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 (The Animals) - Survivor (1978)

Year: 1978 (CD ????)
Label: Polydor Records (????), 2310 577
Style: Rhythm and Blues, Rock and Roll, Classic Rock
Country: Walker, Newcastle upon Tyne, England (11 May 1941)
Time: 40:52
Format: Flac Tracks 16/44,1 kHz
Size: 282 Mb

With 8 out 10 numbers credited to Zoot Money (17 July 1942 – 8 September 2024) & Eric Burdon what you have here is a good time Rock n Roll recording with a hoard of artists. With the exception of Hollywood woman, Eric's voice is in fine form, backed by many including Maggie Bell, coming out strong on woman of the rings. Many good time rock n roll guitarists all over this release including Alexs Korner, whom together with Eric revisit their roots and perform a stand out track, Brownie Mcghee's I was born to live the blues, the only non RnR number on this release. This album is definitely up there with rock n roll releases of the Seventies.
(allmusic.com/album/survivor-mw0000847661)

01. Rocky (04:02)
02. Woman Of Rings (04:16)
03. The Kid (03:12)
04. Tomb Of The Unknown Singer (04:29)
05. Famous Flames (04:19)
06. Hollywood Woman (03:53)
07. Hook Of Holland (04:32)
08. I Was Born To Live The Blues (03:55)
09. Highway Dealer (03:28)
10. P. O. Box 500 (04:41)

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The Rolling Stones - The Rolling Stones, Now! [Japanese Ed.] (1965)

♠ Year: 13 February 1965 (CD Apr 25, 1989)
♣ Label: Polydor Records (Japan), P25L 25034
♥ Style: Classic Rock, Rhythm and Blues, Rock and Roll
♦ Country: London, England
♪ Time: 36:25
♪ Format: Flac Tracks 16/44,1 kHz
♪ Size: 198 Mb

U.S. issues of the UK Rolling Stones No. 2 LP.
It was a love of the blues and early American R&B that forged the friendship between a teenage Mick Jagger and Keith Richards down Dartford way, so it’s only fitting that the Rolling Stones’ second release continued to rely upon these building blocks.
Consequently, we’re treated to the fledgling Stones’ take on Chuck Berry’s You Can’t Catch Me, a fairly faithful rendering, but with Jagger’s decidedly English sneer and Richards’ rolling, ramshackle riffery adding to its original charm.
The Jagger/Richards songwriting partnership also gains momentum, with three composition credits to their name – Off The Hook with its Yardbird-esque guitar motif and relentless refrain; What A Shame is a bluesy bruiser and gives bassist Bill Wyman a moment to shine under Brian Jones’s sparse bottleneck, while Grown Up Wrong pays real homage to their hero Mr Berry.
But in terms of solid blues prowess, it’s the band’s interpretation of Muddy Waters’ I Can’t Be Satisfied that truly impresses – Brian Jones’s fluid slide playing on this track was seldom bettered.
No.2 was a monster hit in the UK, and deservedly so as it convincingly straddled the bridges between the blues and rock’n’roll and set the blueprint for the relentless Rolling Stones march into the future.
(loudersound.com/features/the-best-30-british-blues-rock-albums-ever)

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. Everybody Needs Somebody To Love (Version 2) (03:01)
02. Down Home Girl (04:15)
03. You Can't Catch Me (03:40)
04. Heart Of Stone (02:52)
05. What A Shame (03:09)
06. I Need You Baby (Mona) (03:37)
07. Down The Road Apiece (03:01)
08. Off The Hook (02:39)
09. Pain In My Heart (Version 1) (02:15)
10. Oh! Baby (We Got A Good Thing Goin') (Version 1) (02:12)
11. Little Red Rooster (03:08)
12. Surprise, Surprise (02:30)

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The Artwoods (Jon Lord) - Art Gallery (1966)

Year: Nov 1966 (CD 1995)
Label: Repertoire Records (Germany), REP 4533-WP
Style: Rhythm and Blues, Mod
Country: London, England
Time: 78:17
Format: Flac Tracks 16/44,1 kHz
Size: 389 Mb

The Artwoods (also sometimes known by Decca Records as the Art Woods) were a British rhythm and blues band who formed in 1963 and were professionally active between 1964 and 1967. They were a popular live attraction, rivalling groups such as the Animals, although, despite releasing a clutch of singles and an album, their record sales never reflected this popularity.
Singer Arthur Wood, from whom the band took their name, was the eldest brother of Ronnie Wood (who later found fame with the Faces and Rolling Stones). Art Wood had been a vocalist with Alexis Korner's Blues Incorporated for a short period during 1962, simultaneously fronting his own group, the Art Wood Combo. When keyboardist Jon Lord and guitarist Derek Griffiths from Red Bludd's Bluesicians joined the Art Wood Combo, the Artwoods were formed. With Keef Hartley, formerly with Rory Storm & the Hurricanes, joining on drums and Malcolm Pool from the Roadrunners joining as bassist, in December 1964 the band turned professional, securing a residency at London's 100 Club and signing a recording contract with Decca Records. Colin Martin joined from the band the Ingoes, who changed their name to the Blossom Toes. Martin went on to work at BBC Radio 2 where he produced Terry Wogan, Ken Bruce and Gloria Hunniford, and was later appointed as Head of Music at the station.
The intended debut single, a cover of Muddy Waters' "Hoochie Coochie Man", was shelved in favour of a rendition of an old Lead Belly song, "Sweet Mary". Although it did not reach the charts, it received sufficient airplay to bring the band much live work, including an appearance on the first live edition of Ready Steady Go!. Their second record, "Oh My Love", was another blues cover. Like its predecessor (and subsequent releases), it failed to chart. Their only chart single was "I Take What I Want", which reached No. 28 on 8 May 1966. The Artwoods were one of the few British bands of the era to play behind the Iron Curtain as they toured Poland in 1966, with Lord's then-girlfriend Elkie Brooks as opener.
(en.wikipedia.org/wiki/The_Artwoods)

01. Can You Hear Me (02:57)
02. Down In The Valley (03:01)
03. Things Get Better (02:26)
04. Walk On The Wild Side (05:32)
05. I Keep Forgettin' (02:29)
06. Keep Lookin' (03:07)
07. One More Heartache (03:12)
08. Work, Work, Work (03:29)
09. Be My Lady (03:03)
10. If You Gotta Make A Fool Of Somebody (02:05)
11. Stop And Think It Over (02:58)
12. Don't Cry No More (03:54)
13. Sweet Mary (02:54)
14. If I Ever Get My Hands On You (02:04)
15. Goodbye Sisters (02:54)
16. She Knows What To Do (02:30)
17. I Take What I Want (02:55)
18. I Feel Good (02:46)
19. What Shall I Do (02:54)
20. In The Deep End (03:08)
21. These Boot Are Made For Walkin' (02:49)
22. A Taste Of Honey (03:12)
23. Our Man Flint (03:00)
24. Routine (03:06)
25. Brother Can You Spare A Dime (02:57)
26. Al's Party (02:44)

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The Rolling Stones - 12 x 5 [Japanese Ed.] (1964)

Year: 17 October 1964 (CD Apr 25, 1989)
Label: Polydor Records (Japan), P25L 25032
Style: Classic Rock, Rhythm and Blues, Rock and Roll
Country: London, England
Time: 31:15
Format: Flac Tracks 16/44,1 kHz
Size: 163 Mb

Imagine that in moments of smart alecky tomfoolery, many a person has looked at the cover of The Rolling Stones’ 12 X 5 and yelled, “Sixty,” soon followed by uncontrollable giggling at their own corny brilliance. Had the same people seen the British EP which featured songs that appeared on 12 X 5, they would have probably yelled “Twenty-five.” In either case, the joke would most likely be met with blank stares and shaking heads, maybe a few befuddled shrugs from people not familiar with multiplication or amused by arithmetic.
The twelve songs by the five piece Stones which comprise 12 X 5 are, like its predecessor, deeply entrenched in rhythm and blues and soul; brimming with lively covers and boasting the support of bad-boy Brian Jones. Unlike its predecessor, the album offers some early Stones originals, which, though they stand on forgivably shaky legs, give a taste of what’s to come. It’s definitely an album of portent, something of a glimpse at the bands roots before Out of Our Heads or the all-original Aftermath.
The album kicks off with Chuck Berry’s “Around and Around.” The cover showcases the rhythm section, Keith Richards’ lead guitar, Jones’ piano and Mick Jagger’s vocals working in unison to create a catchy, bopping whole. The same can be said of “It’s All Over Now,” the rhythm section of Charlie Watts and Bill Wyman demonstrating their immense importance to the band as Jones and Richards guitars open up into solo bravado. “Confessin’ the Blues” crawls with a standard blues riff, Jones and Richards once again sharing guitar duties, seamlessly giving way for Jagger to wrap that mouth of his around a harmonica.
Ushered in by organ or a tasty guitar lick (depending on what version of the song you have) is The Rolling Stones’ first top-ten single stateside, “Time Is On My Side.” Originally recorded by Irma Thomas, Jagger’s lament and taunting backed by the band guide the song from beginning to the fading repetition of the song’s title, pulsing the word “time” for emphasis. Both “Time Is On My Side” and “Around and Around” were the two songs the band played on their first appearance on “The Ed Sullivan Show” in 1964. Apparently frightened by their motley looks, Sullivan vowed to never have them on the show again. In 1967, The Rolling Stones once again appeared on “The Ed Sullivan Show,” this time playing “Let’s Spend the Night Together.”
On the Rolling Stones original songs, it sounds as if Jagger is attempting to tame the muse of lyric writing with a Mars bar and a pouty-lipped pucker. While “Good Times, Bad Times,” the jilted “Congradulations,” and “Grown Up Wrong” aren’t bad by any means, they don’t have the same memorable melodic quality or the lyrical intelligence of what was to come. They stand there for the most part without the pomp, circumstance or flooring power that would characterize, for instance, the riff of “Satisfaction” or the sudden dark blast of “Paint it Black.”
Under the pseudonymous group guise of Nanker Phelge, the band delivers a grooving jam on “2120 South Michigan Avenue.” Named after the street address of Chess Records, the band blends organs, harmonica hums, blistering solos, warm thudding bass and tattering drums. Nanker Phelge also gets the credit for “Empty Heart,” a bounding rhythm and blues track that, along with “Grown Up Wrong,” is arguably one of the best of the album’s originals.
While there’s no iconic Jagger/Richards-written songs on 12 X 5, it’s an album bursting with energy and begging to be heard. By the following year, time matured the group into rock stars grown right, still tied to their roots but coming into their own in a satisfying way.
(treblezine.com/rolling-stones-12x5/) Review by Hubert Vigilla, September 19, 2004.

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. Around And Around (03:08)
02. Confessin' The Blues (02:51)
03. Empty Heart (02:39)
04. Time Is On My Side (02:55)
05. Good Times, Bad Times (02:36)
06. It's All Over Now (03:30)
07. 2120 South Michigan Avenue (02:10)
08. Under The Boardwalk (02:48)
09. Congratulations (02:30)
10. Grown Up Wrong (02:08)
11. If You Need Me (02:06)
12. Susie Q (01:49)

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The Rolling Stones - England's Newest Hit Makers [Hybrid SACD] (1964)

Year: 17 April 1964 (CD Oct 21, 2002)
Label: ABKCO Records (Europe), 8822872
Style: Rhythm and Blues, Rock and Roll
Country: London, England
Time: 31:19
Format: Flac Tracks 16/44,1 kHz
Size: 183 Mb

The American edition of the debut LP.
The British version of the Stones' first album has a nearly identical cover to its American equivalent, issued six weeks later, but a slightly different song lineup. Among these 12 songs, absent is "Not Fade Away," which was a hit single in England (where singles and LPs were usually kept separate), and in its place is the Stones' cover of Bo Diddley's "Mona (I Need You Baby)" (credited here as "I Need You Baby"), which had to wait until Rolling Stones Now!, a year later, for its U.S. release. It's not a big switch, a Bo Diddley-style cover of a Buddy Holly song bumping an actual Bo Diddley cover on the U.S. version. Otherwise, the main difference lies in the version of "Tell Me" included here, which sounds about two generations hotter than any edition of the song ever released in the U.S. -- it's the long version, with the break that was cut from the single, but the British LP and the original late-'80s Decca U.K. compact disc (820 047-2) both contain a version without any fade, running the better part of a minute longer than the U.S. release of the song, until the band literally stops playing.
(allmusic.com/album/the-rolling-stones-englands-newest-hit-makers-mw0000195499)

01. Not Fade Away (01:48)
02. Route 66 (02:21)
03. I Just Want to Make Love to You (02:18)
04. Honest I Do (02:10)
05. Now I've Got a Witness (02:32)
06. Little by Little (02:40)
07. I'm a King Bee (02:37)
08. Carol (02:34)
09. Tell Me (04:05)
10. Can I Get a Witness (02:56)
11. You Can Make It If You Try (02:02)
12. Walking the Dog (03:09)

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The Rolling Stones - The Rolling Stones [Japanese Ed.] (1964)

Year: 17 April 1964 (CD Apr 25, 1989)
Label: London Records (Japan), P25L 25031
Style: Rhythm and Blues, Rock and Roll
Country: London, England
Time: 33:16
Format: Flac Tracks 16/44,1 kHz
Size: 185 Mb

The British edition of the debut LP.
Much is said about comparing The Beatles with The Rolling Stones, even hinting at a certain rivalry between the two bands. “Yesterday”, during a very interesting conversation, we concluded that comparing The Beatles to The Stones is like comparing apples to oranges. While one focused on creating the foundations for Pop, the other aimed to design a rebellious sound, both rooted in Rock.
The reality of this matter (at least in the beginning) is that The Beatles themselves propelled The Stones to fame, especially George Harrison, who persuaded Decca Records to sign them... and that’s exactly what happened. It is even said that The Beatles frequented the ‘Crawdaddy Club’ in Richmond, London, to watch The Stones, where they gained a significant fan base.
In 1964, The Rolling Stones debuted with their eponymous album, featuring 12 songs, of which only one is original, ‘Tell Me (You’re Coming Back)’, composed by Mick Jagger and Keith Richards.
We can hear a sound inspired by R&B and, of course, Rock & Roll. Practically, it is a cover album. However, The Rolling Stones refreshed all these songs and added that touch of rebellion that the generation needed to break conventional music and societal stereotypes.
Mick Jagger’s voice became the band’s hallmark from this album. Despite not possessing vocal virtuosity, he proposed something entirely different that would serve as a strong foundation for Rock in general, with a message of ‘You don’t have to be perfect to be in a band’. This influence, especially for Punk, was tremendous, as can be heard on albums like “Never Mind The Bollocks” (1977) by Sex Pistols.
The album was recorded in an express manner, in just 5 days! Consequently, it’s not perfect, which gives it a nostalgic sound and provides context regarding the technology of the time. Speaking of production, it contributes to the album sounding “heavy” for its era, maintaining the distortion peaks that are sometimes heard in the vocals.
It’s not just about Keith Richards‘ and Brian Jones‘ guitars, Bill Wyman‘s bass, and Charlie Watts‘ drums. Mick Jagger himself played the harmonica, and we can even hear a completely instrumental track, “Now I’ve Got A Witness”, where Ian Stewart played the organ. Stewart was part of the band but unofficially, as the band’s manager did not see him fit as a permanent member due to his marketing conception.
Certainly, the blues is present in songs like “I’m a King Bee”... a white version of the genre that began to hint at something more, a revolution that would soon scare the conservatives and liberate the rebels through art. Yes, we are talking about the official birth of Rock, with an audience that would gradually demand more.
And yes, dancing in Rock has always been, in one way or another, essential, the need to move the body and release that beautiful energy caused by our dopamine... The Rolling Stones add variety to the album with tracks like “Carol” or “Can I Get a Witness”, songs designed for fast and uncomplicated Rock N’ Roll dancing, with a very good display of guitars between Richards and Jones.
It’s impressive how, after so many years, we have the opportunity to listen to such an important part of music history. This album is entirely groundbreaking; it represents the desire of five individuals to leave a mark on the world, to do things differently, and at the same time, serve. They set an example, as their song “You Can Make It If You Try” says... that nobody can limit you. You can do anything you want as long as you manifest it and work on it.
(therockreview.net/the-rolling-stones-the-rolling-stones-eng/)

01. Route 66 (02:22)
02. I Just Want To Make Love To You (02:19)
03. Honest I Do (02:11)
04. Mona (I Need You Baby) (03:36)
05. Now I've Got A Witness (02:31)
06. Little By Little (02:41)
07. I'm King Bee (02:37)
08. Carol (02:36)
09. Tell Me (04:08)
10. Can I Get A Witness (02:58)
11. You Can Make It If You Try (02:03)
12. Walking The Dog (03:10)

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Joe Soap - Keep It Clean (1973)

Year: 1973 (CD 2009)
Label: Big Pink Music (South Korea), BiG PINK 46
Style: Rock, Rhythm and Blues
Country: UK
Time: 38:00
Format: Flac Tracks 16/44,1 kHz
Size: 271 Mb

Having released their debut album in 1972 (PT 8071CD), with backing from Stone The Crows and others, in 1973 John Tennent and David Morrison went in another direction, embracing gritty blues-rock. Keep It Clean sank without trace upon its first release at the end of that year, but has since gained a strong cult reputation, not least because of the superb contributions from Jimmy McCulloch (by then of Wings), Mik Kaminski (of ELO), and others.
(forcedexposure.com/Labels/PROG.TEMPLE.UK.html)
Joe Soap were a band comprising of John Tennent and David Morrison. They had previously released one album prior to using this name, "Tennent / Morrison" (Polydor 1972).
Their second album, (and only one as Joe Soap) "Keep It Clean" (Polydor 1973) enhanced this core lineup with contributions from Jerry Conway (Jethro Tull), Jimmy McCulloch (Stone The Crows), Mike Kaminski (ELO) and Jeff Pearce. Itwas produced by Sandy Robertson.
(last.fm/music/Joe+Soap/+wiki)

01. Talkin' 'Bout You (04:12)
02. Warning Sign (02:58)
03. Lay It On Me (07:05)
04. Whatever The Song Is Now (03:09)
05. Get Outfrom Under (03:00)
06. Feels Strange (03:24)
07. On The Wind (03:27)
08. Time (03:46)
09. All Out Now (03:22)
10. Birdman (03:33)

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Mickey Jupp - Juppanese (1978)

Year: 1978 (CD 2006)
Label: Repertoire Records (Germany), REPUK 1084
Style: Rock, Pub Rock, Rhythm and Blues, Rock and Roll
Country: Worthing, Sussex, England (6 March 1944)
Time: 57:53
Format: Flac Tracks 16/44,1 kHz
Size: 400 Mb

Like Dave Edmunds, guitarist/pianist/vocalist Mickey Jupp was a champion of traditional rock & roll during the late '70s, a time when it had been all but discarded. Unlike Edmunds, Jupp wrote the majority of his own material, which updated '50s rock & roll with a tongue-in-cheek irony.
Jupp began his career with the Essex-based British R&B group the Orioles in the early '60s. The band earned a devoted local following in the early '60s, yet they never had the opportunity to record. The Orioles broke up late in 1965 after Jupp was arrested for not making alimony payments to his wife. Three years later, he returned to music, forming Legend, who laid the groundwork for English pub rock of the early '70s. Following the release of their third album in 1971, Legend disbanded and Jupp took another lengthy break from music. When he was coaxed back into performing in 1975 by Lee Brilleaux, the lead singer of Dr. Feelgood, pub rock was in its last days yet Jupp was well respected in the scene, since both Ducks Deluxe and Dr. Feelgood had recorded versions of his songs ("Cheque Book" and "Down at the Doctors," respectively).
Jupp released his first solo single, "Nature's Radio," on Arista Records in 1978. The single led to a contract with Stiff Records, who released the "Old Rock 'N' Roller" single and the Juppanese album in 1978; the bulk of Juppanese was recorded with Rockpile and produced by Nick Lowe. Released the same year as his debut, Mickey Jupp's Legend featured material from his previous band. Following the release of Juppanese, Jupp joined Stiff's Rail Tour, although he left the lineup before it hit the U.S. because he was afraid of flying. Shortly afterward, he left Stiff Records and signed with Chrysalis in 1979. The same year he released Long Distance Romancer, which was produced by 10cc members Kevin Godley and Lol Creme; like Juppanese, it failed to gain a large audience. Jupp moved over to A&M Records in 1982, releasing Some People Can't Dance. After releasing one more record on A&M, 1983's Shampoo Haircut and Shave, he was dropped from the label. Jupp spent the rest of the '80s and '90s touring the U.K., releasing the occasional album on independent labels.
After releasing one more record on A&M, 1983's Shampoo Haircut and Shave, he was dropped from the label. Jupp spent the rest of the '80s and '90s touring the U.K., releasing the occasional album on independent labels.
(mickeyjupp.se/)

01. Making Friends (03:27)
02. Short List (02:39)
03. Old Rock 'n' Roller (03:09)
04. School (03:09)
05. If Only Mother (03:01)
06. Down In Old New Orleans (03:09)
07. You'll Never Get Me Up In One Of Those (03:14)
08. Pilot (03:53)
09. S.P.Y (03:24)
10. The Ballad Of Billy Bonney (03:30)
11. Partir C'est Mourir Un Peu (04:09)
12. Brother Doctor, Sister Nurse (04:03)
13. Nature's Radio (Single B-Side) (03:25)
14. You Made A Fool Out Of Me (LP Stiff Sounds) (04:10)
15. Be Stiff (LP Be Stiff) (02:59)
16. Don't Talk To Me (Single A-Side) (03:24)
17. Junk In My Trunk (Single B.-Side) (02:58)

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Steve Marriott's Packet Of Three (ex Small Faces, Humble Pie) - Live From London (1985)

Year: 1985 (CD 2015)
Label: Vivid Sound (Taiwan), VSCD-4327
Style: Rhythm and Blues, Hard Rock
Country: Plashet, Essex, England (30 January 1947 - 20 April 1991)
Time: 45:51
Format: Flac Tracks 16/44,1 kHz
Size: 309 Mb

Stephen Peter Marriott (30 January 1947 – 20 April 1991) was an English musician, guitarist, singer, songwriter, and actor. He was a student at the Italia Conti Academy of Theatre Arts in London and appeared in the West End, before taking a role in music. He co-founded and played in the rock bands Small Faces and Humble Pie, in a career spanning over 20 years. Marriott was inducted posthumously into the Rock and Roll Hall of Fame in 2012 as a member of Small Faces.
This show functions as a defacto greatest hits, with Small Faces (“Whatcha Gonna Do About It,” All or Nothing”) and Humble Pie (“I Don’t Need No Doctor”) material played brilliantly by Marriott (who was an astonishingly gifted guitar player along with his formidable vocal skills). He was joined by bassist Jim Everton and drummer Fallon Williams (thereby this power trio was cheekingly coined the Packet of Three). They also performed choice cover songs such as Jimmy Reed’s “Shame, Shame, Shame” (sung by Leverton) and Rufus Thomas’ oft-covered “Walkin’ the Dog.”
If you’re a fan of any of Marriott’s previous groups or just a fan of raw, hard, primal blues rock played for loyal fans in a pub setting, this release is an absolute must-have.
(undertheradarmag.com/reviews/packet_of_three_expanded_edition_remastered_steve_marriott)

01. What Ya Gonna Do About It (03:43)
02. Fool For A Pretty Face (05:05)
03. Shame, Shame, Shame (04:16)
04. All Or Nothing (04:12)
05. Five Long Years (07:04)
06. 30 Days In The Hole (06:19)
07. I Don't Need No Doctor (08:07)
08. Waking The Dog (03:49)
09. Tin Soldier (03:11)

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Alexis Korner's Blues Incorporated - At The Cavern [Expanded Ed. 12 bonus tracks] (1964)

Year: 1964 (CD Jul 2006)
Label: Castle Music (Europe), CMRCD1372
Style: Blues, Rhythm and Blues
Country: London, England
Time: 60:58
Format: Flac Tracks 16/44,1 kHz
Size: 185 Mb

Alexis Korner's Blues Incorporated, or simply Blues Incorporated, were an English blues band formed in London in 1961, led by Alexis Korner and including at various times Jack Bruce, Charlie Watts, Terry Cox, Ginger Baker, Art Wood, Long John Baldry, Ronnie Jones, Danny Thompson, Graham Bond, Cyril Davies, and Dick Heckstall-Smith.
Korner (1928–1984) was a member of Chris Barber's Jazz Band in the 1950s, and met up with Cyril Davies (1932–1964) who shared his passion for American Blues. In 1954 they teamed up as a duo, began playing blues in London jazz clubs, and opened their own club, the London Blues and Barrelhouse Club, where they featured visiting bluesmen from America. The club embraced aspiring young musicians, including in its early days Charlie Watts, Long John Baldry, and Jack Bruce.
In 1961 Korner and Davies formed Blues Incorporated, the first amplified R&B band in Britain, and brought in singer Baldry (sometimes replaced by Art Wood), drummer Watts, bassist Bruce, and saxophonist Dick Heckstall-Smith. It was an informal band: its membership was intended to be fluid.
On 17 March 1962, Korner and Davies established a regular "Rhythm and Blues Night" at the Ealing Jazz Club. This brought together many more fans of blues and R&B music including Mick Jagger, Keith Richards, Brian Jones, Eric Clapton, Rod Stewart, Paul Jones, John Mayall, Zoot Money, and Jimmy Page, some of whom would occasionally sit in at Blues Incorporated performances. Watts left the group around this time to join the Rolling Stones and suggested Ginger Baker as his replacement.
From 3 May 1962, Blues Incorporated secured a Thursday-night residency at the Marquee Club, which brought them to the attention of record producer and promoter Jack Good who arranged a recording contract with Decca Records resulting in the LP R&B from the Marquee, released in late 1962. The album was actually recorded in the Decca studio and featured Baldry as lead singer with songs by Muddy Waters, Jimmy Witherspoon and Leroy Carr.
Late in 1962 Davies disagreed with Korner's intention to add a brass section to the band and turn more towards jazz than blues, so left to form his own group, the Cyril Davies All-Stars, and was replaced by Graham Bond. Blues Incorporated found a new residency at the Flamingo club but, shortly afterwards, Bond, Bruce and Baker left to form the Graham Bond Organisation.
Blues Incorporated concentrated on live work rather than recording and the group only released two singles on Parlophone, "I Need Your Loving" / "Please Please Please Please" (1964) and "Little Baby" / "Roberta" (1965). In 1964 they released the LPs At The Cavern and Red Hot From Alex, with American Herbie Goins as lead singer and Danny Thompson, later of Pentangle, on bass. By the time of the group's last album Sky High (credited to Alexis Korner's Blues Incorporated) in 1965, the group included Duffy Power on vocals. Korner dissolved the group in 1966.
(en.wikipedia.org/wiki/Alexis_Korner%27s_Blues_Incorporated#Discography)

01. Overdrive (04:00)
02. Whoa Baby (04:33)
03. Every Day I Have The Blues (04:12)
04. Hoochie Coochie Man (05:35)
05. Herbie's Tune (07:39)
06. Little Bitty Gal Blues (05:32)
07. Well All Right Ok You Win (03:15)
08. Kansas City (04:28)
09. announcement (00:13)
10. Overdrive (02:20)
11. brief interview (01:15)
12. I Need Your Lovin' (02:10)
13. Turn On Your Lovelight (02:25)
14. brief interview (01:07)
15. Please, Please, Please (02:50)
16. announcement (00:05)
17. Roberta (02:20)
18. Every Day I Have The Blues (02:01)
19. I Need Your Lovin' (02:16)
20. Please, Please, Please (02:32)

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Love - Live In England 1970 (2007)

Year: 2007 (CD Jun 26, 2007)
Label: Hip-O Select (US), B0007827-02
Style: Psychedelic Rock, Garage Rock
Country: Los Angeles, California, U.S.
Time: 56:34
Format: Flac Tracks 16/44,1 kHz
Size: 381 Mb

Arthur Lee seems so embedded in the 1960s that it's hard to imagine him existing outside that decade. Strongly influenced by the baroque folk-pop of the Byrds, his smart, steely psychedelia conveyed a dark vision of hippie America-- a distinct contrast to the good vibrations typically associated with the Summer of Love. That was the same year-- 1967, for those of you who don't read Rolling Stone (which I think might be everybody)-- that Lee and his band Love released its scene-paranoid masterpiece Forever Changes, on which he painted himself as a true L.A. outsider, haunting the scrub-brush hills and looking deep into the dark heart of the city around him. In those songs, he foretells his own doom, and everyone else's: On "The Red Telephone", he sings, "Sitting on the hillside/ Watching all the people die/ I'll feel much better on the other side."
On these two albums (Out Here and False Start), Lee repeatedly refers to other artists and other songs, which doesn't anchor him to the mainstream culture but reiterates his underground detachment. This constant dissociation heightens the lively tension on the live disc, which was recorded at various stops on the band's 1970 tour of England. Like the studio version that closes Out Here, "Gather 'Round" appropriates the melody from Dylan's "The Times They Are A'Changin'", not out of laziness but as a pointed commentary on the death of that generation's idealism. Lee thrives on complication and contradiction: As either a supremely cynical or a playful gesture, he turns the song into an impromptu cover of Wilson Pickett's "Funky Broadway". Similarly, he performs songs from every Love album (including a particularly caustic "Bummer in the Summer" from Forever Changes) as a means of acknowledging his past glories as well as his fraught history. Live, this version of Love sounds like a band mustering the conviction to take on the world one more time. But they never did: Lee disbanded the line-up shortly after the tour. Love would barely see the 70s, except as a series of failed reunions.
(full version: pitchfork.com/reviews/albums/10386-the-blue-thumb-recordings/)

01. Good Times (03:50)
02. August (05:17)
03. My Little Red Book (02:52)
04. Nothing (04:38)
05. Orange Skies (03:59)
06. Andmoreagain (04:00)
07. Gather Round (07:00)
08. Bummer In the Summer (03:26)
09. Singing Cowboy (08:14)
10. Signed D.C. (06:43)
11. Love Is More Than Words Or Better Late Than Never (06:31)

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Love - Comes In Colours [Compilation] (1992)

Year: 1992 (CD 1992)
Label: Raven Records (Australia), RVCD-29
Style: Psychedelic Rock, Garage Rock
Country: Los Angeles, California, U.S.
Time: 74:53
Format: Flac Tracks 16/44,1 kHz
Size: 438 Mb

Love is an American rock band formed in Los Angeles in 1965. Led by Arthur Lee, the band's primary songwriter, they were one of the first racially diverse American rock bands. Their sound incorporated an eclectic range of styles including garage, folk rock, and psychedelia. While finding only modest success on the music charts, peaking in 1966 with their US No. 33 hit "7 and 7 Is," Love would come to be praised by critics as their third album, Forever Changes (1967), became generally regarded as one of the best albums of the 1960s.
The band's classic lineup is considered to consist of Lee, the guitarist and singer Bryan MacLean, the bassist Ken Forssi, the guitarist Johnny Echols and the drummer Donnie Conca, who was replaced by Alban "Snoopy" Pfisterer. By 1968, only Lee remained and he continued recording as Love with varied members through the 1970s. MacLean and Forssi died in 1998. Lee died in 2006. Forever Changes was added to the Library of Congress's National Recording Registry in 2011. In recent years, original member Johnny Echols has toured under the title of the Love Band or Love Revisited.
(en.wikipedia.org/wiki/Love_(band))

01. My Little Red Book (02:30)
02. Can't Explain (02:39)
03. A Message To Pretty (03:11)
04. Softly To Me (02:53)
05. Hey Joe (02:41)
06. Signed D. C. (02:46)
07. And More (02:58)
08. Seven And Seven (02:15)
09. No. 14 (01:42)
10. Stephanie Knows Who (02:27)
11. Orange Skies (02:50)
12. Que Vida! (03:40)
13. The Castle (03:00)
14. She Comes In Colours (02:45)
15. Alone Again (03:15)
16. And More Again (03:20)
17. Old Man (02:58)
18. A House Is Not A Motel (03:28)
19. The Daily Planet (03:30)
20. Live And Let Live (05:27)
21. Laughing Stock (02:33)
22. Your Mind And We Belong Together (04:21)
23. August (05:05)
24. Arthur Lee Interview-Love Origins (02:26)

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