Soft Machine - Third [2CD] (1970)

Year: June 1970 (CD 2007)
Label: Sony BMG Music Entertainment (Europe), 82876872932
Style: Jazz Rock, Psychedelic Rock, Progressive Rock
Country: Canterbury, England
Time: 75:21, 38:58
Format: Flac Tracks 16/44,1 kHz
Size: 402, 222 Mb

Man, this is a unique jazz gem yet to be heard by most jazz fans. Ok, probably most wouldn't dig it, but who cares? The Soft Machine's third release is one of a kind in the entire world, released in a time where 'jazz fusion' was at its early stage, this band seemed to be ahead of most contemporary jazz rockers. Surely Miles Davis was jealous of what this band made contemporary to the man's jazz rock experiments.
At times so fine and British-jazzy, at others so chaotic, sometimes dreamy as a German electronic band, yes, this is freaky jazz (rock?). Before I enter in details, I'd like to state that the overall production is rather weak but being 1970 not many had great productions either, so take that in mind. However, after all, this is majestic twisted jazz, who needs great production anyway? Ok, Miles Davis needed one.
First composition, 'Facelift', is the one that is most inclined towards free jazz and avant-garde out of the four big compositions. It has a lot of dissonancy and experimental bits, though with repeated listens you will get the whole thing better, but I got to admit that I usually skip this. Probably the only composition of the album that seems to be affected by the raw and dusty production, though that's mainly cause it was recorded live. Mind you, when I'm in the mood for it, it's like listening to an extremely powerful and noisy rock jam which really rocks. It does evoke a bit the prog rock trend with a flute solo, among other things. Recommended mainly to fans of Henry Cow and The Mothers of Invention's most avant moments, and maybe some free jazz.
Second composition, 'Slightly All the Time', announces The Machine's future albums (Fourth and Fifth), being heavily based on jazz with great saxophone playing courtesy of Elton Dean plus a great rhythm section, including a bass line that is similar to 'Tout de Suite' by Davis. The composition evolves a lot, from gentle paces to faster ones, from beautiful melodies and moods to more ferocious ones. Definitely an amazing construction, the first masterpiece on the album.
Third composition is 'Moon in June', a composition that has a huge fan base and I, after repeated listens, became to be part of it. It's the only track featuring vocals; these are from the one and only Robert Wyatt, the drummer of the band. A tad bit melancholic and psychedelic at first, but in the very middle of the tune it all becomes another Soft Machine rockin' jazzy jam with a solid performance of overlooked keyboard master, Mike Ratledge. The ending is pretty much noise, featuring backward playing and a noisy violin, but since already from the beginning the track seems to be very schizophrenic in mood, it fits really well. Odd at first, but very rewarding after various listens, it's undoubtedely Wyatt's vocal section that is the most enjoyable and unique.
Fourth composition, 'Out Bloody Rageous', is yet another incredible tune that is more akin to 'Slightly All the Time' in the jazzier aspect. But the highlight of this tune is not actually the jazzy playing, if not the five minute spacey intro which is pure bliss. Of course, the overall playing of the rest of the band in the rest of the composition is fantastic, great bass work and especially superb woodwind playing, as well as a really fine keyboard solo from Mike Ratledge. One of the band's greatest achievements.
No further comments other than my recommendation: Highly recommended if you're a jazz and fusion fan looking for something completely fresh, this may blow your mind, beware.
Yes, four different and mind-blowing compositions, which three of them I consider completely timeless, making as a whole a masterpiece, one of the various peaks of British rock/jazz, and definitely the Softs most creative effort.
Third is The Soft Machine's unique jazz style masterpiece, previously they released a psychedelic jazzy rock masterpiece (Vol. 2), and in future years they would release a fusion masterpiece (Bundles). What an amazing band.
(jazzmusicarchives.com/album/soft-machine/third)

01. Facelift (18:48)
02. Slightly All the Time (18:13)
03. Moon in June (19:07)
04. Out-Bloody-Rageous (19:11)

01. Out-Bloody-Rageous (11:57)
02. Facelift (11:22)
03. Esther's Nose Job (15:38)

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The Soft Machine - Volume Two (1969)

Year: September 1969 (CD 2009)
Label: Polydor Records (UK), 532 050-6
Style: Jazz Rock, Psychedelic Rock, Progressive Rock
Country: Canterbury, England
Time: 33:33
Format: Flac Tracks 16/44,1 kHz
Size: 206 Mb

By the end of 1968 the Soft Machine had parted company with founder and bass player Kevin Ayers. Ayers, who operated at a more leisurely pace and was less jazz inclined than drummer Robert Wyatt and keyboardist Mike Ratledge, had been put off touring, at least temporarily, by the experience of supporting The Jimi Hendrix Experience acrioss the USA. But following a brief hiatus the band reformed with former road manager and school friend Hugh Hopper on bass. Joined here by brother Brian - another key figure in Canterbury musical history - on sax, it was Hugh's vastly developed sense of melody, combined with the aforementioned love of jazz that saw the band enter Olympic Studios with engineer George Chkiantz and record this masterpiece.
Volume Two's first side begins with Wyatt reciting the alphabet, ending the side's suite of songs by doing the same, backwards. This mixture of the absurd and the serious that was to eventually tip in the direction of the latter (forcing out the more whimsical Wyatt), provides a wonderful tension that no other band has ever really replicated though many have tried (cf: Hatfield And The North). Fearsome chord progressions (Dedicated To You But You Weren't Listening), free noise (Fire Engine Passing With Bells Clanging) and even scatting in Spanish (Dada Was Here): this was no ordinary college band.
Even the infamously po-faced Ratledge was open to a touch of tomfoolery at this point. Pig's exploration of the role of women's underwear in the mating ritual is hilarious, while underpinned with a time signature that they virtually patented in later years. As Long As he Lies Perfectly Still is a truly moving tribute to the departed Ayers: Mike Ratledge's majestic piano chords declaim over his own distorted organ, Wyatt's swinging cymbals and Hugh Hopper's monstrous fuzz bass while Wyatt sings lyrics that are equal parts affectionate, silly and mocking.
Volume Two could be said to be the band's best album. It was a taste of the pre-post modern: relegating lyrics to the role of noise that merely describes what the band's doing (''In his organ solos, he fills 'round the keyboards, knowing he must find the noisiest notes for you to hear'' - Thank You Pierrot Lunaire), or name checking friends of the group (''Thank you Noel and Mitch. Thank you Jim, for our exposure to the crowd. And thank you for this coda Mike, you did us proud'' - Have You Ever Bean Green?). No one makes records like this anymore.
(bbc.co.uk/music/reviews/mxw6/) Chris Jones 2009

01. Pataphysical Introduction - Part I (01:00)
02. A Concise British Alphabet - Part I (00:09)
03. Hibou Anemone and Bear (05:59)
04. A Concise British Alphabet - Part II (00:12)
05. Hullo Der (00:54)
06. Dada Was Here (03:25)
07. Thank You Pierrot Lunaire (00:48)
08. Have You Ever Bean Grean? (01:19)
09. Pataphysical Introduction - Part II (00:51)
10. Out of Tunes (02:34)
11. As Long As He Lies Perfectly Still (02:34)
12. Dedicated To You But You Weren't Listening (02:32)
13. Fire Engine Passing With Bells Clanging (01:50)
14. Pig (02:09)
15. Orange Skin Food (01:47)
16. A Door Opens and Closes (01:09)
17. 10:30 Returns To the Bedroom (04:13)

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Soft Machine - The Soft Machine (Volume One) (1968)

Year: December 1968 (CD 2009)
Label: Polydor Records (UK), 532 050-5
Style: Jazz Rock, Psychedelic Rock, Progressive Rock
Country: Canterbury, England
Time: 46:42
Format: Flac Tracks 16/44,1 kHz
Size: 284 Mb

The Soft Machine's status as house band at London clubs like the UFO and Middle Earth during 1967 saw them appear at some of the most pivotal happenings in the fringes of the art world. But while those other darlings of the nascent underground, the Pink Floyd, raced into Abbey Road studios to grasp at the fleeting strands of genius from Syd Barrett before his marbles went AWOL, the Softs' first recording steps were faltering. This was partly due to the loss of founding member, Australian beat poet/guitarist Daevid Allen who returning from France was denied access back into the UK due to an expired visa. Limping on as a trio, by the time the group were finally granted studio time with Columbia's house producer Tom Wilson in New York, they'd been touring the States and had some of their homegrown psychedelic sheen knocked off. Nevertheless Volume One stands as one of the pinnacles of English pre-progressive underground music.
The thing that the Softs had in far more abundance than their contemporaries was musical ability and a superior knowledge of modern jazz. Wyatt's drumming owes just as much to Art Blakey as it does to Ringo Starr, while Mike Ratledge's fuzz organ (the template upon which nearly all 'Canterbury' music was based) frequently breaks free in coruscating runs up and down the keyboard (though Wyatt now claims that this style of playing was necessitated by the organ's propensity to feed back if not played constantly).
For the requisite slice of English whimsy atop this schizophrenic melange the vibes were provided by bass player Kevin Ayers. His bass-as-lead approach gets an early look in on Joy Of A Toy, while his basso profundo voice gives menace to the classic (and possibly Gurdjeffian) Why Are We Sleeping?. Elsewhere there's a fabulous combination of spaciness, tricky time signatures (Hope For Happiness, Box 24/4 Lid) and the first flowerings of Wyatt's self-deprecating humour in lyrical form. On the hilariously Why Am I So Short? he tells of his swinging Bohemian ending with the couplet ''Every day I like an egg and some tea. But most of all I like to talk about me!''. By the time of its release the Summer of Love was long gone, but this debut still captures one of the key players in almost perfect form.
(bbc.co.uk/music/reviews/36bd/) Chris Jones 2009

01. Hope For Happiness (04:22)
02. Joy Of A Toy (02:49)
03. Hope For Happiness (Reprise) (01:37)
04. Why Am I So Short? (01:37)
05. So Boot If At All (07:23)
06. A Certain Kind (04:13)
07. Save Yourself (02:25)
08. Priscilla (01:03)
09. Lullabye Letter (04:42)
10. We Did It Again (03:46)
11. Plus Belle Qu'une Poubelle (01:00)
12. Why Are We Sleeping? (05:31)
13. Box 25 / 4 Lid (00:47)
14. Love Makes Sweet Music (02:29)
15. Feelin' Reelin' Squeelin' (02:51)

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Sly And The Family Stone - Life (1968)

Year: September 1968 (CD 2007)
Label: Epic / Legacy Records (US), 82876 83945 2
Style: Pop, Funk
Country: San Francisco, California, U.S.
Time: 43:38
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

The album was titled M'Lady in the United Kingdom.
Unlike its predecessor, Dance to the Music, Life was not a commercial success, although it has received mostly positive reviews from music critics over the years. Many of its songs, including "M'Lady", "Fun", "Love City", as well as the title track, became popular staples in the Family Stone's live show. A middle ground between the fiery A Whole New Thing and the more commercial Dance to the Music, Life features very little use of studio effects, and is instead more driven by frontman Sly Stone's compositions. Topics for the album's songs include the dating scene ("Dynamite!", "Chicken", "M'Lady"), groupies ("Jane is a Groupee"), and "plastic" (or "fake") people (the Beatlesque "Plastic Jim", which references "Eleanor Rigby" in its chorus). Of particular note is that the Family Stone's main themes of unity and integration are explored here in several songs ("Fun", "Harmony", "Life", and "Love City"). The next Family Stone LP, Stand!, would focus almost exclusively on these topics.
Much of Life has been heavily sampled for hip hop and electronica recordings, particularly Gregg Errico's drum solo on "Love City". The opening riff on "Into My Own Thing" was sampled for Fatboy Slim's 2001 hit "Weapon of Choice".
(en.wikipedia.org/wiki/Life_(Sly_and_the_Family_Stone_album))

01. Dynamite! (02:46)
02. Chicken (02:14)
03. Plastic Jim (03:31)
04. Fun (02:24)
05. Into My Own Thing (02:15)
06. Harmony (02:53)
07. Life (03:02)
08. Love City (02:45)
09. I'm An Animal (03:23)
10. M'Lady (02:47)
11. Jane Is A Groupee (02:53)
12. Dynamite! (02:09)
13. Seven More Days (03:25)
14. Pressure (03:45)
15. Sorrow (03:19)

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Sonic Youth - Goo (1980)

Year: June 26, 1990 (CD ????)
Label: David Geffen Company (DGC) (Europe), GED 24297 DGCD 24297
Style: Punk, Alternative Rock, Experimental
Country: New York City, U.S. (1981-2011)
Time: 49:54
Format: Flac Tracks 16/44,1 kHz
Size: 334 Mb

Goo is the sixth full-length studio album by American alternative rock band Sonic Youth, released on June 26, 1990, by DGC Records. For this album, the band sought to expand upon its trademark alternating guitar arrangements and the layered sound of their previous album Daydream Nation (1988) with songwriting that was more topical than past works, exploring themes of female empowerment and pop culture. Coming off the success of Daydream Nation, Nick Sansano returned to engineer Goo, but veteran producer Ron Saint Germain was chosen by Sonic Youth to finish mixing the album following Sansano's dismissal.
Goo was a critical and commercial success upon its release, peaking at number 96 on the US Billboard 200, their highest chart position to date. Although it lacked significant radio airplay, its lead single "Kool Thing", a collaborative effort with Public Enemy's Chuck D, reached number seven on the Billboard Modern Rock Tracks chart. Since then, Goo has been viewed as one of alternative rock's most important albums, and is considered musically and artistically significant. In 2020, the album was ranked at number 358 on Rolling Stone's 500 greatest albums of all time list.
(en.wikipedia.org/wiki/Goo_(album))

01. Dirty Boots (05:29)
02. Tunic (Song for Karen) (06:21)
03. Mary-Christ (03:11)
04. Kool Thing (04:06)
05. Mote (07:37)
06. My Friend Goo (02:19)
07. Disappearer (05:08)
08. Mildred Pierce (02:13)
09. Cinderella's Big Score (05:55)
10. Scooter + Jinx (01:04)
11. Titanium Exposй (06:25)

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Shirley Collins & The Albion Country Band - No Roses (1971)

Year: October 1971 (CD ????)
Label: Castle Music (UK), CMRCD951
Style: British Folk Rock, Acoustic
Country: England
Time: 35:02
Format: Flac Tracks 16/44,1 kHz
Size: 212 Mb

No Roses is an album by Shirley Collins and the Albion Country Band. It was recorded at Sound Techniques, and Air Studios in London, in the summer of 1971. It was produced by Sandy Roberton and Ashley Hutchings (Shirley Collins' husband at the time).
It is very unusual to have 27 musicians and singers on an album of traditional folk songs. It happened because people simply dropped in during recording sessions and were asked to join in. "The Murder of Maria Marten", a lengthy song about the Red Barn Murder, is broken into segments, with parts of British folk rock alternating with more traditional parts featuring Shirley Collins' voice and a hurdy-gurdy drone. Shirley Collins had used a similar technique on "One Night As I Lay on My Bed" on "Adieu to Old England".
Some songs, for instance "Poor Murdered Woman" and "Murder of Maria Marten", feature large parts of the Fairport Convention line-up of late 1969 (Liege and Lief). In fact, Fairport Convention member Ashley Hutchings appears on all, Simon Nicol and Richard Thompson on eight, and Dave Mattacks on three of the nine songs on this album.
Claudy Banks includes a composed duo performance by Alan Cave on bassoon and British free jazz saxophonist Lol Coxhill – his only performance ever in the context of British folk music. Hal-An-Tow features members of the two acclaimed folk vocal groups The Watersons (Lal and Mike Waterson) and The Young Tradition (Royston Wood). Both drummer Roger Powell and pianist Ian Whiteman previously played together in the band Mighty Baby.
The album title No Roses are the last words of the first verse of the folk song "The False Bride" ("I went down to the forest to gather fine flowers, but the forest won't yield me no roses."), which Shirley Collins sang on her EP Heroes in Love in 1963.
(en.wikipedia.org/wiki/No_Roses)

01. Claudy Banks (04:36)
02. The Little Gypsy Girl (02:15)
03. Banks Of The Bann (03:38)
04. Murder Of Maria Marten (07:24)
05. Van Dieman's Land (04:58)
06. Just As The Tide Was A'Flowing (02:12)
07. The White Hare (02:43)
08. Hal-An-Tow (02:53)
09. Poor Murdered Woman (04:19)

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Savoy Brown - Blues, Balls & Boogie [Live] (2005)

Year: 60th-70th (CD 2005)
Label: AIM Records (Australia), AIM 1088 CD
Style: Blues Rock
Country: London, England
Time: 76:30
Format: Flac Tracks 16/44,1 kHz
Size: 504 Mb

This is a great energetic live recording of Kim Simmonds. The CD notes are light on attributions, so here are some details. This was recorded at the Rainbow Music Hall in Denver Colorado on June 27, 1981 (except "Run to Me", which is a studio recording). The band is:
Kim Simmonds - Guitar
Ralph Mormon - Vocals
John Humphrey - Bass
Barry Paul - Guitar
Keith Boyce - Drums
It was originally released on a 2-LP set called "Greatest Hits Live" and included the song "Wang Dang Doodle". In 2001 it was released as one CD of the 2-CD set, "Raw Live 'n' Blue". That version included "Wang Dang Doodle" and left off the studio track "Run to Me". On the other hand, this CD, "Blues Balls & Boogie", actually has all of the tracks at the correct speed, whereas at least two tracks on "Raw Live 'n' Blue" have been sped up.
(amazon.com/Blues-Balls-Boogie-BROWN-SAVOY/dp/B000E3J40K) Review by Mick. July 2, 2013

After playing most of their LP's to death and seeing various incarnations of the band live, I would have to rate this as the most puzzling Savoy issue I've yet to come across. First of all, it's COMPLETELY devoid of credits. No personnel, no dates, no nothin! About the only thing you can tell for sure is that it was released by some tiny Aussie label in 2006, and that Kim is the man with the ax. Another reviewer thinks it's a repackaging of the 1981 vinyl only "Greatest Hits Live". Since I never owned that record, I'm going to defer and take his word for it. That means the vocals are done by the world renowned Ralph Mormon; not even listed as a "group member" on the Savoy page at Allmusic.com! Suffice it to say that this is one of the most obscure Savoy releases ever. That being said, what of the music? Once again, puzzling. The band is very tight, but WAY out front. The tempo is blistering; light years beyond the majestic grandeur of vintage Savoy line ups. At first you wonder if this isn't a knock-off by some Aussie tribute band? That thought only persists for a couple tunes however. Soon it becomes clear that you are indeed on Planet Kim! His solos are truely one of a kind (accept no imitations!!). As the disc progressed, I slowly but surely lost my doubts and reservations and began to enjoy this strange new format. I realized that Kim was so up-tempo because the band left him no choice. It was a direct frontal assault and he had either to charge or be left behind on the beach head. Lyrically, Mormon's vocals can in no way be compared to Youlden, Walker, or any of the others, but they're interesting in their own right. Is it unfair to label him a wannabe? I don't know, but does it really matter? The vocals certainly match the frenetic musical attack. Anyway, all in all, this is not a bad disc, it's just not the Savoy that old timers (like me) are used to. It should be of definite interest to collectors, but otherwise it's hard to call it more than a curiosity.
(amazon.com/Blues-Balls-Boogie-BROWN-SAVOY/dp/B000E3J40K) Review by C. Pumarejo. November 9, 2010

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Tangerine Dream - Exit (1981)

Year: September 1981 (CD 1995)
Label: Virgin Records (Europe), 7243 8 40519 2 1
Style: Electronic, Pop
Country: Berlin, Germany
Time: 36:45
Format: Flac Tracks 16/44,1 kHz
Size: 214 Mb

Exit is the sixteenth major release and eleventh studio album by the German group Tangerine Dream. The first track features an uncredited Berlin actress chanting, in Russian, the names of the continents of the world and pleading to end the threat of "limited" nuclear war, which was a potential danger facing the world during the late Cold War era in which the album was released. Exit reached № 43 in the UK, spending five weeks on the chart.
The track "Choronzon" is used as the title theme for the Hungarian political TV show, Panorama. "Network 23" was used in the early 1980s by the TVA network in Montreal (Canada) to promote their news service. The title track is featured in the sixth episode "The Monster" of the Netflix series Stranger Things.
(en.wikipedia.org/wiki/Exit_(Tangerine_Dream_album))

01. Kiew Mission (09:21)
02. Pilots of Purple Twighlight (04:21)
03. Choronzon (04:09)
04. Exit (05:35)
05. Network 23 (04:57)
06. Remote Viewing (08:19)

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Augustus Pablo - Let's Get Started (1989) - Eastman Dub (1987) [2 albums - 1 CD] (1990)

Year: 1989 (CD 1990)
Label: Greensleeves Records (UK), GRELCD505
Style: Roots Reggae, Dub
Country: St. Andrew, Jamaica (June 21, 1953 – May 18, 1999)
Time: 60:36
Format: Flac Tracks 16/44,1 kHz
Size: 344 Mb

Horace Swaby (21 June 1954 – 18 May 1999), known as Augustus Pablo, was a Jamaican roots reggae and dub record producer, melodica player and keyboardist, active from the 1970s onwards.
He popularised the use of the melodica (an instrument at that time primarily used in Jamaica to teach music to schoolchildren) in reggae music. His album King Tubbys Meets Rockers Uptown (1976) is often regarded as one of the most important examples of dub.
(Wikipedia)

01. Tetrack - Only Jah Jah Know (03:04)
02. Tetrack - Let's Get Started (03:41)
03. Tetrack - Look Within Yourself (03:14)
04. Tetrack - Isn't It Time (03:17)
05. Tetrack - Couldn't Walk Away (02:54)
06. Tetrack - Judge And Jury (03:19)
07. Tetrack - It's Up To You (03:00)
08. Tetrack - Let's Get Together (03:34)
09. Tetrack - We Don't Get Along (02:53)
10. Tetrack - Simple Things (02:41)
11. Rockers International Band - Only Jah Jah Dub (03:14)
12. Rockers International Band - Eastman Dub (03:45)
13. Rockers International Band - Look Within Dub (03:03)
14. Rockers International Band - Isn't It Time Dub (03:19)
15. Rockers International Band - It Up to Jah Dub (02:44)
16. Rockers International Band - Big Yard Connection (02:48)
17. Rockers International Band - African Dub (02:46)
18. Rockers International Band - Orginal Scientist (03:24)
19. Rockers International Band - Cornerstone (Chapter 3) (03:46)

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Roy Harper - Stormcock (1971)

Year: May 1971 (CD 1994)
Label: Science Friction (UK), HUCD004
Style: Acoustic, Classic Rock, Folk Rock
Country: Manchester, England (12 June 1941)
Time: 41:26
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

Harper was inspired by a trip to, and time spent in, Big Sur, California. "Me and My Woman" is a love song backed by David Bedford's orchestral arrangements (Bedford would also collaborate on some of Harper's later releases). "Hors d'Oeuvres" was inspired by the fate of Caryl Chessman who spent nearly 12 years on death row – at the time the longest ever in the United States – before being executed in a gas chamber in May 1960. "One Man Rock and Roll Band" is a critique on the pointlessness of violence.
"The Same Old Rock" is an attack on government, the history of war, and organized religion featuring guitar work and a solo by Jimmy Page.
The album's four extended songs showcase Harper's talents, both as a songwriter and guitarist. But, Stormcock "...epitomized a hybrid genre that had no exclusive purveyors save Harper - epic progressive acoustic."
At the time, the album was not particularly well promoted by Harper's record label. Harper later stated:
They hated Stormcock. No singles. No way of promoting it on the radio. They said there wasn't any money to market it. Stormcock dribbled out.
Nonetheless, Stormcock would remain a favourite album of critics and Harper's fans. In October 2013, NME placed Stormcock at number 377 in their list of "The 500 Greatest Albums of All Time".
Although Jimmy Page performs on the album, he was credited as "S. Flavius Mercurius" for contractual reasons.
(en.wikipedia.org/wiki/Stormcock_(album))

01. Hors d'Oeuvres (08:37)
02. The Same Old Rock (12:24)
03. One Man Rock and Roll Band (07:23)
04. Me and My Woman (13:01)

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Jefferson Starship (Jefferson Airplane) - Spitfire (1976)

Year: June 1976 (CD 2004)
Label: RCA Records / BMG Heritage (US), 82876 62871 2
Style: Folk Rock, Pop Rock
Country: San Francisco, California, U.S.
Time: 42:34
Format: Flac Tracks 16/44,1 kHz
Size: 262 Mb

Charts: US #3, AUS #62, CAN #3, NED #17, NZ #13, UK #30. CAN: Gold; US: Platinum.
The only American rock bands that have enjoyed more than a decade of commercial success while evolving their own artistic visions are the Beach Boys and the Jefferson Airplane/Starship. As the Beach Boys defined pleasure in the Sixties, the Airplane defined the counterculture’s political and spiritual ideals and lived out the tribal myth. Though the Airplane/Starship’s history has proven far from idyllic, it is resilient; the creative nucleus of Paul Kantner, Grace Slick and Marty Balin successfully refocused in the loftier concept of the Jefferson Starship.
To analyze Starship cosmology — an oleo of Orientalia, science fiction and psychedelic fantasy — would be beside the point: one needn’t buy the Starship’s extraterrestrial fantasies in order to enjoy what is often magnificent rock music.
Spitfire, the third Starship album, mixes the oracular and the mundane with a classical sense of balance. While the music no longer has the explosive urgency of youth, it combines a rare stylistic breadth with awesomely controlled power. The music that Jon Landau described in 1970 as “an elongated folk-rock fragment” has since been carried to what is at once its stylistic apex (it cannot become more sophisticated without incorporating jazz) and its denouement (if it were any richer it would begin to sound enervated).
More than the Airplane’s, the Starship’s music builds a symphonic sound and embellishes it with spectacular instrumentation. This approach was first fully developed on Kantner/Slick’s impressive “Sketches of China,” from Baron Von Tollbooth. On Spitfire, its most magnificent expression is “St. Charles,” a transcendently erotic East/West, yin/yang vision of love. Here, a relatively simple melodic idea is elaborated in an unusually sophisticated (for rock) choral setting and covered by increasingly heavy waves of chromatic guitar work. The cut slowly climaxes, then slowly fades. This kind of monumentality, seldom attempted in rock and rarely achieved, embodies the Starship’s aesthetic/political/spiritual cosmology. The result is absolutely thrilling. Peaks almost as high are attained on the shorter “Love Lovely Love,” a beautiful call-and-response between singer Marty Balin and Craig Chaquico’s guitar, and on the tougher, bluesier “Dance with the Dragon.” Though it has many fine moments, the medley, “Song to the Sun/Ozymandias/Don’t Let It Rain” lacks “St. Charles” ‘s unity and comes dangerously close to being pretentious.
(full version: rollingstone.com/music/music-album-reviews/spitfire-205883/) Review by Stephen Holden. August 26, 1976

01. Cruisin' (05:31)
02. Dance With The Dragon (05:03)
03. Hot Water (03:18)
04. St. Charles (06:43)
05. Song To The Sun / Ozymandias / Don't Let It Rain (07:18)
06. With Your Love (03:39)
07. Switchblade (04:01)
08. Big City (03:24)
09. Love Lovely Love (03:32)

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McOil - All Our Hopes (1979)

Year: 1979 (CD 1993)
Label: Garden Of Delights (Germany), CD 004
Style: Heavy Progressive
Country: Ochsenhausen, Germany
Time: 47:19
Format: Flac Tracks 16/44,1 kHz
Size: 306 Mb

McOIL got together in 1976 in Ochsenhausen in Oberschwaben. Their musi­cal direction: progressive rock of the harder kind. In 1978 they released their single "Mask of life" / "A better day" as a private pressing in an edition of 500 copies. The following year they played at a rock festival arranged by Radio Luxemburg and Musik Joker and broadcasted by RTL, and they won the second prize. There they drew Dieter Ege's attention to their music and he offered them to record an LP in his Ege-Sound-Studio in Bad Schussenried. "All our hopes" was released in 1979 as a limited private presing of 1000 copies. Now they were without Doris Tischmann who had left the band shortly before. All the songs were originals. Through the years the LP's collectors' price rose up to 228,50 DM according to the German price catalogue. As a bonus track this CD, which is taken from the mastertape, features the B-side of the single, but in a slightly different version, and also a two minute drum solo on "This time should never end" which is not on the LP. In 1980 Andy Tischmann moved to Bullfrog because of his strong bent for long solos and even today he is still playing the drums. He was replaced by Rudolf Scheich, and later they got their second guitarist, Dieter Eisenmann. In 1981 they recorded in Dieter Ege' studio 14 songs unreleased until today, which will be featured on a forthcoming CD of this label. After approximately 200 gigs in their ten years' career McOil finally disbanded in 1986. Walter Utz, Rudolf Scheich and Dieter Eisenmann are nowadays playing with Stinger and relea­sed their CD "Hard 'n' heavy" (Schmidt Music Verlag, Calw) by the end of 1992 while Karl Wild and Norbert Kupfahl are not playing anymore. Further details - although not always correct - about McOil and other bands of the mentioned area can be read in Julian Aicher's book "Da lauft was".
(last.fm/music/McOil/+wiki)

01. Be Careful (04:17)
02. All Our Hopes (09:28)
03. This Time Should Never End (08:11)
04. Mask Of Life (05:01)
05. Sailing Around (06:01)
06. Once In The Summernight (04:02)
07. What's This Live (06:00)
08. A Better Day (Bonus Track) (04:16)

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The Allman Brothers Band - Seven Turns (1990)

Year: July 3, 1990 (CD 1990)
Label: Epic Records (US), EK 46144
Style: Rock, Southern Rock, Blues Rock
Country: Jacksonville, Florida, U.S.
Time: 48:20
Format: Flac Tracks 16/44,1 kHz
Size: 320 Mb

Charts: US #53, CAN #42, NOR #19. The disc was recorded using AAD (Analog Analog Digital) technology in 1990. That is, a minimum of digital.
Seven Turns is the ninth studio album by the Allman Brothers Band, released in 1990. Their first studio album since Brothers of the Road in 1981, it was well-received, and peaked at #53. Hit singles were "Good Clean Fun" (#1 on the Mainstream Rock Tracks); "Seven Turns" (#12) and "It Ain't Over Yet" (#26).
The Allman Brothers Band broke up for the second time in 1982. They got back together in 1989. Seven Turns was the first album recorded by the re-formed band, with a lineup of Gregg Allman (keyboards), Dickey Betts (guitar), Warren Haynes (guitar), Allen Woody (bass), Johnny Neel (keyboards), Jaimoe (drums), and Butch Trucks (drums).
The instrumental track "True Gravity" was nominated for a Grammy Award for Best Rock Instrumental Performance at the 33rd Annual Grammy Awards in 1991, but it lost to "D/FW" by Vaughn Brothers.
(en.wikipedia.org/wiki/Seven_Turns)

01. Good Clean Fun (05:09)
02. Let Me Ride (04:36)
03. Low Down Dirty Mean (05:30)
04. Shine It On (04:51)
05. Loaded Dice (03:29)
06. Seven Turns (05:05)
07. Gambler's Roll (06:44)
08. True Gravity (07:58)
09. It Ain't Over Yet (04:54)

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The Doors - L.A. Woman [24kt Gold. MFSL CD] (1971)

Year: April 19, 1971 (CD 1994)
Label: DCC Compact Classics (US), GZS-1034
Style: Classic Rock
Country: Los Angeles, California, U.S.
Time: 49:00
Format: Flac Tracks 16/44,1 kHz
Size: 279 Mb

Charts: US #9, AUS #9, CAN #11, FRA #4, NLD #1, NOR #15, UK #28. SWI, AUT, GER & UK: Gold; FRA: 2x Platinum; US & CAN: 3x Platinum; AUS: 4x Platinum.
Besides being heavy in their early days the Doors were funny too. Funnier than a fish. Who can ever forget those great Morrison ad libs like the one he once did during a lull in “Gloria” (“Little girl how old are you. little girl what school do you go to, little girl suck my cock”)? He was an earnest drinker, which of course helped. Now he’s drinking more than ever, hence there’s some material basis for all the laughs. And since heaviness has been kicked in the ass of late all the kickers owe it to themselves to sit down with this one. There isn’t one serious cut on the entire album.
Just consider the extent to which Jimbo’s snake and lizard obsessions contributed to the wanton slaughter of zillions of members of the earth’s reptile population for the sake of boots and belts. His influence on that and other fashion trends has to be considerable, an absurd fact considering how the man himself has been literally abandoned by the hippos of rock fandom during his darkest hours. Well now he’s taking no chances about being taken seriously or with universal import. In fact he’s not even writing his own snake lyrics anymore. Instead there’s John Lee Hooker’s “Crawling King Snake.” a whopper of a readymade and proof positive that he and his boy, are still listening to the roots, even after the death of Al Wilson (don’t forget that Canned Heat was once L.A.’s number one comedy band. On it Morrison demonstrates his final grasp of all the vocal chicanery only hinted at in flashes on “Love Street.” Which means he’s finally found complete security in caution-to-the-winds Hollywood lemonade singing, the mid-point between bubble gum and a good chance at being invited to sing an Oscar nomination at the 1972 Academy Awards.
And he’s even a fair-to-middlin’ blues gomper because for the first time he honestly doesn’t give a donut about how authentic or any of that the whole thing sounds. He was never actually Fric Burdon but his trans-racial bravado at least hinted at some intent in that direction. Now all the cards are on the table. Just check out “Cars Hiss by My Window” and compare it to the halfassed blues attempts of fellow Southern Californian Captain Beefheart and see who’s got the greater vestige of potentially galling pretentiously indulgent self-esteem. (If you don’t admit it’s the noble Captain then you can’t have much of a sense of either humor or fair play.)
And what’s more Jim’s backup band has finally reduced its approach to one of ping-ponging the essential free-as-air spirit the man’s been toying with ever since be abandoned Howlin’ Wolf for Mel Torme. In other words the Doors have never been more together, more like the Beach Boys, more like Love (the band they originally played second fiddle to at the Whiskey or the troubadour or wherever it was). So when it’s Morrison setting the tone with lines like “Why did you throw the jack of hearts away?” on “Hyacinth House,” it’s Manzarck, Robbie and Densmore keeping the second-to-second ridiculousness going on and on with merrygoround tirades of utter mere pleasantness straight out of Derek and the Dominoes with even some Kokomo-classical fancy stepping thrown in for good measure. In terms of what they’re after here the Doors as a band never falter and there isn’t one bummer cut on the entire album obviously a first for them.
(rollingstone.com/music/music-album-reviews/l-a-woman-252558/) Review by Robert Meltzer. May 27, 1971

01. The Changeling (04:22)
02. Love Her Madly (03:22)
03. Been Down So Long (04:44)
04. Cars Hiss By My Window (04:12)
05. L.A. Woman (07:52)
06. L'America (04:37)
07. Hyacinth House (03:13)
08. Crawling King Snake (05:02)
09. The Wasp (Texas Radio and the Big Beat) (04:16)
10. Riders On The Storm (07:14)

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Rolling Stones - Metamorphosis [Japan Mini LP. Compilation] (1975)

Year: 6 June 1975 (CD Sep 2007)
Label: Universal Music (Japan), UICY-93038
Style: Blues Rock, Pop Rock
Country: London, England
Time: 48:03
Format: Flac Tracks 16/44,1 kHz
Size: 317 Mb

Charts: UK #45, US #8, AUS #51, FRA #10.
Metamorphosis is the third compilation album of the Rolling Stones music released by former manager Allen Klein's ABKCO Records (who usurped control of the band's Decca/London material in 1970) after the band's departure from Decca and Klein. Released in 1975, Metamorphosis centres on outtakes and alternate versions of well-known songs recorded from 1964 to 1970.
After the release of Hot Rocks 1964–1971 in 1971, an album titled Necrophilia was compiled with the aid of Andrew Loog Oldham for release as a follow-up compilation, featuring many previously unreleased (or, more accurately, discarded) outtakes from the Rolling Stones' Decca/London period. While that project failed to materialise—with More Hot Rocks (Big Hits & Fazed Cookies) being released in its place—most of the unreleased songs were held over for a future project.
In February 1974, to give it an air of authority, Bill Wyman involved himself in compiling an album he entitled Black Box. However, Allen Klein wanted more Mick Jagger/Keith Richards songs in the project for monetary reasons, and Wyman's version remained unreleased. Metamorphosis was issued in its place.
(en.wikipedia.org/wiki/Metamorphosis_(Rolling_Stones_album))

01. Out Of Time (03:22)
02. Don't Lie To Me (02:02)
03. Some Things Just Stick In Your Mind (02:27)
04. Each And Everyday Of The Year (02:49)
05. Heart Of Stone (03:48)
06. I'd Much Rather Be With The Boys (02:12)
07. (Walkin' Thru The) Sleepy City (02:52)
08. We're Wastin' Time (02:44)
09. Try A Little Harder (02:19)
10. I Don't Know Why (03:02)
11. If You Let Me (03:18)
12. Jiving Sister Fanny (03:25)
13. Downtown Suzie (03:53)
14. Family (04:06)
15. Memo From Turner (02:46)
16. I'm Going Down (02:52)

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Ann Wilson (ex Heart) - The Ann Wilson Thing! Focus #2 [EP. Live] (2016)

Year: 2016 (CD 2016)
Label: Rounder Records (US), 1166100073
Style: Hard Rock, Folk Rock
Country: Seattle, Washington, U.S. (June 19, 1950)
Time: 19:49
Format: Flac Tracks 16/44,1 kHz
Size: 122 Mb

Now that Heart’s big ticket commercial days have passed thanks to changing tastes, the demands on Ann Wilson’s time aren’t as great as before. This has allowed the Rock and Roll Hall of Famer and legendary singer/songwriter the opportunity to explore avenues perhaps not open to her during the band’s commercial heyday. One expression of these alternate avenues is her releases under The Ann Wilson Thing banner. The second of these, Focus #2, picks up where the first left off, in some respects. Wilson uses these brief releases, seemingly, as a way of promoting her continued growth and work as a songwriting while paying creative tribute to artists that shaped her into the performer she is today. On the latest four song EP, Ann Wilson bravely goes after Jimi Hendrix and Peter Gabriel with outstanding imagination and more than a little passion while providing longtime admirers with two exceptional original compositions co-written with her guitarist Craig Bartok.
The Hendrix cover kicks things off. Wilson and her band take a deliciously rough and tumble approach to Hendrix’s “Manic Depression”, but naturally it fits the song well and gives the band a spark of spontaneity that makes its position as the opener quite charged. It’s difficult to imagine the release getting off to a better start than this. It’s one of two live performances on the release and the audience’s wildly enthusiastic response adds much to the raucous atmosphere. “Fighten fer Life” is a much different animal. Wilson and her collaborators settle things down into a gentle acoustic vehicle that she imbues with considerable melodic and vocal grace. The lyrical content is quite sharp. Alternating the first song with a much more sedate follow up might seem like a no brainer, but it’s difficult to estimate the positive effect such decisions have on listeners.  
The EP’s second cover, this time of Peter Gabriel’s duet with Kate Bush “Don’t Give Up”, is an exquisite reading of one of the 1980’s great ballads. The immense sensitivity of Gabriel’s songwriting is pared to the bone here and the resulting raw, emotional arrangement is perfect fodder for Wilson’s extraordinary gifts. She inhabits this track like no other on the EP and her outing will stay in the memory long after you hear it for the first time. The final song, “Anguish”, is the more affecting of the EP’s two originals and that’s primarily thanks to the all-out approach Wilson takes to its vocal. Make no mistake, however – she never strains for effect. Instead, she serves up a searing clinic on blues singing by simply listening and living in the song.
It’s the crowning achievement on an EP that doesn’t observe its station in life well. This is a hard gut punch reminder that, even now in 2016, few singers are consistently doing it better than Ann Wilson, but the two originals make it even clearer that her talents are far from confined to her mic. Focus #2 finds her in full focus and impossible to deny.
(musicexistence.com/blog/2016/08/25/the-ann-wilson-thing-focus-2-ep/)

01. Manic Depression (03:42)
02. Fighten For Life (04:24)
03. Don't Give Up (07:17)
04. Anguish (04:25)

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Paul Kantner, Grace Slick, David Freiberg - Baron Von Tollbooth And The Chrome Nun (1973)

Year: May 1973 (CD ????)
Label: RCA Records / BMG Heritage (US), 07863 67418-2
Style: Rock, Psychedelic Rock
Country: San Francisco, U.S. / Boston, U.S.
Time: 40:22
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

All of the trio's then-fellow Jefferson Airplane members, John Barbata, Jack Casady, Papa John Creach, and Jorma Kaukonen, are featured on the album. Also appearing are David Crosby, Jerry Garcia, Mickey Hart, The Pointer Sisters, and Craig Chaquico (the future lead guitarist of Jefferson Starship).
The record was issued at the same time as Thirty Seconds Over Winterland.
However, on most of the tracks, Jerry Garcia of the Grateful Dead performs lead guitar and Chris Ethridge of the Flying Burrito Brothers performs bass.
"Your Mind Has Left Your Body" was the final studio track to feature Paul Kantner, Grace Slick, Jorma Kaukonen and Jack Casady until the 1989 Jefferson Airplane reunion album.
The album cover was illustrated by Drew Struzan under the direction of Ernie Cefalu.
(en.wikipedia.org/wiki/Baron_von_Tollbooth_%26_the_Chrome_Nun)

01. Ballad Of The Chrome Nun (03:58)
02. Fat (03:16)
03. Flowers Of The Night (04:15)
04. Walkin' (02:32)
05. Your Mind Has Left Your Body (05:44)
06. Across The Board (04:37)
07. Harp Tree Lament (03:39)
08. White Boy (Transcaucasian Airmachine Blues) (04:16)
09. Fishman (02:42)
10. Sketches Of China (05:17)

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Jefferson Airplane - After Bathing At Baxter's (1967)

Year: December 1967 (CD 2003)
Label: RCA Records / BMG Heritage (Europe), 82876 53225 2
Style: Psychedelic Rock
Country: San Francisco, California, U.S.
Time: 68:28
Format: Flac Tracks 16/44,1 kHz
Size: 371 Mb

The album's title was derived from a poem written by the band's friend Gary Blackman. Kantner explained that the title translates to "After Taking LSD", "Baxter" being the group's code word for the drug.
The cover art was designed by Ron Cobb, then a political cartoonist for the Los Angeles Free Press. The front cover depicts the band as a World War I-era triplane with the body of a San Francisco townhouse. Cannabis plants are shown growing out of the house's flower boxes. The artwork is framed with a red bar on the bottom and a blue bar with white stars on the top, signifying the United States flag. The plane, painted in full color, dispenses confetti while flying over a black and white landscape – embodying the white of the flag – with billboards reading messages such as "CONSUME!" and "DRINK IT" as parodies of American consumerism. The illustration continues onto the back cover, revealing a scrapheap followed by a pile of empty beverage cans. A banner attached to the plane displays the album's title. In 2008, Cobb's original painting sold at auction for $24,000.
John Hartford referenced the cover art from After Bathing at Baxter's as the inspiration for his song "Steam Powered Aereo Plane" from his album Aereo-Plain.
The gatefold artwork consists of a handwritten track listing and photographs taken by Alan Pappe of each band member. Author Ken Bielen writes the lack of a group portrait highlights the members' individuality. The inner sleeve features Blackman's poem and drawings by the band and their friends, one of which was almost rejected by RCA on fear it would be misinterpreted as a vulva.
(en.wikipedia.org/wiki/After_Bathing_at_Baxter%27s)

01. The Ballad Of You & Me & Pooneil (04:35)
02. A Small Package Of Value Will Come To You, Shortly (01:34)
03. Young Girl Sunday Blues (03:35)
04. Martha (03:26)
05. Wild Tyme (H) (03:10)
06. The Last Wall Of The Castle (02:40)
07. Rejoyce (04:03)
08. Watch Her Ride (03:11)
09. Spare Chaynge (09:12)
10. Two Heads (03:13)
11. Won't You Try? - Saturday Afternoon (05:07)
12. The Ballad Of You & Me & Pooneil (Live - Previously Unissued Long Version) (11:07)
13. Martha (Mono Single Version) (03:29)
14. Two Heads (Alternate Version - Previously Unissued) (03:18)
15. Things Are Better In The East (Demo Version - Previously Unissued) (06:40)

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Jefferson Starship (Jefferson Airplane) - Dragon Fly (1974)

Year: October 1974 (CD 1997)
Label: RCA Records (US), 07863 66879-2
Style: Pop, Rock
Country: San Francisco, California, U.S.
Time: 42:43
Format: Flac Tracks 16/44,1 kHz
Size: 253 Mb

Charts: US #11, AUS #60, CAN #18. US: Gold.
Credited to Grace Slick, Paul Kantner, and Jefferson Starship, the band itself was a turning point after a series of four albums centering on the partnership of Kantner and Slick during the disintegration of Jefferson Airplane through the early 1970s.
"Ride the Tiger" reached #84 on the Billboard Hot 100. The follow-up single, "Caroline", was written and sung by Marty Balin, who had not appeared on an Airplane or Airplane-offshoot album since Volunteers in 1969. He would join Jefferson Starship soon after, and remain with the band until 1978. The song "Hyperdrive" was used in the opening ceremonies of the 1976 World Science Fiction Convention, MidAmeriCon, in Kansas City, Missouri.
(en.wikipedia.org/wiki/Dragon_Fly_(album))
For several years, the nucleus of the Airplane/Starship has been struggling to hold together a concept that didn’t seem workable in the first place. The performing personalities of Slick and Kantner have long seemed much too cold-hearted to deal convincingly with humanistic themes. Their icy remoteness has combined with Kantner’s pedantry and Slick’s sarcasm to turn the pair into unknowing self-parodists.
But this is better: Dragon Fly is at worst listenable and at best surprisingly engaging. New guitarist Craig Chaquico makes up in ebullience what he lacks in subtlety, Pete Sears (on bass and keyboards) is a pro, and the leading couple sounds almost excited at times.
Long-time Airplane devotees will love the album, if only for its best track, the sexy and nostalgic “Caroline,” which reunites Marty Balin with what has become of his band. Balin’s charming vulnerability neutralizes the Slick/Kantner harshness and kindles a much needed spark through the album as a whole, making Dragon Fly the Slick/Kantner combine’s first adequate effort since ’69’s Volunteers. A spark, however, does not necessarily mean a lift-off — it’s safer to view this album as a proud exit than the first sign of a major resurgence.
(rollingstone.com/music/music-album-reviews/dragon-fly-105090/) Review by Bud Scoppa. January 2, 1975

01. Ride The Tiger (05:11)
02. That's For Sure (05:03)
03. Be Young You (03:50)
04. Caroline (07:32)
05. Devils Den (04:05)
06. Come To Life (03:49)
07. All Fly Away (05:28)
08. Hyperdrive (07:42)

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Def Leppard - Hysteria [24kt Gold. MFSL CD] (1987)

Year: 3 August 1987 (CD May 1993)
Label: Mobile Fidelity Sound Lab (US), UDCD 580
Style: Hard Rock, Arena Rock
Country: Sheffield, England
Time: 62:31
Format: Flac Tracks 16/44,1 kHz
Size: 438 Mb

Charts: UK #1, AUS #1, CAN #1, GER #10, NOR #1, NZ #1, SWE #2, SWI #2, US #1. SWE: Gold; NZ & SWI: Platinum; UK: 2x Platinum; AUS: 4x Platinum; US: Diamond (12x Platinum); CAN: Diamond (13x Platinum).
Where Pyromania had set the standard for polished, catchy pop-metal, Hysteria only upped the ante. Pyromania's slick, layered Mutt Lange production turned into a painstaking obsession with dense sonic detail on Hysteria, with the result that some critics dismissed the record as a stiff, mechanized pop sellout (perhaps due in part to Rick Allen's new, partially electronic drum kit). But Def Leppard's music had always employed big, anthemic hooks, and few of the pop-metal bands who had hit the charts in the wake of Pyromania could compete with Leppard's sense of craft; certainly none had the pop songwriting savvy to produce seven chart singles from the same album, as the stunningly consistent Hysteria did. Joe Elliott's lyrics owe an obvious debt to his obsession with T. Rex, particularly on the playfully silly anthem "Pour Some Sugar on Me," and the British glam rock tribute "Rocket," while power ballads like "Love Bites" and the title track lack the histrionics or gooey sentimentality of many similar offerings. The strong pop hooks and "perfect"-sounding production of Hysteria may not appeal to die-hard heavy metal fans, but it isn't heavy metal -- it's pop-metal, and arguably the best pop-metal ever recorded. Its blockbuster success helped pave the way for a whole new second wave of hair metal bands, while proving that the late-'80s musical climate could also be very friendly to veteran hard rock acts, a lead many would follow in the next few years.
(allmusic.com/album/hysteria-mw0000650061)

01. Woman (05:42)
02. Rocket (06:35)
03. Animal (04:04)
04. Love Bites (05:47)
05. Pour Some Sugar On Me (04:27)
06. Armageddon It (05:23)
07. Gods Of War (06:37)
08. Don't Shoot Shotgun (04:26)
09. Run Riot (04:39)
10. Hysteria (05:54)
11. Excitable (04:19)
12. Love And Affection (04:33)

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RPWL - Trying To Kiss The Sun (2002)

Year: July 02, 2002 (CD 2002)
Label: Inside Out Music (US), SPV 65172 CD
Style: Pop, Progressive Rock
Country: Germany
Time: 59:36
Format: Flac Tracks 16/44,1 kHz
Size: 384 Mb

The fact that this band originally did PINK FLOYD covers is obvious from the opening notes. Yet, "Trying to Kiss the Sun" is highly enjoyable - fluffy, but thoroughly enjoyable. All tracks have a bluesy floydian feel to them and feature some solid rock riffs a la David Gilmour; moreover, both the production and the musicianship are impeccable. Among the more likeable tracks are "Waiting for a Smile", a slow piece reminiscent of "Hey You" but played in a major key. "Sugar for the Ape" reminds me of the Beatles' rougher material on "Let It Be". And "Sunday Morning", which is almost a clone of the FLOYD's "Us and Them", is quite cool. The one that really got my attention, however, is "Tell Me Why". It is as simple a pop tune as you'll ever hear and yet, it gets into an absolutely infectious groove that's enough to drive you nuts (in the most positive sense!). The album ends with a terrific track, "Home Again", a slow builder with a gut-wrenching bluesy guitar solo.
In a way, I find "Trying to Kiss the Sun" much more uplifting than any PINK FLOYD album, no doubt because it is totally devoid of Roger Waters' fatalistic pessimism. It's fun music, but can barely called prog; as a result, the CD has a rather short shelf life. But hey: no one ever said you can't have cotton candy for dinner once in a while. Nice fluff, really!
(progarchives.com/album-reviews.asp?id=1194) Review by Hibou. June 2, 2004

01. Trying to Kiss the Sun (03:45)
02. Waiting for a Smile (07:04)
03. I Don't Know (What it's Like) (04:32)
04. Sugar for the Ape (05:03)
05. Side by Side (08:35)
06. You (06:49)
07. Tell Me Why (05:08)
08. Believe Me (05:14)
09. Sunday Morning (04:29)
10. Home Again (08:52)

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Skid Row - Skid Row (1989)

Year: January 24, 1989 (CD 19??)
Label: Atlantic Records (Germany), 7567-81936-2
Style: Hard Rock
Country: Toms River, New Jersey, U.S.
Time: 39:41
Format: Flac Tracks 16/44,1 kHz
Size: 272 Mb

Charts: US #6, AUS #12, CAN #11, GER #22, JPN #35, NZ #1, SWE #21, SWI #26, FIN #5, ITA #16, UK #30. UK: Gold; AUS: Platinum; CAN 3x Platinum; US: 5x Platinum.
Skid Row is the debut studio album by American heavy metal band Skid Row, released on January 24, 1989, by Atlantic Records. After signing with manager Doc McGhee, Skid Row signed with Atlantic and began recording its debut. The album was recorded in Lake Geneva, Wisconsin with producer Michael Wagener, and received mixed reviews upon its release. The band toured behind the album mainly as an opening act, supporting Bon Jovi and Aerosmith in 1989–1990. The album peaked at number six on the Billboard 200 and was certified 5? platinum by the Recording Industry Association of America (RIAA) in 1995 for shipping five million copies in the United States. It generated four singles: "Youth Gone Wild", "18 and Life", "I Remember You" and "Piece of Me", all of which were accompanied by music videos and received heavy rotation on MTV. The album's commercial and critical success made Skid Row a regular feature in rock magazines and brought the group nationwide popularity.
(en.wikipedia.org/wiki/Skid_Row_(Skid_Row_album))

01. Big Guns (03:37)
02. Sweet Little Sister (03:09)
03. Can't Stand the Heartache (03:24)
04. Piece of Me (02:48)
05. 18 and Life (03:51)
06. Rattlesnake Shake (03:09)
07. Youth Gone Wild (03:18)
08. Here I Am (03:09)
09. Makin' a Mess (03:38)
10. I Remember You (05:14)
11. Midnight/Tornado (04:18)

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