Miller Anderson - Bright City (1971)

Year: 1971 (CD 2004)
Label: Walhalla Records (Europe), WH 90321
Style: Rock, Folk Rock
Country: Houston, Renfrewshire, Scotland (12 April 1945)
Time: 36:07
Format: Flac Tracks 16/44,1 kHz
Size: 224 Mb

Miller Anderson (born 12 April 1945) is a UK-based blues and rock guitarist and singer. He worked extensively with Ian Hunter in the formative years of the 1960s, before either of them achieved significant success. They worked in bands such as the Scenery and At Last The 1958 Rock 'n' Roll Show (later called Charlie Woolfe), and Anderson is referenced in the title track of Hunter's 1976 album All American Alien Boy ("well I remember all the good times me and Miller enjoyed, up and down the M1 in some luminous yo-yo toy"). Anderson would later guest on two Hunter solo albums. Apart from pursuing his solo career, he was a member of the Keef Hartley Band. Other groups Anderson has been associated with are the Spencer Davis Group, Broken Glass, the Dukes, Mountain, Savoy Brown, T.Rex and Chicken Shack. In early 2006, he joined the British Blues Quintet with Maggie Bell, Zoot Money, Colin Hodgkinson and Colin Allen. In the spring of 2016, Anderson returned to the studio and in July 2016 released a new album, Through the Mill.
(en.wikipedia.org/wiki/Miller_Anderson_(musician))

01. Alice Mercy (To Whom It May Concern) (06:47)
02. The Age Of Progress (03:29)
03. Nothing In this World (04:17)
04. Bright City (03:07)
05. Grey Broken Morning (04:28)
06. High Tide, High Water (07:55)
07. Shadows 'Cross My Wall (06:02)

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David Byrne (Talking Heads) - Miss America [Single] (1997)

Year: 1997 (CD 1997)
Label: Warner Bros. Records (Germany), 9362-43874-2
Style: Alternative Rock, Pop Rock
Country: Dumbarton, Scotland (May 14, 1952)
Time: 13:57
Format: Flac Tracks 16/44,1 kHz
Size: 101 Mb

David Byrne (born May 14, 1952, Dumbarton, Dunbartonshire, Scotland) is a Scottish-born musician and interdisciplinary artist who was best known as the front man of the influential American art-rock group Talking Heads. He went on to gain respect for an eclectic solo career.
As a child, Byrne moved with his Scottish parents to Canada and then to the United States. While attending the Rhode Island School of Design in the mid-1970s, he cofounded Talking Heads, serving as the group’s principal singer and guitarist. Identified with the punk and new wave movements, the band released its debut album, Talking Heads ’77, in 1977. It was followed by releases-including Remain in Light (1980), Speaking in Tongues (1983), and the concert-film sound track Stop Making Sense (1984)-that reflected Byrne’s interest in experimental pop and African rhythms. After issuing the album Naked (1988), the group dissolved.
Even at the peak of Talking Heads’ popularity, Byrne pursued other creative projects. During a band hiatus in the early 1980s, he wrote the score for choreographer Twyla Tharp’s The Catherine Wheel (1981) and collaborated with Brian Eno on the album My Life in the Bush of Ghosts (1981), a groundbreaking collage of rhythmic grooves and vocal samples. Byrne subsequently wrote and directed the offbeat film True Stories (1986), and his contributions to the score of The Last Emperor (1987) earned him an Academy Award. Also during the 1980s he provided music for two theatre works staged by director Robert Wilson.
(full version: britannica.com/biography/David-Byrne)

01. Miss America (Clean Radio Edit) (03:39)
02. Miss America (04:20)
03. Miss America (I Live America Mix) (05:57)

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Brian Eno & David Byrne - My Life In The Bush Of Ghosts [7 bonus tracks] (1981)

Year: February 25, 1981 (CD Apr 11, 2006)
Label: Nonesuch Records (US), 79894-2
Style: Experimental, Electronic
Country: England / Scotland
Time: 59:54
Format: Flac Tracks 16/44,1 kHz
Size: 385 Mb

My Life in the Bush of Ghosts is the first collaborative studio album by Brian Eno and David Byrne, released in February 1981. It was Byrne's first album without his band Talking Heads. The album integrates sampled vocals and found sounds, African and Middle Eastern rhythms, and electronic music techniques. It was recorded before Eno and Byrne's work on Talking Heads' 1980 album Remain in Light, but problems clearing samples delayed its release by several months.
The album title is derived from Amos Tutuola's 1954 novel My Life in the Bush of Ghosts. According to Byrne's 2006 liner notes, neither he nor Eno had read the novel, but they felt the title "seemed to encapsulate what this record was about".
The extensive sampling on the album is considered innovative, though its influence on later sample-based music genres is debated. Pitchfork named it the 21st best album of the 1980s, while Slant Magazine named it the 83rd.
(en.wikipedia.org/wiki/My_Life_in_the_Bush_of_Ghosts_(album))

01. America Is Waiting (03:38)
02. Mea Culpa (04:57)
03. Regiment (04:11)
04. Help Me Somebody (04:17)
05. The Jezebel Spirit (04:56)
06. Very, Very Hungry (03:21)
07. Moonlight In Glory (04:30)
08. The Carrier (04:19)
09. A Secret Life (02:31)
10. Come With Us (02:42)
11. Mountain Of Needles (02:39)
12. Pitch To Voltage (bonus track) (02:38)
13. Two Against Three (bonus track) (01:55)
14. Vocal Outtakes (bonus track) (00:36)
15. New Feet (bonus track) (02:26)
16. Defiant (bonus track) (03:41)
17. Number 8 Mix (bonus track) (03:30)
18. Solo Guitar With Tin Foil (bonus track) (02:58)

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Nazareth - Play 'n' The Game [Japanese Ed. 5 bonus tracks] (1976)

Year: 13 November 1976 (CD May 17, 2006)
Label: Air Mail Archive (Japan), AIRAC-1207
Style: Hard Rock, Classic Rock
Country: Dunfermline, Fife, Scotland
Time: 57:55
Format: Flac Tracks 16/44,1 kHz
Size: 371 Mb

PLAY ‘N’ THE GAME is an enjoyable and varied collection of songs that are more upbeat and playful than their two prior releases. While there is a bit less of the plodding hard rock riffing these Scots are known for, the songs they’ve chosen here make for nice Album Rock fare. It’s a nice change after the moodier CLOSE ENOUGH FOR ROCK ‘N’ ROLL, which was released earlier in 1976.
The record opens with the catchy and incessant riffing of “Somebody To Roll”, which is easily a highlight. This is followed with an amusing rendition of the Butler/Leiber song “Down Home Girl”, which The Rolling Stones covered back in 1965. The lyrics here hardly seem that they would be a flattering come on for any Southern girl. (“Lord I swear, the perfume you wear is made out of turnip greens” / “And every time that I kiss you girl it tastes like pork and beans”.) “Flying” is a fairly standard Nazareth ballad and probably one of the less memorable moments. The original first side of the record ends with the thumping bass groove of “Waiting For The Man”, which is a rare, but interesting funk experiment. Maybe John Deacon was listening to this bass line when he came up with "Another One Bites The Dust" a few years later? They are melodically different, but both have a similar groove.
“Born To Lose” is an up-tempo hard rocker that finds the band returning to their trademark sound, if just briefly. The Joe Tex cover “I Want To (Do Everything For You)” is a slow, pulsing R&B shuffle that works surprising well for them and play live for many years. “I Don’t Want To Go On Without You” finds the band playing much in the same vein as “Love Hurts” and possibly trying to recapture that magic again. It’s a nice track, but not quite on the same level. The Beach Boys cover “Wild Honey” is a catchy pop/rock tune that works alright, but not something I’m likely to cue up on its own. Ending the album is the Nazareth penned “L. A. Girls” that is another less memorable song that tries to be catch and is punctuated with hand claps.
Nearly half of this record is cover songs, which leads me to wonder whether the band lacked their own material or just wanted to have fun with this album. I will admit that it’s that element of playfulness that I enjoy about this record, even if doesn’t rock quite as hard as RAZAMANAZ or HAIR OF THE DOG. Overall, it’s an enjoyable collection of songs, if not always a consistent one.
(sputnikmusic.com/review/68179/Nazareth-Play-N-The-Game/) Review by Robbit. August 15th, 2015

01. Somebody To Roll (03:54)
02. Down Home Girl (05:03)
03. Flying (04:20)
04. Waiting For The Man (04:53)
05. Born To Love (03:58)
06. I Want To Do Everything For You (04:18)
07. I Don't Want To Go On Without You (03:46)
08. Wild Honey (03:03)
09. L.A. Girls (03:56)
10. Good Love (03:52)
11. I Don't Want To Go On Without You -Alternate Edit Version- (03:24)
12. Waiting For The Man (Alternate Edit Version) (06:13)
13. Somebody To Roll (Edit Version) (03:31)
14. Born To Love (Edit Version) (03:36)

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Carl Orff - Carmina Burana [Hybrid SACD] (1936)

Year: 1935-1936 (CD 2001)
Label: Telarc (US), SACD-60575
Style: Pop Classical, Classical
Country: US / Scotland
Time: 59:40
Format: Flac Tracks 16/44,1 kHz
Size: 280 Mb

Atlanta Symphony Orchestra & Chorus. Conductor Donald Runnicles (born November 16, 1954 in Edinburgh, Scotland).
Carmina Burana is a cantata composed in 1935 and 1936 by Carl Orff, based on 24 poems from the medieval collection Carmina Burana. Its full Latin title is Carmina Burana: Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis ("Songs of Beuern: Secular songs for singers and choruses to be sung together with instruments and magical images"). It was first performed by the Oper Frankfurt on 8 June 1937. It is part of Trionfi, a musical triptych that also includes Catulli Carmina and Trionfo di Afrodite. The first and last sections of the piece are called "Fortuna Imperatrix Mundi" ("Fortune, Empress of the World") and start with "O Fortuna".
The autograph manuscript of the work is preserved in the Bavarian State Library, and was issued in a facsimile edition by Schott Music.
Orff's style demonstrates a desire for directness of speech and of access. Carmina Burana contains little or no development in the classical sense, and polyphony is also conspicuously absent. Carmina Burana avoids overt harmonic complexities, a fact which many musicians and critics have pointed out, such as Ann Powers of The New York Times.
Orff was influenced melodically by late Renaissance and early Baroque models including William Byrd and Claudio Monteverdi. It is a common misconception that Orff based the melodies of Carmina Burana on neumeatic melodies; while many of the lyrics in the Burana Codex are enhanced with neumes, almost none of these melodies had been deciphered at the time of Orff's composition, and none of them had served Orff as a melodic model. His shimmering orchestration shows a deference to Stravinsky. In particular, Orff's music is very reminiscent of Stravinsky's earlier work Les noces (The Wedding).
Rhythm, for Orff as it was for Stravinsky, is often the primary musical element. Overall, Carmina Burana sounds rhythmically straightforward and simple, but the metre changes freely from one measure to the next. While the rhythmic arc in a section is taken as a whole, a measure of five may be followed by one of seven, to one of four, and so on, often with caesura marked between them.
Some of the solo arias pose bold challenges for singers: the only solo tenor aria, Olim lacus colueram, is often sung almost completely in falsetto to demonstrate the suffering of the character (in this case, a roasting swan). The baritone arias often demand high notes not commonly found in baritone repertoire, and parts of the baritone aria Dies nox et omnia are often sung in falsetto, a rare example in baritone repertoire. Also noted is the solo soprano aria Dulcissime, which demands extremely high notes. Orff intended this aria for a lyric soprano, not a coloratura, so that the musical tensions would be more obvious.
(en.wikipedia.org/wiki/Carmina_Burana_(Orff))

01. O Fortuna (02:26)
02. Fortune plango vulnera (02:33)
03. Veris leta facies (04:05)
04. Omnia sol temperat (02:20)
05. Ecce gratum (02:35)
06. Tanz (03:21)
07. Floret silva nobilis (01:39)
08. Chramer, gip die varwe mir (03:45)
09. Reie (Orchestra) and Songs (05:15)
10. Were diu werit alle min (00:56)
11. Estuans interius (02:10)
12. Olim lacus colueram (03:28)
13. Ego sum abbas (01:22)
14. In taberna quando sumus (03:04)
15. Amor volat undique (03:09)
16. Dies, nox et omnia (02:17)
17. Stetit puella (01:47)
18. Circa mea pectora (01:51)
19. Si puer cum puellula (00:51)
20. Veni, veni, venias (00:57)
21. In trutina (01:57)
22. Tempus est iocundum (02:19)
23. Dulcissime (00:48)
24. Ave formosissima (01:57)
25. O Fortuna (02:36)

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Nazareth - Close Enough For Rock'n'Roll [7 bonus tracks] (1976)

Year: March 1976 (CD 2002)
Label: Eagle Records (Germany), EAMCD138
Style: Hard Rock
Country: Dunfermline, Fife, Scotland
Time: 64:27
Format: Flac Tracks 16/44,1 kHz
Size: 520 Mb

WHILE I’VE never been one of Nazareth’s most fervent fans, I’ve always admired them for knowing and keeping within their obvious limitations. The band are but adequate musicians and Dan McCafferty is just an above-average vocalist — but together, they fuse quite tightly and create, if not inspiring, then some very reasonable rock music.
The theme of ‘Close Enough For Rock ‘N’ Roll’ is, oddly enough, one of disillusionment and boredom — yet this is hard to credit, once you bear witness to the highly raucous sounds.
`Telegram’ is the album’s major track. In four parts, ‘On Your Way’,`So You Want To Be A Rock And Roll Star’, ‘Sound Check’ and `Here We Are Again’, it tells the graphic, if at times musically cumbersome, tale of an American tour. It begins with a 747 flight and deals with immigration hassles, the limousine trip from airport to hotel (during which the car’s radio, tuned to an FM station, plays a snatch of ‘This Flight Tonight’), a Press reception and — finally — a concert itself, which ultimately degenerates into a boozy clapalong and fades. To Nazareth, the story that `Telegram’ describes is one of routine, of extreme familiarity — and yet the band attack the multi-faceted tale with a good deal of venom, perhaps venting their frustrations in this hard musical manner.
Except for a short Manny Charlton guitar instrumental, `Vicki’, and the commercial cut `Carry Out Feelings’, the rest of the album follows the same pattern — driving, below-the-belt rock music, hardly innovative, but at the same time not having enough apparent cliches for it to matter.
A good album, and one that should consolidate Naz’s position as a first division band.
(geirmykl.wordpress.com/2021/12/16/article-about-nazareth-from-sounds-april-3-1976/)

01. Telegram (Parts 1-4) (07:54)
02. Vicki (02:24)
03. Homesick Again (04:31)
04. Vancouver Shakedown (04:03)
05. Born Under The Wrong Side (03:57)
06. Loretta (03:19)
07. Carry Out Feelings (03:19)
08. Lift The Lid (03:53)
09. You're The Violin (04:47)
10. My White Bicycle [single] (05:21)
11. You're The Violin [edited A-side] (03:35)
12. Loretta [alternate single version] (02:36)
13. Carry Out Feelings [US single edit] (03:18)
14. Lift The Lid [alternate single version] (03:29)
15. My White Bicycle [orginal single version] (03:28)
16. Telegram [edited version] (04:28)

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Nazareth - Hair Of The Dog [Japanese Ed. 5 bonus tracks] (1975)

Year: 3 April 1975 (CD 2006)
Label: Air Mail Archive (Japan), AIRAC-1205
Style: Hard Rock
Country: Dunfermline, Fife, Scotland
Time: 63:27
Format: Flac Tracks 16/44,1 kHz
Size: 428 Mb

Charts: US #17, CAN #20, AUT #7, GER #27, NOR #5. CAN: Gold; US: Platinum.
01. Hair Of The Dog will immediately grab your attention with its memorable riff and swaggering attitude. Dan McCafferty's raspy vocal perfectly complements the heavy, bluesy instrumentation, that sets the tone for the rest of the album. Plus, who doesn’t love their famous refrain "Now you're messin' with a son of a bitch,” for it’s a masterstroke of lyricism and ensures Hair Of The Dog is a quintessential hard rock anthem.
Guns N’ Roses would cover Hair Of The Dog on their 1993 covers album, The Spaghetti Incident? and as much as I love the original, I’ve got to say that I prefer the slightly more rhythmic presentation that Guns N’ Roses were able to bring to the tune as it further emphasises the undertone of aggression that is present within the song.
02. Miss Misery launches with a killer riff before McCafferty’s soaring vocal enters the mix with the rest of the band launching into an incredibly rhythmic thunderous performance. Filled with passion and intensity, that is highly addictive, Miss Misery is a monster of a song that will have you coming back for more as it’s a flawless hard rock tune.
03. Guilty slows down the pace with its bluesy groove and soulful vocals. Featuring a memorable guitar riff and a laid-back vibe, Guilty will appeal to those of us who appreciate a diverse styling throughout our hard rock albums. Some may dislike it because it is considerably different to the songs that have come before it, but McCafferty's raw and emotive vocal delivery is simply magnificent and the sign of an exceptional hard rock vocalist is often found in slower-styled ballad recordings such as Guilty.
04. Changin' Times sets the pace back to that of a driving rhythm featuring a catchy melody and infectious rhythm. As solid as Changin' Times is, the most notable aspect is McCafferty’s vocal prowess as the man could certainly belt out a tune, with clarity and finesse, like few others within the hard rock and metal genres can.
05-06. Beggars Day/Rose In The Heather is a hard-hitting rocker with a driving rhythm and infectious energy. McCafferty's vocals are, as is the case throughout the entire album, full of attitude and swagger, while the band's tight musicianship keeps the song charging forward with unstoppable momentum.
07. Whiskey Drinkin' Woman is a blues-infused track featuring a gritty vibe. The song's laid-back groove and soulful instrumentation make it a standout on the album, but as you listen to the song you’ll soon come to realise that it would be perfectly played in any drinking establishment, anywhere in the world.
08. Please Don't Judas Me features a stripped-down haunting atmospheric presentation that blends some incredible musicality with McCafferty's emotive vocal presentation. As McCafferty pleads, "Please Don't Judas Me," the song builds to a powerful climax, leaving a lasting impression long after the music fades away. Masterpiece, while often overused, is the only way to describe this sensational song.
09. Love Hurts (Single Edit) is one of my all-time favourite Nazareth tunes and while there will be some that dislike ballads, I love them. This one, in particular, showcases McCafferty's vocal prowess with its poignant lyrics and haunting melody that will strike a chord with music lovers and is a core reason why this version has become a timeless classic.

It is, however, a cover that first appeared on the Everly Brothers’ 1960 release, A Date With The Everly Brothers. Their original is lovely but as with other renditions, I feel that Nazareth took the song, added their unique styling to it, and made it their own. Granted, there isn’t a bad interpretation to be heard, but Love Hurts is an ideal closing tune for the album; even if it wasn’t the closer for the record in all regions.
Hair Of The Dog, subsequently, is a must-have for any hard rock music fan. Its combination of hard-hitting rockers and heartfelt ballads makes it a timeless classic that continues to resonate with audiences decades after its release and Nazareth's signature sound and powerful performances ensure that this album remains a standout in their discography and a cornerstone of 1970s rock music.
(subjectivesounds.com/musicblog/nazareth-hair-of-the-dog-album-review)

01. Hair Of The Dog (04:09)
02. Miss Misery (04:42)
03. Guilty (03:38)
04. Changin' Times (05:59)
05. Beggars Day (03:45)
06. Rose In The Heather (02:44)
07. Whiskey Drinkin' Woman (05:29)
08. Please Don't Judas Me (09:51)
09. Love Hurts (03:53)
10. Down (B-side to 'Love Hurts' single) (03:55)
11. Holy Roller (single A-side) (03:25)
12. Railroad Boy (B-side to 'Holy Roller' single) (04:08)
13. Hair Of The Dog (single edit) (03:22)
14. Holy Roller (extended alternate mix) (04:20)

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Nazareth - Rampant [8 bonus tracks] (1974)

Year: May 1974 (CD 2010)
Label: Salvo Records (Europe), SALVOCD034
Style: Hard Rock, Classic Rock
Country: Dunfermline, Fife, Scotland
Time: 79:54
Format: Flac Tracks 16/44,1 kHz
Size: 557 Mb

Charts: CAN #80, US #157, AUT #1, GER #11, NOR #3, UK #13. CAN: Gold.
Rampant is the fifth studio album by the Scottish hard rock band Nazareth, released in 1974. It was their third album to be produced by Roger Glover, and proved to be the last time they would work with him. The track "Loved and Lost" was sampled by DJ Shadow on "Enemy Lines" from his 2011 album The Less You Know, The Better.
It was recorded in 1974 on the shores of Lake Geneva in Montreux, Switzerland, with the help of the Rolling Stones Mobile Studio and produced by former Deep Purple's bassist Roger Glover, whose last collaboration was with the group.
With this album, Nazareth make a slight musical change incorporating Southern rock intonations into some of their songs ("Glad When You're Gone", "Jet Lag" or the title that opens the "Silver Dollar Forger"). AllMusic critic Donald A. Guarisco compares the sound of the album as a cross between the sound of early AC/DC albums and Lynyrd Skynyrd's most "Hard rock" titles.
(en.wikipedia.org/wiki/Rampant_(album))

01. Silver Dollar Forger (05:37)
02. Glad when you're gone (04:17)
03. Loved and lost (05:12)
04. Shanghai'd in Shanghai (03:44)
05. Jet lag (06:42)
06. Light my way (04:09)
07. Sunshine (04:15)
08. (A) Shapes of things (B) Space safari (06:18)
09. Down (B-Side of Love hurts) (03:54)
10. Razamanaz (BBC live recording) (04:32)
11. Night woman (BBC live recording) (04:00)
12. Alcatraz (BBC live recording) (04:22)
13. Vigilante man (BBC live recording) (05:43)
14. Morning dew (BBC live recording) (07:38)
15. Broken down angel (BBC live recording) (04:26)
16. Woke up this morning (BBC live recording) (04:58)

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