Yello - One Second [6 bonus tracks] (1987)

Year: 4 May 1987 (CD Nov 2005)
Label: Universal Music (Europe), 06024 9830758
Style: Synth Pop, Techno Electronic
Country: Zurich, Switzerland
Time: 77:24
Format: Flac Tracks 16/44,1 kHz
Size: 526 Mb

Charts: SWI #4, AUS #95, AUT #6, GER #11, NL #64, NZ #36, SWE #24, UK #48, US #92. SWI: Gold.
Not everyone can like every album. But, for me, One Second is my all-time favorite. I have listed to it regularly since it was first released and have never tired of the complex rhythms and musical variety that it offers. One Second is different from Yello's other albums and, in my opinion, doesn't hold as much appeal for someone looking for pure techno. While the drum machines and sequencers are certainly there (and brilliantly done), the sound is less annalog and has more feel. It is not background music, but rather must be listened to to be enjoyed. The latin influence is wonderful and the music sounds as if it were made for Shirley Bassey's style and voice. In my mind, this album creates its own genre of music which I have yet to find elsewhere. It is different, but it is very very good!
(poprockbands.com/yello/albums/pry-id102378.html) Review by Ian (Wyoming). March 08, 2000
If you're a fan of Billy Mackenzie, you may want to pick up this album, since it's virtually littered with his sensual vocals and backing vocals. I don't have to tell you that the production rivals anything Trevor Horn or The Art Of Noise did at the time, the attention to detail is mind-boggling. As usual, too many disparate genres are explored (this time latin, hawaiian, torch songs, synth pop and heavy metal), which makes for an uneven listen. Also, some of the instrumentals aren't very exciting, relegating about a third of the material to the status of mere background music.
If you own the original CD version, you may want to hold on to it and not make the mistake of buying the 2005 edition (the Mackenzie sung "Snowball" is available on "The Glamour Chase"). Everything sounds way too compressed and the volume is cranked up to the max, which results in some distorted passages. It beggars belief that Boris Blank should have been responsible for this mess. 3.5 stars for the original recording, 1 for the remaster.
(rateyourmusic.com/release/album/yello/remaster-series-5-one-second-1/) Review by ippudo. Jan 22 2009

01. La Habanera (05:14)
02. Moon on Ice (04:15)
03. Call it Love (05:05)
04. Le Secret Farida (03:19)
05. Hawaiian Chance (04:20)
06. The Rhythm Divine (04:12)
07. Santiago (05:49)
08. Goldrush (04:21)
09. Dr. Van Steiner (04:21)
10. Si Senor the Hairy Grill (04:51)
11. L'Hotel (03:57)
12. Goldrush II (12' mix) (06:14)
13. The Rhythm Divine (1992 version) (04:22)
14. Call it Love (12' mix) (07:05)
15. Life is a Snowball (04:13)
16. Tool in Rose (05:41)

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Various Artists - Nativity In Black: A Tribute To Black Sabbath [Japan Ed.] (1994)

Year: October 4, 1994 (CD Oct 20, 1994)
Label: Sony Music (Japan), SRCS 7488
Style: Heavy Metal, Thrash, Goth Rock, Doom
Country: U.S., England, Brazil
Time: 75:48
Format: Flac Tracks 16/44,1 kHz
Size: 542 Mb

Perhaps more than any other single group, the Sabbath sound lay at the heart of Seattle's grunge movement 20-some years later. And many of today's top sonic heavyweights are only too ecstatic to give credit where credit is due. The liner notes may somewhat overstate Black Sabbath's ultimate importance, and quotes from the participating groups tend to gush with the praise of devoted acolytes...but that's exactly the point. The Nativity contributors approach the music with all the passion and spark of real fans, while never boxing themselves into slavish recreations of the original compositions.
(allmusic.com/album/nativity-in-black-tribute-to-black-sabbath-mw0000626504)

01. Biohazard - After Forever (05:46)
02. White Zombie - Children Of The Grave (05:50)
03. Megadeth - Paranoid (02:31)
04. 1000 Homo DJs - Supernaut (06:39)
05. Ozzy Osbourne With Therapy? - Iron Man (05:25)
06. Corrosion Of Conformity - Lord Of This World (06:24)
07. Sepultura - Symptom Of The Universe (04:15)
08. Bullring Brummies - The Wizard (05:01)
09. Bruce Dickinson With Godspeed - Sabbath Bloody Sabbath (05:36)
10. Ugly Kid Joe - N.I.B. (05:28)
11. Faith No More - War Pigs (07:02)
12. Type O Negative - Black Sabbath (07:49)
13. Cathedral - St. Vitus'Dance (Japanese Bonus Track) (02:26)
14. Cathedral - Wheels Of Confusion (Japanese Bonus Track) (05:31)

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The Soft Machine - BBC Radio 1967-1971 [2CD Live] (2003)

Year: 5 December 1967 – 1 June 1971 (CD Mar 31, 2003)
Label: Hux Records (UK), HUX 037
Style: Jazz Rock, Progressive Rock
Country: Canterbury, England
Time: 66:50, 60:54
Format: Flac Tracks 16/44,1 kHz
Size: 414, 401 Mb

For a band who, in their 'classic' guise, only released four (handily numbered) albums, the recent flurry of releases surrounding the Soft Machine may seem like an unwarranted bit of nostalgia. Especially as many of these have been some rather unpleasant bootleg-quality travesties. But this is most definitely not one of them. Hux Records have finally completed a job attempted by the label, Strange Fruit (The Peel Sessions) in the early 90s. At last those in the know can luxuriate in the lost aural treasures that have been mouldering in the BBC vaults. And for the rest of you, here's as good a place to start digging the Canterbury scene as any...
The aforementioned Peel Sessions album featured most of the same material, but, sadly, missed out on the really early gems from 1967 that still featured Kevin Ayers on bass. At this point the band were more psychedelic fledglings than soaring prog jazz birds of paradise. Yet it's interesting to see how, even at this early stage, the bands' shorter songs seemed oddly bereft when shorn of their live extemporised (and chemically enhanced) surroundings. Work such as ''A Certain Kind'' or ''Hope For Happiness'' operate far better in the context of their first album, blended into continuous, more jazzy, pieces. In fact,when the Softs returned to the BBC with new bassist Hugh Hopper they were performing nothing under 12 minutes. That aside, Ayers' quirkiness is light relief compared to the growling, humourless beast that the band had become just prior to drummer Robert Wyatt's departure.
After Kevin only Wyatt's Mockney ramblings kept the eccentric flag flying. Just compare his classic post modern re-writing of ''Moon In June'' ('We're free to play almost as long and as loud as a jazz group, or an orchestra on Radio 3. There are dancehalls and theatres with acoustics worse than here, not forgetting the extra facilities such as the tea machine, just along the corridor') with the admittedly marvellous, yet po-faced dissonance of ''Neo-Caliban Grides'' or ''Eamonn Andrews/All White'' on disc two.
It's obvious that it was only Hopper who was bridging the gap between Wyatt's wayward approach and Mike Ratledge's virtuoso noodling. One can only imagine Mike's chagrin at performing Robert's early, full vocal version of the erotic song, "Instant Pussy".
However, this is music of a wholly original hue. As an overview of a band rapidly expanding its horizons (and line-up, as we get the full seven-piece with brass section stuff as well) it's well-nigh unbeatable. Beginners may well be scared by the intricacies and oddly emotionless explorations contained herein. But perseverance is recommended. You won't be sorry...
(bbc.co.uk/music/reviews/2gdp/)

01. Clarence In Wonderland (02:57)
02. We Know What You Mean (03:11)
03. Certain Kind (03:38)
04. Hope For Happiness (04:37)
05. Strangest Scene (AKA Lullaby Letter) (04:55)
06. Facelift / Mousetrap / Noisette / Backwards / Mousetrap Reprise (11:54)
07. The Moon In June (13:02)
08. Instant Pussy (03:19)
09. Slightly All The Time / Out Bloody Rageous / Eamonn Andrews (19:14)

01. Virtually (09:58)
02. Fletcher's Blemish (12:11)
03. Neo-Caliban Grides (07:34)
04. Dedicated To You But You Weren't Listening (02:46)
05. Eamonn Andrews/All White (07:11)
06. Mousetrap:Noisette:Backwards:Mousetrap Reprise:Esther's Nose Job (21:11)

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Emerson, Lake & Palmer - Works Volume 2 [Japan Ed.] (1977)

Year: 25 November 1977 (CD Mar 20, 1999)
Label: Victor Records (Japan), VICP-60642
Style: Symphonic Rock
Country: London, England
Time: 43:51
Format: Flac Tracks 16/44,1 kHz
Size: 290 Mb

After the rather dull Works, Vol. 1, the highly underrated Works, Vol. 2 is a godsend. Works, Vol. 1 took their pompous, bombastic, keyboard-driven prog rock epics to the limit; had it been stripped of its excesses and coupled with the strongest cuts from Works, Vol. 2, the band may have had an enormous success with critics and fans alike. Volume 2's brief, eclectic compositions cover an array of musical styles, combining stimulating originals and handsomely orchestrated renditions of "Maple Leaf Rag," "Honky Tonk Train Blues," and "Show Me the Way to Go Home." Lake peppers the tunes with guitar and bass flourishes, resulting in some of his most challenging instrumental work, and both he and Palmer deliver incredibly strong performances. Meanwhile,Peter Sinfield contributes some of his most mature and accomplished lyrics. Emerson's work is solid and creative, but sounds a bit dated, which is part of why the band couldn't endure. Unlike some ELP albums, Volume 2's brief pieces sustain interest; there really isn't a weak tune in the set. The five instrumentals are highlighted by two short prog rock tunes, including the jazzy "Bullfrog," which features Lake's brief jazz bass solo and Palmer's fluid, versatile drumming. "Barrelhouse Shake-down" and "Maple Leaf Rag" showcase Emerson's superb ragtime and barrelhouse piano playing, and Palmer's jazz fusion/marching band piece, "Close But Not Touching," features horns and Lake's psychedelic electric guitar lines. The vocal pieces are equally interesting. "Brain Salad Surgery" is progressive jazz-rock that bears some resemblance to King Crimson's "Cat Food," unsurprising since each features Lake singing Sinfield's lyrics. And, of course, there is the hit "I Believe in Father Christmas," a beautiful Lake/Sinfield composition that highlights Lake's strong voice and vibrant acoustic guitar.
(allmusic.com/album/works-vol-2-mw0000197673)
This is a quite terrible album to be frank. I recall listening this trough as a kid, and being amazed what kind of stuff the band managed to do after "Pictures at An Exhibition" or their debut studio recording. After that it has gathered dust in my bookshelf, except for the quick re-listening done for this review. Maybe I should try to get an euro or few from the local flea markets, as the second hand record stores won't accept it. The leftovers found from love beach's low tide could for a fine soundtrack for some Charles Bronson movies, where I understood Keith Emerson ventured few years after this release. Cool band pic at the back side of the album though, one solution would be cutting that off and practice the arts of archery to this abomination.
(progarchives.com/album.asp?id=1875) Review by Eetu Pellonpaa. June 14, 2005

01. Tiger In A Spotlight (04:36)
02. When The Apple Blossoms Bloom In The Windmills Of Your Mind I'll Be Your Vale... (03:58)
03. Bullfrog (03:51)
04. Brain Salad Surgery (03:09)
05. Barrelhouse Shake-Down (03:53)
06. Watching Over You (03:58)
07. So Far To Fall (04:57)
08. Maple Leaf Rag (02:02)
09. I Believe In Father Christmas (03:20)
10. Close But Not Touching (03:23)
11. Honky Tonk Train Blues (03:12)
12. Show Me The Way To Go Home (03:30)

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National Health - Playtime [Live] (1979)

Year: 1979 (CD 2001)
Label: Cuneiform Records (US), Rune 145
Style: Progressive Rock, Instrumental, Jazz Fusion
Country: Canterbury, England
Time: 77:01
Format: Flac Tracks 16/44,1 kHz
Size: 449 Mb

Tracks 1-4 recorded April 27th, 1979 at A L'Ouest de la Grosne, Bresse-sur-Grosne, France. Tracks 5-9 recorded December 1st, 1979 at The Main Point, Bryn Mawr, PA, USA.
Once upon a time in the mid-1970s there was a British progressive rock band called National Health. A sprawling, ponderous seven-piece outfit, they eventually scaled down to four pieces and released two albums-their self-titled 1978 debut and its follow-up, Of Queues and Cures. This live recording captures the band on tour in late 1979, shortly before its first breakup in March of 1980.
A more stretched-out, jam-oriented affair than the original studio recordings, Playtime picks up on some of the furious, frenetic energy of the early fusion movement, when bands like Tony Williams Lifetime and the original lineups of the Mahavishnu Orchestra and Return to Forever were going straight for the jugular with raw burn, tempered with intelligent writing, strict ensemble playing and audacious, chops-oriented soloing.
There are traces of early Weather Report and Passport in pieces like keyboardist Alan Gowen’s “Flanagan’s People.” Guitarist Phil Miller’s playing here is teeming with the raggedy, distortion-laced abandon of RTF-era Bill Connors with touches of the rock-fueled bravura that Tommy Bolin flashed on Billy Cobham’s 1973 landmark, Spectrum. And bassist John Greaves (formerly of Henry Cow) combines the rumbling tone of Yes’ Chris Squire with the more adventurous, rampaging aesthetic of Ralphe Armstrong on his solos. This freewheeling 16-minute showcase travels from hard-hitting heads to strict unison playing to wide-open free sections underscored by the nimble, swinging pulse of drummer Pip Pyle. And along the way they all push the envelope on sonic textures with a variety of effects pedals and techno gadgetry. Miller’s “Dreams Wide Awake” is another raucous fusion offering in that early RTF-Mahavishnu mode, striking a perfect balance between raw abandon and laser-sharp ensemble discipline. The soloing here and on the throbbing title track is full of nasty intent, frenetic energy and chops grandstanding, just as good fusion music should be.
Other pieces like Miller’s “Nowadays a Silhouette,” Pyle’s “Pleaides” and Greaves’ “Squarer For Maude” are closer in spirit to the more controlled prog-rock of Yes, Gong and Soft Machine. But the rest of this collection bristles with intensity and catharsis. This is first rate, risk-taking jazz-rock created in a bygone era by a greatly under-recognized band.
(jazztimes.com/reviews/albums/national-health-playtime/)

01. Flanagan's People (15:57)
02. Nowadays A Silhouette (06:32)
03. Dreams Wide Awake (08:18)
04. Pleaides (10:26)
05. Rhubarb Jam (01:17)
06. Rose Sob (01:46)
07. Play Time (09:38)
08. Squarer For Maude part 1 (05:11)
09. Squarer For Maude part 2 (07:51)

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Mike Scott (ex The Waterboys) - Still Burning (1997)

Year: 1997 (CD Sep 29, 1997)
Label: Chrysalis Records (UK), 7243 8 57389 2 0
Style: Rock, Pop Rock
Country: Edinburgh, Scotland (14 December 1958)
Time: 40:31
Format: Flac Tracks 16/44,1 kHz
Size: 274 Mb

Still Burning is the second solo studio album by Mike Scott, released by Chrysalis in 1997. It followed Scott's 1995 solo debut, Bring 'em All In, and was the last of Scott's solo albums before re-forming The Waterboys in 2000. Photography was provided by Andrew Catlin and Mary Scanlon. Although well-received critically, sales of the album were poor and Scott was subsequently dropped from Chrysalis Records. This led directly to Scott's decision to revive the Waterboys' name in order to achieve wider marketplace exposure. Scott describes the making of and commercial failure of the album in detail in his 2012 autobiography, Adventures of a Waterboy.
The songs "Love Anyway" and "Rare, Precious and Gone" were released as singles. The video for the latter (available to view on YouTube) is notable for having been filmed in a booth at an airport that cost ?5.00 to operate while Scott and his band were waiting to board a flight, potentially making it one of the lowest costing filmed music videos ever produced.
(en.wikipedia.org/wiki/Still_Burning)

01. Questions (04:51)
02. My Dark Side (03:58)
03. Open (02:55)
04. Love Anyway (06:42)
05. Rare, Precious And Gone (04:06)
06. Dark Man of My Dreams (04:16)
07. Personal (02:14)
08. Strawberry Man (03:31)
09. Sunrising (04:59)
10. Everlasting Arms (02:54)

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Barclay James Harvest - Baby James Harvest [10 bonus tracks] (1972)

Year: 10 November 1972 (CD Feb 14, 2008)
Label: EMI Records (Japan), TOCP-70349
Style: Art Rock, Symphonic Rock
Country: Oldham, England
Time: 78:54
Format: Flac Tracks 16/44,1 kHz
Size: 502 Mb

"Baby James Harvest" is felt by many to be the weakest of their first four albums which were all released on the Harvest Label. This would be their last album for that label. This album is more of an acquired taste than their previous, more accessible releases. I remember being disappointed with the original LP release due to both the music and to the rather uninspired baby in a flowerpot cover, and lack of a gatefold sleeve. In retrospect however, the album was well worth getting to know.
The album contains just six tracks in all. There is the prog rock classic "Summer soldier", surely one of the most underrated prog epics by anyone. Constructed in two distinct parts, it has passing similarities with Uriah Heep's "July Morning". The final track "Moonwater" has a classical sound and structure, with delicate vocals and significant orchestration.
The diversity of the band's first album returns, with the rocking "Thank you", (a tribute to their road crew and literally everyone else), and the brass backed "Delph town morn". Elsewhere, "One hundred thousand smiles out" has more than a hint of "Space Oddity" to it.
The tracks are generally longer than those on previous albums allowing the band to develop them slightly more. The remastered version has some interesting bonus tracks, including the excellent non-album single "The Joker".
(https://www.progarchives.com/album.asp?id=3383) Review by Easy Livin. February 20, 2004
This is a second miss in-a-row for Barclay James Harvest for the same exact reasons as their previous release. On top of that the official website clearly states that the whole of this album was written and recorded in a matter of four week which is not something to be proud of!
The bands songwriting is all over the place ranging from rock & roll to classical music. The album kicks off with the rocker Crazy (Over You) which sounds a lot like In My Life from Time Honoured Ghosts. The whole rock & roll attitude doesn't really bother me that much until Thank You which is the only composition that I think a man of John Lee's great talent should be ashamed for even proposing to the rest of the band. Even Woolly Wolstenholme manages to go over the border with his Moonwater which sticks out like a sore thumb in comparison to the rest of the album.
There is clearly a lot of potential on Baby James Harvest but since writing and recording was so rushed the end result is anything but satisfactory. I actually consider it to be a miracle that the band managed to compose and record a great track like Summer Soldier which incidentally also marks the only real band effort on this album.
(https://www.progarchives.com/album.asp?id=3383) Review by Rune2000. January 10, 2010

01. Crazy (Over You) (04:17)
02. Delph Town Morn (04:48)
03. Summer Soldier (10:27)
04. Thank You (04:23)
05. One Hundred Thousand Smiles Out (06:04)
06. Moonwater (07:30)
07. Child Of Man (bonus) (03:21)
08. I'm Over You (bonus) (03:52)
09. When The City Sleeps (bonus) (04:15)
10. Breathless (bonus) (03:08)
11. Thank You (aternative version) (bonus) (04:27)
12. Medicine Man (single version) (bonus) (04:29)
13. Rock And Roll Woman (bonus) (03:17)
14. The Joker (bonus) (03:32)
15. Child Of Man (BBC Session 15.03.1972) (bonus) (03:36)
16. Moonwater (2002 Remix) (bonus) (07:20)

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Pink Floyd - The Piper At The Gates Of Dawn [3CD] (1967)

Year: 4 August 1967 (CD Sep 11, 2007)
Label: EMI Records (Europe), 50999-503919-2-9
Style: Psychedelic Rock
Country: London, England
Time: 42:15, 41:58, 32:06
Format: Flac Tracks 16/44,1 kHz
Size: 273, 274, 194 Mb

Charts: UK #6, FRA #15, GER #42, NL #46, SWI @87, US #131. UK: Gold.
The Piper at the Gates of Dawn is the debut studio album by English rock band Pink Floyd, released on 4 August 1967 by EMI Columbia. It is the only Pink Floyd album made under the leadership of founder member Syd Barrett (lead vocals, guitar); he wrote all but three tracks, with additional composition by members Roger Waters (bass, vocals), Nick Mason (drums), and Richard Wright (keyboards, vocals). The album followed the band's influential performances at London's UFO Club and their early chart success with the 1967 non-album singles "Arnold Layne" and "See Emily Play".
The album was recorded at EMI Studios in London's Abbey Road from February to May 1967 and produced by Norman Smith. It blended Pink Floyd's reputation for long-form improvisational pieces with Barrett's short pop songs and whimsical take on psychedelia. The album made prominent use of recording effects such as reverb and echo, employing tools such as EMT plate reverberation, automatic double tracking (ADT), and Abbey Road's echo chamber. Part-way through the recording sessions, Barrett's growing use of the psychedelic drug LSD accompanied his increasingly debilitated mental state, leading to his eventual departure from the group the following year. The album title was derived from referencing the god Pan in chapter seven of Kenneth Grahame's 1908 children's novel The Wind in the Willows, a favourite of Barrett's.
The album was released to critical and commercial success, reaching number 6 on the UK Albums Chart. In the United States, it was released as Pink Floyd in October on Tower Records with an altered track listing that omitted three songs and included "See Emily Play". In the UK, no singles were released from the album, but in the US, "Flaming" was offered as a single. Two of its songs, "Astronomy Domine" and "Interstellar Overdrive", became long-term mainstays of the band's live setlist, while other songs were performed live only a handful of times. In 1973, The Piper at the Gates of Dawn was packaged with the band's second album A Saucerful of Secrets (1968) and released as A Nice Pair, to introduce the band's early work to new fans gained with the success of The Dark Side of the Moon (1973).
The album has since been hailed as a pivotal psychedelic music recording. Special limited editions of The Piper at the Gates of Dawn were issued to mark its 30th, 40th, and 50th anniversaries, with the former two releases containing bonus tracks. In 2012, The Piper at the Gates of Dawn was placed at number 347 on Rolling Stone magazine's list of the "500 Greatest Albums of All Time", moved up to number 253 in the 2020 edition.
(en.wikipedia.org/wiki/The_Piper_at_the_Gates_of_Dawn)

01. Astronomy domine (04:15)
02. Lucifer sam (03:09)
03. Matilda mother (03:05)
04. Flaming (02:46)
05. Pow R. Toc H. (04:24)
06. Take up thy stethoscope and walk (03:07)
07. Interstellar overdrive (09:41)
08. The gnome (02:14)
09. Chapter 24 (03:53)
10. Scarecrow (02:10)
11. Bike (03:27)

01. Astronomy Domine (04:12)
02. Lucifer Sam (03:07)
03. Matilda Mother (03:08)
04. Flaming (02:46)
05. Pow R. Toc H. (04:26)
06. Take Up Thy Stethoscope And Walk (03:05)
07. Interstellar Overdrive (09:40)
08. The Gnome (02:13)
09. Chapter 24 (03:42)
10. The Scarecrow (02:11)
11. Bike (03:24)

01. Arnold Layne (02:55)
02. Candy And A Currant Bun (02:45)
03. See Emily Play (02:54)
04. Apples And Oranges (03:05)
05. Paintbox (03:45)
06. Interstellar Overdrive (French Edit) (05:15)
07. Apples And Oranges (Stereo Version) (03:11)
08. Matilda Mother (Alternative Version) (03:09)
09. Interstellar Overdrive (Take 6) (05:03)

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Tiger B. Smith - Tiger Rock (1972)

Year: 1972 (CD 1997)
Label: Second Battle (Germany), SB 036
Style: Hard Rock, Blues Rock
Country: Germany (21 August 1952 - 20 December 2016)
Time: 36:26
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

Five tracks comprise the album, and the Tiger bunch are nothing less than on the prowl for the bulk of it. Kicking off with “Tiger Rock” as roaring sound FX slyly open up the proceedings when Schmidt’s abrasive, near-antiseptic riffing intro cuts in to signal the band to break into a full-tilt, hardened boogie approximating the same pace and strength of Neil Young’s “Sedan Delivery” (Which is to say it’s not the usual ‘feel good at a mid pace tempo while we amp up slow and dumb down the blues like Humble fucking Pie and make you feel alllllll right!-in-the-process’ boogie nonsense but a far more streamlined and simple approach minus any fussy blues allegiance…Although THAT comes into play full force when the last track of the album derails an otherwise superb album with an obligatory and far too long blues exposition.) Tiger B. Smith just pummel it out so moronically forceful and insistently, it’s beyond mere standard blues-boogie — its savageness is far more bloodying a stomp-fest: mirrored by Schmidt’s repeated breakdown chorus of “Won’t do it!/ Won’t do it! / Won’t do it! / I will not do it! / I will not do it! / Just leave me alone!” and the abundance of double-time drum rolls which to the overall sense of abandon both fretfully defiant and willfully absurd at the same time.
The plodding, near-“Iron Man” sensibility of the rhythm guitar of “These Days” juxtaposes itself against a stoic drum pattern clipped with Dierks’ industrial effects which translates them into a sound at once deceptively hollow though thundering with hugeness and overall bass throttling from Klaus Meinhardt. Several times it collects into small, pounded-out mini-thrashes on the beat only to explode back into the even slower paced trudge ‘theme.’ A middle section picks up speed only to fall back with the added appearance of organ tones. Again and again the brief thrash sessions return as much to annoy as to excite and serve to break up the track’s otherwise super-drag quality as well as adding a sense of perfectly-timed stupidity.
(full version: headheritage.co.uk/unsung/the-book-of-seth/tiger-b-smith-tiger-rock)

01. Tiger Rock (05:16)
02. These Days (05:57)
03. Everything I Need (06:26)
04. To Hell (09:49)
05. Tiger Blues (08:56)

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Blackmore's Night - Dancer And The Moon (2013)

Year: 11 June 2013 (CD 2013)
Label: Frontiers Records (Europe), FR CDVD 605
Style: Folk Rock, New Age
Country: UK, US
Time: 53:14
Format: Flac Tracks 16/44,1 kHz
Size: 371 Mb

"We find that the Dancer and the moon is visually and emotionally representative of how we feel about our music. We have always had a very strong pull to the mystery of the moon. Her magic, her power, her legend…She affects us so deeply that we have named many CDs after her and she is almost always represented in our songs. The dancer herself is completely, unabashedly and whole heartedly moved by the intensity of the music she feels within her soul. As the music, the moon and the dance are what inspired us…we thought it to be a true relationship."
Well, there you have it folks. The music and concept of Blackmore’s Night is and apparently always has been largely inspired by the moon and all her wondrous power. “Dancer and the moon” is a supposed culmination of everything the band have done musically since their foundation in 1997, but that doesn’t mean that it’s necessarily their best. And unfortunately, it actually proves to be one of the band’s weakest efforts so far. Now, before all of you devoted fans start slinging hate mail my way for even considering a Blackmore’s night album to be less than decent, there are enough reasons for my saying so.
Firstly, the few positives of the album should be noted. It seems that since the band’s last album, “Autumn sky”, Ritchie Blackmore has been taking on a more prominent role within the band and apparently plays the majority of the instruments, including those that contribute to a more folk-inspired sound such as the mandola, nickelharpe and hurdy gurdy. In fact, he pretty much wrote every song on “Dancer and the moon”, and those that weren’t written by him were simply cover versions of Uriah Heep, Randy Newman and his very own band who were in their prime three and a half decades ago, Rainbow. His guitar performance on songs such as the eccentric title track and ‘The last leaf’ is undoubtedly precise and well-executed, and his usage of the folk instrumentation on songs such as the melancholic ‘Troika’ and upbeat instrumental ‘Galliard’ are rather decent, considering he hasn’t really used them before.
(full version: sputnikmusic.com/review/57534/Blackmores-Night-Dancer-And-The-Moon/)

01. I Think It's Going To Rain Today (03:54)
02. Troika (03:30)
03. The Last Leaf (04:05)
04. Lady In Black (05:48)
05. Minstrels In The Hall (02:38)
06. Temple Of The King (04:26)
07. Dancer And The Moon (04:55)
08. Galliard (02:00)
09. The Ashgrove (02:21)
10. Somewhere Over the Sea (The Moon is Shining) (04:07)
11. The Moon is Shining (Somewhere Over the Sea) (06:19)
12. The Spinner's Tale (03:30)
13. Carry On... Jon (05:37)

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Nirvana - Nevermind [24kt Gold. MFSL CD] (1991)

Year: September 24, 1991 (CD 1996)
Label: Mobile Fidelity Sound Lab (US), UDCD 666
Style: Pop
Country: Aberdeen, Washington, U.S.
Time: 59:22
Format: Flac Tracks 16/44,1 kHz
Size: 324 Mb

Charts: US #1, AUS #2, AUT #2, CAN #1, FIN #1, NLD #3, NZ #2, SWE #1, SWI #2, UK #5. FIN: Gold; GER, SWI &NLD: Platinum; SWE: 2x Platinum; AUS: 5x Platinum; UK & NZ: 7x Platinum; US & CAN: Diamond.
Written primarily by frontman Kurt Cobain, Nevermind is noted for channeling a range of emotions, being noted as dark, humorous, and disturbing. It includes anti-establishment views, anti-sexism, frustration, alienation, and troubled love inspired by Cobain's broken relationship with Bikini Kill's Tobi Vail. Contrary to the popular hedonistic themes of drugs and sex at the time, writers have observed that Nevermind promoted the image of the sensitive artist in mainstream rock. According to Cobain, the sound of the album was influenced by bands such as Pixies, R.E.M., the Smithereens, and Melvins. Though the album is considered a cornerstone of the grunge genre, it is noted for its musical diversity, which includes acoustic ballads ("Polly" and "Something in the Way") and punk-inspired hard rock ("Territorial Pissings" and "Stay Away").
Nevermind became an unexpected critical and commercial success, reaching the top 10 on charts across the world. On January 11, 1992, it knocked Michael Jackson's Dangerous out of the number one spot on the US Billboard 200 and was selling approximately 300,000 copies a week. The lead single, "Smells Like Teen Spirit", reached the Top 10 of the US Billboard Hot 100 and went on to be inducted into the Grammy Hall of Fame. Its music video was also heavily rotated on MTV. Three other successful singles were released: "Come as You Are", "Lithium", and "In Bloom". The album was voted the best album of the year in Pazz & Jop critics' poll, while "Smells Like Teen Spirit" also topped the single-of-the-year and video-of-the-year polls. The album also garnered the band three Grammy Award nominations in total across the 34th and 35th Grammy Awards, including Best Alternative Music Album.
(en.wikipedia.org/wiki/Nevermind)

01. Smells Like Teen Spirit (05:02)
02. In Bloom (04:15)
03. Come As You Are (03:39)
04. Breed (03:04)
05. Lithium (04:17)
06. Polly (02:55)
07. Territorial Pissings (02:23)
08. Drain You (03:44)
09. Lounge Act (02:37)
10. Stay Away (03:32)
11. On A Plain (03:16)
12. Something In The Way (20:35)

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Emerson, Lake & Palmer - Works Volume One [Japan Ed. 2CD] (1977)

Year: 25 March 1977 (CD 1989)
Label: Atlantic Records (Japan), 55XD-668/9
Style: Symphonic Rock
Country: London, England
Time: 41:08, 46:04
Format: Flac Tracks 16/44,1 kHz
Size: 230, 289 Mb

Charts: UK #9, AUS #6, AUT #11, CAN #17, GER #10, ITA #5, NED #17, NOR #11, JP #13, US #12. UK, US & CAN: Gold.
Side one features Emerson's Piano Concerto No. 1, a three-movement work for piano and orchestra. Emerson performs on a Steinway grand piano with the London Philharmonic Orchestra conducted by John Mayer, who assisted on the orchestral arrangements. He wanted to write a serious piece that would not date itself, with the aim of having it performed by others in the future. Working hard on the score, Emerson looked back on it shortly after the album was released: "I've squeezed every ounce of myself into that thing. And I feel very satisfied." An initial recording session took place at Kingsway Hall in London with mobile studio equipment, but the orchestra had difficulty understanding the score and performers complained of the hall's acoustics, resulting in Emerson "wasting a lot of money." A successful session arose when recording relocated to De Lane Lea Studios. When it came to preparing material for the album, Emerson dedicated a period to "think and write" following his depression after his Sussex home caught fire two years prior, burning his possessions and music he had put down. The work's third movement reflected Emerson's mood at the time of the fire, and he was able to get "a lot of anger" out through the music. In the band's Beyond the Beginning documentary, Lake recalled that Emerson invited composer Leonard Bernstein to listen to the work during his visit to the Paris studio where the recording was being mixed. Upon listening to the work, Bernstein said it "reminded him of Grandma Moses", a folk artist. Emerson, however, did not recall Bernstein saying this.
Side 2 is the Greg Lake side, and consists of acoustic ballads, all of which were written by Lake and Peter Sinfield.
Side 3, the Carl Palmer side, includes a remake of "Tank" from the band's self-titled debut album released in 1970, with orchestral accompaniment and minus the drum solo. "L.A. Nights" features Eagles guitarist Joe Walsh on lead and slide guitar and scat vocals. Two arrangements of classical pieces are included: Two-Part Invention in D minor, BWV 775 by Johann Sebastian Bach and a piece titled "The Enemy God Dances With the Black Spirits", an excerpt of the 2nd movement of the Scythian Suite by Sergei Prokofiev.
Side four. The fourth side features two group-performed pieces. "Fanfare for the Common Man" is an adaptation of the same-titled piece by American composer Aaron Copland. Emerson sought Copland's permission so the group could use it; Copland found their version appealing but was puzzled at the solo section in the middle of two fairly straightforward renditions of his piece.
The 13-minute "Pirates" originated from a piece Emerson had written for a cancelled film version of Frederick Forsyth's book The Dogs of War. When Lake and Sinfield got together to write lyrics for the track, Emerson had told Lake that he wrote it with mercenaries in mind, which Lake found distasteful and wanted the song to be about something else. He conjured images of the sea upon listening to Emerson's piece, which made him think of pirates. Sinfield liked the idea, and the pair wrote words at Lake's mountain chalet. "Pirates" was recorded in two separate studios; Lake had a falling out with the orchestra used in Montreux, so recording moved to Paris with the National Opera of Paris orchestra and conductor Godfrey Salmon. Sinfeld recalled the band wanting Leonard Bernstein to conduct the orchestral arrangements on "Pirates", and arranged for Bernstein, who was conducting at the nearby Opera House, to visit the studio and hear the piece. Lake said: "I pressed the play button, and he put his head in his hands and from beginning to end, he didn't move. If he didn't like something, you would be told he looked at me, and he said, 'The singing's not bad.'. I'm sure he didn't realize that I was the singer". Sinfield remembered Bernstein describing it as "primitive".
(en.wikipedia.org/wiki/Works_Volume_1)

01. Piano Concerto No.1, First Movement - Allegro Giojoso (09:24)
02. Piano Concerto No.1, Second Movement - Andante Molto Cantabile (02:13)
03. Piano Concerto No.1, Third Movement - Toccata Con Fuoco (06:49)
04. Lend Your Love To Me Tonight (04:05)
05. C'est La Vie (04:19)
06. Hallowed Be Thy Name (04:38)
07. Nobody Loves You Like I Do (04:00)
08. Closer To Believing (05:35)

01. The Enemy God Dances With The Black Spirits (03:19)
02. L.A. Nights (05:44)
03. New Orleans (02:47)
04. Two Part Invention In D Minor (01:55)
05. Food For Your Soul (04:00)
06. Tank (05:09)
07. Fanfare For The Common Man (09:46)
08. Pirates (13:21)

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Soft Machine - Alive & Well Recorded In Paris [2CD Live] (1978)

Year: March 1978 (CD 2010)
Label: Esoteric Records (UK), ECLEC 22234
Style: Jazz Rock, Fusion, Progressive Rock
Country: Canterbury, England
Time: 38:36, 56:11
Format: Flac Tracks 16/44,1 kHz
Size: 252, 345 Mb

Recorded: 6–9 July 1977 at Theatre Le Palace, Paris, France.
Alive & Well: Recorded in Paris is a (mostly) live album by the jazz rock band Soft Machine, released in 1978. It is their first album recorded entirely without any founding members of the band, as Mike Ratledge left the group during recording of the previous album Softs. It is also first album since their debut not to include any wind instruments.
As reported on the booklet of the 2010 edition, it was recorded almost entirely live, by The Manor Mobile recording engineer Alan Perkins, during a 4-night residency at Paris' Theatre Le Palace in July 1977. Much of the album was later mixed and partially re-recorded in studio; the track "Soft Space" was completely re-recorded in studio and released as a single ("Soft Space" parts 1 and 2) in April 1978.
After the final performance recorded for the album, the band's van was broken into and burglarized. Among the items stolen was Etheridge's Gibson SG electric guitar he used during the shows.
(en.wikipedia.org/wiki/Alive_%26_Well:_Recorded_in_Paris)

01. White Kite (03:00)
02. Eos (01:19)
03. Odds Bullets And Blades Pt 1 (02:18)
04. Odds Bullets And Blades Pt 2 (02:32)
05. Song Of The Sunbird (01:24)
06. Puffin' (01:17)
07. Huffin' (04:41)
08. Number Three (02:26)
09. The Nodder (07:12)
10. Surrounding Silence (04:04)
11. Soft Space (08:17)

01. K's Riff (04:41)
02. The Nodder (07:12)
03. Two Down (02:26)
04. The Spraunce (06:26)
05. Song Of Aeolus (03:40)
06. Sideburn (07:43)
07. The Tale Of Taliesin (08:08)
08. Organic Matter / One Over The Eight (05:54)
09. Soft Space Part One (Edited Version) (04:15)
10. Soft Space Part Two (Disco Version) (05:41)

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Queen - Deep Cuts Volume 1 (1973–1976) [compilation] (2011)

Year: 14 March 2011 (CD Mar 11, 2011)
Label: Queen Productions Ltd. (Germany), 276 542-4
Style: Rock
Country: London, England
Time: 51:15
Format: Flac Tracks 16/44,1 kHz
Size: 329 Mb

Deep Cuts, Volume 1 (1973–1976) is a compilation of Queen tracks between 1973 and 1976. Unlike other compilations released by Queen, Deep Cuts contains songs which are largely not as well known as Queen's hits. The album was released on 14 March 2011 as part of Queen's 40th anniversary. Deep Cuts Volume 1 was released at the same time Queen's first five albums (Queen, Queen II, Sheer Heart Attack, A Night at the Opera, and A Day at the Races) were re-released. The songs picked were all personal favourite songs, that were not hits, selected by Brian May, Roger Taylor, and Taylor Hawkins (the drummer for the Foo Fighters). It is the only release to feature the complete ending of "The March of The Black Queen" (on Queen II it segues to "Funny How Love Is") and of "Ogre Battle" (on Queen II it segues to "The Fairy Feller's Master-Stroke"). The three songs "Tenement Funster", "Flick of the Wrist" and "Lily of the Valley" all segue into each other just as on the original Sheer Heart Attack album.
(en.wikipedia.org/wiki/Deep_Cuts,_Volume_1_(1973%E2%80%931976))
Ever since Freddie Mercury's passing in 1991, fans have seen countless Queen compilations and reissues come their way. And in early 2011, another one arrived, Deep Cuts 1973-1976. As its title suggests, the 14-track compilation is comprised of tunes that were not hits (in other words, don't expect the likes of "Killer Queen," "Bohemian Rhapsody," etc.). But as longtime Queen admirers know, Queen was always an "album rock band," meaning that many of their albums were all killer-no filler from beginning to end. So as a result, many of their uncommon tracks were quite strong on their own. Spanning the group's first five albums (1973's Queen, 1974's Queen II and Sheer Heart Attack, 1975's A Night at the Opera, and 1976's A Day at the Races), the track list was compiled by Queen guitarist Brian May and drummer Roger Taylor, as well as Foo Fighters drummer/Queen super fan Taylor Hawkins. And something else that hardcore Queen fans will notice is that the track list is not in chronological order. Regardless, you can't debate the quality of many of these oft-overlooked songs, including such rockers as "Stone Cold Crazy," "Keep Yourself Alive," and "The March of the Black Queen," and such ballads as "My Fairy King" and "Lily of the Valley." Also included are tunes that fall somewhere between the middle or rockers and ballads ("In the Lap of the Gods…Revisited"), as well as tunes that show that Freddie was not the only Queen member who possessed a fine singing voice (May on "Long Away" and Taylor on "I'm in Love with my Car"). If you already own Queen's Greatest Hits and want to further explore their harder rocking early years, Deep Cuts 1973-1976 is a smartly assembled little package which packs quite a wallop.
(allmusic.com/album/deep-cuts-1973-1976-mw0002114033)

01. Ogre Battle (04:14)
02. Stoine Cold Crazy (02:14)
03. My Fairy King (04:09)
04. I'm In Love With My Car (03:06)
05. Keep Yourself Alive (03:48)
06. Long Away (03:33)
07. The Millionaire Waltz (04:54)
08. '39 (03:32)
09. Tenement Funster (02:46)
10. Flick Of The Wrist (03:17)
11. Lilly Of The Valley (01:45)
12. Good Company (03:25)
13. The March Of The Black Queen (06:39)
14. In The Lap Of The Gods... Revisited (03:46)

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Zoot Money's Big Roll Band - It Should've Been Me (1965)

Year: October 1965 (CD 2005)
Label: Repertoire Records (UK), REP 5041
Style: Rhythm and Blues, Garage Rock, Psychedelic Rock
Country: England (17 July 1942 – 8 September 2024)
Time: 79:57
Format: Flac Tracks 16/44,1 kHz
Size: 288 Mb

George Bruno "Zoot" Money (17 July 1942 – 8 September 2024) was an English vocalist, keyboardist and bandleader. He was best known for playing the Hammond organ and for his leadership of the Big Roll Band. Inspired by Jerry Lee Lewis and Ray Charles, Money was drawn to rock and roll music and became involved in the music scenes of Bournemouth and Soho during the 1960s. He took his stage name "Zoot" from Zoot Sims after seeing him perform in concert.
Money was associated with the Animals, Eric Burdon, Peter Green, Steve Marriott, Kevin Coyne, Kevin Ayers, Humble Pie, Steve Ellis, Alexis Korner, Snowy White, Mick Taylor, Spencer Davis, Vivian Stanshall, Geno Washington, Brian Friel, Hard Travelers, Widowmaker, Georgie Fame and Alan Price. He was later a bit part and character actor in films and TV. and was Musical Director for the 1987 BBC Scotland drama series Tutti Frutti.
(en.wikipedia.org/wiki/Zoot_Money)
Zoot Money's Big Roll Band was one of the finest and most entertaining of all the organ-based R&B bands that came out of London's famed Flamingo Club. Specialising in a spicy mix of soul, jazz and blues, the group was packed with top class musicians, including future Police guitar star Andy Summers. Zoot Money was their charismatic leader; a soulful singer, organist and showman who helped make the band a major club attraction.
'It Should've Been Me', the band's debut album, first released in 1965, is a compendium of soul and R&B tunes like 'I'll Go Crazy' that the band regularly played in its live set. The album also features guest vocalist Paul Williams on such performances as 'Jump Back' and 'Rags And Old Iron'. We have added a further 10 bonus tracks, featuring a selection of A & B-side singles from 1964-1966 and an alternate take of 'It Should've Been Me'.
(repertoirerecords.com/artists/zoot-moneys-big-roll-band/it-shouldve-been-me/)

01. I'll Go Crazy (03:44)
02. Jump Back (02:18)
03. Along Came John (04:56)
04. Back Door Blues (06:13)
05. It Should've Been Me (02:55)
06. Sweet Little Rock And Roller (02:59)
07. My Wife Can't Cook (04:52)
08. Rags And Old Iron (03:34)
09. The Cat (03:34)
10. Feelin' Sad (06:22)
11. Bright Lights Big City (04:59)
12. Fina (02:50)
13. Uncle Willie (bonus track) (02:54)
14. Good (bonus track) (02:25)
15. Bring It Home To Me (bonus track) (03:42)
16. Please Stay (bonus track) (03:39)
17. You Know You'll Cry (bonus track) (03:13)
18. Something Is Worrying Me (bonus track) (02:56)
19. Stubborn Kind Of Fellow (bonus track) (02:19)
20. Big Time Operator (bonus track) (02:42)
21. Zoot's Sermon (bonus track) (03:52)
22. It Should've Been Me (Alternative Take) (02:48)

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Wishbone Ash - Argus [Japan Ed. SHM-CD. 4 bonus tracks] (1972)

Year: 28 April 1972 (CD October 30, 2013)
Label: Geffen Records (Japan), UICY-40015
Style: Art Rock, Progressive Rock, Rock
Country: Torquay, Devon, England
Time: 80:44
Format: Flac Tracks 16/44,1 kHz
Size: 504 Mb

Charts: US #169, UK #3, AUS #49. UK: Gold.
Although not intended as a concept album, the album is Greek mythology-themed to a degree, particularly on the second side. The album features a blend of progressive rock, folk, and hard rock, and is considered a landmark album in the progression of twin-lead guitar harmonisation, later adopted by bands such as Thin Lizzy, Judas Priest and Iron Maiden. The sound engineer on Argus was Martin Birch, who also worked with Deep Purple, later with Black Sabbath, Iron Maiden and other hard rock bands. The bulk of the lyrics were provided by bassist/lead vocalist Martin Turner, although all members are credited with the music and arrangements. The album was produced by Derek Lawrence.
The album cover was designed by Storm Thorgerson and Aubrey "Po" Powell of the album cover design company Hipgnosis, and it features a warrior overlooking a landscape at the Gorges du Verdon in Provence, France. The warrior's costume was borrowed from the wardrobe of Ken Russell’s 1971 film The Devils. Thorgerson and Powell had intended for the warrior to be holding a sword as well as a spear, and had rented the sword used in Roman Polanski's film Macbeth, also from 1971. However, while they were selecting a location for the shoot, the sword was stolen, so the photographs were taken without it. The person dressed as the warrior was an assistant at Hipgnosis, Bruce Atkins.
It is rumoured that the warrior is the main inspiration for the character design of Darth Vader in Star Wars. Andy Powell acknowledged this rumour although he himself cannot confirm if it is true. The cover also prompted Jimmy Page of Led Zeppelin to contact Hipgnosis and ask them to design the cover for their 1973 album Houses of the Holy.
(en.wikipedia.org/wiki/Argus_(album))

01. Time Was (09:44)
02. Sometime World (06:56)
03. Blowin' Free (05:19)
04. The King Will Come (07:08)
05. Leaf And Stream (03:55)
06. Warrior (05:54)
07. Throw Down The Sword (05:56)
08. No Easy Road / Bonus Track (03:37)
09. Jail Bait (Live From Memphis) / Bonus Track (04:55)
10. The Pilgrim (Live From Memphis) / Bonus Track (10:09)
11. Phoenix (Live From Memphis) / Bonus Track (17:06)

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