Various Artists - The Fatboy Slim - Norman Cook Collection (2000)

Year: March 21, 2000 (CD 2000)
Label: Hip-O Records (US), 314 564 787-2
Style: Pop, Electronica
Country: Bromley, Kent, England (31 July 1963)
Time: 64:30
Format: Flac Tracks 16/44,1 kHz
Size: 453 Mb

Norman Cook's Fatboy Slim alter ego has become a big-beat legend (if legendary status can be bestowed on such a young genre) and thus a separate entity from Cook's earlier career incarnations. This collection demonstrates, however, that while evolving profoundly from more acoustic pursuits like the Housemartins and the reggae-flavored, early house music of Beats International, Cook has maintained a long musical memory. After 15 years spent producing an impressive roster of other people's records along with his own, the extraordinary diversity and inventiveness he displays on a set of turntables is the inevitable result of sharp, tasteful ears. Reimagining a classic King Tubby reggae melody for "Tribute to King Tubby," Cook acknowledges the de facto inventor of dub music, even while stamping it with his own thoroughly modern dub-beat approach. Likewise, Cook digs around in the space-age pop of early electronic artist Jean Jacques Perrey's "E.V.A.," unlocking that song's cheesy-smooth melodies with sample-laden aplomb. Too often, Cook's Fatboy persona (and big beat in general) is derided for a supposedly brainless approach to dance music, but that criticism misses the point. What's amazing is how he manages, with such an unwieldy assortment of influences, to mix with the ear of an interpreter, rather than a revisionist, while still making it listenable enough to warrant the accusation of brainlessness in the first place.
(amazon.com/Fatboy-Slim-Norman-Cook-Collection/dp/B00004S5FA)Review by Matthew Cooke

01. Won't Talk About It (04:36)
02. Psyche Rock (Fatboy Slim Malpaso Mix) (06:30)
03. The World Is Made Up Of This & That (Fatboy Slim Remix) (05:46)
04. Echo Chamber (05:54)
05. Dub Be Good To Me (03:38)
06. E.V.A. (Fatboy Slim Radio Edit) (03:45)
07. I Left My Wallet In El Segundo (Vampire Mix) (03:44)
08. The Sun Doesn't Shine (03:53)
09. Start An Avalanche (04:28)
10. Renegade Master (Fatboy Slim Old Skool Mix) (05:59)
11. Roll The Dice (Fatboy Slim Vocal Mix) (06:39)
12. Payback (The Final Mixdown) (05:54)
13. Tribute To King Tubby (03:39)

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Yello - Claro Que Si [6 bonus tracks] (1981)

Year: 1981 (CD Sep 30, 2005)
Label: Universal Music (Europe), 06024 9830756
Style: Synth Pop, Electro Pop, Techno Electronic
Country: Zurich, Switzerland
Time: 60:26
Format: Flac Tracks 16/44,1 kHz
Size: 411 Mb

WWhile the "Bimbo" single on Ralph was the first Yello I had heard [on community radio in Tampa], the first record I found out in the wilds and bought was something else. It was easy enough back then to find the Ralph pressing of "Claro Que Si." While I had a jones for hearing "Bimbo," I am at least pragmatic and know when to be flexible. As it turned out, "Claro Que Si" was a strong introduction to Yello. "Daily Disco" got the album off to a rousing start with one of Yello’s dynamic dance tracks as singer Deiter Meier vacillated between two vocal characterizations to contrast with the flanged synths and jittery sequencers of Boris Blank. This was a track that actually belonged in its namesake; an early example of Yello’s club appeal, which was just one side of a multifaceted branding at the time. As if the next song, "No More Roger" didn’t make abundantly clear.
The band had traveled from Switzerland to San Francisco to meet with prospective label Ralph Records since they were fans of the idiosyncratic Residents. The trip was a good thought since Ralph signed the band and issued their first two albums. "No More Roger" sounded like little else out in the 1981 marketplace with roiling, liquid synths providing the melodrama underneath Meier’s chorused, vocoder vocal. The stark melodrama of the instrumental "Take It All" was a throwback to the queasy cinematic landscapes of the debut album, which I had yet to hear when I got this, but makes perfect sense here.
It served as a long introduction that segued into "The Evening’s Young," which was the first Yello video I had the pleasure of seeing brief clips of on cable TV somewhere. I was just as taken by Meier’s cinematic eye [and penchant for lighting gels] as I was with the electrifying music. "The Evening’s Young" posited a fascinating portrait of a barfly questioning his redundant existence while Boris Blank and the band created a driving, motorik psychedelia. With the processed tapes of Carlos Peron adding mysterious textures and the solid drumming of Beat Ash and guitar of Chico Hablas all folding into the rich mix. At one point Hablas’ guitar attempted to try for a Tom Scholz styled Boston riffage but Blanks synths stepped up to quickly obliterate the guitar.
(full version: postpunkmonk.com/2021/07/21/claro-que-si-my-first-yello-album/)

01. Daily Disco (04:32)
02. No More Roger (03:17)
03. Take it All (01:40)
04. The Evening's Young (05:01)
05. She's Got a Gun (03:41)
06. Ballet Mecanique (03:41)
07. Ouad el Habib (03:22)
08. The Lorry (03:32)
09. Homer Hossa (05:14)
10. Pinball Cha Cha (03:37)
11. Tub Dub (01:45)
12. She's Got a Gun (live at the Palladium NY Sep. 1985) (04:02)
13. Daily Disco (1985 version) (04:05)
14. The Evening's Young (1985 version) (03:10)
15. Pinball Cha Cha (12' mix) (05:24)
16. Desire for Desire (04:15)

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Yello - Solid Pleasure [5 bonus tracks] (1980)

Year: 15 October 1980 (CD Sep 30, 2005)
Label: Universal Music (Europe), 06024 9830904
Style: Synth Pop, Electro Pop, Techno Electronic
Country: Zurich, Switzerland
Time: 57:44
Format: Flac Tracks 16/44,1 kHz
Size: 361 Mb

Hugely influential on the dance and electronic music that came after them, Yello also have the distinction of being the best band ever from Switzerland. Their 1981 debut is the first of six albums newly remastered and expanded. Operating between pop, dance and a deliciously self-aware kind of avant garde, Yello paralleled the artful-yet-playful moves of New York's Ze Records, while also evoking an elegant European sensibility familiar in part because of Kraftwerk. Rare is the album wherein post-punk spunk, samba, polka, soundtracks and marching bands collide: Solid Pleasure combines them with a mixture of presumptuous eccentricity and sophisticated camp. Of the others, Flag has the Race, their only major UK hit. Shame on us.
(theguardian.com/music/2005/oct/14/popandrock.shopping7)

01. Bimbo (03:38)
02. Night Flanger (04:53)
03. Reverse Lion (01:21)
04. Downtown Samba (02:37)
05. Magneto (02:47)
06. Massage (01:37)
07. Assistant's Cry (01:40)
08. Bostich (02:13)
09. Rock Stop (02:31)
10. Coast To Polka (01:55)
11. Blue Green (05:26)
12. Eternal Legs (04:16)
13. Stanztrigger (02:49)
14. Bananas To The Beat (03:03)
15. Thrill Wave (02:05)
16. I. T. Splash (02:37)
17. Gluehead (02:53)
18. Smirak's Train (04:39)
19. Bostich (N'est-ce pas) (04:35)

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Rick Derringer - All American Boy (1973)

Year: October 1973 (CD ????)
Label: Blue Sky Records (US), ZK 32481
Style: Pop
Country: Celina, Ohio, U.S. (August 5, 1947)
Time: 40:07
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

When Rick Derringer, about to turn 26, went into the studio to record his debut solo, All American Boy, he was already a veteran of the music scene who had lived it all. Before he was 18 he had sung and recorded one of the biggest hits of the 60's with his band The McCoys, Hang On Sloopy, he had also seen his band move away from the bubblegum sound - and success - seeking greater credibility, he had also, along with his McCoy bandmates, accompanied the Winter brothers, Johnny and Edgar, in several of their incarnations, forming Johnny Winter And, with the former, and White Trash and Edgar Winter Group, with the latter. His song Rock And Roll Hoochie Koo had become something of a classic and had been recorded in 1970 with Johnny Winter and again, in 1972, on a record by Edgar's White Trash.
So he decided to try his luck on his own and did so by relying on his trump card, Rock And Roll Hoochie Koo. The song became a hit, approaching the Top 20 in the U.S., however the album on which it appeared, this All American Boy, did not have the same luck and Derringer remained affiliated with Winter for much of the decade. It's a shame because the album was not bad at all and the version of his best known song is true apotheosis - with a Derringer unleashed in the solo, demonstrating that the former teenage star had become a guitar ace.    
Joy Ride is an instrumental in the manner of the Allman Brothers, although the production seems a bit overdone. Cheap Tequila sees him approaching the country and honky tonk sound, showing that he's not bad on slide either. Uncomplicated is another of the album's big moments, a very typical hard rocker of the era that could have become his second hit. While Teenage Love Affair anticipates the sound with which Kiss would triumph a couple of years later - and also includes a solo with a Talk Box, shortly before Peter Frampton turned the gadget into a sensation. Derringer used to play it in his live appearances with Edgar Winter's band using his rare Gibson Explorer, although the most iconic guitar on the album is the Stratocaster on the cover, an instrument that had belonged to John Hammond and that he gave to Bob Dylan, who gave it to Mike Bloomfield during the recording of Highway 61 Revisited. The legendary guitarist gave this '59 model to the no less legendary Johnny Winter from whom Derringer decided to borrow it to put it on the cover of his first album, despite being known more for his preference for Gibson models, such as Les Paul or 335.
Hold is a ballad with strings and backing vocalists, closer to Elton John than Johnny Winter; the most interesting thing about it is a lyric composed by a then unknown Patti Smith. Slide On Over Slinky is another powerful rocker with an interesting riff and, again, great slide work from the guy who was once told by Duane Allman that he had been one of his inspirations for putting the Coricidin tube on his finger. Jump, Jump, Jump, Jump closes the album with a ballad sung in falsetto that serves as a vehicle for his six-string prowess, with the second best solo on the album, behind the portentous Rock And Roll Hoochie Koo.   
Evidently All American Boy is not a classic, but it is a very attractive album for all those in love with the sounds of seventies rock. There are no other songs on the level of Rock And Roll Hoochie Koo, but it is proof that Derringer was an interesting composer and a fabulous musician.
(guitarsexchange.com/en/unplugged/1110/rick-derringer-all-american-boy-1973/)

01. Rock And Roll, Hoochie Koo (03:42)
02. Joy Ride (Instrumental) (01:50)
03. Teenage Queen (03:38)
04. Cheap Tequila (02:35)
05. Uncomplicated (03:39)
06. Hold (03:12)
07. The Airport Giveth (The Airport Taketh Away) (02:49)
08. Teenage Love Affair (03:19)
09. It's Raining (02:04)
10. Time Warp (Instrumental) (02:53)
11. Slide On Over Slinky (04:20)
12. Jump, Jump, Jump (06:00)

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Richard Thompson with Judith Owen & Debra Dobkin - 1000 Years Of Popular Music [Live 2CD] (2003)

Year: July 2003 (CD 2006)
Label: Cooking Vinyl (USA & Europe), RT1000SP
Style: Folk Rock, Acoustic
Country: Notting Hill, London, England (3 April 1949)
Time: 37:57, 43:00
Format: Flac Tracks 16/44,1 kHz
Size: 228, 274 Mb

Richard Thompson (guitar and vocals) - Notting Hill, London, England (3 April 1949). Judith Owen (vocals) - London, England, UK (2 January 1969). Debra Dobkin (percussion and vocals) - U.S.
And you thought you had an impressive record collection. Richard Thompson's vinyl goes all the way back to the 13th century. He pulls out some really old tunes for 1,000 Years of Popular Music, a live 2xCD/DVD set that documents a 2005 show with musicians Judith Owen and Debra Dobkin. The idea, as Thompson recounts in the liners, was inspired by a request from Playboy to list his favorite songs of the millennium; the magazine declined to print his list, but he was so enamored of the idea that he put together a small backing band and performed them all in rough chronological order. Aside from some minor quibbles-- apparently, music was never popular in Asia, Africa, or South America-- the set is mostly fun and light. It's a minor work in the Thompson canon, but enjoyable nevertheless-- if only for its tongue-in-cheek ambition and the singer's spirited delivery.
1,000 Years of Popular Music kicks off with "Summer Is Icumen In", which is the original summer anthem and could be heard blasting from many a tavern and castle during the balmy middle months of 1260. The first disc takes us all the way up to 1940, covering the dark ages of pop music and leading us right up to the 20th century renaissance. Thompson's cover of "Remember O Thou Man" (1611) shows why so many villagers would raise up their torches for this show closer, and "Java Jive" (1940) shuffles along on a percolating rhythm as he toasts the original power drink. But "O Sleep Fond Fancy" (1590) is just such an obvious choice.
The latter half of the 20th century takes up the second disc, stretching from Cole Porter's "Night and Day", sung here by Owen, to the present. Thompson dips into American country with Hank Cochran's "A-11" (1963) and into British pop music with the Kinks' "See My Friends" (1965) and Squeeze's "Tempted" (1981), although Thompson and Owen ride the outro for way too long. Best of all is their rollicking version of the Easybeats' "Friday on My Mind" (1966)-- but really, who could mess that song up? The only real dud is the encore, "Sam Hall" (1830s), which is a fine song but doesn't really benefit from Thompson's gruff delivery or the half-hearted audience participation.
On the whole, however, it's an entertaining game to pick out the similarities between these disparate tunes. How straight the lines are between "King Henry" (1400s) and "Tempted", between "Bonnie St. Johnstone" (1600s) and "Cry Me a River" (the 1953 Julie London hit, not the 2002 Justin Timberlake dis). His notorious cover of "Oops... I Did It Again" (2000) susses out the implications of the lyrics' casual manipulation, making it fit surprisingly well into Thompson's canon. But the biggest surprise on 1,000 Years of Popular Music is how well Bowling for Soup holds up against centuries of popular music: Delivered by Thompson, their song "1985" (2004) provides an oddly insightful look at trends and nostalgia for our personal and collective past. Look for a big revival in 3006.
(pitchfork.com/reviews/albums/9198-1000-years-of-popular-music/)

01. Sumer Is Icumen In (02:27)
02. King Henry (04:53)
03. So Ben Mi Ca Bon Tempo (03:02)
04. Bonnie St. Johnstone (05:51)
05. O Sleep Fond Fancy (01:51)
06. Remember O Thou Man (03:28)
07. Shenandoah (03:50)
08. Blackleg Miner (03:25)
09. I Live In Trafalgar Square (02:57)
10. There Is Beauty In The Bellow Of The Blast (From The Mikado) (02:31)
11. Java Jive (03:37)

01. Night And Day (05:49)
02. Orange Coloured Sky (02:20)
03. Drinking Wine Spo-Dee-O-Dee (02:35)
04. A-11 (03:21)
05. See My Friends (04:47)
06. Friday On My Mind (03:19)
07. Tempted (04:52)
08. Oops!... I Did It Again (03:30)
09. Cry Me A River (05:14)
10. 1985 (03:03)
11. Sam Hall (04:04)

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Rainbow - Long Live Rock 'n' Roll [Japan Ed.] (1978)

Year: 14 April 1978 (CD December 27, 2001)
Label: Polydor Records (Japan), UICY-90515
Style: Hard Rock
Country: London and Los Angeles
Time: 39:50
Format: Flac Tracks 16/44,1 kHz
Size: 255 Mb

Charts: UK #7, AUS #43, CAN #94, FIN #14, GER #26, JPN #9, NOR #12, NLD #11, SWE #18, US #89. UK: Silver.
Recording of the album commenced in April 1977 at a studio in Chateau d'Herouville, France, featuring Ritchie Blackmore, Ronnie James Dio and Cozy Powell. Keyboards were initially played on a session basis by former Rainbow member Tony Carey, while bass parts were started by Mark Clarke. Clarke was soon dismissed, however, and the bass parts were recorded by Blackmore himself. By July 1977 seven tracks that ended on the album were in demo form. Recording was suspended while the band recruited Bob Daisley and David Stone and thereafter commenced extensive touring of Europe in the summer and autumn of 1977. A return to the Chateau d'Herouville studio in December saw the band finish the album and also yielded a final track, "Gates of Babylon".
Although Daisley and Stone are listed on the album credits for their contributions, they joined the band partway through the recording sessions and only appear on three and four songs, respectively. Stone wrote parts of "Gates of Babylon", the middle 8 section during the guitar solo. He was paid for the work, but not credited on the album.
The original vinyl release was in a gatefold-sleeve cover illustrated by Debbie Hall, with a lyric-sheet insert. The crowd picture is actually from a Rush concert, with the wording on the banner the fans were holding replaced by the Rainbow album title and the visible Rush T-shirts airbrushed to black.
Original copies of the single "L.A. Connection" were issued on red vinyl and featured the previous studio album's cover picture on the B-side's label.
(en.wikipedia.org/wiki/Long_Live_Rock_%27n%27_Roll)

01. Long Live Rock 'n' Roll (04:24)
02. Lady Of The Lake (03:38)
03. L.A. Connection (05:02)
04. Gates Of Babylon (06:51)
05. Kill The King (04:30)
06. The Shed (Subtle) (04:47)
07. Sensitive To Light (03:07)
08. Rainbow Eyes (07:26)

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Ozzy Osbourne - Randy Rhoads - Tribute [Japan Ed.] (Live 1980-1981) (1987)

Year: April 1987 (Recorded: 1980/1981)  (CD June 20, 2007)
Label: Epic Records (Japan), EICP 784
Style: Heavy Metal, Hard Rock
Country: Marston Green, Warwickshire, England (3 December 1948)
Time: 73:45
Format: Flac Tracks 16/44,1 kHz
Size: 567 Mb

Charts: UK #13, AUS #46, CAN #17, FIN #13, GER #41, JPN #176, NZ #36, SWE #17, US #6. Australia & Canada: Gold; US: Platinum.
The album was released in memory of Randy Rhoads, guitarist for Osbourne's band between 1979 and 1982 who died in a plane crash while on tour in Florida in 1982. The album also includes studio outtakes of Rhoads recording the classical-influenced acoustic guitar piece "Dee", which Rhoads wrote for his mother Delores and which was originally included on Osbourne's debut solo album Blizzard of Ozz.
A live album consisting entirely of renditions of Black Sabbath songs was originally planned to be recorded at Toronto's Maple Leaf Gardens in mid-1982 with Rhoads. Rhoads and drummer Tommy Aldridge felt that they had established themselves as recording artists and an album of cover songs would be a step backwards artistically, and they refused to participate. Bassist Rudy Sarzo was uncomfortable with refusing to perform, not having the same recording pedigree of his bandmates, but he stood with them and the trio informed management of their decision. Osbourne felt betrayed and his relationship with Rhoads never fully recovered. Plans for this proposed live album crumbled upon Rhoads' sudden death weeks later, though the plan was resurrected with the release of Speak of the Devil later that year with Sarzo and Aldridge joined by Night Ranger guitarist Brad Gillis.
The majority of Tribute, from "I Don't Know" through to "Paranoid", was recorded live in Cleveland, Ohio on 11 May 1981. "Goodbye to Romance" and "No Bone Movies" are taken from an earlier English gig in support of the Blizzard of Ozz album, possibly from Southampton on 2 October 1980. These two tracks feature bassist Bob Daisley and drummer Lee Kerslake.
The versions of "Iron Man", "Children of the Grave", and "Paranoid" featured on Tribute were originally intended to be included on the 1982 live album Speak of the Devil. In the months following Rhoads' death, these three songs were intended to be released in tribute to the guitarist, but a record company decision was made to save them for a full album to be released at a later date.
The recording of "Crazy Train" that appears on this album was also released as the album's only single on 10 February 1987, along with an accompanying music video. The album's cover photo was taken at a performance in Rosemont, Illinois on 24 January 1982, by photographer Paul Natkin.
The operatic music which opens Tribute, as well as all of Osbourne's live shows of that era, is "O Fortuna" from the Carmina Burana scenic cantata by Carl Orff. This introductory music was omitted from the 1995 remaster, with opening track "I Don't Know" subsequently being shortened to 4:43.
(en.wikipedia.org/wiki/Tribute_(Ozzy_Osbourne_album))

01. I Don't Know (05:40)
02. Crazy Train (05:19)
03. Believer (05:08)
04. Mr. Crowley (05:37)
05. Flying High Again (04:17)
06. Revelation (Mother Earth) (05:58)
07. Steal Away (The Night) with Drum Solo (08:04)
08. Suicide Solution with Guitar Solo (07:46)
09. Iron Man (02:50)
10. Children Of The Grave (05:57)
11. Paranoid (02:59)
12. Goodbye To Romance (05:33)
13. No Bone Movies (04:08)
14. Dee (Randy Rhoads Studio Out-Takes) (04:22)

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Whitesnake - Flesh & Blood [Japan Ed.] (2019)

Year: 10 May 2019 (CD May 10, 2019)
Label: Ward Records (Japan), GQCS-90703
Style: Hard Rock
Country: London, England
Time: 73:14
Format: Flac Tracks 16/44,1 kHz
Size: 521 Mb

Charts: UK #7, FIN #4, GER #3, NED #51, NOR #13, SWE #9, SWI #2, JP #11, US #131.
In some ways Whitesnake have used the same artwork (a kind of variation on the Game of Thrones branding) for about 30 years. Some might also say that Mr Coverdale should really be pulling back from all out rock as his voice is not quite what it was. However, David and the boys have no intention of slowing down if this new album is anything to go by.
I must admit I approached it with caution even as a Deep Purple Family collector.
My expectations were fairly neutral but half way through the first listen it was obvious that this was going to be something special. There has been nothing really wrong with the recent Whitesnake albums but for me nothing really hit the highs of ‘Good To Be Bad’ from 2008. Well I am pleased to say this this album ticks all the boxes and you can tell the whole band are having fun and enjoying a surge or creativity. David Coverdale’s voice sounds great even if lyrically he doesn’t move too far away from his lonely nights and still being bad to the bone!
This is a great rock album and at nearly 70mins in length (that is almost a double album in old money) is a fab listen from beginning to end. The production is spot on. Don’t expect the the songs to stray too far away from the 80s rock / metal blue print but then you are probably not expecting them to at this stage of their career. This is a brutal rock album played with passion and determination. David Coverdale and the boys are refusing to go gently into the night and if this is what we can expect then long may it continue.
(nowspinning.co.uk/whitesnake-flesh-blood-cd-dvd-2019-review/) Review by Phil Aston. 20th May 2019

01. Good to See You Again (03:42)
02. Gonna Be Alright (03:51)
03. Shut Up and Kiss Me (03:37)
04. Hey You (You Make Me Rock) (05:29)
05. Always & Forever (03:53)
06. When I Think of You (Color Me Blue) (03:52)
07. Trouble Is Your Middle Name (04:17)
08. Flesh & Blood (05:18)
09. Well I Never (04:01)
10. Heart of Stone (06:42)
11. Get Up (04:45)
12. After All (03:47)
13. Sands of Time (06:09)
14. After All (Unzipped Mix) (Japanese Bonus Track) (03:45)

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Humble Pie - Smokin' (1972)

Year: March 1972 (CD 1991)
Label: A&M Records (U.S.), CD 3132
Style: Rock, Blues Rock, Rhythm and Blues
Country: Moreton, Essex, England, UK
Time: 43:51
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

Charts: U.S. #6, CA #13, AUS #9, GE #26, UK #20.
The album was Humble Pie's first following the departure of guitarist Peter Frampton, which placed singer and co-founder Steve Marriott as the band's de facto leader. Smokin' is the band's best-selling album, due in large part to the success of the single "30 Days in the Hole".
Smokin' includes dramatically slowed down versions of Eddie Cochran's "C'mon Everybody", Junior Walker's "Road Runner", and the wah-wah laden slow blues "I Wonder". "You're So Good for Me", which begins as a delicate acoustic number, ultimately mutates into a full-bore gospel music rave-up, an element that would later influence bands like The Black Crowes.
Alexis Korner guests on the track "Old Time Feelin'", Marriott's vocals take a back seat as the main vocals are provided by Greg Ridley and Korner who also plays a Martin Tiple, mandolin-type guitar. Its sound is reminiscent of the song "Alabama '69" on their first album.
Stephen Stills guests on "Road Runner 'G' Jam" (the title is a nod to the band's habit of developing songs out of jam sessions), playing Hammond organ, and his backing vocals were over-dubbed on "Hot 'n' Nasty" a slow-burning and then dynamic R&B song, after he strolled in after recording his own sessions next door.
Marriott insisted on producing the album himself for the challenge of creating a compact R&B sound with a high-tech 24-track mixing board. Marriott collapsed with exhaustion in February. The New Musical Express (NME) reported at the time: "Following intense recording sessions with Humble Pie, Steve Marriott collapsed with nervous exhaustion and doctors told him to rest".
With this album the group were seen as leaders of the boogie movement in the early 1970s.
(en.wikipedia.org/wiki/Smokin%27_(Humble_Pie_album))

01. Hot 'n' Nasty (03:21)
02. The Fixer (05:02)
03. You're So Good for Me (03:50)
04. C'mon Everybody (05:13)
05. Old Time Feelin' (04:00)
06. 30 Days in the Hole (03:57)
07. a) Road Runner / b) Road Runner's 'G' Jam (03:43)
08. I Wonder (08:53)
09. Sweet Peace and Time (05:48)

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Edgar Broughton Band - Wasa Wasa (1969)

Year: July 1969 (CD 19??)
Label: BGO Records (UK), BGOCD129
Style: Rock, Blues Rock, Psychedelic Rock
Country: Warwick, England
Time: 45:31
Format: Flac Tracks 16/44,1 kHz
Size: 261 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.
(musicianbio.org/edgar-broughton/)

01. Death of an Electric Citizen (06:08)
02. American Boy Soldier (04:21)
03. Why Can't Somebody Love Me (05:06)
04. Neptune (04:20)
05. Evil (02:35)
06. Crying (05:13)
07. Love In The Rain (03:46)
08. Dawn Crept Away (13:59)

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Atomic Rooster - Made In England [Japan Ed.] (1972)

Year: October 1972 (CD 25 Jul 2016)
Label: Belle Antique (Japan), BELLE 162591
Style: Art Rock, Progressive Rock
Country: United Kingdom
Time: 40:48
Format: Flac Tracks 16/44,1 kHz
Size: 271 Mb

Charts: U.S. #149, AUS #42.
Made in England is the fourth album by British rock band Atomic Rooster. Although previously known for generally having a progressive rock style, this album saw the band moving in more of a funk/soul direction, largely influenced by new singer Chris Farlowe. Apart from founder member Vincent Crane, the album was recorded by an entirely different lineup to that of the band's prior effort, In Hearing of Atomic Rooster. Previous members John Du Cann and Paul Hammond had departed in protest at Crane's intended new musical direction.
In the UK and Germany, original copies of the LP came wrapped in an actual denim sleeve. Later pressings came in a standard art sleeve. In the US, the record was issued on Elektra in the standard sleeve. It was further reissued in Germany in 1977, this time in yet another new sleeve and retitled This is Atomic Rooster.
The only UK single from Made in England was "Stand by Me".
(en.wikipedia.org/wiki/Made_in_England_(Atomic_Rooster_album))

01. Time Take My Life (06:01)
02. Stand By Me (03:47)
03. Little Bit Of Inner Air (02:39)
04. Don't Know What Went Wrong (04:00)
05. Never To Lose (03:17)
06. Breathless (05:17)
07. Space Cowboy (03:20)
08. People You Can't Trust (03:53)
09. All In Satan's Name (04:44)
10. Close Your Eyes (03:47)

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Ananda Shankar - Ananda Shankar (1970)

Year: 1970 (CD 1998)
Label: Reprise Records (U.S.) 9362472632
Style: Psychedelic Rock, Rock, Experimental
Country: India (December 11, 1942 - 26 March 1999)
Time: 40:35
Format: Flac Tracks 16/44,1 kHz
Size: 271 Mb

Ananda Shankar (11 December 1942 – 26 March 1999) was an Indian musician, singer, and composer best known for fusing Western and Eastern musical styles. He was married to dancer and choreographer Tanusree Shankar.
Achievements - Nephew of the world renowned Sitarist Ravi Shankar, Ananda Shankar was a popular Indian musician known for mixing fluxing the western into the eastern music styles. He has also played alongside music legends like Jimi Hendrix.
Ananda Shankar was a popular musician of India, who excelled in fluxing the western into the eastern music styles. He was born on 11 December 1942 at Almora in the Uttar Pradesh state to eminent classical dancers, Amala and Uday Shankar. He also happened to be the nephew of the world famous Sitarist, Ravi Shankar. Yet he chose to learn the instrument from Dr Lalmani Misra of Varanasi instead of his uncle. Later on, he married Tanushree Shankar.
Read on to learn more about this unique musician Ananda Shankar, who traveled to Los Angeles in the late 1960s. Here he played alongside many stalwarts in the field of music like Jimi Hendrix. Reprise Records signed Ananda Shankar on and this lead to the release of his first self-titled album in 1970. It comprised original Indian classical compositions and sitar-based versions of popular western hit songs such as that of The Rolling Stones' Jumpin' Jack Flash and The Doors' Light My Fire.
Ananda Shankar came back to India during the early 70s after the successful debut of his first international music album. More confident now, Shankar continued his musical experimentation and finally launched his most talked about album 'Ananda Shankar And His Music', which brought together the sounds of the sitar, guitar, tabla, mridangam, drums and the moog synthesizers. The very same album was re-released in 2005 reintroducing the melodies Ananda Shankar spent his entire life history creating.
The popularity of Shankar's music soared again during the mid 1990s after it made its way into the night clubs, especially those in London. The launch of Blue Note Records in 1996 further served to introduce Shankar's music to a newer and even larger number of audiences. Yet another one 'Blue Juice Vol. 1' belted out two outstanding sound tracks "Dancing Drums" and "Streets Of Calcutta". In 1990s, Ananda Shankar composed music as well as toured the UK. 'Walking On' was released in 2000 after Shankar's sudden death the year before.
(iloveindia.com/indian-heroes/ananda-shankar.html)

01. Jumpin' Jack Flash (03:35) (The Rolling Stones)
02. Snow Flower (02:49)
03. Light My Fire (03:32) (The Doors)
04. Mamata (Affection) (03:09)
05. Metamorphosis (06:50)
06. Sagar (The Ocean) (13:16)
07. Dance Indra (03:53)
08. Raghupati (03:28)

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Mountain - Avalanche (1974)

Year: July 1974 (CD 2002)
Label: Collectables Records (US), COL-CD-6871 SONY A 52701
Style: Hard Rock, Rhythm and Blues
Country: Long Island, New York, U.S.
Time: 41:33
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

Not dramatically worse than Nantucket Sleighride, not even radically different. The spirit of Woodstock has been fading of course, but "I Love to See You Fly" is a nice song and the surprising cover of "Whole Lotta Shakin' Goin' On" has a nice touch in it as well. The instrumental "Alisan" is definitely not bad either. Instead, the version of "Satisfaction" is a waste of time. Seven of the ten tracks might make 2.5, but luckily we have a few quite good numbers on the album too.
Review by fairyeee. May 26 2015

The material on Mountain's Avalanche has slipped just a little but the musicianship is still there. There are some real toe tappers on this recording and Mr. Leslie West's guitar work is still masterful.
The Rolling Stones' Satisfaction is damn near a perfect hard rock tune and Leslie West makes it his own.
Review by rod45. Aug 06 2013

Way, way, way not the masterpiece Nantucket Sleighride and Climbing! are. Not by a longshot. That doesn't however mean Avalanche is bad. On the contrary, Avalanche is a great Proto-Metal disc. Full of heavy Guitar fire, thunderous Drums and booming Bass. It's the songwriting that isn't quite up to standard. The highlights are the crushing You'd Better Believe It, the chiming Sister Justice, and a kick ass cover of The Stones classic Satisfaction.
Review by DarthKarl. Mar 13 2012
(All review: rateyourmusic.com/release/album/mountain/avalanche/reviews/2/)

01. Whole Lotta Shakin' Goin' On (05:05)
02. Sister Justice (03:58)
03. Alisan (04:40)
04. Swamp Boy (02:55)
05. Satisfaction (05:16)
06. Thumbsucker (03:20)
07. You Better Believe It (05:48)
08. I Love To See You Fly (03:45)
09. Back Where  I Belong (02:57)
10. Last Of The Sunshine Days (03:45)

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Jefferson Airplane - Takes Off [8 bonus tracks] (1966)

Year: 5 August 1966 (CD ????)
Label: RCA Records (US), 82876 50352 2
Style: Psychedelic Rock
Country: San Francisco, California, U.S.
Time: 71:57
Format: Flac Tracks 16/44,1 kHz
Size: 349 Mb

Almost masterpiece by some other Jefferson Airplane. Forgotten treasure before revolution, studio experiments and too many drugs.
For a couple of years I've been trying to read something about CD before purchase. Usually I get reliable and valuable information. But in case of "Jefferson Airplane Takes Off" I read... well... bluffs. I read it is unsuccessful and very different from other Airplane albums, that I should beware of it, it is not on par with albums made at the end of sixties and so on.
First,  this is not the same band who recorded "After Bathing At Baxters", "Crown Of Creation" or "Volunteers" and it is easy to see. The singer here is not Grace Slick but Signe Anderson, and drummer's name is Skip Spence (later known as a guitar player in Moby Grape). The main composer is Marty Balin. Music is not so psychedelic but honest and romantic electric folk rock. All the stuff that made, say, "Baxter" so "uncompromising" are luckily absent. So anyone searching for studio pyrotechnics, weird and revolutionary sounds will be disappointed.
Second, Signe Anderson is less dominant than Grace Slick on the later albums but she did a nice job on her lead "Chauffeur Blues" and harmonizing is very good. Marty Balin shines both as lead vocalist and songwriter with a little help from band.
Third, it is said that if you want to break some rule, first you've got to learn it. And here is evident that Marty and company have learned all the rules how to make a good folk rock song. In fact they sound so good so I must ask why they went "up against the wall" at all. And in my honest opinion "Surrealistic Pillow" was so good because the Airplane perfected craft they had already presented here, not because they went experimenting. So, all the differences I mentioned before are pretty much refreshing.
"Takes Off" is album made by bunch of smart young men and the reason why I like it so much is because it is not so overblown or intended to be a great artistic statement. "Takes off" is inspired collection of often beautiful folk rock songs played on electric guitars and sang in three part harmonies. And that's it. It is not "Rubber Soul" or "Pet Sounds", to be sure, but it is okay played, beautifully sung, and most of all, it has a big heart. Almost every song has some killer hook that other band would have killed for. I can hear that every song on the album (including couple of bonuses) is played inside out before going to studio, so the band sounds better than sum of its parts. And that is big thing, although some band members were still in process of learning (by joining Airplane Spence didn't have any drumming experience), it is all part of album's unique charm.
CD reissue comes with a couple of very good outtakes, so this album is highly recommended for anybody interested in Sixties folk rock. For those who want to hear early days of the one of most popular psychedelic group, this album can be really refreshing.
(sputnikmusic.com/review/13070/Jefferson-Airplane-Jefferson-Airplane-Takes-Off/)

01. Blues From An Airplane (02:13)
02. Let Me In (02:59)
03. Bringing Me Down (02:23)
04. It's No Secret (02:39)
05. Tobacco Road (03:30)
06. Come Up The Years (02:32)
07. Run Around (02:40)
08. Let's Get Together (03:35)
09. Don't Slip Away (02:34)
10. Chauffeur Blues (02:28)
11. And I Like It (03:20)
12. Runnin' 'Round This World (Mono, Uncensored Single Version) (02:25)
13. High Flying Bird (Bonus Track) (02:35)
14. It's Alright (Bonus Track) (02:17)
15. Go To Her (Early Version, 7/21/66) (04:09)
16. Let Me In (Original Uncensored Version) (03:31)
17. Run Around (Mono, Original Uncensored Version) (02:35)
18. Chauffeur Blues (Alternate Version, Previously Unissued) (02:49)
19. And I Like It (Alternate Version, Previously Unissued) (10:36)

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Jefferson Starship (Jefferson Airplane) - Red Octopus (1975)

Year: June 13 1975 (CD ????)
Label: RCA / Legacy Records (US), 82276 71223 2
Style: Soft Rock
Country: San Francisco, California, U.S.
Time: 62:34
Format: Flac Tracks 16/44,1 kHz
Size: 394 Mb

Charts: US #1, AUS #69, CAN #13, NZ #15. US: 2x Platinum.
Technically speaking, Red Octopus was the first album credited to Jefferson Starship, though practically the same lineup made Dragon Fly, credited to Grace Slick/Paul Kantner/Jefferson Starship. The difference, however, was crucial: Marty Balin was once again a fully integrated bandmember, writing or co-writing five of the ten tracks. And there can be little doubt that it was Balin's irresistible ballad "Miracles," the biggest hit single in the Jefferson Whatever catalog, that propelled Red Octopus to the top of the charts, the only Jefferson album to chart that high and the best-selling album in their collective lives. This must have been sweet vindication for Balin, who founded Jefferson Airplane but then drifted away from the group as it veered away from his musical vision. Now, the collective was incorporating his taste without quite integrating it -- "Miracles," with its strings and sax solo by nonband member Irv Cox, was hardly a characteristic Airplane/Starship track. But then, neither exactly was Papa John Creach's showcase, "Git Fiddler," or bassist Pete Sears' instrumental "Sandalphon," which sounded like something from an early Procol Harum album. Slick has three strong songs, among them the second single "Play on Love." Like Dragon Fly, Red Octopus reflected a multiplicity of musical tastes; there were ten credited songwriters, seven of whom were in the band. If there is any consistency in this material, it is in subject matter (love songs). The album is more ballad-heavy and melodic than the Airplane albums, which made it more accessible to the broader audience it reached, though "Sweeter Than Honey" is as tough a rocker as the band ever played.
(allmusic.com/album/red-octopus-mw0000194323)

01. Fast Buck Freddie (03:30)
02. Miracles (06:53)
03. Git Fiddler (03:11)
04. Ai Garimasu (There Is Love) (04:17)
05. Sweeter Than Honey (03:23)
06. Play On Love (03:46)
07. Tumblin' (03:29)
08. I Want To See Another World (04:36)
09. Sandalphon (04:11)
10. There Will Be Love (05:08)
11. Miracles (Single Version) (03:30)
12. Band Introduction (Live at Winterland, November 7, 1975) (01:15)
13. Fast Buck Freddie (Live at Winterland, November 7, 1975) (03:35)
14. There Will Be Love (Live at Winterland, November 7, 1975) (04:58)
15. You're Driving Me Crazy (Live at Winterland, November 7, 1975) (06:45)

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Paul Kantner, Grace Slick & David Freiberg (Jefferson Airplane) - Baron Von Tollbooth & The Chrome Nun (1973)

Year: May 1973 (CD 1997)
Label: RCA Records (US), RCA 07863 67418-2
Style: Rock
Country: U.S.
Time: 40:22
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

David Freiberg (Boston, Massachusetts, U.S. August 24, 1938) - Quicksilver Messenger Service, Jefferson Airplane, and Jefferson Starship.
Paul Kantner (San Francisco, California, U.S. March 17, 1941 - January 28, 2016) - Jefferson Airplane, and Jefferson Starship.
Grace Slick (Highland Park, Illinois, U.S. October 30, 1939) - The Great Society, Jefferson Airplane, Jefferson Starship, Starship.
Credited to Paul Kantner, Grace Slick, and David Freiberg, Baron von Tollbooth & The Chrome Nun was the first album made by these erstwhile members of Jefferson Airplane since the breakup of that group. Like such other spin-off projects as Blows Against the Empire and Sunfighter, this one featured a supporting cast of San Francisco Bay Area musicians including present and former members of a variety of groups, such as the Grateful Dead (lead guitarist Jerry Garcia, percussionist Mickey Hart, and lyricist Robert Hunter, who wrote the words to "Harp Tree Lament"), Crosby, Stills, Nash & Young (singer David Crosby), and the Flying Burrito Brothers (bassist Chris Ethridge), as well as other former members of the Airplane and future members of Jefferson Starship. The Pointer Sisters even guested on one track. Despite the co-billing, the album's guiding force was Slick, who sang on every track and wrote or co-wrote six of the ten songs, though there was still room for the unbilled Jack Traylor to write, play acoustic guitar, and sing lead vocals on the song "Flowers of the Night," a celebration of monarchial overthrows throughout history. Perhaps more outside songwriting should have been employed, since the compositions here were second-rate. The public was catching on, too: Kantner's Blows Against the Empire had reached the Top 20, but Baron von Tollbooth didn't come near the Top 100. The team would attempt one more splinter project, Slick's "solo" album Manhole, before reorganizing as Jefferson Starship in 1974 with the notable return of singer/songwriter Marty Balin.
(allmusic.com/album/baron-von-tollbooth-the-chrome-nun-mw0000084215)

01. Ballad Of The Chrome Nun (04:00)
02. Fat (03:14)
03. Flowers Of The Night (04:17)
04. Walkin' (02:31)
05. Your Mind Has Left Your Body (05:47)
06. Across The Board (04:37)
07. Harp Tree Lament (03:38)
08. White Boy (Transcaucasian Airmachine Blues) (04:16)
09. Fishman (02:43)
10. Sketches Of China (05:15)

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The Great Society (Jefferson Airplane) - Born To Be Burned (1965)

Year: 1965 (CD Jan 19, 1996)
Label: Sundazed Music (US), SC 11027
Style: Psychedelic Rock
Country: San Francisco, California, U.S.
Time: 42:21
Format: Flac Tracks 16/44,1 kHz
Size: 270 Mb

Born to Be Burned is a compilation album by the San Francisco garage rock and psychedelic rock band the Great Society. The album is made up of material recorded during the band's short-lived association with Autumn Records in 1965, with the majority of it previously unreleased. The exceptions to this are the songs "Someone to Love" and "Free Advice" (tracks 1 and 2 on the album), which had both been issued as a single on Northbeach Records, a subsidiary of Autumn Records, in February 1966.
The album contains many of The Great Society's signature songs, including "Free Advice", a drone-laden piece of raga rock, greatly influenced by Indian classical music, and "Father Bruce", a song inspired by comedian and counterculture hero, Lenny Bruce. The oriental-sounding "Daydream-Nightmare-Love" and the darkly psychedelic "Born to Be Burned" are also included. "Someone to Love" is arguably The Great Society's most famous song, due to the later hit single version by Jefferson Airplane (retitled "Somebody to Love"). The Great Society's vocalist, Grace Slick, joined Jefferson Airplane in late 1966 and consequently she sings lead vocal on the Airplane's recording of the song, which became a Top 5 hit in the U.S. in May 1967.
(en.wikipedia.org/wiki/Born_to_Be_Burned)

01. Free Advice (02:32)
02. Someone To Love (03:06)
03. You Can't Cry (02:35)
04. That's How It Is (02:29)
05. Girl (02:12)
06. Where (02:12)
07. Heads Up (01:19)
08. Free Advice (Alternate Version 2) (02:09)
09. Father Bruce (03:10)
10. Born To Be Burned (02:07)
11. Double Tripamine Superautomatic Everlovin' Man (01:57)
12. Love You Girl (03:09)
13. That's How It Is (Alternate Version) (02:25)
14. Right To Me (03:06)
15. Where (Alternate Version) (02:15)
16. Free Advice (Alternate Version 1) (02:12)
17. Daydream-Nightmare-Love (03:18)

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Grace Slick (ex Jefferson Airplane) - Dreams (1980)

Year: March 18, 1980 (CD November 2, 1998)
Label: Si-Wan Records (South Korea), SRMWP 1010
Style: Pop Rock
Country: Highland Park, Illinois, U.S. (October 30, 1939)
Time: 46:19
Format: Flac Tracks 16/44,1 kHz
Size: 287 Mb

Charts: US #32, AUS #46, NLD #39, NOR #22, UK #28.
Paul Weller had 22 of them. Lennon had a number nine one. McCartney had one of his mother Mary. David Crosby had one about a ‘Shadow Captain’ leading him astray. Ray Davies didn’t have any and wrote about his insomnia instead. No, we’re not talking about cakes or gold records here – we’re talking about dreams, one of the most common and useful songwriting ideas after love and romance. Grace Slick, she of the Jefferson Airplane and Starship, isn’t the kind of singer you usually associate with dreams and imagination (songs about real events and experiences have always been her strong point) but that's what makes this surreal, hazy yet bitey album all the more remarkable - easily the greatest and most essential purchase of her four solo albums. In one way this is in many ways her least dream-like album of all, full of stunning insights into her own life with the cold splash of trouble and tribulation, like the sober morning after an alcoholic binge and as tough as old boots. And yet there’s a magical, mystical quality to this album, which sounds – especially on the three-track tone poem on the second side – like the mystical side that's always been there in the background of the Airplane/Starship sound breaking through at last. A neat summation of that twilight time between sleep and awake, 'Dreams' is a forgotten and neglected work that sounds like the work of Grace's sub-conscious trying to find the right path and caught between scary realistic insight and the hazy realisation that there are still things to do and places to go.
(full version: alansalbumarchives.blogspot.com/2009/08/news-views-and-music-issue-39-grace.html)

01. Dreams (05:08)
02. El Diablo (05:58)
03. Face To The Wind (05:31)
04. Angel Of Night (03:50)
05. Seasons (03:26)
06. Do It The Hard Way (04:59)
07. Full Moon Man (05:07)
08. Let It Go (05:43)
09. Garden Of Man (06:33)

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Three Dog Night - Coming Down Your Way [Japan Ed.] (1975)

Year: May 1, 1975 (CD Apr 24, 2013)
Label: Universal Music (Japan), UICY-75572
Style: Pop Rock, Rock
Country: Los Angeles, California, U.S.
Time: 35:52
Format: Flac Tracks 16/44,1 kHz
Size: 226 Mb

Three Dog Night garnered three hits off of their 1974 release, Hard Labor, with material from John Hiatt, Allen Toussaint, and David Courtney/Leo Sayer. This time around they obtain their 21st and final Top 40 entry with a Dave Loggins song, "'Till the World Ends," and it is no "Pieces of April," the lovely composition from the same songwriter which landed in the Top 20 for the group two-and-a-half-years earlier. The problem with the song is the same dilemma faced by the album, Coming Down Your Way, the band seeking another genre to conquer while keeping their eye off of the precise and major Top 40 activity which was their bread and butter. Keyboard player for the Blues Image, Frank "Skip" Konte, joins Jimmy Greenspoon on the ivories with the Monkees/Barry Manilow bassist Dennis Belfield onboard as well. Their addition makes for a very musical album with Danny Hutton, Cory Wells and Chuck Negron emulating the Band and some kind of pseudo-slickGrateful Dead rather than sticking with the formula which made them so very successful. Jimmy Ienner's production doesn't have the sparkle it did four months earlier on Grand Funk Railroad's "Bad Time," a heavy metal band sounding more like Three Dog Night than Three Dog Night. Tracked at Colorado's famed Caribou Ranch, the disc also fails to come up with something as extraordinary as Elton John's "Island Girl," a song manufactured in the same recording facility and hitting number one two months after " 'Till the World Ends" brought the group's six-and-a-half-year chart run to a close. Jack Lynton's "Coming Down Your Way" is a reflection of Leo Sayer's "The Show Must Go On" and the closest thing to familiar Dog Night as this disc gets. Jeff Barry's "When It's Over" puts it all into perspective, Negron phrasing the lament which states the obvious for the once magnificent radio-friendly pop production machine. A frustrating outing because all involved were certainly proficient enough to come up with something more substantial than these ten performances which play like unfinished outtakes. Associate Producer on this effort, Bob Monaco, would take the remnants of the group down a disco path with the 1976 release, American Pastime, effectively closing the door and pointing the band toward their next phase -- that of an oldies act.
(allmusic.com/album/coming-down-your-way-mw0000854393)

01. 'Til The World Ends (03:31)
02. You Can Leave Your Hat On (04:14)
03. Good Old Feeling (03:10)
04. Mind Over Matter (02:56)
05. Midnight Flyer ('Eli Wheeler') (04:33)
06. Kite Man (03:39)
07. Coming Down Your Way (03:11)
08. When It's Over (03:38)
09. Lean Back, Hold Steady (03:46)
10. Yo Te Quiero Hablar (Take You Down) (03:11)

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Arktis - Arktis (1973)

Year: 1973 (CD 1998)
Label: Garden Of Delights (Germany), CD 005
Style: Krautrock, Hard Rock, Progressive Rock
Country: Germany
Time: 44:55
Format: Flac Tracks 16/44,1 kHz
Size: 292 Mb

The German psych/prog label called Garden of Delights recently made a campaign to reissue a bunch of lost krautrock classics, Arktis is at the top of these 70s obscurities. Formed in 1973, the band released their first album the same year. This self title album revisits a conventional heavy rock style mixed with freak out improvisations largely made of fuzzy guitars. In 1974 has been published an album with many demos. Konrad Plank was the producer. After a rather poor commercial support the band split. In 1975 will be released an other effort including many Arktis demos tape sessions. The music always features colourful heavy fuzz jams.
(progarchives.com/artist.asp?id=2615)

This is a pretty cool sounding band from Germany listed under Krautrock here.This is very much a guitar driven, heavy Psyche album with a female vocalist. Not the proggiest album out there although we do a get a side long suite which is the highlight of this 1974 recording. I'm just a sucker for this style of music, especially the upfront guitar.This is a self-released album by the band as they were trying to get signed by a label. In fact the next two albums would also be self-released and they never could get signed oddly enough even with the help of Conny Plank.
"Student's Idyll" hits the ground running with a rumbling heavy sound and the guitar leading the way.The vocals join in quickly.They are in English throughout. I'm just not a fan of this straight-forward tune though.The guitar starts to solo before 2 1/2 minutes and continues until after 3 minutes when the vocals return. "Outcasted" has more of a focus on the vocals although there is still this good raw sound. It settles after 3 minutes as the vocals stop and the guitar leads. She's back after 4 1/2 minutes. It's okay.
"Jeff The Fool" has these lyrics that describe how bad he (Jeff) is and she ends the line each time with "...people say i'm crazy hey !". Oh boy. Another uptempo, guitar led tune. Love the guitar solo from after a minute until after 2 1/2 minutes.
"Rare Girl" is the over 20 minute closer. This is the one that saves this album from being very average. This has a darker sound to it as the guitar opens then bass, drums and vocals join in. She's even singing in a more serious manner and with some attitude. A change 2 minutes in to a brighter sound and no vocals until 3 1/2 minutes in. It kicks into a fuller sound at 5 minutes with the guitar leading and no vocals. It settles 6 1/2 minutes in with the guitar still leading and sounding great. A calm 9 1/2 minutes in then it kicks in heavily until 18 minutes in. Nice.Then the opening soundscape with vocals is reprised. Amazing tune!
3.5 stars from me, but it could have been so much better.
(progarchives.com/album.asp?id=12859)

01. Student's Idyll (04:03)
02. Outcasted (05:35)
03. Jeff The Fool (03:27)
04. Rare Girl (20:10)
05. Is It Real (02:47)
06. Sky Drive (04:30)
07. Don't Hang Around (04:21)

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Sundome And The Night - In Lean Hours (1993)

Year: 1993 (CD 1993)
Label: Penner Records (Germany), CD 003
Style: Indie Rock, Neo-Psychedelic, Alternative Rock
Country: Germany
Time: 67:34
Format: Flac Tracks 16/44,1 kHz
Size: 424 Mb

This neo-psychedelic band isn't like most of the other bands that have release(s) out on the Garden Of Delights label. Mainly because it's material from the '90's. Have to admit, I liked what I was hearing. Their influences are from the likes of the Doors and maybe early Pink Floyd or even Nirvana. Just a couple of tracks worth mentioning are "I Ran For You", the awesome rocker "Codine" and "Borderline". Personnel: Uwe - vocals, Christian - guitar, percussion & vocals, Michael - bass, UC Kuhlmann - organ, guitar & piano and Pete - drums. Have to wonder why these players don't use their last name. Nontheless, not a bad pick.
(amazon.com/Lean-Hours-Sundome-Night/dp/B01K8QFR2Q)

'Neo-psychedelic with grunge and garage elements. Guitar-dominated and good. Influenced by The Doors, Litter, REM and Green on Red. Doesn’t fit well with the style of the other releases on this label. Playing neo-psychedelic, the band formed in Coesfeld in 1986, is a bit beyond the scope of this label. So far they released a single ("I ran for you" / "So the good will last") in 1991, a mini album ("Details of possession") in 1988, an album ("Reverend Ripov’s media meltdown") in 1994 and in 1993 the CD "In lean hours".
(rekopisznalezionywarkham.blogspot.com/2009/09/sundome-and-night-reverend-ripovs-media.html)

01. I Ran For You (05:05)
02. Melville (03:45)
03. Codine (05:34)
04. R.O.C.I. (05:01)
05. There Was A Time (03:54)
06. Borderline (06:43)
07. Cool, Calm And Collected (05:28)
08. Prometheus (06:01)
09. Never Be Going Away (04:52)
10. Colourblind (02:40)
11. Hello (03:53)
12. She (00:58)
13. Memphis (09:20)
14. It's Alright (04:17)

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Marianne Faithfull - North Country Maid [Japan Ed. 3 bonus tracks] (1966)

Year: 1 April 1966 (CD Mar 21, 2002)
Label: Universal Music (Japan), UICY-3298
Style: Folk Rock, Ballad
Country: London, England (29 December 1946)
Time: 42:49
Format: Flac Tracks 16/44,1 kHz
Size: 256 Mb

North Country Maid is the third studio album by British singer Marianne Faithfull. It was released only in the United Kingdom. The arrangements were by Jon Mark and Mick Taylor. Gus Dudgeon was the engineer and Gered Mankowitz was the photographer. The guitarists included Jon Mark and Big Jim Sullivan.
Half of the songs had been released months earlier in the United States on the album Go Away from My World.
(en.wikipedia.org/wiki/North_Country_Maid)

Faithfull was still known primarily as a pop singer when she put out North Country Maid, but this is in fact very close to a pure folk album, with a bit of influence from pop, rock, blues, and jazz. Largely overlooked even by Faithfull fans, it's actually a quite respectable effort, and probably her best LP (other than greatest-hits compilations) from the time when her voice was still on the high side. Ably backed by sessionmen including guitarists Jon Mark and Jim Sullivan, she interprets mostly traditional material on this record, including "She Moved Through the Fair," "Wild Mountain Thyme," "Sally Free and Easy," and "Scarborough Fair." There are some mid-'60s covers too, though, including Donovan's "Sunny Goodge Street" and Tom Paxton's "Last Thing on My Mind." Sometimes, when the bass gets prominent and the arrangements swing, this isn't too far from early Pentangle, as unexpected as that comparison is. The use of sitar on "She Moved Through the Fair" and "Wild Mountain Thyme" is adventurous, and she sings pretty well throughout, with dignity and purity if not utmost imagination or grit. The 1990 CD reissue on Deram U.K. adds three worthwhile bonus tracks: "The Most of What Is Least" (from a 1965 EP) and alternate versions of "Come My Way" and "Mary Anne" (the originals of which had appeared on her 1965 album, Come My Way).
(allmusic.com/album/north-country-maid-mw0000711124)

01. Green Are Your Eyes (02:58)
02. Scarborough Fair (03:07)
03. Cockleshells (03:17)
04. The Last Thing On My Mind (02:17)
05. The First Time Ever I Saw Your Face (03:58)
06. Sally Free And Easy (02:52)
07. Sunny Goodge Street (03:21)
08. How Should I Your True Love Know (01:19)
09. She Moved Thu' The Fair (03:10)
10. North Country Maid (02:37)
11. Lullaby (02:42)
12. Wild Mountain Thyme (03:38)
13. The Most of what Is Least (bonus track mono) (03:03)
14. Come My Way (bonus track) (02:30)
15. Mary Ann (bonus track) (01:57)

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