Whitesnake - Flesh & Blood [Japan Ed.] (2019)

Year: 10 May 2019 (CD May 10, 2019)
Label: Ward Records (Japan), GQCS-90703
Style: Hard Rock
Country: London, England
Time: 73:14
Format: Flac Tracks 16/44,1 kHz
Size: 521 Mb

Charts: UK #7, FIN #4, GER #3, NED #51, NOR #13, SWE #9, SWI #2, JP #11, US #131.
In some ways Whitesnake have used the same artwork (a kind of variation on the Game of Thrones branding) for about 30 years. Some might also say that Mr Coverdale should really be pulling back from all out rock as his voice is not quite what it was. However, David and the boys have no intention of slowing down if this new album is anything to go by.
I must admit I approached it with caution even as a Deep Purple Family collector.
My expectations were fairly neutral but half way through the first listen it was obvious that this was going to be something special. There has been nothing really wrong with the recent Whitesnake albums but for me nothing really hit the highs of ‘Good To Be Bad’ from 2008. Well I am pleased to say this this album ticks all the boxes and you can tell the whole band are having fun and enjoying a surge or creativity. David Coverdale’s voice sounds great even if lyrically he doesn’t move too far away from his lonely nights and still being bad to the bone!
This is a great rock album and at nearly 70mins in length (that is almost a double album in old money) is a fab listen from beginning to end. The production is spot on. Don’t expect the the songs to stray too far away from the 80s rock / metal blue print but then you are probably not expecting them to at this stage of their career. This is a brutal rock album played with passion and determination. David Coverdale and the boys are refusing to go gently into the night and if this is what we can expect then long may it continue.
(nowspinning.co.uk/whitesnake-flesh-blood-cd-dvd-2019-review/) Review by Phil Aston. 20th May 2019

01. Good to See You Again (03:42)
02. Gonna Be Alright (03:51)
03. Shut Up and Kiss Me (03:37)
04. Hey You (You Make Me Rock) (05:29)
05. Always & Forever (03:53)
06. When I Think of You (Color Me Blue) (03:52)
07. Trouble Is Your Middle Name (04:17)
08. Flesh & Blood (05:18)
09. Well I Never (04:01)
10. Heart of Stone (06:42)
11. Get Up (04:45)
12. After All (03:47)
13. Sands of Time (06:09)
14. After All (Unzipped Mix) (Japanese Bonus Track) (03:45)

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Yes - Fragile [Japan Ed.] (1971)

Year: 12 November 1971 (CD Jul 22, 2009)
Label: Warner Music (Japan), WPCR 13515
Style: Symphonic Rock
Country: London, England
Time: 60:31
Format: Flac Tracks 16/44,1 kHz
Size: 416 Mb

Fragile, the fourth album by Yes is really a bridge between its rock-influenced predecessor, The Yes Album, and the nearly pure prog albums which would follow. The album features four tracks of full band performances, three of which were of eight minutes length or longer interspersed by five short tracks each showcasing an individual member of the band. This approach makes for a very interesting and dynamic mix as some laid back and introspective, individual tracks give way to a much bolder, harder, and more aggressive style of playing by the band as a whole during the full-lineup extended tracks.
The album was recorded in September 1971 and co-produced by Eddy Offord, who worked on most of the band’s earliest material. During the recordings there was a major lineup change, reportedly due to keyboardist Tony Kaye’s refusal to embrace the Moog synthesizer and stick exclusively to the Hammond organ. Kaye was replaced by Rick Wakeman. Often using as many as a dozen keyboards on stage, Wakeman added a bit flair to the band’s performance and completed the picture of their classic lineup.
More than any other album, Fragile is an absolute showcase for bassist Chris Squire, who also happens to be the only person to appear on every Yes album (a band known for constant lineup shifting). Squire may have been the first to truly bring this instrument, which is normally buried in the low end of the mix, to the forefront and in unique and inventive ways. Although the album was released in November 1971 in the UK, it was held over until January 1972 across the Atlantic, because there was still chart momentum for The Yes Album in the states.
Full version: (classicrockreview.com/2012/12/1972-yes-fragile/)

01. Roundabout (08:36)
02. Cans And Brahms (01:42)
03. We Have Heaven (01:40)
04. South Side Of The Sky (07:57)
05. Five Per Cent For Nothing (00:37)
06. Long Distance Runaround (03:30)
07. The Fish (Schindleria Praematurus) (02:41)
08. Mood For A Day (03:02)
09. Heart Of The Sunrise (11:32)
10. America (10:33)
11. Roundabout (Early Rough Mix) (08:35)

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Humble Pie - Smokin' (1972)

Year: March 1972 (CD 1991)
Label: A&M Records (U.S.), CD 3132
Style: Rock, Blues Rock, Rhythm and Blues
Country: Moreton, Essex, England, UK
Time: 43:51
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

Charts: U.S. #6, CA #13, AUS #9, GE #26, UK #20.
The album was Humble Pie's first following the departure of guitarist Peter Frampton, which placed singer and co-founder Steve Marriott as the band's de facto leader. Smokin' is the band's best-selling album, due in large part to the success of the single "30 Days in the Hole".
Smokin' includes dramatically slowed down versions of Eddie Cochran's "C'mon Everybody", Junior Walker's "Road Runner", and the wah-wah laden slow blues "I Wonder". "You're So Good for Me", which begins as a delicate acoustic number, ultimately mutates into a full-bore gospel music rave-up, an element that would later influence bands like The Black Crowes.
Alexis Korner guests on the track "Old Time Feelin'", Marriott's vocals take a back seat as the main vocals are provided by Greg Ridley and Korner who also plays a Martin Tiple, mandolin-type guitar. Its sound is reminiscent of the song "Alabama '69" on their first album.
Stephen Stills guests on "Road Runner 'G' Jam" (the title is a nod to the band's habit of developing songs out of jam sessions), playing Hammond organ, and his backing vocals were over-dubbed on "Hot 'n' Nasty" a slow-burning and then dynamic R&B song, after he strolled in after recording his own sessions next door.
Marriott insisted on producing the album himself for the challenge of creating a compact R&B sound with a high-tech 24-track mixing board. Marriott collapsed with exhaustion in February. The New Musical Express (NME) reported at the time: "Following intense recording sessions with Humble Pie, Steve Marriott collapsed with nervous exhaustion and doctors told him to rest".
With this album the group were seen as leaders of the boogie movement in the early 1970s.
(en.wikipedia.org/wiki/Smokin%27_(Humble_Pie_album))

01. Hot 'n' Nasty (03:21)
02. The Fixer (05:02)
03. You're So Good for Me (03:50)
04. C'mon Everybody (05:13)
05. Old Time Feelin' (04:00)
06. 30 Days in the Hole (03:57)
07. a) Road Runner / b) Road Runner's 'G' Jam (03:43)
08. I Wonder (08:53)
09. Sweet Peace and Time (05:48)

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Edgar Broughton Band - Wasa Wasa (1969)

Year: July 1969 (CD 19??)
Label: BGO Records (UK), BGOCD129
Style: Rock, Blues Rock, Psychedelic Rock
Country: Warwick, England
Time: 45:31
Format: Flac Tracks 16/44,1 kHz
Size: 261 Mb

Shaped in Warwick, England, the Edgar Broughton Strap arrived within the London underground music scene in 1968. Led from the Broughton brothers, vocalist/guitarist Edgar and drummer Steve, and fleshed out by bassist Arthur Give and guitarist Victor Unitt (who also briefly offered with the Fairly Items), they quickly signed using the Harvest label and released their debut, Wasa Wasa, a assortment of underground electrical blues jams anchored by Edgar’s Captain Beefheart-like vocals, in past due 1969. The Edgar Broughton Music group came back in 1970 with Sing Sibling Sing, which reached the U.K. Best 20 and spawned a set of minor strike singles, “Out Demons Out” and “Apache Drop-Out” (a fusion of Beefheart’s “Dropout Boogie” as well as the Shadows’ “Apache”). The group appeared poised for a significant industrial breakthrough, but even while their make of large rock and roll was flourishing because of groups like Dark Sabbath and Deep Crimson, the Broughton Music group produced an about-face, and their music became somewhat more tranquil and politically billed. Their graph momentum stalled, along with a 1971 self-titled work failed to capture on. After both 1972’s Inside Out and 1973’s Oora fulfilled a similar destiny, the group still left Harvest for NEMS. Legal wrangles locked them from the studio for several months, however they finally resurfaced in 1975 — minus Unitt, who’d been changed by guitarist John Thomas — with Bandages. A short breakup followed, however in 1978 they came back with Live Strikes Harder. With the discharge of 1979’s Parlez Vous British?, the group acquired expanded to some six-piece, utilizing the name the Broughtons. Time for the Edgar Broughton Music group moniker, the music group became a three-piece for 1982’s Super Chip: THE ULTIMATE Silicon Solution, an idea album filled up with synthesizers and brand-new influx tempos. Touring continuing throughout ’80s, ’90s, and 2000s.
(musicianbio.org/edgar-broughton/)

01. Death of an Electric Citizen (06:08)
02. American Boy Soldier (04:21)
03. Why Can't Somebody Love Me (05:06)
04. Neptune (04:20)
05. Evil (02:35)
06. Crying (05:13)
07. Love In The Rain (03:46)
08. Dawn Crept Away (13:59)

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Atomic Rooster - Made In England [Japan Ed.] (1972)

Year: October 1972 (CD 25 Jul 2016)
Label: Belle Antique (Japan), BELLE 162591
Style: Art Rock, Progressive Rock
Country: United Kingdom
Time: 40:48
Format: Flac Tracks 16/44,1 kHz
Size: 271 Mb

Charts: U.S. #149, AUS #42.
Made in England is the fourth album by British rock band Atomic Rooster. Although previously known for generally having a progressive rock style, this album saw the band moving in more of a funk/soul direction, largely influenced by new singer Chris Farlowe. Apart from founder member Vincent Crane, the album was recorded by an entirely different lineup to that of the band's prior effort, In Hearing of Atomic Rooster. Previous members John Du Cann and Paul Hammond had departed in protest at Crane's intended new musical direction.
In the UK and Germany, original copies of the LP came wrapped in an actual denim sleeve. Later pressings came in a standard art sleeve. In the US, the record was issued on Elektra in the standard sleeve. It was further reissued in Germany in 1977, this time in yet another new sleeve and retitled This is Atomic Rooster.
The only UK single from Made in England was "Stand by Me".
(en.wikipedia.org/wiki/Made_in_England_(Atomic_Rooster_album))

01. Time Take My Life (06:01)
02. Stand By Me (03:47)
03. Little Bit Of Inner Air (02:39)
04. Don't Know What Went Wrong (04:00)
05. Never To Lose (03:17)
06. Breathless (05:17)
07. Space Cowboy (03:20)
08. People You Can't Trust (03:53)
09. All In Satan's Name (04:44)
10. Close Your Eyes (03:47)

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Ananda Shankar - Ananda Shankar (1970)

Year: 1970 (CD 1998)
Label: Reprise Records (U.S.) 9362472632
Style: Psychedelic Rock, Rock, Experimental
Country: India (December 11, 1942 - 26 March 1999)
Time: 40:35
Format: Flac Tracks 16/44,1 kHz
Size: 271 Mb

Ananda Shankar (11 December 1942 – 26 March 1999) was an Indian musician, singer, and composer best known for fusing Western and Eastern musical styles. He was married to dancer and choreographer Tanusree Shankar.
Achievements - Nephew of the world renowned Sitarist Ravi Shankar, Ananda Shankar was a popular Indian musician known for mixing fluxing the western into the eastern music styles. He has also played alongside music legends like Jimi Hendrix.
Ananda Shankar was a popular musician of India, who excelled in fluxing the western into the eastern music styles. He was born on 11 December 1942 at Almora in the Uttar Pradesh state to eminent classical dancers, Amala and Uday Shankar. He also happened to be the nephew of the world famous Sitarist, Ravi Shankar. Yet he chose to learn the instrument from Dr Lalmani Misra of Varanasi instead of his uncle. Later on, he married Tanushree Shankar.
Read on to learn more about this unique musician Ananda Shankar, who traveled to Los Angeles in the late 1960s. Here he played alongside many stalwarts in the field of music like Jimi Hendrix. Reprise Records signed Ananda Shankar on and this lead to the release of his first self-titled album in 1970. It comprised original Indian classical compositions and sitar-based versions of popular western hit songs such as that of The Rolling Stones' Jumpin' Jack Flash and The Doors' Light My Fire.
Ananda Shankar came back to India during the early 70s after the successful debut of his first international music album. More confident now, Shankar continued his musical experimentation and finally launched his most talked about album 'Ananda Shankar And His Music', which brought together the sounds of the sitar, guitar, tabla, mridangam, drums and the moog synthesizers. The very same album was re-released in 2005 reintroducing the melodies Ananda Shankar spent his entire life history creating.
The popularity of Shankar's music soared again during the mid 1990s after it made its way into the night clubs, especially those in London. The launch of Blue Note Records in 1996 further served to introduce Shankar's music to a newer and even larger number of audiences. Yet another one 'Blue Juice Vol. 1' belted out two outstanding sound tracks "Dancing Drums" and "Streets Of Calcutta". In 1990s, Ananda Shankar composed music as well as toured the UK. 'Walking On' was released in 2000 after Shankar's sudden death the year before.
(iloveindia.com/indian-heroes/ananda-shankar.html)

01. Jumpin' Jack Flash (03:35) (The Rolling Stones)
02. Snow Flower (02:49)
03. Light My Fire (03:32) (The Doors)
04. Mamata (Affection) (03:09)
05. Metamorphosis (06:50)
06. Sagar (The Ocean) (13:16)
07. Dance Indra (03:53)
08. Raghupati (03:28)

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Mountain - Avalanche (1974)

Year: July 1974 (CD 2002)
Label: Collectables Records (US), COL-CD-6871 SONY A 52701
Style: Hard Rock, Rhythm and Blues
Country: Long Island, New York, U.S.
Time: 41:33
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

Not dramatically worse than Nantucket Sleighride, not even radically different. The spirit of Woodstock has been fading of course, but "I Love to See You Fly" is a nice song and the surprising cover of "Whole Lotta Shakin' Goin' On" has a nice touch in it as well. The instrumental "Alisan" is definitely not bad either. Instead, the version of "Satisfaction" is a waste of time. Seven of the ten tracks might make 2.5, but luckily we have a few quite good numbers on the album too.
Review by fairyeee. May 26 2015

The material on Mountain's Avalanche has slipped just a little but the musicianship is still there. There are some real toe tappers on this recording and Mr. Leslie West's guitar work is still masterful.
The Rolling Stones' Satisfaction is damn near a perfect hard rock tune and Leslie West makes it his own.
Review by rod45. Aug 06 2013

Way, way, way not the masterpiece Nantucket Sleighride and Climbing! are. Not by a longshot. That doesn't however mean Avalanche is bad. On the contrary, Avalanche is a great Proto-Metal disc. Full of heavy Guitar fire, thunderous Drums and booming Bass. It's the songwriting that isn't quite up to standard. The highlights are the crushing You'd Better Believe It, the chiming Sister Justice, and a kick ass cover of The Stones classic Satisfaction.
Review by DarthKarl. Mar 13 2012
(All review: rateyourmusic.com/release/album/mountain/avalanche/reviews/2/)

01. Whole Lotta Shakin' Goin' On (05:05)
02. Sister Justice (03:58)
03. Alisan (04:40)
04. Swamp Boy (02:55)
05. Satisfaction (05:16)
06. Thumbsucker (03:20)
07. You Better Believe It (05:48)
08. I Love To See You Fly (03:45)
09. Back Where  I Belong (02:57)
10. Last Of The Sunshine Days (03:45)

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Jefferson Airplane - Takes Off [8 bonus tracks] (1966)

Year: 5 August 1966 (CD ????)
Label: RCA Records (US), 82876 50352 2
Style: Psychedelic Rock
Country: San Francisco, California, U.S.
Time: 71:57
Format: Flac Tracks 16/44,1 kHz
Size: 349 Mb

Almost masterpiece by some other Jefferson Airplane. Forgotten treasure before revolution, studio experiments and too many drugs.
For a couple of years I've been trying to read something about CD before purchase. Usually I get reliable and valuable information. But in case of "Jefferson Airplane Takes Off" I read... well... bluffs. I read it is unsuccessful and very different from other Airplane albums, that I should beware of it, it is not on par with albums made at the end of sixties and so on.
First,  this is not the same band who recorded "After Bathing At Baxters", "Crown Of Creation" or "Volunteers" and it is easy to see. The singer here is not Grace Slick but Signe Anderson, and drummer's name is Skip Spence (later known as a guitar player in Moby Grape). The main composer is Marty Balin. Music is not so psychedelic but honest and romantic electric folk rock. All the stuff that made, say, "Baxter" so "uncompromising" are luckily absent. So anyone searching for studio pyrotechnics, weird and revolutionary sounds will be disappointed.
Second, Signe Anderson is less dominant than Grace Slick on the later albums but she did a nice job on her lead "Chauffeur Blues" and harmonizing is very good. Marty Balin shines both as lead vocalist and songwriter with a little help from band.
Third, it is said that if you want to break some rule, first you've got to learn it. And here is evident that Marty and company have learned all the rules how to make a good folk rock song. In fact they sound so good so I must ask why they went "up against the wall" at all. And in my honest opinion "Surrealistic Pillow" was so good because the Airplane perfected craft they had already presented here, not because they went experimenting. So, all the differences I mentioned before are pretty much refreshing.
"Takes Off" is album made by bunch of smart young men and the reason why I like it so much is because it is not so overblown or intended to be a great artistic statement. "Takes off" is inspired collection of often beautiful folk rock songs played on electric guitars and sang in three part harmonies. And that's it. It is not "Rubber Soul" or "Pet Sounds", to be sure, but it is okay played, beautifully sung, and most of all, it has a big heart. Almost every song has some killer hook that other band would have killed for. I can hear that every song on the album (including couple of bonuses) is played inside out before going to studio, so the band sounds better than sum of its parts. And that is big thing, although some band members were still in process of learning (by joining Airplane Spence didn't have any drumming experience), it is all part of album's unique charm.
CD reissue comes with a couple of very good outtakes, so this album is highly recommended for anybody interested in Sixties folk rock. For those who want to hear early days of the one of most popular psychedelic group, this album can be really refreshing.
(sputnikmusic.com/review/13070/Jefferson-Airplane-Jefferson-Airplane-Takes-Off/)

01. Blues From An Airplane (02:13)
02. Let Me In (02:59)
03. Bringing Me Down (02:23)
04. It's No Secret (02:39)
05. Tobacco Road (03:30)
06. Come Up The Years (02:32)
07. Run Around (02:40)
08. Let's Get Together (03:35)
09. Don't Slip Away (02:34)
10. Chauffeur Blues (02:28)
11. And I Like It (03:20)
12. Runnin' 'Round This World (Mono, Uncensored Single Version) (02:25)
13. High Flying Bird (Bonus Track) (02:35)
14. It's Alright (Bonus Track) (02:17)
15. Go To Her (Early Version, 7/21/66) (04:09)
16. Let Me In (Original Uncensored Version) (03:31)
17. Run Around (Mono, Original Uncensored Version) (02:35)
18. Chauffeur Blues (Alternate Version, Previously Unissued) (02:49)
19. And I Like It (Alternate Version, Previously Unissued) (10:36)

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Jefferson Starship (Jefferson Airplane) - Red Octopus (1975)

Year: June 13 1975 (CD ????)
Label: RCA / Legacy Records (US), 82276 71223 2
Style: Soft Rock
Country: San Francisco, California, U.S.
Time: 62:34
Format: Flac Tracks 16/44,1 kHz
Size: 394 Mb

Charts: US #1, AUS #69, CAN #13, NZ #15. US: 2x Platinum.
Technically speaking, Red Octopus was the first album credited to Jefferson Starship, though practically the same lineup made Dragon Fly, credited to Grace Slick/Paul Kantner/Jefferson Starship. The difference, however, was crucial: Marty Balin was once again a fully integrated bandmember, writing or co-writing five of the ten tracks. And there can be little doubt that it was Balin's irresistible ballad "Miracles," the biggest hit single in the Jefferson Whatever catalog, that propelled Red Octopus to the top of the charts, the only Jefferson album to chart that high and the best-selling album in their collective lives. This must have been sweet vindication for Balin, who founded Jefferson Airplane but then drifted away from the group as it veered away from his musical vision. Now, the collective was incorporating his taste without quite integrating it -- "Miracles," with its strings and sax solo by nonband member Irv Cox, was hardly a characteristic Airplane/Starship track. But then, neither exactly was Papa John Creach's showcase, "Git Fiddler," or bassist Pete Sears' instrumental "Sandalphon," which sounded like something from an early Procol Harum album. Slick has three strong songs, among them the second single "Play on Love." Like Dragon Fly, Red Octopus reflected a multiplicity of musical tastes; there were ten credited songwriters, seven of whom were in the band. If there is any consistency in this material, it is in subject matter (love songs). The album is more ballad-heavy and melodic than the Airplane albums, which made it more accessible to the broader audience it reached, though "Sweeter Than Honey" is as tough a rocker as the band ever played.
(allmusic.com/album/red-octopus-mw0000194323)

01. Fast Buck Freddie (03:30)
02. Miracles (06:53)
03. Git Fiddler (03:11)
04. Ai Garimasu (There Is Love) (04:17)
05. Sweeter Than Honey (03:23)
06. Play On Love (03:46)
07. Tumblin' (03:29)
08. I Want To See Another World (04:36)
09. Sandalphon (04:11)
10. There Will Be Love (05:08)
11. Miracles (Single Version) (03:30)
12. Band Introduction (Live at Winterland, November 7, 1975) (01:15)
13. Fast Buck Freddie (Live at Winterland, November 7, 1975) (03:35)
14. There Will Be Love (Live at Winterland, November 7, 1975) (04:58)
15. You're Driving Me Crazy (Live at Winterland, November 7, 1975) (06:45)

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Paul Kantner, Grace Slick & David Freiberg (Jefferson Airplane) - Baron Von Tollbooth & The Chrome Nun (1973)

Year: May 1973 (CD 1997)
Label: RCA Records (US), RCA 07863 67418-2
Style: Rock
Country: U.S.
Time: 40:22
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

David Freiberg (Boston, Massachusetts, U.S. August 24, 1938) - Quicksilver Messenger Service, Jefferson Airplane, and Jefferson Starship.
Paul Kantner (San Francisco, California, U.S. March 17, 1941 - January 28, 2016) - Jefferson Airplane, and Jefferson Starship.
Grace Slick (Highland Park, Illinois, U.S. October 30, 1939) - The Great Society, Jefferson Airplane, Jefferson Starship, Starship.
Credited to Paul Kantner, Grace Slick, and David Freiberg, Baron von Tollbooth & The Chrome Nun was the first album made by these erstwhile members of Jefferson Airplane since the breakup of that group. Like such other spin-off projects as Blows Against the Empire and Sunfighter, this one featured a supporting cast of San Francisco Bay Area musicians including present and former members of a variety of groups, such as the Grateful Dead (lead guitarist Jerry Garcia, percussionist Mickey Hart, and lyricist Robert Hunter, who wrote the words to "Harp Tree Lament"), Crosby, Stills, Nash & Young (singer David Crosby), and the Flying Burrito Brothers (bassist Chris Ethridge), as well as other former members of the Airplane and future members of Jefferson Starship. The Pointer Sisters even guested on one track. Despite the co-billing, the album's guiding force was Slick, who sang on every track and wrote or co-wrote six of the ten songs, though there was still room for the unbilled Jack Traylor to write, play acoustic guitar, and sing lead vocals on the song "Flowers of the Night," a celebration of monarchial overthrows throughout history. Perhaps more outside songwriting should have been employed, since the compositions here were second-rate. The public was catching on, too: Kantner's Blows Against the Empire had reached the Top 20, but Baron von Tollbooth didn't come near the Top 100. The team would attempt one more splinter project, Slick's "solo" album Manhole, before reorganizing as Jefferson Starship in 1974 with the notable return of singer/songwriter Marty Balin.
(allmusic.com/album/baron-von-tollbooth-the-chrome-nun-mw0000084215)

01. Ballad Of The Chrome Nun (04:00)
02. Fat (03:14)
03. Flowers Of The Night (04:17)
04. Walkin' (02:31)
05. Your Mind Has Left Your Body (05:47)
06. Across The Board (04:37)
07. Harp Tree Lament (03:38)
08. White Boy (Transcaucasian Airmachine Blues) (04:16)
09. Fishman (02:43)
10. Sketches Of China (05:15)

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The Great Society (Jefferson Airplane) - Born To Be Burned (1965)

Year: 1965 (CD Jan 19, 1996)
Label: Sundazed Music (US), SC 11027
Style: Psychedelic Rock
Country: San Francisco, California, U.S.
Time: 42:21
Format: Flac Tracks 16/44,1 kHz
Size: 270 Mb

Born to Be Burned is a compilation album by the San Francisco garage rock and psychedelic rock band the Great Society. The album is made up of material recorded during the band's short-lived association with Autumn Records in 1965, with the majority of it previously unreleased. The exceptions to this are the songs "Someone to Love" and "Free Advice" (tracks 1 and 2 on the album), which had both been issued as a single on Northbeach Records, a subsidiary of Autumn Records, in February 1966.
The album contains many of The Great Society's signature songs, including "Free Advice", a drone-laden piece of raga rock, greatly influenced by Indian classical music, and "Father Bruce", a song inspired by comedian and counterculture hero, Lenny Bruce. The oriental-sounding "Daydream-Nightmare-Love" and the darkly psychedelic "Born to Be Burned" are also included. "Someone to Love" is arguably The Great Society's most famous song, due to the later hit single version by Jefferson Airplane (retitled "Somebody to Love"). The Great Society's vocalist, Grace Slick, joined Jefferson Airplane in late 1966 and consequently she sings lead vocal on the Airplane's recording of the song, which became a Top 5 hit in the U.S. in May 1967.
(en.wikipedia.org/wiki/Born_to_Be_Burned)

01. Free Advice (02:32)
02. Someone To Love (03:06)
03. You Can't Cry (02:35)
04. That's How It Is (02:29)
05. Girl (02:12)
06. Where (02:12)
07. Heads Up (01:19)
08. Free Advice (Alternate Version 2) (02:09)
09. Father Bruce (03:10)
10. Born To Be Burned (02:07)
11. Double Tripamine Superautomatic Everlovin' Man (01:57)
12. Love You Girl (03:09)
13. That's How It Is (Alternate Version) (02:25)
14. Right To Me (03:06)
15. Where (Alternate Version) (02:15)
16. Free Advice (Alternate Version 1) (02:12)
17. Daydream-Nightmare-Love (03:18)

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Grace Slick (ex Jefferson Airplane) - Dreams (1980)

Year: March 18, 1980 (CD November 2, 1998)
Label: Si-Wan Records (South Korea), SRMWP 1010
Style: Pop Rock
Country: Highland Park, Illinois, U.S. (October 30, 1939)
Time: 46:19
Format: Flac Tracks 16/44,1 kHz
Size: 287 Mb

Charts: US #32, AUS #46, NLD #39, NOR #22, UK #28.
Paul Weller had 22 of them. Lennon had a number nine one. McCartney had one of his mother Mary. David Crosby had one about a ‘Shadow Captain’ leading him astray. Ray Davies didn’t have any and wrote about his insomnia instead. No, we’re not talking about cakes or gold records here – we’re talking about dreams, one of the most common and useful songwriting ideas after love and romance. Grace Slick, she of the Jefferson Airplane and Starship, isn’t the kind of singer you usually associate with dreams and imagination (songs about real events and experiences have always been her strong point) but that's what makes this surreal, hazy yet bitey album all the more remarkable - easily the greatest and most essential purchase of her four solo albums. In one way this is in many ways her least dream-like album of all, full of stunning insights into her own life with the cold splash of trouble and tribulation, like the sober morning after an alcoholic binge and as tough as old boots. And yet there’s a magical, mystical quality to this album, which sounds – especially on the three-track tone poem on the second side – like the mystical side that's always been there in the background of the Airplane/Starship sound breaking through at last. A neat summation of that twilight time between sleep and awake, 'Dreams' is a forgotten and neglected work that sounds like the work of Grace's sub-conscious trying to find the right path and caught between scary realistic insight and the hazy realisation that there are still things to do and places to go.
(full version: alansalbumarchives.blogspot.com/2009/08/news-views-and-music-issue-39-grace.html)

01. Dreams (05:08)
02. El Diablo (05:58)
03. Face To The Wind (05:31)
04. Angel Of Night (03:50)
05. Seasons (03:26)
06. Do It The Hard Way (04:59)
07. Full Moon Man (05:07)
08. Let It Go (05:43)
09. Garden Of Man (06:33)

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Three Dog Night - Coming Down Your Way [Japan Ed.] (1975)

Year: May 1, 1975 (CD Apr 24, 2013)
Label: Universal Music (Japan), UICY-75572
Style: Pop Rock, Rock
Country: Los Angeles, California, U.S.
Time: 35:52
Format: Flac Tracks 16/44,1 kHz
Size: 226 Mb

Three Dog Night garnered three hits off of their 1974 release, Hard Labor, with material from John Hiatt, Allen Toussaint, and David Courtney/Leo Sayer. This time around they obtain their 21st and final Top 40 entry with a Dave Loggins song, "'Till the World Ends," and it is no "Pieces of April," the lovely composition from the same songwriter which landed in the Top 20 for the group two-and-a-half-years earlier. The problem with the song is the same dilemma faced by the album, Coming Down Your Way, the band seeking another genre to conquer while keeping their eye off of the precise and major Top 40 activity which was their bread and butter. Keyboard player for the Blues Image, Frank "Skip" Konte, joins Jimmy Greenspoon on the ivories with the Monkees/Barry Manilow bassist Dennis Belfield onboard as well. Their addition makes for a very musical album with Danny Hutton, Cory Wells and Chuck Negron emulating the Band and some kind of pseudo-slickGrateful Dead rather than sticking with the formula which made them so very successful. Jimmy Ienner's production doesn't have the sparkle it did four months earlier on Grand Funk Railroad's "Bad Time," a heavy metal band sounding more like Three Dog Night than Three Dog Night. Tracked at Colorado's famed Caribou Ranch, the disc also fails to come up with something as extraordinary as Elton John's "Island Girl," a song manufactured in the same recording facility and hitting number one two months after " 'Till the World Ends" brought the group's six-and-a-half-year chart run to a close. Jack Lynton's "Coming Down Your Way" is a reflection of Leo Sayer's "The Show Must Go On" and the closest thing to familiar Dog Night as this disc gets. Jeff Barry's "When It's Over" puts it all into perspective, Negron phrasing the lament which states the obvious for the once magnificent radio-friendly pop production machine. A frustrating outing because all involved were certainly proficient enough to come up with something more substantial than these ten performances which play like unfinished outtakes. Associate Producer on this effort, Bob Monaco, would take the remnants of the group down a disco path with the 1976 release, American Pastime, effectively closing the door and pointing the band toward their next phase -- that of an oldies act.
(allmusic.com/album/coming-down-your-way-mw0000854393)

01. 'Til The World Ends (03:31)
02. You Can Leave Your Hat On (04:14)
03. Good Old Feeling (03:10)
04. Mind Over Matter (02:56)
05. Midnight Flyer ('Eli Wheeler') (04:33)
06. Kite Man (03:39)
07. Coming Down Your Way (03:11)
08. When It's Over (03:38)
09. Lean Back, Hold Steady (03:46)
10. Yo Te Quiero Hablar (Take You Down) (03:11)

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Arktis - Arktis (1973)

Year: 1973 (CD 1998)
Label: Garden Of Delights (Germany), CD 005
Style: Krautrock, Hard Rock, Progressive Rock
Country: Germany
Time: 44:55
Format: Flac Tracks 16/44,1 kHz
Size: 292 Mb

The German psych/prog label called Garden of Delights recently made a campaign to reissue a bunch of lost krautrock classics, Arktis is at the top of these 70s obscurities. Formed in 1973, the band released their first album the same year. This self title album revisits a conventional heavy rock style mixed with freak out improvisations largely made of fuzzy guitars. In 1974 has been published an album with many demos. Konrad Plank was the producer. After a rather poor commercial support the band split. In 1975 will be released an other effort including many Arktis demos tape sessions. The music always features colourful heavy fuzz jams.
(progarchives.com/artist.asp?id=2615)

This is a pretty cool sounding band from Germany listed under Krautrock here.This is very much a guitar driven, heavy Psyche album with a female vocalist. Not the proggiest album out there although we do a get a side long suite which is the highlight of this 1974 recording. I'm just a sucker for this style of music, especially the upfront guitar.This is a self-released album by the band as they were trying to get signed by a label. In fact the next two albums would also be self-released and they never could get signed oddly enough even with the help of Conny Plank.
"Student's Idyll" hits the ground running with a rumbling heavy sound and the guitar leading the way.The vocals join in quickly.They are in English throughout. I'm just not a fan of this straight-forward tune though.The guitar starts to solo before 2 1/2 minutes and continues until after 3 minutes when the vocals return. "Outcasted" has more of a focus on the vocals although there is still this good raw sound. It settles after 3 minutes as the vocals stop and the guitar leads. She's back after 4 1/2 minutes. It's okay.
"Jeff The Fool" has these lyrics that describe how bad he (Jeff) is and she ends the line each time with "...people say i'm crazy hey !". Oh boy. Another uptempo, guitar led tune. Love the guitar solo from after a minute until after 2 1/2 minutes.
"Rare Girl" is the over 20 minute closer. This is the one that saves this album from being very average. This has a darker sound to it as the guitar opens then bass, drums and vocals join in. She's even singing in a more serious manner and with some attitude. A change 2 minutes in to a brighter sound and no vocals until 3 1/2 minutes in. It kicks into a fuller sound at 5 minutes with the guitar leading and no vocals. It settles 6 1/2 minutes in with the guitar still leading and sounding great. A calm 9 1/2 minutes in then it kicks in heavily until 18 minutes in. Nice.Then the opening soundscape with vocals is reprised. Amazing tune!
3.5 stars from me, but it could have been so much better.
(progarchives.com/album.asp?id=12859)

01. Student's Idyll (04:03)
02. Outcasted (05:35)
03. Jeff The Fool (03:27)
04. Rare Girl (20:10)
05. Is It Real (02:47)
06. Sky Drive (04:30)
07. Don't Hang Around (04:21)

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Sundome And The Night - In Lean Hours (1993)

Year: 1993 (CD 1993)
Label: Penner Records (Germany), CD 003
Style: Indie Rock, Neo-Psychedelic, Alternative Rock
Country: Germany
Time: 67:34
Format: Flac Tracks 16/44,1 kHz
Size: 424 Mb

This neo-psychedelic band isn't like most of the other bands that have release(s) out on the Garden Of Delights label. Mainly because it's material from the '90's. Have to admit, I liked what I was hearing. Their influences are from the likes of the Doors and maybe early Pink Floyd or even Nirvana. Just a couple of tracks worth mentioning are "I Ran For You", the awesome rocker "Codine" and "Borderline". Personnel: Uwe - vocals, Christian - guitar, percussion & vocals, Michael - bass, UC Kuhlmann - organ, guitar & piano and Pete - drums. Have to wonder why these players don't use their last name. Nontheless, not a bad pick.
(amazon.com/Lean-Hours-Sundome-Night/dp/B01K8QFR2Q)

'Neo-psychedelic with grunge and garage elements. Guitar-dominated and good. Influenced by The Doors, Litter, REM and Green on Red. Doesn’t fit well with the style of the other releases on this label. Playing neo-psychedelic, the band formed in Coesfeld in 1986, is a bit beyond the scope of this label. So far they released a single ("I ran for you" / "So the good will last") in 1991, a mini album ("Details of possession") in 1988, an album ("Reverend Ripov’s media meltdown") in 1994 and in 1993 the CD "In lean hours".
(rekopisznalezionywarkham.blogspot.com/2009/09/sundome-and-night-reverend-ripovs-media.html)

01. I Ran For You (05:05)
02. Melville (03:45)
03. Codine (05:34)
04. R.O.C.I. (05:01)
05. There Was A Time (03:54)
06. Borderline (06:43)
07. Cool, Calm And Collected (05:28)
08. Prometheus (06:01)
09. Never Be Going Away (04:52)
10. Colourblind (02:40)
11. Hello (03:53)
12. She (00:58)
13. Memphis (09:20)
14. It's Alright (04:17)

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Marianne Faithfull - North Country Maid [Japan Ed. 3 bonus tracks] (1966)

Year: 1 April 1966 (CD Mar 21, 2002)
Label: Universal Music (Japan), UICY-3298
Style: Folk Rock, Ballad
Country: London, England (29 December 1946)
Time: 42:49
Format: Flac Tracks 16/44,1 kHz
Size: 256 Mb

North Country Maid is the third studio album by British singer Marianne Faithfull. It was released only in the United Kingdom. The arrangements were by Jon Mark and Mick Taylor. Gus Dudgeon was the engineer and Gered Mankowitz was the photographer. The guitarists included Jon Mark and Big Jim Sullivan.
Half of the songs had been released months earlier in the United States on the album Go Away from My World.
(en.wikipedia.org/wiki/North_Country_Maid)

Faithfull was still known primarily as a pop singer when she put out North Country Maid, but this is in fact very close to a pure folk album, with a bit of influence from pop, rock, blues, and jazz. Largely overlooked even by Faithfull fans, it's actually a quite respectable effort, and probably her best LP (other than greatest-hits compilations) from the time when her voice was still on the high side. Ably backed by sessionmen including guitarists Jon Mark and Jim Sullivan, she interprets mostly traditional material on this record, including "She Moved Through the Fair," "Wild Mountain Thyme," "Sally Free and Easy," and "Scarborough Fair." There are some mid-'60s covers too, though, including Donovan's "Sunny Goodge Street" and Tom Paxton's "Last Thing on My Mind." Sometimes, when the bass gets prominent and the arrangements swing, this isn't too far from early Pentangle, as unexpected as that comparison is. The use of sitar on "She Moved Through the Fair" and "Wild Mountain Thyme" is adventurous, and she sings pretty well throughout, with dignity and purity if not utmost imagination or grit. The 1990 CD reissue on Deram U.K. adds three worthwhile bonus tracks: "The Most of What Is Least" (from a 1965 EP) and alternate versions of "Come My Way" and "Mary Anne" (the originals of which had appeared on her 1965 album, Come My Way).
(allmusic.com/album/north-country-maid-mw0000711124)

01. Green Are Your Eyes (02:58)
02. Scarborough Fair (03:07)
03. Cockleshells (03:17)
04. The Last Thing On My Mind (02:17)
05. The First Time Ever I Saw Your Face (03:58)
06. Sally Free And Easy (02:52)
07. Sunny Goodge Street (03:21)
08. How Should I Your True Love Know (01:19)
09. She Moved Thu' The Fair (03:10)
10. North Country Maid (02:37)
11. Lullaby (02:42)
12. Wild Mountain Thyme (03:38)
13. The Most of what Is Least (bonus track mono) (03:03)
14. Come My Way (bonus track) (02:30)
15. Mary Ann (bonus track) (01:57)

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Adrian Belew (ex King Crimson) - Lone Rhino [Japan Ed.] (1982)

Year: April 26, 1982 (CD Dec 25, 2002)

Label: Universal Music (Japan), UICY-9237

Style: Avant-garde, Punk, New Wave

Country: Covington, Kentucky, U.S. (December 23, 1949)

Time: 36:38

Format: Flac Tracks 16/44,1 kHz

Size: 253 Mb

 

 Lone Rhino is the debut solo album by American musician Adrian Belew, released on April 26, 1982. It features the musicians and much of the repertoire of Belew's pre-King Crimson band GaGa.
The album was recorded following years of Belew playing as lead guitarist for Frank Zappa, David Bowie, Talking Heads and Tom Tom Club, and seven months after his 1981 debut as the lead singer, lyricist, and second guitarist of King Crimson with Discipline. A video was produced for the track "Big Electric Cat", filmed in 1982 in New York City that opens with a shot of the World Trade Center. Belew's daughter Audie (four years old at the time) duets with her father on the last track, "The Final Rhino" (which was produced when Belew secretly recorded a piano piece improvised by Audie and then added a guitar line). She also coined the word "momur" which meant anything that frightened her (monster). The song "Animal Grace" was originally called "Buy That Face" and was written about David Bowie. Members of the Springfield, Illinois High School band were enlisted to play the 7/8 coda on "Adidas in Heat".
(en.wikipedia.org/wiki/Lone_Rhino)

 

 01. Big Electric Cat (04:53)
02. The Momur (03:44)
03. Stop It (02:51)
04. The Man In The Moon (03:50)
05. Naive Guitar (04:03)
06. Hot Sun (01:30)
07. The Lone Rhinoceros (04:02)
08. Swingline (03:28)
09. Addidas In Heat (02:47)
10. Animal Grace (04:02)
11. The Final Rhino (01:23)

 

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Jean Michel Jarre - Zoolook (1984)

Year: November 12, 1984 (CD January 2, 2015)
Label: Sony Music (Germany), 88875046352
Style: Ambient, New Age, Electronic
Country: Lyon, France (24 August 1948)
Time: 37:56
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

Charts: AUS #69, AUT #28, GER #24, NL #27, SWE #21, SWI #30, UK #47, NZ #35. UK: Silver.
Much of the music is built up from samples of singing and speech in 25 different languages recorded and edited in the Fairlight CMI digital sampling synthesizer. The album spawned two singles: the title track and "Zoolookologie".
"I've always been involved in ethnic music, though I thought the way a lot of people have been using ethnic music was a little superficial. Sometimes it works, like the Brian Eno stuff, it worked the first time, but for me what was more interesting was not making a particular statement about recording in Africa or in China, but taking some sounds and having exactly the same attitude as when you were in front of a Moog 55 or a modular system, replacing the oscillators with a bank of actors or people, treating them through the Fairlight or the EMS synth, and establishing an orchestration using only voices."
Some of the vocals were recorded during Jean-Michel's travels, while others are instead the result of his work with Xavier Bellanger, a French ethnologist who during his travels recorded "a large collection of tapes". For this album, Jarre used the synthesizers Moog 55, ARP 2600, some by EMS, the LinnDrum machine, the Yamaha DX7, the Matrisequencer 250 designed by French sound engineer Michel Geiss for Equinoxe (1978), and the E-mu Emulator. The different languages as listed in the album's liner notes are: Aboriginal, Afghan, Arabic, Balinese, Bengali, Chinese, Dutch, English, Eskimo, French, German, Hungarian, Indian, Japanese, Malagasy, Malayan, Pygmy, Polish, Quechua, Russian, Sioux, Spanish, Swedish, Tibetan, and Turkish.
(en.wikipedia.org/wiki/Zoolook)

01. Ethnicolor 1 (11:48)
02. Diva (07:22)
03. Zoolook (03:52)
04. Wooloomooloo (03:18)
05. Zoolookologie (04:21)
06. Blah-Blah Cafe (03:21)
07. Ethnicolor 2 (03:52)

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King Crimson - In The Wake Of Poseidon [Japan Ed. 24 Karat Gold] (1970)

Year: May 15, 1970 (CD Mar 1, 2000)
Label: Discipline Global Mobile (Japan), PCCY-01422
Style: Progressive Rock, Art Rock
Country: London, England
Time: 41:03
Format: Flac Tracks 16/44,1 kHz
Size: 236 Mb

Charts: UK #4, AUS #17, CAN #28, US #31.
The album opens with an a cappella piece called "Peace – A Beginning". An extended version of this piece, "Peace – A Theme", adds a middle eight and is performed on an unaccompanied acoustic guitar. This track appears at the beginning of side two, perhaps conceived as the mid-point of the album, and a third version, "Peace – An End" appears at the conclusion of the album. "Peace – An End" is to some extent a combination of the other two versions, containing both vocals and acoustic guitar as well as the middle eight, but the lyrics are entirely different from those of "Peace – A Beginning".
The strongly jazz fusion-influenced "Pictures of a City" was originally performed live, often extended to over ten minutes and was called "A Man, a City". An example of such a performance appears on the live compilation album Epitaph.
The ballad "Cadence and Cascade" is about two groupies.
The longest track on the album is a chaotic instrumental piece called "The Devil’s Triangle". This was adapted from the 1969 band's live arrangement of Gustav Holst's "Mars: Bringer of War" (from his The Planets suite), later released on Epitaph (where it is titled merely "Mars"). "The Devil's Triangle" employs a different staccato riff than the one from "Mars". In 1971, a brief excerpt from "The Devil’s Triangle" was featured in "The Mind of Evil", the second serial of the eighth season of the BBC television series Doctor Who. The track includes part of the chorus from "The Court of the Crimson King", a track from the band's first album, using a studio technique known as xenochrony. Despite this, Ian McDonald, who composed "The Court of the Crimson King", is not given co-writing credit on this segment of "The Devil's Triangle", only on the opening section, "Merday Morn".
(en.wikipedia.org/wiki/In_the_Wake_of_Poseidon)

01. Peace - A Beginning (00:50)
02. Pictures Of A City including 42nd at Treadmill (08:01)
03. Cadence and Cascade (04:37)
04. In The Wake Of Poseidon including Libra's Theme (07:56)
05. Peace - A Theme (01:15)
06. Cat Food (04:55)
07. The Devil's Triangle (11:34)
08. Peace - An End (01:52)

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Heart - Little Queen (1977)

Year: May 14, 1977 (CD Jun 28, 2004)
Label: Epic / Legacy (Europe), 508342 2
Style: Rock, Pop
Country: Seattle, Washington, U.S.
Time: 52:06
Format: Flac Tracks 16/44,1 kHz
Size: 334 Mb

Charts: US #9, AUS #22, CAN #2, NL #9, SWE #44, UK #34. CAN: 2x Platinum; US: 3x Platinum.
After Dreamboat Annie became a million seller, Mushroom took out a full-page ad in the December 30, 1976, issue of Rolling Stone magazine touting the band's success, using the headline "Million to One Shot Sells a Million". The ad looked like the front page of the tabloid newspaper National Enquirer and included a photo from the Dreamboat Annie cover shoot. The caption read: "Heart's Wilson Sisters Confess: 'It Was Only Our First Time!'"
After this ad surfaced, a Detroit radio promoter asked Ann Wilson about her lover—referring to Nancy, thus implying that the sisters were incestuous lesbian lovers. Ann was outraged and retreated to her hotel room to write a song. When she relayed the incident to Nancy, she, too, was infuriated. Nancy joined Ann and contributed a melody and bridge. The song became "Barracuda", which entered Billboard Hot 100 on May 28, and peaked at number 11. and remains one of the band's signature songs.
(en.wikipedia.org/wiki/Little_Queen)

01. Barracuda (04:22)
02. Love Alive (04:18)
03. Sylvan Song (02:14)
04. Dream Of The Archer (04:31)
05. Kick It Out (02:44)
06. Little Queen (05:12)
07. Treat Me Well (03:24)
08. Say Hello (03:36)
09. Cry To Me (02:51)
10. Go On Cry (05:56)
11. Too Long A Time (Recorded 1976) (Bonus track) (03:33)
12. Stairway To Heaven (Live 1976) (Bonus track) (09:20)

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Marianne Faithfull - Blazing Away [Live] (1990)

Year: Recorded: '88-'89. 1990 (CD Apr 17, 1990)
Label: Island Records (US), 842 794-2
Style: Rock, Ballad
Country: London, England (29 December 1946)
Time: 72:38
Format: Flac Tracks 16/44,1 kHz
Size: 405 Mb

Charts: AUS #66, AUT #28, NL #75, NZ #19, SWE #44, US #160.
Fully established as a dramatic, innovative singer with astonishing appeal and energy thanks to her string of excellent '80s releases, Faithfull concluded her renaissance decade with Blazing Away, an excellent live album recorded in New York's St. Anne's Cathedral. The crackerjack backing band deserves note in and of itself, including members ranging from the Band's Garth Hudson to Dr. John, plus regular collaborators Marc Ribot, Fernando Saunders, and her key partner Barry Reynolds. Faithfull and the players fit hand in glove track for track, with the emphasis on subtler arrangements and performances suiting the hushed, striking atmosphere of the performance. When the band shows its muscle, as with the snarling strut of "Guilt," there's no question of this being anything like easy listening. In general, though, the sense of cabaret meets modern nightclub dominates, with Faithfull's singing capturing the cracking tug of her vocals just so. The selection of songs ranges from the intriguingly obscure to the familiar enough -- "As Tears Go By" and "Broken English" take unsurprising bows, as does a lengthy brood on "Sister Morphine," "She Moved Through the Fair," and a commanding rip through the harrowing "Why'd Ya Do It?" There are two new numbers as well. The title track is the one song recorded in studio, with Reynolds and Saunders, plus a number of other musicians; it's got a nice steel guitar twang to it, and Faithfull tries for the high lonesome sound in her own wonderful way. Other flat-out highlights include a grand take on "Times Square" and a slow crawl through "Working Class Hero" that seethes with fire, both from the musicians and Faithfull.
(allmusic.com/album/blazing-away-mw0000207925)

01. Les Prisons Du Roy (06:52)
02. Strange Weather (05:18)
03. Guilt (07:59)
04. Working Class Hero (06:12)
05. Sister Morphine (07:41)
06. As Tears Go By (04:26)
07. Why'd Ya Do It? (06:48)
08. When I Find My Life (03:01)
09. Ballad Of Lucy Jordan (05:14)
10. Times Square (04:58)
11. Blazing Away (04:12)
12. She Moved Through The Fair (02:16)
13. Broken English (07:37)

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The Guess Who - The Best Of [3 bonus tracks] (1971)

Year: April 1971 (CD 2006)

Label: BMG Music (US), 82876 75924 2

Style: Rock, Classic Rock

Country: Winnipeg, Manitoba, Canada

Time: 49:19

Format: Flac Tracks 16/44,1 kHz

Size: 316 Mb

Canada: Platinum; US: Gold.

The first half of the album contains tracks from 1968-1970, while the second half of the album contains tracks from the 1970 album "Share the Land". Some of the songs on this album are single edits. For example, the single version of "American Woman" is missing the acoustic introduction. The single version of "Undun", is used as well without the piano intro.

Randy Bachman appears as lead guitar for the first half of the album, while Kurt Winter and Greg Leskiw appear on guitar on the second half of the album.

In addition to the usual 2-channel stereo version, the album was also released by RCA in a 4-channel quadraphonic version on 8-track tape and reel-to-reel.

The first CD issue in 1988 by RCA replaced the single version of "American Woman" with the album version. A reissue by Legacy Recordings in 2006 had the single version restored and added three bonus tracks.

(en.wikipedia.org/wiki/The_Best_of_The_Guess_Who)

01. These Eyes (03:46)

02. Laughing (02:42)

03. Undun (03:25)

04. No Time (03:48)

05. American Woman (03:54)

06. No Sugar Tonight / New Mother Nature (04:54)

07. Hand Me Down World (03:28)

08. Bus Rider (02:57)

09. Share The Land (03:55)

10. Do You Miss Me Darlin' (03:56)

11. Hang On To Your Life (04:10)

12. Albert Flasher (02:27)

13. Broken (03:08)

14. Rain Dance (02:44)

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