Roy Clark - The Lightning Fingers of Roy Clark (1999)

Year: 1999 (CD 1999)
Label: Razor & Tie (U.S.), 7930182193-2
Style: Oldies, Surf, Rock and Roll, Country
Country: Meherrin, Virginia, U.S. (April 15, 1933 - November 15, 2018)
Time: 30:10
Format: Flac Tracks 16/44,1 kHz
Size: 183 Mb

Roy Linwood Clark was an American singer and musician. He is best known for having hosted Hee Haw, a nationally televised country variety show, from 1969 to 1997. Clark was an important and influential figure in country music, both as a performer and in helping to popularize the genre.
During the 1970s, Clark frequently guest-hosted for Johnny Carson on The Tonight Show and enjoyed a 30-million viewership for Hee Haw. Clark was highly regarded and renowned as a guitarist, banjo player, and fiddler. He was skilled in the traditions of many genres, including classical guitar, country music, Latin music, bluegrass, and pop. He had hit songs as a pop vocalist (e.g., "Yesterday, When I Was Young" and "Thank God and Greyhound"), and his instrumental skill had an enormous effect on generations of bluegrass and country musicians. He became a member of the Grand Ole Opry in 1987, and, in 2009, was inducted into the Country Music Hall of Fame. He published his autobiography, My Life—in Spite of Myself, in 1994.
In 1960, Clark began touring with rockabilly star Wanda Jackson, and playing backup instrumentals on several of her recordings. Through Jackson, Clark met Jim Halsey. Clark signed with the Halsey Agency, which represented him for the remainder of his career. During this period, Jackson performed at the Golden Nugget casino in Las Vegas. Within two years, Clark had become a headliner in Vegas, and made numerous appearances there in the 1960s and 1970s.
Clark's backup work for Jackson brought him to the attention of Capitol Records. He signed with Capitol and in 1962 released his first solo album, The Lightning Fingers of Roy Clark. The album won solid critical praise, and "above-average" notice from fans. By the early 1970s, Clark was the highest-paid country music star in the United States, earning $7 million ($48,800,000 in 2021 dollars) a year.
(en.wikipedia.org/wiki/Roy_Clark)

01. Twelfth Street Rag (02:45)
02. Texas Twist (02:09)
03. Golden Slippers (02:28)
04. Weepin' Willow Twist (02:21)
05. Pink Velvet Swing (02:14)
06. In The Mood (03:10)
07. Drifter's Polka (02:33)
08. Wildwood Twist (02:15)
09. A Maiden's Prayer (02:35)
10. Dented Fender (02:34)
11. Over The Waves (02:47)
12. Chicken Wire (02:14)

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Kiss - Alive II (2xCD) [Japan Edition] (1977)

Year: October 14, 1977 (CD Jul 12, 2006)
Label: Universal Music (Japan), UICY-93098/9
Style: Hard Rock, Rock
Country: New York City, U.S.
Time: 35:56, 35:50
Format: Flac Tracks 16/44,1 kHz
Size: 265, 261 Mb

Charts: US Billboard 200 #46; Australia - Gold, Canada - Platinum, U.S - 2x Platinum.  U.S. #7, AUS #17, CAN #5, SWE #28, UK #60.
Alive II is the second live album by American hard rock band Kiss, released on October 14, 1977, by Casablanca Records. The band had released three albums (Destroyer, Rock and Roll Over, and Love Gun) since the previous live outing, the 1975 release Alive!, so they drew upon the variety of new tracks, with Eddie Kramer producing. The album is one of the best selling in the Kiss discography, being the band's first to be certified double platinum in February 1996, the same month the Kiss reunion was announced. It has remained a solid seller in the US in the Soundscan era, selling over 300,000 copies from 1991 and to March 2012.
Coming off of a period of extensive touring, Alive II received a huge fan response and critical acclaim, reaching the No. 7 spot on the Billboard 200 chart.
In a contemporary review, John Swenson of Rolling Stone criticized Kiss for copying the live performances of The Rolling Stones and The Who, but acknowledged the band's "improved instrumental technique" and attitude, concluding that "Alive II captures the essence of live rock & roll very well". Modern reviews are generally positive. Critic Greg Prato of AllMusic remarked that several tracks such as "Detroit Rock City", "Shock Me" and "Shout It Out Loud" featured an "adrenaline-charged" vibe. He lauded the album for showing the group in its element as an "exciting live band". Jason Josephes of Pitchfork considered Alive II "not a bad album, but definitely not essential." Martin Popoff called it "a loud-and-proud document to what would be, hands down, the most exciting year for the communion of this band and their Kiss Army planned fans."
(en.wikipedia.org/wiki/Alive_II)

01. Detroit Rock City (03:57)
02. King Of The Night Time World (03:05)
03. Ladies Room (03:14)
04. Makin' Love (03:13)
05. Love Gun (03:40)
06. Calling Dr. Love (03:35)
07. Christine Sixteen (02:45)
08. Shock Me (05:51)
09. Hard Luck Woman (03:06)
10. Tomorrow And Tonight (03:26)

01. I Stole Your Love (03:36)
02. Beth (02:24)
03. God Of Thunder (05:16)
04. I Want You (04:14)
05. Shout It Out Loud (03:39)
06. All-American Man (03:16)
07. Rockin' In The USA (02:38)
08. Larger Than Life (04:02)
09. Rocket Ride (04:08)
10. Any Way You Want It (02:33)

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Toe Fat - Two (1970)

Year: 1970 (CD 1994)
Label: Repertoire Records (Germany), REP 4417-WY
Style: Hard Rock, Rock
Country: England
Time: 47:51
Format: Flac Tracks 16/44,1 kHz
Size: 288 Mb

Toe Fat were an English rock band, active from June 1969 to 1971, notable for including two future members of Uriah Heep (Ken Hensley, Lee Kerslake) and a future member of Jethro Tull (John Glascock).
Formed in June 1969, the band was fronted by former Rebel Rouser Cliff Bennett and, in the course of its two-year, two-album career, featured lead guitarist and keyboardist Ken Hensley; bassist John Glascock (who replaced original bassist John Konas (Joseph Stanley Konas)); and drummer Lee Kerslake. After the first album, Kerslake and Hensley were replaced by Brian Glascock (drums) and Alan Kendall (guitar) respectively.
The band was founded by Bennett, a former pop star, after the dissolution of the Cliff Bennett Band. He teamed with the former Gods' keyboard player Hensley, who drafted in fellow ex-Gods' members Kerslake and Glascock. The name was decided over dinner when Bennett and his manager attempted to create the most disgusting band name possible.
The eponymously titled first album flopped commercially, but gained considerable critical praise. Such was the stir that after their first single, 'Workin' Nights', (the B-side was an early Elton John composition 'Bad Side of the Moon') they were booked for a tour supporting Derek and the Dominos in the US. The album was also notable for its cover designed by the recently formed graphic art company Hipgnosis. The cover showed a beach scene with four people who have large toes superimposed over their heads. For the US release, a man and a topless woman in the background were replaced by the image of a sheep. The photo of the band on the back of the US album shows Cliff Bennett, Alan Kendall, John Glascock, and Lee Kerslake even though Alan Kendall did not play on the first album. This was an interim line-up, and Lee Kerslake would soon depart also before the second album was recorded.
Hensley quit the band to form Uriah Heep. Alan Kendall replaced Hensley, before their second album, Toe Fat Two. Bennett admitted in the sleeve notes of his Rebellion album that when asked he 'probably should have joined them'. Kerslake left to join the National Head Band, before also joining Uriah Heep in 1971. Glascock later joined Jethro Tull. Another ex-Gods man, Brian Glascock, became the new drummer.
Jonathan Peel (not the DJ) produced Toe Fat 2, after hearing them on several BBC radio sessions, including one for Terry Wogan. However, this LP also flopped, despite more radio airplay, and a reasonably successful US tour promoting it. Following these successive failures, their management and labels informed the group that they could no longer fund them.
Bennett recorded Rebellion, before quitting the music industry to become a shipping magnate. He used to occasionally tour with the Rebel Rousers.
Alan Kendall and Brian Glascock went on to play with, and write for, the Bee Gees.
The cover art consists of four human figures on a beach who have had toes superimposed over their faces. The original release featured a nude woman standing over a crouched man, but the North American release replaced this with a lamb. The cover was designed by cover art group Hipgnosis.
(en.wikipedia.org/wiki/Toe_Fat)

01. Stick Heat (06:21)
02. Indian Summer (02:15)
03. Idol (03:34)
04. There'll Be Changes (06:56)
05. A New Way (08:02)
06. Since You've Been Gone (04:46)
07. Three Time Loser (04:36)
08. Midnight Sun (04:45)
09. Brand New Band (Additional Track) (03:00)
10. Can't Live Without You (Additional Track) (03:33)

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Paul Rodgers (Free, Bad Company) - Now [Japan Edition] (1997)

Year: June 1997 (CD Jan 1, 1997)
Label: Victor Records (Japan), VICP-5815
Style: Rock, Blues Rock
Country: Middlesbrough, Yorkshire, England (17 December 1949)
Time: 59:41
Format: Flac Tracks 16/44,1 kHz
Size: 447 Mb

Paul Rodgers is a British singer, songwriter and multi-instrumentalist. He was the lead vocalist of numerous bands, including Free, Bad Company, The Firm, and The Law. He has also performed as a solo artist, and collaborated with the remaining active members of Queen under the moniker Queen + Paul Rodgers. A poll in Rolling Stone magazine ranked him number 55 on its list of the "100 Greatest Singers of All Time". In 2011 Rodgers received the British Academy's Ivor Novello Award for Outstanding Contribution to British Music.
Rodgers has been cited as a significant influence on a number of notable rock singers. In 1991, John Mellencamp called Rodgers "the best rock singer ever". Freddie Mercury in particular liked Rodgers and his aggressive style.

01. Soul Of Love (04:52)
02. Overloaded (03:16)
03. Heart Of Fire (04:13)
04. Saving Grace (04:51)
05. All I Want Is You (05:33)
06. Chasing Shadows (04:43)
07. Love Is All I Need (05:58)
08. Ride My Love (04:36)
09. Nights Like This (05:20)
10. Shadow Of The Sun (05:24)
11. I Lost It All (05:54)
12. Holding Back The Storm (04:55)

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David Bowie - Space Oddity [Japan Edition] (1969)

Year: 14 November 1969 (CD Oct 28, 2009)
Label: EMI Records (Japan), TOCP-95041
Style: Glam Rock, Rock
Country: London, England (8 January 1947)
Time: 46:13
Format: Flac Tracks 16/44,1 kHz
Size: 284 Mb

"Space Oddity" tells the story of an astronaut named Major Tom, who is informed by Ground Control that a malfunction has occurred in his spacecraft but Major Tom does not get the message because he either misses it or is in such awe of outer space he does not hear it. He remains in space "sitting in a tin can, far above the world", preparing for his lonely death. In 1969, Bowie compared Major Tom's fate to the ending of 2001: A Space Odyssey, saying: "At the end of the song Major Tom is completely emotionless and expresses no view at all about where he's at. He's fragmenting ... at the end of the song his mind is completely blown – he's everything then." Authors David Buckley and Peter Doggett comment on the unusual vocabulary in the lyrics, such as "Ground Control" rather than "Mission Control", "space ship" rather than "rocket", "engines on" rather than "ignition", and the "unmilitary combination" of rank and first name for the character.
Bowie's biographers have provided different interpretations of the lyrics. According to Doggett, the lyrics authentically reflect Bowie's mind and thoughts at the time. He writes that Bowie shone a light on the way advertisers and the media seek to own a stake in a lonely man in space while he himself is exiled from Earth. Chris O'Leary said the song is a "moonshot-year prophecy" that humans are not fit for space evolution and the sky is the limit. Similarly, James Perone views Major Tom acting as a "literal character" and a "metaphor" for individuals who are unaware of, or do not make an effort to learn, what the world is. In 2004, American feminist critic Camille Paglia identified the lyrics as representing the counterculture of the 1960s, stating, "As his psychedelic astronaut, Major Tom, floats helplessly into outer space, we sense that the '60s counterculture has transmuted into a hopelessness about political reform ('Planet earth is blue / And there's nothing I can do')".
(en.wikipedia.org/wiki/Space_Oddity)

01. Space Oddity (05:16)
02. Unwashed and Somewhat Slightly Dazed (06:11)
03. (Don't Sit Down) (00:43)
04. Letter to Hermione (02:36)
05. Cygnet Committee (09:36)
06. Janine (03:25)
07. An Occasional Dream (03:01)
08. Wild Eyed Boy From Freecloud (04:51)
09. God Knows I'm Good (03:21)
10. Memory Of A Free Festival (07:09)

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Tom Waits - The Heart of Saturday Night (1974)

Year: October 15, 1974 (CD ????)
Label: Asylum Records (Europe), 7559-60597-2
Style: Folk, Blues, Jazz
Country: Pomona, California, U.S. (December 7, 1949)
Time: 41:34
Format: Flac Tracks 16/44,1 kHz
Size: 214 Mb

Charts: United Kingdom - Gold Status. It was ranked number 339 on Rolling Stone magazine's list of the "500 greatest albums of all time".
The title song was written as a tribute to Jack Kerouac. The album marks the start of a decade-long collaboration between Waits and Bones Howe, who produced and engineered all Waits' recordings until the artist left Asylum.
The album cover is based on In the Wee Small Hours by Frank Sinatra. It is an illustration featuring a tired Tom Waits being observed by a blonde woman as he exits a neon-lit cocktail lounge late at night. Cal Schenkel was the art director and the cover art was created by Lynn Lascaro.
In a contemporary review for The Village Voice, Janet Maslin regarded the songs as tawdry affectations of "a boozy vertigo" marred by Waits' vague lyrics and ill-advised puns on an album that is "too self-consciously limited" in mood. "It demands to be listened to after hours", Maslin wrote, "when that cloud of self-pitying gloom has descended and the vino is close at hand". Fellow Village Voice critic Robert Christgau was also critical of Waits' compositions, writing that "there might be as many coverable songs here as there were on his first album if mournful melodies didn't merge into neo imagery in the spindrift dirge of the honky-tonk beatnik night. Dig?"
In a retrospective review for the Los Angeles Times, Buddy Seigal was more impressed by Waits' "touchingly, unashamedly sentimental" songs, calling The Heart of Saturday Night perhaps the singer's most "mature, ingenuous and fully realized" album. It was ranked number 339 on Rolling Stone magazine's list of the 500 greatest albums of all time.
(en.wikipedia.org/wiki/The_Heart_of_Saturday_Night)

01. New Coat of Paint (03:23)
02. San Diego Serenade (03:30)
03. Semi Suite (03:29)
04. Shiver Me Timbers (04:26)
05. Diamonds on My Windshield (03:12)
06. (Looking for) The Heart of Saturday Night (03:53)
07. Fumblin’ With the Blues (03:02)
08. Please Call Me, Baby (04:25)
09. Depot, Depot (03:46)
10. Drunk on the Moon (05:06)
11. The Ghosts of Saturday Night (After Hours at Napoleone’s Pizza House) (03:16)

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Toe Fat - Toe Fat (1970)

Year: May 1970 (CD 1994)
Label: Repertoire Records (Germany), REP 4416-WY
Style: Psychedelic Rock, Hard Rock
Country: England
Time: 39:10
Format: Flac Tracks 16/44,1 kHz
Size: 251 Mb

Toe Fat were an English rock band, active from June 1969 to 1971, notable for including two future members of Uriah Heep (Ken Hensley, Lee Kerslake) and a future member of Jethro Tull (John Glascock).
Formed in June 1969, the band was fronted by former Rebel Rouser Cliff Bennett and, in the course of its two-year, two-album career, featured lead guitarist and keyboardist Ken Hensley; bassist John Glascock (who replaced original bassist John Konas (Joseph Stanley Konas)); and drummer Lee Kerslake. After the first album, Kerslake and Hensley were replaced by Brian Glascock (drums) and Alan Kendall (guitar) respectively.
The band was founded by Bennett, a former pop star, after the dissolution of the Cliff Bennett Band. He teamed with the former Gods' keyboard player Hensley, who drafted in fellow ex-Gods' members Kerslake and Glascock. The name was decided over dinner when Bennett and his manager attempted to create the most disgusting band name possible.
The eponymously titled first album flopped commercially, but gained considerable critical praise. Such was the stir that after their first single, "Workin' Nights", (the B-side was an early Elton John composition "Bad Side of the Moon") they were booked for a tour supporting Derek and the Dominos in the US. The album was also notable for its cover designed by the recently formed graphic art company Hipgnosis. The cover showed a beach scene with four people who have large toes superimposed over their heads. For the US release, a man and a topless woman in the background were replaced by the image of a sheep. The photo of the band on the back of the US album shows Cliff Bennett, Alan Kendall, John Glascock, and Lee Kerslake even though Alan Kendall did not play on the first album. This was an interim line-up, and Lee Kerslake would soon depart also before the second album was recorded.
Hensley quit the band to form Uriah Heep. Alan Kendall replaced Hensley, before their second album, Toe Fat Two. Bennett admitted in the sleeve notes of his Rebellion album that when asked he "probably should have joined them". Kerslake left to join the National Head Band, before also joining Uriah Heep in 1971. Glascock later joined Jethro Tull. Another ex-Gods man, Brian Glascock, became the new drummer.
Jonathan Peel (not the DJ) produced Toe Fat 2, after hearing them on several BBC radio sessions, including one for Terry Wogan. However, this LP also flopped, despite more radio airplay, and a reasonably successful US tour promoting it. Following these successive failures, their management and labels informed the group that they could no longer fund them.
Bennett recorded Rebellion, before quitting the music industry to become a shipping magnate. He used to occasionally tour with the Rebel Rousers.
Alan Kendall and Brian Glascock went on to play with, and write for, the Bee Gees.
The cover art consists of four human figures on a beach who have had toes superimposed over their faces. The original release featured a nude woman standing over a crouched man, but the North American release replaced this with a lamb. The cover was designed by cover art group Hipgnosis.
(en.wikipedia.org/wiki/Toe_Fat)

01. That's My Love For You (04:05)
02. Bad Side Of The Moon (03:26)
03. Nobody (06:06)
04. The Wherefors And The Whys (03:45)
05. But I'm Wrong (03:59)
06. Just Like Me (04:14)
07. Just Like All The Rest (02:32)
08. I Can't Believe (04:00)
09. Working Nights (02:33)
10. You Tried To Take It All (04:26)

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Edgar Broughton Band - Bandages (1976)

Year: July 1976 (CD 2006)
Label: Eclectic Discs (Europe), ECLCD1032
Style: Blues Rock, Psychedelic Rock
Country: Warwick, England
Time: 47:41
Format: Flac Tracks 16/44,1 kHz
Size: 290 Mb

Shaped in Warwick, England, the Edgar Broughton Strap arrived within the London underground Music scene in 1968. Led froM the Broughton brothers, vocalist/guitarist Edgar and druMMer Steve, and fleshed out by bassist Arthur Give and guitarist Victor Unitt (who also briefly offered with the Fairly IteMs), they quickly signed using the Harvest label and released their debut, Wasa Wasa, a assortMent of underground electrical blues jaMs anchored by Edgar's Captain Beefheart-like vocals, in past due 1969. The Edgar Broughton Music group caMe back in 1970 with Sing Sibling Sing, which reached the U.K. Best 20 and spawned a set of Minor strike singles, "Out DeMons Out" and "Apache Drop-Out" (a fusion of Beefheart's "Dropout Boogie" as well as the Shadows' "Apache"). The group appeared poised for a significant industrial breakthrough, but even while their Make of large rock and roll was flourishing because of groups like Dark Sabbath and Deep CriMson, the Broughton Music group produced an about-face, and their Music becaMe soMewhat More tranquil and politically billed. Their graph MoMentuM stalled, along with a 1971 self-titled work failed to capture on. After both 1972's Inside Out and 1973's Oora fulfilled a siMilar destiny, the group still left Harvest for NEMS. Legal wrangles locked theM froM the studio for several Months, however they finally resurfaced in 1975 - Minus Unitt, who'd been changed by guitarist John ThoMas - with Bandages. A short breakup followed, however in 1978 they caMe back with Live Strikes Harder. With the discharge of 1979's Parlez Vous British?, the group acquired expanded to soMe six-piece, utilizing the naMe the Broughtons. TiMe for the Edgar Broughton Music group Moniker, the Music group becaMe a three-piece for 1982's Super Chip: THE ULTIMATE Silicon Solution, an idea albuM filled up with synthesizers and brand-new influx teMpos. Touring continuing throughout '80s, '90s, and 2000s. In 2004 the band's six albuMs for the Harvest label had been reissued, each offering nuMerous bonus Monitors.
(Musicianbio.org/edgar-broughton/)

01. Get A Rise (05:01)
02. Speak Down The Wires (03:14)
03. John Wayne (03:11)
04. The Whale (05:34)
05. Germany (04:35)
06. Love Gang (03:01)
07. One To Seven (05:58)
08. Lady Life (03:06)
09. Signal Injector (04:03)
10. Fruhling Flowers (For Claudia) (05:14)
11. I Want To Lie (04:40)

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Tom Waits - Nighthawks at the Diner (1975)

Year: October 21, 1975 (CD 1990)
Label: Asylum Records (U.S.), 2008-2
Style: Folk, Blues, Jazz
Country: Pomona, California, U.S. (December 7, 1949)
Time: 73:54
Format: Flac Tracks 16/44,1 kHz
Size: 412 Mb

Charts: US Billboard 200 #164. United Kingdom - Silver. It is included in the book "1001 Albums You Must Hear Before You Die".
Nighthawks at the Diner is the third studio album by singer and songwriter Tom Waits, released on October 21, 1975 on Asylum Records. It was recorded over four sessions in July in the Los Angeles Record Plant studio in front of a small invited audience set up to recreate the atmosphere of a jazz club. The album peaked at 164 on the Billboard 200, the highest place Waits had held at the time, and is currently certified silver by the BPI. It has received critical acclaim for its successful mood-setting, capturing of the jazz-club atmosphere and characterization.
The title was inspired by Edward Hopper's 1942 painting Nighthawks. The album's working title had been "Nighthawk Postcards from Easy Street," but was shortened to Nighthawks at the Diner, which is the opening line to "Eggs and Sausage (In a Cadillac with Susan Michelson)". The cover, designed by Cal Schenkel, is also inspired by the painting.
In its accompanying chapter in the book, Peter Watts stated that "although it could be dismissed as an entertaining conceit, the fake nightclub atmosphere of Nighthawks... possibly captures the appeal of early Waits even better than the two impressive albums that preceded it." AllMusic reviewer Mark Deming wrote: "You could call it overdone, but then, this kind of material made its impact through an accumulation of miscellaneous detail, and who's to say how much is too much?". He positively noted Waits' addition of comedy and acting into the set. On November 18, 2010, Rhapsody named it the album of the day, with staff writer Nate Cavalieri noting that "Waits' meticulous persona is remarkable."
(en.wikipedia.org/wiki/Nighthawks_at_the_Diner)

01. (Opening Intro) (02:57)
02. Emotional Weather Report (03:47)
03. (Intro) (02:16)
04. On a Foggy Night (03:48)
05. (Intro) (01:53)
06. Eggs and Sausage (In a Cadillac with Susan Michelson) (04:19)
07. (Intro) (03:02)
08. Better off Without a Wife (03:59)
09. Nighthawk Postcards (from Easy Street) (11:29)
10. (Intro) (00:56)
11. Warm Beer and Cold Women (05:21)
12. (Intro) (00:47)
13. Putnam County (07:35)
14. Spare Parts I (a Nocturnal Emission) (06:25)
15. Nobody (02:50)
16. (Intro) (00:41)
17. Big Joe and Phantom 309 (06:28)
18. Spare Parts II and Closing (05:13)

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Amon Duul II - Pyragony 10th (Pyragony X) (1976)

Year: 1976 (CD 2004)
Label: Garden Of Delights (Germany), CD 103
Style: Krautrock, Progressive Rock
Country: Munich, Bavaria, Germany
Time: 38:27
Format: Flac Tracks 16/44,1 kHz
Size: 284 Mb

Amon Duul was a German art commune whose members began producing improvisational psychedelic rock music during the late '60s. The group's members released several albums, mostly recorded during a single extended jam session, beginning with 1969's Psychedelic Underground. Concurrently, some of the commune's more musically inclined members formed the longer-lasting Amon Duul II. Both acts proved to be a major influence on generations of experimental rock musicians to come, and are regarded as pioneers of the Krautrock genre.
Forming in Munich in 1967, the collective included bassist Ulrich Leopold, his brother Peter Leopold on drums, and guitarist Rainer Bauer. While the basic lineup recorded a session that year, an expanded lineup of Amon Duul recorded a marathon improvisation in 1968 or 1969, which subsequently formed the majority of the group's discography. Psychedelic Underground and Collapsing: Singvogel Ruckwarts & Co. were both released in 1969, and later reissued under several different titles. A 1970 recording session produced a more focused, folk-influenced full-length titled Paradieswarts Duul, which appeared the following year. Two additional recordings taken from the group's original session, 1972's Disaster (Luud Noma) and 1984's Experimente, were also released.
While membership within the commune and the band Amon Duul was fluid, several commune members with greater musical ambitions decided to start a separate rock group, and formed Amon Duul II -- they saw no reason to struggle for a new name, or argue over the original. The new group was helmed by John Weinzierl, Chris Karrer, and Renate Knaup-Kroetenschwanz, and set to work to produce an impressive debut with Phallus Dei (1969). This was followed quickly by the 1970 double album Yeti, the cover of which features one of the band's roadies.
1971 brought the release of another two-LP set -- Tanz der Lemminge ("Dance of the Lemmings"), a recording widely considered to be the keystone of the Amon Duul II catalog. With stylistic abandon, the album mixed together everything from straight-ahead rock to experimental noodling, all built around a series of science-fiction themes. The band performed with a joyfulness that belied the real seriousness of the experimental work involved.
They continued on this path for several years, continuing to release highly regarded albums that achieved only moderate sales, at best. 1975's Made in Germany (released in two-LP and single-LP versions) found the band making an attempt to present a more commercially appealing side, with little effect on the market. Continuing failure to crack the mainstream eventually brought the band back to its more experimental roots, though not before causing the core unit to fall moribund for a while.
A further spin-off, formed by John Weinzierl under the original name (and also known as Amon Duul UK and, rarely, as Amon Duul III) recorded sporadically in the 1970s and '80s. Weinzierl worked with former Hawkwind member Dave Anderson on a total of five albums (one of which, Airs on a Shoestring, was a compilation drawn from the first two, with additional material salted in), with additional bandmembers coming from all walks of the British progressive/psychedelic scene. For Losung, Weinzierl and Anderson collaborated with the late Robert Calvert, as well as drummer Guy Evans.
Amon Duul II reappeared during the '90s, producing a series of remixes and original material, as well as Live in Tokyo and the intriguing benefit album Kobe (Reconstruction), which focused on material from 1969 and 1971. Members continued to be active with both solo and band projects. EastWest Records Germany released a four-CD retrospective box set in 1997. The '90s renewed interest in Krautrock culminated with the re-release of three of the group's albums -- Wolf City, Yeti, and Viva la Trance -- in 1999. A 2010 reunion effort was digitally self-released under the name Bee as Such, and was eventually given a full release by Purple Pyramid under the name Duulirium in 2014.
(allmusic.com/artist/amon-d%C3%BC%C3%BCl-mn0000020992/biography?1664711739567)

01. Flower Of The Orient (06:04)
02. Merlin (04:28)
03. Crystal Hexagram (05:41)
04. Lost In Space (04:16)
05. Sally The Seducer (03:05)
06. Telly Vision (04:09)
07. The Only Thing (07:32)
08. Capuccino (03:09)

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Tom Waits - Small Change [Japan Edition] (1976)

Year: September 21, 1976 (CD Mar 10, 2010)
Label: Warner Music (Japan), WPCR-13780
Style: Folk, Blues, Jazz
Country: Pomona, California, U.S. (December 7, 1949)
Time: 50:13
Format: Flac Tracks 16/44,1 kHz
Size: 316 Mb

Small Change is the fourth studio album by singer and songwriter Tom Waits, released on September 21, 1976 on Asylum Records. It was recorded in July at Wally Heider's Studio 3 in Hollywood. It was successful commercially and outsold his previous albums. This resulted in Waits putting together a touring band - The Nocturnal Emissions, which consisted of Frank Vicari on tenor saxophone, FitzGerald Jenkins on bass guitar and Chip White on drums and vibraphone. The Nocturnal Emissions toured Europe and the United States extensively from October 1976 till May 1977.
The cover art features Waits sitting in a go-go dancer's dressing room, with a topless go-go dancer standing nearby. It was alleged that the go-go dancer pictured is Cassandra Peterson, best known as the iconic character Elvira, Mistress of the Dark. Peterson, however, says she's not sure of the authenticity of this claim.
Small Change received critical reviews equal to or better than Waits' previous albums, and was at first a surprise commercial success, rising to #89 on the Billboard chart within two weeks of its release. Three weeks later, the album fell off the Billboard Top 200, and Waits was not to better its position until 1999's Mule Variations.
When asked in an interview with Mojo in 1999 if he shared many fans' view that Small Change was the crowning moment of his "beatnik-glory-meets-Hollywood-noir period" (i.e. from 1973 to 1980), Waits replied:
Well, gee. I'd say there's probably more songs off that record that I continued to play on the road, and that endured. Some songs you may write and record but you never sing them again. Others you sing em every night and try and figure out what they mean. "Tom Traubert's Blues" was certainly one of those songs I continued to sing, and in fact, close my show with.[20]
In 2000, Small Change was voted number 958 in Colin Larkin's All Time Top 1000 Albums.
(en.wikipedia.org/wiki/Small_Change_(Tom_Waits_album))

01. Tom Traubert's Blues (06:42)
02. Step Right Up (05:43)
03. Jitterbug Boy (03:44)
04. I Wish I Was in New Orleans (04:55)
05. The Piano has Been Drinking (Not Me) (03:40)
06. Invitation to the Blues (05:25)
07. Pasties and a G-String (02:32)
08. Bad Liver and a Broken Heart (04:51)
09. The One that Got Away (04:08)
10. Small Change (05:08)
11. I Can't Wait To Get Off Work (03:20)

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The Human Instinct - Pins In It (1971)

Year: 1971 (CD 2011)
Label: Sunbeam Records (????), SBRCD5083
Style: Psychedelic Rock, Blues Rock, Hard Rock
Country: New Zealand
Time: 49:52
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

The Human Instinct are a New Zealand blues rock band that has been active since the late 1960s. The band has had more than 25 members and has changed lineups several times since its formation under the leadership of Maurice Greer.
They have released a total of seven albums and thirty singles. Their most recent album, Midnight Sun, was released October 2010.
The band is best known for their single "Black Sally" and their album Stoned Guitar, which features the Jimi Hendrix-inspired guitar work of Billy Te Kahika, professionally known as Billy TK.
On their return to New Zealand, Greer was signed by Pye Records and entered Peach-Weymes Auckland ASTOR Studios to record their first blues-based album, Burning Up Years, which was released in late 1969. Three of the album’s seven songs were Harper compositions. (The single, "I Think I’ll Go Back Home", was a blues version of Neil Young's "Everybody Knows This Is Nowhere", but wrongly credited to Harper.)
During recording Barton was replaced on bass by Larry Waide.
Burning Up Years was recorded and mixed by staff engineers Gary Potts and Wahanui Wynyard.
(en.wikipedia.org/wiki/The_Human_Instinct#Discography)

01. Pinzinet (04:08)
02. Stand Up (03:49)
03. Duchess Of Montrose (04:01)
04. Hazy Days (03:41)
05. The Washing Song (02:54)
06. The Nile Song (03:21)
07. Play My Guitar (02:56)
08. Highway (02:24)
09. Rainbow World (04:22)
10. Play My Guitar (Live) (02:52)
11. The Nile Song (Live) (03:08)
12. Duchess Of Montrose (Live) (02:42)
13. Rainbow World (Live) (04:13)
14. Texas Sparrow (non LP 45) (02:43)
15. Children Of The World (non LP 45) (02:30)

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