Blackmore's Night - Dancer And The Moon (2013)

Year: 11 June 2013 (CD 2013)
Label: Frontiers Records (Europe), FR CDVD 605
Style: Folk Rock, New Age
Country: UK, US
Time: 53:14
Format: Flac Tracks 16/44,1 kHz
Size: 371 Mb

"We find that the Dancer and the moon is visually and emotionally representative of how we feel about our music. We have always had a very strong pull to the mystery of the moon. Her magic, her power, her legend…She affects us so deeply that we have named many CDs after her and she is almost always represented in our songs. The dancer herself is completely, unabashedly and whole heartedly moved by the intensity of the music she feels within her soul. As the music, the moon and the dance are what inspired us…we thought it to be a true relationship."
Well, there you have it folks. The music and concept of Blackmore’s Night is and apparently always has been largely inspired by the moon and all her wondrous power. “Dancer and the moon” is a supposed culmination of everything the band have done musically since their foundation in 1997, but that doesn’t mean that it’s necessarily their best. And unfortunately, it actually proves to be one of the band’s weakest efforts so far. Now, before all of you devoted fans start slinging hate mail my way for even considering a Blackmore’s night album to be less than decent, there are enough reasons for my saying so.
Firstly, the few positives of the album should be noted. It seems that since the band’s last album, “Autumn sky”, Ritchie Blackmore has been taking on a more prominent role within the band and apparently plays the majority of the instruments, including those that contribute to a more folk-inspired sound such as the mandola, nickelharpe and hurdy gurdy. In fact, he pretty much wrote every song on “Dancer and the moon”, and those that weren’t written by him were simply cover versions of Uriah Heep, Randy Newman and his very own band who were in their prime three and a half decades ago, Rainbow. His guitar performance on songs such as the eccentric title track and ‘The last leaf’ is undoubtedly precise and well-executed, and his usage of the folk instrumentation on songs such as the melancholic ‘Troika’ and upbeat instrumental ‘Galliard’ are rather decent, considering he hasn’t really used them before.
(full version: sputnikmusic.com/review/57534/Blackmores-Night-Dancer-And-The-Moon/)

01. I Think It's Going To Rain Today (03:54)
02. Troika (03:30)
03. The Last Leaf (04:05)
04. Lady In Black (05:48)
05. Minstrels In The Hall (02:38)
06. Temple Of The King (04:26)
07. Dancer And The Moon (04:55)
08. Galliard (02:00)
09. The Ashgrove (02:21)
10. Somewhere Over the Sea (The Moon is Shining) (04:07)
11. The Moon is Shining (Somewhere Over the Sea) (06:19)
12. The Spinner's Tale (03:30)
13. Carry On... Jon (05:37)

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Nirvana - Nevermind [24kt Gold. MFSL CD] (1991)

Year: September 24, 1991 (CD 1996)
Label: Mobile Fidelity Sound Lab (US), UDCD 666
Style: Pop
Country: Aberdeen, Washington, U.S.
Time: 59:22
Format: Flac Tracks 16/44,1 kHz
Size: 324 Mb

Charts: US #1, AUS #2, AUT #2, CAN #1, FIN #1, NLD #3, NZ #2, SWE #1, SWI #2, UK #5. FIN: Gold; GER, SWI &NLD: Platinum; SWE: 2x Platinum; AUS: 5x Platinum; UK & NZ: 7x Platinum; US & CAN: Diamond.
Written primarily by frontman Kurt Cobain, Nevermind is noted for channeling a range of emotions, being noted as dark, humorous, and disturbing. It includes anti-establishment views, anti-sexism, frustration, alienation, and troubled love inspired by Cobain's broken relationship with Bikini Kill's Tobi Vail. Contrary to the popular hedonistic themes of drugs and sex at the time, writers have observed that Nevermind promoted the image of the sensitive artist in mainstream rock. According to Cobain, the sound of the album was influenced by bands such as Pixies, R.E.M., the Smithereens, and Melvins. Though the album is considered a cornerstone of the grunge genre, it is noted for its musical diversity, which includes acoustic ballads ("Polly" and "Something in the Way") and punk-inspired hard rock ("Territorial Pissings" and "Stay Away").
Nevermind became an unexpected critical and commercial success, reaching the top 10 on charts across the world. On January 11, 1992, it knocked Michael Jackson's Dangerous out of the number one spot on the US Billboard 200 and was selling approximately 300,000 copies a week. The lead single, "Smells Like Teen Spirit", reached the Top 10 of the US Billboard Hot 100 and went on to be inducted into the Grammy Hall of Fame. Its music video was also heavily rotated on MTV. Three other successful singles were released: "Come as You Are", "Lithium", and "In Bloom". The album was voted the best album of the year in Pazz & Jop critics' poll, while "Smells Like Teen Spirit" also topped the single-of-the-year and video-of-the-year polls. The album also garnered the band three Grammy Award nominations in total across the 34th and 35th Grammy Awards, including Best Alternative Music Album.
(en.wikipedia.org/wiki/Nevermind)

01. Smells Like Teen Spirit (05:02)
02. In Bloom (04:15)
03. Come As You Are (03:39)
04. Breed (03:04)
05. Lithium (04:17)
06. Polly (02:55)
07. Territorial Pissings (02:23)
08. Drain You (03:44)
09. Lounge Act (02:37)
10. Stay Away (03:32)
11. On A Plain (03:16)
12. Something In The Way (20:35)

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Emerson, Lake & Palmer - Works Volume One [Japan Ed. 2CD] (1977)

Year: 25 March 1977 (CD 1989)
Label: Atlantic Records (Japan), 55XD-668/9
Style: Symphonic Rock
Country: London, England
Time: 41:08, 46:04
Format: Flac Tracks 16/44,1 kHz
Size: 230, 289 Mb

Charts: UK #9, AUS #6, AUT #11, CAN #17, GER #10, ITA #5, NED #17, NOR #11, JP #13, US #12. UK, US & CAN: Gold.
Side one features Emerson's Piano Concerto No. 1, a three-movement work for piano and orchestra. Emerson performs on a Steinway grand piano with the London Philharmonic Orchestra conducted by John Mayer, who assisted on the orchestral arrangements. He wanted to write a serious piece that would not date itself, with the aim of having it performed by others in the future. Working hard on the score, Emerson looked back on it shortly after the album was released: "I've squeezed every ounce of myself into that thing. And I feel very satisfied." An initial recording session took place at Kingsway Hall in London with mobile studio equipment, but the orchestra had difficulty understanding the score and performers complained of the hall's acoustics, resulting in Emerson "wasting a lot of money." A successful session arose when recording relocated to De Lane Lea Studios. When it came to preparing material for the album, Emerson dedicated a period to "think and write" following his depression after his Sussex home caught fire two years prior, burning his possessions and music he had put down. The work's third movement reflected Emerson's mood at the time of the fire, and he was able to get "a lot of anger" out through the music. In the band's Beyond the Beginning documentary, Lake recalled that Emerson invited composer Leonard Bernstein to listen to the work during his visit to the Paris studio where the recording was being mixed. Upon listening to the work, Bernstein said it "reminded him of Grandma Moses", a folk artist. Emerson, however, did not recall Bernstein saying this.
Side 2 is the Greg Lake side, and consists of acoustic ballads, all of which were written by Lake and Peter Sinfield.
Side 3, the Carl Palmer side, includes a remake of "Tank" from the band's self-titled debut album released in 1970, with orchestral accompaniment and minus the drum solo. "L.A. Nights" features Eagles guitarist Joe Walsh on lead and slide guitar and scat vocals. Two arrangements of classical pieces are included: Two-Part Invention in D minor, BWV 775 by Johann Sebastian Bach and a piece titled "The Enemy God Dances With the Black Spirits", an excerpt of the 2nd movement of the Scythian Suite by Sergei Prokofiev.
Side four. The fourth side features two group-performed pieces. "Fanfare for the Common Man" is an adaptation of the same-titled piece by American composer Aaron Copland. Emerson sought Copland's permission so the group could use it; Copland found their version appealing but was puzzled at the solo section in the middle of two fairly straightforward renditions of his piece.
The 13-minute "Pirates" originated from a piece Emerson had written for a cancelled film version of Frederick Forsyth's book The Dogs of War. When Lake and Sinfield got together to write lyrics for the track, Emerson had told Lake that he wrote it with mercenaries in mind, which Lake found distasteful and wanted the song to be about something else. He conjured images of the sea upon listening to Emerson's piece, which made him think of pirates. Sinfield liked the idea, and the pair wrote words at Lake's mountain chalet. "Pirates" was recorded in two separate studios; Lake had a falling out with the orchestra used in Montreux, so recording moved to Paris with the National Opera of Paris orchestra and conductor Godfrey Salmon. Sinfeld recalled the band wanting Leonard Bernstein to conduct the orchestral arrangements on "Pirates", and arranged for Bernstein, who was conducting at the nearby Opera House, to visit the studio and hear the piece. Lake said: "I pressed the play button, and he put his head in his hands and from beginning to end, he didn't move. If he didn't like something, you would be told he looked at me, and he said, 'The singing's not bad.'. I'm sure he didn't realize that I was the singer". Sinfield remembered Bernstein describing it as "primitive".
(en.wikipedia.org/wiki/Works_Volume_1)

01. Piano Concerto No.1, First Movement - Allegro Giojoso (09:24)
02. Piano Concerto No.1, Second Movement - Andante Molto Cantabile (02:13)
03. Piano Concerto No.1, Third Movement - Toccata Con Fuoco (06:49)
04. Lend Your Love To Me Tonight (04:05)
05. C'est La Vie (04:19)
06. Hallowed Be Thy Name (04:38)
07. Nobody Loves You Like I Do (04:00)
08. Closer To Believing (05:35)

01. The Enemy God Dances With The Black Spirits (03:19)
02. L.A. Nights (05:44)
03. New Orleans (02:47)
04. Two Part Invention In D Minor (01:55)
05. Food For Your Soul (04:00)
06. Tank (05:09)
07. Fanfare For The Common Man (09:46)
08. Pirates (13:21)

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Soft Machine - Alive & Well Recorded In Paris [2CD Live] (1978)

Year: March 1978 (CD 2010)
Label: Esoteric Records (UK), ECLEC 22234
Style: Jazz Rock, Fusion, Progressive Rock
Country: Canterbury, England
Time: 38:36, 56:11
Format: Flac Tracks 16/44,1 kHz
Size: 252, 345 Mb

Recorded: 6–9 July 1977 at Theatre Le Palace, Paris, France.
Alive & Well: Recorded in Paris is a (mostly) live album by the jazz rock band Soft Machine, released in 1978. It is their first album recorded entirely without any founding members of the band, as Mike Ratledge left the group during recording of the previous album Softs. It is also first album since their debut not to include any wind instruments.
As reported on the booklet of the 2010 edition, it was recorded almost entirely live, by The Manor Mobile recording engineer Alan Perkins, during a 4-night residency at Paris' Theatre Le Palace in July 1977. Much of the album was later mixed and partially re-recorded in studio; the track "Soft Space" was completely re-recorded in studio and released as a single ("Soft Space" parts 1 and 2) in April 1978.
After the final performance recorded for the album, the band's van was broken into and burglarized. Among the items stolen was Etheridge's Gibson SG electric guitar he used during the shows.
(en.wikipedia.org/wiki/Alive_%26_Well:_Recorded_in_Paris)

01. White Kite (03:00)
02. Eos (01:19)
03. Odds Bullets And Blades Pt 1 (02:18)
04. Odds Bullets And Blades Pt 2 (02:32)
05. Song Of The Sunbird (01:24)
06. Puffin' (01:17)
07. Huffin' (04:41)
08. Number Three (02:26)
09. The Nodder (07:12)
10. Surrounding Silence (04:04)
11. Soft Space (08:17)

01. K's Riff (04:41)
02. The Nodder (07:12)
03. Two Down (02:26)
04. The Spraunce (06:26)
05. Song Of Aeolus (03:40)
06. Sideburn (07:43)
07. The Tale Of Taliesin (08:08)
08. Organic Matter / One Over The Eight (05:54)
09. Soft Space Part One (Edited Version) (04:15)
10. Soft Space Part Two (Disco Version) (05:41)

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Queen - Deep Cuts Volume 1 (1973–1976) [compilation] (2011)

Year: 14 March 2011 (CD Mar 11, 2011)
Label: Queen Productions Ltd. (Germany), 276 542-4
Style: Rock
Country: London, England
Time: 51:15
Format: Flac Tracks 16/44,1 kHz
Size: 329 Mb

Deep Cuts, Volume 1 (1973–1976) is a compilation of Queen tracks between 1973 and 1976. Unlike other compilations released by Queen, Deep Cuts contains songs which are largely not as well known as Queen's hits. The album was released on 14 March 2011 as part of Queen's 40th anniversary. Deep Cuts Volume 1 was released at the same time Queen's first five albums (Queen, Queen II, Sheer Heart Attack, A Night at the Opera, and A Day at the Races) were re-released. The songs picked were all personal favourite songs, that were not hits, selected by Brian May, Roger Taylor, and Taylor Hawkins (the drummer for the Foo Fighters). It is the only release to feature the complete ending of "The March of The Black Queen" (on Queen II it segues to "Funny How Love Is") and of "Ogre Battle" (on Queen II it segues to "The Fairy Feller's Master-Stroke"). The three songs "Tenement Funster", "Flick of the Wrist" and "Lily of the Valley" all segue into each other just as on the original Sheer Heart Attack album.
(en.wikipedia.org/wiki/Deep_Cuts,_Volume_1_(1973%E2%80%931976))
Ever since Freddie Mercury's passing in 1991, fans have seen countless Queen compilations and reissues come their way. And in early 2011, another one arrived, Deep Cuts 1973-1976. As its title suggests, the 14-track compilation is comprised of tunes that were not hits (in other words, don't expect the likes of "Killer Queen," "Bohemian Rhapsody," etc.). But as longtime Queen admirers know, Queen was always an "album rock band," meaning that many of their albums were all killer-no filler from beginning to end. So as a result, many of their uncommon tracks were quite strong on their own. Spanning the group's first five albums (1973's Queen, 1974's Queen II and Sheer Heart Attack, 1975's A Night at the Opera, and 1976's A Day at the Races), the track list was compiled by Queen guitarist Brian May and drummer Roger Taylor, as well as Foo Fighters drummer/Queen super fan Taylor Hawkins. And something else that hardcore Queen fans will notice is that the track list is not in chronological order. Regardless, you can't debate the quality of many of these oft-overlooked songs, including such rockers as "Stone Cold Crazy," "Keep Yourself Alive," and "The March of the Black Queen," and such ballads as "My Fairy King" and "Lily of the Valley." Also included are tunes that fall somewhere between the middle or rockers and ballads ("In the Lap of the Gods…Revisited"), as well as tunes that show that Freddie was not the only Queen member who possessed a fine singing voice (May on "Long Away" and Taylor on "I'm in Love with my Car"). If you already own Queen's Greatest Hits and want to further explore their harder rocking early years, Deep Cuts 1973-1976 is a smartly assembled little package which packs quite a wallop.
(allmusic.com/album/deep-cuts-1973-1976-mw0002114033)

01. Ogre Battle (04:14)
02. Stoine Cold Crazy (02:14)
03. My Fairy King (04:09)
04. I'm In Love With My Car (03:06)
05. Keep Yourself Alive (03:48)
06. Long Away (03:33)
07. The Millionaire Waltz (04:54)
08. '39 (03:32)
09. Tenement Funster (02:46)
10. Flick Of The Wrist (03:17)
11. Lilly Of The Valley (01:45)
12. Good Company (03:25)
13. The March Of The Black Queen (06:39)
14. In The Lap Of The Gods... Revisited (03:46)

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Zoot Money's Big Roll Band - It Should've Been Me (1965)

Year: October 1965 (CD 2005)
Label: Repertoire Records (UK), REP 5041
Style: Rhythm and Blues, Garage Rock, Psychedelic Rock
Country: England (17 July 1942 – 8 September 2024)
Time: 79:57
Format: Flac Tracks 16/44,1 kHz
Size: 288 Mb

George Bruno "Zoot" Money (17 July 1942 – 8 September 2024) was an English vocalist, keyboardist and bandleader. He was best known for playing the Hammond organ and for his leadership of the Big Roll Band. Inspired by Jerry Lee Lewis and Ray Charles, Money was drawn to rock and roll music and became involved in the music scenes of Bournemouth and Soho during the 1960s. He took his stage name "Zoot" from Zoot Sims after seeing him perform in concert.
Money was associated with the Animals, Eric Burdon, Peter Green, Steve Marriott, Kevin Coyne, Kevin Ayers, Humble Pie, Steve Ellis, Alexis Korner, Snowy White, Mick Taylor, Spencer Davis, Vivian Stanshall, Geno Washington, Brian Friel, Hard Travelers, Widowmaker, Georgie Fame and Alan Price. He was later a bit part and character actor in films and TV. and was Musical Director for the 1987 BBC Scotland drama series Tutti Frutti.
(en.wikipedia.org/wiki/Zoot_Money)
Zoot Money's Big Roll Band was one of the finest and most entertaining of all the organ-based R&B bands that came out of London's famed Flamingo Club. Specialising in a spicy mix of soul, jazz and blues, the group was packed with top class musicians, including future Police guitar star Andy Summers. Zoot Money was their charismatic leader; a soulful singer, organist and showman who helped make the band a major club attraction.
'It Should've Been Me', the band's debut album, first released in 1965, is a compendium of soul and R&B tunes like 'I'll Go Crazy' that the band regularly played in its live set. The album also features guest vocalist Paul Williams on such performances as 'Jump Back' and 'Rags And Old Iron'. We have added a further 10 bonus tracks, featuring a selection of A & B-side singles from 1964-1966 and an alternate take of 'It Should've Been Me'.
(repertoirerecords.com/artists/zoot-moneys-big-roll-band/it-shouldve-been-me/)

01. I'll Go Crazy (03:44)
02. Jump Back (02:18)
03. Along Came John (04:56)
04. Back Door Blues (06:13)
05. It Should've Been Me (02:55)
06. Sweet Little Rock And Roller (02:59)
07. My Wife Can't Cook (04:52)
08. Rags And Old Iron (03:34)
09. The Cat (03:34)
10. Feelin' Sad (06:22)
11. Bright Lights Big City (04:59)
12. Fina (02:50)
13. Uncle Willie (bonus track) (02:54)
14. Good (bonus track) (02:25)
15. Bring It Home To Me (bonus track) (03:42)
16. Please Stay (bonus track) (03:39)
17. You Know You'll Cry (bonus track) (03:13)
18. Something Is Worrying Me (bonus track) (02:56)
19. Stubborn Kind Of Fellow (bonus track) (02:19)
20. Big Time Operator (bonus track) (02:42)
21. Zoot's Sermon (bonus track) (03:52)
22. It Should've Been Me (Alternative Take) (02:48)

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Wishbone Ash - Argus [Japan Ed. SHM-CD. 4 bonus tracks] (1972)

Year: 28 April 1972 (CD October 30, 2013)
Label: Geffen Records (Japan), UICY-40015
Style: Art Rock, Progressive Rock, Rock
Country: Torquay, Devon, England
Time: 80:44
Format: Flac Tracks 16/44,1 kHz
Size: 504 Mb

Charts: US #169, UK #3, AUS #49. UK: Gold.
Although not intended as a concept album, the album is Greek mythology-themed to a degree, particularly on the second side. The album features a blend of progressive rock, folk, and hard rock, and is considered a landmark album in the progression of twin-lead guitar harmonisation, later adopted by bands such as Thin Lizzy, Judas Priest and Iron Maiden. The sound engineer on Argus was Martin Birch, who also worked with Deep Purple, later with Black Sabbath, Iron Maiden and other hard rock bands. The bulk of the lyrics were provided by bassist/lead vocalist Martin Turner, although all members are credited with the music and arrangements. The album was produced by Derek Lawrence.
The album cover was designed by Storm Thorgerson and Aubrey "Po" Powell of the album cover design company Hipgnosis, and it features a warrior overlooking a landscape at the Gorges du Verdon in Provence, France. The warrior's costume was borrowed from the wardrobe of Ken Russell’s 1971 film The Devils. Thorgerson and Powell had intended for the warrior to be holding a sword as well as a spear, and had rented the sword used in Roman Polanski's film Macbeth, also from 1971. However, while they were selecting a location for the shoot, the sword was stolen, so the photographs were taken without it. The person dressed as the warrior was an assistant at Hipgnosis, Bruce Atkins.
It is rumoured that the warrior is the main inspiration for the character design of Darth Vader in Star Wars. Andy Powell acknowledged this rumour although he himself cannot confirm if it is true. The cover also prompted Jimmy Page of Led Zeppelin to contact Hipgnosis and ask them to design the cover for their 1973 album Houses of the Holy.
(en.wikipedia.org/wiki/Argus_(album))

01. Time Was (09:44)
02. Sometime World (06:56)
03. Blowin' Free (05:19)
04. The King Will Come (07:08)
05. Leaf And Stream (03:55)
06. Warrior (05:54)
07. Throw Down The Sword (05:56)
08. No Easy Road / Bonus Track (03:37)
09. Jail Bait (Live From Memphis) / Bonus Track (04:55)
10. The Pilgrim (Live From Memphis) / Bonus Track (10:09)
11. Phoenix (Live From Memphis) / Bonus Track (17:06)

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Barclay James Harvest - And Other Short Stories [Japan Ed. 6 bonus tracks] (1971)

Year: 5 November 1971 (CD 2002)
Label: EMI Records (Japan), TOCP-70348
Style: Art Rock, Symphonic Rock
Country: Oldham, England
Time: 70:50
Format: Flac Tracks 16/44,1 kHz
Size: 415 Mb

Like the work of Buffalo Springfield or the Moody Blues in the first go 'round, you'll need to take it on faith that the Baroque touches on Barclay James Harvest and Other Stories were effective for their time. The fuzzed guitars, Mellotron, bongos, heavy orchestration and dreamy arrangements may sound stilted today, but strip them away (or simply acquiesce to enjoy them) and a very good collection of songs reveals itself. There are obvious nods to the Beatles ("Blue John Blues," "Medicine Man") and the Moodies (the lovely "Ursula"), but that's a fait accompli on any Barclay James Harvest album. Although the album doesn't really tell any stories (an optimistic acceptance of mortality comes into play on a couple of tracks), the band does aspire to bigger things on the aptly titled "The Poet." The only knock on this album (and it pertains to Barclay James Harvest in general) is that you wish they aspired to more. The classical arrangements are stunning, and when the band musters a big orchestral ending for a song like "Little Lapwing," you can't help but wonder how much better it would have been if they'd invoked it sooner. Musically the band is solid; Mel Pritchard's Ringo-isms on the drums are especially neat, while John Lees gets in some nice distorted guitar parts and Stewart Wooly Wolstenholme steals the show when the Mellotron comes into play. The epic "After the Day" closes things on a high note, ending with an explosion that announces all bets are off. Barclay James Harvest and Other Stories is itself a high note in the band's early catalog and worth a flyer for anyone interested in the band's oeuvre. [The 2002 EMI CD reissue included six bonus tracks, five of which were previously unreleased.]
(allmusic.com/album/barclay-james-harvest-and-other-short-stories-mw0000755147)

01. Medicine Man (03:58)
02. Someone There You Know (03:48)
03. Harry's Song (03:54)
04. Ursula (The Swansea Song) (02:54)
05. Little Lapwing (04:59)
06. Song With No Meaning (04:22)
07. Blue John's Blues (06:50)
08. The Poet (04:55)
09. After The Day (04:48)
10. Brave New World (demo) (bonus) (03:59)
11. She Said (BBC session) (bonus) (08:42)
12. Galadriel (BBC session) (bonus) (03:06)
13. Ursula (The Swansea Song) (BBC session) (bonus) (02:54)
14. Someone There You Know (BBC session) (bonus) (03:47)
15. Medicine Man (BBC session) (bonus) (07:48)

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Hot Tuna (Jefferson Airplane) - Phosphorescent Rat (1974)

Year: January 3, 1974 (CD 1998)
Label: RCA Records (US), 07863, 67564-2
Style: Rock, Blues Rock, Hard Rock
Country: San Francisco, California, U.S.
Time: 38:02
Format: Flac Tracks 16/44,1 kHz
Size: 233 Mb

The Phosphorescent Rat is the fourth album by the blues rock group Hot Tuna, released in early 1974 as Grunt BFL1-0348. This was the first Hot Tuna album recorded after guitarist Jorma Kaukonen and bass player Jack Casady had left Jefferson Airplane. They were joined as before by drummer Sammy Piazza, though Papa John Creach had left the band for Jefferson Starship. The band's playing was moving away from the softer, more acoustic sound of their first three albums, and towards a hard rock sound that would be explored on their next three albums.
(en.wikipedia.org/wiki/The_Phosphorescent_Rat)
Hot Tuna's first album made after the breakup of Jefferson Airplane found Jorma Kaukonen taking a firm hand: he's the author of nine out of 10 songs. The walking tempos and familiar soaring, psychedelic guitar solos are in place, but much of the music is given over to Kaukonen's reflective lyrics, sung in his matter-of-fact voice, and there are strings on a couple of tracks. Although the approach would produce Kaukonen's most impressive record the following year when he made the acoustic solo album, and although critics have pointed to The Phosphorescent Rat as among Hot Tuna's better efforts, the group's fans, devoted as they were to its extended versions of blues standards, seem to have been unimpressed: the album was Hot Tuna's lowest charting among those released during its 1970-1978 heyday. Probably a lack of enthusiasm at RCA, due to the demise of Jefferson Airplane, didn't help in the album's promotion, either.
(allmusic.com/album/the-phosphorescent-rat-mw0000198746)

01. I See The Light (04:16)
02. Letter To The North Star (02:32)
03. Easy Now (05:11)
04. Corners Without Exits (03:38)
05. Day To Day Out The Window Blues (03:28)
06. In The Kingdom (05:27)
07. Seeweed Strut (03:26)
08. Living Just For You (03:20)
09. Soliloquy For 2 (03:43)
10. Sally, Where'd You Get Your Liquor From? (02:56)

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Dio - Killing The Dragon [+ bonus video] (2002)

Year: May 21, 2002 (CD 2002)
Label: Spitfire Records (US), SPT 15211-2
Style: Hard Rock, Heavy Metal
Country: Cortland, New York, U.S.
Time: 54:24
Format: Flac Tracks 16/44,1 kHz
Size: 456 Mb

Charts: US #199, AUT #70, FIN #28, GER #30, JPN #85, SWE #24, UK #194. US Billboard: 40,000+ sales.
In an interview on the TV show Uranium, Dio stated that the "dragon" of the album title refers to technology. He expressed concern with it threatening society in the future. Dio elaborated that the title track refers to "those who perpetrate injustices and what the world is doing to stop them. In fantasy tales, dragons were notorious for stealing children and feeding them to their babies. During the first part of the song, I sing 'Someone has taken a child.' The second part is about a cruel feudal lord. The third part is about 'electronic serfdom.'" He also expressed belief that the computer has become a god in modern society. "It is a small god with an electrical heart (...) It is time to rebel against it."
Killing the Dragon introduces guitarist Doug Aldrich to the band. He had previously performed with Burning Rain and subsequently went on to join the band Whitesnake. Previous guitarist Craig Goldy co-wrote some of the songs before leaving the band. He returned for 2004's Master of the Moon. It is their final album with bassist Jimmy Bain.
(en.wikipedia.org/wiki/Killing_the_Dragon)

01. Killing The Dragon (04:26)
02. Along Comes A Spider (03:33)
03. Scream (05:02)
04. Better In The Dark (03:42)
05. Rock & Roll (06:13)
06. Push (04:08)
07. Guilty (04:26)
08. Throw Away Children (05:35)
09. Before The Fall (03:48)
10. Cold Feet (04:13)
11. Ronnie James Dio (With Deep Purple) - Fever Dreams (Live) (04:24)
12. Ronnie James Dio (With Deep Purple) - Rainbow In The Dark (Live) (04:50)
Bonus video: Push

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Bram Stoker - Heavy Rock Spectacular (1972)

Year: 1972 (CD 2003)
Label: Akarma Records (Italy), AK 257
Style: Rock, Progressive Rock
Country: Bournemouth, Dorset, England
Time: 37:53
Format: Flac Tracks 16/44,1 kHz
Size: 242 Mb

The latest chapter in a musical journey that includes some of the biggest names in British rock has proved to be a fittingly creative epitaph for the now sadly late, great Pete Ballam of prog pioneers Bram Stoker.
With a resume reading like a madcap caper through one of rock’s richest eras, the guitarist’s colourful career included pulling a band together with former Shadows bassist Jet Harris; playing bass for Tony Blackburn’s group, performing with bandmate and folk-rock star Al Stewart, jamming with future Police guitarist Andy Summers and sharing the stage with the likes of Marc Bolan, Yes, Emerson, Lake and Palmer and Queen.
His latest release, Manic Machine, traced its lineage directly back to a heady era when Pete was creating music for Bram Stoker’s 1972 debut and was a sequel of sorts to Heavy Rock Spectacular, now a cult classic for rock fans delving into prog beyond its biggest names.
Pete and Bram Stoker might so easily have been one of them – with support from The Who’s Roger Daltrey and backing from Rolling Stones manager Tony Calder, the group looked perfectly placed to hit the big time with their mix of psychedelic, gothic-tinged rock – but it was not fated to be. Yet anecdotes from that short but intense era come thick and fast from Pete – from his coat being bitten by a horse ridden by Jet during rehearsals, after which he was also electrocuted, to his invention of the ‘Doppler’, a spinning box containing speakers, which gave his guitar a 3D sound – or at least did until it took off one day, earning its new name, The Flying Machine.
Pete recalled of that chaotic time: “None of us knew we were laying down the foundations of such a huge industry. As young men we were not taken seriously but after playing eight hours a night in Germany we were sick to death of the moronic stars pumping crap – we wanted bad, black rock ‘n’ roll.”
Spontaneous and unpredictable on stage with Bram Stoker, Peter remained reliably and remarkably creative after leaving the group. Despite failing health in his final decade, he created a steampunk stage persona called Doctor Mock, where the costume and character became ever more elaborate; he designed and made the fabulous steampunk blunderbuss, an effects-pedal stomp-box and the weird and wonderful steam-bench – and he continued to play his vintage Steinberger bass guitar, which was mounted on a pole so that he could play it like a double bass.
And, of course, he finally released Manic Machine – an extraordinary collection of compositions, inspired by flights of fancy, strange tales and real-life antics. Combining Peter’s imaginative lyrics and driving riffs and drenched in Hammond sounds, it channelled his 1970s prog mojo. Having kept fans waiting 45 years for a worthy sequel for fans of Heavy Rock Spectacular, he had no intention of this being the closing chapter from the Bram Stoker Archives – alas, the vault has closed.
After many years battling heart failure, Peter died peacefully in hospital at 3pm on June 14th 2019 aged 76yrs, with his partner, Joy Brittain, at his side. She said: “With his love of all things goth and steampunk, a couple of people have asked me, ‘Has he haunted you yet?’ I maintain that Peter is most welcome to ‘visit’ me anytime. I’m sure we’d have a good chat, with affection and humour. Alas, no such hauntings have materialised, since he passed away a year ago, so, it seems, thankfully, that my dearest Darkling is resting peacefully.”
(bramstokerarchives.com/rip-peter-ballam/)

01. Born To Be Free (03:43)
02. Ants (03:48)
03. Fast Decay (03:47)
04. Blitz (05:33)
05. Idiot (04:28)
06. Fingals Cave (07:42)
07. Extensive Corrosion (04:19)
08. Poltergeist (04:31)

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The Jimi Hendrix Experience - Electric Ladyland [7 bonus tracks] (1968)

Year: October 16, 1968 (CD 1997)
Label: MCA Records (Europe), MCD 11600
Style: Rock
Country: Seattle, Washington, U.S. (November 27, 1942 - September 18, 1970)
Time: 75:28
Format: Flac Tracks 16/44,1 kHz
Size: 514 Mb

Charts: US #1, UK #6. US: 2x Multi Platinum; UK: Gold.
Electric Ladyland is the third and final studio album by the Jimi Hendrix Experience, released in October 1968. A double album, it was the only record from the Experience with production solely credited to Hendrix.[nb 1] The band's most commercially successful release and its only number one album, it was released by Reprise Records in the United States on October 16, 1968, and by Track Records in the UK nine days later. By mid-November, it had reached number 1 on the Billboard Top LPs chart, spending two weeks there. In the UK it peaked at number 6, where it spent 12 weeks on the British charts.
Electric Ladyland includes a cover of Bob Dylan's "All Along the Watchtower", which became the Experience's best-selling single, reaching number six in the UK and number 20 in the United States. Although the album confounded critics upon its release, it has since been viewed as one of Hendrix's best works and one of the greatest albums of all time, being featured on various "greatest albums" lists, including Q's 2003 list of the 100 greatest albums and various editions of Rolling Stone's list of the "500 Greatest Albums of All Time", on which it was ranked 53rd in the 2020 iteration.
(en.wikipedia.org/wiki/Electric_Ladyland)

01. ... And the gods made love (01:23)
02. Have you ever been (to Electric Ladyland9 (02:10)
03. Crosstown traffic (02:26)
04. Voodoo chile (15:00)
05. Little Miss Strange (02:51)
06. Long hot summer night (03:28)
07. Come on (Let the good times roll) (04:09)
08. Gypsy eyes (03:43)
09. Burning of the midnight lamp (03:39)
10. Rainy day, dream away (03:42)
11. 1983... (A merman I should turn to be) (13:39)
12. Moon, turn the tides... gently gently away (01:01)
13. Still raining, still dreaming (04:25)
14. House burning down (04:32)
15. All along the watchtower (04:00)
16. Voodoo child (Slight return) (05:12)

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Soft Machine - Other Doors (2023)

Year: June 2023 (CD Jun 30, 2023)
Label: Dyad Records (UK), DY023
Style: Jazz Rock, Fusion, Progressive Rock
Country: Canterbury, England
Time: 56:27
Format: Flac Tracks 16/44,1 kHz
Size: 336 Mb

In June 2023, the band released a new studio album, Other Doors. The album was recorded with John Marshall before he retired from music. Marshall died on 16 September 2023.
Soft Machine's Other Doors is a compelling exploration into the progressive jazz-rock fusion realm, highlighting the band's evolution and continued dedication to innovative musical expression and capturing the essence of Soft Machine's improvisational brilliance. The record unfolds like a sonic journey, inviting listeners into a world of intricate compositions and virtuosic performances. What sets Other Doors apart is its raw energy and the band's ability to blend various musical elements seamlessly. Tracks such as "Kings and Queens" and the Kevin Ayers & Mike Ratledge classic "Joy of a Toy" convey the group's mastery of complex time signatures, captivating melodies, and the seamless interplay between instruments.
The band pushes the boundaries of their studio recordings, infusing each track with an organic dynamism and an electrifying sense of spontaneity. The musicianship on display, with John Etheridge's guitar wizardry, Theo Travis's saxophone prowess, and the rhythmic foundation of bassist Freddy Baker and drummer John Marshall, is nothing short of exceptional. Moreover, longtime Soft Machine bassist Roy Babbington contributed to two tracks and sadly Marshall passed away on September 16, 2023.
Soft Machine's ability to traverse different musical landscapes within a single performance is evident throughout. From moments of serene introspection to frenetic improvisations, the album keeps listeners engaged and enthralled. Furthermore, the production quality captures the essence of the band's performance without compromising the clarity of each instrument. The mix allows each musician to shine while preserving the collective synergy that defines the group's delivery.
Overall, Other Doors stands as a testament to Soft Machine's enduring musical legacy via the artists' ability to innovate and captivate audiences with their intricate compositions and virtuosic performances, making it a must-listen for fans of progressive jazz-rock fusion.
(allaboutjazz.com/other-doors-soft-machine-moonjune-records)

01. Careless Eyes (02:28)
02. Penny Hitch (06:49)
03. Other Doors (04:51)
04. Crocked Usage (08:29)
05. Joy Of A Toy (03:24)
06. A Flock Of Holes (02:18)
07. Whisper Back (01:40)
08. The Stars Apart (04:22)
09. Now! Is The Time (02:16)
10. Fell To Earth (05:51)
11. The Visitor At The Window (04:08)
12. Maybe Never (02:26)
13. Back In Season (07:17)

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Wishbone Ash - Pilgrimage (1971)

Year: September 1971 (CD 1991)
Label: MCA Records (Germany), MCD 10233, MCAD 10233
Style: Art Rock, Hard Rock, Rock
Country: Torquay, Devon, England
Time: 45:13
Format: Flac Tracks 16/44,1 kHz
Size: 269 Mb

Wishbone Ash's sophomore release, Pilgrimage, unveiled their creative genius after a debut that merely presented them as a boogie- and blues-based rock outfit. The opening track, "Vas Dis," with its jazz bassline, slicing rhythm guitar, and gibberish vocals was their answer to "Hocus Pocus" by Focus (or vice versa as both were released in 1971). "Jail Bait" has gone on to become a Wishbone Ash staple as well as possessing one of the more memorable guitar riffs of '70s rock & roll. A conscientious effort seemed to be in place for this band to write and perform material better suited to their gentler vocal tendencies. Where Wishbone Ash essentially went full tilt throughout, Pilgrimage is a moodier affair that includes beautiful, slower melodies like the brief instrumentals "Alone" and "Lullaby" along with the chilling "Valediction," which should have been an Ash classic but is rarely featured on live and hits collections. Even though this band toned it down a bit for this album, their impressive guitar playing was heightened due to the variance in their songwriting. Next to Argus this is the Wishbone Ash album to judge all other Ash albums by.
(allmusic.com/album/pilgrimage-mw0000263465)

01. Vas Dis (04:45)
02. The Pilgrim (08:33)
03. Jail Bait (04:45)
04. Alone (02:23)
05. Lullaby (03:03)
06. Valediction (06:20)
07. Where Were You Tomorrow (10:25)
08. Jail Bait (Live) (04:54)

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Barclay James Harvest - Once Again [7 bonus tracks] (1971)

Year: 5 February 1971 (CD 2011)
Label: EMI Records (Europe), 50999 070795 2 8
Style: Art Rock, Symphonic Rock
Country: Oldham, England
Time: 77:18
Format: Flac Tracks 16/44,1 kHz
Size: 438 Mb

Once Again was the second album released by Barclay James Harvest, in early 1971. As was the case with their other early albums, it was recorded with a full orchestra.
On the track "Galadriel", Lees played John Lennon's Epiphone Casino guitar, an event later recounted in a song on the band's 1990 album Welcome To The Show titled "John Lennon's Guitar".
In an interview with Songfacts, Keith Domone (official biographer of Barclay James Harvest with his wife Monika) said John Lees wrote "Mocking Bird" back in 1968 while he was living with the parents of his future wife, Olwen. The song is based on a musical phrase from "Pools Of Blue", which he wrote around the same time.
In the Q & Mojo Classic Special Edition ‘’Pink Floyd & The Story of Prog Rock’’, the album came #39 in its list of "40 Cosmic Rock Albums".
(en.wikipedia.org/wiki/Once_Again_(Barclay_James_Harvest_album))

01. She Said (08:17)
02. Happy Old World (04:39)
03. Song For Dying (05:04)
04. Galadriel (03:11)
05. Mocking Bird (06:41)
06. Vanessa Simmons (03:43)
07. Ball And Chain (04:51)
08. Lady Loves (04:00)
09. Mocking Bird (May 1970 Version) (06:19)
10. Introduction - White Sails (A Seascape) (01:42)
11. Too Much On Your Plate (05:28)
12. Galadriel (Non Orchestral Version) (03:15)
13. Happy Old World (Take One) (04:38)
14. Song For Dying (Full Unedited Version) (07:20)
15. Mocking Bird (Extended Non Orchestral Version) (08:02)

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The Byrds - The Notorious Byrd Brothers [6 bonus tracks] (1968)

Year: January 15, 1968 (CD 1997)
Label: Columbia Records (Europe), 486751 2
Style: Rock, Pop, Psychedelic Rock
Country: Los Angeles, California, U.S.
Time: 58:28
Format: Flac Tracks 16/44,1 kHz
Size: 348 Mb

The Notorious Byrd Brothers is the fifth album by the American rock band the Byrds, and was released in January 1968, on Columbia Records. The album represents the pinnacle of the Byrds' late-'60s musical experimentation, with the band blending together elements of psychedelia, folk rock, country, electronic music, baroque pop, and jazz. With producer Gary Usher, they made extensive use of a number of studio effects and production techniques, including phasing, flanging, and spatial panning. The Byrds also introduced the sound of the pedal steel guitar and the Moog modular synthesizer into their music, making it one of the first LP releases on which the Moog appears.
Recording sessions for The Notorious Byrd Brothers took place throughout the latter half of 1967 and were fraught with tension, resulting in the loss of two members of the band; rhythm guitarist David Crosby was fired in October 1967 and drummer Michael Clarke left the sessions midway through recording, returning briefly before finally being dismissed after completion of the album. Additionally, original band member Gene Clark, who had left the group in early 1966, rejoined for three weeks during the making of the album, before leaving again. Author Ric Menck has commented that in spite of these changes in personnel and the conflict surrounding its creation, The Notorious Byrd Brothers is the band's most cohesive and ethereal-sounding album statement.
The Notorious Byrd Brothers reached number 47 on the Billboard Top LPs chart and number 12 on the UK Album Chart. A cover of the Gerry Goffin and Carole King song "Goin' Back" was released in October 1967 as the lead single from the album to mild chart success. Although The Notorious Byrd Brothers was critically praised at the time of its release, it was only moderately successful commercially, particularly in the United States. The album later came to be widely regarded as one of the Byrds' best album releases, as well as their most experimental and progressive. Byrds expert Tim Connors has described the album's title as evoking a gang of outlaws from the American Old West.
(en.wikipedia.org/wiki/The_Notorious_Byrd_Brothers)

01. Artificial Energy (02:19)
02. Goin' Back (03:25)
03. Natural Harmony (02:11)
04. Draft Morning (02:42)
05. Wasn't Born To Follow (02:03)
06. Get To You (02:39)
07. Change Is Now (03:21)
08. Old John Robertson (01:48)
09. Tribal Gathering (02:02)
10. Dolphin's Smile (02:00)
11. Space Odyssey (04:02)
12. Moog Raga [bonus] [instrumental] (03:27)
13. Bound To Fall [bonus] [instrumental] (02:11)
14. Triad [bonus] (03:31)
15. Goin' Back [bonus] [version one] (03:58)
16. Draft Morning [bonus] [alternate end] (02:58)
17. Universal Mind Decoder [bonus] [instrumental] (13:45)

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Jefferson Airplane - Volunteers [MFSL CD] (1969)

Year: November 1969 (CD Nov 1990)
Label: Mobile Fidelity Sound Lab (US), UDCD 540
Style: Rock
Country: San Francisco, California, U.S.
Time: 44:38
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

Charts: US #13, UK #34. US: Gold.
Volunteers is the fifth studio album by American psychedelic rock band Jefferson Airplane, released in 1969 on RCA Records. The album was controversial because of its revolutionary and anti-war lyrics, along with the use of profanity. The original album title was Volunteers of Amerika, but it was shortened after objections from Volunteers of America, a religious charity.
This was the last album with the group for both Jefferson Airplane founder Marty Balin and drummer Spencer Dryden (although they did both appear on the "Mexico" single released in 1970 and its B-side "Have You Seen the Saucers?"). The album signifies the end of their "classic" lineup of musicians. It turned out to be the group's last all-new LP for two years. Jack Casady and Jorma Kaukonen devoted more of their energy to their embryonic blues group Hot Tuna, while Paul Kantner and Grace Slick released Blows Against the Empire and Sunfighter with various guest musicians and celebrated the birth of their daughter China in 1971.
(en.wikipedia.org/wiki/Volunteers_(Jefferson_Airplane_album))
Personnel:
- Grace Slick - lead female vocals, piano on “The Farm”, “Hey Frederick”, “Eskimo Blue Day” & “Volunteers”, organ on “Meadowlands”, recorder on “Eskimo Blue Day”
- Paul Kantner - lead vocals, rhythm guitar
- Marty Balin - lead vocals, percussion
- Jorma Kaukonen - lead guitar
- Jack Casady - bass
- Spencer Dryden - drums, percussion
+
- Nicky Hopkins - piano on “We Can Be Together”, “Hey Frederick”, “Wooden Ships”, “A Song For All Seasons” & “Volunteers”
- Steven Stills - Hammond organ on “Turn My Life Down”
- Jerry Garcia - pedal steel guitar on “The Farm”
- Joey Covington - congas on “Turn My Life Down”, chair on “Eskimo Blue Day”
- David Crosby - music sailboat on “Wooden Ships”
- Ace Of Cups (Mary Gannon, Marilyn Hunt, Diane Hursh, Denise Jewkes) - backing vocals on “The Farm” & “Turn My Life Down”

01. We Can Be Together (05:49)
02. Good Shepherd (04:22)
03. The Farm (03:14)
04. Hey Fredrick (08:33)
05. Turn My Life Down (02:56)
06. Wooden Ships (06:28)
07. Eskimo Blue Day (06:36)
08. A Song For All Seasons (03:29)
09. Meadowlands (01:04)
10. Volunteers (02:02)

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John Entwistle (The Who) - The Rock (1996)

Year: 1985-1986 (CD Jun 1998)
Label: Repertoire Records (Europe), REP 4696-WY
Style: Hard Rock, Rock
Country: London, England (9 October 1944 - 27 June 2002)
Time: 42:22
Format: Flac Tracks 16/44,1 kHz
Size: 324 Mb

The Rock is the only studio album by English rock band The Rock, credited to founding bassist John Entwistle of the Who, issued by Griffin Music.
The album was recorded by the band over a period of eighteen months between 1985 and 1986 at Entwistle's Hammerhead Studios in Gloucestershire. It was originally planned for release by WEA in 1986 but it was not officially released until ten years later, by which point Entwistle was given credit for the project. The album has been released in four different editions between 1996 and 2005, each time with different artwork.
The Rock was Entwistle's only album in which he did not sing the lead vocals on any tracks, a role performed instead by American-born Canadian Henry Small, formerly of the band Prism.
(en.wikipedia.org/wiki/The_Rock_(John_Entwistle_album))

01. Stranger In A Strange Land (04:29)
02. Love Doesn't Last (03:38)
03. Suzie (04:28)
04. Bridges Under The Water (04:03)
05. Heartache (05:05)
06. Billy (03:45)
07. Life After Love (04:19)
08. Hurricane (04:23)
09. Too Much Too Soon (03:30)
10. Last Song (03:54)
11. Country Hurricane (00:43)

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The Byrds - Younger Than Yesterday [6 bonus tracks] (1967)

Year: February 6, 1967 (CD 1996)
Label: Columbia Records (Austria), 483708 2
Style: Rock, Pop, Psychedelic Rock
Country: Los Angeles, California, U.S.
Time: 47:34
Format: Flac Tracks 16/44,1 kHz
Size: 289 Mb

Charts: US #24, UK #37.
Younger Than Yesterday is the fourth studio album by the American rock band the Byrds and was released on February 6, 1967, on Columbia Records. It saw the band continuing to integrate elements of psychedelia and jazz into their music, a process they had begun on their previous album, Fifth Dimension. In addition, the album captured the band and record producer Gary Usher experimenting with new musical textures, including brass instruments, reverse tape effects and an electronic oscillator.
The album also marked the emergence of the band's bass player Chris Hillman as a talented songwriter and vocalist. Prior to Younger Than Yesterday, Hillman had only received one shared writing credit with the Byrds, but this album saw him credited as the sole composer of four songs and a co-writer of "So You Want to Be a Rock 'n' Roll Star". Byrds expert Tim Connors has remarked that two of Hillman's compositions on Younger Than Yesterday exhibited country and western influences and thus can be seen as early indicators of the country rock experimentation that would feature—to a greater or lesser degree—on all of the Byrds' subsequent albums.
Upon release, the album peaked at number 24 on the Billboard Top LPs chart and reached number 37 on the UK Albums Chart. It was preceded by the "So You Want to Be a Rock 'n' Roll Star" single in January 1967, which reached the Top 30 of the Billboard Hot 100. Two additional singles taken from the album, "My Back Pages" and "Have You Seen Her Face", were also moderately successful on the Billboard singles chart. However, none of the singles taken from the album charted in the United Kingdom. Music critics Richie Unterberger and David Fricke have both remarked that although it was largely overlooked by the public at the time of its release, the album's critical standing has improved over the years and today Younger Than Yesterday is considered one of the Byrds' best albums. The title of Younger Than Yesterday is derived from the lyrics of "My Back Pages", a song written by Bob Dylan, which was covered on the album.
(en.wikipedia.org/wiki/Younger_Than_Yesterday)

01. So You Want To Be A Rock'N'Roll Star (02:09)
02. Have You Seen Her Face (02:43)
03. C.T.A.-102 (02:31)
04. Renaissance Fair (01:55)
05. Time Between (01:56)
06. Everybody's Been Burned (03:09)
07. Thoughts And Words (03:00)
08. Mind Gardens (03:49)
09. My Back Pages (03:11)
10. The Girl With No Name (01:54)
11. Why (02:55)
12. It Happens Each Day (02:48)
13. Don't Make Waves (01:40)
14. My Back Pages (Alternate Version) (02:46)
15. Mind Gardens (Alternate Version) (03:21)
16. Lady Friend (02:34)
17. Old John Robertson (Single Version) (05:05)

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The Rolling Stones - A Bigger Bang (2005)

Year: 6 September 2005 (CD 2009)
Label: Polydor Records (Europe), 0602527016436
Style: Rock, Hard Rock
Country: London, England
Time: 64:20
Format: Flac Tracks 16/44,1 kHz
Size: 463 Mb

Charts: UK #2, US #3, AUS #4, CAN #1, FRA #3, GER #1, JPN #5, NLD #1, NOR #2, SWE #1. UK, NLD, JPN & FRA: Gold; GER, CAN & US: Platinum.
A Bigger Bang is the twenty-second studio album by the English rock band the Rolling Stones, released through Virgin Records on 5 September 2005. It was the band's last album of original material recorded entirely with Charlie Watts on drums before his death in 2021.
Unlike their prior effort eight years before, the sprawling and eclectic Bridges to Babylon, which had an array of producers, musical styles, and guest musicians, the Stones set out to make a basic, hard rock album that hearkened back to their 1960s–1970s heyday. A single producer, Don Was, was brought in to co-produce the album alongside the band's principal songwriting and production team of vocalist Mick Jagger and Keith Richards. Joining the two were band members Ronnie Wood on guitar and Charlie Watts on drums, contract players Darryl Jones on bass and Chuck Leavell on keyboards, and multi-instrumentalist Matt Clifford. Most of the basic tracks were recorded as a simple trio of Jagger, Richards, and Watts, with overdubs added later by other players.
The back-to-basics method of recording the album paid off for the Stones, who saw the album reach number three in the US, number two in the UK, and number one in eleven countries around the world. The lead single, "Streets of Love", failed to chart in the US, but was otherwise successful around the world, reaching number 15 in the UK and top-40 in over a dozen other countries. Two other singles were released to moderate worldwide sales. Reviews of the album were generally favourable; while critics noted that the album was not up to the standards of the Stones classic period, it nonetheless was among the best reviewed of their later albums. The follow-up tour, which lasted two years, would become the highest-grossing tour of all time by its completion. A Martin Scorsese-directed concert film titled Shine a Light documented the tour.
(en.wikipedia.org/wiki/A_Bigger_Bang)

01. Rough Justice (03:11)
02. Let Me Down Slow (04:16)
03. It Won't Take Long (03:54)
04. Rain Fall Down (04:53)
05. Streets Of Love (05:10)
06. Back Of My Hand (03:32)
07. She Saw Me Coming (03:12)
08. Biggest Mistake (04:06)
09. This Place Is Empty (03:16)
10. Oh No Not You Again (03:46)
11. Dangerous Beauty (03:48)
12. Laugh I Nearly Died (04:54)
13. Sweet Neocon (04:33)
14. Look What The Cat Dragged In (03:57)
15. Driving Too Fast (03:56)
16. Infamy (03:47)

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The Waterboys - This Is The Sea [2CD] 1985

Year: 16 September 1985 (CD 2004)
Label: EMI Records (UK), 7243 5 91451 2 9
Style: Alternative Rock, Post-Punk, Rock
Country: United Kingdom
Time: 42:31, 61:10
Format: Flac Tracks 16/44,1 kHz
Size: 321, 422 Mb

This Is the Sea is the third studio album by the Waterboys, released on 16 September 1985 by Ensign Records. The last of their "Big Music" albums, it is considered by critics to be the finest album of the Waterboys' early rock-oriented sound, described as "epic" and "a defining moment". It peaked at number 37 in the UK Albums Chart. Steve Wickham makes his Waterboys recording debut playing violin on "The Pan Within" and subsequently joined the band. This Is the Sea is the last Waterboys album with contributions from Karl Wallinger, who left the group to form his own band, World Party.
The album was recorded between March and July 1985, and released that October. Mike Scott, the album's principal songwriter and leader of the Waterboys, describes This Is the Sea as "the record on which I achieved all my youthful musical ambitions", "the final, fully realised expression of the early Waterboys sound", influenced by The Velvet Underground, Van Morrison's Astral Weeks, and Steve Reich.
This Is the Sea contains the best-selling Waterboys single, "The Whole of the Moon". The album cover is a photograph taken by Lynn Goldsmith.
A remastered and expanded version was released in 2004. A complete box set of studio recording sessions, demos and live recordings was released as 1985 in 2024, documenting the making of This Is the Sea.
(en.wikipedia.org/wiki/This_Is_the_Sea)

01. Don't Bang the Drum (06:46)
02. The Whole of the Moon (05:02)
03. Spirit (01:48)
04. The Pan Within (06:12)
05. Medicine Bow (02:45)
06. Old England (05:31)
07. Be My Enemy (04:17)
08. Trumpets (03:36)
09. This Is the Sea (06:29)

01. Beverly Penn (05:40)
02. Sleek White Schooner (03:44)
03. Medicine Bow [full length] (05:45)
04. Medicine Jack (04:12)
05. High Far Soon (02:06)
06. Even The Trees Are Dancing (04:29)
07. Towers Open Fire (04:35)
08. This Is The Sea [live] (05:55)
09. Then You Hold Me (04:56)
10. Spirit [full length] (04:12)
11. Miracle (01:16)
12. I Am Not Here (00:23)
13. Sweet Thing (07:14)
14. The Waves (06:38)

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Wishbone Ash - Wishbone Ash (1970)

Year: 4 December 1970 (CD 1992)
Label: MCA Records (Germany), MCAD 10661
Style: Rock, Art Rock, Hard Rock
Country: Torquay, Devon, England
Time: 42:24
Format: Flac Tracks 16/44,1 kHz
Size: 281 Mb

Wishbone Ash is the first studio album by Wishbone Ash. It peaked at number 29 in the UK Albums Chart in January 1971.
The band opened for Deep Purple in early 1970. Deep Purple guitarist Ritchie Blackmore was jamming during the band's soundcheck, when Wishbone guitarist Andy Powell joined in and began jamming with Blackmore. After the show, Blackmore recommended that MCA Records sign the band. Deep Purple producer Derek Lawrence produced this album, which features elements of blues, jazz, progressive rock, and psychedelic improvisation. The first side contains three uptempo tracks along with the ballad "Errors Of My Way" which, unusually for a rock song, was written in 12/8 time. Side two contains two lengthy tracks featuring long instrumental passages, the second of which, "Phoenix", was to become a live favourite often stretching in excess of 17 minutes, for example on their Live From Memphis EP and the Live Dates album.
(en.wikipedia.org/wiki/Wishbone_Ash_(album))

01. Blind Eye (03:45)
02. Lady Whiskey (06:12)
03. Errors Of My Ways (06:57)
04. Queen Of Torture (03:25)
05. Handy (11:35)
06. Phoenix (10:27)

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Barclay James Harvest - Their First Album [Barclay James Harvest. 13 bonus tracks] (1970)

Year: 5 June 1970 (CD 2002)
Label: EMI Records (Europe), 07243 538405 2 5
Style: Art Rock, Progressive Rock
Country: Oldham, England
Time: 76:53
Format: Flac Tracks 16/44,1 kHz
Size: 405 Mb

Tracks 10-16: previously unreleased
Tracks 10-11: from the BBC Session 20 April 1968
Tracks 12-16: from the BBC Session 30 July 1968
Barclay James Harvest were one of England’s most unappreciated, hardluck underground bands throughout the 60’s and 70’s. They released a handful a good albums and came very close to major stardom.
Often labeled the “poor man’s Moody Blues,” Barclay James Harvest began their career in or around 1967. In 1968, they released their superb debut single, Early Morning. Early Morning was a confident, mellotron drenched psychedelic ballad that should have gained them notoriety but failed to do so (sounding similar to a really good cut on the Zombie’s Odessey and Oracle). Another good prog-psych single followed but did little to enhance their reputation.
In 1970, their outstanding debut was released in a gorgeous stained-glass illustrated sleeve. Barclay James Harvest (self-titled) was absolutely dynamite, opening up with Taking Some Time On. This song has some seriously vicious, punky psychedelic guitar riffs and hard hitting drums. It’s a pummeling, devastating rock song and a great way to open up this debut, displaying a mature band with wildly inventive ideas. The next song, Mother Dear is a beautiful acoustic composition augmented with strings that is almost a response to the Move’s classic Beautiful Daughter (from Shazaam). Another highlight is The Sun Will Never Shine, a great piece of dramatic progressive psychedelia highlighted by great use of mellotron. The album closes with the 12 minute Dark Now My Sky, which is a sterling example of early progressive rock.
There are no false steps on Barclay James Harvest and this great record never fails to challenge and reward its listeners.
The whole album is absolutely wonderful, finding some kind of middle ground between the Move, psychedelic era Pretty Things and late 60’s Procol Harum. A genuinely fantastic album that is not to be missed, pitched half way between the psych and prog eras.
(therisingstorm.net/barclay-james-harvest-their-first-album/)

01. Taking Some Time On (05:30)
02. Mother Dear (03:20)
03. The Sun Will Never Shine (05:07)
04. When The World Was Woken (05:50)
05. Good Love Child (05:10)
06. The Iron Maiden (02:42)
07. Dark Now My Sky (12:05)
08. Early Morning (02:34)
09. Mister Sunshine (02:54)
10. So Tomorrow [1968 BBC Session] (03:27)
11. Eden Unobtainable [1968 BBC Session] (03:10)
12. Night [1968 BBC Session] (03:19)
13. Pools Of Blue [1968 BBC Session] (03:28)
14. Need You Oh So Bad [1968 BBC Session] (01:17)
15. Small Time Town [1968 BBC Session] (02:12)
16. Dark Now My Sky [1968 BBC Session] (03:42)
17. I Can't Go On Without You (02:13)
18. Eden Unobtainable (03:03)
19. Poor Wages (02:33)
20. Brother Thrush (03:06)

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