Camel - Stationary Traveller (1984)

Year: 13 April 1984 (CD 1990)
Label: Deram Records (Germany), 820 020-2
Style: Art Rock, Pop Rock, Symphonic Rock
Country: Guildford, Surrey, England
Time: 42:18
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

""Stationary Traveller" is probably a little less musically elaborate than the Camel's records that will follow, but it has that little almost quaint charm that the others don't have."
But what can we expect musically in this last Camel of the 80s? Well, we have to admit that the first listening is a bit confusing. Not that we don't find the style of Camel which is always present. Andrew Latimer's voice or more exactly his way of singing is easily recognizable as well as his guitar playing, especially on the instrumental tracks. But most of the sung tracks have a very 80s sound. And the progressive aspect is not necessarily obvious.
In fact, you just have to get used to this rather mechanical drumming and these typical "eighties" keyboards which even give it a certain charm... The 'Refugee', 'Vopos', 'Cloak And Dagger Man' and 'West Berlin' end up being very pleasant to listen to. And finally, one surprises oneself to like them. But the best tracks are the excellent and very melancholic 'Fingertips' and 'Long Goodbyes'. The first one, carried by the saxophone of Mel Collins is a delight, as for the second one, it is a real jewel with its chorus remaining engraved in the head for a long time and its superb guitar solo. In the instrumental section, as usual with Camel, it's always the great class! The eponymous title for example has a superb piano part and its acoustic guitar is magnificent. 'Missing' and the famous extended version of 'Pressure Points' are also excellent tracks.
The compositions are on the whole quite direct and it is still on the level of the atmospheres that the main part of the work is done. As always, Andrew Latimer knows how to compose very good tracks. "Stationary Traveller" is probably a little less elaborated musically than the records that will follow, but it possesses this little almost old-fashioned charm that the others don't have.
(Official website: camelproductions.com)

01. Pressure Points (Instrumental) (02:10)
02. Refugee (03:47)
03. Vopos (05:32)
04. Cloak And Dagger Man (03:55)
05. Stationary Traveller (Instrumental) (05:34)
06. West Berlin (05:10)
07. Fingertips (04:29)
08. Missing (Instrumental) (04:22)
09. After Words (Instrumental) (02:01)
10. Long Goodbyes (05:14)

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Van Halen - Women and Children First [Vinyl Rip] (1980)

Year: March 26, 1980 (LP 2020)
Label: Warner Records (Worldwide), RR1 3415 081227954963
Style: Hard Rock
Country: Pasadena, California, U.S.
Time: 33:29
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

Charts: US #6, CAN #12, NLD #3, SWE #19, NOR #23, GER #19, NZ #48, UK #15. Netherlands and France: Gold; Canada: 2x Platinum; US: 3x Platinum.
Van Halen toss melody — along with subtlety and good manners — straight out the barroom door. Specializing in decibels and cock-strutting bravado, they put forth the proposition that Might Is Always Right, and the proof on their third LP, Women and Children First, is pretty convincing. "Romeo Delight," "Everybody Wants Some!!" and the mad, triple-time dash, "Loss of Control," are works of high-volume art. Each features banshee guitars, hellish drumming, lead vocalist David Lee Roth’s cries of hedonistic ecstasy, and ensemble harmonies that sound like the Byrds singing through a sewer pipe — all violently competing for attention in an explosive sound mix.
But underneath the noisy chutzpah, Roth and his mob are exceptionally good players. This is especially true of guitarist Eddie Van Halen, who harnesses feedback almost as well as Jimi Hendrix did and displays smarts plus speed in his solos. As for David Lee Roth and his big mouth, he puts up a lot better than he shuts up, baying at the moon with far more spirit and comic panache than most of his competition. Megalomania of this kind is an acquired taste, yet the haste with which Women and Children First bullied its way into the Top Ten suggests that there’s a little Van Halen in everybody.
Like it or not, heavy metal is here, there and everywhere. What they may lack in innovation, the Scorpions make up for in sheer amplified power, while Van Halen swagger confidently past their own limitations and Def Leppard fall back on youthful naivete, enthusiasm and talent. To their credit, these bands have managed to tap some fresh energy from a source that apparently never went dry.
(Full version: rollingstone.com/music/music-album-reviews/women-and-children-first-188484/)

01. A1 And The Cradle Will Rock (03:32)
02. A2 Everybody Wants Some (05:08)
03. A3 Fools (05:55)
04. A4 Romeo Delight (04:19)
05. B1 Tora! Tora! (00:56)
06. B2 Loss Of Control (02:37)
07. B3 Take Your Whiskey Home (03:12)
08. B4 Could This Be Magic (03:07)
09. B5 In A Simple Rhyme (04:39)

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Robert Plant (Led Zeppelin) - Now and Zen [Vinyl Rip] (1988)

Year: 29 February 1988 (LP 1988)
Label: Es Paranza Records (Germany), WX 149 790 863-1
Style: Hard Rock, Rock
Country: West Bromwich, Staffordshire, England (20 August 1948)
Time: 41:45
Format: Flac Tracks 16/44,1 kHz
Size: 294 Mb

Charts: UK #10, AUS #11, CAN #4, GER #48, NLD #31, NOR #12, NZ #7, SWE #18, US #6. UK: Gold; US: 3x Platinum.
This record is some kind of stylistic event: a seamless pop fusion of hard guitar rock, gorgeous computerization and sharp, startling songcraft. Now and Zen, Robert Plant‘s fourth solo album, is so rich in conceptual invention that you barely notice that Plant sings better on it - with more tone, control and rhythmic acuity - than he has in the seven years since Led Zeppelin imploded. Better, in some ways, than ever.
The punning title is apt. The nine tracks on Now and Zen don’t simply sound contemporary; they point to new ways to transmute roots-rock verities of swing and harmony amid the technological conventions of late-Eighties pop. At the same time the songs show Plant humanizing and enlivening the cool synthetic sound of such Euro-synth units as Kraftwerk and D.A.F. In addition, there is a certain pop-Zen aspect to such songs as "The Way I Feel," in which Plant sings, "The future rides beside me/Tomorrow in his hand/The stranger turns to greet me/Take me by the hand" - one of the wittier lyrical loops since Lou Reed walked hand in hand with himself through the vinyl grooves of Loaded.
(Full version: rollingstone.com/music/music-album-reviews/now-and-zen-250871/)

01. A1 Heaven Knows (04:05)
02. A2 Dance On My Own (04:23)
03. A3 Tall Cool One (04:35)
04. A4 The Way I Feel (05:34)
05. B1 Helen of Troy (05:03)
06. B2 Billy's Revenge (03:32)
07. B3 Ship of Fools (04:54)
08. B4 Why (04:09)
09. B5 White, Clean and Neat (05:25)

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Robert Plant (Led Zeppelin) - Band Of Joy [Vinyl Rip. 2LP 180g] (2010)

Year: 13 September 2010 (LP 14 September 2010)
Label: Es Paranza Records (Europe), 2748338
Style: Rock, Folk Rock
Country: West Bromwich, Staffordshire, England (20 August 1948)
Time: 47:41
Format: Flac Tracks 16/44,1 kHz
Size: 317 Mb

Charts: UK #3, AUS #18, CAN #7, GER #13, NLD #37, NOR #2, NZ #6, SWE #6, SWI #13, US #5. Switzerland & UK: Gold.
Robert Plant‘s 2007 album with pop-bluegrass songbird Alison Krauss, Raising Sand, did something 25 years of solo records never quite managed: It fully transformed him from former Led Zeppelin golden god into a roots singer. Plant had never sung so tenderly or collaboratively, commanding a crack modern string band that defined power in terms other than Physical Graffiti.
Band of Joy named after Plant’s first band with late pal John Bonham smartly takes some cues from Raising Sand. Plant uses an A list of country voices and players (Patty Griffin, Buddy Miller) and an inspired mix of vintage and modern songs. If it’s not quite as seamless and sublime a record, well, it’s pretty damn good, and what it lacks in coherence it makes up for in magnified rock & roll mojo.
Miller helps with the latter. The journeyman guitarist-songwriter (and former Emmylou Harris collaborator) co-produced the record with Plant, and he contributes muscular playing and singing. His guitar is low and nasty on the lead cut, a coiled, mandolin-dusted cover of Los Lobos’ "Angel Dance." And he opens up on "House of Cards," a cover of Richard Thompson’s scalding 1978 folk rocker, bright leads carving the air while Plant and Griffin’s harmonies recall Zep’s "The Battle of Evermore."
But what’s most striking is Plant’s vocal versatility. As a solo act, his songwriting has been spotty, if impressively versatile. But he’s proved himself to be an excellent interpreter, from his 1984 Honeydrippers EP of old-school R&B and pop through Raising Sand. He does the same here, and the songs give him plenty to work with. He returns to the late, great Townes Van Zandt (whose "Nothin’ " was a highlight on Sand) for the bleak "Harm’s Swift Way," working a metaphor that turns the idea of time into a woman beyond a man’s control. Plant doesn’t oversing a whit, delivering poetic meditations on mortality with Griffin’s harmonies clinging to him like a spangled death shroud.
The two most striking songs are the most left-field, both penned by the brooding husband-wife indie-rock band Low. "Silver Rider" is a glittering dirge, another showcase for Griffin, who’s such a good songwriter that’s it’s easy to forget what a great singer she is. Plant sings "Monkey" almost as a whisper. "It’s a suicide/Shut up and drive," he snarls, in what sounds like the opening scene of a David Lynch film. It’s as menacingly restrained as anything he’s ever uttered.
This is a record primarily about loss and time’s march, and Plant sings with gravity, working his middle range. It doesn’t all click. "Even This Shall Pass Away" tries too hard for profundity. And the old spiritual "Satan Your Kingdom Must Come Down" mostly makes you want to hear Plant back cruising Lucifer’s daughter on "Houses of the Holy."
But Plant isn’t singing like the old days. The closest he comes is "You Can’t Buy My Love," first recorded in 1965 by R&B singer Barbara Lynn. Plant knocks it out playfully, like a lost demo from Led Zeppelin I, with a few hollers and sexy woo-oh-ohs. And in 3:10, it’s over. You can’t buy his love, and you can’t turn back time. It’s a notion other rock vets could do well to ponder.
(rollingstone.com/music/music-album-reviews/band-of-joy-99294/)

01. A1 Angel Dance (03:50)
02. A2 House Of Cards (03:13)
03. A3 Central Two-O-Nine (02:48)
04. A4 Silver Rider (06:05)
05. B1 You Can't Buy My Love (03:10)
06. B2 Falling In Love Again (03:37)
07. B3 The Only Sound That Matters (03:45)
08. B4 Monkey (04:59)
09. C1 Cindy, I'll Marry You Someday (03:36)
10. C2 Harm's Swift Way (04:18)
11. C3 Satan Your Kingdom Must Come Down (04:12)
12. C4 Even This Shall Pass Away (04:03)

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George Harrison (The Beatles) - Wonderwall Music [Vinyl Rip] (1968)

Year: 1 November 1968 (LP 1978)
Label: Apple Records (France), 2 C 066-90499
Style: Indian Classical, Raga Rock, Experimental, World
Country: Liverpool, England (25 February 1943 - 29 November 2001)
Time: 45:46
Format: Flac Tracks 16/44,1 kHz
Size: 288 Mb

Charts: US #49, CAN #30, GER #22.
Wonderwall Music is the debut solo album by the English musician George Harrison and the soundtrack to the 1968 film Wonderwall, directed by Joe Massot. Released in November 1968, it was the first solo album by a member of the Beatles, and the first album issued on the band's Apple record label. The songs are all instrumental pieces, except for occasional non-English language vocals, and mostly comprise short musical vignettes. Following his Indian-styled compositions for the Beatles since 1966, he used the film score to further promote Indian classical music by introducing rock audiences to instruments that were relatively little-known in the West – including shehnai, sarod, tar shehnai, tanpura and santoor. The Indian pieces are contrasted by Western musical selections, in the psychedelic rock, experimental, country and ragtime styles.
Harrison recorded the album between November 1967 and February 1968, with sessions taking place in London and Bombay. One of his collaborators on the project was classical pianist and orchestral arranger John Barham, while other contributors include Indian classical musicians Aashish Khan, Shivkumar Sharma, Shankar Ghosh and Mahapurush Misra. The Western music features contributions from Tony Ashton and his band the Remo Four, as well as guest appearances by Eric Clapton and Ringo Starr. Harrison recorded many other pieces that appeared in Wonderwall but not on the soundtrack album, and the Beatles' 1968 B-side "The Inner Light" also originated from his time in Bombay. Although the Wonderwall project marked the end of Harrison's direct involvement with Indian music as a musician and songwriter, it inspired his later collaborations with Ravi Shankar, including the 1974 Music Festival from India.
The album cover consists of a painting by American artist Bob Gill in which, as in Massot's film, two contrasting worlds are separated by a wall, with only a small gap allowing visual access between them. Harrison omitted his name from the list of performing musicians, leading to an assumption that he had merely produced and arranged the music. The 2014 reissue of Wonderwall Music recognises his contributions on keyboards and guitar. The album was first remastered for CD release in 1992, for which former Apple executive Derek Taylor supplied a liner-note essay.
While viewed as a curiosity by some rock music critics, Wonderwall Music is recognised for its inventiveness in fusing Western and Eastern sounds, and as being a precursor to the 1980s world music trend. The album's title inspired that of Oasis' 1995 hit song "Wonderwall". Harrison's full soundtrack for the film was made available on DVD in early 2014, as part of the two-disc Wonderwall Collector's Edition. In September that year, the album was reissued in remastered form as part of Harrison's Apple Years 1968–75 box set, with the addition of three bonus tracks.
(en.wikipedia.org/wiki/Wonderwall_Music)

01. A1 Microbes (03:44)
02. A2 Red Lady Too (01:58)
03. A3 Tabla And Pakavaj (01:05)
04. A4 In The Park (04:09)
05. A5 Drilling A Home (03:09)
06. A6 Guru Vandana (01:07)
07. A7 Greasy Legs (01:28)
08. A8 Ski-ing (01:51)
09. A9 Gat Kirwani (01:16)
10. A10 Dream Scene (05:29)
11. B1 Party Seacombe (04:36)
12. B2 Love Scene (04:17)
13. B3 Crying (01:16)
14. B4 Cowboy Music (01:30)
15. B5 Fantasy Sequins (01:50)
16. B6 On The Bed (02:23)
17. B7 Glass Box (01:07)
18. B8 Wonderwall To Be Here (01:29)
19. B9 Singing Om (01:55)

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Lee Morgan, Wynton Kelly - Dizzy Atmosphere (1957)

Year: February 18, 1957 (CD 1991)
Label: Specialty Records (US), OJCCD-1762-2, SP-2110
Style: Jazz, Hard Bop, Swing
Country: U.S.
Time: 55:02
Format: Flac Tracks 16/44,1 kHz
Size: 333 Mb

Dizzy Atmosphere is an album featuring members of Dizzy Gillespie's Orchestra including trombonist Al Grey, saxophonist Billy Mitchell and trumpeter Lee Morgan recorded in 1957 and released on the Specialty label.
The Allmusic review by Scott Yanow stated "the music is modern bop for the period. Highlights include the ten-and-a-half-minute "Dishwater," "Over the Rainbow," and an early version of Golson's "Whisper Not." Morgan plays extremely well throughout the spirited set, and he was just 18 at the time".
(en.wikipedia.org/wiki/Dizzy_Atmosphere_(album))

01. Dishwater (take 4 - master) (12:05)
02. Someone I Know (take 6 - master) (03:59)
03. D. D. T. (take 5 - master) (04:04)
04. Whisper Not (take 5 - master) (05:55)
05. About Time (take 5 - master) (03:14)
06. Day By Day (take 2 - master) (03:26)
07. Rite Of Swing (take 3 - master) (03:14)
08. Over The Rainbow (take 4 - master) (04:18)
09. Someone I Know (take 3- alternate) bonus track (04:07)
10. Whisper Not (take 3-4 alternate) bonus track (06:01)
11. Over The Rainbow (take 3 - alternate) bonus track (04:34)

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Ginger Baker and Friends (Cream) - Eleven Sides of Baker [Vinyl Rip] (1976)

Year: 1976 (LP 1976)
Label: Mountain Records (UK), TOPC 5005
Style: Rock, Jazz Rock
Country: South London, England (19 August 1939 - 6 October 2019)
Time: 37:21
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

Peter Edward "Ginger" Baker (19 August 1939 – 6 October 2019) was an English drummer. His work in the 1960s and 1970s earned him the reputation of "rock's first superstar drummer", for a style that melded jazz and African rhythms and pioneered both jazz fusion and world music.
Baker gained early fame as a member of Blues Incorporated and the Graham Bond Organisation, both times alongside bassist Jack Bruce, with whom Baker would often clash. In 1966, Baker and Bruce joined guitarist Eric Clapton to form Cream, which achieved worldwide success but lasted only until 1968, in part due to Baker's and Bruce's volatile relationship. After working with Clapton in the short-lived band Blind Faith and leading Ginger Baker's Air Force, Baker spent several years in the 1970s living and recording in Africa, often with Fela Kuti, in pursuit of his long-time interest in African music. Among Baker's other collaborations are his work with Gary Moore, Masters of Reality, Public Image Ltd, Hawkwind, Atomic Rooster, Bill Laswell, jazz bassist Charlie Haden, jazz guitarist Bill Frisell, and Ginger Baker's Energy.
Baker's drumming is regarded for its style, showmanship, and use of two bass drums instead of the conventional single one, after the manner of the jazz drummer Louie Bellson. In his early days, he performed lengthy drum solos, most notably in the Cream song "Toad", one of the earliest recorded examples in rock music. Baker was an inductee of the Rock and Roll Hall of Fame as a member of Cream in 1993, of the Modern Drummer Hall of Fame in 2008, and of the Classic Drummer Hall of Fame in 2016. Baker was noted for his eccentric, often self-destructive lifestyle, and he struggled with heroin addiction for many decades. He was married four times and fathered three children.
(en.wikipedia.org/wiki/Ginger_Baker)

01. A1 Ginger Man (02:38)
02. A2 Candlestick Taker (02:38)
03. A3 High Life (04:13)
04. A4 Don Dorango (04:35)
05. A5 Little Bird (01:09)
06. A6 N'Kon Kini N'Kon N'Kon (02:47)
07. B1 Howlin' Wolf (04:45)
08. B2 Ice Cream Dragon (03:56)
09. B3 The Winner (02:06)
10. B4 Pampero (04:43)
11. B5 Don't Stop The Carnival (03:47)

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Lennon Plastic Ono Band - Shaved Fish [Japan Ed. Compilation] (1975)

Year: 24 October 1975 (CD Dec 5, 2007)
Label: Apple Records (Japan), TOCP-70398
Style: Rock
Country: Liverpool, England (9 October 1940 - 8 December 1980)
Time: 41:39
Format: Flac Tracks 16/44,1 kHz
Size: 251 Mb

Charts: UK #8, AUs #8, AUT #5, CAN #70, GER #37, JPN #22, NLD #5, NOR #9, SWE #28, US #12. US: Platinum; UK: Gold.
Shaved Fish contains all of the singles that he had issued up to that point in the United States as a solo artist, with the exception of "Stand by Me", which had been released earlier that year. The only compilation of Lennon's non-Beatles recordings released during his lifetime. It was also Lennon's final album released on Apple Records before it was shut down in 1975, to be revived in the 1990s.
Shaved Fish includes many of Lennon's most popular solo recordings in their original 45 rpm single edits. Five of the songs had not been previously issued on an album: "Cold Turkey", "Instant Karma!", "Power to the People", the holiday single "Happy Xmas (War Is Over)" and "Give Peace a Chance". The latter appears in truncated form and opens side one, while an excerpt of a live version of the song closes side two. Eight of these singles made the Top 40 on the Billboard chart, with "Whatever Gets You thru the Night" going to number 1; five made the top ten in the United Kingdom. "Imagine", never previously released as a single in the UK, was issued as such concurrent to the release of this album.
Roy Kohara was the art director of the album, and the illustrations were made by Michael Bryan. The cover is divided into twelve rectangles: one for each of the eleven songs on the LP, and one for the album title, written in Bruce Mikita font (also known as Novel Open). The album title originates from the Japanese food katsuobushi, a kind of dried fish.
(en.wikipedia.org/wiki/Shaved_Fish)

01. Give Peace A Chance (Edited Version) (00:59)
02. Cold Turkey (05:03)
03. Instant Karma! (03:15)
04. Power To The People (03:06)
05. Mother (05:08)
06. Woman Is The Nigger Of The World (04:38)
07. Imagine (03:04)
08. Whatever Gets You Thru The Night (03:06)
09. Mind Games (04:12)
10. #9 Dream (04:48)
11. Happy Xmas (War Is Over) / Give Peace A Chance : Reprise (04:16)

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Kevin Ayers - Whatevershebringswesing [Japan Ed. 10 bonus tracks] (1971)

Year: November 1971 (CD Mar 12, 2014)

Label: Warner Music (Japan), WPCR-15526
Style: Canterbury Scene, Progressive Rock, Experimental Rock
Country: Kent, England (16 August 1944 - 18 February 2013)
Time: 74:22
Format: Flac Tracks 16/44,1 kHz
Size: 442 Mb

In 1971 Kevin Ayers started recording what would become his most acclaimed album, Whatevershebringswesing accompanied by members of Gong and his previous backing band The Whole World. Praised by NME, Record Mirror and Rolling Stone, the album realized all the musical aspirations Ayers had harboured since the inception of Soft Machine.
As with most Ayers albums, a collision of disparate styles confronts the listener but in this instance they work to extremely powerful effect. The title track with Mike Oldfield's guitar accompaniment and Robert Wyatt's wracked harmonies would become a template for Ayers subsequent '70s output.
The album opens with "There Is Loving/Among Us" accompanied by David Bedford's dramatic orchestral arrangement. There follow the vignettes "Margaret" and "Oh My" where Ayers juxtaposes terse lyrics against measured backing. "Song from the Bottom of a Well" marries an explosive arrangement, again featuring Oldfield, to Ayers' cryptic lyric "This is a song from the bottom of a well / There are things down here / I've got to try and tell". The title track is notable for Oldfield's extended bass solo at the beginning, while "Stranger in Blue Suede Shoes", a flirtation with Ayers' love of early rock and roll, would become a staple of his live set for years to come, a song he would re-record twice that decade.
Many critics and fans have cited Whatevershebringswesing as their favourite Ayers album and it remains to this day a best seller in his catalogue.
(en.wikipedia.org/wiki/Whatevershebringswesing)

01. There Is Loving / Among Us / There Is Loving (07:22)
02. Margaret (03:20)
03. Oh My (02:59)
04. Song From The Bottom Of A Well (04:37)
05. Whatevershebringswesing (08:13)
06. Stranger In Blue Suede Shoes (03:24)
07. Champagne Cowboy Blues (03:59)
08. Lullaby (02:11)
09. Lunatic's Lament (BBC Bob Harris Session) (bonus track) (04:28)
10. The Oyster And The Flying Fish (BBC Bob Harris Session) (bonus track) (03:01)
11. Butterfly Dance (BBC Bob Harris Session) (bonus track) (03:36)
12. Whatevershebringswesing (BBC Bob Harris Session) (bonus track) (07:45)
13. Falling In Love Again (BBC Bob Harris Session) (bonus track) (03:25)
14. Queen Thing (BBC Bob Harris Session) (bonus track) (00:52)
15. Another Whimsical Song (BBC John Peel Show) (bonus track) (00:22)
16. The Lady Rachel (BBC John Peel Show) (bonus track) (03:52)
17. Stop This Train (Again Doing It) (BBC John Peel Show) (bonus track) (06:11)
18. Didn't Feel Lonely 'Til I Thought Of You (BBC John Pell Show) (bonus track) (04:35)

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Gong (Pierre Moerlen's Gong) - Gazeuse! [Japan Ed.] (1976)

Year: Late 1976 (CD 29 Jul 2015)
Label: Universal Music (Japan), UICY-77299
Style: Instrumental, Jazz Rock, Fusion
Country: Paris, France
Time: 39:46
Format: Flac Tracks 16/44,1 kHz
Size: 264 Mb

Progressive rock fans will be aware of the Daevid Allen led band Gong. It had a strong presence in the psychedelic/progressive rock scene during the 70s, releasing a number of critically acclaimed albums. The French drummer and percussionist Pierre Moerlen was a member of the original Gong between 1973 and 1975 before the departure of several members eventually led him to lead his own iteration of the band. This incarnation of Gong is far removed from the psychedelic/progressive inclinations of the original version. Rather it is deeply entrenched in jazz fusion/progressive rock territory, with there being a considerable focus on percussions.
The album wastes no time introducing the listener to most of the elements that are present during its 40 minute length. The title track features the instantly recognizable lead guitar work of Allan Holdsworth mixed with energetic bass work, fluid drumming, and a flurry of percussions. The vibraphone, miramba, and glockenspiel in particular are very refreshing aspects of the music with their colourful and bright timbres complementing the more “standard” instruments rather well. This track is very enjoyable and its strength lies in the free flowing style and musicality, aspects that are sprinkled through a large portion of the album.
(full version: sputnikmusic.com/review/63344/Gong-Gazeuse%21-Expresso/)

01. Expresso (05:58)
02. Night Illusion (03:42)
03. Percolations (10:02)
04. Shadows of (07:48)
05. Esnuria (08:01)
06. Mireille (04:12)

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Camel - I Can See Your House From Here (1979)

Year: October 1979 (CD 1990)
Label: Deram Records (Germany), 820 614-2
Style: Art Rock, Pop Rock, Symphonic Rock
Country: Guildford, Surrey, England
Time: 46:10
Format: Flac Tracks 16/44,1 kHz
Size: 262 Mb

Charts: UK #45, NOR #18, SWE #36, US #208.
Like a lot of other 70's Prog Rock bands, Camel go poppier. With that they release another decent and fun record that, unfortunately, will never be able to compete with the greatness of the first four.
Camel were one of the greatest symphonic prog rock groups of the 70's, with the likes of Yes and Rush. They released four amazing albums from '73 to '76, including the masterpiece Mirage.
Camel, like many other Prog Rock bands, became worse as the years went by. Rain Dances was a step down after the fantastic Moonmadness, and deviated from the band's original sound. Breathless was another step-down, but was still decent. When original keyboardist Peter Bardens left, the band seemed a little lost. Fortunately, Camel delivers yet another good album.
While the '78 Breathless had some god-awful tracks like Down on the Farm and You Make Me Smile, I Can See Your House from Here had none, making the album much easier to listen to as a whole. The album preserved some of the poppier sound the previous album had, with tracks like Your Love Is Stranger than Mine and Neon Magic, which were executed perfectly. Most of the album's greatness revolves around the great Latimer leads, like in Neon Magic and Who We Are.
Every song on the album is nice, and while engaging in a more poppy sound, Camel still maintain Prog elements such as odd time signatures. The album contains three instrumentals, seeing as vocals were never the strongest side of Camel anyway. Two of them, Ice and Eye of the Storm, are beautiful, and Ice is probably the greatest track in the record. Rounding up at over ten minutes, Ice is an emotional, atmospheric piece telling the story of a distant desolate landscape. While being far from their greatest, it sounds like no track Camel have done before, and showcases a style Camel would much use on their latter albums. Survival, on the other hand, is a boring unnecessary track, which can only be seen as filler. Luckily, the track following it, Hymn to Her, is one of the greatest on the record; a beautiful ballad with some nice guitar work.
In contrast to the former album, Remote Romance is the only track which can be considered 'average' or 'bad', but it's still pretty fun, and the chorus is catchy. I Can See Your House from Here is a great record, filled with great moments. Unfortunately, it does drag a little in the middle, but the excellent guitar work from Latimer and the catchiness make up for it. This album is recommended for fans of the first four albums. It may not be a classic like the first four records the band have released, but it is still enjoyable in its own right.
(sputnikmusic.com/review/56053/Camel-I-Can-See-Your-House-From-Here/)

01. Wait (05:03)
02. Your Love Is Stranger Than Mine (03:26)
03. Eye Of The Storm (03:52)
04. Who We Are (07:52)
05. Survival (01:12)
06. Hymn To Her (05:37)
07. Neon Magic (04:39)
08. Remote Romance (04:08)
09. Ice (10:18)

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John Mayall & The Bluesbreakers And Friends - 70th Birthday Concert [2CD Live] (2003)

Year: Liverpool, England on 19 July 2003 (CD 2003)
Label: Eagle Records (Germany), EDGCD246, GAS 0000246 EDG
Style: Blues
Country: Cheshire, England (29 November 1933. Age 91)
Time: 73:44, 77:23
Format: Flac Tracks 16/44,1 kHz
Size: 493, 509 Mb

70th Birthday Concert is a live electric blues video recording of John Mayall & the Bluesbreakers to celebrate Mayall's 70th Birthday. Recorded in Liverpool, England on 19 July 2003, the concert was notable as it featured Eric Clapton as a guest, so marked the first time he and Mayall had performed together in almost 40 years, if one discounts Clapton guesting on Mayall's Back to the Roots. The set also features Mick Taylor and Chris Barber.
The gig was released on different formats. The original double CD contains the entire concert, whereas the DVD omitted the first two tracks sung by Buddy Whittington (which did not feature Mayall) and "California", but included an interview with Mayall as bonus. A CD/DVD issue included a heavily abridged version of the concert on CD. Finally, in 2009 the video was reissued on Blu-Ray Disc with the previously omitted three tracks appended as bonus tracks.
AllMusic praised the recording by stating that John Mayall is "on top of his game as ever", the band "play with plenty of fire, brilliant musicianship, and taste", and the whole concert is "a stinging, overdriven performance of modern electric blues by a master bandleader who shows no signs of slowing down physically, and most importantly, creatively."
(en.wikipedia.org/wiki/70th_Birthday_Concert_(John_Mayall_%26_the_Bluesbreaker_album))

01. Grits Ainґt Groceries (05:14)
02. Jacksboro Highway (05:30)
03. Southside Story (07:50)
04. Kids Got The Blues (03:55)
05. Dirty Water (08:08)
06. Somebody's Acting Like A Child (08:00)
07. Blues For The Lost Days (12:26)
08. Walking On Sunset (06:34)
09. Oh, Pretty Woman (09:32)
10. No Big Hurry (06:30)

01. Please Mr. Lofton (07:03)
02. Hideway (04:50)
03. All your love (04:19)
04. Have your heard (18:02)
05. Hoochie Coochie man (06:25)
06. Iґm tore down (05:55)
07. It ainґt right (06:18)
08. California (15:30)
09. Talk to your daughter (08:57)

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The Holy Modal Rounders - 1 & 2 [2 albums on 1CD] (1964, 1965)

Year: 1964, 1965 (CD 1999)
Label: Fantasy Records (US), FCD-24711-2
Style: Folk Rock, Country Rock, Psychedelic Folk
Country: New York, NY, U.S.
Time: 67:40
Format: Flac Tracks 16/44,1 kHz
Size: 365 Mb

    Take me back to Random Canyon,
    Where the gryphon's always riffin',
    And the unicorn is horny in the spring.
    Where the crystal coyote calls
    Over sleepy garden walls
    And the wireless wombat wanders on the wings.
    And the wireless wombat wanders on the wings.
    - The Holy Modal Rounders, "Random Canyon"
In the early 1960s, the Greenwich Village folk scene took a left turn away from the clean-cut sounds of, say, The Kingston Trio. Bob Dylan was singing "Masters of War"; Phil Ochs had "Power and the Glory." That didn't sit well with Peter Stampfel. "I really hated the seriousness of the people on the folk music scene," Stampfel says. "I thought it was stupid. I mean, it was beautiful stuff, but it was goofy, too. At least some of it was, and I thought the goofiness was one of the great things about it." Stampfel admits that his own band, the Holy Modal Rounders, was silly. But it wasn't doing parodies of old folk songs. Its members knew the music inside and out. "I got the idea in 1963: What if Charlie Poole, and Charley Patton, and Uncle Dave Macon and all those guys were magically transported from the late 1920s to 1963?" Stampfel says. "And then they were exposed to contemporary rock 'n' roll. What did they do? And that sounded way, way, way more interesting than trying to be Mr. Note Perfect 1929."
The Holy Modal Rounders filled out an odd profile in the thick of the 1960s folk movement: It was challenging tradition by taking it into weird and psychedelic realms. The Rounders had a small but intensely devoted following, and one of the group's songs was even included in a major motion picture.
The duo's influence has grown steadily over the intervening decades, inspiring a younger generation of innovative folk musicians - and filmmakers. The Rounders are now the subject of the new documentary Bound to Lose.
(full version: www.npr.org/2009/02/24/101105671/holy-modal-rounders-oddly-influential-folk)

01. Blues in the Bottle (03:27)
02. Give the Fiddler a Dram (02:35)
03. The Cuckoo (03:08)
04. Euphoria (01:34)
05. Long John (02:20)
06. Sugar in the Gourd (01:54)
07. Hesitation Blues (02:22)
08. Hey, Hey Baby (01:22)
09. Reuben's Train (02:33)
10. Mr. Spaceman (01:56)
11. Moving Day (02:34)
12. Better Things for You (03:14)
13. Same Old Man (01:45)
14. Hop High Ladies (02:04)
15. Bound to Lose (04:18)
16. Bully of the Town (03:04)
17. Sail Away, Ladies (02:41)
18. Statesboro Blues (01:40)
19. Clinch Mountain Backstep (02:05)
20. Down the Old Plank Road (02:06)
21. Black Eyed Suzie (01:40)
22. Hot Corn, Cold Corn (02:13)
23. Crowley Waltz (01:36)
24. Fishing Blues (01:44)
25. Junko Partner (01:10)
26. Soldier's Joy (03:11)
27. Mole in the Ground (02:50)
28. Chevrolet Six (02:03)
29. Flop Eared Mule (02:18)

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The Hollies - Would You Believe [Japan Ed. Mono & Stereo] (1966)

Year: June 1966 (CD Dec 18, 2013)
Label: Warner Music (Japan), WPCR-15418
Style: Rock, Pop, Beat
Country: Manchester, England
Time: 75:54
Format: Flac Tracks 16/44,1 kHz
Size: 447 Mb

The album includes covers of Simon and Garfunkel's "I Am a Rock", Chuck Berry's "Sweet Little Sixteen", and Evie Sands' "I Can't Let Go", which became a major hit for the Hollies.
This was the Hollies' last album with original bass player Eric Haydock, who took a leave of absence from the group after the American tour that followed the last recording session for the album, missing the recording session for the follow-up single "Bus Stop".
Both the stereo and mono mixes of Would You Believe? were digitally remastered at EMI Studios (now Abbey Road Studios) by Peter Mew in March 1998. In the UK, the remastered album was released with both mixes on one disc.
Would You Believe? was recorded at EMI Studios in London, UK and was produced by Ron Richards. Recording for the album commenced on 14 September 1965 when the band recorded the traditional folk-song "Stewball". Recording continued on 13 October, when "I've Got a Way of My Own" was put to tape.
The group then did not enter the studio for exactly three months, returning 13 January 1966 to record "Don't You Even Care" and the eventual single "I Can't Let Go" (the latter was later completed on 18 January). Three more songs, "Oriental Sadness", "I Take What I Want", and "Hard Hard Year" were recorded on 28 February. The following day, three more songs were put to tape: "That's How Strong My Love Is", "Take Your Time", and "Fifi the Flea". The final songs recorded before the album's release in June were "Sweet Little Sixteen" and "I Am a Rock" on 25 March.
(en.wikipedia.org/wiki/Would_You_Believe%3F_(Hollies_album))

01. I Take What I Want (Mono) (02:20)
02. Hard Hard Year (Mono) (02:17)
03. That's How Strong My Love Is (Mono) (02:46)
04. Sweet Little Sixteen (Mono) (02:25)
05. Oriental Sadness (Mono) (02:39)
06. I Am A Rock (Mono) (02:52)
07. Take Your Time (Mono) (02:24)
08. Don't You Even Care (What's Gonna Happen To Me?) (Mono) (02:29)
09. Fifi The Flea (Mono) (02:10)
10. Stewball (Mono) (03:08)
11. I've Got A Way Of My Own (Mono) (02:13)
12. I Can't Let Go (Mono) (02:37)
13. I Take What I Want (Stereo) (02:21)
14. Hard Hard Year (Stereo) (02:19)
15. That's How Strong My Love Is (Stereo) (02:48)
16. Sweet Little Sixteen (Stereo) (02:26)
17. Oriental Sadness (Stereo) (02:40)
18. I Am A Rock (Stereo) (02:53)
19. Take Your Time (Stereo) (02:24)
20. Don't You Even Care (What's Gonna Happen To Me?) (Stereo) (02:29)
21. Fifi The Flea (Stereo) (02:10)
22. Stewball (Stereo) (03:09)
23. I've Got A Way Of My Own (Stereo) (02:17)
24. I Can't Let Go (Stereo) (02:28)
25. A Taste Of Honey (Mono Bonus Track) (02:10)
26. A Taste Of Honey (Stereo Bonus Track) (02:12)
27. Stewball (French Mono Bonus Track) (03:06)
28. You Know He Did (French Mono Bonus Track) (02:05)
29. We're Through (French Mono Bonus Track) (02:18)
30. Schoolgirl (Stereo Bonus Track) (03:04)

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Andy Scott's Sweet (ex Sweet) - "A" (1992)

Year: 1992 (CD 1992)
Label: SPV Records (Germany), SPV 084-88832
Style: Hard Rock, Rock
Country: Wrexham, Wales (30 June 1949)
Time: 53:24
Format: Flac Tracks 16/44,1 kHz
Size: 375 Mb

Andrew David Scott (born 30 June 1949) is a Welsh musician and songwriter. He is best known for being the lead guitarist and a backing vocalist in the glam rock band Sweet. Following bassist Steve Priest's death in June 2020, Scott is the last surviving member of the band's classic lineup.
Scott started out playing bass guitar. His first gig was at St Peters Hall in Wrexham with The Rasjaks in November 1963 and then with other bands in Wales such as Guitars Incorporated and 3Ds.
He then progressed to guitar and played with other bands including The Saints, The ForeWinds, and The Missing Links. In 1966 he joined The Silverstone Set (later shortened to The Silverstones), who won the TV show Opportunity Knocks five weeks running, and appeared in the all-winners show for Christmas 1966, losing to Freddie Starr. One of their further highlights was to support Jimi Hendrix in Manchester in January 1967.
When The Silverstones split, Scott went on to form The Elastic Band, who recorded an album called Expansions of Life. Lead singer Ted Yeadon left to join Love Affair, however, before the album's release, the band folded. During this time they also recorded the album Pop Sounds, under the name The Cool.
Scott then played in the backing band for The Scaffold, which also included Mike McGear on bass and saxophone. He went on to join Mayfield's Mule, who recorded three singles, "Drinking My Moonshine", "I See a River" and "We Go Rollin'". An album was also released in Uruguay called Mayfields Mule with the song titles translated on the sleeve into Spanish.
Scott's first single release in 1975 was a reworked version of the Desolation Boulevard track "Lady Starlight" backed by "Where D'Ya Go?". Both songs, recorded during the Give Us a Wink sessions, were written and produced by Scott and Mick Tucker and featured Scott playing all instruments except the drums (Tucker). Scott made a promotional video for the track and also appeared on Mike Mansfield's British TV Show "Supersonic".
Scott released his second solo single, "Gotta See Jane", in 1983 under the name Ladders. It was a cover of the R. Dean Taylor Motown hit and was produced by him and Louis Austin, who had worked with Sweet as their engineer on past ventures. The B-side "Krugerrands", co-written with Chris Bradford, was subsequently released as the follow-up single (as Andy Scott this time), but like its predecessor, failed to chart. Except in Australia where it peaked at number 89 and South Africa where it was a top 10 hit. In 1984, Scott released two more solo singles, "Let Her Dance" and "Invisible". A compilation of all his solo projects, including demos, was released by Repertoire Records in 1993, under the title 30 Years.
(en.wikipedia.org/wiki/Andy_Scott_(guitarist))

01. Do As I Say (04:57)
02. Am I Ever Gonna See Your Face Again (03:59)
03. Stand Up (04:58)
04. Nouveau Rock Star (04:57)
05. Natural (04:53)
06. Mind (04:27)
07. Marshall Stack (04:29)
08. Red Tape (05:18)
09. When Friends Fall Out (03:02)
10. Is It True (05:04)
11. Dangerous Game (04:06)
12. Crudely Mott (03:09)

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Ten Years After - Watt [Japan Ed.] (1970)

Year: December 1970 (CD Oct 27, 2004)
Label: Toshiba Records (Japan), TOCP-67505
Style: Rock, Hard Rock, Rhythm and Blues
Country: Nottingham, England
Time: 38:27
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

Charts: UK #5, AUS #13, CAN #16, DEN #7, FIN #7, GER #9, ITA #8, NOR #8, SWE #13, US #21.
Not exactly 'burnout', but a really disappointing album. Blame it on the heavy touring, though - creatively the guys are still there. But they just didn't have enough time or forces, and Watt is an obvious lightweight toss-off to satisfy the record company and the fans. Musically, there are no advances over Cricklewood Green here, and the atmosphere is quite similar: same sharp riffing, grim atmosphere and angry pissed-off vocals, although in general the mood is a little lighter, simnply because the songs are clearly underdeveloped in every respect and they just didn't have the opportunity to tighten up the production. Or the lyrics - does their catalog of texts contain a line more stupid than 'baby don't you cry don't you cry you shouldn't do that'?
Obviously, they suffer from lack of material; whatever the hell for else should they have put 'Sweet Little Sixteen' from their 1970 Isle Of Wight gig at the end? I mean, it comes off pretty well - fast, furious and driving - but this ain't a live album, so why bother? It doesn't work at all in the context of the album, and it ain't all that interesting musically, just a bunch of power chords and generic Berry-licks. If they were really so deeply bothered, they should have put out the entire Wight gig instead: if you consult the Message To Love video, you'll see Alvin doing a pretty nifty live version of 'I Can't Keep From Crying' on there, with speedy solos, sonic gimmicks and everything that's his trademark style. 'Sweet Little Sixteen' is just unrepresentative.
And if we don't count the short acoustic-driven instrumental link 'The Band With No Name' which sounds like it's been taken directly from an average movie soundtrack (sounds very close to whatever Danny Kirwan was penning for Fleetwood Mac at the time - pleasant, but unsubstantial folk-pop), there's only six songs on here, most of them extended well beyond the expected and necessary running time. That's my main complaint, in fact, because the main melodies themselves are more or less good and show that Alvin's songwriting talents were slightly on the rise (and would reach the apex on the next album); he'd also begun experimenting with complex song structure, not being too successful here but at least laying the ground for more effective things to come.
(full version - https://starlingdb.org/music/tenyears.htm#Watt)

01. I'm Coming On (03:48)
02. My Baby Left Me (05:23)
03. Think About The Times (04:43)
04. I Say Yeah (05:17)
05. The Band With No Name (01:37)
06. Gonna Run (06:02)
07. She Lies In The Morning (07:24)
08. Sweet Little Sixteen (04:09)

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