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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Camel - The Snow Goose (1975)

Year: May 1975 (CD March 1983)
Label: Deram Records (Germany), 800 080-2
Style: Art Rock, Symphonic Rock, Instrumental
Country: Guildford, Surrey, England
Time: 43:29
Format: Flac Tracks 16/44,1 kHz
Size: 230 Mb

Looking back the history, this album should be read as Camel music inspired by "The Snow Goose". Why? This concept album was composed with a reference to Paul Gallico’s Snow Goose. Right after the success of "Mirage" which stayed at Billboard’s Top 200 for a creditable 13 weeks peaked at 149, the band brainstormed the idea of making an acclaimed literary piece concept album. Peter Bardens voted for Steppen Wolf’s but Ferguson and Latimer proposed Paul Gallico’s. So the band created the music that revolved around The Snow Goose. Unfortunately, their record label failed to sign a deal with Gallico’s publishers in the hope of obtaining official blessing for the project, ideally having the author pen a sleeve note and possibly arrange a tie-in between album and tome. That’s why this tribute to our feathered friends had its title prefaced "Music Inspired By" and remained wholy wordless. [sleeve note].
Nevertheless, the streams of music featured in this album is a good one to enjoy and you may have a rewarding experience throughout some tracks. It starts off with an ambient "The Great Marsh" (2:02) which to me personally sounds like an opener for the whole atmosphere of the album. No one would argue that "Rhayader" (3:01) is an excellent track which has powerful melody combining flute, guitar and organ performed in classical influence music with medium tempo. This song has characterized the seventies music altogether with other common songs from Genesis or Yes or ELP or Pink Floyd. I used to associate this song with "Bouree" by Jethro Tull at that time because both of them are flute-based music. "Rhayader Goes To Town" (5:20) is a logical follow- up to Rhayader as it brings the music into faster tempo with great combination of guitar and organ solo with energetic beats. These two songs must be enjoyed in its entirety.
"Sanctuary" (1:05) and "Fritha" (1:19) are songs that I consider as bridges that connect to title track "The Snow Goose" (3:12) which contains guitar solo augmented with long sustain organ in the vein of Jan Akermann of Focus. Cool guitar-based instrumental. "Friendship" (1:44) is a bit boring exploration of keyboard / organ whicch may have more meaning if we can associate with certain part of the story - say our goose was running away or swimming quickly . things like that. Otherwise, it’s a meaningless bridge. "Migration" (2:01) brings the music into up-beat style followed nicely with a cool quiet passage "Rhayader Alone" (1:50). "Flight Of The Snow Goose" (2:40) explores Bardens’ keyboard virtuosity followed with good guitar fills that bring the melody of the music combined with a bit spacey keyboard work.
"Preparation" (3:58) is to me like a theme song that brings the introduction to the next track "Dunkirk" (5:19) with the use of Hammond organ as basic rhythm section plus some howling guitar work followed with guitar solo. The song is dominated with keyboard work even though guitar fills some parts and serves as melody in some other parts. It’s a good track. "Epitaph" (2:07) and "Fritha Alone" (1:40) are bridges to upbeat music with keyboard solo in "La Princesse Perdue" (4:44). Again, I can smell a similarity with Focus music, especially the guitar part. "The Great Marsh" (1:20) concludes the album with an exploration of nature sounds .
Overall, through this album the band has demonstrated their capability to maintain their creation on par excellent with their previous album "Mirage". The album offers good combined work between organ and guitar performed in various styles. The music is cohesive to support a concept album. I think this album should be "in" any prog collection as it was one of the icons in the seventies that anyone should not miss. Recommended.
(classicrockreview.wordpress.com/category/camel-the-snow-goose/)

01. The Great Marsh (02:02)
02. Rhayader (03:01)
03. Rhayader Goes To Town (05:20)
04. Sanctuary (01:05)
05. Fritha (01:19)
06. The Snow Goose (03:12)
07. Friendship (01:44)
08. Migration (02:01)
09. Rhayader Alone (01:50)
10. Flight Of The Snow Goose (02:40)
11. Preparation (03:58)
12. Dunkirk (05:19)
13. Epitaph (02:07)
14. Fritha Alone (01:40)
15. La Princesse Perdue (04:44)
16. The Great Marsh (01:20)

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Benny Andersson (ABBA) - Piano (2017)

Year: 29 September 2017 (CD 2017)
Label: Mono Music (Sweden), 479 8143
Style: Classical, Instrumental, Piano Music
Country: Stockholm, Sweden (16 December 1946)
Time: 76:48
Format: Flac Tracks 16/44,1 kHz
Size: 253 Mb

Provided it’s played by a virtuoso, the Piano is one of the most beautiful acoustic instruments to ever grace humanity. As far as virtuosos go, it’s fair to say that Benny Andersson fits that description for his musical prowess is legendary.
While Andersson is clearly the focus here, Piano delivers a collection of songs that were not only written by Andersson but penned in collaboration with other exceptional tunesmiths. From ABBA to Benny Anderssons Orkester to Chess, Piano is a life’s work, reworked for the piano, and it is nothing short of spectacular.
More often than not, however, music is appreciated in the background to numerous other aspects of our lives, but if you have the opportunity to sit and listen, this album will not only captivate you but will likely bring you to tears.
(full version: subjectivesounds.com/musicblog/benny-andersson-piano-album-review)

01. I Let The Music Speak (03:33)
02. You And I (06:43)
03. Aldrig (04:04)
04. Thank You For The Music (03:43)
05. Stockholm By Night (03:15)
06. Chess (03:57)
07. The Day Before You Came (04:36)
08. Someone Else's Story (03:48)
09. Midnattsdans (03:24)
10. Malarskolan (02:12)
11. I Wonder (Departure) (03:43)
12. Embassy Lament (01:27)
13. Anthem (03:19)
14. My Love, My Life (03:46)
15. Mountain Duet (04:33)
16. Flickornas Rum (02:13)
17. Efter Regnet (02:37)
18. Trostevisa (03:33)
19. En Skrift I Snon (05:14)
20. Happy New Year (03:14)
21. I Gott Bevar (03:45)

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The Royal Philharmonic Orchestra - Plays Hits Of Pink Floyd (1994)

Year: 1996 (CD 1994)
Label: Edel Company (Germany), 0028382EDL
Style: Modern Classical, Instrumental, Classical Pop
Country: London, England, UK
Time: 51:09
Format: Flac Tracks 16/44,1 kHz
Size: 318 Mb

I would not have been a massive fan of Floyd although I have some of their albums. However the real strength is that the Royal Phil have captured much of the essence of the original pieces - many of which are excellent stand alone songs on their own. When you put them together into over 50 minutes of music it becomes a rich musical experience which can be enjoyed time and time again. I do not know what Floyd think of the CD but I would argue that it is an incredible tribute to their achievements. It has encouraged me to seek out more CD's by the Royal Phil on other artists. Well done to Pink Floyd to giving us such great music. Well done to the Royal Phil for giving us such a great recording of magnificent music.
(amazon.co.uk/Royal-Philharmonic-Orchestra-Plays-Floyd/dp/B000026BEU) Review by I. Drysdale. Reviewed in the United Kingdom on 21 November 2010
I originally bought this album on a somewhat dull supermarket trip. That was 3 weeks ago and it has hardly been turned off since! In my eyes and ears it takes something special to divert my attention away from the original recordings of Floyd, but this cd is a wonderful and beautiful rendition of the bands greatest songs. For both fans and lovers of classical music this album deserves to be listened to. A definite 5 stars!
(amazon.co.uk/Royal-Philharmonic-Orchestra-Plays-Floyd/dp/B000026BEU) Review by  Think Pink. Reviewed in the United Kingdom on 16 December 2003

01. Shine On You Crazy Diamond (09:42)
02. Money (05:05)
03. Us & Them (06:16)
04. Hey You (04:31)
05. Another Brick In The Wall (06:54)
06. Wish You Were Here (04:25)
07. Time (05:50)
08. The Great Gig In The Sky (04:15)
09. In The Flesh (04:06)

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Benny Anderssons Orkester (ABBA) - Benny Anderssons Orkester (2001)

Year: 28 June 2001 (CD 2001)
Label: Mono Music (Sweden), MMCD 017
Style: Folk Pop, Classical, Jazz, Instrumental
Country: Stockholm, Sweden (16 December 1946)
Time: 47:21
Format: Flac Tracks 16/44,1 kHz
Size: 255 Mb

Charts: SWE #1; Time in weeks: 55; Gold (26 September 2001), Platinum (29 January 2002).
Benny Anderssons orkester, a folk music group founded in 2001 by former ABBA member Benny Andersson, follows the style of Andersson's two solo albums from the 1980s, Klinga mina klockor and November 1989. The album combines traditional Swedish folk music with classical, pop und jazz influences. Out of the 14 tracks on the album, 12 are instrumentals and two ("Var sista dans" and "Latt som en sommarfjaril") feature vocals by Helen Sjoholm, who played the role of Kristina in the musical Kristina fran Duvemala, written by Andersson and former ABBA colleague Bjorn Ulvaeus. Ulvaeus is credited on this album as well, writing the lyrics for the two aforementioned tracks. All music is composed by Benny Andersson, who also produced the album.
The album was recorded on two weekends in the spring of 2001 at Atlantis Studios in Stockholm. This studio, formerly known as Metronome Studio, was the location of many recording sessions for ABBA up until 1976. According to Andersson (the "Kapellmastaren", as he calls himself in the booklet), the recording of the album was "live", which means that all the instruments (including Helen Sjoholm's vocals) were recorded at the same time, in one session. Only slight changes were made afterwards, when the album was finally mixed at Andersson's Mono Music Studios.
Various recordings from this album have also been included on film soundtracks. The film Sanger fran andra vaningen by Roy Andersson includes "Sang fran andra vaningen", "Laureen" and "Tosabiten", and the film Nu ar pappa trott igen by Marie-Louise Ekman features "Cirkus finemang" and "P.S.".
The song "Briggens blaogda blonda kapten" is a tribute to Gorel Hanser (the "blue-eyed, blonde captain", as the title puts it), who has worked together with Andersson and ABBA since the 1970s. To this day, she is responsible for the business aspects of many of Andersson's productions. One of the largest, "Briggenteater Produktion", is responsible for Andersson and Ulvaeus's three musical theatre projects Kristina fran Duvemala, Chess and Mamma Mia!.
The album's opening track, "Hardangervidda", is named after the famous Hardangervidda mountain plateau in Norway. Both vocal tracks on the album were later re-recorded with English lyrics.
(en.wikipedia.org/wiki/Benny_Anderssons_orkester_(album))

01. Hardangervidda (04:09)
02. Snedseglarn (02:46)
03. Cirkus Finemang (04:19)
04. Var Sista Dans (04:49)
05. Briggens Blaogda Blonda Kapten (03:52)
06. Knasluvan (01:56)
07. Anitas Polska (03:17)
08. Schottis I Tyrolen (02:56)
09. Sang Fran Andra Vaningen (03:46)
10. Lauren (04:28)
11. Tosabiten (03:08)
12. Nya Manvalsen (03:06)
13. Latt Som En Sommarfjaril (03:41)
14. P.S. (01:02)

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Brand X (Phil Collins) - Do They Hurt [Japanese Ed. SHM-CD] (1980)

Year: 18 April 1980 (CD July 30, 2014)
Label: Universal Music (Japan), UICY-76417
Style: Jazz Rock, Progressive Rock
Country: London, England
Time: 39:56
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

Do They Hurt? (1980) is the fifth album by the British jazz fusion group Brand X. The tracks on this album are outtakes from the Product sessions. ("Noddy Goes to Sweden" was a B-side from Product.)
(en.wikipedia.org/wiki/Do_They_Hurt%3F)
BRAND X is, no doubt about it, one the most original and well-known British groups of the seventies jazz/rock fusion scene. Made of musicians that are technicians at their respective instruments and that are as inspired as talented. There are really 2 BRAND X formations... the one from the mid 70s and the 1992 BRAND X. The original line-up of the band was formed by drummer Phil COLLINS of GENESIS with John GOODSALL (former ATOMIC ROOSTER) on guitar, Robin LUMLEY (a David BOWIE collaborator) on keyboards and Percy JONES (ex-LIVERPOOL SCENE) on bass. For them, the joy of playing and writing together was the main motivation. With various personnel permutations, they made typical progressive rock albums... all worth hearing! The 1992 BRAND X is GOODSALL, JONES and drummer Frank KATZ.
The band's discography starts in 1976 with "Unorthodox Behaviour" and goes on a year later with "Morrocan Poll", probably one of their best. "Is There Anything About" is the last release from this legendary jazz-rock band. After almost ten years of absence during the Eighties, "Xcommunication" is the return of BRAND X under the economical format of a trio (GOODSALL, JONES, and KATZ). They released a CD that is almost as good than on previous releases. "The X-Files" is a disc of live recordings and a disc of unreleased material. What else can be said, apart from the fact that it is another masterpiece in the Legend's discography.
(progarchives.com/artist.asp?id=660)

01. Noddy Goes To Sweden (04:30)
02. Voidarama (04:26)
03. Act Of Will (04:45)
04. Fragile (05:27)
05. Cambodia (04:34)
06. Triumphant Limp (07:32)
07. D.M.Z. (08:39)

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Benny Andersson (ABBA) - November 1989 (1989)

Year: 1989 (CD 1989)
Label: Mono Music (Sweden), MMCD 003
Style: Folk, Classical, Instrumental
Country: Stockholm, Sweden (16 December 1946)
Time: 34:54
Format: Flac Tracks 16/44,1 kHz
Size: 179 Mb

November 1989 is an album by Benny Andersson that released in 1989. This album of Swedish folk music was a hit in Scandinavia. The first track, "Skallgeng", was used to open the 2022 virtual concert residency ABBA Voyage. Word meaning search party (lit. echo walk).
(en.wikipedia.org/wiki/November_1989_(album))
Benny's second solo album "November 1989" was finished. The track "Stockholm By Night" is from the film "Den hemliga vannen" (The secret friend). "Malarskolan" is music from a TV series. He received a Grammy award in Sweden for this record.
(abba-intermezzo.de/estory.htm)

01. Skallgеng (03:44)
02. Machopolska (03:19)
03. Vals Efter Efraim Andersson (03:40)
04. Sekelskiftesidyll (03:25)
05. Dans Pе Vindbryggan (02:29)
06. Stjuls (02:57)
07. Trostevisa (03:46)
08. Mеlarskolan (02:33)
09. Novell #1 (02:02)
10. The conducator (03:57)
11. Stockholm By Night (02:57)

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Harvey Mandel - Feel The Sound (1974)

Year: 1974 (CD 1989)
Label: Line Records (West Germany), JACD 9.00799 O
Style: Blues Rock, Progressive Rock, Jazz-Rock
Country: Detroit, Michigan, U.S. (March 11, 1945)
Time: 29:28
Format: Flac Tracks 16/44,1 kHz
Size: 173 Mb

This album reminds me very much of the Jeff Beck release "Rough and Ready". The reason is the vocalist sounds very much like Beck's vocalist Bobby Tench from that album. And that is a compliment to all parties involved. Love the Beck album and I love this one by Harvey. Mr. Mandel is criminally unknown. Easily makes my top ten favorite guitarist list. This is a classic 70's release. Harvey is tapping his ass off here and it's obvious Eddie Van Halen was listening. He used to watch Harvey live at the Whiskey in L.A. In the early 70's. Be nice if he would ever mention Harvey as a huge influence. What a douche. Anyway, if you love blues/rock guitar with jazz chops make a point to hunt this down. You will not be disappointed. Thank you Harvey.
(amazon.co.uk/Feel-Sound-Harvey-Mandel/dp/B01G93QDI4)

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. Got To Be Bad (03:53)
02. Sore Throat (02:35)
03. Just Wanna Be There (04:28)
04. Candles By The Bedside (04:07)
05. Feel The Sound (06:02)
06. I Got Your Slot (02:53)
07. Rankachank Blues (02:50)
08. Forever And Forever (02:36)

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Brand X (Phil Collins) - Product [Japanese Ed. SHM-CD] (1979)

Year: 14 September 1979 (CD July 30, 2014)
Label: Universal Music (Japan), UICY-76416
Style: Jazz Rock, Progressive Rock
Country: London, England
Time: 47:18
Format: Flac Tracks 16/44,1 kHz
Size: 295 Mb

It features primary member Phil Collins back once again on drums following his absence on Masques. Drummer Mike Clark and bassist John Giblin also appear on this album. Two of the album's tracks - "Soho" and "Wal to Wal" - were largely recorded at Phil Collins' Old Croft home in Shalford, Surrey.
Brand X were a British jazz rock band formed in London in 1974. They were initially active until 1980, followed by reformations between 1992–1999 and 2016–2021.
Despite sometimes being considered to be a Phil Collins side project (due to Collins' participation as drummer between 1975 and 1977 in between his commitments to Genesis), the band was in fact centred on a core composing/playing trio of John Goodsall (guitar), Percy Jones (bass) and Robin Lumley (keyboards), with Lumley also playing a prominent production role.
Jones would ultimately remain the sole constant member throughout Brand X's existence (both during the original 1970s run and throughout the assorted twenty-first century reunions), with Goodsall and Lumley playing a part in most of the albums and tours. Jones ended all Brand X activities in 2020, despite resistance from the band's management and their attempts to revive the band with all-new personnel. Jones is now the sole surviving core member, with John Goodsall having died on 10 November 2021 and Robin Lumley having died on 9 March 2023.
(en.wikipedia.org/wiki/Product_(Brand_X_album))

01. Don't Make Waves (05:31)
02. Dance Of The Illegal Aliens (07:50)
03. Soho (03:42)
04. Not Good Enough-See Me! (07:31)
05. Algon (Where An Ordinary Cup Of Drinking Chocolate Costs 8,000,000,000) (06:11)
06. Rhesus Perplexus (04:02)
07. Wal To Wal (03:15)
08. ... And So To F... (06:32)
09. April (02:41)

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Harvey Mandel - Shangrenade (1973)

Year: 1973 (CD 1998)
Label: Repertoire Records (Germany), REP 4712-WG
Style: Jazz-Rock, Instrumental
Country: Detroit, Michigan, U.S. (March 11, 1945)
Time: 31:21
Format: Flac Tracks 16/44,1 kHz
Size: 209 Mb

Mr. Mandel made some sweet music with Canned Heat and he also made some super solo jazzy blues rock platters. This great musician doesn't seem to have received the accolades he deserves. I can't stress enough how good these solo albums are if you are into well played funky/jazzy/jammy, blues rock. I would recommend any of Mr. Mandel's early (70's) recordings to any guitar freak. I believe they are that good.
Review by rod45. Dec 30 2016 . 4/5
When I first listened to this particular album of his and I was completely blown away by his playing. This collection of fusion inspired funk rock tracks should grace any list of best instrumental albums. Mandels use of tapping predates almost any other recorded music and his use of it has to be heard to be believed. Highly recommended to any guitar freak or fan of instrumental music.
Review by SixStringMark. Dec 26 2007. 4/5
Why does this album not show up in all the lists of essential guitar albums? Shangrenade is an album of great instrumental music and wonderful guitar innovation. At the time of it's release, no one was using the two handed finger tapping technique that Mandel had mastered. The album was truely years ahead of it's time. Today, many guitarists routinely use the techniques that originated with this album. Even if you are not a guitar player and cannot appreciate the innovative playing, this album is still a gem to listen to. A classic jazzy funky rock instrumental record. It has always been one of my personal favorites.
Review by the_odd_box. Nov 29 2007. 5/5
(rateyourmusic.com/release/album/harvey-mandel/shangrenade-2/)

01. What The Funk (03:06)
02. Fish Walk (04:46)
03. Sugarloaf (04:16)
04. Midnight Sun (Version 2) (03:42)
05. Million Dollar Feeling (03:32)
06. Green Apple Quickstep (03:09)
07. Frenzy (04:32)
08. Shangrenade (04:14)

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Brand X - Masques [Japanese Ed. SHM-CD] (1978)

Year: 8 September 1978 (CD July 30, 2014)
Label: Universal Music (Japan), UICY-76415
Style: Jazz Rock, Instrumental, Progressive Rock
Country: London, England
Time: 49:07
Format: Flac Tracks 16/44,1 kHz
Size: 307 Mb

After a couple of really well-working Brand X releases, the band went on a bit different path than before with "Masques". This album can be seen as a tighter, quirkier and harder release but still with the usual Brand X playfulness and the amazingly solid instrumentation. Phil Collins was too busy with Genesis at the time for this release that he got replaced by Chuck Burgi, a superb drummer who does a mind-boggling performance here, up to pair with Collins I would say. Collins returned after this release.
This might be the most complex Brand X album, stuffed with odd time signatures. The songs are well composed and structured with a great sense of melody too, in Brand X' usual quirky style, of course! There are no really weak tracks here, with the possible exception of the minimalistic noodling title track. Otherwise, "Masques" reminds on of their best releases in their discography!
(progarchives.com/album.asp?id=3476) My rating: 4.5/5, rounded up to 5 for being so underrated. Review by Bj-1. March 19, 2005

01. The Poke (05:11)
02. Masques (03:16)
03. Black Moon (04:49)
04. Deadly Nightshade (11:21)
05. Earth Dance (06:09)
06. Access To Data (08:02)
07. The Ghost Of Mayfield Lodge (10:16)

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Brand X (Phil Collins) - Moroccan Roll [Japanese Ed. SHM-CD] (1977)

Year: April 1977 (CD July 30, 2014)
Label: Universal Music (Japan), UICY-76413
Style: Jazz Rock, Instrumental, Progressive Rock
Country: London, England
Time: 49:29
Format: Flac Tracks 16/44,1 kHz
Size: 318 Mb

Moroccan Roll is the second studio album by British jazz fusion group Brand X. The title is a pun referring to this being their second album: "more rock and roll", however, Moroccan Roll is not a step toward the rock and roll side of the fusion equation, but rather an experiment with Eastern sounds and softer textures. The album is mostly instrumental. "Sun in the Night" contains vocals sung by Brand X drummer Phil Collins in Sanskrit. "Disco Suicide" and "Maybe I'll Lend You Mine After All" also contain vocals, although they are wordless.
Brand X were a British jazz rock band formed in London in 1974. They were initially active until 1980, followed by reformations between 1992–1999 and 2016–2021.
Despite sometimes being considered to be a Phil Collins side project (due to Collins' participation as drummer between 1975 and 1977 in between his commitments to Genesis), the band was in fact centred on a core composing/playing trio of John Goodsall (guitar), Percy Jones (bass) and Robin Lumley (keyboards).
(en.wikipedia.org/wiki/Brand_X)

01. Sun In The Night (04:25)
02. Why Should I Lend You Mine (When You've Broken Yours Off Already) (11:20)
03. ...Maybe I'll Lend You Mine After All (02:04)
04. Hate Zone (04:41)
05. Collapsar (01:34)
06. Disco Suicide (07:54)
07. Orbits (01:37)
08. Malaga Virgen (08:27)
09. Macrocosm (07:23)

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Ginger Baker (ex Cream) - Falling Off The Roof (1996)

Year: 1996 (CD 1996)
Label: Atlantic Records (Germany), 7567-82900-2
Style: Instrumental, Jazz, Jazz Rock
Country: Lewisham, South London, England (19 August 1939 - 6 October 2019)
Time: 57:55
Format: Flac Tracks 16/44,1 kHz
Size: 370 Mb

It is credited to his trio, which included Charlie Haden on bass and Bill Frisell on guitar. It peaked at No. 13 on Billboard's Top Jazz Albums chart.
The album was produced by Baker and Malcolm Cecil and included original songs from each member of the trio. Baker fell off the roof of his Parker, Colorado, home three days prior to the start of the Seattle recording sessions; he played while dealing with the effects of a concussion and a broken rib. The album was finished in Los Angeles, in a studio next to one that was being used by Guns N' Roses. Baker liked neither the studio nor the musical style of the drummers used by Guns N' Roses. Jerry Hahn played guitar on "Sunday at the Hillcrest". Bela Fleck played banjo on three of the tracks. "Bemsha Swing" is a version of the Thelonious Monk composition. "Vino Vecchio" is a reworking of Cream's "Sweet Wine". "Au Privave" was written by Charlie Parker.
(en.wikipedia.org/wiki/Falling_Off_the_Roof)

01. Falling off the Roof (04:00)
02. Amarillo Barbados (04:41)
03. Bemsha Swing (04:21)
04. Sunday at the Hillcrest (05:54)
05. Au Privave (03:06)
06. Our Spanish Love Song (05:21)
07. Cbc Mimps (06:49)
08. Skeleton (05:57)
09. Vino Becchio (03:56)
10. The Day the Sun Come Out (08:23)
11. Taney County (05:23)

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Steve Hillage - For To Next / And Not Or [2LP on 1CD] (1983)

Year: March 1983 (CD 2007)
Label: Virgin Records (Europe), CDVR 2244, 00946-373463-2-7
Style: Progressive Rock, Electronic, Instrumental
Country: Chingford, Essex, England (2 August 1951)
Time: 79:05
Format: Flac Tracks 16/44,1 kHz
Size: 520 Mb

For To Next is the seventh studio album by British progressive rock musician Steve Hillage, released by Virgin Records in March 1983. It was released simultaneously with the instrumental companion album And Not Or. The two albums have been released as a double album and on a single CD.
For To Next and And Not Or are the last studio albums issued under Hillage's own name. The titles were derived from the BASIC programming language and reflect the pair's move into computer-based music production, this being mainly synthetic except for Hillage's guitar.
(en.wikipedia.org/wiki/For_To_Next)

01. These Uncharted Lands (05:38)
02. Kamikaze Eyes (04:50)
03. Alone (05:21)
04. Anthems For The Blind (04:30)
05. Bright Future (05:08)
06. Frame By Frame (05:52)
07. Waiting (05:24)
08. Glory (06:28)
09. Before The Storm (07:06)
10. Red Admiral (06:11)
11. Serotonin (05:37)
12. And Not Or (06:27)
13. Knights Templar (04:32)
14. Still Golden (05:54)

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Harvey Mandel - Cristo Redentor (1968)

Year: 1968 (CD 2003)
Label: Raven Records (Australia), RVCD-163
Style: Psychedelic Rock, Instrumental
Country: Detroit, Michigan, U.S. (March 11, 1945)
Time: 77:02
Format: Flac Tracks 16/44,1 kHz
Size: 424 Mb

Cristo Redentor is the debut album by Harvey Mandel. Richie Unterberger of AllMusic writes that "Mandel's debut remains his best early work." John Tobler wrote in the liner notes of the CD that Mandel "was good enough to be invited to audition for The Rolling Stones and he worked with John Mayall and Canned Heat - but it is for this Cristo Redentor album, and particularly for the utterly classic Wade in the Water that he will be remembered." This album is completely instrumental with the exception of the title track where soprano Jacqueline May Allen, joined by Carolyn Willis, Edna Wright and Julia Tillman Waters, blend their wordless voices as if another instrument.
(en.wikipedia.org/wiki/Cristo_Redentor_(album))
This is an Australian release. Compared to the original vinyl, the track order has been changed and 8 bonus tracks have been added.

01. Wade In The Water (07:52)
02. Lights Out (04:56)
03. Bradley's Barn (03:20)
04. You Can't Tell Me (04:22)
05. Nashville 1 A.M. (03:41)
06. Cristo Redentor (03:50)
07. Before Six (06:31)
08. The Lark (04:42)
09. Snake (03:49)
10. Long Wait (02:48)
11. Spirit of Trane (04:04)
12. My Time Ain't Long (03:50)
13. Let's Work Together (02:52)
14. That's All Right (05:33)
15. A Little Soul Food (04:07)
16. What Comes Around Goes Around (04:24)
17. My Soul's On Fire (04:16)
18. Which Witch is Which (01:57)

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Brand X - Livestock [japanese Ed. SHM-CD] (1977)

Year: 18 November 1977 (CD July 30, 2014)
Label: Universal Music (Japan), UICY-76414
Style: Jazz Rock, Instrumental, Progressive Rock
Country: London, England
Time: 41:35
Format: Flac Tracks 16/44,1 kHz
Size: 253 Mb

Excellent live album, though only two of the songs are from their studio albums ("Euthanasia Waltz" from 'Unorthodox Behaviour' and "Malaga Virgen" from 'Moroccan Roll') . The rest is new material, but is equally as good as the two tracks i just mentioned. Performances are faultless and sound quality is excellent. The drumming is split between Phil Collins and Kenwood Dennard, and both does a great job on this album. This is a very varied, but still even album and the compositions are all excellent! A burst of energy and fire!
This is high-quality fusion at it's best though not 100% perfect (a couple of parts are slighlty weaker than other parts, but still very good). Overall: 4.75 stars - Should be included in any prog collection that features Jazz-Rock!
(progarchives.com/album.asp?id=3475) Review by Bj-1. November 22, 2005

Most of it sounds as if it were recorded in the VERY early hours, in a darkened cellar. There's no interaction with the audience and very few attempts to enliven the original studio tracks. Only "Euthanasia Waltz" (off UNORTHODOX BEHAVIOUR) is given an extra dimension, with the help of a truly ecstatic guitar solo by John Goodsall, while "Malaga Virgen" (from MOROCCAN ROLL) benefits from some jaunty playing by Messrs. Dennard and Jones. (I believe the bass is mixed closer to the front than on the band's studio albums, which helps.) Both of these tracks also acquire more colour through Morris Pert's remarkable playing. Apart from these things, the rest of the album is a low-key affair. As far as I know, the opening tracks, "Nightmare Patrol" and "-Ish", cannot be found anywhere else. They're OK tracks, much in the same spirit as Brand X's early studio work, but they don't exactly set my heart on fire, if you catch my drift.
Between the tracks you'll hear the roar of what seems to be an enormous crowd. ("Euthanasia Waltz" simply gets faded out, without applause or explanation.) How strange that such an audience remained completely silent during the actual performances! Perhaps they were all totally serious guys with beards, merely nodding along sagely...
I'm a bit surprised Brand X didn't light too many sparks on stage. Devoted fans will need LIVESTOCK, if only for its (literally) unique material, but I can't help thinking the collection was scraped together in a hurry. The obligatory Hipgnosis cover makes the album look even more depressing. Aimless releases like this make you understand why the world used to cry out for the likes of Ian Dury, Madness and the Pretenders.
(progarchives.com/album.asp?id=3475) Review by fuxi. October 29, 2010

01. Nightmare Patrol (08:04)
02. -Ish (08:33)
03. Euthanasia Waltz (05:27)
04. Isis Mourning i (05:36)
05. Isis Mourning ii (04:45)
06. Malaga Virgen (09:07)

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Brand X (Phil Collins) - Unorthodox Behaviour (1976)

Year: 18 June 1976 (CD 1996)
Label: Virgin Records (UK), CASCD1117
Style: Jazz Rock, Instrumental, Progressive Rock
Country: London, England
Time: 41:05
Format: Flac Tracks 16/44,1 kHz
Size: 221 Mb

The 70’s jazz fusion flavour is audible right away when Nuclear Burn (6:23) begins. You hear and feel that the bass is not played by an ordinary bass player. Percy Jones has his very own sound and he plays quite fast. Guitar and keyboards only accompany him until the chorus (if you can speak of a chorus in an instrumental) when Goodsall (guitar) and Lumley (keyboards) take over the track! Collins’s drum sound is quite different from his Genesis sound. He works the snare and the hi-hat a lot and not so much with the toms. You can hear it here in the opening track what a fantastic and sympathetic drummer he used to be. The track ends in what seems to be a jam, but probably was written like that. You can hear the influence of Pat Metheny and Weather Report. It is jazz, but it is also rock – jazz rock or fusion music.
Euthanasia Waltz (5:42) is much calmer. An acoustic guitar is the dominant instrument before a well-rounded solo on the electric piano comes in and leads the track into a seemingly improvised jam before the track returns to the electric guitar. Phil whirls across the snare and adds highlights on the ride cymbals. The remarkable bass comes in only in the second third of the track and plays a solo. In the end the contemplative initial motive returns on the acoustic guitar.
Born Ugly (8:18) is the second longest track on the album. A very groovy number. It is best described as a session with a structure. The middle part is a bit psychedelic as the band weave a large soundscape with growing intensity. Phil then destroys this calm with his drums. The guitar solo may have been influenced by Indian music; in fact, it even sounds like a sitar in places. The track sounds like a complete improvisation by musicians who already rely blindly on each other on this their first album.
Smacks Of Euphoric Hysteria (4:30) is one of the shorter tracks. It has a slow groove. Phil’s drums are in the front; he plays a number of riffs on the toms. There is an obvious intention to give each musician more or less the same time in the centre spot. The album does not contain any track that is dominated by just one instrument.
The title track is the longest on the record (8:29). It begins quiet and even tentative and builds up a tension that is broken up suddenly by Phil’s drumming. A dialogue develops between the guitar and the keyboards; bass and drums occasionally pop in. Collins and Jones work together marvellously. This is another track that sounds like an improvised jam that all the musicians really enjoy. Some listeners may find the track too long with too many repetitions. The band really let down their hair on this one!
Running On Three is a shorter, fast track in which bass and drums play intriguing roles. The keyboards share the melodic work; a guitar solo rocks the middle bridge. The overall impression is a jazz jam.
The final track of the debut album is called Touch Wood. It begins with some (seemingly) chaotic acoustic guitar over ethereal piano sounds. Half the track passes before something like a structure emerges. A soprano saxophone comes in. The bass is played like a percussive instrument. There are no drums. The only percussion instrument you hear – briefly – is a shaker that oscillates between the left and right speakers. The track fades after 3:04 minutes and leaves the listener with silence.
(Full version: www.genesis-news.com/c-Brand-X-Unorthodox-Behaviour-Album-Review-s742.html)

01. Nuclear Burn (06:23)
02. Euthanasia Waltz (05:42)
03. Born Ugly (08:15)
04. Smacks Of Euphoric Hysteria (04:30)
05. Unorthodox Behaviour (08:29)
06. Running Of Three (04:38)
07. Touch Wood (03:04)

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