War - War (1971)

Year: 1971 (CD 1992)
Label: Avenue Records, ARG Records (Europe), 74321 30737 2
Style: Rock, Rhythm and Blues, Funk
Country: Long Beach, California, U.S.
Time: 40:38
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

War (originally called Eric Burdon and War) is an American funk/soul/rock band from Long Beach, California, formed in 1969.
The band is known for several hit songs in the 1970s (including "Spill the Wine", "The World Is a Ghetto", "The Cisco Kid", "Why Can't We Be Friends?", "Low Rider", and "Summer"). A musical crossover band, War became known for its eclectic blend of different musical styles, an amalgam of the sounds and styles the band members heard living in the racially diverse ghettos of Los Angeles.
Their album The World Is a Ghetto was Billboard's best-selling album of 1973. The band transcended racial and cultural barriers with a multi-ethnic lineup. War was subject to many lineup changes over the course of its existence, leaving member Leroy "Lonnie" Jordan as the only original member in the current lineup; four other members created a new group called the Lowrider Band.
(en.wikipedia.org/wiki/War_(band)#Discography)

01. Sun Oh Son (05:59)
02. Lonely Feelin' (04:36)
03. Back Home (06:46)
04. War Drums (03:53)
05. Vibeka (08:04)
06. Fidel's Fantasy (11:17)

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Eric Burdon & War - The Black Man's Burdon [2CD] (1970)

Year: December 1970 (CD 1986)
Label: Far Out Productions, Inc. (Germany), 827 736-2
Style: Psychedelic Rock, Funk
Country: Long Beach, California, U.S.
Time: 44:43, 45:59
Format: Flac Tracks 16/44,1 kHz
Size: 262, 262 Mb

The Black-Man's Burdon is the second studio album and first double album by American band Eric Burdon and War, released in December 1970 on MGM Records. It was the last album by the group before Burdon left and the remaining band continued as War.
The title is a pun on The Black Man's Burden, an expression which refers to black slavery, used as the title of a book by E. D. Morel (1920) in response to the poem, "The White Man's Burden" (1899) by Rudyard Kipling, which refers to (and champions) western imperialism (including its history of slavery).
The album includes two suites based on songs by other artists: "Paint It Black" by the Rolling Stones, and "Nights in White Satin" by the Moody Blues, augmented by additional sections composed by the group. (Two similar suites appeared on the group's first album.) The extra material is mostly instrumental, except for "P.C. 3" (P.C. referring to Police Constable, a common abbreviation used in the United Kingdom), a risque poem recited (and probably written) by Burdon over the music. Two other songs include a gospel-style chorus credited as Sharon Scott and the Beautiful New Born Children of Southern California. Richie Unterberger of Allmusic says the album is "Composed mostly of sprawling psychedelic funk jams" and "it does find War mapping out much of the jazz/Latin/soul grooves...".
The front cover shows a black man in silhouette, while the back cover shows Burdon and a woman posed together: the woman sitting on a wall with her legs spread far apart, and Burdon (shirtless) resting the back of his head against her pelvis and gripping her ankles. The gatefold photo is somewhat risque, consisting of the group (mostly shirtless) in a field with two nude women lying in the grass.
The album also came with a numbered 7–inch by 3–inch "war bond" entitling the bearer to $1 off the admission of any War concert.
(en.wikipedia.org/wiki/The_Black-Man%27s_Burdon)

01. Black On Black On Black (02:04)
02. Paint It Black (02:04)
03. Laurel & Hardy (01:21)
04. Paint It Black II (01:10)
05. P.C. 3 (01:33)
06. Black Bird (02:13)
07. Paint It Black III (03:02)
08. Spirit (08:34)
09. Beautiful Newborn Child (05:09)
10. Nights In White Satin I (04:28)
11. Birds & The Squirel (02:45)
12. Nuts Seeds & Life (04:01)
13. Out Of Nowhere (03:21)
14. Night In White Satin II (02:52)

01. Sun - Moon (10:07)
02. Pretty Colours (06:47)
03. Gun (05:50)
04. Jimbo (04:54)
05. Bare Back Ride (07:12)
06. Home Cookin' (04:15)
07. They Can't Take Away Our Music (06:51)

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Edgar Winter - Edgar Winter's White Trash (1971)

Year: 1971 (CD 1989)
Label: Epic Records (US), EK 30512
Style: Blues Rock, Rock and Roll, Funk, Gospel
Country: Beaumont, Texas, U.S. (December 28, 1946)
Time: 43:30
Format: Flac Tracks 16/44,1 kHz
Size: 286 Mb

A quite brilliant album and no mistake and maybe the man’s most beloved of all his album releases that combines a heady mixture of rock, R&B, gospel and funk. When this album first appeared in 1971 it blew a breath of fresh air through the album releases of the time. Highlights include a smattering of gospel with Fly Away (featuring a full vocal chorus that adds the uplifting spirit of the track) and Save the Planet (a real rabble rousing song that demands that you jump off your chair and clap your hands in time to the words) on one side of the coin along with chart material such as the lower end of the Top 40 cut, Keep Playin’ That Rock and Roll while not forgetting the lovely Dying to Live that includes some fine piano work and pokes an effective dig at Vietnam, the cause celebre of the time.
In terms of audiophile reproduction, this track is a good example of the nature of the pressing which is effectively quiet without any blurring in the upper mids or smudging of the bass. There is a tremendous dynamic range in evidence here. Winter’s piano is accurate and tonally solid while Winter’s own vocal delivery is passionate, fervent but lusty in terms of the complexity that can be heard through those rasping vocal chords of his.
If there is one overarching personality of this album that links each track together, it is its joyous nature and sense of never-ending rhythm, a forward motion that also creates a perfect sense of escapism. I will bet that, before long, once you’ve learned a few lines of your own, you won’t be able to resist in singing along to much of this disc yourself.
(theaudiophileman.com/edgar-winters/)

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. Give It Everything You Got (04:32)
02. Fly Away (03:02)
03. Where Would I Be (03:59)
04. Let's Get It On (05:05)
05. I've Got News for You (03:56)
06. Save the Planet (05:41)
07. Dying to Live (04:04)
08. Keep Playin' That Rock 'n' Roll (03:46)
09. You Were My Light (05:02)
10. Good Morning Music (04:20)

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Glenn Hughes (Deep Purple) - Songs In The Key Of Rock [Japanise Ed.] (2003)

Year: 9 June 2003 (CD May 21, 2003)
Label: Canyon International (Japan), PCCY-01650
Style: Hard Rock, Garage Rock
Country: Cannock, Staffordshire, England (21 August 1951)
Time: 53:38
Format: Flac Tracks 16/44,1 kHz
Size: 392 Mb

Shug has been bigging this up around the rock press as his return to rock, the album his fans have been wanting him to make, how he's rediscovered his passion for The Rawk, and so on, ad nauseum. Which is complete and utter tosh. For as the title indicates, this is in fact Glenn's return to the glory days of Trapeze, fusing his love of rock, Stevie Wonder and funk, aligned to some sweet melodies, and above all else, the voice.
'Tis true, there are rockers, but they are actually the weaker numbers, especially the John Bonham tribute which veers sharply over the line between tribute and parody. However, faults are few and delights are many. So let's begin with the epic power funk ballad which will have grown men weeping into their beer, and women going weak at the knees. It's called "Written All Over Your Face", it lasts over eight minutes and it is a truly sublime piece of music which you absolutely have to own. No ifs, no buts, no maybes. Go get it. Now.
Right, you're back. Good. There's more top quality funk on "Get You Stoned", driven along by the powerful drumming of Red Hot Chili Pepper, Chad Smith. If there was any justice in this world, "Courageous" would be all over US radio, and a hit would be born. Horrifically catchy, I have found myself trying to hit notes that have been beyond me for 20 years. Nice.
The wistful, introspection of "The Truth" hits home hard, and is another melodic masterpiece. There's no indication of which guitarist plays which solo, so props have to go to both long standing alumni JJ Marsh, and the much travelled Jeff Kollman. Nice to see that Glenn plays bass all the way through and backing vocals are handled by former Santana bod, Alex Ligertwood.
This is by far, the best piece of solo work Glenn has produced in a long time with perhaps only 3 tracks out of 11 failing to pass muster. So, if you can get past the horrendous cover art, and yearn for the days when music got you higher, then this is essential. Oh, and yes there is a coda.
(deep-purple.net/Review-files/songs-in/key.htm)

01. In My Blood (04:39)
02. Lost In The Zone (04:26)
03. Gasoline (03:10)
04. Higher Places (05:04)
05. Get You Stoned (04:49)
06. Written All Over Your Face (08:33)
07. Standing On The Rock (03:46)
08. Courageous (04:25)
09. Change (Bonus Track) (04:35)
10. The Truth (03:28)
11. Wherever You Go (05:31)
12. Higher Places (Reprise) (01:08)

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Delaney & Bonnie & Friends - Motel Shot [Japan Ed.] (1971)

Year: March 1971 (CD Jun 25, 1998)
Label: Atco Records (Japan), AMCY-2765
Style: Blues, Gospel, Funk
Country: U.S.
Time: 45:52
Format: Flac Tracks 16/44,1 kHz
Size: 278 Mb

The magic of the late-night jam session is one of those rock & roll legends that, much like Bigfoot, doesn't have a lot of concrete evidence to support it. But Delaney & Bonnie believed in it strongly enough to try to put one on tape. Released in 1971, Motel Shot was intended to document the sound and vibe of the after-show jams that Mr. and Mrs. Bramlett often took part in while on the road. After an attempt to record one such jam in the living room of recording engineer Bruce Botnick, Delaney & Bonnie and their friends ended up doing it over again in a recording studio. But if Motel Shot doesn't seem as spontaneous as the principals wanted it to be, it does have a loose, playful feel that's honestly winning. The performances are almost entirely acoustic, and the set is dominated by traditional blues, gospel, and country standards that this crew could ease into comfortably and bend to their moods. Given that Delaney & Bonnie's friends for these sessions included Duane Allman, Leon Russell, John Hartford, Dave Mason, Gram Parsons, and Joe Cocker, it's no great surprise that this material is significantly more accomplished that most folks' musical goofing around, even if Jim Keltner is just slapping an empty box instead of playing a drum kit. And Delaney & Bonnie are both in fine voice on Motel Shot, passionate but very much in the moment, while the gospel jam of "Takin' About Jesus" features some powerful vocal interplay between Bonnie and Cocker. You can't plan a moment of spontaneous brilliance, but Delaney & Bonnie were just smart enough to know their muse didn't like to be forced, and Motel Shot is an admirable compromise between a 2 a.m. guitar pull and an acoustic studio session, and it was also their last truly effective album.
(allmusic.com/album/motel-shot-mw0000738488)

01. Where the Soul Never Dies (03:24)
02. Will the Circle be Unbroken (02:42)
03. Rock of Ages (02:17)
04. Long Road Ahead (03:25)
05. Faded Love (04:03)
06. Talkin' About Jesus (06:51)
07. Come on in My Kitchen (02:41)
08. Don't Decieve Me (Please Don't Go) (03:54)
09. Never Ending Song Of Love (03:20)
10. Sing My Way Home (04:02)
11. Going Down the Road Feeling Bad (05:12)
12. Lonesome and a Long Way From Home (03:55)

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