Wednesday, 30 April 2025

Caravan - In The Land Of Grey And Pink (1971)

Year: 8 April 1971 (CD 1989)
Label: Deram Records (West Germany), 820 520-2
Style: Art Rock, Canterbury Scene
Country: Canterbury, Kent, England
Time: 43:24
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

In the Land of Grey and Pink is the third album by English progressive rock band Caravan, released in April 1971 on Deram Records. It was produced by David Hitchcock and was the last album to feature the original lineup of Richard Coughlan, Pye Hastings, Richard Sinclair and Dave Sinclair until 1982's Back to Front.
The album was written and recorded during late 1970 and early 1971, and featured more material from Richard Sinclair. Hastings, who had been the main songwriter on the previous two releases, contributed only one track. Instrumentally, the music is dominated by David Sinclair's keyboard solos, and side two is taken up by a 22-minute suite of songs, "Nine Feet Underground". The cover features a Tolkien-influenced painting.
The album was critically well received but was not a chart success, which led to frustration within the band and David Sinclair's departure. Nevertheless, it has remained in print and sold steadily, and been recommended by critics as a good introduction to the Canterbury Scene genre. The band look back favourably on the album and several of its tracks have remained fixtures in Caravan's live repertoire.
(en.wikipedia.org/wiki/In_the_Land_of_Grey_and_Pink)


Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

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Ian Gillan - Gillan's Inn [Deluxe Ed.] (2006)

Year: 18 April 2006 (CD 2007)
Label: Soyuz Records (Russia), TP-487
Style: Hard Rock
Country: Chiswick, Middlesex, England (19 August 1945)
Time: 74:31
Format: Flac Tracks 16/44,1 kHz
Size: 530 Mb

Gillan's Inn is the fourth solo album by Ian Gillan in celebration of his 40 years as a singer. The first release was a DualDisc composed of both a CD and a DVD side. The CD featured re-recorded tracks from all eras of Ian Gillan's singing career. In a recent interview Gillan observed that, despite the number of participants and guest appearances, this was the easiest project he ever put together.
A "Deluxe Tour Edition" was released in 2007 containing bonus tracks and an expanded version of the DVD side of the original DualDisc release. The correct bonus tracks included on most versions of the disc are live versions of "Have Love Will Travel" and "Wasted Sunsets", both recorded at the House of Blues in Anaheim on 14 September 2006 (the show which would later be released on the Live in Anaheim CD). There was, however, an error in the manufacturing at one of the plants, where an early version of the master tape was sent by mistake containing a previously unreleased cover version of Marvin Gaye's "Can I Get a Witness?" at track 16 and not including the live bonus tracks. The record label, Immergent, offered to send all owners of the incorrect CD a copy of the proper disc free of charge, and let them keep the original, which is now a collector's item. The CD booklet lists the live bonus tracks on all versions. The album cover depicts an iconic bar in Buffalo, New York called "The Pink Flamingo", also known as "The Old Pink" (destroyed by fire in 2024). The album cover art was created by Don Keller.
This edition also re-instates the new version of Deep Purple's "Demon's Eye" to the CD, which was previously only included on the DVD side of the DualDisc release.
A short American tour commenced to support the release of the album. The set contained various tracks from Ian Gillan's solo work, Gillan and Deep Purple numbers performed with his live band, including songs rarely performed by Deep Purple, such as 'Wasted Sunsets' and 'Not Responsible'. Metallica's Lars Ulrich guested as a drummer during a performance in San Francisco. The set "Live in Anaheim" was released in 2008 on CD & DVD. An Australian 'Gillan's Inn' tour was planned for 2007 but bassist Rodney Appleby got shot by his unsound neighbour. He later would recover in hospital. Because of this, the Australian tour was cancelled.
(en.wikipedia.org/wiki/Gillan%27s_Inn)

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Dave Greenslade (ex If & Colosseum) - The Pentateuch Of The Cosmogony [2LP on 1CD] (1979)

Year: 1979 (CD 1994)
Label: BGO Records (UK), BGO CD170
Style: Instrumental, Symphonic Rock, New Age
Country: Woking, Surrey, England (18 January 1943)
Time: 78:09
Format: Flac Tracks 16/44,1 kHz
Size: 399 Mb

The Pentateuch of the Cosmogony is a concept album and multimedia project by Patrick Woodroffe and Dave Greenslade, released in 1979. The project combines a hardback book (conceived, written and illustrated by Woodroffe) and a double vinyl album of music (written and performed by Greenslade). The title means, approximately, 'the first five books (pentateuch) of the creation (cosmogony)'. Woodroffe's artwork is heavily inspired by The Garden of Earthly Delights by Hieronymus Bosch.
The story and artwork within 'Pentateuch' are framed as a document discovered within an abandoned spacecraft in orbit around Jupiter. As such, both the plot and prose follow the conventions of religious lore, even as it incorporates science fiction elements such as apocalyptic environmental disaster and interstellar travel in its second half. A combinatorial ideographic script is used throughout the artwork.
Greenslade contributed the 74 minutes of music as his second solo project. Like the story and artwork, the music is framed as the work of the alien race which built the spacecraft. To maintain this image of otherworldly origin, it was recorded almost entirely with electronic musical instruments.
A CD reissue was released in 1994, transferring Woodroffe's 12" x 12" book into a 5" square booklet. In order to keep the double album within the constraints of a single CD, the end of one track is faded out early.
(en.wikipedia.org/wiki/The_Pentateuch_of_the_Cosmogony)

01. Introit (04:05)
02. Moondance (03:09)
03. Beltempest (02:41)
04. Glass (03:02)
05. Three Brides (05:56)
06. Birds & Bats & Dragonflies (03:48)
07. Nursery Hymn (03:32)
08. The Minstrel (02:42)
09. Fresco/Kashrinn (02:24)
10. Barcarole (03:51)
11. Dry Land (03:54)
12. Forest Kingdom (03:53)
13. Vivat Regina (03:44)
14. Scream But Not Heard (02:57)
15. Mischief (05:36)
16. War (03:06)
17. Lament For The Sea (03:08)
18. Miasma Generator (05:23)
19. Exile (02:33)
20. Jubilate (03:00)
21. The Tiger and The Dove (05:35)

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Tuesday, 29 April 2025

Savoy Brown - Slow Train (An Album Of Acoustic Music) (1986)

Year: 1986 (CD 1993)
Label: Castle Communications (Europe), CCRCD 107
Style: Blues
Country: London, England
Time: 38:24
Format: Flac Tracks 16/44,1 kHz
Size: 209 Mb

Savoy Brown (originally Savoy Brown Blues Band) were a British blues rock band formed in Battersea, southwest London, in 1965. Part of the late 1960s blues rock movement, Savoy Brown primarily achieved success in the United States, where they promoted their albums with non-stop touring. Founder, guitarist and primary songwriter Kim Simmonds was the sole constant member of the band from its formation in 1965 until his death in 2022.
(https://en.wikipedia.org/wiki/Savoy_Brown)

 

 

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Slade - Old New Borrowed And Blue (1974)

Year: 15 February 1974 (CD 1991)
Label: Polydor Records (Germany), 849 181-2
Style: Hard Rock, Glam Rock
Country: Wolverhampton, Staffordshire, England
Time: 37:39
Format: Flac Tracks 16/44,1 kHz
Size: 238 Mb

Charts: UK #1, AUS #6, FIN #2, GER #20, NOR #3, SWE #9, US #168. FIN: Gold.
Old New Borrowed and Blue was recorded amid various touring and promotional activities in late 1973, and also during the headline-making recovery of drummer Don Powell, who was involved in a near-fatal car crash in July, briefly throwing the band's existence into doubt. Despite his critical condition, Powell was able to make a recovery and the band soon entered the studio to record material for their new album. During recording of "My Friend Stan", Powell was still walking with the aid of a stick and had to be lifted onto his drum stool. On the album, the band attempted to continue their usual formula on some tracks, while others took a change in musical direction. The album's title, as explained by Holder, came from the album's content, which the band felt had a mix of old, new, borrowed and blue songs.
"My Friend Stan" was released as the album's lead single in September 1973 and reached No. 2 in the UK. Over Christmas 1973, the band would also achieve success with their No. 1 single "Merry Xmas Everybody". Old New Borrowed and Blue was released in February 1974 and reached No. 1 in the UK. In the UK, Old New Borrowed and Blue was awarded Gold by BPI prior to its release, based purely on pre-order sales. At the time, a Slade spokesman had reported to the Record Mirror: "The album has sold twice as many cartridges and cassettes than their previous offerings." In March, the album's second single "Everyday" reached No. 3. In America, Stomp Your Hands, Clap Your Feet reached No. 168. "Good Time Gals" was issued there as a single in February 1974. Later in May, "When the Lights Are Out" was also issued in America and Belgium. Both singles failed to make any chart impact.
(en.wikipedia.org/wiki/Old_New_Borrowed_and_Blue)

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Monday, 28 April 2025

Eric Burdon & The Animals - Winds Of Change (1967)

Year: January 1967 (CD 19??)
Label: Polydor Records (W-Germany), 825 712-2
Style: Rock, Classic Rock
Country Newcastle upon Tyne, England
Time: 43:56
Format: Flac Tracks 16/44,1 kHz
Size: 208 Mb

As the album title states, there were changes being made for the 60's British group, The Animals. By 1967, the original band had fell apart. But Eric Burdon, the man behind the success of The Animals, and what would be their only #1 and signature song, "The House Of The Rising Sun", reformed his former group, and called it Eric Burdon & The (New) Animals. Burdon would become the only original member. The first release with the new Animals lineup was Winds Of Change, an album that not only dealt with change for the group, but it would also project the future of Eric Burdon as a solo artist.
The album starts out with the title track, and ends with "It's All Meat". Both songs are tributes to Burdon's musical influences, mostly the blues. Burdon sings "Robert Johnson sang the blues" in "Winds Of Change". Muddy Waters and Ray Charles are mentioned in the latter song. The title track is truly psychedelic, as the rest of this album signifies. "Poem By The Sea" is just as psychedelic. And "The Black Plague," is a spoken word tune, with church-choir background vocals similiar in sound and just as eerie as The Yardbirds' "Still I'm Sad."
Burdon does his own version of The Rolling Stones' "Paint It Black". Completely different in sound as compared to the Stones, this song would be a regular favorite of Burdon's, as he would perform it in concert, and would also record another version of it when he left The Animals to join a black funk band, War, in the Seventies.
"Yes I Am Experienced", is the group's answer to the Jimi Hendrix Experience's "Are You Experienced," released earlier in the year 1967. Even if you didn't know the title of this song, it does resemble the sound of the Jimi Hendrix Experience's first album. Chas Chandler, original Animals bass player, became Jimi Hendrix's manager after leaving the original Animals lineup. Another Animals favorite, "San Franciscan Nights" is featured on this album, as the San Francisco scene was booming in 1967, as many popular rock groups were formed from that city, like The Grateful Dead and Jefferson Airplane.
"Man - Woman" is another spoken word tune. Burdon's spoken talents sounds exciting and vibrant, as he tells the story of how man and woman dominate the love scene, aka The Love and Peace Generation, another happening event of the late 1960s. These four words in this song pretty much tells it all, all, as Burdon shouts: "Man! - Woman! - Desire! - Love!". This song, as well as "The Black Plague", is probably the beginnings of what would later become a very popular hit with War, "Spill The Wine."
The next three songs are slow-paced tunes, yet they match the rest of the album's excellence. "Hotel Hell" has a Spanish sounding guitar and horns are just fantastic, making this song work so well. "Good Times", features the line that makes you think:
"When I think about the Good Times I have wasted, having Good Times." (Actually, it would a autobiographical song about Eric Burdon himself.) Lastly, "Anything" features the line "For you, I'll Do Anything", a phrase meant for a friend or loved one.
Winds Of Change features some excellent musical instrument arrangements. The spanish sounding accoustic guitar, and throughout this album has the late '60s George Harrison/Beatles indian-sounding guitar (sitar). Violins are also used, and the gong is featured on "Poem By The Sea". This album is also psychedelic, as this style of music was dominating the scene at the time.
Winds Of Change is an experience. For the Sixties favorite, this is a must. Eric Burdon & The Animals were number two on my list next to The Beatles in the category of favorite groups of the Sixties. (Yes, I thought it was so cool that there was a musician out there named Eric; I learned this before I discovered Eric Clapton.) I have always been a big fan of Burdon/Animals music ever since. They've had a few reunion albums later in their career, featuring all of the original members. Unfortuately, Chas Chandler passed away in 1996.
Polygram, the record company that purchased many of the M-G-M recordings, re-issued many of the original late 60s albums of Burdon & The Animals in 1994. Yet to see its faces on compact disc are the very early original albums, and the later ones when the original group reformed. Before We Were Rudely Interrupted, the band's first reunion studio album in 1977, has yet to see the CD laser beam. Their 1983 reunion studio album, Ark (a personal favorite of mine), can be found on CD through import ads. Burdon still performs today, as he seldom releases an album. He's released three albums with War from 1970-1976. From 1971-1988 (as Eric Burdon), he's released six albums. His latest album was in 1993, where he teamed up with British jazz-rock keyboardist Brian Auger. Througout his solo career, Burdon participated in movies and television.
If you're only familiar with "The House Of The Rising Sun," boy, do you have a lot of catching up to do! The original lineup's material is probably considered their best work. Their later material had some big hits, but not as as many as the original lineup. In either case, this band is not to be passed up. Discover The Animals' music; it's an event you will cherish and enjoy.
(dailyvault.com/toc.php5?review=484 / Review by: Eric E5S16 / Originally published: 08/24/1998)

01. Winds Of Change (03:59)
02. Poem By The Sea (02:15)
03. Paint It Black (05:59)
04. The Black Plague (05:59)
05. Yes I Am Experienced (03:40)
06. San Franciscan Nights (03:20)
07. Man - Woman (05:29)
08. Hotel Hell (04:48)
09. Good Times (02:59)
10. Anything (03:21)
11. It's All Meat (02:01)

Animals67WindsOfChange_back.jpgAnimals67WindsOfChange_book_front.jpgAnimals67WindsOfChange_book_inside.jpg

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Kevin Ayers (ex Soft Machine) - Bananamour [Japanese Ed. 7 bonus tracks] (1973)

Year: May 1973 (CD March 12, 2014)
Label: Parlophone Records (Japan), WPCR-15527
Style: Canterbury Scene, Progressive Rock, Progressive Pop
Country: Kent, England (16 August 1944 - 18 February 2013)
Time: 69:40
Format: Flac Tracks 16/44,1 kHz
Size: 444 Mb

Is this the second-greatest rock album featuring a banana on its cover? Quite possibly. While Bananamour is not quite as important as The Velvet Underground & Nico, it does boast the best song ever about the German vocalist who appeared on the Velvets’ landmark LP. More on that later.
Kevin Ayers’ last LP for the prog-oriented Harvest label, Bananamour isn’t as far out and cerebral as 1970’s Shooting At The Moon or as wonderfully weird as 1969’s Joy Of A Toy, but it has more hits than misses and it contains perhaps the founding Soft Machine member’s greatest composition. More on that later.
Bananamour-a fruity, bilingual portmanteau word that suggests Ayers is not to be taken totally seriously-starts with the woozily beautiful and ominous “Don’t Let It Get You Down (For Rachel),” a ballad redolent of the Beatles’ “Dear Prudence” and “Carry That Weight.” Ayers’ feeds his voice through a Leslie speaker while backing vocalists Liza Strike and Doris Troy vibrantly burst to the fore with the title chorus. The carefree lope of “Shouting In A Bucket Blues” is elevated by guest musician Steve Hillage’s honeyed, psych-blues-inflected electric guitar, which contrasts with Ayers’ lusciously lugubrious acoustic-guitar strum. Bassist Archie Legget steps to the mic to sing “When Your Parents Go To Sleep,” a brassy, wobbly legged blues-rock ballad about aching hormones. His voice is like a less pugnacious Joe Cocker while the tune resembles the Stones’ “I Got The Blues.” I’m not complaining.
Another impressive guest, Soft Machine organist Mike Ratledge, illuminates “Interview.” With Legget’s bass line getting to the funky nitty-gritty, this is severe blues rock that cuts as deeply as Fleetwood Mac’s “Oh Well.” Thankfully, this tune gets stranger as it goes, with Ratledge going off into the stratosphere with some mindblowing improv. Another Soft Machine alumnus, the inimitable Robert Wyatt, bestows harmony vocals to the warm, intimate ballad “Hymn.”
Bananamour has a couple of goofy tangents, too. “Oh! Wot A Dream” falls somewhere between Pink Floyd’s “Pow R. Toc H.” and a Bonzo Dog Doodah Band ditty while “Caribbean Moon” comes off as a British take on Nilsson’s “Coconut,” with all the insouciant charm and faux-calypso vibe that that implies. (“Caribbean Moon” appears on the US Sire edition, not the original Harvest release.)
Now for the piece de resistance (thank you for your patience)-“Decadence,” a chiming, slow-blooming drone-rock epic that portrays the aforementioned Nico as a cold, elusive heartbreaker. A key passage: “Fading flowers in her hair/She’s suffering from wear and tear/She lies in waterfalls of dreams/And never questions what it means/And all along the desert shore/She wanders further evermore/The only thing that’s left to try…/She says to live I have to die.” Harsh, dude. The song’s gradually accelerating and ascending cruise to the stars (Legget’s bass is a spiraling, springy wonder) foreshadows soulful British space-rockers Spiritualized. That is high praise, indeed. You can bet legendary BBC Radio DJ John Peel loved Bananamour.
(Buckley Mayfield. August 3, 2020)

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Sunday, 27 April 2025

Steely Dan - Katy Lied [Japanese Ed. SHM-CD] (1975)

Year: March 1975 (CD Jun 25, 2008)
Label: Geffen Records (Japan), UICY-93518
Style: Pop Rock, Jazz-Rock
Country: New York, U.S.
Time: 35:26
Format: Flac Tracks 16/44,1 kHz
Size: 236 Mb

Charts: US #13, AUS #28, CAN #12, NZ #10, UK #13. UK: Silver; US: Platinum.
Katy Lied was the first album the group made after they stopped touring, as well as their first to feature backing vocals by Michael McDonald.
The album was the first one recorded by Steely Dan after guitarist Jeff "Skunk" Baxter and drummer Jim Hodder left the group as a result of Walter Becker and Donald Fagen's decision to stop touring and focus solely on recording with various studio musicians. Guitarist Denny Dias, a founding member of Steely Dan, contributed to the album as a session musician, as did vocalist Michael McDonald and drummer Jeff Porcaro, who were both members of Steely Dan's final touring band. Then only 20 years old, Porcaro played drums on every track on the album except "Any World (That I'm Welcome To)", which features session drummer Hal Blaine. Larry Carlton, who became a regular collaborator of the group, made his first appearance on a Steely Dan album playing guitar on "Daddy Don't Live in That New York City No More".
Band leaders Becker and Fagen said they were dissatisfied with the album's sound quality because of an equipment malfunction with the then-new dbx noise reduction system. The damage was mostly repaired after consulting with the engineers at dbx, but Becker and Fagen still refused to listen to the completed album.
The album's title comes from the lyrics of "Doctor Wu" ("Katy lies / You can see it in her eyes"), and the album cover is a picture of a katydid, a "singing" (stridulating) insect related to crickets and grasshoppers, as a pun on the title. Walter Becker told Rolling Stone, during the band's 2009 tour: "It's about that uneasy relationship between the patient and doctor. People put faith in doctors, yet they abuse their power and become dangerous." The back cover photograph of Donald Fagen (in reindeer sweater) and Denny Dias (in overalls and sombrero and holding a tank of helium) was taken by Becker during the session (sometime in 1972-73) for their Schlitz beer jingle.
(en.wikipedia.org/wiki/Katy_Lied)

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Peter Frampton (ex Humble Pie) - Wind Of Change (1972)

Year: May 1972 (CD 2000)
Label: A&M Records (US), 069 490 728-2
Style: Rock, Pop Rock, Hard Rock
Country: Beckenham, Kent, England (22 April 1950)
Time: 43:23
Format: Flac Tracks 16/44,1 kHz
Size: 274 Mb

Wind of Change is the debut studio album by English guitarist and singer Peter Frampton. The album features appearances by Ringo Starr, Billy Preston and Klaus Voormann.
Peter Frampton decided to remain with Humble Pie's U.S. label A&M, and assembled a supporting cast including Ringo Starr, Billy Preston, Spooky Tooth members Mick Jones and Mike Kellie, and former Herd member Andy Bown, for Wind of Change, his first solo effort following his departure from Humble Pie in 1971.
The self-produced debut album was engineered by Chris Kimsey, who had worked on Humble Pie's 1971 album Rock On. Frampton and Kimsey together introduced a melodic sensibility that contrasted with the raucous boogie that characterized the Humble Pie sound, with a particular emphasis on Frampton's acoustic guitar work. Kimsey continued to work with Frampton on the production of his albums throughout the 1970s.
Many of the songs on Wind of Change are built primarily around acoustic guitar foundations, but the inclusion of such songs as "It's a Plain Shame", and "All I Want To Be (Is By Your Side)" have a hard rock edge, as does an extended reworking of the Rolling Stones "Jumpin' Jack Flash", which was the project's only non-Frampton composition. The brass arrangements in this latter song and "The Lodger", performed by Jim Price, are strongly reminiscent of that in the Rolling Stones' song "Bitch", recorded the previous year, in which Price participated.
(en.wikipedia.org/wiki/Wind_of_Change_(album))

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Alice Cooper - Billion Dollar Babies [Japanese Ed. SHM-CD] (1973)

Year: February 27, 1973 (CD December 21, 2011)
Label: Warner Bros. Records (Japan), WPCR-14304
Style: Garage Rock, Hard Rock, Glam Rock
Country: Phoenix, Arizona, U.S. (February 4, 1948)
Time: 40:59
Format: Flac Tracks 16/44,1 kHz
Size: 292 Mb

Charts: US #1, AUS #4, AUT #4, CAN #2, FIN #1, GER #9, NL #1, NOR #6, SWE #2, UK #1. AUS & CAN: Gold; US: Platinum.
The album's title comes from the fact that the five members of Alice Cooper were surprised about their success. Cooper related: "How could we, this band that two years ago was living in the Chambers Brothers' basement in Watts, be the Number One band in the world, with people throwing money at us?" The title was also later used as the name of the group Neal Smith, Dennis Dunaway, and Michael Bruce formed after Alice Cooper group had split up. Cooper said, "The whole idea behind the Billion Dollar Babies album was exploiting the idea that people do have sick perversions."
Alice Cooper, who wrote the majority of the album's lyrics, cited Chuck Berry as a key influence on his writing. "Hello Hooray", the album's opening track, was written by Canadian singer/songwriter Rolf Kempf and was previously recorded by Judy Collins. The band wanted their version of the song to sound like "Alice Cooper meets Cabaret". The album's third track, "Elected", is a rewrite of the song "Reflected" from Pretties for You (1969). "Raped and Freezin' has been called a "hilarious and gorgeously catchy" take on the idea of sexual harassment by PopMatters's Jason Thompson. "Unfinished Sweet" is about visiting a dentist with sound effects recorded by Gerry Lyon. The title track was co-written by Reggie Vinson (credited on original pressings of the album as "R. Reggie", i.e., "Rockin' Reggie Vinson"), who had played guitar on and performed vocals for School's Out (1972). Donovan described the song as a "horror story song". The album's closing track, "I Love the Dead", is a tongue-in-cheek song about necrophilia.
(en.wikipedia.org/wiki/Billion_Dollar_Babies)

01. Hello Hooray (04:14)
02. Raped And Freezin' (03:17)
03. Elected (04:06)
04. Billion Dollar Babies (03:40)
05. Unfinished Sweet (06:17)
06. No More Mister Nice Guy (03:06)
07. Generation Landslide (04:32)
08. Sick Things (04:14)
09. Mary Ann (02:23)
10. I Love The Dead (05:06)

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Ozzy Osbourne - The Ultimate Sin [Japanese Ed.] (1986)

Year: 24 January 1986 (CD Jun 20, 2007)
Label: Epic Records (Japan), EICP 783
Style: Heavy Metal, Hard Rock
Country: Marston Green, Warwickshire, England (December 3, 1948)
Time: 41:05
Format: Flac Tracks 16/44,1 kHz
Size: 317 Mb

Charts: UK #8, AUS #36, CAN #19, FIN #3, GER #31, NOR #6, NZ #21, SWE #4, US #6. UK: Silver; AUS: Gold; CAN: PLatinum; US: 2x Platinum.
Another 30th year anniversary of a classic album is upon us although as it would turn out, I am late by a few minutes. This time, it’s none other than Ozzy Osbourne‘s The Ultimate Sin, which was the iconic frontman’s second album with the now well renowned guitarist Jake E. Lee. Osbourne was unable to escape the glam metal craze of that period and he returned with an awful glam look and one of his most commercially accessible albums. The good news is that a “commercially accessible” album from Osbourne is not a complete sell-out such as Motley Crue with its 1985 album Theatre Of Pain.
The Ultimate Sin is actually a rocking album from start to finish with some great hooks and melodies while still maintaining a heavier edge that was sometimes sorely lacking with a good portion of heavy metal bands adopting more keyboard friendly sounds around this time period such as Judas Priest with Turbo and Quiet Riot with The Wild And The Young. The great thing about The Ultimate Sin is that all the songs were quite good and hold up to this  day. “Tracks such as “Secret Loser” and “Never Know Why” are just as good as “Shot in The Dark” and the title track as far as I am concerned. Lee‘s guitar playing on The Ultimate Sin is phenomenal with some great riffs and soaring solos such as on “Never Know Why.” The rhythm section of bassist Phil Soussan and now deceased drummer Randy Castillo is rock solid letting Lee shine throughout. Osbourne also sounds really good on The Ultimate Sin. Choosing the best tracks on The Ultimate Sin is actually quite difficult because all of the songs are so strong. I suppose I’ll give the nod to “Shot In The Dark” simply because it’s the catchiest song on the record but tracks such as “Killer Of The Giants” continue the fine tradition of Osbourne delivering a killer ballad per album and “Never” is an under appreciated rocking gem.
While Osbourne‘s subsequent albums No Rest For The Wicked and the immensely popular No More Tears which featured Zakk Wylde on guitar were no slouches by any means, I wonder what could have been if Osbourne and Lee had continued together because both would come up with some of their best albums within five years of The Ultimate Sin — Osbourne with No More Tears and Lee with Badlands‘ self-titled debut album. What could both of them together have come up with after The Ultimate Sin? We’ll never know but it’s fun to speculate on what could have been...
(sleazeroxx.com/reviews/ozzy-osbourne-the-ultimate-sin/)

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Saturday, 26 April 2025

Japan - Oil On Canvas [Live. 2LP on 1CD] (1983)

Year: 10 June 1983 (CD April 1992)
Label: Virgin Records (Europe), CDVD 2513
Style: New Wave, Art Pop, Electronic
Country: Catford, South London, England
Time: 71:59
Format: Flac Tracks 16/44,1 kHz
Size: 400 Mb

Charts: UK #5, CAN #91, JPN #11, NL #29, NZ #20, SWE #35. UK: Gold.
Oil on Canvas is a live album by the English band Japan, released in June 1983 by Virgin Records. It was released six months after the band had broken up, and became their highest charting album in the UK, peaking at number 5.
The live tracks on the double-album were taken from the band's performances at the Hammersmith Odeon in November 1982, during their final live concert tour. With guitarist Rob Dean having left the band in spring 1981, Japanese musician Masami Tsuchiya (then of the group Ippu-Do) was added to the touring line-up on guitar and additional keyboards. The band also used backing tracks to supply additional instrumental parts (for example, in contrast to some previous tours where a guest saxophonist was recruited, many of Karn's saxophone lines were played from tape.)
Billed as a live recording, Jansen later admitted that only the drums were actually recorded live, the rest being recorded in a studio. The album also contained three new instrumental studio tracks ("Oil on Canvas", "Voices Raised in Welcome, Hands Held in Prayer" and "Temple of Dawn"), recorded separately by Sylvian, Sylvian/Jansen and Barbieri respectively (the name of Barbieri's track is taken from the novel The Temple of Dawn by the acclaimed Japanese novelist Yukio Mishima).
(en.wikipedia.org/wiki/Oil_on_Canvas)

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Roy Wood (ex The Move & ELO) - Boulders (1973)


Year: July 1973 (CD 2014)
Label: Parlophone Records (Europe), LC02982
Style: Glam Rock, Pop Rock
Country: Birmingham, England
Time: 40:00
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

Boulders is the debut solo album by English musician Roy Wood, recorded from 1969 to 1971 and released in July 1973 by Harvest Records. Wood began work on the album as a whimsical side-project away from his band the Move, and conceived it to explore numerous instruments he had collected in the 1960s but felt unable to use in the Move. Nonetheless, its release was delayed for several years due to his busy schedule with the Move, Wizzard and the Electric Light Orchestra. Apart from harmonium on one song played by John Kurlander, all the instruments on the album, including guitars, cello, saxophones, bouzouki, banjo and recorders, were played by Wood, who also wrote, arranged, and produced the whole record, in addition to providing all the vocals. The musician also painted the unfinished self-portrait on the cover.
The record is eclectic and eccentric in style, exploring numerous genres like classical music, art rock, folk, psychedelia, country and rock and roll, and exemplifies Wood's surreal humour, with songs exploring curious subjects. The textured production includes multitracked choir-like vocals and makes heavy usage of unusual arrangements. Upon release, Boulders was hailed by critics for its individual sound and the extensive contributions from Wood, and today is regarded as one of his stronger works. It peaked at No. 15 in the UK Albums Chart, and the single "Dear Elaine" was a Top 20 hit. The album also reached the Billboard 200 in the United States, where the album was released by United Artists Records.
(en.wikipedia.org/wiki/Boulders_(album))

01. Songs Of Praise (04:46)
02. Wake Up (03:20)
03. Rock Down Low (03:56)
04. Nancy Sing Me A Song (03:32)
05. Dear Elaine (04:11)
06. All The Way Over The Hill - Irish Loafer (And His Hen) (04:55)
07. Miss Clarke And The Computer (04:25)
08. When Gran'Ma Plays The Banjo (03:18)
09. Rock Medley - Rockin' Shoes - She's Too Good For Me - Locomotive (07:34)

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Matching Mole (Robert Wyatt) - Matching Mole [Japanese Ed. 7 bonus tracks] (1972)

Year: April 1972 (CD July 24, 2013)
Label: Sony Music (Japan), SICP 30321
Style: Progressive Rock, Canterbury Scene
Country: Canterbury, England
Time: 80:16
Format: Flac Tracks 16/44,1 kHz
Size: 454 Mb

Robert Wyatt (Soft Machine) - drums, voice, Mellotron, piano. David Sinclair (Caravan) - piano, Hammond organ. Bill MacCormick - bass. Phil Miller (Hatfield and the North) - guitar.
The opening track, "O Caroline," is indicative of Wyatt at his best: art rock with a human face, a playful vocal, and soul. Much of the record is instrumental improvisation, though, with the humor largely confined to the song titles ("Instant Pussy," "Dedicated to Hugh, But You Weren't Listening"). For every nifty passage (the extended melancholy Mellotron solo on "Immediate Curtain," the goofy scat vocals on "Signed Curtain"), there's equal or greater instrumental patter. Some art rock devotees really get behind this album, but it doesn't count among the more enduring statements by the Canterbury crowd.
(allmusic.com/album/matching-mole-mw0000460327)

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Savoy Brown - Voodoo Moon (2011)

Year: 2011 (CD Sep 2011)
Label: Ruf Records (Germany), RUF 1173
Style: Blues Rock
Country: London, England
Time: 45:36
Format: Flac Tracks 16/44,1 kHz
Size: 280 Mb

After forty-five years and hundreds of gigs, Savoy Brown have released their latest offering, Voodoo Moon, after recently signing with German record label Ruff Records. The band have become a firm fixture in blues rock history since they first appeared on the scene in 1965. Over the years Savoy Brown have featured over one hundred different players, the only constant being Kim Simmonds (guitar/vocals). When interviewed about the band’s newest release, Simmonds said, “I believe the songs on Voodoo Moon are the best I’ve written since the early ‘70s. It is modern blues rock but with more song orientation than normally associated with the genre.”
The album is a mix of strong vocals and fabulous instrumentals - you can’t help but move and shake to the lively “She’s Got The Heat” or the slower but no less catchy “Shockwaves.” The title track is full of energy, with a great ‘live’ feel, and the sax on “Look at the Sun” makes you yearn to catch their next gig. Joe Whiting’s voice has the perfect mix of emotion and smoothness, amazingly suited to singing the blues. There’s even a full instrumental - “24/7” - along with slower, sexy blues in “Natural Man.” The album flows well, and despite the changing line-up the band sound comfortable playing together.
Overall, Voodoo Moon is a great mix of classic blues and British rock & roll, which should please long-time fans & new listeners alike.
(bluesrockreview.com/2011/11/savoy-brown-voodoo-moon-review.html)

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Friday, 25 April 2025

Ken Hensley (ex Uriah Heep) - Proud Words On A Dusty Shelf (1973)

Year: 1973 (CD 2010)
Label: Esoteric Recordings (UK), ECLEC2180
Style: Pop Rock, Hard Rock
Country: London, England (24 August 1945 - 4 November 2020)
Time: 39:13
Format: Flac Tracks 16/44,1 kHz
Size: 234 Mb

This is the solo debut of Uriah Heep's resident keyboardist and top songwriter, but it isn't the heavy metal epic one might expect. In fact, Proud Words On A Dusty Shelf uses electric guitar sparingly and instead goes for a moody soundscape built on acoustic guitar and piano. Songs like "Black Hearted Lady" and "The Last Time" even evoke a bit of a country and western feel, thanks to their use of mellow-sounding slide guitar. This subtle sonic style puts Hensley's songwriting in the spotlight and that is a good thing because each of the songs is well-crafted and tuneful: a subtle combination of acoustic guitar and synthesizer brings out the haunting, delicately crafted melody of "From Time To Time" and "Black Hearted Lady" effectively evokes its mood of heartbreak with a descending acoustic guitar riff. The album's subtlety also highlights the strength of Ken Hensley's vocals, which often sound close to his Uriah Heep bandmate David Byron. However, Proud Words On A Dusty Shelf doesn't fully abandon the rock and roll muscle that made Uriah Heep famous: "Fortune," is a mid-tempo rocker whose complex, dramatic arrangement gets the closest to sounding like Uriah Heep and "Cold Autumn Sunday," subtly deploys some heavy electric guitar and pounding drums to convey its mood of churning emotions (note: this track also became an FM radio favorite). The only song that feels like a filler is a remake of Hensley's Uriah Heep track "Rain," a pleasant but unnecessary addition that sounds too close to the original to make it worth including. Otherwise, Proud Words On A Dusty Shelf is a solid, likeable album that will definitely please Uriah Heep fans and may even win over other classic rock fans with its combination of strong songwriting and old-fashioned rock production values.
(allmusic.com/album/proud-words-on-a-dusty-shelf-mw0000605388)

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John Renbourn (ex Pentangle) - BBC Live In Concert (1978-80)

Year: 1978-1980 (CD 1998)
Label: Strange Fruit (UK), SERSCD076
Style: Baroque Rock, Folk Rock, Blues Rock
Country: London, England (8 August 1944 - 26 March 2015)
Time: 36:16
Format: Flac Tracks 16/44,1 kHz
Size: 240 Mb

The late '70s were a very fertile time for John Renbourn. The solo albums he'd done had explored early music and blues - the twin ends of a wide spectrum - and in his post-Pentangle period he mined a lot of the terrain in between. This album - recorded at BBC concerts on July 26, 1978, and May 21, 1980 - shows how far he'd traveled. His work with Stefan Grossman had been documented on a couple of albums, but adding flute and tabla to the lineup, as well as reuniting with former Pentangle colleague, singer Jacqui McShee, offered more possibilities, as on "Great Dreams From Heaven" and another visit to "Trees They Do Grow High," which Renbourn and McShee had performed with Pentangle. "All Things That Rise Must Converge" kicks off with some splendid interplay between Grossman and Renbourn, but the best thing here is an epic version of the traditional "Plains of Waterloo" that travels through many moods. Throw in a couple of tunes that hit a Cajun mood and a short trip through Indian influence, and you have an album that offers a full indication of where Renbourn stood at the time - as well as some very satisfying playing.
(allmusic.com/album/bbc-live-in-concert-mw0000214175)

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Steve Marriott (ex Humble Pie) - Live At Dingwalls [Gold CD] (1984)

Year: July 6, 1984 (CD 2001)
Label: Purple Pyramid (US), CLP 0330-2
Style: Rock, Rhythm and Blues
Country: Essex, England (30 January 1947 - 20 April 1991)
Time: 78:56
Format: Flac Tracks 16/44,1 kHz
Size: 467 Mb

Stephen Peter Marriott (30 January 1947 - 20 April 1991) was an English actor, musician, guitarist, singer and songwriter. He was a student at the Italia Conti Academy of Theatre Arts in London and appeared in the West End, before taking a role in music. He co-founded and played in the rock bands Small Faces and Humble Pie, in a career spanning over 20 years. Marriott was inducted posthumously into the Rock and Roll Hall of Fame in 2012 as a member of Small Faces.
In Britain, Marriott became a popular, often-photographed mod style icon. Marriott was influenced by musicians such as: Miles Davis, Buddy Holly, Booker T & the MG's, Ray Charles, Otis Redding, Muddy Waters and Bobby Bland. In his later life, Marriott distanced himself from the mainstream music industry and turned away from major record labels, remaining in relative obscurity. He returned to his musical roots, playing in local pubs and clubs around London and Essex.
Marriott died on 20 April 1991 when a fire, which was thought to have been caused by a cigarette, swept through his 16th-century home in Arkesden, Essex. He was 44 and posthumously received an Ivor Novello Award in 1996 for his "Outstanding Contribution to British Music", and was listed in Mojo as one of the top 100 greatest singers of all time.
(en.wikipedia.org/wiki/Steve_Marriott)
This live set from 1984 serves as a fine testament to the man and is worth the entrance fee alone for his phenominal,bluesy reading of CREEDENCES' BAD MOON RISING where he rips into the song with a passionate intensity that wipes all trace of the original away and along with superlative treatments of ALL OR NOTHING,FIVE LONG YEARS and many other gritty classics you feel that this must have been one hell of a gig to be present at. Stunning!
(amazon.com/Live-at-Dingwalls-Steve-Marriott/dp/B000009ONH) Review by brianolson@boogie.co.uk. December 8, 2001
Yep. I have this CD, and it's called Steve Marriots Packet of Three (a reference to the way condoms are sold in England). This came out sometime after "Go For The Throat" It's a trio doing a great performance in a club. It has all the great Pie songs plus several others like Marriots slow version of Creedence Clearwater Revivals "Bad Moon Rising". The sound quality is great. This is a must have for Pie collectors.
(amazon.com/Live-at-Dingwalls-Steve-Marriott/dp/B000009ONH) Review by jeff cromwell. June 9, 2004

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