Steve Hackett (ex Genesis) - Wolflight (2015)

*Year: 27 March 2015 (CD 2015)
*Label: InsideOut Music (US), 07078
*Style: New Age, Progressive Rock
*Country: London, England (12 February 1950)
*Time: 63:01
*Format: Flac Tracks 16/44,1 kHz
*Size: 381 Mb

The concept of this album is about the relation between human and the Wolf. Also important is the hours before dawn, because it's the time that the wolf are hunting and that Steve Hackett like to write his songs. It's a unique time to let things comes naturally without any distractions. Steve has met some real wolves and played with them even if the cover could look digitally made. Now for the music, there's enough variations from one song to the other to have a good time listening the whole album all the way through. There is also many variations possible with the guitar that can be used to make percussive sounds. There's some classical sounds, flamenco and naturally some more heavy rock passages. So there is a contrast in the music with some dark ambiances and lighter atmosphere. The use of harmonica gives another color to the music. The world music sounds makes you travel in a foreign country. The choir harmonies are developed and Steve who never was the best vocalist did not push his voice too much here with better results. "Love songs to a Vampire" feature Chris Squire on bass and after a peaceful intro has many mood changes. "The Wheel's turning" put you in the amusement park's ambiance and remind me of music from his first albums. The excellent "Corycian Fire" has a world music atmosphere with world music instruments. "Black Thunder" is another great track with dark atmosphere and some nice drums and bass. There is also some interlude pieces and some less memorable songs that complete the picture of this enjoyable album.
(progarchives.com/album.asp?id=47827) Review by rdtprog. April 10, 2015

01. Out of the Body (02:29)
02. Wolflight (08:00)
03. Love Song to a Vampire (09:17)
04. The Wheel's Turning (07:23)
05. Corycian Fire (05:46)
06. Earthshine (03:20)
07. Loving Sea (03:22)
08. Black Thunder (07:32)
09. Dust and Dreams (05:33)
10. Heart Song (02:51)
11. Pneuma (02:53)
12. Midnight Sun (04:31)

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Steve Marriott (ex Small Faces & Humble Pie) - Steve Marriott's Scrubbers [1974-1975] (1996)

Year: 1996 (CD 1996)
Label: Repertoire Records (Germany), REP 4603-WP
Style: Rock, Rhythm and Blues
Country: Essex, England (30 January 1947 - 20 April 1991)
Time: 64:04
Format: Flac Tracks 16/44,1 kHz
Size: 388 Mb

The Scrubbers Sessions (rec. 1974 – 1975, rel. 1996)
This 20-track release is a kind of Holy Grail for Marriott fans. Cut at his home studio with a bunch of friends (“the Scrubbers”), it’s raw, heart-felt, and creative, showing all the potential that failed to surface on the post-Frampton Pie records. Ridley and competent blues pianist Tim Hinkley played a large part – Ridley’s vocal on “Send Me Some Loving” is one of his best anywhere – but it’s really a Marriott solo album. His authentic antiquarian interests surface repeatedly, with a hilarious music hall number (“Captain Goatcabin’s Balancing Stallions”), gentle stabs at acoustic country (“Bluegrass Interval”), rockabilly (“You’re A Heartbreaker”) and country-blues (“Hambone”), some stripped-down R & B (Cooke’s “Shake”; Spector’s “Be My Baby”), and several over-the-top attempts to ape old time Delta and Chicago blues (a ground-shaking cover of “Mona”). All of this nicely balances his usual, blustery hard rock, which is crafted and impassioned here (“Street Rats”; drug odes like “High And Happy”). Amazingly, A & M records refused to release the tapes; given to Hinkley, the surfaced only when he finally decided to cash in on them. Guitarist Clempson and singers Fields, King and Brown showed up, but drummer Shirley didn’t and was replaced by Ian Wallace; guests include BJ Cole (pedal steel) and Lindsay Scott (fiddle – Joe Brown is credited, but Scott tells me otherwise), and Wallace’s King Crimson compatriots Mel Collins (sax) and Boz Burrell (bass).
(persevalk.blogspot.com/2013/05/steve-marriott-steve-marriotts.html) W & A Record Reviews

01. Shake (02:49)
02. Mona (02:41)
03. Lend Us A Quid (03:59)
04. Send Me Some Loving (03:16)
05. She Moves Me Man (04:18)
06. Street Rat (02:48)
07. Captain Goatcabin's Balancing Stallions (03:02)
08. High And Happy (02:42)
09. Be My Baby (02:36)
10. It's All Over (03:31)
11. Bluegrass Interval (04:12)
12. Don't Take But A few Minutes (03:35)
13. Louisiana Blues (03:46)
14. You're A Heartbreaker (01:48)
15. I Need A Star In My Life (02:48)
16. Cocaine (03:47)
17. I'll Find You (03:30)
18. Lord Let Me Hold Out (03:23)
19. Hambone (02:47)
20. Signed Sealed (02:39)

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Adrian Belew (ex King Crimson) - Twang Bar King [Japan Ed.] (1983)

Year: September 5, 1983 (CD Dec 25, 2002)
Label: Universal Music (Japan), UICY-9238
Style: Pop
Country: Covington, Kentucky, U.S. (December 23, 1949)
Time: 43:18
Format: Flac Tracks 16/44,1 kHz
Size: 301 Mb

Made while Belew was the frontman of King Crimson, Twang Bar King was recorded in between the sessions and tours for Beat and Three of a Perfect Pair in 1982 and 1983. Like Belew's debut album Lone Rhino, it features the members of Belew's pre- King Crimson band GaGa (this time augmented by session drummer Larrie Londin). This would be the last album on which Belew would feature the GaGa band, and he would largely perform all the instruments on his future albums himself. The R&B parody interlude "Sexy Rhino" continues the "rhino" theme from Lone Rhino and utilizes a Roland TR-808 drum machine and vocoder.
Trouser Press wrote that the album "does underscore his contributions to King Crimson: the distinctive vocabulary of extra-musical noises, the personality and, especially, the humor, which is in abundant evidence here." The Globe and Mail wrote that "despite Belew's cleverness, the rhythm section of J. Clifton Mayhugh and Larrie Londin does little that can be considered interesting."
All songs written and arranged by Adrian Belew except "I'm Down" written by John Lennon & Paul McCartney and "Paint the Road" written by William Janssen.
(en.wikipedia.org/wiki/Twang_Bar_King)

01. I'm Down (02:56)
02. I Wonder (04:40)
03. Life Without A Cage (03:20)
04. Sexy Rhino (00:37)
05. Twang Bar King (01:26)
06. Another Time (03:05)
07. The Rail Song (05:41)
08. Paint The Road (03:20)
09. She Is Not Dead (04:42)
10. Fish Head (04:31)
11. The Ideal Woman (04:12)
12. Ballet For A Blue Whale (04:44)

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Uriah Heep - Sonic Origami (1998)

Year: 1998 (CD September 1998)
Label: Eagle Records (Europe), EDL EAG 101-2
Style: Pop, Pop Rock
Country: London, England
Time: 75:45
Format: Flac Tracks 16/44,1 kHz
Size: 518 Mb

Originally issued in Japan in 1998, Sonic Origami was released in the U.S. a year later with the bonus track intact. The album has a grand, epic tone throughout that doesn't always match Uriah Heep's journeyman-sounding prog-tinged hard rock, and some songs' lyrics sink under the weight of their pretension or sentimentality. But for diehard Heep fans those are minor quibbles; while the group's sound may not be devastatingly original anymore, they are definitely quite committed to their performances, and the occasional overreaching is part and parcel with this sort of classic AOR pomp-rock (and, in fact, constitutes a not insignificant part of its appeal). So ultimately, it's difficult to criticize Sonic Origami too harshly, because it is a solid entry in its chosen genre. And -- especially given that Uriah Heep has put out more than their fair share of lifeless crap over the years -- it's actually pretty admirable that the band is continuing to release respectable records this far into their career. Classic rock fans will probably enjoy this without reservation.
(allmusic.com/album/sonic-origami-mw0000244541)

01. Between Two Worlds (06:29)
02. I Hear Voices (03:55)
03. Perfect Little Heart (05:17)
04. Heartless Land (04:44)
05. Only The Young (04:43)
06. In The Moment (06:23)
07. Question (05:26)
08. Change (06:02)
09. Shelter From The Rain (06:10)
10. Everything In Life (03:15)
11. Across The Miles (05:13)
12. Feels Like (04:37)
13. The Golden Palace (08:34)
14. Sweet Pretender (Bonus) (04:50)

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Vangelis - The Dragon / Hypothesis [2LP on 1CD] (1971)

Year: 1971 (CD 2002)
Label: Not On Label (????), VPOX 3196
Style: Instrumental, New Age, Jazz-Rock
Country: Agria, Greece (29 March 1943 - 17 May 2022)
Time: 68:28
Format: Flac Tracks 16/44,1 kHz
Size: 436 Mb

In May 1971 Vangelis had played several sessions in London's Marquee Studios, joined for some of them by violinist Michel Ripoche, bass guitarist Brian Odgers (called Odger on the sleeve) and drummer Tony Oxley, the rhythm section of the famous Extrapolation recording released by John McLaughlin. Two albums' worth of material had resulted from these sessions, but were unfinished and not intended for release. Later, when Vangelis was becoming famous, the label published the material without his permission, using forged signatures, and in 1978 two albums appeared in shops, on the Affinity label (a subsidiary of Charly Records) - Hypothesis and The Dragon. Vangelis won a court case to have both LPs taken off the market. He said greed was the motivation for releasing the sub-par albums: "I don't agree with that music at all."
The cover artwork for Hypothesis is by Angus McKie, and is merely a "borrowed" illustration he drew for a series of novels by SF author Brian Stableford, featuring the spacecraft Hooded Swan, mentioned in the books.
(en.wikipedia.org/wiki/Hypothesis_(album))

01. The Dragon (15:17)
02. Stuffed Aubergine (11:41)
03. Stuffed Tomato (09:38)
04. Hypothesis Part 1 (15:30)
05. Hypothesis Part 2 (16:20)

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West, Bruce And Laing - Why Dontcha (1972)

Year: November 1972 (CD 19???)

Label: Columbia Records (US), CK 31929

Style: Hard Rock

Country: London, England

Time: 39:38

Format: Flac Tracks 16/44,1 kHz

Size: 220 Mb

Why Dontcha is the first studio album by power trio West, Bruce and Laing.

The album features "The Doctor", which received heavy FM radio airplay upon the album's release and became a signature song in live performance for the band. Other noteworthy tracks include "Out into the Fields", which Jack Bruce continued to perform in concert following West, Bruce and Laing's breakup (and which he re-recorded for his 2001 album Shadows in the Air), and "Love is Worth the Blues", a song loosely based on the chords and structure of The Rolling Stones' "Play with Fire".

Why Dontcha was West, Bruce and Laing's most successful album, reaching No. 26 on the Billboard U.S. album chart.

(en.wikipedia.org/wiki/Why_Dontcha)

01. Why Dontcha (03:04)

02. Out Into the Fields (04:41)

03. The Doctor (04:28)

04. Turn Me Over (02:45)

05. Third Degree (05:16)

06. Shake Ma Thing (Rollin Jack) (03:14)

07. While You Sleep (03:24)

08. Pleasure (04:02)

09. Love is Worth the Blues (04:13)

10. Pollution Woman (04:27)

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

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

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

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

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

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

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

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

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

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

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

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

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Rick Derringer - All American Boy (1973)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Yes - Fragile [Japan Ed.] (1971)

Year: 12 November 1971 (CD Jul 22, 2009)
Label: Warner Music (Japan), WPCR 13515
Style: Symphonic Rock
Country: London, England
Time: 60:31
Format: Flac Tracks 16/44,1 kHz
Size: 416 Mb

Fragile, the fourth album by Yes is really a bridge between its rock-influenced predecessor, The Yes Album, and the nearly pure prog albums which would follow. The album features four tracks of full band performances, three of which were of eight minutes length or longer interspersed by five short tracks each showcasing an individual member of the band. This approach makes for a very interesting and dynamic mix as some laid back and introspective, individual tracks give way to a much bolder, harder, and more aggressive style of playing by the band as a whole during the full-lineup extended tracks.
The album was recorded in September 1971 and co-produced by Eddy Offord, who worked on most of the band’s earliest material. During the recordings there was a major lineup change, reportedly due to keyboardist Tony Kaye’s refusal to embrace the Moog synthesizer and stick exclusively to the Hammond organ. Kaye was replaced by Rick Wakeman. Often using as many as a dozen keyboards on stage, Wakeman added a bit flair to the band’s performance and completed the picture of their classic lineup.
More than any other album, Fragile is an absolute showcase for bassist Chris Squire, who also happens to be the only person to appear on every Yes album (a band known for constant lineup shifting). Squire may have been the first to truly bring this instrument, which is normally buried in the low end of the mix, to the forefront and in unique and inventive ways. Although the album was released in November 1971 in the UK, it was held over until January 1972 across the Atlantic, because there was still chart momentum for The Yes Album in the states.
Full version: (classicrockreview.com/2012/12/1972-yes-fragile/)

01. Roundabout (08:36)
02. Cans And Brahms (01:42)
03. We Have Heaven (01:40)
04. South Side Of The Sky (07:57)
05. Five Per Cent For Nothing (00:37)
06. Long Distance Runaround (03:30)
07. The Fish (Schindleria Praematurus) (02:41)
08. Mood For A Day (03:02)
09. Heart Of The Sunrise (11:32)
10. America (10:33)
11. Roundabout (Early Rough Mix) (08:35)

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Humble Pie - Smokin' (1972)

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

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

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

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Edgar Broughton Band - Wasa Wasa (1969)

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

Shaped in Warwick, England, the Edgar Broughton Strap arrived within the London underground music scene in 1968. Led from the Broughton brothers, vocalist/guitarist Edgar and drummer Steve, and fleshed out by bassist Arthur Give and guitarist Victor Unitt (who also briefly offered with the Fairly Items), they quickly signed using the Harvest label and released their debut, Wasa Wasa, a assortment of underground electrical blues jams anchored by Edgar’s Captain Beefheart-like vocals, in past due 1969. The Edgar Broughton Music group came back in 1970 with Sing Sibling Sing, which reached the U.K. Best 20 and spawned a set of minor strike singles, “Out Demons Out” and “Apache Drop-Out” (a fusion of Beefheart’s “Dropout Boogie” as well as the Shadows’ “Apache”). The group appeared poised for a significant industrial breakthrough, but even while their make of large rock and roll was flourishing because of groups like Dark Sabbath and Deep Crimson, the Broughton Music group produced an about-face, and their music became somewhat more tranquil and politically billed. Their graph momentum stalled, along with a 1971 self-titled work failed to capture on. After both 1972’s Inside Out and 1973’s Oora fulfilled a similar destiny, the group still left Harvest for NEMS. Legal wrangles locked them from the studio for several months, however they finally resurfaced in 1975 — minus Unitt, who’d been changed by guitarist John Thomas — with Bandages. A short breakup followed, however in 1978 they came back with Live Strikes Harder. With the discharge of 1979’s Parlez Vous British?, the group acquired expanded to some six-piece, utilizing the name the Broughtons. Time for the Edgar Broughton Music group moniker, the music group became a three-piece for 1982’s Super Chip: THE ULTIMATE Silicon Solution, an idea album filled up with synthesizers and brand-new influx tempos. Touring continuing throughout ’80s, ’90s, and 2000s.
(musicianbio.org/edgar-broughton/)

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

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

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

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

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

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Ananda Shankar - Ananda Shankar (1970)

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

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

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

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Mountain - Avalanche (1974)

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

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

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

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

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

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

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

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

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

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