The Moody Blues - Days Of Future Passed [10 bonus tracks] (1967)

Year: 10 November 1967 (CD 2008)
Label: Deram Records (Europe), 530 663-1
Style: Symphonic Rock
Country: Birmingham, England
Time: 70:03
Format: Flac Tracks 16/44,1 kHz
Size: 383 Mb

How The Moody Blues went from R&B to progressive rock magnificence in the span of two years is perhaps one of rock’s greatest mysteries. As a rhythm-and-blues band, it wasn’t getting them anywhere so they had to change their style and sound.
Though Days of Future Passed is their second album, it’s widely considered as their debut album considering it’s the first record with their classic lineup.
It’s ambitious and grand but unlike other albums which fell short of everyone’s expectations, this one delivered. It’s consistent, cohesive, and solid. It’s basically the culmination of the band’s musical brilliance and efforts and it’s clear from the get-go that they were at the height of their creative powers. Although it achieved moderate success after its release, over the years, it has been regarded as an important album that helped shape the sound of prog-rock. Thanks to new members Justin Hayward and John Lodge, The Moody Blues were steered towards the right direction. It was a risk but in the end, it paid off nicely.
While two songs stood out - “Nights in White Satin” and “Tuesday Afternoon”, the rest were still stellar. It’s groundbreaking, revolutionary, refreshing, and unique. From haunting ballads to psychedelic tunes, it’s interesting to note that Decca Records ALMOST rejected it because they simply didn’t know how to market it. The album was clearly way ahead of its time.
Days of Future Passed is complex and grandiose. It’s a mixture of rock and orchestral arrangements with some spoken word poetry - in paper, it shouldn’t work together but listening to one song segueing into another, it blends seamlessly. This album made The Moody Blues legends.
(societyofrock.com/album-review-the-days-of-future-passed-by-moody-blues/)

01. The Day Begins (05:51)
02. Dawn: Dawn Is A Feeling (03:49)
03. The Morning - Another Morning (03:56)
04. Lunch Break - Peak Hour (05:29)
05. The Afternoon a - Forver Afternoon (Tuesday) b - (Evening) Time To Get Away (08:23)
06. Evening a - The Sun Set b - Twilight Time (06:40)
07. The Night: Nights In White Satin (07:29)
08. (Bonus) Don't Let Me Be Misunderstood (BBC Radio Session) (02:24)
09. (Bonus) Fly Me High (1967 Mono Single Masters) (02:56)
10. (Bonus) I Really Haven't Got The Time (1967 Mono Single Masters) (03:09)
11. (Bonus) Love And Beauty (1967 Mono Single Masters) (02:26)
12. (Bonus) Leave This Man Alone (1967 Mono Single Masters) (03:01)
13. (Bonus) Cities (1967 Mono Single Masters) (02:26)
14. (Bonus) Tuesday Afternoon (Alternate Mix) (04:20)
15. (Bonus) Dawn Is A Feeling (Alternate Version) (02:20)
16. (Bonus) The Sun Set (Alternate Version Without Orchestra) (02:50)
17. (Bonus) Twilight Time (Alternate Vocal Mix) (02:28)

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The Doors - The Doors (1967)

Year: January 4, 1967 (CD 1988)
Label: Elektra Records (Germany),7559-74007-2
Style: Psychedelic Rock, Classic Rock, Rock
Country: 1965–1973, 1978; Los Angeles, California, U.S.
Time: 44:31
Format: Flac Tracks 16/44,1 kHz
Size: 273 Mb

Sgt. Pepper’s bestrode 1967 like a kaleidoscopic colossus, but another album arguably even more revolutionary appeared that year. The eponymous debut of The Doors took popular music into areas previously thought impossible: the incitement to expand one’s consciousness of opener Break on Through was just the beginning of its incendiary agenda.
The Doors were those most dangerous of revolutionaries: populists. Their hooky melodies and the tousle-headed Greek God looks of lead singer Jim Morrison opened gates and hearts that their intellectualism and frequent musical exoticism might otherwise have caused to be closed to them. Meanwhile, that they made a concession to The Man they loudly despised by cutting down their awe-inspiring percolating anthem of lust Light My Fire from seven minutes to three for single release set them on the path to being Hit Parade regulars.
Light My Fire is the highlight of this set, but there are several other gems, particularly the glittering, stately The Crystal Ship and the playfully sensual Twentieth Century Fox. Though often excellent, The Doors is never warm. Icicles seem to hang off its organ-dominated music, however beautiful, while Morrison’s bombastic baritone is never going to lend intimacy.
Willie Dixon’s Back Door Man, covered competently herein, is a song of insinuation but the shocking innovation going on in epic closer The End inhabits a realm beyond innuendo. At a time when frank discussion of sex is still taboo, Morrison gleefully and comprehensively explores Freudian theory and Oedipal myth. That rock had never heard anything as daring gave The End a feeling of quality by default at the time, but the track has not dated well. Liberalisation of media content made it seem banal, then even ludicrous, surprisingly quickly. The End’s transition from radical to risible was rather unfortunate for the original vinyl side two of the album: much of it consisted of songs that seemed like the watery dregs of side one’s flavoursome casket.
The best parts of The Doors remain remarkable even where their revolutionary nature has been obscured by time. In fact, time has provided a disappointment of a different sort: subsequent corrected remasters have revealed we were enjoying The Doors all these years at – Ye Gods! – the wrong speed.
(bbc.co.uk/music/reviews; Sean Egan 2011)
The Doors is the debut album by the American rock band the Doors. Recorded in 1966 at Sunset Sound Recorders, Hollywood, California, it was produced by Paul A. Rothchild and released on January 4, 1967. The album features their breakthrough single "Light My Fire" and the lengthy song "The End" with its Oedipal spoken word section. The Doors was central to the progression of psychedelic rock, and has been critically acclaimed. In 2012 it was ranked No. 42 in Rolling Stone magazine's 500 greatest albums of all time.
(en.wikipedia.org)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.

A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Break On Through (To The Other Side) (02:30)
02. Soul Kitchen (03:35)
03. The Crystal Ship (02:34)
04. Twentieth Century Fox (02:33)
05. Alabama Song (Whisky Bar) (03:20)
06. Light My Fire (07:08)
07. Back Door Man (03:34)
08. I Looked At You (02:22)
09. End Of The Night (02:52)
10. Take It As It Comes (02:17)
11. The End (11:43)

Listen. Full Album: The Doors - The Doors (1967)

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The Youngbloods - The Youngbloods [Japanese Ed. BSCD2] (1967)

Year: January 1967 (CD Jul 23, 2014)
Label: RCA Records (Japan), SICP 30554
Style: Folk Rock, Psychedelic Rock
Country: Greenwich Village, New York City, U.S.
Time: 74:36
Format: Flac Tracks 16/44,1 kHz
Size: 410 Mb

The Youngbloods is the debut self-titled studio album by the American rock band the Youngbloods, released in 1967. It was also reissued in 1971 under the title Get Together after the popular single from the album. The album peaked at number 131 on the Billboard 200 although two years later the single "Get Together" reached number five and sold more than a million copies.
"Get Together" was written by Chet Powers (aka Dino Valenti of Quicksilver Messenger Service) and had already appeared in 1963 on the album 12 String Guitar! Vol. 2 by the Folkswingers and in 1966 as a track on the first album by the Jefferson Airplane. Upon first release as a single by The Youngbloods in 1967, it only went to No. 62 in the pop charts. Two years later, after being featured in radio and television commercials, the track was re-released and climbed to number 5 in charts, selling more than a million records.
(en.wikipedia.org/wiki/The_Youngbloods_(album))

BSCD2: When a standard CD is mastered, an Infared beam is used to make the digital notches on the master disc (mother matrix). With the Blu-spec master, a blue laser is used which is a finer etching process. With this technology, the notches are therefore more precise which reduce playback errors. The notches on a Blu-spec CD have a width of 125 nm compared to the 500 nm width on a standard CD.
(en.wikipedia.org/wiki/Blu-spec)

01. Grizzly Bear / Album Mono (02:23)
02. All Over The World (La-La) / Album Mono (03:18)
03. Statesboro Blues / Album Mono (02:22)
04. Get Together / Album Mono (04:41)
05. One Note Man / Album Mono (02:27)
06. The Other Side Of This Life / Album Mono (02:31)
07. Tears Are Falling / Album Mono (02:29)
08. Four In The Morning / Album Mono (02:55)
09. Foolin' Around (The Waltz) / Album Mono (02:56)
10. Ain't That Lovin' You, Baby / Album Mono (02:47)
11. C.C. Rider / Album Mono (02:41)
12. Grizzly Bear / Album Stereo (02:23)
13. All Over The World (La-La) / Album Stereo (03:16)
14. Statesboro Blues / Album Stereo (02:20)
15. Get Together / Album Stereo (04:39)
16. One Note Man / Album Stereo (02:26)
17. The Other Side Of This Life / Album Stereo (02:30)
18. Tears Are Falling / Album Stereo (02:28)
19. Four In The Morning / Album Stereo (02:53)
20. Foolin' Around (The Waltz) / Album Stereo (02:52)
21. Ain't That Lovin' You, Baby / Album Stereo (02:41)
22. C.C. Rider / Album Stereo (02:40)
23. Get Together (Promotional Single Version) / Bonus Track (03:27)
24. Merry-Go-Round / Bonus Track (02:13)
25. Se Qualcuno Mi Dira (Get Together Italian Version) / Bonus Track (03:47)
26. Qui Con Noi, Tra Di Noi (Grizzly Bear Italian Version) / Bonus Track (02:20)

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The Youngbloods - Earth Music [Japanese Ed. BSCD2] (1967)

Year: May 1967 (CD Jul 23, 2014)
Label: RCA Records (Japan), SICP 30555
Style: Folk Rock, Psychedelic Rock
Country: Greenwich Village, New York City, U.S.
Time: 72:31
Format: Flac Tracks 16/44,1 kHz
Size: 398 Mb

Beginning in January 1965, the two began performing on the Canadian circuit as a duo, eventually adopting the name "The Youngbloods". The band's name was a reference to Young's second album. Young played bass, and Corbitt sang and played piano, harmonica and lead guitar.
Earth Music is the second studio album by the American rock band the Youngbloods, released in 1967.
Similar to their first album, the songs were a mix of originals and covers, ballads and rockers. Jesse Colin Young wrote three of the songs alone, the ballad "All My Dreams Blue", the hard rocking "Long and Tall", and the humorous "The Wine Song". Jerry Corbitt contributed the ballad "Don't Play Games" which features a string section, and co-wrote "Dreamer's Dream" with Banana. "Fool Me", written by Banana, is a bass-heavy song more similar to "garage rock" of the middle 1960s than the folkier material normally associated with the Youngbloods.
Cover songs on the album include "Euphoria", a song originally done by the Holy Modal Rounders and written by George "Robin" Remailly (who later became a member of the Rounders). Other covers included two fifties classics, Chuck Berry's "Too Much Monkey Business" and Chuck Willis's "I Can Tell". Tim Hardin's "Reason to Believe " was one of the earliest cover versions of the popular ballad. "Sugar Babe," erroneously credited to Young/ Lomax, is a folk song about gambling and drinking that had been printed in American Ballads and Folk Songs, by John A. Lomax and his son Alan Lomax, published in 1934. In a note below "Sugar Babe," the Lomaxes state: "words and melody reprinted from the second volume of English Folk Songs of the Southern Appalachians, collected by Cecil Sharp, edited by Maud Karpeles." That book was published in 1932.
(en.wikipedia.org/wiki/Earth_Music)

BSCD2: When a standard CD is mastered, an Infared beam is used to make the digital notches on the master disc (mother matrix). With the Blu-spec master, a blue laser is used which is a finer etching process. With this technology, the notches are therefore more precise which reduce playback errors. The notches on a Blu-spec CD have a width of 125 nm compared to the 500 nm width on a standard CD.
(en.wikipedia.org/wiki/Blu-spec)

01. Euphoria / Album Mono (02:17)
02. All My Dreams Blue / Album Mono (03:10)
03. Monkey Business / Album Mono (02:53)
04. Dreamer's Dream / Album Mono (03:35)
05. Sugar Babe / Album Mono (02:13)
06. Long And Tall / Album Mono (04:05)
07. I Can't Tell / Album Mono (04:28)
08. Don't Play Games / Album Mono (02:14)
09. The Wine Song / Album Mono (02:45)
10. Fool Me / Album Mono (03:01)
11. Reason To Believe / Album Mono (02:28)
12. Euphoria / Album Stereo (02:16)
13. All My Dreams Blue / Album Stereo (03:08)
14. Monkey Business / Album Stereo (02:52)
15. Dreamer's Dream / Album Stereo (03:35)
16. Sugar Babe / Album Stereo (02:13)
17. Long And Tall / Album Stereo (04:04)
18. I Can't Tell / Album Stereo (04:31)
19. Don't Play Games / Album Stereo (02:14)
20. The Wine Song / Album Stereo (02:44)
21. Fool Me / Album Stereo (02:59)
22. Reason To Believe / Album Stereo (02:27)
23. All My Dreams Blue (Alternate Mono Version) / Bonus Track (03:20)
24. Sham (Alternate Mono Version) / Bonus Track (02:49)

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Charlie Musselwhite's Southside Band - Stand Back! Here Comes Charley Musselwhite's South Side Band (1967)

Year: 1967 (CD ????)
Label: Vanguard Records (Germany), VMD 79232-2
Style: Blues
Country: Memphis, Tennessee, U.S. (January 31, 1944)
Time: 45:42
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

Stand Back! Here Comes Charley Musselwhite's South Side Band is the 1967 debut album of American blues-harp musician Charlie Musselwhite, leading Charlie Musselwhite's Southside Band. The Vanguard Records release brought Musselwhite to notability among blues musicians . With rough vocals and notable performances on harmonica, guitar and bass guitar, the album was critically well received. It introduced Musselwhite's signature song, his cover of Duke Pearson's "Cristo Redemptor".
Among the album's tracks, "Cristo Redemptor" has remained particularly important in Musselwhite's repertoire, standing as his signature song, although subsequent versions of the Duke Pearson cover have been longer. Musselwhite's music here is characterized by smooth harmonica a "harsh, almost strained voice" that Allmusic indicates is "considerably more affected than...later [vocals] (clearer, more relaxed)". Mandel's guitar work, influential, features what Legends of Rock Guitar describes as "relentless fuzztone, feedback-edged solos, and unusual syncopated phrasing." Allmusic highlights the guitarist's "snakey stuttering style", particularly on track "Chicken Shack" in which it "truly makes you think your record is skipping." Bass player Bob Anderson, who later played with Howlin' Wolf, has been singled out for a noteworthy rendition of the classic root-?3rd-4th progression in the song "Help Me".
(en.wikipedia.org/wiki/Stand_Back!_Here_Comes_Charley_Musselwhite%27s_Southside_Band)

01. Baby Will You Please Help Me (03:20)
02. No More Lonely Nights (05:19)
03. Cha Cha The Blues (03:12)
04. Christo Redemptor (03:21)
05. Help Me (03:30)
06. Chicken Shack (04:17)
07. Strange Land (03:01)
08. 39Th And Indiana (04:10)
09. My Baby (02:42)
10. Early In The Morning (04:35)
11. 4 P.M. (03:14)
12. Sad Day (05:00)

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