Spirit - Rapture In The Chambers (1989)

Year: 1989 (CD 1989)
Label: I.R.S. Records (U.S.), IRSD-82007
Style: Rock, Soft Rock
Country: San Jose, California, U.S.
Time: 39:33
Format: Flac Tracks 16/44,1 kHz
Size: 236 Mb

One of the less-expected releases of 1989 had to be the appearance of a new album by Spirit in the U.S. by a record company distributed by a major label. The group's last appearance in American record stores had been five-years earlier, with the poor-selling reunion LP Spirit of '84 (aka The Thirteenth Dream), largely consisting of re-recordings. Discounting a live album and an archival release that appeared on independent labels, the last time there had been an all-new Spirit album was 1977's Future Games: A Magical-Kahauna Dream. That LP was a solo recording by Spirit guitarist Randy California in all but name, and since then California had devoted much of his time to his solo career, releasing three solo albums internationally, but not in the U.S. Yet California's participation in the package tour Night of the Guitar, sponsored by I.R.S. Records, the label run by Miles Copeland and generally focused on modern rock, led to the company's interest in a new Spirit album. For it, California rounded up ever-present drummer Ed Cassidy and keyboard player John Locke, and got bassist Mark Andes (lately a member of Heart) to play on a couple of tracks and co-write one. That accounted for four of the original five members of Spirit; singer/percussionist Jay Ferguson did not participate this time. That's a key omission, though, since Ferguson was the other main creative force in the band. Without him, Rapture in the Chambers, like many Spirit albums since the breakup of the original group in 1971, is really a Randy California album. Of course, that isn't a bad thing, either. And the influence of the other members is not invisible. In particular, the lead-off track, "Hard Love," composed by Andes, is a good pop/rock tune, and "Contact," composed by Locke, has some of the flavor of early Spirit, along with highly referential lyrics ("Contact the Spirit in yourself"). Still, the album lacks the musical diversity that was typical of records by the original band. California constructs good rock tunes that showcase his exceptional lead guitar playing, and he writes lyrics that refer to common romantic concerns, promote environmental ideas, or seek spiritual uplift. Rapture in the Chambers is a more consistent effort than the Spirit albums of the mid-'70s that California helmed. But fans of the original lineup will hear only echoes of the band's early sound.
(allmusic.com/album/rapture-in-the-chambers-mw0000200524)

01. Hard Love (03:24)

02. Love Tonight (02:52)

03. Thinking Of (04:19)

04. Rapture In The Chambers (03:17)

05. Mojo Man (02:32)

06. Contact (02:44)

07. The Prisoner (04:19)

08. One Track Mind (03:24)

09. Enchanted Forest (03:29)

10. Human Sexuality (03:01)

11. Shera Princess Of Power (03:34)

12. End Suite (02:32)

TurboBit                FikPer

Beck, Bogert & Appice - Beck, Bogert & Appice [Japan Edition] (1973)

Year: 1973 (CD Feb 1, 1991)
Label: Epic / Sony (Japan), ESCA 5227
Style: Hard Rock, Rock
Country: England / U.S. / U.S.
Time: 37:09
Format: Flac Tracks 16/44,1 kHz
Size: 225 Mb

Beck, Bogert & Appice is the only studio album by the rock band Beck, Bogert & Appice, released on March 26, 1973. The group was a power trio featuring guitarist Jeff Beck (who had already been a member of The Yardbirds), bassist Tim Bogert, and drummer Carmine Appice (both formerly with Vanilla Fudge and Cactus).
The album contains Beck's version of the song "Superstition" which was written by Stevie Wonder. The song had grown out of a jam session between Beck and Wonder, with Beck introducing Wonder to the song's iconic opening drum part. In return for Beck's work on Talking Book, Wonder had given the song to Beck to record and release as his own single, however delays in the release of the Beck, Bogert & Appice album meant that Wonder's version was released first.
This was the band's only studio album, as Beck's departure forced a sudden dissolution in 1974.
(en.wikipedia.org/wiki/Beck,_Bogert_%26_Appice_(album))

01. Black Cat Woman (03:50)

02. Lady (05:33)

03. Oh To Love You (04:06)

04. Superstition (04:19)

05. Sweet Sweet Surrender (04:02)

06. Why Should I Care About You (03:34)

07. Lose Myself With You (03:21)

08. Livin' Alone (04:12)

09. I'm So Proud (04:11)

TurboBit                FikPer

Vanilla Fudge - The Beat Goes On (1968)

Year: February 1968 (CD 1998)
Label: Sundazed Records (US), SC 6142
Style: Psychedelic Rock, Art Rock
Country: Long Island, New York, U.S.
Time: 51:59
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

Vanilla Fudge's debut may not have moved me a whole lot as a listener, but I certainly understand the album's place as a seminal album in the development of psychedelic and heavy rock music. The success of that album only increases the confusion generated by The Beat Goes On, the American outfit's controversial sophomore observation - this experimental album is a 'head scratcher' for sure, and though some have hailed it as a misunderstood masterpiece, I will join the choir of folks that just don't get it. The Beat Goes On has a few interesting things going on, but the band's total disregard for musical structure and composition makes for a tough pill to swallow, even when looked at from a historical perspective.
Although the music on 1967's Vanilla Fudge was primarily straightforward organ-led psychedelic rock, the same can not be said for The Beat Goes On. There are flirtations with conventional music, like the piano intro "Sketch" and a few Beatles covers in rapid succession, but a majority of the music seems to have very little direction at all - a good portion of side two can hardly be called music, if truth be told. As cool as a sound collage of twentieth century political figures can be if done right, it seems out of place and overly long when it takes up eight minutes on a rock album. The Beat Goes On does have some cool musical ideas from time to time, but they rarely expand beyond interesting fragments; although Vanilla Fudge sticks to cover tracks once again, they never actually recreate any of the tracks they pay homage to. Instead, they briefly touch on numerous compositions, and the result is an incoherent mess.
It's actually a shame that the band never decided to flesh out any of the tunes here, as I think a heavy psychedelic version of "Fur Elise" or "Hound Dog" could have made for an entertaining listen. The Beat Goes On aims to transport the listener through history, musical and otherwise, and although this is a great concept, the execution is baffling. A directionless and confusing album, The Beat Goes On is a failed experiment in my book, and a disappointing followup to Vanilla Fudge's 1967 debut. This is only recommended to the most die-hard of psychedelic collectors - all others should proceed with extreme caution.
(metalmusicarchives.com/album/vanilla-fudge/the-beat-goes-on)

01. Sketch (03:01)

02. Intro: The Beat Goes On (01:58)

03. Eighteenth Century - Nineteethth Century - Twentieth Century - The Beatles (06:58)

04. The Beat Goes On (01:36)

05. Beethoven : Fur Elise & Mondscheinsonate (06:36)

06. The Beat Goes On (01:10)

07. The Beat Goes On (01:03)

08. Voices in Time : Neville Chamberman - Winston Churchill - Franklin Delano Roo... (08:16)

09. The Beat Goes On (01:50)

10. Merchant : The Game is over (Vinnie) - Merchant : The Game Is Over (Tim) - Me... (09:06)

11. The Beat Goes On (02:26)

12. You Can't Do That (Bonus Track) (04:27)

13. Come By Day, Come By Night (Bonus Track) (03:27)

TurboBit                FikPer

Jon (Yes) and Vangelis (Aphrodite's Child) - Page Of Life (1991)

Year: 26 August 1991 (CD 1991)
Label: Arista Records (UK), 261 373
Style: Electronic, New Age, Art Rock
Country: Greece / United Kingdom
Time: 52:23
Format: Flac Tracks 16/44,1 kHz
Size: 303 Mb

Well this is the album where Jon and Vangelis became the Carpenters.Melodic but totally inofensive music with little that called be 'prog'.Its a very nice and totally boring as hell.Sorry but they really should not have bothered and you would be well advised to avoid this unless you want something to have a snooze to.
(progarchives.com/album.asp?id=8940) by richardh
Musically, the original album version that I have (the 1991 version) is a very interesting album and very enjoyable especially if you listen to it during night time like I did last night. Half of the album contains music that have been common with Jon and Vangelis album but the other half has some different styles with some influences of jazz music. I enjoy both the common ones and the new style with jazz influence.
It's a very good album and it's a must for Jon and Vangelis fans. Keep on proggin' ..!
(progarchives.com/album.asp?id=8940) by Gatot
Very poor overall. It was almost like ..."should we revisit the successful formulae after all these years???".... I say this smacks of background music, has very little punch to it and may have been released purely for commercial reasons.' Change We Must' and ' Page Of Life' are OK but the closing ' Wisdom Chain' loses it's way and quite honestly this sums up this album.
(progarchives.com/album.asp?id=8940) by Chris S

01. Wisdom Chain (05:21)

02. Page Of Life (03:16)

03. Money (06:07)

04. Jazzy Box (03:14)

05. Garden Of Senses (06:23)

06. Is It Love (04:27)

07. Anyone Can Light A Candle (03:46)

08. Be A Good Friend Of Mine (04:13)

09. Shine For Me (04:10)

10. Genevieve (03:48)

11. Journey To Ixtlan (05:50)

12. Little Guitar (01:43)

TurboBit                FikPer

Spirit - The Twelve Dreams Of Dr. Sardonicus [4 bonus tracks] (1970)

Year: November 27, 1970 (CD 1996)
Label: Epic Records (US), EK 65003
Style: Rock, Art Rock
Country: Los Angeles, California, U.S.
Time: 54:20
Format: Flac Tracks 16/44,1 kHz
Size: 313 Mb

Charts: US #63, UK #29, CAN #49. US: Gold.
Spirit was formed in Los Angeles, California, in 1967, and the Twelve Dreams Of Dr. Sardonicus was their fourth album. It was produced by David Briggs, well known for his work with Neil Young and Crazy Horse.
The band consisted of Randy California (guitar and vocals), Ed Cassidy (drums), Jay Ferguson (vocals and percussion), John Locke (keyboards) and Mark Andes (bass and vocals). The final concert with this original lineup was in 1971, after the band had toured the album, though there were later reunions. The second great phase of the band, this time initially built around Randy California and Ed Cassidy, with Barry Keane on bass, began in 1975, with the classic Spirit of ’76 album.
The Twelve Dreams Of Dr. Sardonicus is a musically wide-ranging collection, bringing together rock, psychedelia, jazz, and at points a genius pop sensibility. It is also an album in many ways ahead of its time, with environmental concerns woven into a number of the songs.
The introductory sequence of Prelude – Nothing To Hide, written by Randy California, is a primary example of many of these elements coming together, in perfect harmony. A gentle acoustic melody accompanies Randy singing these very prophetic words:
"You have the world at your fingertips.
But see what you done to the rain and the sun.
So many changes have all just begun to reap.
I know you are asleep".
"Wake up...." is then sung in unison as a call to action, before the band burst in with the full-on attack of a modern rock anthem. A heart-stopping instrumental section has Randy’s California’s slide guitar shift into psychedelic overdrive, panning furiously between the speakers, as he and co-vocalist Jay Ferguson whoop over the top of the music. John Locke’s piano phrases provide an arresting musical counterpoint throughout the piece, and a final fade-out has a short burst of brass playing in the style of the Beatle’s Sgt. Pepper.
Nature’s Way, another Randy California composition, is a beautiful heartfelt ballad. A particularly striking line in the song is:
"It’s nature’s way of telling you, soon we’ll freeze. It’s nature’s way of telling you, dying trees".
Other album highlights include John Locke’s Space Child, with its jazzy piano and synthesiser, and Ed Cassidy’s syncopated drum figures. It actually has the acid jazz feel of the band Galliano, which is a signifier of how forward-looking this music is.
(atthebarrier.com/2022/02/28/spirit-twelve-dreams-of-dr-sardonicus-album-review/)

01. Prelude - Nothin' To Hide (03:43)

02. Nature's Way (02:40)

03. Animal Zoo (03:10)

04. Love Has Found A Way (02:42)

05. Why Can't I Be Free (01:05)

06. Mr. Skin (04:01)

07. Space Child (03:25)

08. When I Touch You (05:37)

09. Street Worm (03:43)

10. Life Has Just Begun (03:29)

11. Morning Will Come (02:50)

12. Soldier (02:50)

13. Rougher Road (bonus track) (03:17)

14. Animal Zoo (Mono Single Version) (03:10)

15. Morning Will Come (Alternate Mono Mix) (02:50)

16. Red Light Roll On (bonus track) (05:41)

TurboBit                FikPer

Spirit - The Twelve Dreams Of Dr. Sardonicus [MFSL CD] (1970)

Year: November 27, 1970 (CD 1988)
Label: Mobile Fidelity Sound Lab (US), MFCD 800
Style: Rock, Art Rock
Country: Los Angeles, California, U.S.
Time: 39:04
Format: Flac Tracks 16/44,1 kHz
Size: 212 Mb

Charts: US #63, UK #29, CAN #49. US: Gold.
Twelve Dreams of Dr. Sardonicus is the fourth album by the American rock band Spirit. It was produced by David Briggs, who is best known for his work with Neil Young. The band's lowest charting album to that point, it peaked at #63 on the Billboard 200 in February 1971, spending only fourteen weeks on the chart. However, it sold well as a catalog item and became the band's only album to ultimately attain a RIAA gold certification in the U.S., achieving that status in 1976. On the Canadian RPM Magazine Top 100 charts, the album reached #49 and was in the top 100 for 10 weeks.
"Nature's Way" became one of Spirit's signature songs, but was not a big hit at the time, peaking at #111 on the Billboard pop charts in 1971. To capitalize on the album's enduring appeal, "Mr. Skin" (the B-side of "Nature's Way") was released as an A-side in 1973 and also charted, peaking at #92. It was voted number 332 in Colin Larkin's All Time Top 1000 Albums 3rd Edition (2000).
Despite these commercial limitations, Twelve Dreams of Dr. Sardonicus enjoyed significant airing on college FM radio. The album was re-issued on CD in 1988 by MFSL, without bonus tracks, and in 1996 by Sony in remastered form, with bonus tracks.
(en.wikipedia.org/wiki/Twelve_Dreams_of_Dr._Sardonicus)

01. Prelude - Nothing To Hide (03:46)

02. Nature's Way (02:30)

03. Animal Zoo (03:21)

04. Love Has Found A Way (02:40)

05. Why Can't I Be Free? (01:05)

06. Mr. Skin (03:50)

07. Space Child (03:44)

08. When I Touch You (05:17)

09. Street Worm (03:43)

10. Life Has Just Begun (03:29)

11. Morning Will Come (02:50)

12. Soldier (02:43)

TurboBit                FikPer

The Doobie Brothers - The Captain And Me (1973)

Year: March 2, 1973 (CD ????)
Label: Warner Bros. Records (U.S.), 2694-2
Style: Rock, Country Rock
Country: San Jose, California, U.S.
Time: 42:07
Format: Flac Tracks 16/44,1 kHz
Size: 251 Mb

Charts: US #7, CAN #10, NZ #12. US: 2x Platinum, AUS: Gold.
It features some of their most popular hits including "Long Train Runnin'", "China Grove" and "Without You". The album is certified 2? Platinum by the RIAA. It was voted number 835 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000).
The artwork found on the front and back of the album features the band, including manager Bruce Cohn, dressed in 19th century western garments and riding a horse-drawn stagecoach beneath an unfinished modern freeway overpass. "All that stuff came from the Warner Bros. film studios lot," Tom Johnston said. "It must've been a lot of work for the guys who brought up the horse team and the carriage and the clothes. It was fun to do—they had coffins out there, all kinds of crazy stuff." The photography was done by Michael and Jill Maggid. The setting for the cover was located at the Newhall Pass interchange of the Interstate 5 and California State Route 14 freeways near Sylmar, California that collapsed during the 1971 San Fernando earthquake. This same section of freeway would collapse again during the 1994 Northridge earthquake.
(en.wikipedia.org/wiki/The_Captain_and_Me)

01. Natural Thing (03:19)

02. Long Train Runnin' (03:28)

03. China Grove (03:17)

04. Dark Eyed Cajun Woman (04:14)

05. Clear As The Driven Snow (05:19)

06. Without You (05:01)

07. South City Midnight Lady (05:29)

08. Evil Woman (03:20)

09. Busted Down Around O'Connell (00:48)

10. Ukiah (03:01)

11. The Captain And Me (04:48)

TurboBit                FikPer

Maggie Bell (Stone The Crows) - Crimes Of The Heart (1988)

Year: 1988 (CD 1988)
Label: Bellaphon Records (Germany), 290-12-002
Style: Rock, Pop Rock
Country: Maryhill, Glasgow, Scotland (12 January 1945)
Time: 32:27
Format: Flac Tracks 16/44,1 kHz
Size: 215 Mb

Wow - that's one of the exclamations I muttered to myself when I finally found copies of this 1988 release by MAGGIE BELL to buy. This album is one of the hardest to find CD's and albums, with the main reason being that it was only released in West Germany. And it's on a small label, fittingly called Cult Records, manufactured by Bellaphon. I found a copy each on vinyl and on CD. The graphics on the album are more stunning than on the CD, and also the album has a great photo in color on the back, whereas it's B&W on the inside CD insert. Release date was May 1988, but it was not even released in the UK, Maggie's home country or the US. The album's release and what it sounds like have been almost shrouded in mystery. Maggie has only said that she did the songs on this album as demos for a German producer, and she was surprised to see that it was released. Both the vinyl and the CD releases do not even give songwriting credits, and just say Copyright Control! All of this makes you wonder what this whole project sounds like. Well, this album is actually very, very good.
(amazon.com/Crimes-Heart-Maggie-Bell/product-reviews/B0040QSXRC)

01. Crimes Of The heart (03:49)

02. Love Me Stranger (04:28)

03. Tonight (03:49)

04. Burned Out Love Affair (04:45)

05. Endless Night (03:32)

06. I'm On The Edge (04:07)

07. Living A Lie (03:50)

08. Vision (04:05)

TurboBit                FikPer

Spirit - Clear (1969)

Year: August 1969 (CD 2008)
Label: Yellow Label (Germany), SPV 42412 CD
Style: Rock
Country: Los Angeles, California, U.S., 1969
Time: 53:39
Format: Flac Tracks 16/44,1 kHz
Size: 318 Mb

US #55, UK #29, CAN #49. US - Gold.
The album was written largely in the wake of Spirit's work on the soundtrack to the 1968 film Model Shop. Several of the band members have said that they felt there wasn't enough time for developing the album after releasing two albums in 1968, recording a soundtrack and constantly touring. The album contains "So Little Time To Fly", "Dark Eyed Woman" and "New Dope In Town", as well as three instrumentals.
Reviewing for The Village Voice in 1969, Robert Christgau called Spirit "a talented group with guts of cellophane" and lead vocalist/guitarist Randy California "the rock equivalent of the cool, progressive jazzman of the '50s". He commended the album for focusing the better songs on side one of the LP, saying its "mostly excellent rock" shows Spirit "can be very good", but found songs like "Ice" on side two indicative of how "incredibly empty" the band can be as well.
(en.wikipedia.org/wiki/Clear_(Spirit_album))

01. Dark Eyed Woman (03:07)

02. Apple Orchard (04:02)

03. So Little Time to Fly (02:47)

04. Ground Hog (03:01)

05. Cold Wind (03:22)

06. Policeman's Ball (02:21)

07. Ice (05:33)

08. Give a Life, Take a Life (03:20)

09. I'm Truckin' (02:25)

10. Clear (04:08)

11. Caught (03:12)

12. New Dope in Town (04:26)

13. 1984 (Bonus Track) (03:37)

14. Sweet Stella Baby (Bonus Track) (02:55)

15. Fuller Brush Man (Bonus Track) (03:19)

16. Coral (Bonus Track) (01:59)

TurboBit                FikPer

Mud - Rock On (1978) As You Like It (1979) (2 LPs on 1 CD)

Year: 1978 & 1979 (CD 2009)
Label: 7T's Records (UK), GLAM CD 78
Style: Glam Rock, Pop Rock
Country: Carshalton, Greater London, England
Time: 78:10
Format: Flac Tracks 16/44,1 kHz
Size: 571 Mb

Mud are an English glam rock band, formed in February 1966. Their earlier success came in a pop and then glam rock style, while later hits were influenced by 1950s rock and roll, and they are best remembered for their hit singles "Dyna-mite" , "Tiger Feet", which was the UK's best-selling single of 1974, and "Lonely This Christmas" which reached Christmas number 1 in December 1974. After signing to Rak Records and teaming up with songwriters/producers Nicky Chinn and Mike Chapman, the band had fourteen UK Top 20 hits between 1973 and 1976, including three number ones.
After years of unsuccessful singles, they were signed to Mickie Most's Rak label, and had three Top 20 successes in 1973 with "Crazy" (No. 12), "Hypnosis" (No. 16) and "Dyna-mite" (No. 4).
At the peak of their career, they also enjoyed British number one singles with "Tiger Feet"; and "Lonely This Christmas" (1974), an affectionate Elvis Presley pastiche; plus "Oh Boy" (1975), a cover of the Buddy Holly hit, which also featured on their album Mud Rock Volume 2. "Tiger Feet" sold over 500,000 copies in the UK and a million copies globally.
Like contemporaries Sweet, their most successful period came when their records were written and produced by Nicky Chinn and Mike Chapman: in 1975 they had seven singles in the UK Top 40 totalling over 45 weeks on the chart, the most by any artist in 1975. "Oh Boy" was the only number one single produced by Chinn and Chapman that they did not also write.
"Lonely This Christmas" gets seasonal airplay on British radio and television, (along with Slade's "Merry Xmas Everybody" and Wizzard's "I Wish It Could Be Christmas Everyday"). The band also embraced the burgeoning disco craze, as exemplified on their 1976 single "Shake It Down" which reached No. 12 in the UK chart. After "Tiger Feet" they released "The Cat Crept In" which reached No. 2 in April 1974, which was written to exploit Les Gray's vocal impression of Presley. Their next single "Rocket" reached No. 6 in the UK, after which they released another track from their album Mud Rock, a cover of "In the Mood". This was released under the name of "Dum" ("Mud" spelt backwards), but it failed to chart.
After the success with "Lonely This Christmas", they cracked the Valentine's Day market with "The Secrets That You Keep", which reached No. 3 in February 1975. Around this time Mud wound up their contract with Rak releasing three further singles, "Oh Boy" (their third and final UK No. 1), "Moonshine Sally" (No. 10) and "One Night" (No. 32). Mud also split from Chinn and Chapman in mid-1975 and signed to Private Stock (licensed to Philips in Continental Europe). There they enjoyed three more British Top 20 hits within seven months: "L'L'Lucy" (No. 10), the ballad "Show Me You're a Woman" (No. 8) and the disco-influenced track "Shake It Down" (No. 12). The latter two singles saw them gradually moving away from glam rock, which was now unfashionable. Keyboardist Andy Ball, formerly of Candlewick Green, joined the band briefly during this period, to be replaced in early 1978 by Brian Tatum.
(en.wikipedia.org/wiki/Mud_(band))

01. Burn On Marlon (02:59)

02. Let Me Get (Close To You) (02:55)

03. Walk Right Back (03:06)

04. Who You Gonna Love (03:47)

05. Slow Talking Boy (04:12)

06. Careless Love (03:38)

07. Drift Away (03:46)

08. Gotta Good Reason (03:20)

09. Too Much Of Nothing (03:53)

10. Cut Across Shorty (02:32)

11. Just Try A Little Tenderness (03:48)

12. Let Me Get (Close To You) (S (02:49)

13. Dream Lover (03:28)

14. It's A Show (03:41)

15. 1-2 Love (02:36)

16. Heaven Was Meant For You (03:18)

17. As You Like It (03:08)

18. You'll Like It (03:00)

19. So Fine (03:35)

20. Right Between The Eyes (03:03)

21. Touchdown (03:21)

22. Why Do Fools Fall In Love  B (03:00)

23. Run Don't Walk (02:09)

24. Can't Stop (02:56)

TurboBit                FikPer

Jon (Yes) and Vangelis (Aphrodite's Child) - Private Collection (1983)

Year: May 1983 (CD 1983)
Label: Polydor Records (Germany), 813174-2
Style: Electronic, Art Rock, Modern Classical
Country: Greece / United Kingdom
Time: 47:38
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

Charts: UK #22, AUS #31, AUT #18, CAN #78, GER #27, NL #15, NZ #45, SPA #10, SWE #24, US #148.
Jon & Vangelis' first two albums really seemed to be building up to this point. With Private Collection, the two artists (Jon Anderson of Yes fame and Vangelis) have created what feels just a bit like a classical work. Truly the nearly 23-minute "Horizon" really feels a lot like a modern symphony. It is definitely the culmination of their work together, their most ambitious effort. The shorter cuts on the album all have their moments and surely hold up to anything from the previous releases, but "Horizon" stands far above them all. It combines the best elements of Anderson's work in Yes with the electronically classically tinged stylings of Vangelis to produce a work that is near masterpiece in its quality. It is a life-affirming, positive piece. Among the other highlights of the disc are "Deborah" and "He Is Sailing." If you only buy one Jon & Vangelis album, choose the best-of collection. However, if you opt for a second disc, this is the one.
(allmusic.com/album/private-collection-mw0000650325)

01. Italian Song (02:54)

02. And When the Night Comes (04:37)

03. Deborah (04:56)

04. Polonaise (05:26)

05. He Is Sailing (06:49)

06. Horizon (22:53)

TurboBit                FikPer

Santana - Milagro (1992)

Year: May 1992 (CD 1992)
Label: PolyGram Records (Germany), 513 197-2
Style: Pop Rock, Latin Rock
Country: Autlan de Navarro, Mexico (July 20, 1947)
Time: 71:14
Format: Flac Tracks 16/44,1 kHz
Size: 457 Mb

Charts: US #102, AUT #31, FRA #41, NLD #51, SWI #11, GER #47.
Santana signed to Polydor in 1991 after 22 years with Columbia Records. On this label debut album, the band has been altered by official addition of frequent sideman Raul Rekow and Karl Perazzols, replacement of longtime percussionist Armando Peraza. But this septet is still led by Carlos Santana and keyboardist Chester Thompson, with Alex Ligertwood singing. The record has a somewhat elegiac tone, beginning with a stage introduction by the late promoter Bill Graham, who was Santana's mentor and unofficial manager, being dedicated to Graham and Miles Davis, who also had died since the last album, and featuring an excerpt from a speech by Dr. Martin Luther King, Jr., solos taken from Davis and John Coltrane, and music written by Bob Marley, Coltrane, and Gil Evans. Despite the presence of all these heroic ghosts, however, Milagro is only an average Santana release, familiar-sounding but undistinguished, and it failed to arrest the band's commercial slide, becoming the first new Santana studio album not to crack the Top 100.
(allmusic.com/album/milagro-mw0000072179)

01. Milagro (07:36)

02. Somewhere In Heaven (09:59)

03. Saja - Right On (08:51)

04. Your Touch (06:35)

05. Life Is For Living (04:41)

06. Red Prophet (05:37)

07. Agua Que Va Caer (04:24)

08. Make Somebody Happy (04:14)

09. Free All The People (South A (06:06)

10. Gipsy - Grajonca (07:10)

11. We Don't Have To Wait (04:35)

12. A Dios (01:21)

lossless:                             TurboBit                FikPer

mp3: 320 kBps (169 Mb):     TurboBit                FikPer

Spooky Tooth - Spooky Two (1969)

Year: March 1969 (CD April 2005)
Label: Repertoire Records (Germany), REPUK 1061
Style: Rock, Rhythm and Blues
Country: Carlisle, England
Time: 51:44
Format: Flac Tracks 16/44,1 kHz
Size: 310 Mb

U.S. Billboard 200 #44. Colin Larkin's All Time Top 1000 Albums #42.
Spooky Two received mixed reviews from contemporary critics, including Rolling Stone and The Village Voice. Robert Christgau wrote in the latter publication that, "at its best ('Waitin' for the Wind,' 'That Was Only Yesterday') this group is not significantly poorer than Blind Faith. At its worst ('Lost in My Dream,' 'I've Got Enough Heartaches') it is painfully overwrought."
Mike DeGagne of AllMusic was more positive in a retrospective review: "Spooky Two is this British blues-rock band's piece de resistance. All eight of the tracks compound free-styled rock and loose-fitting guitar playing, resulting in some fantastic raw music … their smooth, relaxed tempos and riffs mirrored bands like Savoy Brown and, at times, even the Yardbirds … Although Spooky Tooth lasted about seven years, their other albums never really contained the same passion or talented collaborating by each individual musician as Spooky Two."
It was voted number 42 in the All-Time 50 Long Forgotten Gems from Colin Larkin's All Time Top 1000 Albums.
(en.wikipedia.org/wiki/Spooky_Two)

01. Waitin' for the Wind (03:30)

02. Feelin' Bad (03:19)

03. I've Got Enough Heartaches (03:25)

04. Evil Woman (09:01)

05. Lost in My Dream (05:03)

06. That Was Only Yesterday (03:53)

07. Better by You, Better Than M (03:38)

08. Hangman Hang My Shell on a T (05:42)

09. That Was Only Yesterday (Sin (03:53)

10. Oh! Pretty Woman (Single B-S (03:28)

11. Waitin' for the Wind (Single (03:30)

12. Feelin' Bad (Single Version) (03:17)

TurboBit                FikPer

Nazareth - Sound Elixir [Japan Edition] (1983)

Year: June 1983 (CD 2006)
Label: Air Mail Archive (Japan), AIRAC-1277
Style: Hard Rock
Country: Dunfermline, Fife, Scotland
Time: 60:49
Format: Flac Tracks 16/44,1 kHz
Size: 401 Mb

Charts: GER #52, NOR #8.

1983's Sound Elixir embraces the pop-rock sound of the era as Nazareth tones down their hard rock edge, reduces the tempo, and ushers in synthesizers and drum machines. If it weren't for McCafferty's vocals, most of the songs would sound like any other hard rock act that was prompted (by manager or record label) to incorporate pop instrumentation into their music. Unfortunately, a majority of these tracks are spoiled by artificial drum sounds and too many subtle variations of the polka beat. Despite robotic beats often sounding like hand claps, the album contains a handful of worthwhile guitar solos with McCafferty still delivering his trademark vocal spark. "Whipping Boy" is really the only song that brings back the classic hard-rocking Nazareth sound of the 70s. Aside from "Whipping Boy", the best tracks to be found on this album are "Milk and Honey", "I Ran", and the gorgeous ballad "Where Are You Now". The remaining tracks are just decent, but nothing memorable, distinct, or worth repeating.

by brownrecluse (https://rateyourmusic.com/release/album/nazareth/sound-elixir/)

I have been an ardent Nazareth admirers for many years. Despite of it, Sound Elixir is an utterly disappointing release. In fact, this is not exactly Nazareth that I known. The band was infected by the vicious new wave influence, unfortunately. The album starts off with disgusting tracks as 'All Nite Radio' and 'Milk and Honey' that killing all interest. Then 'Whippin' Boy' try does things better, but the rest material belongs to a very pathetic category for such the great band as they are. Nevertheless, 'I Ran' and 'Where Are You Now' are decent tracks, so I cannot rate them low than 3 stars. 'Where Are You Now' sounds wailing like the band's swan song here. Overall, this is not sound elixir but sound poison, I afraid.

by AndyUpit (https://rateyourmusic.com/release/album/nazareth/sound-elixir/)

01. All Night Radio (04:08)

02. Milk And Honey (04:07)

03. Whippin' Boy (04:43)

04. Rain On The Window (04:23)

05. Backroom Boys (03:21)

06. Why Don't You Read The Book (03:44)

07. I Ran (04:29)

08. Rags To Riches (03:25)

09. Local Still (03:32)

10. Where Are You Now (04:04)

11. On The Run (B-side) (03:23)

12. Where Are You Now (Alternate (04:33)

13. Milk And Honey (Alternate Ed (04:21)

14. Whippin' Boy (Extended Versi (05:16)

15. All Nite Radio (Radio Edit) (03:14)

lossless:                             TurboBit                FikPer

mp3: 320 kBps (146 Mb):     TurboBit                FikPer

Blues Creation - Blues Creation [Japan Edition] (1969)

Year: 1969 (CD Feb 25, 1989)
Label: Polydor Records (Japan), H25P 20311
Style: Blues Rock
Country: Tokyo, Japan
Time: 42:08
Format: Flac Tracks 16/44,1 kHz
Size: 251 Mb

Blues Creation was a legendary Japanese band formed in Tokyo at the end of sixties by two guitarists, Kazuo Takeda and Koh Eiryu, together with singer Fumio Nunoya.
Kazuo Takeda was born March 11, 1952 in Nihonbashi, Tokyo. He started playing guitar at the age of 13, and after playing with bands such as Falcons and Kinky Rockers, he became a professional guitarist at the age of 16 in August 1968. A year later he formed Blues Creation and released debut album for Polydor Records. Blues Creation participated in the first Japanese rock festival that same year. In 1971 ‘Demon & Eleven Children’ was released for Colombia Japan. At the same time another album followed together with Carmen Maki. The band disbanded in 1972 and Kazuo moved to London and played there as session guitarist. Much more followed.

- Where and when did you grow up? Was music a big part of your family life?
Kazuo Takeda: I was born in 1952. I was raised in Tokyo. My sister used to listen to early sixties American pop and rock’n’roll music. Artists such as Little Richard, Ray Charles, Gene Vincent, Art Blakey, The Cascades, Brenda Lee, Thelonious Monk, The Beatles and The Ventures to name a few. My mother was also an avid listener so music was always present.
- When did you begin playing music? What was your first instrument? Who were your major influences?
I remember my first instrument was ukulele which my sister brought from somewhere. I tried to play some melody I knew by single note playing. That was when I was 8 or 9 years old. After a little while, in 1965 suddenly American surf music was getting so popular among the nation. There were many surf rock bands in every school. It was all because of The Ventures and their music.
Especially their lead guitarist, Nokie Edwards was guitar idol to every schoolboy. At the time, a friend of mine was already good enough to play difficult tunes by The Ventures. Stuff like ‘Caravan’. I could learn basic technique from him. Thank you my friend.
- What bands were you a member of prior to the formation of Blues Creation?
My first band was a surf rock band. We mainly played The Ventures’ songs. We named ourselves The Falcons. I played with them for about a year.
Then I started listening to R&B type of music. Artists such as Wilson Pickett, Otis Redding, Sam & Dave and others. We also played a bunch of sixties British songs from The Animals, The Rolling Stones, The Yardbirds, The Kinks, The Zombies etc. They were so good.
There was a certain type of their songs I especially liked. I was too young to know the differences between music genres, but somehow I felt so musically attract to the blues.
- What was the first song you ever composed?
That was when I was around 9 or 10 years old. I wouldn’t call it a songwriting, but I was trying to make my own melody with my ukulele. Somehow I managed that, but the line sounded pretty much like other kids’ songs I heard before.
My first original tune was written when I was 15. It’s a song called ‘Baby You Are Mine’. Simple three chords blues type of tune, rather than rock’n’roll or R&B, I think.
(psychedelicbabymag.com/2020/09/blues-creation-interview-with-kazuo-takeda.html)

01. Checking' Up On My Baby (04:55)

02. Steppin' Out (02:55)

03. Smoke Stack Lightnin' (05:36)

04. Double Crossing Time (07:06)

05. I Can't Keep From Crying (04:39)

06. Spoonful (08:16)

07. Rollin' And Tumblin' (04:06)

08. All Your Love (04:34)

lossless:                             TurboBit                FikPer

mp3: 320 kBps (100 Mb):     TurboBit                FikPer