Grand Funk Railroad - Live The 1971 Tour (2002)

Year: 1971 (CD 2002)
Label: Capitol Records (US), 72435-39501-2-5
Style: Classic Rock, Hard Rock, Rock
Country: Flint, Michigan, U.S.
Time: 78:57
Format: Flac Tracks 16/44,1 kHz
Size: 507 Mb

Known as "The American Band", the high-energy five-piece group will play forty shows all over the USA this year. Grand Funk Railroad includes original founding members Don Brewer (vocals and drums, writer and singer of the multi-million selling hit, We're An American Band) and bassist Mel Schacher, "The God Of Thunder". Joining Don and Mel are true "All Stars". Singer Max Carl is a rock veteran from 38 Special. Max penned and sang 38's biggest hit "Second Chance" and was co-founder of California's legendary Jack Mack and the Heart Attack. Don refers to Max as "the best blue-eyed soul singer on the planet". Lead guitarist Bruce Kulick is best known for his 12 years with KISS and has credits with Michael Bolton, Meatloaf and Billy Squier. (KISS members Gene Simmons and Paul Stanley were influenced early on by Grand Funk.) Keyboardist Tim Cashion has a master's degree in music from the University of Miami. Affectionately called "Dr. Tim", his credits include stints with Bob Seger and the Silver Bullet Band and English soul man Robert Palmer.
Grand Funk laid the groundwork for such bands as Foreigner, Journey, Van Halen and Bon Jovi with its signature hard driving sound, soulful vocals, muscular instrumentation and forceful pop melodies. The fact that Grand Funk's legacy still reigns over the Classic Rock landscape fifty years after its 1969 birth in Flint, Michigan is a testament to the group's influence and staying power. Mega-hits We're An American Band, I'm Your Captain/Closer To Home, Locomotion, and Some Kind Of Wonderful still receive continuous airplay on Classic Rock radio. We're An American Band has received notoriety in recent years being used in movie sound tracks and in television/radio advertising. The huge hit was featured in a General Motors national TV ad campaign and in Disney's animated feature film The Country Bears. We're An American Band was featured in the Cuba Gooding Jr. film RADIO, and also in the swash buckler SAHARA starring Matthew McConaughey.
Internationally acclaimed Grand Funk has toured the world, selling out in the U.S., Canada, Europe, Japan and South America. A 1971 performance at New York's Shea Stadium sold out faster than the Beatles. The group's widespread appeal is also evident in its prestigious recording achievements. Over their career, Grand Funk has had 19 charted singles, 8 Top 40 hits and two Number One singles (We're An American Band and Locomotion, both selling more than one million each). The group has now accumulated 13 gold and 10 platinum records with record sales exceeding 25 million copies sold worldwide. The most recent gold CD award was presented to the band for their greatest hits package Grand Funk Railroad the Collectors Series.
The multi-talented band carries on the tradition of Grand Funk hits and creates a new chapter in the legacy of Grand Funk Railroad. GFR drew 25,000 people to their Molson Canal Series Concert outside Buffalo, 20,000 in Albany, New York, and 20,000 fans to downtown Orlando, Florida. EMI/Capitol (Universal Music) released a new Grand Funk Greatest Hits package that includes a bonus DVD of rare concert footage. Grand Funk Railroad's 2019 50 YEARS OF FUNK TOUR was a huge success and now, with the group's 2020 SOME KIND OF WONDERFUL TOUR, seasoned Grand Funk lovers and contemporary rock fans discovering the group for the first time will be able to celebrate 50 Years of Funk with GRAND FUNK RAILROAD!
(grandfunkrailroad.com/bios/GFR_bio.html)

01. Intro (01:39)
02. Are You Ready (03:11)
03. Footstompin' Music (05:24)
04. Paranoid (06:03)
05. I'm Your Captain, Closer To (05:48)
06. Hooked On Love (02:45)
07. Get It Together (02:46)
08. T.N.U.C. (17:12)
09. Inside Looking Out (15:30)
10. Gimme Shelter (08:44)
11. Into The Sun (09:50)

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The Tony Williams Lifetime - Turn It Over (1970)

Year: December 1970 (CD 1997)
Label: Verve Records (US), 314 539 118-2
Style: Jazz Rock, Jazz Fusion
Country: U.S. / UK
Time: 38:35
Format: Flac Tracks 16/44,1 kHz
Size: 241 Mb

Turn It Over is the second album by the American jazz fusion group the Tony Williams Lifetime, released in 1970 via Polydor Records. It was rereleased by Verve Records in 1997, as part of Spectrum: The Anthology. Williams is again joined by guitarist John McLaughlin and organist Larry Young, along with former Cream member Jack Bruce on bass guitar.
Jack Bruce joined the group for Turn It Over, providing bass and vocals. Tony Williams was excited by the amplification he could employ during the recording of the album; his liner notes repeatedly instruct the listener to play the album at a high volume. Williams described the album as his version of the MC5's Kick Out the Jams.
The Omaha World-Herald wrote that the Lifetime "is likely the most forceful group on the pop music scene." AllMusic called the album "one of the more intense pieces of early jazz-rock fusion around," writing that "in parts, it's like Jimi Hendrix's Band of Gypsys with much better chops." JazzTimes praised Larry Young's "fearsome long tones and wobbly distortions" and "psychedelic, dissonant harmonies." Vibe deemed Turn It Over "one of the most violent, raucous recordings ever to issue from a noted jazz musician." The Guardian called it "tougher" than the debut, singling out the performance of "Big Nick".
(en.wikipedia.org/wiki/Turn_It_Over)

01. To Whom It May Concern - Them (04:21)
02. To Whom It May Concern - Us (02:57)
03. This Song This Night (03:46)
04. Big Nick (02:46)
05. Right On (01:52)
06. Once I Loved (05:11)
07. Vuelta Abajo (05:00)
08. A Famous Blues (04:13)
09. Allah Be Praised (04:38)
10. One Word (03:45)

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The Rolling Stones - Let It Bleed [Japan Ed. SHM-CD] (1969)

Year: 28 November 1969 (CD Dec 24, 2008)
Label: ABKCO Records (Japan), UICY-93796
Style: Classic Rock, Rock, British Rhythm and Blues
Country: London, England
Time: 42:21
Format: Flac Tracks 16/44,1 kHz
Size: 269 Mb

In doing my research for this post, I was pleased to learn that upon its release, Let It Bleed temporarily knocked Abbey Road out of the #1 spot on the U.K. charts. These little bursts of human sanity are tiny treasures I cherish to temper my general skepticism about the aesthetic perceptions of the species. Let It Bleed is clearly the better album once you throw sentiment to the wind.
Many listeners consider Let It Bleed a rather dark album, in part due to content, in part due to its association with Altamont (more a matter of bad timing than anything else) and in part due to Martin Scorsese including “Gimme Shelter” in three of his cinematic bloodbaths. While “Midnight Rambler” is about as dark and creepy as it gets, I think the overall impression of “apocalyptic” is overstating the case. Except for their brief detour into the flower power scene in 1967, The Stones had always been more realistic about the world as is, and some of their best songs contain insightful social commentary. To me, the fundamental message of Let It Bleed is, “Get off your cloud and get real. The world isn’t as pretty as you’d like it to be.”
Let It Bleed also reflects the band’s growing belief in their renewal and in their future direction. There is no question in my mind that the decreasing presence and mid-recording departure of Brian Jones significantly improved group dynamics, as by this point he was an unreliable distraction. Jones only appears on two tracks, and neither contribution is particularly significant. When The Stones asked him to leave shortly before his death, they were simply giving in to the evidence that the relationship wasn’t working anymore. Making a break with the past is always an act of liberation, and much of Let It Bleed is infused with a breezy confidence that balances the occasional forays into darkness and realism (and some poor choices here and there).
“Gimme Shelter,” with its marvelously arranged introduction calling up images of the moonless nights and whistling winds that heighten human anxiety before a gathering storm, is fundamentally existentialist at heart. What I mean by that is that Jagger and Richards present the human race with a stark choice: we can live in a world where rape, murder and war are just a shot away, or where love is just a kiss away. What kind of world do you want? The lyrics lean strongly towards the violent aspect of the choice at first, in part because of the violence of the times and in part to shock people out of naive idealism. Producer Jimmy Miller’s insistence that the song called for female vocal support resulted in the brilliant decision to bring in Merry Clayton, whose vocal adds even more fire to the throbbing rhythms that drive the track. “Gimme Shelter” has lost none of its relevance over the years; the same stark choice stands before the human race today. Lately, with all the gun violence in America and the transformation of war into a sick video game, I find myself feeling more than ever the need for shelter from all the craziness that surrounds us. “Gimme Shelter” is really resonating with me right now.
(full version: altrockchick.com/2013/04/27/classic-music-review-let-it-bleed-by-the-rolling-stones/) Review by altrockchick. April 27, 2013

01. Gimmie Shelter (04:30)
02. Love In Vain (04:19)
03. Country Honk (03:07)
04. Live With Me (03:33)
05. Let It Bleed (05:27)
06. Midnight Rambler (06:52)
07. You Got The Silver (02:50)
08. Monkey Man (04:11)
09. You Can't Always Get What You Want (07:28)

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Patto - Patto [Japan Ed.] (1970)

Year: 1970 (CD 27 Oct 2010)
Label: Vertigo Records (Japan), UICY-94680
Style: Hard Rock, Blues Rock, Jazz Rock
Country: London, England
Time: 56:00
Format: Flac Tracks 16/44,1 kHz
Size: 353 Mb

Founded by vocalist Mike Patto, their lineup was taken from Timebox, consisting of vocalist Patto, guitarist and vibraphone player Ollie Halsall, bassist Clive Griffiths and drummer John Halsey.
Timebox developed from a complicated pedigree that included members of The Bo Street Runners, Patto's People and Chicago Blue Line. This soul psych pop combo made two singles for Pye's label Piccadilly before signing to Decca's Deram in 1967. They also recorded five singles for Deram between 1967 and 1969 and appeared on BBC radio shows such as Noise at Nine, Stuart Henry on Sunday and Jimmy Young. Keyboard player Chris Holmes left after their last single release and they began experimenting with progressive rock.
In 1970, Patto was formed by members of Timebox and signed to the newly formed Vertigo label. With Muff Winwood as producer, they recorded their first album live in the studio.
In December 1971, Patto entered the studio again to record their second album, Hold Your Fire, after which they were dropped from the Vertigo roster. Despite poor record sales, they were becoming known as an exciting live act. Through his connections in England, Muff Winwood was able to have the band signed to Island, and they recorded the album Roll 'em Smoke 'em Put Another Line Out in 1972.
In 1973, the band began to record their fourth album. Mike Patto wrote songs that were less cynical than the usual Patto material and much more commercial. The ensuing album, Monkey's Bum, was not released. Without Halsall and with each member now involved in other projects, Mike Patto chose to disband Patto, going on to form Boxer with Halsall.
In 2009, Patto's song "The Man" was used in trailers for the film Observe and Report starring Seth Rogen and Anna Faris and was included along with another track, "Sittin' Back Easy", on the film's soundtrack.
(en.wikipedia.org/wiki/Patto)

01. The Man (06:19)
02. Hold Me Back (04:46)
03. Time To Die (03:01)
04. Red Glow (05:23)
05. San Antone (03:15)
06. Government Man (04:25)
07. Money Bag (10:11)
08. Sittin' Back Easy (03:50)
09. Hanging Rope (Bonus Track) (14:47)

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Steve Hackett - Genesis Revisited II [2CD] (2012)

Year: 22 October 2012 (CD Oct 19, 2012)
Label: Inside Out Music (Germany), 0506240
Style: Art Rock, Rock
Country: London, England (12 February 1950)
Time: 73:18, 71:27
Format: Flac Tracks 16/44,1 kHz
Size: 438, 439 Mb

Genesis Revisited II is the 22nd studio album by musician Steve Hackett, released on 22 October 2012 by Inside Out Music label. It is a sequel to his 1996 album Genesis Revisited and largely consists of reworked versions of songs originally by Genesis with a variety of guest vocalists.
"I would like to repaint the Mona Lisa“... No, that is not Steve Hackett about Genesis Revisited II, it is what Phil Collins said in 2010 when he had created a work of art with Going Back. 29 Motown classics were carefully recorded afresh – but the goal was to make them sound like they did when Motown ruled the charts. Collins had not set out to do new interpretations, he wanted to revive the era. Earlier that same year, his former band-mate Peter Gabriel had done exactly the opposite. In Scratch My Back, he challenged himself by moving as far away from the originals as possible in his „no drums, no guitars, only orchestra“ concept. Steve Hackett took the middle ground in 1996 when he brought out Genesis Revisited. Some things sounded familiar, others had been done over in a thoroughly idiosyncratic way. And unlike Phil Collins and Peter Gabriel Hackett dared to look back at that sacred cow, the early years of Genesis. To Genesis fans that is something very different from paying respect to a style of music or trying out an alternative concept. Hackett took some criticism for it. Some said he had strayed too far from the originals, other fans felt he had castrated the best parts of the song, e.g. Firth Of Fifth, where he all but dropped the Banks solo. It was these songs, however, that made Genesis Revisited controversial and therefore interesting.
More than 15 years later here he comes with a second part. He tries his hand at many more songs than on the first volume. He also offers some of his own songs, but only those that were, in his words, influenced or inspired by Genesis. For this recording he has brought in an illustrious list of musicians, and he himself sings very few songs.
Steve Hackett has this to say about the album:
"I sympathise with Hitchcock's need to re-make an earlier film. The vision is clearer, techniques improve inwardly and outwardly. For all us musicians songs of innocence are now inevitably songs of experience. I love the original Genesis music so much that I want to highlight it even more. The temptation to infuse those tracks with more detail and enriched clarity was irresistible.
Musos set the ball rolling by passing it to one another as a means to carry forward combined ideas. The songwriters then necessarily move on to the next project, but the avid listener knows it's really a chariot of fire, a bow of burning gold or a dark satanic mill... It's emblazoned into the mind with a life of its own that moves way beyond the dreams of the original perpetrators. But sometimes dreams need to be re-lived!
On these versions I've altered the detail within the songs whilst aiming to preserve the authentic spirit of the originals. Real string instruments are often used either with or instead of Mellotron, there are several new introductions, plus many additional effects recorded on Apple Mac Logic with amp plug-ins instead of going the traditional route. You'll also find changed guitar and other instrumental solos, as well as additional vocal parts.
Every time I change a solo I feel I'm in danger of messing with people's childhoods, but sometimes the muse just has to have her way with me..."
(genesis-news.com/c-Steve-Hackett-Genesis-Revisited-II-2CD-review-s499.html)

01. The Chamber of 32 Doors (06:00)
02. Horizons (01:40)
03. Supper's Ready (23:34)
04. The Lamia (07:47)
05. Dancing with the Moonlit Knight (08:09)
06. Fly on a Windshield (02:53)
07. Broadway Melody of 1974 (02:23)
08. The Musical Box (10:57)
09. Can-Utility and the Coastliners (05:49)
10. Please Don't Touch (04:03)

01. Blood on the Rooftops (06:56)
02. The Return of the Giant Hogweed (08:45)
03. Entangled (06:35)
04. Eleventh Earl of Mar (07:50)
05. Ripples (08:14)
06. Unquiet Slumbers for the Sleepers... (02:21)
07. ...In That Quiet Earth (04:46)
08. Afterglow (04:08)
09. A Tower Struck Down (04:45)
10. Camino Royale (06:19)
11. Shadow of the Hierophant (10:44)

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Various Artists - Sabbath Cadabra - A Greek Tribute To Black Sabbath (2013)

Year: April 2013 (CD 2013)
Label: Metal Hammer & Heavy Metal (Greece), MH 0413
Style: Heavy Metal, Power Metal, Doom Metal, Hard Rock
Country: Greece
Time: 63:17
Format: Flac Tracks 16/44,1 kHz
Size: 454 Mb

Sabbath Cadabra - A Greek Tribute To Black Sabbath is a tribute album to the English heavy metal band Black Sabbath, with twelve Greek bands covering songs from the Ozzy and Dio eras of the band, along with one track from the Tony Martin era. This tribute album would be given away with Greek editions of issue no. 340 of Metal Hammer, in a cardsleeve case.
(riffipedia.fandom.com/wiki/Sabbath_Cadabra_-_A_Greek_Tribute_To_Black_Sabbath)

01. Black Sabbath (06:01)
02. Neon Knights (03:42)
03. Fairies Wear Boots (06:51)
04. Killing Yourself To Live (05:47)
05. Jerusalem (04:00)
06. Falling Off The Edge Of The World (07:12)
07. Behind The Wall Of Sleep (03:30)
08. The Wizzard (04:16)
09. Voodoo (04:28)
10. Into The Void (06:16)
11. Snowblind (05:33)
12. Children Of The Sea (05:36)

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Soft Machine - Backwards [Compilation] (1969-1970)

Year: November 1969 - May 1970 (CD May 7, 2002)
Label: Cuneiform Records (US), rune 170
Style: Jazz Rock, Progressive Rock
Country: Canterbury, England
Time: 72:38
Format: Flac Tracks 16/44,1 kHz
Size: 442 Mb

Albums of archival material by Soft Machine abound, especially when it comes to the era surrounding the group's Third and Fourth albums (1970-1971). While some of these documents hold interest for casual fans (Virtually and Noisette, both good-sounding live sets), Backwards will appeal only to the die-hard Soft head. Culled here are recordings from three different sources that vary in sound quality from good to poor -- but the fan won't mind considering the historical and sentimental importance of some of these tracks. The CD begins in late May 1970 with 40 minutes of material from a typical set of the quartet lineup (Mike Ratledge, Hugh Hopper, Elton Dean, Robert Wyatt). "Facelift," "Moon in June" (the instrumental section), and "Esther's Nose Job" are all well documented, but these interpretations match in quality any others previously available. Then listeners move backward in time (hence the CD's title) to November 1969 for two excerpts of a rare performance by the short-lived "big-band" lineup that added the brass section of Marc Charig, Nick Evans, and Lyn Dobson -- the first two were part of Keith Tippett's sextet and also appeared on King Crimson's album from the same period. They give "Facelift" a...face-lift. The sound is muddy (especially when it comes to organ and drums) but the horns come through crisp and quite exciting. The CD ends with the demo version of Wyatt's "Moon in June" (the first part Wyatt solo from late 1968 and the second part with the group from mid-1969). The official version on Third is much superior in all aspects, but this ultra-rare item will satisfy the curiosity of the fans.
(allmusic.com/album/backwards-mw0000222000)

01. Facelift (1970) (18:39)
02. Moon In June (07:38)
03. Esther's Nose Job (12:59)
04. Facelift (1969) (08:36)
05. Hibou Anemone And Bear (04:05)
06. Moon In June - demo (20:37)

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John Lees' Barclay James Harvest - North (2013)

Year: 7 October 2013 (CD 2013)
Label: Esoteric Antenna (Russia), EANTCD 1023
Style: Pop
Country: Oldham, England
Time: 55:22
Format: Flac Tracks 16/44,1 kHz
Size: 339 Mb

I have always loved the old stuff recorded by Barclay James Harvest (BJH). Songs like Poor Man's Moody Blues, Suicide, Hymn, For No One or Polk Street Rag belong to my favourite BJH songs. However, I was truly disappointed by the most recent albums of the band as they only consisted of mediocre, boring pop songs which have barely anything to do with the old material of BJH.
Now, singer and guitarist John Lees recorded a brand new studio album called North under the name of John Lees' Barclay James Harvest. Beside Lees, the other musicians are Craig Fletcher (vocals, bass), Jez Smith (keyboards, vocals) and Kevin Whitehead (drums, percussion). The album contains nine tracks all in the vein of BJH, but certainly not as good as the songs recorded in the seventies. So, all songs could be described best as melodious, but watered-down pop songs unlike the music BJH created in the old days. Actually, I think North is a disastrous album as it only holds one real good track: On Leave.
On Leave is not only the longest track on North, but by far the best one. I would describe it as an almost classic BJH track filled with lots of emotion, breathtaking guitar solos and superb singing. The remainder of the material sounds very disappointing since these songs are dull (The Real Deal), mediocre ( Unreservedly Yours), funky (In Wonderland), pop-like (North) or just simply utterly boring ( The End Of The Day). The latter being a short'song' filled with strings, piano and spoken words, or better: reciting a poem of Ammon Wrigley.
Aside from the amazing track On Leave, the opening track If You Were Here Now is also worth mentioning, since it is a decent melodious, ballad-like song with nice guitar work from John Lees. My conclusion: an album with only two good songs doesn't suffice; I think I'm going to listen to Live Tapes (1978) again...
Martien Koolen (edited by Peter Willemsen)
(backgroundmagazine.nl/CDreviews/JohnLeesBarclayJamesHarvestNorth.html)Review by Martien Koolen (edited by Peter Willemsen)

01. If You Were Here Now (05:48)
02. Ancient Waves (07:10)
03. In Wonderland (05:49)
04. On Leave (09:11)
05. The Real Deal (05:48)
06. On Top Of The World (05:40)
07. Unreservedly Yours (04:51)
08. North (08:29)
09. The End Of The Day (02:34)

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Hatfield And The North - Afters [Japan Ed. SHM-CD. Compilation] (1980)

Year: 1974-1975 (CD Jan 26, 2011)
Label: Virgin Records (Japan), VJCP-98008
Style: Progressive Rock, Canterbury Scene
Country: Canterbury, England
Time: 47:23
Format: Flac Tracks 16/44,1 kHz
Size: 314 Mb

Afters is a 1980 compilation album (LP only) by the English Canterbury scene rock band Hatfield and the North. Of the sixteen tracks, eleven are taken from the band's two studio albums Hatfield and the North and The Rotters' Club, three are live recordings, and the two remaining songs are the A- and B- sides of their 1974 single "Let's Eat (Real Soon)" / "Fitter Stoke Has a Bath".
Tracks 1 and 2 were released as the A- and B-sides respectively of a 1974 single released on Virgin Records. Tracks 3, 4, 5, 10, 11, 15 and 16 are songs from The Rotters' Club, tracks 6 to 9 inclusive are from Hatfield and the North, and tracks 12 to 14 inclusive are edited recordings of live performances in France, mixed by Peter Wade.
(en.wikipedia.org/wiki/Afters_(album))
The band grew out of a line-up of friends in mid-1972 consisting of Phil Miller (guitar, from Matching Mole), Phil's brother Steve Miller (keyboards, from Caravan, Pip Pyle (drums, from Gong) and Richard Sinclair (bass and vocals, from Caravan).
The band played a few live shows between July and September that year, and gained their first record contract with Virgin Records with the 'Sinclair cousins'...as Steve Miller was replaced by Dave Sinclair (from Matching Mole and Caravan), the band soon changed their name to Hatfield and the North.
The Delivery line-up reunited for a BBC session in November 1972 with Steve Miller, Phil Miller, Lol Coxhill, Roy Babbington (bass), Pip Pyle, and Richard Sinclair on vocals. (Steve Miller went on to release a couple of duo albums with Coxhill in 1973/74.)
Dave Sinclair left in January 1973, shortly after the band's appearance (with Robert Wyatt on guest vocals) on the French TV programme "Rockenstock", and was quickly replaced by Dave Stewart (from Egg) before the band's first recordings were made.
The band recorded two albums, Hatfield and the North and The Rotters' Club. Backing vocals on the two albums were sung by The Northettes: Amanda Parsons, Barbara Gaskin and Ann Rosenthal. On the Autumn 1974 "Crisis Tour", which Hatfield co-headlined with Kevin Coyne, the opening act was a duo of Steve Miller and Lol Coxhill (also previously of Delivery) and Coxhill usually guested with Hatfield on the jamming sections of "Mumps".
After disbanding, Dave Stewart formed National Health with Alan Gowen from Gilgamesh; Phil Miller was a member throughout the band's existence, and Pyle joined in 1977. (Richard Sinclair also sat in on a couple of gigs and a BBC radio session that year.) Hatfield and the North and Gilgamesh had played a couple of shows together in late 1973, including a joint "double quartet" set, in some ways the prototype for National Health. Miller, Stewart, Pyle and Sinclair also worked together in various combinations on other projects.
The name of the band was inspired by the road signage on the main A1 road heading north from London, where the a succession of signs referred to the first major town, and the overall direction, as 'A1 Hatfield & the North'. This style of sign from the 1970s has now been replaced by a slightly different variant, as shown in the current picture to the right.
(jaz.fandom.com/wiki/Hatfield_and_the_North)

01. Let's Eat (Real Soon) (03:16)
02. Fitter Stoke Has A Bath (04:34)
03. Mumps (Edited) (08:15)
04. Share It (03:02)
05. Lounging There Trying (03:15)
06. The Stubbs Effect (00:23)
07. Big Jobs (Poo Poo Extract) (00:36)
08. Going Up To People And Tinkling (02:25)
09. Calyx (02:45)
10. (Big) John Wayne Socks Psychology On The Jaw (00:43)
11. Chaos At The Greasy Spoon (Edited) (00:23)
12. Halfway Between Heaven And Earth (06:09)
13. Oh, Len's Nature! (01:59)
14. Lything And Gracing (03:56)
15. Prenut (03:58)
16. Your Majesty Is Like A Cream Donut (Loud) (01:35)

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The Jimi Hendrix Experience - Are You Experienced [Japan Ed. 6 bonus tracks] (1967)

Year: May 12, 1967 (CD Oct 30, 2002)
Label: Experience Hendrix (Japan), UICY 9007
Style: Psychedelic Rock, Classic Rock
Country: Seattle, Washington, U.S. (November 27, 1942 - September 18, 1970)
Time: 60:18
Format: Flac Tracks 16/44,1 kHz
Size: 402 Mb

(The British and American versions of the album differed substantially when they were initially released in 1967; MCA's 17-song reissue did everyone a favor by gathering all of the material from the two records in one place, adding a few B-sides from early singles as well.)
One of the most stunning debuts in rock history, and one of the definitive albums of the psychedelic era. On Are You Experienced?, Jimi Hendrix synthesized various elements of the cutting edge of 1967 rock into music that sounded both futuristic and rooted in the best traditions of rock, blues, pop, and soul. It was his mind-boggling guitar work, of course, that got most of the ink, building upon the experiments of British innovators like Jeff Beck and Pete Townshend to chart new sonic territories in feedback, distortion, and sheer volume. It wouldn't have meant much, however, without his excellent material, whether psychedelic frenzy ("Foxey Lady," "Manic Depression," "Purple Haze"), instrumental freak-out jams ("Third Stone from the Sun"), blues ("Red House," "Hey Joe"), or tender, poetic compositions ("The Wind Cries Mary") that demonstrated the breadth of his songwriting talents. Not to be underestimated were the contributions of drummer Mitch Mitchell and bassist Noel Redding, who gave the music a rhythmic pulse that fused parts of rock and improvised jazz. Many of these songs are among Hendrix's very finest; it may be true that he would continue to develop at a rapid pace throughout the rest of his brief career, but he would never surpass his first LP in terms of consistently high quality.
(allmusic.com/album/are-you-experienced--mw0000537390)

01. Foxy Lady (03:19)
02. Manic Depression (03:42)
03. Red House (03:44)
04. Can You See Me (02:33)
05. Love Or Confusion (03:12)
06. I Don't Live Today (03:55)
07. May This Be Love (03:11)
08. Fire (02:45)
09. Third Stone From The Sun (06:44)
10. Remember (02:48)
11. Are You Experienced? (04:14)
12. Hey Joe (bonus track) (03:30)
13. Stone Free (bonus track) (03:36)
14. Purple Haze (bonus track) (02:51)
15. 51st Anniversary (bonus track) (03:16)
16. The Wind Cries Mary (bonus track) (03:21)
17. Highway Chile (bonus track) (03:32)

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Bad Company - Rock 'n' Roll Fantasy. The Very Best Of Bad Company (2015)

Year: September 25, 2015 (CD Oct 2, 2015)
Label: Swan Song Inc. (Europe), 081227952358
Style: Hard Rock, Blues Rock
Country: London, England
Time: 79:25
Format: Flac Tracks 16/44,1 kHz
Size: 515 Mb

Rock 'n' Roll Fantasy: The Very Best of Bad Company is a compilation album released by Bad Company in 2015 on Atlantic Records. The 19-track collection spans 1974 through 1982 and features many of the group's best-known songs, like "Can't Get Enough", "Feel Like Makin' Love" and "Rock 'n' Roll Fantasy".
The release includes previously unreleased alternate versions of "Easy on My Soul" and "See the Sunlight". Both of these are different versions than the ones that appeared on the deluxe editions of Bad Company and Straight Shooter, respectively.
(en.wikipedia.org/wiki/Rock_%27n%27_Roll_Fantasy:_The_Very_Best_of_Bad_Company)
In the Spring of 2015, the first two Bad Company records - the solid-rocking 1974 self-titled debut and its equally snappy 1975 follow-up Straight Shooter - were reissued with extra tracks. Six months later, Rhino put together a Bad Company retrospective with 19 of the band’s best songs from their first seven albums along with two unreleased tracks. Rock ‘N’ Roll Fantasy: The Very Best Of Bad Company spans 1974 and 1982 and features songs like, “Can’t Get Enough,” “Feel Like Makin’ Love” and “Rock ‘N’ Roll Fantasy.”
Because the four members of Bad Company were seasoned players from Free, Mott The Hoople and King Crimson, anticipation ran high when the first album came out. The compact hard-rocking songs featuring Paul Rodgers smooth bluesy voice and the tight musical triad of guitarist Mick Ralphs, drummer Simon Kirke and bassist Boz Burrell, wielded hit after hit the minute the album dropped, resulting in A Number One album and four radio staples - “Bad Company,” Movin’ On and “Ready For Love” - that fill the first four slots of this compilation. Of course, “Good Lovin’ Gone Bad,” “Feel Like Makin’ Love” and “Rock ‘N’ Roll Fantasy” are among those that fill out the track list. Throw in previously unreleased alternate versions of “Easy On My Soul” and “See The Sunlight,” different than the ones that appeared on the Spring reissues, and Rock ‘N’ Roll Fantasy: The Very Best Of Bad Company becomes a must-have for any Bad Company fan.
(vintagerock.com/bad-company-rock-n-roll-fantasy-the-very-best-of-bad-company-cd-review/)

01. Can't Get Enough (Single Edit) (03:31)
02. Bad Company (04:48)
03. Movin' On (03:24)
04. Ready For Love (05:02)
05. Easy On My Soul (Previously Unreleased Version) (04:16)
06. Good Lovin' Gone Bad - Bad Company (03:37)
07. Feel Like Makin' Love (05:14)
08. Shooting Star (06:19)
09. Weep No More (04:02)
10. See The Sunlight (Previously Unreleased Version) (04:04)
11. Live For The Music (03:59)
12. Simple Man (03:38)
13. Honey Child (03:17)
14. Run With The Pack (Single Edit) (03:35)
15. Burnin' Sky (05:10)
16. Rock 'N' Roll Fantasy (03:18)
17. Rhythm Machine (03:47)
18. Gone, Gone, Gone (03:49)
19. Electricland (Single Edit) (04:26)

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Buffalo - Volcanic Rock (1973)

Year: July 1973 (CD 2005)
Label: Southworld Recordings (UK), SW0089CD
Style: Hard Rock
Country: Sydney, New South Wales, Australia
Time: 37:40
Format: Flac Tracks 16/44,1 kHz
Size: 279 Mb

Buffalo was an Australian rock band formed in August 1971 by founding mainstay Dave Tice on lead vocals (ex-Head). Fellow founders, also from Head, were Paul Balbi on drums, John Baxter on guitar, and Peter Wells on bass guitar; together with Alan Milano on lead vocals (ex-Mandala). Milano left after their debut album, Dead Forever... (June 1972), and Balbi was replaced on drums by Jimmy Economou. Their next two albums, Volcanic Rock (July 1973) and Only Want You For Your Body (June 1974), were also issued by Vertigo Records. After 1975 line-up changes resulted in a more commercial sound and the group disbanded in March 1977. Australian musicologist Ian McFarlane noted that there was "nothing subtle about Buffalo's primal, heavyweight sound, but it was delivered with a great deal of conviction ... combining the dense, occult riffing ... with the progressive blues chops ... the band certainly captured the arrogant disposition of the times in a bold and thunderous fashion". Alongside Billy Thorpe & The Aztecs and Blackfeather, Buffalo pioneered Australia's heavy metal, pub rock and psychedelic rock movements. Peter Wells died on 27 March 2006, aged 58.
Dead Forever... is the debut album by Australian proto-heavy metal band Buffalo, recorded and originally released in 1972. Considered by some to be the first Australian heavy metal album, Dead Forever... also strongly displayed the band's progressive rock and psychedelic influences. Significantly, it was the first release by a non-British and non-European artist on the legendary Vertigo label. The album was remastered and reissued in March 2006 by Australian record label Aztec Music on CD with additional tracks, including an A-side and B-side released by the pre-Buffalo outfit Head.
(en.wikipedia.org/wiki/Buffalo_(band))

01. Sunrise (Come My Way) (05:01)
02. Freedom (09:03)
03. Till My Death (05:39)
04. The Prophet (07:26)
05. Intro: Pound Of Flesh (04:33)
06. Shylock (05:54)

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Sweet - Funny How Sweet Co-Co Can Be [10 bonus tracks] (1971)

Year: 26 November 1971 (CD Jan 17, 2005)
Label: Sony/BMG Music (Europe), 82876 670662
Style: Glam Rock, Hard Rock
Country: London, England
Time: 57:58
Format: Flac Tracks 16/44,1 kHz
Size: 488 Mb

Having made their LP debut with half an album's worth of repackaged oldies, the Sweet then followed through with an entire disc of the things, drawing from both their own recent back catalog and that of songwriters Nicky Chinn and Mike Chapman, to create a record of almost unholy pop pleasure. For the Sweet were not the only arrow in the Chinn and Chapman quiver. They were scoring hits, too, with New World, with their "Tom Tom Turnaround" ranking among the most mawkishly compulsive songs in the duo's entire catalog. Passing it on to the Sweet to cover for their own LP didn't simply make sense from a commercial point of view. It was also the first step toward establishing Chinnichap as a songwriting brand name that would ultimately become as self-sufficient as any Motown, Brill, or Kasenetz-Katz coupling. Two recent Sweet singles, "Funny Funny" and "Co Co," and three B-sides, "Jeanie," "Spotlight," and "Done Me Wrong Alright," do weight this supremely punningly titled set down a little -- add "Tom Tom Turnaround" and the average fan would probably have owned a full half of the record before even picking it up. It should also be acknowledged that the remainder of the record was in no way comparable with the quality of those other songs. A lackluster rendering of "Daydream" and the unappetizing American soft rock stylisms of "Santa Monica Sunshine," "Reflections," "Honeysuckle Love," and "Sunny Sleeps Late" are all little more than bland filler. However, "Chop Chop" absolutely remedies the rest of the album's failings. Another Chinn and Chapman classic, it was originally recorded by singing DJ Tony Blackburn, with members of the Sweet themselves on backing vocals. It failed to take off, and the Sweet add little more to it than Blackburn had already tried to. But, in the company of those other hits, its original failure seems incredible -- as incredible, in fact, as the Sweet's own success.
(allmusic.com/album/funny-how-sweet-co-co-can-be-mw0001965566)

01. Co-Co (03:15)
02. Chop Chop (02:58)
03. Reflections (02:53)
04. Honeysuckle Love (02:56)
05. Santa Monica Sunshine (03:27)
06. Daydreamn (03:14)
07. Funny Funny (02:48)
08. Tom Tom Turnaround (04:08)
09. Jeanie (03:00)
10. Sunny Sleeps Late (03:00)
11. Spotlight (02:47)
12. Done Me Wrong All Right (02:59)
13. Be With You (Outtake) (03:36)
14. You're Not Wrong For Loving Me (B - Side Of ''Funny Funny) (02:49)
15. Alexander Graham Bell (1971) (02:58)
16. Poppa Joe (1972) (03:07)
17. Little Willy (1972) (03:15)
18. Man From Mecca (1972) (02:48)
19. Wig-Wam Bam (1972) (03:02)
20. New York Connection (1972) (03:38)
21. Paperback Writer (1972) (02:21)
22. Lucille - Great Balls Of Fire (1972) (02:49)

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Styx - The Grand Illusion [24k Gold] (1977)

Year: July 7, 1977 (CD 2010)
Label: Audio Fidelity (US), AFZ 067
Style: Classic Rock, Progressive Rock, Pop Rock
Country: Chicago, Illinois, U.S.
Time: 39:19
Format: Flac Tracks 16/44,1 kHz
Size: 261 Mb

Charts: UK #6, AUS #49, SWE #38. CAN: Platinum; US: 3x Platinum.
Although it was seventh overall studio album for the band, The Grand Illusion was the second album from Styx to head towards a more radio-friendly direction. The Chicago based band with a traditional prog-rock approach, began to write more mainstream material with the arrival of guitarist Tommy Shaw in late 1975. Shaw joined fellow guitarist James “JY” Young and keyboardist Dennis DeYoung as the band’s trio of songwriters and lead singers. Each brought a distinct style which  contrasted with the others. Yet they also complimented each other in various ways and, for the most part, Styx forged a decently harmonic sound.
The Grand illusion itself is a pleasant listen, albeit a bit uneven and less-than cohesive. The fantastic first side contains all the radio and chart hits with a much less inspired second side featuring some under-developed pieces which render the album short of greatness. The album showed the great potential of Styx band as a sort of “prog lite” outfit with much more pop crossover appeal than their earlier work. This would be a template set for bands like Genesis, who followed suit in subsequent years and through the 1980s.
Seven turned out to be the lucky number for the band as this album (their 7th overall, released on 7/07/77) went triple platinum in sales and spawned a couple of hit singles. Thematically, the concept of The Grand Illusion examines the futility of solely aspiring to fame. According to DeYoung, it is about the struggle to overcome self-deluding superficiality in order to affirm one’s genuine value.
The intro march of “The Grand Illusion” draws you in immediately, complimented in short time by the stop/start nature of the first verse. This theme song by Dennis DeYoung eventually breaks into the more driving, melodic choruses and features early guitar fills by Shaw and a soaring lead by JY later in the song. More than any other song on the album, this opener finds the nice balance between between progressive and AOR, which appears to be the band’s vision for this album.
Tommy Shaw’s “Fooling Yourself (The Angry Young Man)” begins with a nice opening synth sequence by DeYoung which compliments Shaw’s acoustic strumming. The song eventually settles into a strong rhythmic beat by bassist Chuck Panozzo and his brother, drummer John Panozzo, before another nice synth lead. Both this song and Shaw’s ballad, “Man In the Wilderness” are written in the same vein as material by the band Kansas, revealing that band’s influence on Styx.
“Superstars” is a collaborative effort by DeYoung, Shaw, and Young, which built like a show tune with a rock backbone. Although the song does contain some rewarding and entertaining sections like the nice lead guitar, it does sound a bit dated like something which could have been on a teen-oriented TV show of the era, not to mention the title itself.
Closing the first side, “Come Sail Away” is the album’s true masterpiece. It is a beautiful song with a refreshing, simple piano arrangement by DeYoung up front. The song is adventurous and romantic with just a tinge of strangeness like a journey into the unknown. There are a couple of great moments when the melodic, keyboard driven sections are cut sharply by a strong, rock-oriented, guitar-driven arrangement. The mid section contains dualing synths by DeYoung and JY, which adds to the mystique of the song with its “modern” sequencing and new agish overtones. Long considered a pioneering power ballad, “Come Sail Away” is a much richer number and is perhaps the finest Styx would ever forge.
JY takes lead vocals on his track “Miss America”. It starts with a synth rendition of the traditional song before giving way to a sharper, driving verse and a thickly harmonized chorus. “Castle Walls” starts with a heartbeat-like bass line by Chuck Panozzo with overlain Baroque keys by DeYoung before Shaw and Young again trade guitar leads later in the song. “The Grand Finale” closes the album as a sort of reverse-overture which incorporates elements of the better songs from the first side.
The success of The Grand Illusion launched Styx into the most successful era of their career with three more successful albums up to and including their blockbuster Paradise Theatre in 1981. The band built of the theatrical, pop-oriented, and soft rock elements of this 1977 album to bring them the widespread success that they had worked towards for years.
(classicrockreview.com/2012/02/1977-styx-grand-illusion/)

01. The Grand Illusion (04:37)
02. Fooling Yourself (The Angry Young Man) (05:32)
03. Superstars (04:03)
04. Come Sail Away (06:10)
05. Miss America (05:04)
06. Man In The Wilderness (05:51)
07. Castle Walls (05:59)
08. The Grand Finale (02:00)

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Emerson, Lake & Palmer - Love Beach [Japan Ed. SHM-CD Platinum] (1978)

Year: 17 November 1978 (CD January 21, 2015)
Label: Victor Records (Japan), VICP-78038
Style: Symphonic Rock
Country: London, England
Time: 57:40
Format: Flac Tracks 16/44,1 kHz
Size: 379 Mb

Charts: UK #48, AUS #82, CAN #52. UK: Silver; US: Gold.
Love Beach is the seventh studio album by English progressive rock band Emerson, Lake & Palmer. It was released on 17 November 1978 by Atlantic Records as their final studio album released prior to their split in the following year. By the end of their 1977–1978 North American tour internal relations had started to deteriorate, but the group were contractually required to produce one more album. They retreated to Nassau, Bahamas as tax exiles to record Love Beach with lyricist Peter Sinfield who is credited as a co-writer of each track. After Greg Lake and Carl Palmer had finished recording their parts they left the island, leaving Keith Emerson to finish the album himself.
The album received negative reviews from critics. It reached No. 48 on the UK Albums Chart and No. 55 on the US Billboard 200 where it reached gold certification by the Recording Industry Association of America in January 1979 for selling 500,000 copies. It spawned one single released in the UK, Lake and Sinfield's track "All I Want is You". The album was not supported with a tour and in early 1979, Emerson, Lake & Palmer disbanded.
(en.wikipedia.org/wiki/Love_Beach)

01. All I Want Is You (02:35)
02. Love Beach (02:46)
03. Taste Of My Love (03:33)
04. The Gambler (03:23)
05. For You (04:28)
06. Canario (04:00)
07. Memoirs Of An Officer And A Gentleman (20:20)
08. Canario (Rehearsal 1978) / Bonus Track (04:38)
09. Taste Of My Love (Rehearsal 1978) / Bonus Track (03:01)
10. Letters From The Front (Rehearsal 1978) / Bonus Track (08:54)

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Traffic – Last Exit [Japan Ed. SHM-CD] (1969)

Year: May 1969 (CD 2001)
Label: Island Records (Japan), UICY-93643
Style: Progressive Rock, Art Rock
Country: Birmingham, England
Time: 34:06
Format: Flac Tracks 16/44,1 kHz
Size: 209 Mb

Last Exit is the third album release by English rock band Traffic. Released in May 1969, it is a collection of odds and ends packaged by Island Records after the initial breakup of the band. The first half of the album consists predominantly of previously released A-sides and B-sides, while the second half were recordings taken from a March 1968 concert at the Fillmore Auditorium. The album reached number 19 in the American Billboard Top LPs chart.
As implied by the cover photos, the album features the original lineup of Steve Winwood, Jim Capaldi, Chris Wood, and Dave Mason. Mason only appears on two tracks: "Just for You" and "Something's Got a Hold of My Toe". The original American LP released by United Artists Records has different cover artwork. The US front features a different picture of the band cut up into the shape of the band's logo with a black background.
Some of the studio recordings of this album were originally released on mono singles. The versions that appear on the album are in stereo.
"Just for You" was previously released in February 1968 as the A-side of a UK Dave Mason solo single. Conveniently for its use on this album, the other members of Traffic backed up Mason on this track. (The B-side was "Little Woman" on which Mason was backed by the band Family.) This single was released after Mason left Traffic the first time, following Mr. Fantasy.
"Medicated Goo" and "Shanghai Noodle Factory" were the A and B-sides of a UK Traffic single released in December 1968. The mono single version of "Medicated Goo" is a shorter edit with false ending that is not heard on the stereo album. The song would become a staple of the re-formed band's live performances in 1970–71.
"Something's Got a Hold of My Toe" is an instrumental and appears to be an outtake not originally intended for release. It is unclear why producer Jimmy Miller (a lyricist elsewhere on the album) gets a co-writing credit on this.
"Withering Tree" was previously released as the B-side to "Feelin' Alright" (September 1968), although the version on the LP is slightly different from the single. It was likely recorded while Dave Mason was still in the band, despite his absence from the recording.
"Feelin' Good" and "Blind Man", the two live recordings that make up the second half of the album, were recorded at the Fillmore Auditorium San Francisco on 14 March 1968. They were not written by the band members.
(en.wikipedia.org/wiki/Last_Exit_(Traffic_album))

01. Just For You (02:17)
02. Shanghai Noodle Factory (05:06)
03. Something's Got A Hold Of My Toe (02:14)
04. Withering Tree (03:04)
05. Medicated Goo (03:36)
06. Feelin' Good (10:40)
07. Blind Men (07:06)

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Strawbs - Strawbs [3 bonus tracks] (1969)

Year: May 23, 1969 (CD 2008)
Label: A&M Records (Europe), 5302679
Style: Progressive Rock, Folk Rock
Country: England
Time: 50:39
Format: Flac Tracks 16/44,1 kHz
Size: 266 Mb

Among the interesting people who took part in the recording were John Paul Jones (Led Zeppelin) and Nicky Hopkins (piano, later recorded with the Rolling Stones, the Kinks, the Who, the Beatles, the Steve Miller Band, Jefferson Airplane, Rod Stewart, George Harrison, John Lennon, Paul McCartney, Ringo Starr, The Hollies, Harry Nilsson, Joe Walsh, Peter Frampton, Jeff Beck, Joe Cocker, Art Garfunkel, Badfinger, Gary Moore, Quicksilver Messenger Service and Donovan and many others). Rick Wakeman (1970-1971) and his sons Oliver Wakeman (2009-2010) and Adam Wakeman (2012-2015), both keyboardists, later played in the group.
(from the author of the publication)
Strawbs is the first album released by the English band Strawbs. The Sandy Denny & The Strawbs LP All Our Own Work was recorded earlier, but not released until 1973.
The Strawbs are an English rock band founded in 1964 as the Strawberry Hill Boys. The band started out as a bluegrass group, but eventually moved on to other styles such as folk rock and progressive rock.
They are best known for their hit "Part of the Union", which reached number two in the UK Singles Chart in February 1973, as well as for "Lay Down", a popular progressive rock hit from the same LP. Strawbs toured with Supertramp in their Crime of the Century tour, doing their own Hero and Heroine tour, which drew musical similarities and themes.
(en.wikipedia.org/wiki/Strawbs)

01. The Man Who Called Himself Jesus (03:53)
02. That Which Once Was Mine (02:50)
03. All The Little Ladies (02:18)
04. Pieces Of 79 And 15 (03:00)
05. Tell Me What You See In Me (05:01)
06. Oh How She Changed (02:55)
07. Or Am I Dreaming? (02:26)
08. Where Is This Dream Of Your Youth? (03:07)
09. Poor Jimmy Wilson (02:37)
10. Where Am I / I'll Show You Where To Sleep (03:27)
11. The Battle (06:38)
12. Interview / That Which Once Was Mine (bonus track) (03:42)
13. Poor Jimmy Wilson (bonus track) (02:30)
14. The Battle (bonus track) (06:09)

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Secret Oyster - Straight To The Krankenhaus (1976)

Year: 1976 (CD 2007)
Label: The Laser's Edge (US), LE1049
Style: Jazz Rock, Instrumental, Art Rock
Country: Denmark
Time: 52:34
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

SECRET OYSTER became somewhat of a super group when members of BURNIN'RED IVANHOE, CORONARIAS DANS and HURDY GURDY formed this unit. By the end of BURNIN' RED IVANHOE's career (that spawned seven years), Karsten Vogel started forming a new band taking along with him BRI's drummer Thrige and often jazz-partner bassist Vinding with him. Knowing from the Danish circuit guitarist Claus Bohling, he enticed him into the band that took its name from a track from BRI's second album Secret Oysters Service. The last to join was keyboardist Knudsen, who had never played an electric instrument prior to entering this outfit, but was playing in a piano avant-garde trio. Knudsen would prove particularly helpful as the second songwriter of the group and allowing Vogel to leave the keyboards at will to play wind instruments.
Their sound recalled MAHAVISHNU ORCHESTRA, NUCLEUS, Herbie Hancock's Mwandishi and Sextant albums as well as Miles DAVIS's Bitches Brew. Quite a success and this prompted their record company to release that album internationally but under the title "Furtive Pearl". After a line-up changze that saw the rhythm section get a complete overhaul (Staer for Vinding and Streenberg for Thrige) their second album, Sea Son, is even better but failed to get international public recognition, even if all connoisseur will mostly agree on this album being the band's apex. At one point the line-up of this group was also exactly the same as BURNIN' RED IVANHOE (after it got revived because they also developed rockier material) as well as a third outfit, "Day Of The Phoenix". This did not stop them from writing the music to a ballet "Vidunderlinge Kaelling" released as an album under the name of "Astarte", with very mixed results just a few months before their final album, the much better "Straight From The Krankenhaus" also known as "Orlander".
Aside from their confusion of their album names and general discography, SECRET OYSTER is a great jazz-rock/fusion outfit that deserved a lot more attention for they were almost as good as the groups named above.
(progarchives.com/artist.asp?id=1381)

01. Lindance (01:14)
02. Straight to the Krankenhaus (02:49)
03. My Second Hand Rose (04:17)
04. High Luminant Silver Patters (05:37)
05. Delveaux (07:57)
06. Stalled Angel (03:57)
07. Rubber Star (04:17)
08. Traffic & Elephants (06:11)
09. Leda & the Dog (05:51)
10. Alfred (03:54)
11. Glassprinsen ( Glass Prince ) (06:24)

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Hatfield And The North - Hatfield And The North (1974)

Year: February 1974 (CD 2009)
Label: Esoteric Records (UK), ECLEC2139
Style: Jazz Rock, Canterbury Scene
Country: Canterbury, England
Time: 60:17
Format: Flac Tracks 16/44,1 kHz
Size: 345 Mb

The band grew out of a line-up of friends in mid-1972 consisting of Phil Miller (guitar, from Matching Mole), Phil's brother Steve Miller (keyboards, from Caravan, Pip Pyle (drums, from Gong) and Richard Sinclair (bass and vocals, from Caravan).
The band played a few live shows between July and September that year, and gained their first record contract with Virgin Records with the 'Sinclair cousins'...as Steve Miller was replaced by Dave Sinclair (from Matching Mole and Caravan), the band soon changed their name to Hatfield and the North.
The Delivery line-up reunited for a BBC session in November 1972 with Steve Miller, Phil Miller, Lol Coxhill, Roy Babbington (bass), Pip Pyle, and Richard Sinclair on vocals. (Steve Miller went on to release a couple of duo albums with Coxhill in 1973/74.)
Dave Sinclair left in January 1973, shortly after the band's appearance (with Robert Wyatt on guest vocals) on the French TV programme "Rockenstock", and was quickly replaced by Dave Stewart (from Egg) before the band's first recordings were made.
The band recorded two albums, Hatfield and the North and The Rotters' Club. Backing vocals on the two albums were sung by The Northettes: Amanda Parsons, Barbara Gaskin and Ann Rosenthal. On the Autumn 1974 "Crisis Tour", which Hatfield co-headlined with Kevin Coyne, the opening act was a duo of Steve Miller and Lol Coxhill (also previously of Delivery) and Coxhill usually guested with Hatfield on the jamming sections of "Mumps".
After disbanding, Dave Stewart formed National Health with Alan Gowen from Gilgamesh; Phil Miller was a member throughout the band's existence, and Pyle joined in 1977. (Richard Sinclair also sat in on a couple of gigs and a BBC radio session that year.) Hatfield and the North and Gilgamesh had played a couple of shows together in late 1973, including a joint "double quartet" set, in some ways the prototype for National Health. Miller, Stewart, Pyle and Sinclair also worked together in various combinations on other projects.
The name of the band was inspired by the road signage on the main A1 road heading north from London, where the a succession of signs referred to the first major town, and the overall direction, as 'A1 Hatfield & the North'. This style of sign from the 1970s has now been replaced by a slightly different variant, as shown in the current picture to the right.
(jaz.fandom.com/wiki/Hatfield_and_the_North)

01. The Stubbs Effect (00:22)
02. Big Jobs (Poo Poo Extract) (00:36)
03. Going Up to People and Tinkl (02:25)
04. Calyx (02:45)
05. Son of 'There's No Place Lik (10:10)
06. Aigrette (01:38)
07. Rifferama (02:56)
08. Fol De Rol (03:07)
09. Shaving Is Boring (08:46)
10. Licks for the Ladies (02:37)
11. Bossa Nochance (00:40)
12. Big Jobs No. 2 (by Poo and t (02:14)
13. Lobster in Cleavage Probe (03:57)
14. Gigantic Land Crabs in Earth (03:21)
15. The Other Stubbs Effect (00:38)

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Mike Scott (ex The Waterboys) - Bring Em All In (1995)

Year: 18 September 1995 (CD 1995)
Label: Chrysalis Records (UK & Europe), 7243 8 35200 2 2
Style: not Blues, not Rock, not Folk - agreeable mix of all three
Country: Edinburgh, Scotland (14 December 1958)
Time: 43:23
Format: Flac Tracks 16/44,1 kHz
Size: 266 Mb

Bring 'Em All In is the debut solo studio album by Scottish singer-songwriter Mike Scott, released by Chrysalis on 18 September 1995. The cover and album photography were provided by Niko Bolas, Stefano Giovanni, Jeff Mitchell and Scott. The song "What Do You Want Me to Do?" was later covered by Rod Stewart.
Upon its release, Music Week stated, "Not blues, not rock, not folk, but an agreeable mix of all three from the former Waterboys frontman. Occasionally beautiful." Neil McKay of Sunday Life described Bring 'Em All In as Scott "back to form with his most consistent, most satisfying album since This Is the Sea" and one which presents him "stripped raw, both musically and lyrically". He noted the "gorgeously simple melodies" of "Wonderful Disguise", "She Is So Beautiful" and the title track, and considered "Long Way to the Light" to "partially explain the spirituality that imbues all 13 tracks". Simon Evans of The Birmingham Post considered it an "intensely personal and courageous collection of songs" presented in a "simple setting". He did not feel that Scott "convey his spiritual awakening as powerfully as Bob Dylan on 'Precious Angel' or even, in a different context, John Lennon's 'God', but considered the album, for "all its faults", including the "occasional lapses into lyrical naivety", to be a "brave and admirable [one] worthy of further investigation".
(en.wikipedia.org/wiki/Bring_%27Em_All_In)

01. Bring 'em all in (03:58)
02. Iona Song (02:47)
03. Edinburgh Castle (04:37)
04. What do You want me to do? (03:05)
05. I know she's in the Building (03:16)
06. City Full of Ghosts (Dublin) (02:47)
07. Wonderful Disguise (03:32)
08. Sensitive Children (02:40)
09. Learning to Love him (01:39)
10. She is so Beautiful (04:05)
11. Wonderful Disguise (Reprise) (00:29)
12. Long Way to the Light (06:32)
13. Building the City of Light (03:49)

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T2 - It'll All Work Out In Boomland (1970)

Year: 31 July 1970 (CD 2008)
Label: Acme Records (UK), ACLN1010CD
Style: Hard Rock
Country: London, England, United Kingdom
Time: 66:10
Format: Flac Tracks 16/44,1 kHz
Size: 442 Mb

T2 evolved from an earlier band, Neon Pearl, which was led by their drummer, Pete Dunton. Dunton was by 1968 a member of Please, which also included fellow Neon Pearl member Bernard Jinks. When that band broke up in 1969, due to Dunton's joining Gun alongside Adrian Gurvitz, Jinks became a member of Bulldog Breed.
T2 was formed when Dunton reunited with bassist Jinks and late period Bulldog Breed guitarist, Keith Cross. The trio played a form of psychedelic or proto-prog rock, which was similar in content to that played by the earlier bands its members had been in. T2 were formed and managed by John Morphew, who had previously managed Bulldog Breed; he financed the formation and successfully signed them to Decca for the then enormous sum of ?10,000 in advance royalties. However, internal strife caused Morphew to give up on T2 and leave them to their own devices.
After recording their debut album, It'll All Work Out in Boomland, T2 played a series of successful dates, including an appearance at the Isle of Wight Festival 1970, write-ups for which likened Cross to a new Eric Clapton. They did a spot on BBC 2 and then returned to the studio to begin work on their follow-up. However, the number of LPs pressed was limited and associated publicity was poor; hence, finding a copy in a record shop was difficult. In 1972, while recording material for their second album, T2 disbanded due to internal conflict. The breakup caused the unfinished album to be shelved until the early 1990s.
It'll All Work Out in Boomland was issued on CD by the German label World Wide Records, remastered from the original recording tapes. However, apparently both the original mix down information and the original mix down tapes had been lost, and as a result there are minor aural differences between the LP and CD versions. A South Korean label issued the album on CD, but this was suspected to have been copied from an original vinyl pressing. The CD issue sparked a brief T2 reunion, but without Keith Cross, who was the band's breakout star. The band now consisted of Dunton, Jinks and Moore. T2 released Second Bite (1992), Waiting For The Band (1993) and On The Frontline (1994). By the time Waiting For The Band was released, Jinks had left T2 and Moore had shifted to bass to accommodate their new guitarist, Ray Lee.
In 1992, the Swedish neo-prog band Landberk covered "No More White Horses" on their album Lonely Land. Decca Records released the box sets Legend of a Mind (2003) and Strange Pleasures (2008). Each included a remastered track from It'll All Work Out in Boomland, respectively "No More White Horses" and "JLT".
Concurrent with the reformation of T2, an album of acetate demos recorded in 1970 was released in 1997. Known initially as Fantasy and later issued simply as T2 or 1970, this album featured material written by the original lineup after the release of It'll All Work Out In Boomland. In 2012, a third album of demos entitled 1971-1972 was released by Acme Records, compiling material written and recorded by Dunton and a further succession of musicians, after Cross and Jinks had departed the lineup.
Drummer and vocalist Peter Dunton died of brain cancer on January 20, 2022.
(en.wikipedia.org/wiki/T2_(band))

01. In Circles (08:39)
02. J.L.T. (05:57)
03. No More White Horses (08:39)
04. Morning (21:18)
05. Questions And Answers (05:22)
06. CD (07:06)
07. In Circles (09:07)

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Bill Medley (ex The Righteous Brothers) - Bill Medley 100 (1968) [mp3 320kbps]

Year: 1968 (LP 1968)
Label: MGM Records (US), ST-91609
Style: Oldies, Pop, Soul
Country: Los Angeles, California, U.S. (September 19, 1940)
Time: 35:47
Format: mp3 320kbps
Size: 82 Mb

William Thomas Medley (born September 19, 1940) is an American singer best known as one-half of the Righteous Brothers. He is noted for his bass-baritone voice, exemplified in songs such as "You've Lost That Lovin' Feelin'". Medley produced a number of the duo's songs, including "Unchained Melody" and "(You're My) Soul and Inspiration".
Medley is also a solo artist. His million-selling No. 1 duet with Jennifer Warnes, "(I've Had) The Time of My Life" (1987), won a number of awards.
Medley was born September 19, 1940, in Santa Ana, California to Arnold and Irma Medley. He attended Santa Ana High School, graduating in 1958. Raised a Presbyterian, he sang in the church choir, and his parents had a swing band. He became interested in R&B music through listening to black-oriented radio stations. An early influence he has cited is Little Richard, who he first heard when he was fifteen or sixteen years old, and later Ray Charles, Bobby "Blue" Bland, and B.B. King.
Medley first formed a singing duo called The Romancers with his friend Don Fiduccia, who also played the guitar. He began to write songs and record multi-track recordings in his living room. At 19, he had two songs, "Womaling" and "Chimes of My Heart," recorded by vocal group The Diamonds. Medley and Fiduccia then formed a group called The Paramours in 1960, with Sal Fasulo and Nick Tuturro, later joined by Mike Rider and Barry Rillera. The band had its first paying gig at Little Italy restaurant in Anaheim, California. The Paramours were signed to Mercury Records' subsidiary label Smash Records, releasing such songs as "That's the Way We Love" and "Miss Social Climber" in 1961.
(en.wikipedia.org/wiki/Bill_Medley#Albums)

01. Brown Eyed Woman (03:19)
02. Let The Good Times Roll (03:26)
03. You Don't Have To Say You Love Me (02:57)
04. Run To My Loving Arms (02:37)
05. You're Nobody 'Til Somebody Loves You (02:30)
06. The Quest (The Impossible Dream) (03:12)
07. I Can't Make It Alone (02:35)
08. That's Life (03:35)
09. One Day Girl (02:52)
10. Show Me (02:34)
11. Goin' Out Of My Head (03:02)
12. Who Can I Turn To (When Nobody Needs Me) (03:01)

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