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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Grateful Dead - Aoxomoxoa [HDCD 4 bonus tracks] (1969)

♪ Year: June 20, 1969 (CD 2003)
♪ Label: Rhino Records (Germany), 8122-74394-2
♪ Style: Psychedelic Rock, Acid Rock
♪ Country: Palo Alto, California, U.S.
♪ Time: 79:24
♪ Format: Flac Tracks 16/44,1 kHz
♪ Size: 503 Mb

This is a mildly surprising collection of music, essentially because it is so mellowed. The tunes are soft and gentle, the lyrics graciously decipherable, the vocals hesitant and wavering. There is a remarkable lack of harshly inflected rhythms and scalding guitar, for which the Dead have been so justly famed. Instead, Axoxomoxa is a wider application of the ideas we saw in Anthem of The Sun: long, dreamy ballads, occasionally interspersed with rock passages, but more often content to float their own ethereal way. Very different, a bit sadly, from the driving power of the first album. But this third one is a delight. It's filled with surreal (What's Become Of The Baby) and romantic visions (Mountains Of The Moon), rural whimsy and funk, and some great old blues (Dupree's Diamond Blues and Cosmic Charlie).
Somehow, the Grateful Dead have done the impossible. They've kept their standards in the face of white-hot pressures to change. Not only have they remained an intact musical unit, they've improved their skills and sharpened and adjusted their technique, all of which indicates that they have retained their sanity. I find that pretty amazing.
Heavily in debt, much of it from back taxes, seeing their community fall down around them, the Dead have willingly and happily played innumerable benefits and free concerts in the park (Golden Gate), because they love the music. When a human being takes this course of action, when he faces and withstands the demands to mold himself to the social main-current, concentrating only on the realization of his constructive ideas, you call him by one word: artist. The Dead are artists. They've ignored packaging trends, preferring to wrap their albums simply, without folding covers and other little goodies. They've made no media appearances, save for three, which I can remember: a KPIX special on the Haight, some two years ago; an Irving Penn photographic essay, titled "The Incredibles," in Look; and about 10 seconds on a CBS documentary of Bill Graham. The Grateful Dead are considered, very simply, poor commercial material and a sight from which the eyes of America's children must somehow be shielded.
(full version: deadsources.blogspot.com/2024/10/1969-aoxomoxoa-review.html)

01. St. Stephen (04:27)
02. Dupree's Diamond Blues (03:34)
03. Rosemary (02:00)
04. Doin' That Rag (04:44)
05. Mountains of the Moon (04:04)
06. China Cat Sunflower (03:42)
07. What's Become of the Baby (08:13)
08. Cosmic Charlie (05:44)
09. Clementine Jam (10:51)
10. Nobody's Spoonful Jam (10:09)
11. The Eleven Jam (15:05)
12. Cosmic Charlie [Live] (06:47)

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Daevid Allen (Gong, Soft Machine) - Banana Moon (1971)

Year: July 1971 (CD 1995)
Label: Spalax Music (France), 14945
Style: Progressive Rock, Garage Rock
Country: Melbourne, Australia (13 January 1938 - 13 March 2015)
Time: 38:32
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

When he's eventually popped his clogs (for the man turns 76 in a few days from now), Daevid Allen may only ever be remembered for his long-running input into arguably one of the most influential bands of the psychedelic rock genre, Gong. However, long before such a band existed the man was running around the world, meeting up with musical poets, disgruntling government authorities due to his visa running out and generally cooking up some of the most otherworldly stories known to man (and it's not just the pot-head pixies I'm referring to either). After having had the time of his life producing the strangest music of the late 60s under the Soft Machine and Gong banners, Allen decided to go on a more personal venture into the world of music, thus creating his first solo album, Bananamoon.
Bananamoon is a completely different kettle of fish to Allen's work with Gong and Soft Machine, though still very much drug-addled and otherworldly all the same. For his debut solo album, Allen still used numerous musicians as he did with his previous two bands on various songs. Therefore, what we have in Bananamoon is not just one musician's input, but a rather large handful of musicians all contributing their respective talents to each and every song. As a result, every song here is different in its own way, though there are times when a song can lose itself amidst psychedelic music.
(full version: sputnikmusic.com/review/60482/Daevid-Allen-Bananamoon/) Review by Robert Davis. January 10th, 2014

01. Time Of Your Life (03:27)
02. Memories (03:37)
03. All I Want Is Out Of Here (04:51)
04. Fred The Fish (02:31)
05. White Neck Blooze (05:50)
06. Stones Innocent Frankenstein (03:22)
07. & His Adventures In The Land Of Flip (12:03)
08. I Am A Bowl (02:47)

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Garrett Lund - Almost Grown (1975)

Year: 1975 (CD 2001)
Label: World In Sound (Germany), WIS 1006
Style: Acid Rock, Psychedelic Rock
Country: U.S.
Time: 52:20
Format: Flac Tracks 16/44,1 kHz
Size: 546 Mb

Garrath Lund was part of the Caretakers, a band which opened before the great psychrock bands of that time. He recorded this album but no label was interested. Releasing it privately, in 1975, it sold with the help of radio promotion 2000 copies in less than two weeks, but still there was no label to release it officially. So after 26 years this finally is the first release.
The album can be compared to the kind of albums of singer-songwriters with a deeper concentration to the music with electric arrangements, far away from other influences and with a time taken to develop, like what John Saint Field or so did, but here with a west coast direction, and with some attention to some sweet acidic development of the electric guitar, backed by a rock band.
The voice goes from normal to higher notes, with emotional calm perspectives with closed eyes. "Serene" has a fine production of keyboards (mellotron and electric piano by Angie Gudino).
(last.fm/music/Garrett+Lund/+wiki)

01. The Only Turnaround (04:50)
02. Serene (03:39)
03. Silver Sails (07:18)
04. One More Reason (04:22)
05. Think Of The Children (04:32)
06. Country Livin' (02:54)
07. Stop The World (04:44)
08. (It's All Over Now) Baby Blue (05:48)
09. Never Gonna Take It Slow (03:50)
10. Over And Under (01:24)
11. Reflections On Earth (04:06)
12. Bonny (02:09)
13. Serene (Alt. Version) (02:36)

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Small Faces - Ogdens' Nut Gone Flake [Japanese Ed. K2HD] (1968)

Year: 24 May 1968 (CD Jan 12, 2006)
Label: Victor Entertainment Inc. (Japan), VICP-63265
Style: Psychedelic Rock, Classic Rock
Country: London, England
Time: 38:29
Format: Flac Tracks 16/44,1 kHz
Size: 251 Mb

Side one of the album showcases a variety of musical styles. The opening title track is an instrumental re-working of "I've Got Mine", a failed single from 1965. This recording uses a Hammond Organ treated with wah-wah pedal and orchestral flourishes from a string section led by David McCallum Senior (the father of The Man from U.N.C.L.E. star David McCallum.) An eclectic selection of tracks follow; the proto-Hard rock of "Song of a Baker"; the psychedelic ballad "Long Agos And Worlds Apart"; cockney knees-up songs "Lazy Sunday" and "Rene" (the latter featuring a lengthy psychedelic jam as its coda); and the intense, soul-influenced ballad "Afterglow" (titled "Afterglow of Your Love" on the subsequent single and some compilations).
The single version of "Afterglow" - released in March 1969 a year after it was recorded and immediately after the group's disbandment was officially announced - was presented in a radically-different mix that eschewed the LP version's acoustic opening, altered the song's tempo and extended the instrumental coda.
Side two of the LP is based on an original fairy tale concept about a boy called Happiness Stan, consisting of a musical suite of six songs interlinked with narration provided by comic monologuist and performer Stanley Unwin in his unique, nonsensical private language of "Unwinese". Unwin was not the band's first choice for narrator, however – originally they approached the popular but mercurial absurdist comedian Spike Milligan to narrate the piece, but negotiations with Milligan floundered early and the more affable and amenable Unwin stepped in to everyone's eventual satisfaction. Unwin spent time observing the band at work and at play in the studio, and picking up on the private, coded language they used amongst themselves, he incorporated it alongside contemporary slang into his inventive and surreal narrative.
(en.wikipedia.org/wiki/Ogdens%27_Nut_Gone_Flake)

K2HD: It is possible to expand digital data from low-grade formats (32kHz) up to high-grade formats with a maximum of 192kHz/24 bits with K2HD processing. For example, when a CD master is produced from an analog master tape, everything above 20kHz is cut during CD formatting. K2HD processing reproduces the lost high-frequency components almost the same as the analog master.

01. Ogdens' Nut Gone Flake (02:29)
02. Afterglow Of Your Love (03:30)
03. Long Agos And Worlds Apart (02:34)
04. Rene (04:31)
05. Song Of A Baker (03:18)
06. Lazy Sunday (03:06)
07. Happiness Stan (02:37)
08. Rollin' Over (02:49)
09. The Hungry Intruder (02:14)
10. The Journey (04:12)
11. Mad John (04:15)
12. Happydaystoytown (02:50)

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Pink Floyd - Animals [Japanese Ed. 1st press] (1977)

Year: 21 January 1977 (CD Jul 21, 1985)
Label: CBS/Sony (Japan), 32DP-360
Style: Progressive Rock, Psychedelic Rock
Country: London, England
Time: 41:48
Format: Flac Tracks 16/44,1 kHz
Size: 267 Mb

I admit without qualm that it began for me with Animals. My brother was in college, and one day I went through his records and listened to the ones with the coolest covers. Animals fascinated me then as it still fascinates me today. It is the acute anthropomorphic fantasy, possessing a timeless quality that has thrust it into the category of "classic," though it may remain forever in the shadow of its more commercially successful older brother, Dark Side Of The Moon. Consisting of three tracks each longer than ten minutes and two tracks under two minutes, Animals is not for the attention- span- deficient. However, within this impenetrable fortress of radio- unfriendly tracks, we hear Dave Gilmour's guitars at their absolute best, get a full-on dose of Roger Waters' powerful lyrical imagery, and are presented with the worst elements of our own humanity- packaged in the skins of "Sheep," "Dogs" and "Pigs (Three Different Ones)". For those weaned on The Wall and Dark Side, you'll find Animals to be a whole new bag of feed. Where Floyd's two most recognizable albums made their mark with operatic aggression and fear, Animals deals in dirt- under- the- fingernails reality, the common smallness that simultaneously binds and repels us all. "Dogs," a 17-minute study in the commonest of all faults, lazily dispenses bite after venomous bite into the desires that drive us to seize the fast buck and screw anyone that gets in our way: "You have to be trusted by the people that you lie to, So that when they turn their backs on you, You'll get the chance to put the knife in."
All this wrapped up in the flaky coating of two hauntingly similar and musically identical tracks casting opposite views of cynicism and hope on the proceedings. Animals is like George Orwell's Animal Farm run through a full- audio acid test- spectacular in every aspect and now in full color.
I admit without qualm that it began for me with Animals.
(pitchfork.com/reviews/albums/6307-animals/)

01. Pigs On The Wing(Part One) (01:24)
02. Dogs (17:06)
03. Pigs(Three Different Ones) (11:30)
04. Sheep (10:18)
05. Pigs On The Wing(Part Two) (01:27)

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Mad Dog - Dawn Of The Seventh Sun (1969)

Year: 1969 (CD 2003)
Label: RD Records (Switzerland), RD CD 5
Style: Psychedelic Rock, Garage Rock
Country: U.S.
Time: 42:08
Format: Flac Tracks 16/44,1 kHz
Size: 276 Mb

Mad Dog - Dawn of the Seventh Sun CD. CD reissue of this unreleased album of West Coast psych recordings from 1969. Monstrous & unreleased at the time heavy/psychedelic/West Coast artifact of the highest order. This is one of the five best-ever promo-only releases to emerge from California. Only released in a quantity of a couple of copies to get a major record deal that never materialized. Three of the songs were used in a low-budget biker flick called Black Angels. The original demo LP had only a plain black label with no kinds of credits. The original producer told us that a demo-only LP was released by The Zoo after the Chocolate Moose album. The slightly different line-up had the name Joyful Noise (you can see a scan of the acetate in Hans Pokora's 4001 Record Collector's Dreams) but at this time they were looking for a tougher name to fit to the music and they found Mad Dog. Under this name a couple of test pressings were done. So we made a re-release deal straight away. To our surprise the guy told us, after hearing the tape, that he knew the music and that it had already been re-released by another label without any kinds of info using the numbers from the dead end part of the vinyl which was C1/C2! The C was for Cavett, the producer's name. Since the project was already paid, we decided to go on with the release to please collectors with an amazing remastering straight from the master tapes, and an insert with unseen pictures and a band bio written by Morgan Cavett.
(rockadrome.com/store/mad-dog-dawn-of-the-seventh-sun-cd-rd-cd-5.html?srsltid=AfmBOooYmoPt73VoLt0_qVfgMJmJjhTi_y-H9o1tpxZud3r8lSjpd10S)

01. Suite For Two Guitars (01:47)
02. Military Disgust (05:01)
03. Ala Ala (02:39)
04. Fort Huachuca Blues (04:44)
05. Everything's Alright (02:40)
06. Dawn Of The Seventh Sun (06:56)
07. The Fast Song (03:29)
08. When It Touches You (03:39)
09. Soulful Bowlful (04:55)
10. Free Fall (Bonus Track) (06:15)

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Pink Floyd - Wish You Were Here [Japanese Ed. 3rd press] (1975)

Year: 12 September 1975 (CD Jul 21, 1985)
Label: CBS Records / Sony Records (Japan), 32DP 359
Style: Progressive Rock, Psychedelic Rock
Country: London, England
Time: 44:18
Format: Flac Tracks 16/44,1 kHz
Size: 256 Mb

As the follow-up to the Floyd’s iconic, record-breaking 1973 concept album The Dark Side Of The Moon, this album is often unfairly overlooked. With the benefit of hindsight, Wish You Were Here has the same faultless pacing and sequencing of its predecessor, but a more coherent musical narrative, structure and tone, as well as greater lyrical sophistication. Here, the ‘concept’ is more down-to-earth, since much of the record is an extended tribute to the late Syd Barrett ­ the genius behind their early works, who flew too high and burned too bright, becoming one of rock’s most infamous drug casualties before Pink Floyd emerged from London?s psychedelic underground scene to become one of the biggest success stories of the 1970s. It’s also the last great album by a band that would produce something as adolescently puerile as The Wall by the end of that decade.
Barrett is the subject of the epic “Shine On You Crazy Diamond, parts One and Two” of which take up more than half the playing time and bookend just three other shorter tracks. Despite some questionable keyboard tones from Richard Wright, the majestically unhurried instrumental intro is a triumph of suspense. It?s nearly nine minutes before Roger Waters starts singing and the effect is startling, as are the words: ‘Remember when you were young?/ You shone like the sun / Shine On You Crazy Diamond!/ Now there’s a look in your eye / Like black holes in the sky’. It’s debatable whether the ‘iPod generation’ will get all of the eerie, almost visual sound detail in the more melodramatic “Welcome To The Machine”, which presages some of the pomp of their later work. Guest vocalist Roy Harper is a gritty presence on the music industry-bating “Have A Cigar” and the breathless title track finds Waters’ lyrics at their most soul searching. Some may baulk at Dave Gilmour’s long, bluesy guitar workouts, which form the backbone of “Shine On You Crazy Diamond” and crop up throughout the album. Hey, these were the dying days of prog. rock. Punk was just around the corner and it’s easy to see why, but mid-seventies post-psychedelic angst seldom sounded so chilled.
(bbc.co.uk/music/reviews/b8dp/) Review by Jon Lusk. 2007

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. Shine On You Crazy Diamond - Part I, II, III, IV, V (13:31)
02. Welcome To The Machine (07:33)
03. Have A Cigar (05:24)
04. Wish You Were Here (05:22)
05. Shine On You Crazy Diamond - Part VI, VII, VIII, IX (12:25)

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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 - Dawn Explosion (1977)

Year: April 1977 (CD 1996)
Label: Friday Music (US), FRM 1087
Style: Rock, Hard Rock
Country: Los Angeles, California
Time: 38:01
Format: Flac Tracks 16/44,1 kHz
Size: 255 Mb

Captain Beyond has a rather legendary status in the ranks of hard '70s rock. Their fame is actually in the "cult status" category. Dawn Explosion, their third album, was a good disc, but really did not live up to the greatness of the first two releases. Still, in showcasing the group's unique blend of hard rock, psychedelia, and progressive-type arrangements, there is definitely some strong material present. The hard-edged and frantic "Icarus" and the nearly ethereal, building mini-epic "Breath of Fire (Part 1 and Part 2)" can arguably stand up to most of the material on the other releases. Where they falter here is on such songs as "If You Please" and "Midnight Memories," which seem to be trying to reach toward accessibility, but come much closer to banality and mediocrity. This disc cannot take away from the tremendous glory of the other albums, though, and several of the tracks certainly still hold up well.

(allmusic.com/album/dawn-explosion-mw0000616369)

01. Do Or Die (03:38)

02. Icarus (04:17)

03. Sweet Dreams (05:29)

04. Fantasy (06:02)

05. Breath Of Fire: (A) A Speck Within A Sphere (03:04)

06. Breath Of Fire: (B) Alone In The Cosmos (03:12)

07. If You Please (04:12)

08. Midnight Memories (04:01)

09. Space Interlude (00:52)

10. Oblivion (02:14)

11. Space Reprise (00:55)

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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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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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Grateful Dead - Live Dead [Live. 2LP on 1CD] (1969)

Year: November 10, 1969 (CD ????)
Label: Warner Bros. Records (Germany), 927 181-2
Style: Psychedelic Rock, Rock
Country: Palo Alto, California, U.S.
Time: 73:02
Format: Flac Tracks 16/44,1 kHz
Size: 387 Mb

Live/Dead is the first official live album (and fourth overall) released by the rock band Grateful Dead. Recorded over a series of concerts in early 1969 and released later the same year, it was the first live rock album to use 16-track recording.
The title has a double meaning. It refers both to the band (the "Dead") playing live, and is an oxymoron, contrasting the two words in apparent contradiction. The artwork, created by Robert Donovan Thomas (aka Bob Thomas), also illustrated this juxtaposition. The word "Live" is seen on the front cover, and the word "Dead" fills the back cover of the gatefold. Additionally, on the back cover, the top portion of "Dead" somewhat cryptically spells out "Acid".
To assuage debt accrued with their record label from their recent album Aoxomoxoa, as well as fulfill their record contract, the band decided to record a live album. They were also interested in releasing an album more representative of their live performances and actual musicianship, as opposed to the in-studio experimentation of previous albums.
(en.wikipedia.org/wiki/Live/Dead)

01. Dark Star (23:07)
02. Saint Stephen (06:32)
03. The Eleven (09:21)
04. Turn On Your Love Light (15:08)
05. Death Don't Have No Mercy (10:29)
06. Feedback (07:49)
07. And We Bid You Goodnight (00:34)

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Hawkwind - In Search Of Space (1971)

Year: 1971 (CD 199?)

Label: Fame Records (UK), CD-FA 3192 CDM 7 520252

Style: Rock, Progressive Rock, Psychedelic Rock

Country: Ladbroke Grove, London, England

Time: 42:23

Format: Flac Tracks 16/44,1 kHz

Size: 235 Mb

Hawkwind are an English rock band known as one of the earliest space rock groups. Since their formation in November 1969, Hawkwind have gone through many incarnations and have incorporated many different styles into their music, including hard rock, progressive rock and psychedelic rock. They are also regarded as an influential proto-punk band. Their lyrics favour urban and science fiction themes.

Many musicians, dancers and writers have worked with the band since their inception. Notable musicians who have performed in Hawkwind include Lemmy, Ginger Baker, Robert Calvert, Nik Turner and Huw Lloyd-Langton. However, the band are most closely associated with their founder, singer, songwriter and guitarist Dave Brock, who is the only remaining original member.

Hawkwind are best known for the song "Silver Machine", which became a number three UK hit single in 1972, but they scored further hit singles with "Urban Guerrilla" (another Top 40 hit) and "Shot Down in the Night". The band had a run of twenty-two of their albums charting in the UK from 1971 to 1993.

en.wikipedia.org

01. You Shouldn't Do That (15:41)

02. You Know You're Only Dreaming (06:35)

03. Masters Of The Universe (06:16)

04. We Took The Wrong Step Years Ago (04:49)

05. Adjust Me (05:45)

06. Children Of The Sun (03:14)

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