Showing posts with label 1973. Show all posts
Showing posts with label 1973. Show all posts

Thursday, December 11, 2025

Darryl Way's Wolf (Curved Air) - Saturation Point [Japanese Ed. SHM-CD] (1973)

Year: 1973 (CD Nov 26, 2008)
Label: Universal Music (Japan), UICY-93827
Style: Progressive Rock, Symphonic Rock, Instrumental
Country: Taunton, Somerset, England
Time: 47:30
Format: Flac Tracks 16/44,1 kHz
Size: 335 Mb

WOW! When a progressive rock band has violin and guitars in his music, usually they are not played at the same time. In fact, they are simultaneously played here, and this really contributes to give Wolf a very personal trademark. This not very well known prog band gives us here a wonderful album, full of impressive violin, electric + acoustic guitars and dynamic & punchy bass! No one else than Ian Mosley himself(Marillion)plays the drums here: they are very well played and quite complex. Everything is very well synchronized, like Gentle Giant. It sounds a bit like Curved air, Caravan, Happy the man, Gentle Giant and Frank Zappa, but this album has really its own sound, and this makes the band very interesting. The record is mainly instrumental, and the keyboards are surprisingly rare, simple and discreet: they mainly consist in electric piano. This record is heavier and more symphonic and straightforward than "Canis Lupus": there are some very seriously loaded parts, very progressive, and the violin is more omnipresent.
(rateyourmusic.com/music-review/greenback/darryl-ways-wolf/saturation-point/216103)

01. The Ache (04:51)
02. Two Sisters (04:21)
03. Slow Rag (05:18)
04. Market Overture (03:38)
05. Game Of X (05:48)
06. Saturation Point (06:46)
07. Toy Symphony (07:14)
08. A Bunch Of Fives (03:30)
09. Five In The Morning (02:40)
10. Two Sisters (Single Version) (03:19)

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Sunday, December 7, 2025

Foghat - Foghat (Rock 'n' Roll) (1973)

Year: March 1973 (CD 2005)
Label: Rhino Records (US), R2 70890
Style: Hard Rock, Blues Rock
Country: London, England
Time: 38:28
Format: Flac Tracks 16/44,1 kHz
Size: 267 Mb

Foghat is the second album, and the second self-titled album, by the English rock band Foghat, released in March 1973. It is generally known by fans as Rock 'n' Roll, because of its cover picture depicting a rock and bread roll.
Formed in 1971 when Lonesome Dave Peverett & Roger Earl left the British blues-rock band, Savoy Brown, Foghat has earned eight Gold records, one Platinum record and one Double-Platinum record.  And they continue to release new music every few years. They have never stopped touring and recording although there have been several ups and downs and changes over the years.  They sadly lost Lonesome Dave Peverett in 2000 and Rod Price in 2005, but Roger Earl kept banging & kicking to keep Foghat's musical legacy going.
According to a recent review "The '70s called...but there is no way in hell we are giving Foghat back to them. The iconic band from the past is rocking just as hard as they did decades ago, if not more! Foghat's thunderous blend of blues, boogie and butt-kickin' rock 'n' roll are shaking walls and fans everywhere. There is so much talent in this band it is ridiculous.  Lead vocalist/lead guitarist Scott Holt played with Buddy Guy for over 10 years, and lead/slide guitarist Bryan Bassett played with Wild Cherry and Molly Hatchet."  Bass player Craig Macgregor who had been with the band since the '70s, unfortunately became ill in 2015 and was unable to play, and we sadly lost him in February of 2018.  Craig had recommended the very talented & personable Rodney O'Quinn as a 'fill-in' who came to Foghat via the Pat Travers band where he proved he knew how to lay down a solid groove. O'Quinn viewed MacGregor as a mentor and is a great permanent addition to the band.  And on drums, of course, is the man we must thank for keeping Foghat going...founding member Roger Earl, who's positive attitude and solid drumming style and pure joy of playing has been an inspiration to all."
If Foghat had only given us 'Slow Ride', the band's place in rock history would be secure.  But the band is so much more than that. As stated by Roger Earl, "we are still a 'work in progress', writing and recording and plan to be until the day we depart this earth".
**We sadly lost our brother, friend and Foghat member Craig MacGregor, who passed away on February 9th, 2018. RIP Mac. We miss you, brother.**
(foghat.com/band/band-bio/)

01. Ride, Ride, Ride (04:24)
02. Feel So Bad (05:08)
03. Long Way to Go (05:07)
04. It's Too Late (05:43)
05. What a Shame (03:52)
06. Helping Hand (04:41)
07. Road Fever (04:22)
08. She's Gone (03:12)

Foghat73-Foghat-Rock-NRoll-01 Foghat73-Foghat-Rock-NRoll-02 Foghat73-Foghat-Rock-NRoll-back

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Wednesday, November 26, 2025

Darryl Way's Wolf (Curved Air) - Canis Lupus [Japanese Ed. SHM-CD] (1973)

Year:  (CD Nov 26, 2008)
Label: Decca Records (Japan), UICY-93826
Style: Progressive Rock, Acid Rock
Country: Taunton, Somerset, England
Time: 44:14
Format: Flac Tracks 16/44,1 kHz
Size: 327 Mb

Despite releasing three albums of well-crafted songs and exceptional performances over just two years via Decca’s Deram imprint, Darryl Way’s Wolf remain largely ignored in most histories of progressive rock’s 70s heyday.
At the time, they enjoyed enthusiastic reviews and live popularity, but failed to break into the charts – a fact that may have contributed to their subsequent invisibility.
Their formidable 1973 debut, Canis Lupus, features the ex-Curved Air maestro Way’s masterly use of violin and keyboards, alongside John Etheridge’s frenzied legato-style guitar, Dek Messecar’s supple bass and Ian Mosley’s whip-cracking drumming. A nuanced production from King Crimson co-founder Ian McDonald refines the music’s subtler points.
(loudersound.com/music/albums/darryl-way-s-wolf-cadenza-box-set)

01. The Void (04:36)
02. Isolation Waltz (04:40)
03. Go Down (04:44)
04. Wolf (04:10)
05. Cadenza (04:51)
06. Chanson Sans Paroles (06:29)
07. McDonalds Lament (07:10)
08. Spring Fever (03:30)
09. Wolf (Single Version) (04:01)

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Saturday, November 22, 2025

Renaissance - Ashes Are Burning (1973)

Year: October 1973 (CD 2006)
Label: Repertoire Records (Europe), REP 5078
Style: Art Rock, Symphonic Rock
Country: London, United Kingdom
Time: 40:43
Format: Flac Tracks 16/44,1 kHz
Size: 290 Mb

Somewhat unusually, the longest history with the band is with two outside members, composer Michael Dunford and poet Betty Thatcher, who together are responsible for the music and lyrics on all but one track of the album. Both were involved in the making of the 1970 Illusion album, but are not actual members of the band. Dunford officially joined the band with the next album. The only song Dunford was not on Ashes Are Burning to compose is ”On The Frontier”, written by Renaissance founding member Jim McCarty. Who was no longer a member of the band at this point. Confusing? A bit! Thus, Ashes Are Burning is a very rare prog album where all the material is written by someone other than the band members.
Ashes Are Burning is by far the most successful album of Renaissance’s career so far and started a three-album golden era for the band. The album smoothly blends influences from both folk and classical music (no direct quotes are spared). The semi-acoustic sound was an important part of how Renaissance distinguished themselves from other progressive bands. And the acoustic aspect was especially emphasized on this Ashes Are Burning album. Instead of electric guitars and synthesizers, it is John Tout’s classical-style piano that takes centre stage, and the impressive, gentle yet powerful, five-octave vocals of Annie Haslam, who had studied opera singing. Tout also makes restrained use of synthesizers but, pleasingly, sticks mostly to piano, which was rare for early 70s rock bands. And well, for rock bands of any era really.
Although Renaissance draws much of its influence from folk, the grand symphonic nature of the band’s music also clearly distinguishes it from the core of the folk scene. A rock-like kick to the sound is added by Jon Camp’s very Chris Squire-like bass playing and of course Sullivan’s relatively straightforward drumming. Camp and his bass are given plenty of space, as the only electric guitar on the album is on the closing title track, where guesting Wishbone Ash guitarist Andy Powell gets to squeeze in a long guitar solo.
(full version: pienemmatpurot.com/2023/10/10/review-renaissance-ashes-are-burning-1973/)

01. Can You Understand (09:51)
02. Let It Grow (04:14)
03. On The Frontier (04:55)
04. Carpet Of The Sun (03:31)
05. At The Harbour (06:48)
06. Ashes Are Burning (11:20)

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Friday, November 21, 2025

Camel - Camel (1973)

Year: February 1973 (CD 1992)
Label: Camel Productions (US), CP-002CD
Style: Symphonic Rock, Canterbury Scene, Progressive Rock
Country: Guildford, Surrey, England
Time: 39:23
Format: Flac Tracks 16/44,1 kHz
Size: 260 Mb

Elsewhere, Andy shows that, apart from Blackmore, he has been attentively listening to Robert Fripp - some of the passages in 'Six Ate' are based on the fast, mathematically precise riffage of '21st Century Schizoid Man' - and maybe even Santana (the album opener, 'Going Down Slow', with its calm, steady Latin groove that suddenly turns into a wall-rattling temperamental solo midway through); pure jazz guitar chops are heard on the proto-National Health 'Curiosity'. Without a doubt, the guitar solos throughout are the best parts of the songs, and one major thing they have over subsequent instrumental passages on later records is dynamics; there's much more youthful aggressiveness in the playing than there would be on those records where the songwriting was to finally catch up with the playing and then eventually overshadow it. By contrast, Bardens lets his organ mostly stay in the background, being an essential part of the sound.
Oh yes, there's also the singing question - at least three band members take turns providing lead vocal parts, but not one of them is able to make any impression, and apparently they know it, so the vocals are kept to a minimum (and two out of seven songs have none at all). Incidentally, it's pretty damn hard to tell one guy from another; they all sound like slightly dusty clones of Pye Hastings. In fact, if there is one thing that's more or less common for all of "Canterbury rock", it's the vocals - quiet, high-pitched, and very weak voices, suggesting that Canterbury singers obviously do not drink, smoke, swear, date, eat non-kosher, or watch anime.
(full version: starlingdb.org/music/camel.htm)

01. Slow Yourself Down (04:47)
02. Mystic Queen (05:40)
03. Six Ate (06:06)
04. Separation (03:57)
05. Never Let Go (06:26)
06. Curiosity (05:55)
07. Arubaluba (06:29)

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Tuesday, November 18, 2025

David Byron - On The Rocks (1981) Ken Hensley - Proud Words On A Dusty Shelf (1973) [2LP on 1CD]

Year: 1981 / 1973 (CD 2000)
Label: CD-Maximum (Russia. bootleg), CDM 198-59
Style: Hard Rock, Rock, Pop Rock
Country: England
Time: 77:05
Format: Flac Tracks 16/44,1 kHz
Size: 506 Mb

The rise to fame and tragic demise of the late David Byron has been well documented in the years following his alcohol related death in 1985. In a nutshell, after fronting the British rock band Uriah Heep for ten albums and countless tours the charismatic front man was ousted from the group in 1976 and never really recovered from it, both personally and professionally. Without strong songwriting partners like Ken Hensley and Mick Box from Heep for Bryon to lean on his solo career unfortunately never reached the heights he had achieved with Heep.
(full version: seaoftranquility.org/reviews.php?op=showcontent&id=9441)
Ken Hensley is mostly known as the legendary former keyboard player for heavyweight British hard rockers Uriah Heep (also a member of The Gods, Toe Fat,and Blackfoot), but he's also kept up a pretty busy solo career since this debut from 1973. Recorded right around the time that Heep released their classic Uriah Heep Live album, Proud Words on a Dusty Shelf avoids much of the bombast & heaviness that was associated with his main band, and showed just how clever a songwriter and multi-instrumentalist Hensley really is. Playing all the keyboards, guitars, and handling the vocals, Hensley's almost one-man show was supported by two of his bandmates in Heep, drummer Lee Kerslake & bassist Gary Thain, as well as some additional bass courtesy of Dave Paul.
(full version: https://www.seaoftranquility.org/reviews.php?op=showcontent&id=16208)

01. Rebecca (04:01)
02. Bad Girl (04:52)
03. How Do You Sleep? (06:09)
04. Little By Little (03:54)
05. Start Believing (04:04)
06. Never Say Die (04:25)
07. King (03:40)
08. Piece Of My Love (06:48)
09. When Evening Comes (04:36)
10. From Time To Time (03:37)
11. King Without A Throne (03:54)
12. Rain (03:16)
13. Proud Words (03:16)
14. Fortune (05:18)
15. Black Hearted Lady (03:38)
16. Go Down (03:11)
17. Cold Autumn Sunday (05:30)
18. The Last Time (02:47)

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Saturday, November 15, 2025

Paul McCartney And Wings - Red Rose Speedway [Japanese Ed. SHM-CD] (1973)

Year: 4 May 1973 (CD Sep 20, 2024)
Label: Universal Music (Japan), UICY-80468
Style: Soft Rock, Rock, Classic Rock
Country: Liverpool, England (18 June 1942)
Time: 42:24
Format: Flac Tracks 16/44,1 kHz
Size: 374 Mb

Red Rose Speedway was McCartney’s fourth solo album, a mere three years after the break-up of The Beatles, and the second Wings release. Unlike 1971’s Wings Wild Life, he thought it would be a good idea to let people know exactly who they were, and thus in 1973 Red Rose Speedway debuted, credited to Paul McCartney and Wings. The idea worked because it became the first to go to number one (McCartney’s second as a solo act). But let’s be clear, it made number one because of the package, not the name on the label. But the name did ensure radio play and brought it to people’s attention.
Red Rose Speedway was a huge hit in 1973, thanks, in part, to the number one hit “My Love”, but it is full of twists and turns. “My Love” was not indicative of what listeners would find on the album as a whole. For example, it opens with one of McCartney and Wings’ greatest rockers, “Big Barn Bed”, with a heavy-rocking sound that would have made a great single in its own right. It is a slice of mid-70s rock, with McCartney’s ear for melody and quirky lyrics. This leads into “My Love”, which is the polar opposite. It features one of guitarist Henry McCullough’s best ever guitar solos, totally improvised mere minutes before the track was recorded live with an orchestra.
Side one ends with one of McCartney’s most underrated and beautiful songs, “Little Lamb/Dragonfly”, an emotional song, featuring some of McCartney’s most painful and beautiful vocals of his career. It is a brilliant medley of two complimentary songs that come together to form a perfect mini rock opera. “I have no answer for you little lamb/I can help you out, but I cannot help you in”, McCartney sings. It was reportedly written when a lamb on his farm was dying. But don’t be fooled, there is much more to this raw masterpiece.
Side two opens with another emotional, albeit short track, “Single Pigeon”. It is one of those songs that McCartney can knock off in his sleep, but it fits perfectly as the side opener. Side two is a heavier side, with an experimental instrumental (“Loup”) and a medley that rivals side two of Abbey Road. Here are four songs that McCartney had left unfinished and he turned them into an amazing medley that ends the album. The medley is composed of lovely love songs, including “Hold Me Tight”, (not the Beatle song) and the almost psychedelic “Lazy Dynamite”. It is an interesting and clever way to bring the album to a close.
(full version: spillmagazine.com/spill-album-review-paul-mccartney-and-wings-red-rose-speedway-50th-anniversary/)

01. Big Barn Bed (03:50)
02. My Love (04:08)
03. Get On The Right Thing (04:17)
04. One More Kiss (02:29)
05. Little Lamb Dragonfly (06:23)
06. Single Pigeon (01:53)
07. When The Night (03:37)
08. Loup (1st Indian On The Moon) (04:23)
09. Medley: Hold Me Tight - Lazy Dynamite - Hands Of Love - Power Cut (11:21)

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Wednesday, November 12, 2025

Jethro Tull - A Passion Play (1973)

Year: 13 July 1973 (CD 198?)
Label: Chrysalis Records (UK), CDP 32 1040 2
Style: Progressive Rock, Gothic Rock, Folk Rock
Country: Blackpool, Lancashire, England
Time: 45:05
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

Jethro Tull's second album-length composition, A Passion Play is very different from - and not quite as successful as - Thick as a Brick. Ian Anderson utilizes reams of biblical (and biblical-sounding) references, interwoven with modern language, as a sort of a rock equivalent to T.S. Eliot's The Wasteland. As with most progressive rock, the words seem important and profound, but their meaning is anyone's guess ("The ice-cream lady wet her drawers, to see you in the Passion Play..."), with Anderson as a dour but engaging singer/sage (who, at least at one point, seems to take on the role of a fallen angel). It helps to be aware of the framing story, about a newly deceased man called to review his life at the portals of heaven, who realizes that life on Earth is preferable to eternity in paradise. But the music puts it over successfully, a dazzling mix of old English folk and classical material, reshaped in electric rock terms. The band is at its peak form, sustaining the tension and anticipation of this album-length piece across 45 minutes, although the music runs out of inspiration about five minutes before it actually ends.
(allmusic.com/album/a-passion-play-mw0000036413)

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. A Passion Play, Part 1 (21:35)
02. A Passion Play, Part 2 (23:30)

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Monday, November 3, 2025

Livin' Blues - Ram Jam Josey (1973)

Year: 1973 (CD 1997)
Label: Pseudonym Records (Europe), CDP 1042 DD
Style: Blues Rock, Rock
Country: Netherlands
Time: 50:27
Format: Flac Tracks 16/44,1 kHz
Size: 269 Mb

Livin’ Blues was one of the best Dutch blues bands. Many people think the band's name came from the American magazine called Living Blues, but that wasn't established until 1970. Former members of the band claim it was based on the name of an American theatre group called Living Theatre.
They evolved in 1967 from Andy Star & the Stripes with Ted Oberg (g) and Ruud Franssen (b) and then added Bjorn Pool (v) and Niek Dijkhuis (d). In 1968, they took on board the blues duo Indiscrimination with John Lagrand (blues harp) and Nicko Christiansen (v, s), the latter replacing Pool. During the same year, Gerard Strotbaum replaced Franssen and Cesar Zuiderwijk (ex-Hu & the Hilltops, to Golden Earring) came in on drums. The band started getting more and more attention, resulting in a record contract with the mighty Phonogram (who distributed labels like Decca and Philips). They opened a show for Fleetwood Mac during a small winter tour of 1969.
After they had recorded two unsuccessful singles, Strotbaum was replaced by Henk Smitskamp (ex-Motions, to Sandy Coast). The line-up of Oberg, Lagrand, Christiansen, Zuiderwijk and Smitskamp recorded the highly acclaimed album, "Hell’s Session" in 1969, the first production of former Golden Earrings drummer Jaap Eggermont (later world-famous through his Stars On 45 productions), for a new label, Red Bullet (owned by Willem van Kooten a.k.a. DJ Joost den Draaijer).
In 1970, Smitskamp was replaced by Ruud van Buuren (ex-Groep 1850, to Long Tall Ernie & the Shakers). When Zuiderwijk joined Golden Earring, Dick Beekman (ex-Cuby + Blizzards and Ro-d-ys) was next in the long line of drummers to join the band. Livin’ Blues seemed to change drummers on a yearly basis. After "Wang Dang Doodle" became an international hit, the band started touring Europe, one highlight being their appearance at the Palermo Pop Festival in Sicily. Then John Le Jeune (ex-Island) took over the drum stool, but he also lasted for just one album. The band had another international hit with "LB Boogie" and made their first visit to Poland, where they'd become one of the most successful bands ever.
Le Jeune left for the Schick Band and was replaced by Arjan Kamminga, who was forced to quit not long after the release of "Rockin’ At The Tweedmill" (recorded in England and produced by Mike Vernon) due to back problems. He would later resurface in Mark Foggo & Secret Meeting. In 1973, Englishman Kenny Lamb became the last drummer of the first era of Livin’ Blues. The album "Ram Jam Josey" was again produced by Mike Vernon who'd also recommended Lamb (ex-Jellybread, a British blues band recording for Vernon's Blue Horizon label).
In 1974, “Mark I” Livin’ Blues fell apart. John Lagrand joined Water, Nicko Cristiansen formed Himalaya, Kenny Lamb returned to England and Ruud van Buuren joined Long Tall Ernie & the Shakers. Ted Oberg had to continue with Livin’ Blues because their manager (Ted's mother!) had signed new contracts with Ariola and Grandad Music. John Fredriksz (ex-George Cash and Q’65, the singer who always seemed to come in when a band's heyday was over) became the new vocalist. They also took on board Paul Vink (kb, ex-Finch, to Limousine), but he only lasted a few months. The line-up was completed by the returning Henk Smitskamp (b, from Shocking Blue), Ronnie Meyjes (g, ex-Brainbox) and Michel Driesten (d) and had a disco hit with "Boogie Woogie Woman", a far cry from the earlier blues-rock sound. By the time the album "Live ’75" was recorded, Meyes and Driesten had disappeared and Cor van de Beek (also from Shocking Blue) was the drummer.
The 1976 line-up was: Ted, Johnny, Andre Reynen (bass, ex-Sympathy and Brainbox) and Jacob van Heiningen (drums, ex-Galaxis, replaced by Ed Molenwijk, ex-Dizzy Daisy, to Casino). In spite of the internationally successful album, "Blue Breeze" (1977), the band were without a recording contract by 1978. Jan Piet Visser (h, ex-Houseband) joined in 1979, but a year after that the core of "Mark I" Livin’ Blues reunited for the 1980 Haagse Beatnach: Oberg, Lagrand and Christiansen were joined by Evert Willemstijn (b) and Boris (Bo, Beau) Wassenbergh (dr, ex¬Cashmere, to The Zoo). That line-up started touring again, but due to the lack of interest in the blues music, Livin’ Blues slowly ground to a halt in the first half of the 1980s. In the meantime, Johnny Frederiksz, Andre Reynen and Jan Piet Visser formed Nitehawk. When that band also turned out to be unsuccessful, Ted Oberg formed the J&T Band (Johnny & Ted) with Frederiksz, adding ex-Finch members Peter Vink (b) and Fred van Vloten (d).
In 1986, John Lagrand and Nicko Christiansen reformed Livin’ Blues and, for the first time since 1967, Ted Oberg was not present. Other members were: Joop van Nimwegen (g, ex-Q’65 and Finch), Willem van de Wall (g, ex-Himalaya), Aad van Pijlen (b, ex-Freelance Band and Himalaya) and Art Bausch (d, ex-Barrelhouse, ex-Oscar Benton, and founder member of Blue Planet). After one unsuccessful album, "Now", Lagrand left to join the Muskee Gang and Christiansen got a new line-up together. However, the rights to the name Livin’ Blues were owned by Ted Oberg's mother and Christiansen had to call the band New Livin’ Blues. Just like all preceding line-ups, New Livin’ Blues went through many changes, which are impossible to document (mainly due to the lack of press coverage and record releases). On the CD "Out Of The Blue" (1995), the line-up was: Christiansen, Loek van der Knaap (g), Frank Buschman (b) and Elout Smit (d).
In 1996, John Lagrand joined the reformed Cuby + Blizzards and two years later, Nicko Christiansen formed the Nicko C Band, keeping Loek van der Knaap on board. In 1998, Ted Oberg formed his own band Oberg with Jan Scherpenzeel (v, h), Frank Schaafsma (b) and Ramon Rambeaux (d, ex-Wild Romance, replaced by Ronald Oor, ex-Diesel and I’ve Got The Bullets). At the end of that year, Nicko Christiansen and John Lagrand toured with guitarist Eelco Gelling (ex-Cuby + Blizzards) as Nederblues Summit.
In 2003, Christiansen and Lagrand wanted to start performing again as Livin’ Blues, but Oberg objected. The new band was then named Blues A- Livin’ instead. Oberg reappeared the following year, touring with Simone Roerade (v), Rob Geboers (kb, ex-Flavlum). Marco Oonincx (b, ex- Ana Popovic Band) and drummer Arie Verhaar (ex-Tom Principato and Tino Gonzales), as Grand Slam.
On 30th June, 2005, John Lagrand died at the age of 55 from emphysema. Christiansen continued as The Livin’ Blues Experience with Loek van der Knaap (g), Yaroon Vanniele (bas), Kees van Krugten (d) and Francois Spannenburg (blues harp). In 2009, Livin’ Blues was voted as the "best international blues band" by readers of the Two Blues magazine in Poland. Ted Oberg has called his band Oberg once again, although it is now fronted by female singer Liane Hoogeveen. The other members are: Mick Hup (g, replaced Will Sophie), Nico Heilijgers (b) and Paul Damen (d).
(alexgitlin.com/livin.htm)

01. Dizzy Buizy Bluesman (04:32)
02. I'm Walking (02:50)
03. Ram Jam Josey (03:44)
04. Gamble On (03:15)
05. Poinsetta Petal (04:04)
06. Isabella (03:16)
07. Hobo Joe (04:40)
08. I'm Coming Home (06:41)
09. The Great Grandfather (02:48)
10. Empty Glasses (01:55)
11. Back Stage (Bonus track) (05:43)
12. Crazy Joe (Bonus track) (04:06)
13. Lazy Lisa (Bonus track) (02:47)

Listen. Full Album: Livin' Blues - Ram Jam Josey (1973)



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Faces (Rod Stewart) - Ooh La La (1973)

Year: March 1973 (CD Sep 14, 1993)
Label: Warner Bros. Records (US), 2665-2
Style: Rock, Rock and Roll
Country: London, England
Time: 30:30
Format: Flac Tracks 16/44,1 kHz
Size: 195 Mb

Ooh La La is the fourth studio album by the English rock band Faces, released in March 1973. It reached number one in the UK Albums Chart in the week of 28 April 1973.
The cover of the album was designed by Jim Ladwig, around a stylised photograph of "Gastone", a stage character of 1920s Italian comedian Ettore Petrolini. The original LP's Art Deco-inspired cover was constructed in such a way that when the top edge of the sleeve was pressed down, a concealed die-cut design element would descend that made Gastone's eyes appear to discolour and move to the side, and his jaw would appear to drop into a leering smile. The back cover also featured art deco-inspired design elements, and detailed song information and album credits alongside tinted individual photographic portraits of the band members. The original gatefold sleeve's inner design depicted a large stylised photomontage of the band in typical 'laddish' pose, admiring the charms of a can-can dancer (referencing the lyric of the title track).
(en.wikipedia.org/wiki/Ooh_La_La_(Faces_album))

01. Silicone Grown (03:06)
02. Cindy Incidentally (02:38)
03. Flags And Banners (02:02)
04. My Fault (03:07)
05. Borstal Boys (02:55)
06. Fly In The Ointment (03:50)
07. If I'm On The Late Side (02:38)
08. Glad And Sorry (03:07)
09. Just Another Honky (03:33)
10. Ooh La La (03:30)

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Sunday, November 2, 2025

Soft Machine - Seven (1973)

Year: October 1973 (CD 2007)
Label: Sony BMG Music Entertainment (Europe), 82876872922
Style: Jazz Rock, Progressive Rock, Canterbury Scene
Country: Canterbury, England
Time: 43:15
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

This was the first Soft Machine album I bought and nearly the last. Not that it isn’t soothing in a sleepy sort of way, but it wasn’t at all the madcap sonic adventure I was expecting. With time, of course, I understood that the original quest changed after the departures of Kevin Ayers and Robert Wyatt, with Mike Ratledge leading the band into jazzier terrain much as Gong did under the stewardship of Pierre Moerlen. From the perspective of Six, little had changed—or needed to, really. The mesmerizing keyboard patterns, mutated saxophone/oboe solos, superlative drumming and steady bass shift every few minutes like an audio kaleidoscope, which is pleasant enough. It’s generally a calmer and more peaceful record than most jazz fusion albums from the period, and there’s little difference between the songs written by Ratledge and Karl Jenkins, giving Seven a consistent feel from beginning to end. Is it the first Soft Machine album you need to own? In my experience, obviously not (they did number these for a reason). If you’re going to buy seven Soft Machine albums, however, here you are. Highlights (to my ears) include Tarabos, Down the Road and the combination of Snodland and Penny Hitch (the songs tend to merge into one another). Carol Ann is also very pretty. That said, the album doesn’t really have standout sections; it’s conceived as an organic whole that flows from the shared musical sensibilities of its four members. It’s not their best album, but it might be their softest so far.
(progrography.com/soft-machine/review-soft-machine-seven-1973/)

01. Nettle Bed (04:51)
02. Carol Ann (03:45)
03. Day's Eye (05:03)
04. Bone Fire (00:35)
05. Tarabos (04:27)
06. D.I.S. (03:04)
07. Snodland (01:51)
08. Penny Hitch (06:38)
09. Block (04:18)
10. Down The Road (05:44)
11. The German Lesson (01:51)
12. The French Lesson (01:03)

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Friday, October 31, 2025

Montrose - Montrose [24kt Gold. Audio Fidelity. HDCD] (1973)

Year: October 17, 1973 (CD Jul 12, 2005)
Label: Audio Fidelity (US), AFZ-028
Style: Hard Rock
Country: California, U.S.
Time: 32:15
Format: Flac Tracks 16/44,1 kHz
Size: 215 Mb

Now this is rock music! Yeah baby! This is a one of kind album and it still stands up today as one of the rock classics of all time. The self-titled Montrose album came roaring out if the gates in 1973 and 32 years later Audio Fidelity has flattered this rock gem by releasing it on 24KT Gold Disc.
Ronnie Montrose had made his presence known in the Edgar Winter Group then cut his ties and decided to venture into some solo guitar work. He needed a powerful front man to sing over his heavy-duty power chords. He found a young Sammy Hagar (listed as Sam in the credits on the album sleeve) ready to rock and completely capable of handling those duties.
This is a typical LP clocking in at a fraction less than 30 minutes, which is a shame really, because every track oozes with primal raw energy. This is the kind of heart-pumping fist waving sound you that will leave wanting for more every time you hear it. The whole idea behind what Audio Fidelity does is to maintain the original album's integrity while enhancing the sound for optimal listening pleasure so you get what came out in 1973 but with a much better sound. Bill Church (bass) and Danny Carmassi (drums) was a good match for the Montrose guitar groove and they proved to be a solid rhythm section on every track, giving Montrose solid ground to lay his meaty power chords on. This does sound terrific so get ready to crank that stereo as loud as you can stand it, this is music made to play loud!
Ronnie Montrose really cut loose on this album and proved he could play with the best of them. He would continue to show the world why he was one of the best guitar players around throughout the years with more great music but nothing ever seemed to match this. Neither this session nor anything like it would ever happen again unfortunately, as egos got in the way to cause tensions and finally a break up. Its too bad things started fall apart for this band into the second album, which is why this remains the best recording Ronnie Montrose put out under the Montrose heading. When you hear "Rock Candy" you will remember why you loved this album so much. I know I wore it out when it came out on vinyl and to hear it now on my surround sound system in all its glory is something to behold. Do not be mislead by that statement however, this is not 5.1 surround sound it's sourced from the original master tapes and converted from analog to digital.
Eight tracks of some of the most powerful guitar rock you will ever hear is on this album. Its hot sweet and sticky so "Make It Last" because once is not enough for this music.
(enjoythemusic.com/magazine/music/0805/rock/montrose.htm)

01. Rock the Nation (03:03)
02. Bad Motor Scooter (03:43)
03. Space Station #5 (05:16)
04. I Don't Want It (02:58)
05. Good Rockin' Tonight (02:59)
06. Rock Candy (05:05)
07. One Thing on My Mind (03:41)
08. Make It Last (05:27)

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Wednesday, October 29, 2025

Pink Floyd - The Dark Side Of The Moon [50th Anniversary Ed.] (1973)

Year: 1 March 1973 (CD Oct 13, 2023)
Label: Pink Floyd Music Ltd. (Europe), 5054197181146
Style: Progressive Rock, Psychedelic Rock
Country: London, England
Time: 42:58
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

When Pink Floyd first premiered what would become the most successful rock album of all time, it was quite literally too big for the system to handle. A half-hour into the band’s concert in Brighton on January 20, 1972-the live debut of what was then called “Eclipse: A Piece for Assorted Lunatics”-the band started to play “Money,” which required synchronizing their performance to a pre-recorded sound collage of jingling coins and ka-ching-ing cash registers. But coupled with the band’s power-sucking sound system and lighting rig, the show slowly ground to a halt. After a brief break, bassist Roger Waters came to the mic to explain: “Due to severe mechanical and electronic horror, we can’t do any more of that bit, so we’ll do something else.” Less than a month later, the band had to abandon a performance at the Manchester Free Trade Hall when the same thing happened.
Over the prior half-decade, Pink Floyd had established themselves as, if not the best psychedelic rock band, then certainly the most technologically extravagant. From late 1966 through the fabled Summer of Love, they were the house band at the UFO, the Swinging London rock club/art space/drug den, which gave them free rein to blend their droning jams with trippy visuals, sound effects, fog machines, and extreme volume. That August, Waters told Melody Maker that he wanted Pink Floyd to travel from city to city with a circus-style big top. “We’ll have a huge screen 120 feet wide and 40 feet high inside and project films and slides.”
His prediction never came to be, but for an invite-only gig at Queen Elizabeth Hall in May 1967, the band installed a joystick dubbed “The Azimuth Co-ordinator” on top of Richard Wright’s keyboard to send the band’s potent, droning sound and sci-fi effects careening around the first-of-its-kind quadraphonic playback system in the venue. For the back cover photo of the 1969 double album Ummagumma, drummer Nick Mason arranged the band’s road gear to resemble an aircraft carrier, a concise reversal of one philosopher’s claim that rock music is not much more than “a misuse of military equipment.” Waters told Melody Maker that Pink Floyd’s gear fixation was a matter of going where no band had gone. “We’re trying to solve problems that haven’t existed before.”
(full version: pitchfork.com/reviews/albums/pink-floyd-the-dark-side-of-the-moon/)

01. Speak To Me (01:11)
02. Breathe (02:45)
03. On The Run (03:33)
04. Time (07:05)
05. The Great Gig In The Sky (04:44)
06. Money (06:22)
07. Us And Them (07:50)
08. Any Colour You Like (03:25)
09. Brain Damage (03:50)
10. Eclipse (02:08)

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Captain Beyond - Sufficiently Breathless (1973)

Year: May 1973 (CD 19 May 1998)
Label: Capricorn Records (U.S.), 314 558 380-2
Style: Hard Rock, Rock
Country: Los Angeles, California
Time: 33:20
Format: Flac Tracks 16/44,1 kHz
Size: 231 Mb


Why this 1973 album from Captain Beyond, the group's second, gets such a bad rep is beyond this writer's comprehension. Issued in the wake of their eponymous, hard-rockin' debut, 'Sufficiently Breathless' saw the expanded line-up fleshing out the first album's nuts-and-bolts sound with a strong injection of dreamy prog atmospherics and Santana-style grooves. As a result, 'Sufficiently Breathless' proves a marked improvement over its predecessor in almost every department. Simply put, this is a fresher, more imaginative and funkier group at work here, whilst the album also features the group's heart-breakingly brilliant signature ballad 'Starglow Energy', a cosmic rock classic of startling power and emotion and a track that has one yearning for the stars. Add the catchy jangle-pop of 'Bright Blue Tango', the Latin-fused anthem 'Drifting In Space' and the impressive closer 'Everything's A Circle', and what you have here is a damn-fine slice of colorful 1970s rock. The real shame is the fact that Captain Beyond could never quite rise beyond the level of cult status, yet thankfully they did leave behind a trio of albums that all true classic rock lovers should hear. Highly-recommended. STEFAN TURNER, STOKE NEWINGTON, 2013.
(progarchives.com/album.asp?id=4258) Review by stefro. August 9, 2013
The charms of the self-titled debut album was that is was presented as a complete piece of music where the organic whole was far greater than the sum of its parts. Not so here. The band has also lost its sense of urgency and this second album is far less interesting and far less memorable. In addition, this album is no longer Heavy Prog, since it is neither particularly heavy nor particularly Prog. Rather, it is more towards psychedelic pop with occasional heavy sections.
In its favour I should say that it is better recorded and produced, the instrumentation is a bit more interesting too, with more keyboards added to the mix. But this can hardly redeem this rather lacklustre effort. This is not poor, only not very interesting. Fans of Heavy Prog should stick with the first album.
(progarchives.com/album.asp?id=4258) Review by SouthSideoftheSky. December 31, 2008

01. Sufficiently Breathless (05:15)
02. Bright Blue Tango (04:11)
03. Drifting In Space (03:12)
04. Evil Men (04:51)
05. Starglow Energy (05:04)
06. Distant Sun (04:42)
07. Voyages Of Past Travellers (01:46)
08. Everything's A Circle (04:14)

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