkle all leaving.
The album was originally released in the UK on Elton John's label, The Rocket Record Company. Stackridge was the first group signed to the new label.
A different version of the album was released by Sire Records in the U.S and Canada. This version removed two songs already released on Pinafore Days and added "Do The Stanley" from a UK single and "The Indifferent Hedgehog" from the UK album The Man In The Bowler Hat.
Singer and songwriter Gordon Haskell rehearsed with Stackridge for a short time during 1974. Though Haskell decided not to join Stackridge the group recorded one of his songs. Originally called "Worms", the version on Extravaganza was re-titled "No One's More Important Than the Earthworm".
The song "Happy In The Lord", written by Phil Welton, was a cover of a song originally performed by the band Fat Grapple, and released by them as a single in 1975.
(en.wikipedia.org/wiki/Extravaganza_(album))

01. A1 Spin Round The Room (02:44)
02. A2 Grease Paint Smiles (04:05)
03. A3 The Volunteer (05:06)
04. A4 Highbury Incident (Rainy July Morning) (04:03)
05. A5 Benjamin's Giant Onion (04:04)
06. A6 Happy In The Lord (03:49)
07. B1 Rufus T. Firefly (04:50)
08. B2 No One's More Important Than The Earthworm (05:13)
09. B3 Pocket Billiards (04:04)
10. B4 Who's That Up There With Bill Stokes (04:35)

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