The Moody Blues - Days Of Future Passed [10 bonus tracks] (1967)

Year: 10 November 1967 (CD 2008)
Label: Deram Records (Europe), 530 663-1
Style: Symphonic Rock
Country: Birmingham, England
Time: 70:03
Format: Flac Tracks 16/44,1 kHz
Size: 383 Mb

How The Moody Blues went from R&B to progressive rock magnificence in the span of two years is perhaps one of rock’s greatest mysteries. As a rhythm-and-blues band, it wasn’t getting them anywhere so they had to change their style and sound.
Though Days of Future Passed is their second album, it’s widely considered as their debut album considering it’s the first record with their classic lineup.
It’s ambitious and grand but unlike other albums which fell short of everyone’s expectations, this one delivered. It’s consistent, cohesive, and solid. It’s basically the culmination of the band’s musical brilliance and efforts and it’s clear from the get-go that they were at the height of their creative powers. Although it achieved moderate success after its release, over the years, it has been regarded as an important album that helped shape the sound of prog-rock. Thanks to new members Justin Hayward and John Lodge, The Moody Blues were steered towards the right direction. It was a risk but in the end, it paid off nicely.
While two songs stood out - “Nights in White Satin” and “Tuesday Afternoon”, the rest were still stellar. It’s groundbreaking, revolutionary, refreshing, and unique. From haunting ballads to psychedelic tunes, it’s interesting to note that Decca Records ALMOST rejected it because they simply didn’t know how to market it. The album was clearly way ahead of its time.
Days of Future Passed is complex and grandiose. It’s a mixture of rock and orchestral arrangements with some spoken word poetry - in paper, it shouldn’t work together but listening to one song segueing into another, it blends seamlessly. This album made The Moody Blues legends.
(societyofrock.com/album-review-the-days-of-future-passed-by-moody-blues/)

01. The Day Begins (05:51)
02. Dawn: Dawn Is A Feeling (03:49)
03. The Morning - Another Morning (03:56)
04. Lunch Break - Peak Hour (05:29)
05. The Afternoon a - Forver Afternoon (Tuesday) b - (Evening) Time To Get Away (08:23)
06. Evening a - The Sun Set b - Twilight Time (06:40)
07. The Night: Nights In White Satin (07:29)
08. (Bonus) Don't Let Me Be Misunderstood (BBC Radio Session) (02:24)
09. (Bonus) Fly Me High (1967 Mono Single Masters) (02:56)
10. (Bonus) I Really Haven't Got The Time (1967 Mono Single Masters) (03:09)
11. (Bonus) Love And Beauty (1967 Mono Single Masters) (02:26)
12. (Bonus) Leave This Man Alone (1967 Mono Single Masters) (03:01)
13. (Bonus) Cities (1967 Mono Single Masters) (02:26)
14. (Bonus) Tuesday Afternoon (Alternate Mix) (04:20)
15. (Bonus) Dawn Is A Feeling (Alternate Version) (02:20)
16. (Bonus) The Sun Set (Alternate Version Without Orchestra) (02:50)
17. (Bonus) Twilight Time (Alternate Vocal Mix) (02:28)

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The Ronettes - The Ultimate Collection [1961-1974] (1997)

Year: 1961-1974 (CD 1997)
Label: Marginal Records (Europe), CDMAR 050
Style: Vocal, Pop, Oldies
Country: New York City, U.S.
Time: 77:59
Format: Flac Tracks 16/44,1 kHz
Size: 542 Mb

The Ronettes were an American girl group from Washington Heights, Manhattan, New York City. The group consisted of the lead singer Veronica Bennett (later known as Ronnie Spector), her older sister Estelle Bennett, and their cousin Nedra Talley. They had sung together since they were teenagers, then known as "The Darling Sisters". Signed first by Colpix Records in 1961, they moved to Phil Spector's Philles Records in March 1963 and changed their name to "The Ronettes".
The Ronettes placed nine songs on the Billboard Hot 100, six of which became Top 40 hits. Among their hit songs are "Be My Baby", which peaked at No. 2, their only contemporary top 10 hit, "Baby, I Love You", "(The Best Part of) Breakin' Up" and "Walking in the Rain". In 1964, the group released their only studio album, Presenting the Fabulous Ronettes Featuring Veronica. That year, the Rolling Stones were their opening act when they toured the UK. The Ronettes opened for the Beatles on their 1966 US tour, becoming the only girl group to tour with them, before splitting up in 1967. In the 1970s, the group was briefly revived as Ronnie Spector and the Ronettes. Veronica Bennett married Phil Spector in 1968.
Their song "Be My Baby" was inducted into the Grammy Hall of Fame in 1999. Rolling Stone ranked their album Presenting the Fabulous Ronettes Featuring Veronica No. 422 on its list of The 500 Greatest Albums of All Time. The Ronettes were inducted into the Vocal Group Hall of Fame in 2004, and into the Rock and Roll Hall of Fame in 2007. The group also holds the record for the longest gap between top-ten hits in Billboard history, just over 58 years.
(en.wikipedia.org/wiki/The_Ronettes)

01. Recipe For Love (02:26)
02. I Want A Boy (02:12)
03. Be My Baby (02:36)
04. (Best Part Of...) Breaking Up (02:41)
05. Baby I Love You (02:32)
06. You Baby (02:42)
07. Do I Love You (02:45)
08. Good Girls (02:24)
09. Silhouettes (02:24)
10. You Bet I Would (02:10)
11. I'm Gonna Quit While I'm Ahead (02:24)
12. I Wonder (02:37)
13. Chapel Of Love (02:48)
14. Is This What I Get For Loving You (03:10)
15. Here I Sit (02:55)
16. Soldier Baby (02:50)
17. Why Don't They Let Us Fall In Love (02:37)
18. How Does It Feel (02:40)
19. Walking In The Rain (03:18)
20. Woman In Love (02:55)
21. I Can Hear Music (03:12)
22. Oh I Love You (02:20)
23. Lovers (02:40)
24. So Young (02:35)
25. Keep On Dancing (02:28)
26. Paradise (03:35)
27. I Saw Mommy Kissing Santa Claus (02:39)
28. Sleigh Ride (02:57)
29. Frosty The Snowman (02:13)

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Renaissance - Ashes Are Burning (1973)

Year: October 1973 (CD 2006)
Label: Repertoire Records (Europe), REP 5078
Style: Art Rock, Symphonic Rock
Country: London, United Kingdom
Time: 40:43
Format: Flac Tracks 16/44,1 kHz
Size: 290 Mb

Somewhat unusually, the longest history with the band is with two outside members, composer Michael Dunford and poet Betty Thatcher, who together are responsible for the music and lyrics on all but one track of the album. Both were involved in the making of the 1970 Illusion album, but are not actual members of the band. Dunford officially joined the band with the next album. The only song Dunford was not on Ashes Are Burning to compose is ”On The Frontier”, written by Renaissance founding member Jim McCarty. Who was no longer a member of the band at this point. Confusing? A bit! Thus, Ashes Are Burning is a very rare prog album where all the material is written by someone other than the band members.
Ashes Are Burning is by far the most successful album of Renaissance’s career so far and started a three-album golden era for the band. The album smoothly blends influences from both folk and classical music (no direct quotes are spared). The semi-acoustic sound was an important part of how Renaissance distinguished themselves from other progressive bands. And the acoustic aspect was especially emphasized on this Ashes Are Burning album. Instead of electric guitars and synthesizers, it is John Tout’s classical-style piano that takes centre stage, and the impressive, gentle yet powerful, five-octave vocals of Annie Haslam, who had studied opera singing. Tout also makes restrained use of synthesizers but, pleasingly, sticks mostly to piano, which was rare for early 70s rock bands. And well, for rock bands of any era really.
Although Renaissance draws much of its influence from folk, the grand symphonic nature of the band’s music also clearly distinguishes it from the core of the folk scene. A rock-like kick to the sound is added by Jon Camp’s very Chris Squire-like bass playing and of course Sullivan’s relatively straightforward drumming. Camp and his bass are given plenty of space, as the only electric guitar on the album is on the closing title track, where guesting Wishbone Ash guitarist Andy Powell gets to squeeze in a long guitar solo.
(full version: pienemmatpurot.com/2023/10/10/review-renaissance-ashes-are-burning-1973/)

01. Can You Understand (09:51)
02. Let It Grow (04:14)
03. On The Frontier (04:55)
04. Carpet Of The Sun (03:31)
05. At The Harbour (06:48)
06. Ashes Are Burning (11:20)

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Paul McCartney - Flowers In The Dirt [Japanese Ed.] (1989)

Year: 5 June 1989 (CD May 23, 2025)
Label: Universal Music (Japan), UICY-80480
Style: Rock, Soft Rock, Pop Rock
Country: Liverpool, England (18 June 1942)
Time: 54:08
Format: Flac Tracks 16/44,1 kHz
Size: 537 Mb

In the aftermath of his work with Wings and then a general decline in overall quality that marked his efforts in the late ‘70s and early ‘80s, Flowers in the Dirt was greeted with some skepticism by the record-buying public. Paul McCartney was still capable of writing terrific songs, but none seemed to be making the emphatic impression that accompanied early hits like “Band of the Run,” “Jet” and Maybe I’m Amazed.” It was, at a point, all about “Silly Love Songs,” and in the wake of John Lennon’s murder, Macca was looked on as a light-weight, certainly not an artist that still merited serious attention.
Flowers in the Dirt changed all that, and though it didn’t exactly set sales on fire when it was first released, it did provide a sturdy stockpile of songs that McCartney and company could effectively showcase on their landmark 1990 tour. Several of the tracks became staples of his set, and for good reason. The catchy and compelling “My Brave Face,” penned with Elvis Costello, the irrepressible “Figure of Eight” and the tender ballad “Put It There” were but three of the songs that marked this album as one of McCartney’s best.
Listening in retrospect, it’s remarkable how well the album still holds up. Unlike his other albums, the quality is generally consistent throughout, and even some of the secondary songs - “Rough Ride, “This Day Is Done,” “This One,” and the like - do well even under careful scrutiny.
An excellent example of why an album deserves a second look, Flowers in the Dirt can easily be compared with McCartney’s best. Consider it a minor masterpiece.
(glidemagazine.com/183465/paul-mccartney-reissues-1989-number-1-lp-flowers-dirt-album-review/)

01. My Brave Face (03:20)
02. Rough Ride (04:45)
03. You Want Her Too (03:14)
04. Distractions (04:42)
05. We Got Married (04:58)
06. Put It There (02:12)
07. Figure Of Eight (03:27)
08. This One (04:12)
09. Don't Be Careless Love (03:21)
10. That Day Is Done (04:22)
11. How Many People (04:16)
12. Motor Of Love (06:27)
13. Ou Est Le Soleil (04:46)

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Ronnie Wood (The Rolling Stones) - 1234 [Japanese Ed.] (1981)

Year: 2 September 1981 (CD 1 mar 1992)
Label: Sony Records (Japan), SRCS 6174
Style: Rock, Pop Rock, Classic Rock
Country: Hillingdon, Middlesex, England (1 June 1947)
Time: 38:24
Format: Flac Tracks 16/44,1 kHz
Size: 270 Mb

Every aspect of this Rolling Stone's solo album screams of superstar indulgence, from its bizarre cover shot - look, there's Ron riding a camel under some jets - to co-producer Andy Johns' fawningly surreal back cover exhortation to "don't let anybody tape it because the label needs the money." There's no chance of such an occurrence: three studios are credited - and every track boasts a different lineup. Many of the usual suspects appear, including sub-Stones keyboardist Ian McLagan, pianist Nicky Hopkins, and saxophonist Bobby Keys; R&B vocalist Bobby Womack; and pianist Nicky Hopkius. Even Stones drummer Charlie Watts pops up on a couple of tracks. Also, this rarefied company didn't have decent material to stretch out their chops. Most of the songs sound like demos or unfinished sketches with new overdubs - like the instrumental "Redeyes," which seems little more than an excuse for Wood to trot out his Dobro skills.
"Wind Howlin' Through" asks if the listener can hear that happening, but little more, and wastes a drumming cameo from Devo's Alan Myers. Wood's vocals are strained - and often impossible to decipher. They're little more than huffs and puffs on the otherwise thumping title cut, and they spoil the reggae-ish "She Was Out There," which is one of the better moments here - but "Fountains of Love" is lackluster blue-eyed soul that doesn't get off the ground. The best moments are the least contrived, notably the country-ish swagger of "Outlaws"; the glistening "Priceless"; and "She Never Told Me," which boasts a lengthy, biting guitar solo. However, it arrives too late to save this album. While hardly a total embarrassment, 1234 is easily Wood's least distinguished solo effort, although his drawings are nice.
(allmusic.com/album/1234-mw0002560769)

01. 1234 (03:29)
02. Fountain Of Love (05:11)
03. Outlaws (04:02)
04. Redeyes (03:33)
05. Wind Howlin' Through (03:04)
06. Priceless (04:20)
07. She Was Out There (05:14)
08. Down To The Ground (03:37)
09. She Never Told Me (05:50)

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Camel - Camel (1973)

Year: February 1973 (CD 1992)
Label: Camel Productions (US), CP-002CD
Style: Symphonic Rock, Canterbury Scene, Progressive Rock
Country: Guildford, Surrey, England
Time: 39:23
Format: Flac Tracks 16/44,1 kHz
Size: 260 Mb

Elsewhere, Andy shows that, apart from Blackmore, he has been attentively listening to Robert Fripp - some of the passages in 'Six Ate' are based on the fast, mathematically precise riffage of '21st Century Schizoid Man' - and maybe even Santana (the album opener, 'Going Down Slow', with its calm, steady Latin groove that suddenly turns into a wall-rattling temperamental solo midway through); pure jazz guitar chops are heard on the proto-National Health 'Curiosity'. Without a doubt, the guitar solos throughout are the best parts of the songs, and one major thing they have over subsequent instrumental passages on later records is dynamics; there's much more youthful aggressiveness in the playing than there would be on those records where the songwriting was to finally catch up with the playing and then eventually overshadow it. By contrast, Bardens lets his organ mostly stay in the background, being an essential part of the sound.
Oh yes, there's also the singing question - at least three band members take turns providing lead vocal parts, but not one of them is able to make any impression, and apparently they know it, so the vocals are kept to a minimum (and two out of seven songs have none at all). Incidentally, it's pretty damn hard to tell one guy from another; they all sound like slightly dusty clones of Pye Hastings. In fact, if there is one thing that's more or less common for all of "Canterbury rock", it's the vocals - quiet, high-pitched, and very weak voices, suggesting that Canterbury singers obviously do not drink, smoke, swear, date, eat non-kosher, or watch anime.
(full version: starlingdb.org/music/camel.htm)

01. Slow Yourself Down (04:47)
02. Mystic Queen (05:40)
03. Six Ate (06:06)
04. Separation (03:57)
05. Never Let Go (06:26)
06. Curiosity (05:55)
07. Arubaluba (06:29)

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Pink Floyd - The Final Cut [Japanese Ed. 1st press] (1983)

Year: 21 March 1983 (CD 1983)
Label: CBS/Sony Inc. (Japan), 35DP 53
Style: Art Rock, Progressive Rock
Country: London, England
Time: 43:31
Format: Flac Tracks 16/44,1 kHz
Size: 243 Mb

Rich pop stars often act in predictable ways. They buy large houses in the country, read the wrong daily newspapers, and vote Tory. Pink Floyd’s Roger Waters can be accused of a lot of things, but never of doing what’s expected. So Pink Floyd’s The Final Cut, the follow-up to the multimedia extravaganza The Wall, turns out to be a mini-epic written by Waters, subtitled “a requiem for the post war dream,” and includes the most vicious attack on Mrs Thatcher that the pop world has mounted. When Waters gets going he makes all that “stand down Margaret” stuff sound positively tame.
The lyrics are the most startling part of an otherwise messy, overblown, and awkward album that includes a few strong songs, some brilliant recording work (with whispers, footsteps or other effects mixed into songs with brilliant separation and clarity), and patches that sound like outtakes from The Wall.
The opening anthem, with its chorus “What have we done, Maggie, what have we done to England?” echoes the final song in The Wall and makes it sound as if he’s about to embark on a detailed analysis of the collapse of the welfare state. Instead, he returns to various well-worn Waters themes, from the second world war and the death of his own father (to whom the album is dedicated), to stories of war heroes becoming teachers, or songs of personal madness, interspersed with references to the Falklands and the blistering attacks on Thatcher.
The most vicious, The Fletcher Memorial Home (another reference to his father) imagines Thatcher, along with Haig, Begin and others, in a “home for incurable tyrants and kings.” The album ends, as you might have guessed, with a nuclear holocaust. The songs are mostly quiet, often with orchestral backing interrupted by David Gilmour guitar attacks. Floyd enthusiasts should note that the band are now a three-piece (Richard Wright has escaped over The Wall), and despite the title it’s not necessarily their final album.
(theguardian.com/music/2023/mar/17/pink-floyd-the-final-cut-reviewed-1983)

01. The Post War Dream (03:03)
02. Your Possible Pasts (04:30)
03. One Of The Few (01:13)
04. The Hero's Return (03:00)
05. The Gunners Dream (05:08)
06. Paranoid Eyes (03:44)
07. Get Your Filthy Hands Off My Desert (01:16)
08. The Fletcher Memorial Home (04:15)
09. Southampton Dock (02:12)
10. The Final Cut (04:45)
11. Not Now John (05:03)
12. Two Suns In The Sunset (05:20)

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Bill Wyman (The Rolling Stones) - Back To Basics (2015)

Year: 22 June 2015 (CD Jun 22, 2015)
Label: Ripple Productios Ltd (UK), PRDCD125
Style: Pop Rock, Blues Rock, Classic Rock
Country: Lewisham, London, England (24 October 1936)
Time: 43:19
Format: Flac Tracks 16/44,1 kHz
Size: 300 Mb

When Bill Wyman left his post as bassist for the Rolling Stones in 1993 after thirty years, it wasn’t a departure from the musical world. He’s been recording and touring with his band the Rhythm Kings since then, but now is releasing a new solo album; the first UK release under his own name in thirty three years! Back To Basics is aptly named, as it is totally stripped back, while touching on the easy-going feeling that the Rhythm Kings give off. Its strength is in its unashamed simplicity.
A large part of this comes from the fact that Wyman’s vocals are just so chilled. The opening track What & How & If & When & Why, for example, is an instrumentally upbeat blues-rock track with a brass section and recurring guitar, but the delivery of the lyrics subdues the overall tone. It’s a raspy, half talking, half singing kind of delivery that feels intimate and very honest; there’s nothing pretentious going on here.
Every track is fluid, instrumentally, and adds various extras to develop its own character. We get some call and response with a female vocalist in Seventeen, flamenco style Spanish guitar in November and some sultry blues harmonica  and melancholy organ in the closer I Got Time, which ends the album on a bit of a downer.
As a whole, though, everything is really cohesive, and Wyman sounds totally at home with the songwriting and delivery. The lyrics are simple, and can be easily comprehended. It’s nice to be able to hear every single word without having to even concentrate, and the themes are relatable “We had it all when we were together/We had it all, thought it was forever” (from Running Back To You). Although it’s an enjoyable listen top to bottom, Stuff (Can’t Get Enough) is definitely a stand out track for me. The rhythm of the vocals in the chorus over straight instrumental backing is a contagious and playful combination that is sure to follow you around for the rest of the day.
Back To Basics isn’t a novel release that breaks into new territory, but if it were, the album would be falsely named. It is a record that reflects the extensive musical career of a man who has nothing to prove. This is not a release aimed at boosting Bill Wyman’s profile, it’s an expression of one of the man’s passions that is still burning bright.
(renownedforsound.com/album-review-bill-wyman-back-to-basics/)

01. What & How & If & When & Why (03:37)
02. I Lost My Ring (03:36)
03. Love, Love, Love (03:40)
04. Stuff (Can't Get Enough) (04:05)
05. Running Back to You (04:00)
06. She's Wonderful (03:56)
07. Seventeen (03:49)
08. I'll Pull You Through (03:06)
09. November (03:44)
10. Just a Friend of Mine (03:41)
11. It's a Lovely Day (02:05)
12. I Got Time (03:54)

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Keith Richards (The Rolling Stones) - Eileen [Maxi-Single] (1993)

Year: January 1993 (CD 1993)
Label: Virgin Records (US), V25H-12647
Style: Rock, Classic Rock
Country: Dartford, Kent, England (18 December 1943)
Time: 23:55
Format: Flac Tracks 16/44,1 kHz
Size: 161 Mb

 

01. Eileen (04:31)
02. Gimme' Shelter (Live) (06:29)
03. Wicked As It Seems (Live) (05:22)
04. How I Wish (Live) (04:10)
05. Key To the Highway (03:21)

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Keith Richards (The Rolling Stones) - Crosseyed Heart (2015)

Year: 18 September 2015 (CD Sep 18, 2015)
Label: Mindless Records (US), 602547394002
Style: Blues Rock, Classic Rock
Country: Dartford, Kent, England (18 December 1943)
Time: 58:07
Format: Flac Tracks 16/44,1 kHz
Size: 405 Mb

The Rolling Stone’s first solo album in 23 years contains exactly what one might hope for. There are beautifully played old blues songs, storming Stonesy rockers (Heartstopper, the ferocious Blues in the Morning), a sublime Gregory Isaacs reggae cover (Love Overdue) and outlaw songs about evading the authorities (Trouble). There’s dry humour in a touching lament about, ahem, the theft of a “stash” (Robbed Blind, in which he cackles: “The cops, I can’t involve them”) and the jerkily funny Amnesia, about the 2006 incident in which he fell out of a tree (“Thought I met my mother / She said: ‘You don’t belong to me’”). Contrarily, there are also several beautiful, heartfelt ballads. Richards’ fag-soaked voice isn’t as conventionally strong as Mick Jagger’s, but it is rich with character and knowing. The gorgeous Nothing on Me – about surviving whatever life throws at him – is as great a song as the 71-year-old has put his name to in decades. A terrific album, worthy of one of rock’s founding fathers.
(theguardian.com/music/2015/sep/17/keith-richards-crosseyed-heart-review)

01. Crosseyed Heart (01:52)
02. Heartstopper (03:04)
03. Amnesia (03:35)
04. Robbed Blind (04:00)
05. Trouble (04:17)
06. Love Overdue (03:28)
07. Nothing On Me (03:47)
08. Suspicious (03:42)
09. Blues In The Morning (04:26)
10. Something For Nothing (03:28)
11. Illusion (03:48)
12. Just A Gift (04:01)
13. Goodnight Irene (05:46)
14. Substantial Damage (04:21)
15. Lover's Plea (04:23)

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Garrett Lund - Almost Grown (1975)

Year: 1975 (CD 2001)
Label: World In Sound (Germany), WIS 1006
Style: Acid Rock, Psychedelic Rock
Country: U.S.
Time: 52:20
Format: Flac Tracks 16/44,1 kHz
Size: 546 Mb

Garrath Lund was part of the Caretakers, a band which opened before the great psychrock bands of that time. He recorded this album but no label was interested. Releasing it privately, in 1975, it sold with the help of radio promotion 2000 copies in less than two weeks, but still there was no label to release it officially. So after 26 years this finally is the first release.
The album can be compared to the kind of albums of singer-songwriters with a deeper concentration to the music with electric arrangements, far away from other influences and with a time taken to develop, like what John Saint Field or so did, but here with a west coast direction, and with some attention to some sweet acidic development of the electric guitar, backed by a rock band.
The voice goes from normal to higher notes, with emotional calm perspectives with closed eyes. "Serene" has a fine production of keyboards (mellotron and electric piano by Angie Gudino).
(last.fm/music/Garrett+Lund/+wiki)

01. The Only Turnaround (04:50)
02. Serene (03:39)
03. Silver Sails (07:18)
04. One More Reason (04:22)
05. Think Of The Children (04:32)
06. Country Livin' (02:54)
07. Stop The World (04:44)
08. (It's All Over Now) Baby Blue (05:48)
09. Never Gonna Take It Slow (03:50)
10. Over And Under (01:24)
11. Reflections On Earth (04:06)
12. Bonny (02:09)
13. Serene (Alt. Version) (02:36)

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Foghat - Foghat (1972)

Year: July 1972 (CD ????)
Label: Rhino Records (US), R2 70887
Style: Hard Rock, Blues Rock
Country: London, England
Time: 38:10
Format: Flac Tracks 16/44,1 kHz
Size: 259 Mb

Breaking away from Savoy Brown to form this band, the members of Foghat knew from the start what sort of record they wanted to make. With heavy emphasis on the hard boogie, Foghat got down to work with the help of Dave Edmunds and crafted a hard rock gem. Covering Chuck Berry's "Maybellene," they goosed the beat up until it was almost a precursor of the heavy metal yet to come. Interspersing covers with original material, they immediately found a place for themselves in the rock world.
(allmusic.com/album/foghat-mw0000194603)
The band initially featured Dave Peverett ("Lonesome Dave") on guitar and vocals, Tony Stevens on bass, and Roger Earl on drums, after all three musicians left Savoy Brown in December 1970. Rod Price, on guitar/slide guitar, joined after he left Black Cat Bones. The new line-up was named "Foghat" (a nonsense word from a Scrabble-like game played by Peverett and his brother) in January 1971. There is a cartoon drawing on the back cover of the group's first album of a head wearing a foghat.
(en.wikipedia.org/wiki/Foghat)

01. I Just Want To Make Love To You (04:21)
02. Trouble, Trouble (03:20)
03. Leavin' Again (Again!) (03:36)
04. Fool's Hall Of Fame (02:58)
05. Sarah Lee (04:36)
06. Highway (Killing Me) (03:51)
07. Maybelline (03:36)
08. A Hole To Hide In (04:06)
09. Gotta Get To Know You (07:43)

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Keef Hartley Band - Halfbreed (1969)

Year: March 1969 (CD 2008)
Label: Esoteric Recordings (Europe), ECLEC 2050
Style: Blues Rock, Progressive Rock
Country: Plungington, England (8 April 1944 - 26 November 2011)
Time: 50:48
Format: Flac Tracks 16/44,1 kHz
Size: 296 Mb

Trk. 1a) “Sacked (Introducing Hearts and Flowers)” (Arranged by Keef Hartley) In this mock-up of a cringe-making phone call, John Mayall rings up Keef to say “I’ve got a bit of bad news for you….” and terminates his position with the Bluesbreakers, whereupon there’s
1b) a very short snatch of the old tune by Moses Theodore-Tobani which was so famously used to accompany all the sad bits in the silent movies, and a few disjointed noises before
1c) “Confusion Theme.” Credited to Hartley and Cruickshank, this minute-long instrumental opens with tom-toms, followed by a solo guitar improvisation on an eastern scale. A menacing, funky riff develops behind the guitar, before it all fades out. I’d love to have heard more, but instead we get
1d) “The Halfbreed.” Softly plucked guitar and a roll of toms lead into this compelling 12 bar instrumental. Credited to Harley, Cruickshank and Dines, the sequence is similar to Ben Tucker’s “Comin’ Home Baby” recorded first by the Dave Bailey Quintet in 1961, then shortly after by Herbie Mann, and in vocal form by Mel Torme. There’s Hammond riffing, and lead guitar with a somewhat Santana-like flavour, smooth and overdriven but with bite and some very strong vibrato. I see “Spit” pictured with a Gibson SG, and that sounds about right to these ears. Stabbing brass punctuates, drums rattle, and a very moody organ solo follows. Keef subtly runs through different rhythmic patterns without upsetting the flow, taking a turn round the tom-toms during the final guitar solo, then bringing the beat onto the snare as the brass returns and the piece fades. Very enjoyable.
Trk. 2) “Born to Die” is credited to Dines, Hartley, Thain, and Fiona Hewitson – Miller Anderson writing under his wife’s name for contractual reasons. Hymnal Hammond and thoughtful guitar open this slow Blues, which benefits from a chord sequence differing from the usual straight twelve. Anderson’s voice is at once strong, expressive and questioning as he bewails his situation. Tuneful guitar fills which are drenched in reverb during the verses give way to a very lyrical and understated solo from ‘Spit,’ which over the course of four rounds, slowly escalates to a fiery pitch. The band sympathetically builds up with him, but never dominates, and the sounds are rich and warm. Everything drops down to a whisper for the last verse, then another chromatic turnaround on the outro swells to a powerful climax with pounding percussion, as the track slowly fades. Ten minutes of Blues heaven.
(full version: https://earlyblues.org/british-blues-classic-albums-halfbreed/)

01. Confusion Theme - The Halfbreed (07:56)
02. Born To Die (10:01)
03. Sinnin' For You (05:53)
04. Leavin' Trunk (05:57)
05. Just To Cry (06:21)
06. Too Much Thinking (05:32)
07. Too Much To Take (05:37)
08. Leave It 'Til The Morning (03:27)

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Van Halen - The Best Of Volume 1 [Japanese Ed.] (1996)

Year: October 22, 1996 (CD Dec 8, 2010)
Label: Warner Music (Japan), WPCR-14063
Style: Hard Rock, Arena Rock
Country: Pasadena, California, U.S.
Time: 76:23
Format: Flac Tracks 16/44,1 kHz
Size: 602 Mb

Best Of – Volume I is the first greatest hits album by American hard rock band Van Halen.
The album does not contain any songs from the band's 1982 album Diver Down. Best Of – Volume I also features "Humans Being", the band's contribution to the Twister soundtrack. The two newly recorded songs, "Can't Get This Stuff No More" and "Me Wise Magic", at the end of the album are with original lead vocalist David Lee Roth. These two songs were released as singles to promote this compilation. They are also the last songs recorded and released by the original Van Halen lineup of Eddie Van Halen, Alex Van Halen, Roth and Michael Anthony. Some demos recorded by the original lineup in 2000 would later be re-recorded by the Van Halen brothers, Wolfgang Van Halen, and Roth for A Different Kind of Truth, released in 2012. Anthony did not play with Van Halen again following the band's 2004 tour. He was replaced by Eddie's son Wolfgang.
(full version: en.wikipedia.org/wiki/Best_Of_%E2%80%93_Volume_I_(Van_Halen_album))

01. Eruption (01:42)
02. Ain't Talkin' 'Bout Love (03:48)
03. Runnin' With The Devil (03:37)
04. Dance The Night Away (03:08)
05. And The Cradle Will Rock... (03:34)
06. Unchained (03:29)
07. Jump (04:03)
08. Panama (03:32)
09. Hot For Teacher (Japanese bonus track) (04:44)
10. Why Can't This Be Love (03:46)
11. Dreams (04:54)
12. When It's Love (05:39)
13. Poundcake (05:21)
14. Right Now (05:22)
15. Can't Stop Lovin' You (04:08)
16. Humans Being (05:09)
17. Can't Get This Stuff No More (04:12)
18. Me Wise Magic (06:06)

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