Foghat - Foghat (1972)

Year: July 1972 (CD ????)
Label: Rhino Records (US), R2 70887
Style: Hard Rock, Blues Rock
Country: London, England
Time: 38:10
Format: Flac Tracks 16/44,1 kHz
Size: 259 Mb

Breaking away from Savoy Brown to form this band, the members of Foghat knew from the start what sort of record they wanted to make. With heavy emphasis on the hard boogie, Foghat got down to work with the help of Dave Edmunds and crafted a hard rock gem. Covering Chuck Berry's "Maybellene," they goosed the beat up until it was almost a precursor of the heavy metal yet to come. Interspersing covers with original material, they immediately found a place for themselves in the rock world.
(allmusic.com/album/foghat-mw0000194603)
The band initially featured Dave Peverett ("Lonesome Dave") on guitar and vocals, Tony Stevens on bass, and Roger Earl on drums, after all three musicians left Savoy Brown in December 1970. Rod Price, on guitar/slide guitar, joined after he left Black Cat Bones. The new line-up was named "Foghat" (a nonsense word from a Scrabble-like game played by Peverett and his brother) in January 1971. There is a cartoon drawing on the back cover of the group's first album of a head wearing a foghat.
(en.wikipedia.org/wiki/Foghat)

01. I Just Want To Make Love To You (04:21)
02. Trouble, Trouble (03:20)
03. Leavin' Again (Again!) (03:36)
04. Fool's Hall Of Fame (02:58)
05. Sarah Lee (04:36)
06. Highway (Killing Me) (03:51)
07. Maybelline (03:36)
08. A Hole To Hide In (04:06)
09. Gotta Get To Know You (07:43)

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Rory Gallagher (Taste) - Top Priority [Japanese Ed.] (1979)

Year: September 1979 (CD Apr 25, 2007)
Label: BMG Japan Inc. (Japan), BVCM-37887
Style: Blues Rock, Hard Rock
Country: Cork, Ireland (2 March 1948 - 14 June 1995)
Time: 46:47
Format: Flac Tracks 16/44,1 kHz
Size: 359 Mb

Top Priority was the second with his revised power trio band. Like the previous album Photo-Finish, Top Priority is a return to hard rock. The ballads, acoustic and folk influences that were seen on albums such as Calling Card are replaced by more conventional but powerful blues rock.
The album title reflects the pressure that Gallagher often felt regarding the business end of making music. After the release of Photo-Finish Gallagher's band had a successful tour of the United States that resulted in good press both in the states and at home. Chrysalis was eager to keep the momentum going and encouraged Rory to release another studio album quickly, telling him they would make it their "Top Priority" and actively promote it. To remind the executives of their promise Gallagher used the phrase for the album title.
The song "Philby" was based on Kim Philby who was a famous Cold War British double agent for the Soviets. The song is an example of Gallagher's fascination with men on the outside of society. For the guitar solo Gallagher utilized a Coral electric sitar that he borrowed from The Who's Pete Townshend to give a feeling of the Eastern Bloc.
(en.wikipedia.org/wiki/Top_Priority)

01. Follow Me (04:40)
02. Philby (03:51)
03. Wayward Child (03:31)
04. Keychain (04:09)
05. At The Depot (02:56)
06. Bad Penny (04:03)
07. Just Hit Town (03:37)
08. Off The Handle (05:36)
09. Public Enemy No.1 (03:46)
10. Hell Cat (Bonus track) (04:50)
11. The Watcher (Bonus track) (05:43)

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Rory Gallagher (Taste) - Live In Europe [Japanese Ed.] (1972)

Year: May 1972 (CD 2005)
Label: BMG Japan Inc. (Japan), BVCM-37641
Style: Blues, Blues Rock
Country: Cork, Ireland (2 March 1948 - 14 June 1995)
Time: 59:26
Format: Flac Tracks 16/44,1 kHz
Size: 400 Mb

For some reason, I bought this album via mail-order. It was 1972. I was fourteen years old and I paid the going rate of around ?2.25 (in postal orders) to the record store I’d seen advertised in ‘Sounds’ magazine. For two weeks, I rushed home from school in excited anticipation of its arrival. After what seemed an eternity, it arrived … with a note stating my remittance was (I think) about 25p short. Yet the nice, ever so trusting people at the record store just asked I send another postal order with my next order.
However, by the time I‘d saved enough from my paper round to buy my next LP, I’d discovered Listen Records and Virgin Records in Glasgow. I never did order from the mail-order store again. A few months later, I read in ‘Sounds,’ the company had gone bust! Was it my 25p that sent them over the edge? I’ve carried that burden of guilt now for fifty-one years!
The record itself, though: this was ‘big boys’’ music! A mix of self-penned and rearranged standards, the seven tracks blew me away with their intensity. Driven by the furious bass playing of Gerry McAvoy, and crashing drums of Wilgar Campbell, Rory’s searing Stratocaster playing cuts through like a knife. His playing has everything – little flecks of jazz inspired backing to his quieter vocal moments; big, chunky heavy riffs, like in his own composition, ‘Laundromat,’ and of course, the blues! Whether it be fast and loud as in the opening’ ‘Messin’ With The Kid’ or the slower, almost metronomic ‘I Could Have Had A Religion,’ Rory pre-empted, and answered, the query posed by Deacon Blue, seventeen years later: yes – not only can a white man sing the blues, he can damn well play them too!
Yet, though heavily blues influenced, ‘Live In Europe’ has such a variation in sounds that it remains fresh and exciting from start to finish – even after over fifty years of regular play!.
‘Pistol Slapper Blues’ is an acoustic cover of Blind Boy Fuller’s song from ‘nineteen twenty something or other,’ as Rory himself says; ‘Going To My Home Town’ is one of Rory’s own compositions – a real stomper of a track, the famous Strat being swapped for a mandolin.
‘In Your Own Town’ is another of Rory’s, this time almost ten minutes of heavy blues and spectacular guitar playing. Album closer is ‘Bullfrog Blues,’ another ‘traditional’ blues song written the Twenties and re-arranged by Rory. It’s a truly explosive ending, with terrific bass and drum solos thrown in for good measure. The production and sound quality is top notch, something that can’t be said for many ‘Live’ albums and I can attest the album truly replicates the sound and atmosphere of a Rory concert. Not only was ‘Live In Europe’ my proper introduction to heavy rock, it also took me down the rabbit hole of blues music – a tunnel I am still exploring. It’s influenced my music of choice from a spotty fourteen year old to grumpy old git, and remains the most treasured record in my collection.
(onceuponatimeinthe70s.com/2023/09/23/my-all-time-favourite-album-rory-gallagher-live-in-europe/)

01. Messin' With the Kid (06:25)
02. Laundromat (05:12)
03. I Could've Had Religion (08:35)
04. Pistol Slapper Blues (02:54)
05. Going to My Home Town (05:46)
06. In Your Town (10:03)
07. What in the World (07:40)
08. Hoodoo Man (06:02)
09. Bullfrog Blues (06:45)

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Captain Beyond - Captain Beyond (1972)

Year: July 1972 (CD 19 Aug 1997 )
Label: Capricorn Records (U.S.), 314 536 107-2
Style: Hard Rock, Psychedelic Rock
Country: Los Angeles, California
Time: 35:20
Format: Flac Tracks 16/44,1 kHz
Size: 231 Mb

CAPTAIN BEYOND (Self-Titled) 1st ALBUM. This album has stood the test of time! It is one of the most listened to ever!
Captain Beyond is the self-titled debut album by Captain Beyond, released in 1972, and featured former members of "Iron Butterfly", "Deep  Purple", and "Johnny Winter And". All songs written and composed by Bobby Caldwell and Rod Evans.
CAPTAIN BEYOND was formed from the ashes of “Deep Purple”, “Johnny Winter And” and “Iron Butterfly”.  The line-up consisted of Rod Evans, vocals (Deep Purple); Bobby Caldwell, drums-vocals (Johnny Winter And; Larry “Rhino” Reinhardt, guitar (Iron Butterfly); and bassist, Lee Dorman (Iron Butterfly).
After hearing the bands demo, long-time friends Duane and Gregg Allman introduced CAPTAIN BEYOND to the late Phil Walden and Capricorn Records.
After the release of the first album “CAPTAIN BEYOND” and a most successful launch at the Montreaux Jazz and Pop Festival followed by a relentless touring schedule (with Alice Cooper, The Allman Brothers, Black Sabbath and many others) Bobby left for a short time during the recording of the second album called “Sufficiently Breathless”.
Bobby then returned and CAPTAIN BEYOND set out once again on a new round of touring with the likes of King Crimson, Trapeze, ZZ Top, etc.  In the mid-seventies lead singer Rod Evans decided to leave music and was replaced with Willie Daffern on vocals. The band then signed with Warner Bros. and recorded the album “Dawn Explosion”.  After further touring and management changes CAPTAIN BEYOND in 1978 went on hiatus.
In 2000, Rhino and Bobby decided to reform CAPTAIN BEYOND which included Jeff Artabasy who is a current member, and recorded a four-track EP.   Unfortunately, this line-up was short lived as Larry Reinhardt was having health problems and it was decided to not continue.  In addition, a tribute album to CAPTAIN BEYOND’s music was recorded by some of Scandinavia’s best musicians titled “A Thousand Days of Yesterdays”.
In January of 2012, Larry Reinhardt passed on, followed by CAPTAIN BEYOND’s original bassist Lee Dorman, who also passed on some nine months later. Rod Evans has been involved in the medical field and is not currently involved in music.
Bobby Caldwell has resurrected the new Captain Beyond with the intention of recording some new master works and bringing this historic music back to their many fans!  The current line-up in addition to Bobby “Fire” Caldwell and Jeff “The Count” Artabasy, is Simon Lind, Don Bonzi and Jamie Holka.  They look forward to meeting everyone!
(officialcaptainbeyond.com)

01. Dancing Madly Backwards (On A Sea Of Air) (04:02)
02. Armworth (01:48)
03. Myopic Void (03:30)
04. Mesmerization Eclipse (03:48)
05. Raging River Of Fear (03:51)
06. Thousand Days Of Yesterday (Intro) (01:19)
07. Frozen Over (03:46)
08. Thousand Days Of Yesterday (Time Since Come And Gone) (03:56)
09. I Can't Feel Nothing' (Part I) (03:06)
10. As The Moon Speaks (To The Waves Of The Sea) (02:25)
11. Astral Lady (00:16)
12. As The Moon Speaks (Return) (02:13)
13. I Can't Feel Nothin' (Part II) (01:13)

Listen. Full Album: Captain Beyond - Captain Beyond (1972)

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Soft Machine - Fourth & Fifth (1971 & 1972)

Year: 1971 / 1972 (CD 1999)
Label: Columbia Records (Europe), 493341 2
Style: Jazz Rock, Progressive Rock, Canterbury Scene
Country: Canterbury, England
Time: 75:50
Format: Flac Tracks 16/44,1 kHz
Size: 510 Mb

The subtle electro-acoustic blend of Fourth has an understated coolness in which their augmented horn section is harnessed to a thoughtful score. Deployed to incisive effect on the angular “Teeth” (written by keyboardist Mike Ratledge), it’s equal to anything from Third. The four-part “Virtually” introduces muted sinuous layers of cascading lines over Hugh Hopper’s sepulchral fuzz bass; proto-ambient jazz-rock, anyone?
Bleak and ambiguous, Fifth is a game of two halves thanks largely to the use of two diametrically-opposed drummers - evidence of the creative crisis of these now post-Wyatt times. The shifting squalls of Phil Howard’s cymbals says free jazz as favoured by sax player Elton Dean, whilst John Marshall’s crisp precision pulls it nearer Hopper and Ratledge’s camp.
(bbc.co.uk/music/reviews/dw8c/)

Fourth (1971):
01. Teeth (09:13)
02. Kings and Queens (05:01)
03. Fletcher's Blemish (04:36)
04. Virtuality Part 1 (05:15)
05. Virtuality Part 2 (07:05)
06. Virtuality Part 3 (04:37)
07. Virtuality Part 4 (03:23)
Fifth (1972):
08. All White (06:07)
09. Drop (07:42)
10. M C (04:55)
11. As If (08:23)
12. LBO (01:31)
13. Pigling Bland (04:21)
14. Bone (03:35)

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Gomorrha - I Turned To See Whose Voice It Was (1972)

Year: 1972 (CD 2013)
Label: Long Hair (Germany), LHC00132
Style: Psychedelic Rock, Progressive Rock
Country: Germany
Time: 44:03
Format: Flac Tracks 16/44,1 kHz
Size: 319 Mb

After the disappointment of their debut I wasn't expecting much here, but they surprised me big time.There are a few reasons for the improvement. On the debut these guys could only afford to use the studio from midnight to 3am, which they did over a two week period. No producer was helping them either, so they were on their own and it showed. In fact the band quickly disassociated themselves from the debut because they just weren't happy with the results. By the way there was the original German version of the debut then an English version ("Trauma") recorded the following year. On this album they were helped by legendary producer Conny Plank who was a major help, but also Brain Records saw the potential in this band and signed them to their label.This was important as well because they gave them complete artistic freedom and the studio time to create the album they wanted.
"Dance On A Volcano" rocks out pretty good early on and vocals join in at 1 1/2 minutes. Aggressive guitar a minute later. A calm 3 minutes in. Organ 4 1/2 minutes in as it stays laid back. It's building 6 1/2 minutes in then the tempo picks up as the vocals return. Some nice bass late. "Opening Of The Sealed Book" opens with guitar, tapping and vocals only.The guitar eventually takes over making some noise.Vocals are back after 2 minutes then the tempo picks up again as drums and guitar take over. "Dead Life" picks up when the vocals stop.The keyboards before 3 minutes sound great then the vocals return.
"I Turned To See Whose Voice It Was" is a quote from the book of Revelation and they are the words of John. Strummed guitar as reserved vocals join in.This is fairly uptempo too. Percussion takes over 2 minutes in then the guitar joins in as they jam. "I Try To Change This World" opens with relaxed drums and guitar. It's heavier 2 minutes in when the vocals arrive.When the vocals stop the guitar lights it up. Nice. It settles back before 7 minutes. So good. It's dark as the vocals return in a reserved manner. "Titish Child" is uptempo with drums and guitar leading.Vocals after 1 1/2 minutes.The keyboards before 2 1/2 minutes are great.The guitar sounds amazing too after 4 minutes.Vocals are back late.
This will be joining my favourite Krautrock discs. An impressive album.
(progarchives.com/album.asp?id=9970) Review by Mellotron Storm. April 1, 2011. 4/5

01. Dance On A Volcano (10:01)
02. Opening Of The Sealed Book (05:45)
03. Dead Life (03:57)
04. I Turned To See Whose Voice It Was (07:48)
05. I Try To Change This World (09:32)
06. Titish Child (06:57)

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Man - Be Good To Yourself At Least Once A Day (1972)

Year: November 1972 (CD 1991)
Label: BGO Records (UK), BGOCD 14
Style: Progressive Rock, Rock
Country: Merthyr Tydfil, Wales
Time: 36:04
Format: Flac Tracks 16/44,1 kHz
Size: 198 Mb

Be Good to Yourself at Least Once a Day is the sixth album by the Welsh rock band Man. Issued just two months after the previous album, Live at the Padget Rooms, Penarth, it features a radically different line-up. Martin Ace having left, and Deke Leonard having been fired, Clive John returned, bringing with him Phil Ryan and Will Youatt, with whom Clive had formed Iorwerth Pritchard and the Neutrons when he left Man in 1971. This is the only studio album by this particular line-up, which also recorded the live Christmas at the Patti before Clive John left again.
The LP had a prize-winning gatefold sleeve that, when opened, unfolded a 2' by 2' (61 cm by 61 cm) cartoon map of Wales, showing the origins of numerous Welsh bands, including Man, and other places of interest. The country was shown as an island, separated from England by a large channel of water, and being pushed away from her neighbour by ten men using long poles.
The inner sleeve featured 'Man's Family Jungle', Man's family tree, similar to those prepared by Pete Frame, but in a scrawled version drawn by Leonard, despite him having been recently fired from the band, as is acknowledged on the chart. On the earlier CD issues (prior to 2007) the map was unreadably small and the 'Family Jungle' was missing. Due to the complications of a previous publishing contract, newly arrived bassist Will Youatt did not appear in the writing credits despite allegedly making a significant contribution to the songs.
(en.wikipedia.org/wiki/Be_Good_to_Yourself_at_Least_Once_a_Day)

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. C'Mon (11:03)
02. Keep On Crinting (08:18)
03. Bananas (09:28)
04. Life On The Road (07:13)

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Shocking Blue - Inkpot (1972) Attila (1972) [2LP on 1CD]

Year: 1972 (CD 1997)
Label: Repertoire Records (Germany), REP 4610-WP
Style: Rock, Psychedelic Rock
Country: The Hague, Netherlands
Time: 76:32
Format: Flac Tracks 16/44,1 kHz
Size: 532 Mb

Shocking Blue was a Dutch rock band formed in The Hague in 1967. They were part of the Nederbeat movement in the Netherlands. The band had a string of hit songs during the counterculture movement of the 1960s and early 1970s, including "Send Me a Postcard" and "Venus", which became their biggest hit and reached number one on the U.S. Billboard Hot 100 and many other countries during 1969 and 1970. The band sold 13 million records by 1973 but disbanded in 1974. Together with Golden Earring and the George Baker Selection, they are considered the most successful Nederbeat band, because their best hits charted abroad and especially in the United States.
Drummer Cor van der Beek died on 2 April 1998 at age 49 in Rotterdam, Netherlands. Mariska Veres died of gallbladder cancer on 2 December 2006 at age 59 in The Hague, Netherlands. Bassist Klaasje van der Wal died on 12 February 2018 at age 69.
Bananarama covered "Venus" in 1986, hitting number 1 in the United States, Canada, and Australia, and reaching number 8 in the UK.
Nirvana covered "Love Buzz" as their debut single in 1988 and later included it on their first album Bleach in 1989.
(en.wikipedia.org/wiki/Shocking_Blue)

01. I Ain't Never (02:16)
02. Navajo Tears (02:39)
03. Shadows (02:29)
04. Blue Jean (02:35)
05. Jambalaya (02:27)
06. Inkpot (02:38)
07. Tobacco Road (02:32)
08. Hey (02:29)
09. Who Save My Soul (01:56)
10. Red Leaves I plus II (02:36)
11. The Queen (02:04)
12. I Melt Like Butter (02:12)
13. Rattler (02:47)
14. Never Release The One You Love (02:58)
15. A Waste Of Time (02:40)
16. Wait (02:01)
17. The Devil And The Angel (02:26)
18. Rock In The Sea (02:57)
19. I've Spent My Money (01:58)
20. Will The Circle Be Unbroken (02:39)
21. Early In The Morning (02:16)
22. I Built My World Around (01:56)
23. Don't Let Your Right Know (02:07)
24. Broken Heart (02:23)
25. Out Of Sight, Out Of Mind (02:45)
26. I Like You (02:10)
27. Give My Love To The Sunrise (02:25)
28. Eve And The Apple (02:40)
29. When I Was A Girl (02:24)
30. Everything That's Mine (03:30)
31. I Saw You In June (02:22)

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Golden Earring - Together (1972)

Year: 16 June 1972 (CD 2001)
Label: Red Bullet (Netherlands), RB 66.205
Style: Rock, Classic Rock
Country: The Hague, Netherlands
Time: 39:24
Format: Flac Tracks 16/44,1 kHz
Size: 261 Mb

Together represents an important step forward for Golden Earring. Unlike the group's previous outings, the songs on this album don't fall into strict rock or progressive categories. Instead, the group blurs these strict lines and weaves elements of each genre into a distinctive style that gives the songs their unique flavor. For instance, "Brother Wind" has the complex arrangement and length of a prog rock epic, but it moves forward with the energy and powerful riffing of a hard rock song. The group also makes a concerted effort to give each song a tight arrangement and usually more than one catchy hook. The result is the band's first truly consistent album. Driving rockers abound on Together: "Avalanche of Love" is driven by a procession of gutsy riffs that live up to the song's title, and "Buddy Joe" is a surging, dramatic adventure tale built on a singalong chorus and an insidiously catchy Indian-style guitar riff (this rousing tune has remained a popular part of the band's live set list). "Jangalene" is another highlight, a cleverly arranged tune that starts out as an acoustic blues but flowers into a full-throttle rocker midway through. The downside of Together is that, while the songs are all solid and the arrangements stay interesting, it is slightly less adventurous than previous albums. As a result, its songs never quite hit the manic highs of past classics like "Big Tree, Blue Sea" or "She Flies on Strange Wings." Despite that minor quibble, Together remains an impressive album and clearly shows off the chops and songwriting skills that would bring the group a massive worldwide success the next year with Moontan.
(allmusic.com/album/together-mw0000454487)

01. All Day Watcher (04:50)
02. Avalanche Of Love (04:15)
03. Cruisin' Southern Germany (03:02)
04. Brother Wind (07:57)
05. Buddy Joe (03:50)
06. Jangalene (05:10)
07. From Heaven From Hell (06:07)
08. Thousand Feet Below You (04:11)

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Arthur Lee [ex Love] - Vindicator [5 bonus tracks] (1972)

Year: August 1972 (CD 2007)
Label: BGO Records (UK), BGOCD783
Style: Hard Rock, Blues Rock, Psychedelic Rock
Country: Memphis, Tennessee, U.S. (March 7, 1945 - August 3, 2006)
Time: 51:41
Format: Flac Tracks 16/44,1 kHz
Size: 360 Mb

Vindicator is the first solo album by Arthur Lee, formerly of the rock band Love, released in 1972. The backing musicians are credited as Band-Aid. A cover of the track "Everybody's Gotta Live" was recorded by American rapper and singer Mac Miller, and released on his posthumous album Circles in 2020.
(en.wikipedia.org/wiki/Vindicator_(album))
Love's 1967 masterpiece Forever Changes was an album so beautiful and timeless that it tends to dwarf everything else in the group's repertoire, and its gentle balance of grace and dread has made a lot of people forget just how hard Love could rock when Arthur Lee and his bandmates were of a mind. While Love's debut album pushed folk-rock into an overdrive that resembled punk, Lee's first solo set, 1972's Vindicator, was a muscular set of guitar-fueled hard rock laced with blues, showing the clear influence of Lee's late friend Jimi Hendrix. With Charles Karp's powerful guitar leads dominating the arrangements and Lee's vocals strutting with maximum rock star swagger on tunes like "Love Jumped Through My Window" and "Sad Song," Vindicator boogies with a cocky confidence that belies the fact Lee's career was in need of a clear direction at the time, and while there are no signs of the delicacy of Forever Changes, three decades on this sounds like mid-'70s guitar rock at its best. Lee was able to bring a soulful edge to songs like "Everybody's Gotta Live" and "He Knows a Lot of Good Women," and he connects with a sly blues shuffle on "He Said She Said," but it's when Lee and Karp crank up their guitars and the rhythm section of Don Poncher and David Hull turn up the heat that Vindicator really takes off, inviting the spirit with the kiss-the-sky spirit of "You Want Change for Our Re-Run" and laying out some thick Marshall-stack crunch on "Every Time I Look Up I'm Down." And anyone wanting a dose of Lee's well-documented eccentricity won't be at all disappointed with the brief spoken word fragment "You Can Save Up to 50% But You're Still a Long Ways from Home" and the anti-fast food tirade "Hamburger Breath Stinkfinger," both of which confirm Lee didn't turn away his muse when he cut these sessions. While Arthur Lee could create music of simple and fragile beauty, that doesn't change the fact he was a rocker at heart, and he rarely rocked harder or with more passion than he did on Vindicator.
(allmusic.com/album/vindicator-mw0000751489)

01. Sad Song (02:20)
02. You Can Save Up To 50% But You're Still A Long Ways From Home (00:17)
03. Love Jumped Through My Window (02:57)
04. Find Somebody (03:47)
05. He Said She Said (02:18)
06. Every Time I Look Up I'm Down Or White Dog (I Don't Know What That Means!) (03:57)
07. Everybody's Gotta Live (03:31)
08. You Want Change For Your Re-run (04:17)
09. He Knows A Lot Of Good Women (Or Scotty's Song) (03:14)
10. Hamburger Breath Stinkfinger (02:44)
11. Ol' Morgue Mouth (00:53)
12. Busted Feet (04:54)
13. Everybody's Gotta Live (bonus) (03:33)
14. He Knows A Lot Of Good Women (bonus) (03:15)
15. Pencil In Hand (bonus) (02:19)
16. E-Z Rider (bonus) (02:59)
17. Looking Glass Looking At Me (bonus) (04:18)

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Soft Machine - Live In Paris May 2nd, 1972 [2CD] (1972)

Year: 1995 (CD May 4, 2004)
Label: Cuneiform Records (US), Rune 195/196
Style: Jazz Rock, Progressive Rock, Canterbury Scene
Country: Canterbury, England
Time: 47:05, 58:00
Format: Flac Tracks 16/44,1 kHz
Size: 311, 361 Mb

Recorded at Paris's Olympia theatre (as part of a one week festival including Magma, Grateful Dead, East Of Eden and The (Morrison-less) Doors, this is yet another very interesting live recording the incredible Cuneiform labels pulls from the cardboards. One of the shortest SM incarnations (that had only managed to record half of 5 album prior to the release of theses tapes, as Phil Howard had been ejected (he was pulling the Machine into a full improv band, much to Ratledge and Hopper's dislike) and John Marshall (originally sensed to be at the drum stool but not available when Wyatt had left) was brought in, but Dean was to leave soon, peeved at Howard's firing. All of the material is from Third and 5 and strangely nothing from 4, maybe as an anti-Howard reaction from the two masters on board. But ultimately Dean's departure (due to the sacking of Howard) will provoke a series of changes where a bunch of Nucleus members will fill the shoes of departing members and changing the jazz-rock Machine into a full fusion butterfly of Bundles and Softs albums. But for this particular release, three of the four tracks from third are present on that night's set-list, but there are tracks that are nowhere to be seen on studio records or even on their official historical releases of that era. Again the sound quality of this Cuneiform is extraordinarily good especially considering Elton Dean was plagued with bad mikes, but it does not affect the sound. Worthy of note, Dean was also playing electric piano that night (this was not usual as far as I know) and his replacement, Karl Jenkins, will also double on Kbs and reeds.
Maybe not essential unless you are a total SM fan, this record is once again the proof that the Machine was a well-oiled one capable of mesmerising concerts.
(progarchives.com/album.asp?id=3257) Review by  Sean Trane. October 12, 2005

01. Plain Tiffs (03:30)
02. All White (06:23)
03. Slightly All The Time (13:07)
04. Drop (07:42)
05. M.C. (02:59)
06. Out-Bloody-Rageous (13:22)

01. Facelift (17:50)
02. And Sevens (08:54)
03. As If (08:27)
04. Lbo (06:07)
05. Pigling Bland (06:04)
06. At Sixes (10:34)

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