Ray Manzarek (The Doors) - Carmina Burana (1983)

Year: 1983 (CD 19??)
Label: A&M Records (Europe), 394 945-2
Style: Rock, New Age
Country: Chicago, U.S. (February 12, 1939 - May 20, 2013)
Time: 40:05
Format: Flac Tracks 16/44,1 kHz
Size: 256 Mb

This is a staggeringly different piece of music for those who only know the Ray Manzarek of "Light My Fire" or "L.A. Woman" fame. The 1983 collaboration with Philip Glass and Kurt Munkacsi holds many revelations. As the post-Morrison Doors splintered off into various side projects, Manzarek's notable The Golden Scarab and The Whole Thing Started With Rock & Roll Now It's Out of Control to the Krieger/Densmore schizophrenic unit known as the Butts Band, as well as guitarist Krieger's jazz-flavored solo discs, the journeymen musicians opened windows beyond the music of the Doors. Carmina Burana's power emerges from the fusion of musical forms, heralded by Manzarek's sincere approach to the project. The liner notes give an explanation of German composer Carl Orff's rediscovery in 1935 of the Medieval poems found in 1803 from 13th century "renegade monks and wandering poets." The modern-day minstrels that Manzarek and Glass are add a contemporary twist to the music Allen Lannon helped bring to America in 1954, when it was first performed on these shores in Boston. There are seven primary musicians who back the chorus, which features ten principal singers conducted by Michael Riesman. The music is intense, evocative, and highly spiritual, with Larry Anderson's drums adding something the rebels from hundreds of years ago would probably be proud of. A four-page pink booklet with Latin and English translations comes with the vinyl LP, and it's all wrapped up in an old-world-meets-new-world setting, including illustration by Hieronymus Bosch, his work previously showing up in rock & roll on Deep Purple's self-titled Tetragrammaton release, itself a pretty heady production. Ray Manzarek's Carmina Burana went out of print after its 1983 vinyl release on A&M, and the artist expressed hope in a January 2002 interview that the music would be re-released on CD. It's too good to remain in the shadows as a cult item, traded on E-Bay or fetching high prices at record shows. It was the popularity of the Doors which gave their keyboard player the opportunity to record such a beautiful and compelling work, and hopefully that significance will lead to these 16 selections finding a wider audience. As an educational tool, it is exquisite; as a listening experience, it is a tremendous addition to the Doors' library. Manzarek's own father liked it, which pleased the artist very much.

(allmusic.com/album/carmina-burana-mw0000650460)

01. The Wheel of Fortune (O Fortuna) (03:05)
02. The Wounds of Fate (Fortune Plango Vulnera) (03:44)
03. The Face of Spring (Veris Leta Facies) (04:15)
04. Sunrise (Omnia Sol Temperat) (02:14)
05. Welcome (Ecce Gratum) (02:45)
06. The Dance (Tanz) (02:26)
07. Sweetest Boy (Dulcissime) (00:33)
08. If the Whole World was Mine (Were Diu Werlt Alle Min) (00:53)
09. Boiling Rage (Estuans Interius) (03:15)
10. The Roasted Swan (Olim Lacus Colueram) (02:11)
11. In The Tavern (In Taberna Quando Sumus) (02:35)
12. Love Flies Everywhere (Amor Volat Unique) (02:08)
13. A Young Girl (Stetit Puella) (02:53)
14. Come, My Beauty (Veni Veni Venias) (02:36)
15. The Lovers (Blanzifor et Helena) (01:16)
16. The Wheel of Fortune (O Fortuna) (03:08)

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Midnight Circus - Midnight Circus (1972)

Year: 1972 (CD 2003)
Label: Citystudio Media Production (Germany), CMP 602-2
Style: Art Rock, Rock
Country: Germany
Time: 38:59
Format: Flac Tracks 16/44,1 kHz
Size: 256 Mb

MIDNIGHT CIRCUS was a very obscure German duo from the early 1970s that released but a single album of largely acoustic progressive folk, with a few wind instruments and mellotron flourishes. Christian Bollmann and Torsten Schmidt were joined by guest musicians. They came across as an English language answer to WITTHUSER and WESTRUPP but could also draw comparisons to the likes of EMMA MYLDENBERGER and FIT and LIMO, as well as to early KING CRIMSON and MOODY BLUES. Their album is highly collectible, and information about them from any era is hard to find, although it appears that Bollman became a well known ethno musicologist who is half of another duo Christian Bollmann & Michael Reimann, while Schmidt became involved with the group Virus D who specialized in soundtracks.

MIDNIGHT CIRCUS merits a place in progarchives on the strength of their extension of acoustic psychedelic folk into more progressive realms.

(progarchives.com/artist.asp?id=9917)

01. The Light (05:52)
02. I Had A Dream (03:29)
03. November Church (08:53)
04. Mr. Clown (02:58)
05. Indian Impression (02:17)
06. Disappointed Love (03:53)
07. Meditation (05:22)
08. Coloured Is Gay (03:03)
09. Get It (03:07)

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Pentangle - Reflection (1971)

Year: October 1971 (CD 2004)
Label: Castle Music (UK), CMRCD983
Style: Folk, Folk Rock
Country: United Kingdom
Time: 39:49
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

Where Fairport Convention found ways of merging traditional British folk music with the emerging rock sounds of the ’60s and ’70s, Pentangle took that same music and gave it a jazz-and-blues twist, whether via their original songs, well-worn trad material like “Let No Man Steal Your Thyme” or, as on the live section of this double album, interpretations of Charles Mingus and Furry Lewis compositions. Pentangle were among the leading lights of British folk-rock. I’m tempted to say ‘are’ because the band have sometimes reformed in both altered configurations and the original one, although the latter is now an impossible proposition, given that Bert Jansch and John Renbourn have died. Sweet Child was the second in a run of excellent albums they made for the Transatlantic label before moving to Reprise (who’d issued their albums in the US from the start) for 1972’s Solomon’s Seal which brought to a close their first chapter as a band. If you’re a newcomer to the Pentangle fold, then great pleasures await you.

Sweet Child was the group’s only double-album, made so by its first two sides being taken up by a triumphant 29th June 1968 concert at the Royal Festival Hall, London. The group’s repertoire was already so large that barely any of the tracks from the live performance were duplications of songs from their studio albums – a reflection not only of the band’s adventurousness but also their audience’s ability to accommodate it. On the third and fourth side of Sweet Child, they unveiled their second album proper. These were the days of recorded product being demanded at breakneck speed. Their debut had appeared in May 1968. Sweet Child came in November the same year.

Both LPs were produced by American Shel Talmy, who would remain on board for the following year’s Basket of Light, the band’s bestseller. Talmy was a native of Chicago who’d moved to London in the early 1960s and joined Decca, telling tall tales of producing the Beach Boys to open doors. He eventually helped both the Kinks and the Who forge their distinctive sounds. Having an American producer, inclined to understand the breadth of Pentangle’s musical tastes where a more staid Decca alumnus might not have, was a masterstroke for the band. Encompassing everything from jaunty folk dances to experimental jazz, their albums had an appealing air of mysticism (emphasized by their medieval- and occult-tinged front covers) and a simultaneous earthiness. As is so often the case, what on paper were incongruous musical ingredients in practice worked beautifully together.

Quite why Pentangle haven’t ended up being seen in the same light as Fairport Convention is apparent if you move a little farther ahead in their discography. Listen to “Sally Free and Easy”, the first track on 1972’s Solomon’s Seal, and you’ll hear how little they changed during their classic run of albums. By contrast, Fairport shifted gears with each release from 1968’s Fairport Convention up to and including 1975’s Rising For the Moon, and although there were missteps along the way, they hit an unrivalled peak with Unhalfbricking and Liege & Lief. Consequently, music history favors them over Pentangle.

However, as they demonstrate on the original songs in the studio segment of Sweet Child, Pentangle had the edge when it came to intricate rhythms, musicianship and challenging time signatures. Their sound was prettier, cooler, more ornamental and decorous. An unmistakable jazz sensibility informs their work, giving it a smokiness and a distinctive urbanity. Listen, for example, to the way the title track of Sweet Child builds in intensity as Terry Cox cycles through a series of utterly dazzling rhythm patterns. “Sovay”, the tale of a female highwayman, is a bracing little trad number and there’s even a musical tribute to Moondog, the fabled blind street musician who recorded for Columbia. The high point, however, is “The Trees They Do Grow High”. Its mournful melody is expertly painted by lead vocalist, Jacque McShee (she sounds like an immaculately played woodwind instrument, almost flawless), while Cox delivers his finest, most thrilling percussion arrangement.

Having a voice as clear and swooping as McShee’s and guitarists as nimble as Renbourn and Jansch, were just a few of the numerous aces up the band’s sleeve. They also had, in Danny Thompson, an exceptional double bassist. Pentangle didn’t put a foot wrong during their first run of albums and Sweet Child was a remarkable second statement. As it re-emerges on vinyl for its fiftieth birthday, it deserves nothing less than a warm welcome. Real Gone’s ventures into vinyl have included excellent outings for Tim Buckley’s final two albums, and although they seem to favor digital sources, care is taken to make the final result sound and look pleasing.

(www.popmatters.com/pentangle-sweet-child-turns-50-2601840684.html) (By Charles Donovan. 7 September 2018)

01. Wedding Dress (02:51)

02. Omie Wise (04:23)

03. Will the Circle Be Unbroken (04:07)

04. When I Get Home (05:00)

05. Rain and Snow (03:50)

06. Helping Hand (03:30)

07. So Clear (04:55)

08. Reflection (11:10)

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Grand Funk Railroad - Hits (1976)

Year: 1976 (CD 1987)
Label: Capitol Records (U.S.), CDP 7 46623 2
Style: Rock, Hard Rock
Country: Flint, Michigan, U.S.
Time: 34:36
Format: Flac Tracks 16/44,1 kHz
Size: 215 Mb

Known as "The American Band", the high-energy five-piece group will play forty shows all over the USA this year. Grand Funk Railroad includes original founding members Don Brewer (vocals and drums, writer and singer of the multi-million selling hit, We're An American Band) and bassist Mel Schacher, "The God Of Thunder". Joining Don and Mel are true "All Stars". Singer Max Carl is a rock veteran from 38 Special. Max penned and sang 38's biggest hit "Second Chance" and was co-founder of California's legendary Jack Mack and the Heart Attack. Don refers to Max as "the best blue-eyed soul singer on the planet". Lead guitarist Bruce Kulick is best known for his 12 years with KISS and has credits with Michael Bolton, Meatloaf and Billy Squier. (KISS members Gene Simmons and Paul Stanley were influenced early on by Grand Funk.) Keyboardist Tim Cashion has a master's degree in music from the University of Miami. Affectionately called "Dr. Tim", his credits include stints with Bob Seger and the Silver Bullet Band and English soul man Robert Palmer.

Grand Funk laid the groundwork for such bands as Foreigner, Journey, Van Halen and Bon Jovi with its signature hard driving sound, soulful vocals, muscular instrumentation and forceful pop melodies. The fact that Grand Funk's legacy still reigns over the Classic Rock landscape fifty years after its 1969 birth in Flint, Michigan is a testament to the group's influence and staying power. Mega-hits We're An American Band, I'm Your Captain/Closer To Home, Locomotion, and Some Kind Of Wonderful still receive continuous airplay on Classic Rock radio. We're An American Band has received notoriety in recent years being used in movie sound tracks and in television/radio advertising. The huge hit was featured in a General Motors national TV ad campaign and in Disney's animated feature film The Country Bears. We're An American Band was featured in the Cuba Gooding Jr. film RADIO, and also in the swash buckler SAHARA starring Matthew McConaughey.

Internationally acclaimed Grand Funk has toured the world, selling out in the U.S., Canada, Europe, Japan and South America. A 1971 performance at New York's Shea Stadium sold out faster than the Beatles. The group's widespread appeal is also evident in its prestigious recording achievements. Over their career, Grand Funk has had 19 charted singles, 8 Top 40 hits and two Number One singles (We're An American Band and Locomotion, both selling more than one million each). The group has now accumulated 13 gold and 10 platinum records with record sales exceeding 25 million copies sold worldwide. The most recent gold CD award was presented to the band for their greatest hits package Grand Funk Railroad the Collectors Series.

The multi-talented band carries on the tradition of Grand Funk hits and creates a new chapter in the legacy of Grand Funk Railroad. GFR drew 25,000 people to their Molson Canal Series Concert outside Buffalo, 20,000 in Albany, New York, and 20,000 fans to downtown Orlando, Florida. EMI/Capitol (Universal Music) released a new Grand Funk Greatest Hits package that includes a bonus DVD of rare concert footage. Grand Funk Railroad's 2019 50 YEARS OF FUNK TOUR was a huge success and now, with the group's 2020 SOME KIND OF WONDERFUL TOUR, seasoned Grand Funk lovers and contemporary rock fans discovering the group for the first time will be able to celebrate 50 Years of Funk with GRAND FUNK RAILROAD!

(grandfunkrailroad.com/bios/GFR_bio.html)

01. Rock & Roll Soul (03:31)

02. We're An American Band (03:28)

03. Walk Like a Man (You Can Call Me Your Man) (03:26)

04. Bad Time (02:57)

05. Some Kind of Wonderful (03:25)

06. The Loco-Motion (02:49)

07. Shinin' On (03:31)

08. Sally (03:17)

09. Take Me (04:14)

10. To Get Back In (03:55)

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The Zombies - The EP Collection (1964-1968) (1992)

Year: 1964-1968 (CD 1997)
Label: See For Miles Records (UK), SEECD 358
Style: Rock, Psychedelic Pop
Country: St Albans, Hertfordshire, England
Time: 62:51
Format: Flac Tracks 16/44,1 kHz
Size: 359 Mb

The Zombies were formed in 1961 by students Rod Argent, Paul Atkinson and Hugh Grundy. They later brought in bassist Paul Arnold, who in turn brought in Colin Blunstone as lead singer. They first called themselves The Mustangs, then The Sundowners, before finally settling on The Zombies. The band began its musical career performing 1950s rock standards at various clubs, dances and other venues, which was common for young rock bands at the time.

Arnold decided that he really didn't want a musical career (he eventually became a doctor) and left the band, to be replaced by Chris White. The band began gathering a following in mid-1962 in the St. Albans area. In 1963 they were approaching college age and began to discuss breaking up, as several members were thinking about going to university. That same year they entered a rock contest in which first prize was a recording contract with Decca Records. They made the finals and, even before the winner was chosen, they impressed Decca executives so much that they were offered a contract anyway (as it turned out, they actually did win the contest). In 1963 they began recording for Decca. The producer assigned by the label to work with them heard a song written by Argent, "She's Not There", and strongly pushed for it to be released as the group's first single. It became an immediate smash. It was played on a British music show, Juke Box Jury (1959)--a British version of Bandstand (1952)--and, as it happened, George Harrison of The Beatles was on the panel that week and loved the song. It wasn't long before the record shot to #1 on the US pop charts.

The next single, "Leave Me Be", didn't do particularly well, but their following one, "Tell Her No", made the Top 10 in the US (although, for some reason, it was only a minor hit in Britain). The band toured the US with such artists as Patti LaBelle, The Shirelles and Ben E. King, among others. As successful as they were in the US, they were an even bigger hit in Asia (in The Philippines they once had five records in the Top 10 at the same time).

In 1965 the band did the soundtrack for the film Исчезнувшая Банни Лейк (1965), and made a brief appearance in the film as themselves. Unfortunately, the film was not successful. In addition, the records they were putting out didn't sell well. The band also began having problems with Decca, which they believed wasn't letting them do the kind of music they wanted to do, and they eventually split from the label. They were signed by CBS Records, for which they recorded the album "Odessey and Oracle", which was finished at The Beatles' Abbey Road Studios in 1967. After the album was done, the band broke up. Although CBS didn't want to release an album by a band that no longer existed, CBS staff producer Al Kooper--the founder of Blood Sweat & Tears--finally persuaded them to release it, and it came out in July of 1968. The first single from the album, "Care of Cell 44", didn't do particularly well, and neither did the next two tracks that were released as singles. The label agreed to release one more cut off the album as a single, and no more. That cut was "Time of the Season". It went nowhere in the UK, but a radio station DJ in the US was entranced by it and kept playing it over and over. It began to catch on, and by late 1968 it had cracked the Top Five charts in the US. Although CBS wanted the band to re-group for more albums and concert promoters offered the band enormous sums of money to re-form and tour, by this time the band had already been broken up for a year--by which time Rod Argent and Chris White had already formed the band Aster Argent and Colin Blunstone had embarked on a solo career--and the members declined. They did reunite in 1991 to record the album "New World", but it was never released in the US (where the band was always a bigger draw than they were in the UK). On November 25, 1997, all of the original band members reunited on stage at The Jazz Club in London and played live together for the first time in almost 30 years. Three years later Rod Argent and Bluntone began touring together. Although they used their individual names, promoters began to bill them as The Zombies, and the duo eventually went along with it.

Paul Atkinson, who had retired as a performer and began a career as an A&R man, died in Santa Monica, Califonria, on April 1, 2004.

(imdb.com/name/nm3000193/bio)

01. She's Not There (1964) (02:25)
02. Nothing's Changed (1964) (02:30)
03. Leave Me Be (1964) (02:06)
04. Summertime (1965) (02:13)
05. Sometimes (1965) (02:04)
06. Woman (1964) (02:24)
07. It's Alright With Me (1965) (01:50)
08. I'm Going Home (1984) (01:49)
09. Kind Of Girl (1965) (02:10)
10. Is This The Dream (1965) (02:42)
11. What More Can I Do (1965) (01:38)
12. Tell Her No (1965) (02:07)
13. She's Coming Home (1965) (02:34)
14. Just Out Of Reach (1966) (02:07)
15. Whenever You're Ready (1965) (02:44)
16. I Must Move (1965) (01:56)
17. Remember You (1966) (01:57)
18. I Love You (1965) (03:12)
19. I Want You Back Again (1965) (02:09)
20. You Make Me Feel Good (1964) (02:38)
21. It's Alright (1989) (02:24)
22. Time Of The Season (1968) (03:32)
23. Brief Candles (1968) (03:28)
24. I Call You Mine (1968) (02:37)
25. She Love The Way They Love Her (1973) (02:58)
26. She's Not There (Stereo Version) (1964) (02:24)

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LaVern Baker - LaVern (1956)

Year: 1956 (CD 1997)
Label: Sequel Records (Germany), RSA CD 909
Style: Oldies, Blues, Jazz
Country: Chicago, U.S. (November 11, 1929 – March 10, 1997)
Time: 45:35
Format: Flac Tracks 16/44,1 kHz
Size: 134 Mb

LaVern Baker was one of the sexiest divas gracing the mid-'50s rock & roll circuit, boasting a brashly seductive Vocals delivery tailor-made for belting the catchy novelties "Tweedlee Dee," "Bop-Ting-a-Ling," and "Tra La La" for Atlantic Records during rock's first wave of prominence.

Born Delores Williams, she was singing at the Club DeLisa on Chicago's south side at age 17, decked out in raggedy attire and billed as "Little Miss Sharecropper" (the same handle that she made her recording debut under for RCA Victor with Eddie "Sugarman" Penigar's band in 1949). She changed her name briefly to Bea Baker when recording for Okeh in 1951 with Maurice King's Wolverines, then settled on the first name of LaVern when she joined Todd Rhodes' band as featured Vocalsist in 1952 (she fronted Rhodes' aggregation on the impassioned ballad "Trying" for Cincinnati's King Records).

LaVern signed with Atlantic as a solo in 1953, debuting with the incendiary "Soul on Fire." The coy, Latin-tempo "Tweedlee Dee" was a smash in 1955 on both the R&B and pop charts, although her impact on the latter was blunted when squeaky-clean Georgia Gibbs covered it for Mercury. An infuriated Baker filed suit over the whitewashing, but she lost. By that time, though, her star had ascended: Baker's "Bop-Ting-A-Ling," "Play It Fair," "Still," and the rocking "Jim Dandy" all vaulted into the R&B Top Ten over the next couple of years.

Baker's statuesque figure and charismatic persona made her a natural for TV and movies. She co-starred on the historic R&B revue segment on Ed Sullivan's TV program in November of 1955 and did memorable numbers in Alan Freed's rock movies Rock, Rock, Rock and Mr. Rock & Roll. Her Atlantic records remained popular throughout the decade: she hit big in 1958 with the ballad "I Cried a Tear," adopted a pseudo-sanctified bellow for the rousing Leiber & Stoller-penned gospel sendup "Saved" in 1960, and cut a Bessie Smith tribute album before leaving Atlantic in 1964. A brief stop at Brunswick Records (where she did a sassy duo with Jackie Wilson, "Think Twice") preceded a late-'60s jaunt to entertain the troops in Vietnam. She became seriously ill after the trip and was hospitalized, eventually settling far out of the limelight in the Philippines. She remained there for 22 years, running an NCO club on Subic Bay for the U.S. government.

Finally, in 1988, Baker returned stateside to star in Atlantic's 40th anniversary bash at New York's Madison Square Garden. That led to a soundtrack appearance in the film Dick Tracy, a starring role in the Broadway musical Black & Blue (replacing her ex-Atlantic labelmate Ruth Brown), a nice comeback disc for DRG (Woke Up This Mornin'), and a memorable appearance at the Chicago Blues Festival. Baker died on March 10, 1997.

(rocky-52.net/chanteursb/baker_l.htm)

01. Lots And Lots Of Love (02:26)
02. Of Course I Do (02:53)
03. You'll Be Crying (02:59)
04. Miracles (02:47)
05. I'm In A Crying Mood (02:53)
06. Mine All Mine (02:16)
07. Harbour Lights (02:22)
08. I'll Never Be Free (02:22)
09. Romance In The Dark (03:02)
10. Everybody's Somebody's Fool (02:12)
11. How Long Will It Be (02:46)
12. Fool That I Am (02:22)
13. Living My Life For You (03:08)
14. I Can't Hold Out Any Longer (03:05)
15. Fee-Fi-Fo-Fum (02:43)
16. I'll Still Do The Same For You (02:36)
17. The Game Of Love (02:35)

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Alan Price Set - The Price To Play (1966)

Year: December 1966 (CD 1996)
Label: Repertoire Records (Germany), REP 4611-WY
Style: Rock
Country: Fatfield, Washington, County Durham, England (19 April 1942)
Time: 73:31
Format: Flac Tracks 16/44,1 kHz
Size: 251 Mb

The Price to Play is the debut album from Alan Price & The Alan Price Set, released in 1966. It was released in the UK only, although some tracks would later come out in the US. Fronting a six-piece band that includes three horns, Price sticks mostly to covers of familiar American rhythm and blues and soul tunes. (en.wikipedia.org/wiki/The_Price_to_Play)

Alan Price (born April 19, 1942 in Fatfield, County Durham, England) is a musician, songwriter, and actor.

A self-taught musician, primarily a keyboard player, he was educated at Jarrow Grammar School, South Tyneside, and was a founding member of the Tyneside group The Alan Price Rhythm and Blues Combo, then renamed The Animals. His playing on their international hit "House of the Rising Sun" and other tracks was a key element in the Animals' success. His arrangement of "House of the Rising Sun," a traditional folk song, has become more recognisable than previous incarnations.

He left the band in May 1965, to form the highly successful Alan Price Set. In the same year, he appeared in the film Dont Look Back, which followed Bob Dylan on tour. In 1967, he enjoyed singles success with the Randy Newman song "Simon Smith And His Amazing Dancing Bear" and "The House That Jack Built", following it up in 1968 with the jazzy "Don't Stop The Carnival". A partnership with Georgie Fame resulted in a Top 20 single in 1971, "Rosetta", and an album "Fame and Price, Price and Fame Together", as well as a regular slot in one series of "The Two Ronnies" on BBC television.

In 1973, he wrote the music for the Lindsay Anderson film O Lucky Man!; he performs on screen in the film and appears in walk-on parts as himself.

Price produced the autobiographical album Between Today and Yesterday in 1974, a track from which, "Jarrow Song", returned him to the singles chart.

He participated in two attempts to reunite The Animals in 1977 and 1983. He also made several recordings with his friend, Georgie Fame.

He acted in Alfie Darling, a less than stellar sequel to the film Alfie, in the course of which he became romantically involved with his co-star, Jill Townsend. He has written music for stage plays and films, including The Whales of August.

For the past 20 years Alan Price has continued to regularly tour the UK, both on his own, and sometimes in 60's revues with groups such as Manfred Mann, The Searchers and The Hollies.

(last.fm/music/Alan+Price/+wiki)

01. Barefootin' (04:36)
02. Just Once In My Life (03:26)
03. Going Down Slow (04:47)
04. Gettin' Mighty Crowded (02:16)
05. Honky Tonk (04:42)
06. Move On Drifter (02:31)
07. Mercy Mercy (03:09)
08. Loving You Is Sweeter Than Ever (02:45)
09. Ain't That Peculiar (03:22)
10. I Can't Turn You Loose (02:23)
11. Critic's Choice (02:01)
12. Hi Lilli, Li Lo (02:49)

Bonus Tracks:

13. Any Day Now (02:59)
14. Never Be Sick On Sunday (03:58)
15. I Put A Spell On You (03:19)
16. Iechyd-Da (03:35)
17. Take Me Home (02:48)
18. Willow Weep For Me (02:46)
19. Your's Until Tomorrow (02:50)
20. Simon Smith And His Amazing Dancing Bear (stereo) (01:50)
21. Who Cares (02:54)
22. Shame (02:48)
23. Simon Smith And His Amazing Dancing Bear (mono) (02:02)
24. Tickle Me (02:46)

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Chumbawamba - English Rebel Songs 1381 - 1914 (1988)

Year: 1988 (CD 2003)
Label: Mutt Records (Russia, Unofficial Release), MuttCD004
Style: Folk, A Cappella
Country: Burnley, Lancashire, England
Time: 31:35
Format: Flac Tracks 16/44,1 kHz
Size: 164 Mb

When Chumbawamba recorded the first version of English Rebel Songs 1391-1914 in 1988, it was a very unusual step for a band of anarcho-punks. After all, a bunch of unaccompanied traditional folk songs was in direct contrast to the loud noise of electric music. But the album spoke very eloquently, showing the band was committed to learning -- and disseminating teaching -- from history. And the singing was far better than anyone expected. Fifteen years on, they've learned a lot more about their voices, about music, and about the world. Additionally, the use of folk samples on Readymades has increased their folk credibility (which should never have been in doubt in the first place). And the songs remain utterly relevant -- anthems of the downtrodden and oppressed through the ages, from the 14th century to today and the miners' strike of 1984. The songs actually range from real folk pieces, like "The Cutty Wren" with its potent political symbolism, to music hall ("Idris Strike Song") and the cynical marching pieces of soldiers ("Hanging on the Old Barbed Wire"). This version, with a much better sound and singing, adds two songs not on the original -- "The Bad Squire" and the epic "Coal Not Dole," long a favorite in mining communities and a very succinct, cutting song. Putting this album in the public's gaze again is doing everyone a service.

(allmusic.com/album/english-rebel-songs-1381-1984-mw0000535394)

01. The Cutty Wren (01:55)
02. The Diggers Song (02:30)
03. The Colliers March (02:27)
04. The Triumph of General Ludd (03:01)
05. Chartist Anthem (01:34)
06. The Bad Squire (03:53)
07. Song on the Times (02:36)
08. Smashing of the Van (02:09)
09. The World Turned Upside Down (01:22)
10. Poverty Knock (03:12)
11. Idris Strike Song (02:48)
12. Hanging on the Old Barbed Wi (02:01)
13. Coal Not Dole (02:00)

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Blues Magoos - Gulf Coast Bound (1970)

Year: 1970 (CD 2020)
Label: Big Pink Records (South Korea), Big Pink 700
Style: Rock, Jazz Rock
Country: The Bronx, New York City, U.S.
Time: 39:10
Format: Flac Tracks 16/44,1 kHz
Size: 276 Mb

A Bronx-based quintet, the Blues Magoos were formed in 1964 and were originally known as the Trenchcoats before changing their name to the Bloos Magoos and then subsequently adopting the more conventional spelling as they became fixtures on the Greenwich Village club scene. The band released singles for the Ganim and Verve Forecast imprints before signing with Mercury Records in 1966, and after an intense makeover and a marketing blitz, they emerged as a sort of East Coast answer to the then-emerging San Francisco flower power psychedelic scene with a big single, "(We Ain’t Got) Nothing Yet," that same year, and attracted further attention with the album Psychedelic Lollipop, which also charted. Really more a blues-rock band with a garage band’s approach and intentions than they were a Summer of Love band, the Blues Magoos nonetheless continued with psychedelic trappings for the album Electric Comic Book, which appeared in 1967, and the similarly constructed Basic Blues Magoos a year later in 1968. At this point the group restructured its membership and approach, signed with ABC Records, and returned to its blues roots for 1969’s Never Goin' Back to Georgia and 1970’s Gulf Coast Bound, which added some Latin touches to the blues and featured mostly session players. By 1972 the Blues Magoos name was retired, although the group reunited for live shows in the late 2000s. In 2011, the well-respected reissue label Sundazed Records delivered new editions of Psychedelic Lollipop and Electric Comic Book on CD and LP, while the label brought out The Mercury Singles 1966-1968 in 2016.

(allmusic.com/artist/blues-magoos-mn0000756380/biography)

01. Gulf Coast Bound (03:55)

02. Slow Down Sundown (06:13)

03. Can't Get Enough Of You (12:26)

04. Magoo's Blues (07:58)

05. Tonight The Sky's About To Cry (04:17)

06. Sea Breeze Express (04:18)

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Tapiman - Tapiman (1972)

Year: 1972 (CD 2005)
Label: Guerssen Records (Spain), PDI 80.4995 / GUESSCD001/2
Style: Hard Rock, Rock
Country: Spain
Time: 56:39
Format: Flac Tracks 16/44,1 kHz
Size: 384 Mb

Spanish band Tapiman have produced an excellent heavy rock album which takes its place among the best from the country. Guitarist Max Sunyer was Spain's first 'guitar hero', and his versatile style gets a good airing on their 1971 album. From hard rock solos on 'Wrong World' through heavy riffing on 'Don't Ask Why' to the romanticism of 'Paris' the guitarwork on here is first rate. The songwriting would not sound out of place on an album by a UK band from the period, and with the vocals having only the slightest hint of an accent the music is easily accessible to a British audience. The afore-mentioned 'Don't Ask Why' contains one of Sunyer's best solos, showing that his reputation as the Spanish Hendrix was well deserved. 'Practice' has something of a jazz-rock feel to it, while still retaining its heavy roots, and the instrumental 'Moonbeam' once again combines the heavy riffs with some virtuoso soloing. The closing 'Driving Shadow' certainly has a driving beat to it, and ends the album with some great hard rock. Now out on CD with bonus tracks, and if there is one foreign album that should appeal from this column then it would be this one.

(last.fm/music/Tapiman/+wiki)

01. Wrong World (03:15)
02. Gosseberry Park (03:54)
03. Don't Ask Why (04:48)
04. Practice (03:22)
05. Paris (03:48)
06. No Chance (03:02)
07. Moonbeam (03:24)
08. No Control (03:08)
09. Jenny (03:32)
10. Driving Shadow (07:55)
11. Hey You (03:25)
12. Sugar Stone (02:59)
13. Love Country (04:43)
14. Walking All Along The Life (05:15)

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Moxy - Ridin' High (1977)

Year: 1977 (CD 2003)
Label: Unidisc Records (Canada), AGEK-2243
Style: Hard Rock, Heavy Metal
Country: Toronto, Ontario, Canada
Time: 34:00
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

Moxy is a Canadian hard rock and heavy metal band, formed in Toronto, Ontario, in early 1974. They toured Canada before having a hit in late 1975 with "Can't You See I'm A Star". Moxy then toured the United States on the strength of their radio airplay. Markets in which the band was very popular included Ontario, Chicago, St. Louis, Detroit, and San Antonio. Joe Anthony, "the Godfather of Rock" in San Antonio on KISS-FM was largely responsible for the popularity of the band in south Texas[1] and helped bring about their first headline appearance in the U.S. in 1977, appearing with AC/DC as their opening act.

Despite the death of Joe Anthony, the Moxy-Texas connection has continued into the present with Moxy's hits like "Can't You See I'm A Star", "Moon Rider", and "Sail On Sail Away". "Midnight Flight", "I'll Set You on Fire" and "Are You Ready" remain on the daily rotation at many Texas radio stations.

(en.wikipedia.org/wiki/Moxy_(band)

01. Nothin' Comes Easy (04:24)

02. Rock Baby (04:48)

03. Sweet Reputation (Symphony For Margaret) (03:56)

04. I'll Set You On Fire (03:20)

05. Ridin' High (04:05)

06. Young Legs (03:48)

07. Another Time Another Place (04:41)

08. Are You Ready (03:54)

09. Nothin' Comes Easy (Reprise) (01:00)

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Barclay James Harvest - Octoberon (1976)

Year: 1 October 1976 (CD 1984)
Label: Gema Records (Germany), 821 930-2
Style: Pop, Progressive Rock, Symphonic Rock
Country: Oldham, England
Time: 45:13
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

In the UK music magazine Sounds, Tim Lott expressed his frustration with the album, saying, "Unfortunately, Octoberon is no major departure from (their) disappointing formula. But despite that, there are some fine, imaginative moments which point once again to the never-fulfilled potential." A review of the album, appearing in a January 1977 issue of Billboard magazine, said that Octoberon "has delivered an extremely accessible spacey-but-lyrical LP in the most popular style of Pink Floyd or Yes. There is nothing harsh or cultish about this music." In another mixed review, AllMusic's Paul Collins wrote that Octoberon lacks the harmonies evident in the band's earlier records, and that the album is "not up to the level of their best work, but worth a listen for fans."

(en.wikipedia.org/wiki/Octoberon)

Anybody who believes Barclay James Harvest were nothing more than polite progressive paragons should give this 1976 album a spin, because there’s depth, edge and humour here that delights and surprises.

The idea for the semi-mocking Polk Street Rag, for instance, came from the controversial movie Deep Throat, which you’d hardly expect to inspire such a band. But they tackle the subject with vigour. Ra is a dramatic piece based around the Egyptian sun god, borrowing a musical motif from Mahler. And May Day is a diatribe against political extremism and the bigotry it engenders – the track concludes with a choir singing six songs simultaneously, from Land Of Hope And Glory to The Red Flag and We’ll Meet Again. This brilliant device emphasises the confusion such views can sustain in the unwary.

Even the album title, which is a piss-take on Oberon, the Fairy King in A Midsummer Night’s Dream, underlines that there’s a lot more to the album than perhaps is clear at first glance.

(loudersound.com/reviews/barclay-james-harvest-octoberon-album-review)

01. The World Goes On (06:30)
02. May Day (08:00)
03. Ra (07:21)
04. 'Rock 'n' Roll Star (05:18)
05. Polk Street Rag (05:40)
06. Believe in Me (04:24)
07. Suicide? (07:56)

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