Budgie - Deliver Us From Evil (1982)

Year: October 1982 (CD 1993)
Label: Repertoire Records (Germany), REP 4335-WZ
Style: Pop Rock
Country: Cardiff, Wales
Time: 39:13
Format: Flac Tracks 16/44,1 kHz
Size: 286 Mb

If Nightflight wasn’t the ultimate example of Budgie’s misguided commercial ambitions, than Budgie’s final original album most certainly is. The synths from the last album are back and even more prominent and cheesier than you can imagine. Think mid-80’s Rush without the emotional authenticity: the guitar sound on this supposed “rock” album is just as pathetic. What few heavy metal riffs are left are scattered thin between lame, repetitious pop rock that’s no better than any of the more famous garbage of this period. As mentioned in my Nightflight review, listen to Styx, Journey, Def Leppard, Foreigner, etc for an approximation of Budgie’s sound on their RCA albums. If you can dig this sort of stuff, than you have a stronger stomach than I, sir or madam.

Songwriting throughout is manufactured and hook-oriented, what little remained of the band’s trademark eccentricity has been cut loose in favor of era-specific cliches. Between the obligatory weepy love ballads (“Alison,” which is somehow worse than your typical Budgie ballad) and upbeat rocking love ballads (“Young Girl,” not much better), there’s a heavy emphasis on Cold War paranoia in tracks like “Finger on the Button,” “Bored with Russia,” and “N.O.R.A.D.” Lots of groups were getting in on this sort of thing (Birth Control, for instance); it was a trendy musical subject. Budgie, however, had never been a trendy band: their uncommon musicality inspired trends, not followed them. This is just absurd. “Bored with Russia?” Nope, not me fellas. “Don’t Cry?” I’m trying my best not to, almost can’t help it listening to how a mighty band has fallen. “Hold On to Love?” Not for Budgie guitarist John Thomas, whose flashy half-assedry has apparently ruined the band. Over three albums and an EP recorded with him, there might be two songs that are even close to the value of the fucking throwaways off their 70’s albums. Find it hard to believe? So did I. Gander for yourself, dear reader, and see if you don’t find yourself thinking the same.

With the exception of perhaps “Flowers in the Attic,” which performs fairly well for a power ballad (in the same vein as “Time to Remember” from Power Supply), there’s nary a song worth remembering off this record. Afterwards, the band would record tracks for a final RCA album, but would end up shelving it and calling it quits (the lost demos would eventually be released as The Last Stage in the 2000’s). Metallica’s decision to cover a pair of the band’s choicer tracks from their early period would result in renewed interest in Budgie, quite possibly the only reason they maintain a cult fan base to this day. But all the Budgie love in the world is most certainly directed towards their 70’s accomplishments; their brief 80’s outings should be duly forgotten.

(metal-archives.com/reviews/Budgie/Deliver_Us_from_Evil/13592/)

01. Bored With Russia (03:49)

02. Don't Cry (03:19)

03. Truth Drug (04:23)

04. Young Girl (02:18)

05. Flowers In The Attic (05:12)

06. N.O.R.A.D. (Doomsday City) (04:15)

07. Give Me The Truth (04:11)

08. Alison (03:26)

09. Finger On The Button (03:59)

10. Hold On To Love (04:16)

TurboBit            KatFile

Julie Driscoll, Brian Auger & The Trinity - Julie Driscoll, Brian Auger & The Trinity [Compilation] (1975)

Year: 1967-1969 (CD ????)
Label: Polydor Records (Europe), 847 859-2
Style: Art Rock
Country: United Kingdom
Time: 51:51
Format: Flac Tracks 16/44,1 kHz
Size: 301 Mb

In 1965 Brian Auger formed the group The Steampacket, along with Long John Baldry, Julie Driscoll, Vic Briggs and Rod Stewart. With Driscoll and the band, Trinity, he went on to record several hit singles, notably a cover version of David Ackles' Road to Cairo and Bob Dylan's This Wheel's on Fire, which was featured on Dylan Covered. In 1969 Auger, Driscoll and Trinity appeared performing on the national telecast of 33? Revolutions Per Monkee.

In 1970 he formed Brian Auger's Oblivion Express, shortly after abandoning the abortive Wassenaar Arrangement jazz-fusion commune in a small suburb of The Hague. The Oblivion Express served to cultivate several musicians, including future The Average White Band drummers Robbie McIntosh and Steve Ferrone, as well as guitarist Jim Mullen. Likewise, in 1971 he produced and appeared on Mogul Thrash's only album. Two members of that band, Roger Ball and Malcolm Duncan, would also go on to form the Average White Band.

In 1989, Auger was musical director for the thirteen-part film retrospective series Villa Fantastica, made for German TV. A live recording of the series, Super Jam (1990), features Auger on piano, Pete York on drums, Dick Morrissey on tenor saxophone, Roy Williams on trombone, Harvey Weston on bass guitar, with singers Zoot Money and Maria Muldaur.

Auger toured with blues rocker Eric Burdon in the early 1990s, and recorded the live album Access All Areas with him in 1993. After several projects, including albums with family members, he reformed the Oblivion Express in the late 1990s, with a line-up that eventually featured both his son and daughter.

The Oblivion Express was revived with a 2005 recording and subsequent touring. The group featured Brian Auger, his son Karma Auger on drums, his daughter Savannah Auger on vocals, and Derek Frank on bass.

(studiologic-music.com/artists/auger_brian/)

01. Let the Sunshine in (03:08)

02. The Road to Cairo (05:21)

03. Take me to the Water, I'm going back home (04:18)

04. Why am I treated so bad (03:37)

05. Light my Fire (04:25)

06. Save me (02:32)

07. A Kind of Love In (02:31)

08. The wheels on fire (03:33)

09. Break it up (02:58)

10. Tramp (04:12)

11. Season of the witch (07:51)

12. Save the country (03:58)

13. Indian Rope Man (03:20)

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Peter Green (Fleetwood Mac) - Promised Land [Compilation] (2001)

Year: 2001 (CD 2001)
Label: Armoury Records (Germany), ARMCD038
Style: Blues
Country: London, England (29 October, 1946 - 25 July 2020)
Time: 56:30
Format: Flac Tracks 16/44,1 kHz
Size: 341 Mb

Along with Eric Clapton, Peter Green is often mentioned as one of the two best guitarists of the British blues boom of the mid-1960s to 1970. As the guiding impetus of the original lineup of Fleetwood Mac, Green wrote and performed a dazzling string of hits that by 1969 had outsold singles by the Beatles and the Rolling Stones. While Clapton's playing has prompted comparisons to Freddy King and Albert King, Green's sound is considered to be more like the style of American blues legend B.B. King. Green's unwitting consumption of a drink spiked with lysergic acid diethylamide (LSD), however, triggered mental illness that tragically rendered the superstar guitarist as one of rock's most tragic creative casualties. Subsequent experimentation with LSD and mescaline exacerbated his deteriorating mental condition, leading him to leave Fleetwood Mac and embark upon a solo career that has been inconsistent and generally considered by critics to be inferior to his work with Fleetwood Mac. However, hints of his previous creative genius and dazzling guitar work can be detected in several album releases of the late 1970s and throughout the 1990s.

Born Peter Greenbaum, Green was subjected to anti-Jewish taunts and physical abuse as a child in the working-class London East End neighborhood of Bethnal Green. In addition to traditional Jewish music, his early musical influences included Hubert Sumlin, Howlin' Wolf, Cliff Gallup, Hank Marvin of the Shadows and, perhaps most clearly, B.B. King. "Hank Marvin was my first guitar hero," Green explained to Mojo interviewer Cliff Jones in 1996. "I listened to his playing because it was very lyrical, his phrasings were melodic and I've always liked a nice melody. Hank made the guitar into an instrument that talked colours." Green also expressed admiration for Gallup, who, as the guitarist for Gene Vincent's band the Blue Caps, also influenced a young Jeff Beck. "Good, solid but very simple player," Green told Jones. "I don't like too much complication; it's like unnecessary words. I don't use the word 'lick'---I hate the word actually---because I don't play licks, I play phrases or riffs. A riff is a short thing that you repeat and a phrase is a group of notes for your melody. I'm big on melody, I am."

(musicianguide.com/biographies/1608004218/Peter-Green.html)

01. Slabo Day (05:07)

02. Last Train To San Antone (05:31)

03. Tribal Dance (04:33)

04. Bandit (02:56)

05. In The Skies (03:51)

06. Loser Two Times (04:28)

07. Cryin' Won't Bring You Back (05:04)

08. Proud Pinto (03:38)

09. The Clown (05:52)

10. Just For You (04:36)

11. Promised Land (03:31)

12. Momma Don'tcha Cry (03:20)

13. Black Woman (03:57)

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Electric Light Orchestra - On The Third Day [Japan Ed.] (1973)

Year: November 1973 (CD Sep 1, 1990)
Label: CBS/Sony Music (Japan), CSCS 6028
Style: Progressive Pop, Pop Rock
Country: Birmingham, England
Time: 39:35
Format: Flac Tracks 16/44,1 kHz
Size: 256 Mb

This has always been one of my favorite records from Electric Light Orchestra because it’s the first ELO record that consistently delivers on the promise of Magical Mystery Tour mark two. I would tell you that the songs featured between Ocean Breakup and Ocean Breakup Reprise represent some of their best material, bar none. Oh No Not Susan is a fair match for “Dear Prudence,” Bluebird Is Dead isn’t far removed from “Sexy Sadie,” and New World Rising gives us our first glimpse of “Mr. Blue Sky.”

The second side isn’t quite as effective, as it’s essentially a continuation of their last record, with ELO switching out some of their string section in the interim. Daybreaker and In the Hall of the Mountain King are moderately effective instrumentals, Ma-Ma-Ma Belle is Jeff Lynne’s take on “Woman from Tokyo” and Dreaming of 4000 hides a brilliant chorus in Lynne’s shrouded vocals. Despite being recorded first, these songs were wisely placed on the second side, as they’re in most cases inferior to what precedes them.

Beyond being half a very good album, On the Third Day marks a shift away from string-driven arrangements to synthesizers. Richard Tandy’s Moog figures prominently in the music, while the cellos and violins add spice to the arrangements in a supporting role. As a result, the music on ELO’s third album feels more streamlined and gave audiences their first taste of what many consider the classic ELO sound of classical meets disco. The single, Showdown, included on the US versions on OTTD, serves as the first course in this musical feast to follow.

Of interest, Marc Bolan is said to have joined the band during the recording sessions for On the Third Day and appears on several songs including the single version of “Ma-Ma-Ma Belle” and “Dreaming of 4000.” I can’t say that I hear his contributions, but the idea of Bolan and ELO playing together is infinitely cool all the same. For those who enjoyed the most Beatlesque moments of No Answer (“Nellie Takes Her Bow,” “Mr. Radio”) and found Electric Light Orchestra II too dense, On the Third Day is both a return to form and a pleasant metamorphosis.

(progrography.com/electric-light-orchestra/review-electric-light-orchestra-on-the-third-day-1973/)

01. Ocean Breakup + King Of The Universe (04:06)

02. Bluebird Is Dead (04:22)

03. Oh No Not Susan (03:27)

04. New World Rising + Ocean Breakup Reprise (04:06)

05. Showdown (04:12)

06. Daybreaker (03:50)

07. Ma-Ma-Ma Belle (03:52)

08. Dreaming Of 4000 (05:03)

09. In The Hall Of The Mountain King (06:34)

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Lee Morgan - Here's Lee Morgan [2CD] (1960)

Year: Mid September 1960 (CD 1997)
Label: Vee Jay Records (US), VJ-005
Style: Jazz, Hard Bop
Country: Philadelphia, U.S. (July 10, 1938 - February 19, 1972)
Time: 37:17, 65:34
Format: Flac Tracks 16/44,1 kHz
Size: 214, 351 Mb

Edward Lee Morgan (July 10, 1938 - February 19, 1972) was an American jazz trumpeter and composer.

Morgan was killed in the early hours of February 19, 1972, at Slugs' Saloon, a jazz club in New York City's East Village where his band was performing. Following an altercation between sets, Morgan's common-law wife Helen Moore (a.k.a. Helen Morgan) shot him. The injuries were not immediately fatal, but the ambulance was slow in arriving on the scene as the city had experienced heavy snowfall that resulted in extremely difficult driving conditions. They took so long to get there that Morgan bled to death. He was 33 years old. Helen Morgan was arrested and spent a short time in prison before being released on parole. After her release, she returned to her native North Carolina and died there from a heart condition in March 1996.

(en.wikipedia.org/wiki/Lee_Morgan)

01. Terrible (05:17)

02. Mogie (07:42)

03. I'm a Fool to Want You (05:36)

04. Running Brook (06:03)

05. Off Spring (06:13)

06. Bess (06:23)

01. Terrible T (Take 7 Bonus track on CD) (05:41)

02. Terrible T (Take 6 Bonus track on CD) (06:53)

03. Mogie (Take 2 Bonus track on CD) (07:25)

04. Mogie (Take 1 Mono Bonus track on CD) (07:31)

05. I'm a Fool to Want You (Take 1 Bonus track on CD) (05:54)

06. I'm a Fool to Want You (Take 2 Bonus track on CD) (05:42)

07. Running Brook (Take 9 Bonus track on CD) (06:17)

08. Running Brook (Take 4 Bonus track on CD) (06:50)

09. Off Spring (Take 7 Bonus track on CD) (06:39)

10. Bess (Take 3 Bonus track on CD) (06:38)

CD1:      TurboBit            KatFile

CD2:     TurboBit            KatFile

Creedence Clearwater Revival - Bayou Country (1969)

Year: January 15, 1969 (CD Mar 11, 2003)
Label: Analogue Productions (US), CAPJ 8387 SA
Style: Country Rock
Country: El Cerrito, California, U.S.
Time: 34:10
Format: Flac Tracks 16/44,1 kHz
Size: 198 Mb

US: 2x Platinum.

Creedence Clearwater Revival‘s new LP suffers from one major fault — inconsistency. The good cuts are very good; but the bad ones just don’t make it.

The group’s sound is very reminiscent of that of the early Stones — hard rock, based in blues. John Fogerty carries the group with his good lead guitar, in addition to his good vocal and harp work. He also wrote all of Creedence’s original songs, and arranged and produced the album. He probably swept out the studio when the recording was finished, too.

Despite John’s dominance, the group has a solid overall sound. Stu Cook on bass, brother Tom Fogerty on rhythm guitar, and Doug Clifford on drums are all good musicians; they lay down a heavy backing for Fogerty, and the result is a very tight sound.

The main failing of the bad cuts is a lack of originality. “Graveyard Train” is a repeat of “Gloomy” on the first album. “Gloomy” wasn’t worth much in the first place, and “Train,” dragged out to eight minutes and thirty-two seconds, is simply boring. “Penthouse Pauper” is similar to “The Working Man,” also on the first LP. The music and lyrics are good, but they’ve been heard before.

“Good Golly Miss Molly” is not nearly as exciting as Little Richard’s original, though the group gets a good workout on this one. “Bootleg” is a good, short number which explains how something often becomes more attractive when it is illegal. Again, the lyrics are good. But even here, Fogerty uses the same riff as on “Keep On Chooglin.” A few more fresh ideas would be helpful.

The good cuts do come off well. “Born On The Bayou” is a very bluesy thing which inspired the LP title. This contains some of John’s best vocal work. “Proud Mary” is a good, easy-rolling song concerning a Mississippi river-boat. The Fogerty’s guitars help to create a gentle, flowing mood. I take it that “Proud Mary” is the name of the boat.

“Keep On Chooglin'” is Creedence Clearwater Revival’s “rave-up,” a good, long, toe-tappin’ type song. As is usually the case with such numbers, it sounds better in person than on record. Nonetheless, CCR has managed to capture some of the excitement of a live performance on this album. Exactly what chooglin’ is, or how you do it, is not explained. However, Creedence Clearwater Revival would like us all to keep on doing it (apparently we’ve been doing it all along without knowing it) and it seems like a good idea in these troubled times.

Overall, the material in Bayou Country is not always strong, but Creedence Clearwater Revival plays with enough gusto to overcome this problem. With the stronger material, they are excellent. It seems to me though, that CCR has just about exhausted its supply of blues-rock numbers. They have produced two fine albums; so far, so good. But I think (and hope) that we will see new directions on their forthcoming albums.

(rollingstone.com/music/music-album-reviews/bayou-country-86757/) RollingStone magazine. Review by Ray Rezos. March 2, 1973

01. Born On The Bayou (05:16)

02. Bootleg (03:02)

03. Graveyard Train (08:37)

04. Good Golly Miss Molly (02:44)

05. Penthouse Pauper (03:39)

06. Proud Mary (03:08)

07. Keep On Chooglin' (07:41)

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Foghat - Rock And Roll Outlaws [Japan Ed.] (1974)

Year: October 1974 (CD Sep 5, 2007)
Label: Victor Entertainment (Japan), VICP-63894
Style: Hard Rock, Blues Rock
Country: London, England
Time: 39:03
Format: Flac Tracks 16/44,1 kHz
Size: 285 Mb

Foghat is a band. In 2023, Foghat turned 52 years old. In November of this year, they will release a new album titled Sonic Mojo. They are still out on the road, traveling across the land and bringing their infectious boogie to packed houses full of adoring fans nearly every night. A Foghat concert is every bit as much fun and intense in 2023 as it was in 1977 when their classic multi-platinum album, Foghat Live broke them around the world. Looking back, it’s only fitting that it was a live album that made Foghat a household name. The band wouldn’t have it any other way.

Foghat continues to appeal to fans of all ages because their music is timeless. They play with an energy that perpetuates youthful exuberance, no matter how old they may be. This band loves to play music. This band lives to play music. Those in the audience, whether they discovered Foghat in the video game Guitar Hero III, from the movie Dazed & Confused, or they discovered them when they purchased their 1972 debut album, knows they are the real deal. That’s why a Foghat audience is so diverse, yet unified. Baby Boomers, Gen X’ers and Millennials and on down all come together with a single purpose when the band comes to town. They wanna boogie…and boogie they do!

For Foghat fans, the announcement that a new album titled Sonic Mojo will be released November 10 is no surprise. They’ve learned to expect new releases from this band. Sonic Mojo will be met with the same enthusiasm and excitement as their other recent releases which include 2010’s Last Train Home, 2016’s Under the Influence, 2017’s Live at the Belly Up and 2021’s 8 Days on the Road, which was recorded live at Daryl’s House Club in Pawling, NY. These releases join a long history of great music put out by the band.

Foghat began back in 1971 when Lonesome Dave Peverett and Roger Earl decided to leave Savoy Brown and start a band of their own. History has proven that this was a great decision. Over the years, Foghat has earned eight Gold Records, one Platinum Record and one Double-Platinum record. As with any band that survives for over five decades, there have been ups and downs, and tragedies and triumphs. Through it all, they moved ahead in one form or another for only one reason: The Music. For Foghat, it’s all about the music, always has been and always will be.

Sadly, the band has lost three beloved members over the years. Founding member, songwriter, vocalist, and guitarist Lonesome Dave passed away in 2000. In 2005, slide guitarist extraordinaire Rod Price left us and then, in 2018, the band lost long time bassist Craig MacGregor. Through all the losses, founding member and drummer, Roger Earl, kept the music, and the band, moving forward.

If Foghat had been a one hit wonder and only had success with the song “Slow Ride” they’d still have a well-deserved place in rock ‘n’ roll history. Thankfully, however, Foghat has been so much more than that. Rest assured, this band will truly roll ‘til their old and rock ‘til they drop. Roger Earl has been at this for 52 years and has no plan of stopping now.

(foghat.com/band/band-bio/)

01. Eight Days On The Road (06:08)

02. Hate To See You Go (04:39)

03. Dreamer (06:39)

04. Trouble In My Way (03:32)

05. Rock And Roll Outlaw (03:53)

06. Shirley Jean (03:46)

07. Blue Spruce Woman (04:08)

08. Chateau Lafitte '59 Boogie (06:14)

TurboBit            KatFile

Scorpions - Animal Magnetism [8 bonus Tracks] (1980)

Year: 31 March 1980 (CD 2002)
Label: Polygram Records (US)
Style: Hard Rock
Country: Hanover, West Germany
Time: 79:35
Format: Flac Tracks 16/44,1 kHz
Size: 555 Mb

Charts: GER # 12, CAN #76, SWE #37, UK #23, US #52. France, Germany & US: Gold.

The second effort from the now 'classic' lineup of Meine, Schenker, Jabs, Bucholz, and Rarebell, "Animal Magnetism", clearly exhibits the formula of songwriting that would propel the group from mainly a Japanese and European based group to a worldwide attraction. Razor-sharp riffs; mixed with an up-tempo rhythm dominate most of the popular tracks on this album, such as 'Make It Real', 'Hey You' and 'Don't Make No Promises (Your Body Can't Keep)'. It was this type of musical structure that would lead the band into it largest commercial success, as seen by the album sales of 'Blackout' and 'Love at First Sting' in the US market. But for all the formula based hits, it is the slow tempo grinders, such as 'Hold Me Tight', 'Animal Magnetism', and the penultimate anthem about New York City, 'The Zoo', that give this album it's lasting charm.

While it is apparent that the addition of Mattias Jabs to the lineup significantly changed the sound of the group, from it's early Krautrock offering (Lonesome Crow); or neo-classical and Hendrix fueled lead guitarist Uli Jon Roth (Fly to the Rainbow), to enhance the riff first formula that was first offered up on the classic 'In Trance' release 5 years prior. That being said, whatever the band may have lost in intricate solo efforts, they compensated qute well with compulsive, catchy riffs, pounding rhythms, and stellar vocals (since Uli was not around to sabotage any more tracks by signing lead). 'Falling In Love', and 'Only a Man' are two examples of the new sound that would dominate future Scorpions' albums. Another classic cliche' of future albums, the power ballad, is heard here in the forlorn, yet beautiful, 'Lady Starlight'.

Perhaps two of the band's more underrated efforts play out on side one of this vinyl pressing, 'Twentieth Century Man' and 'Hold Me Tight'. Both are mid tempo rumblers, with Bucholz nearly taking lead; on the bass, no less!; on 'Twentieth', while Klaus gives a vocal definition of angst and frustraion within a decaying relationship on 'Hold Me Tight' when he belts out the chorus, "ALL RIGHT, have it your way!!!" It is this style that dominates most of the vibe of 'Magnetism', slow and brooding, like a stalking lion that is waiting for a chance to pounce on an unsuspecting victim. And it is fitting that the most popular cut on this album is entitled 'The Zoo', since it is within the chorus of this song that the pent up agression of the entire album is released in a fury, a climax rarely matched by any other Scorpions' (or any other band's) album, which allows the feline to feast. Even Klaus' smug laughter at the end of the title track suggests that the listener is merely an appetizer to the group's total appetite.

Now, decades later, and with the most successful era of the band not yet realized during this album, it is easy to see why 'Animal Magnetism' could be considered a marginal part of the Scorpions' catalogue. But don't take this album lightly, for any true Scorp's fan will tell you it has all the elements of future commercial success, along with some essential Scorpions venom.

(metal-archives.com/reviews/Scorpions/Animal_Magnetism/35059/) Review by ArchfiendNocturnal. May 5th, 2013

01. Make It Real (03:52)

02. Don't Make No Promises (Your Body Can't Keep) (02:59)

03. Hold Me Tight (04:00)

04. Twentieth Century Man (03:04)

05. Lady Starlight (06:17)

06. Falling In Love (04:11)

07. Only A Man (03:36)

08. The Zoo (05:34)

09. Animal Magnetism (06:00)

10. The Zoo (Acoustic Live) (Bonus Track) (05:48)

11. Dust In The Wind (Kansas cover) (Acoustic Live) (Bonus Track) (03:50)

12. Lady Starlight (with the Berlin Philharmonic Orchestra) (Bonus Track) (05:22)

13. Moment Of Glory (with the Berlin Philharmonic Orchestra) (Bonus Track) (05:07)

14. Still Loving You (with the Berlin Philharmonic Orchestra) (Bonus Track) (07:28)

15. Sun In My Hand (Bonus Track) (04:20)

16. Obsession (Bonus Track) (04:09)

17. Blackout (Bonus Track) (03:50)

TurboBit            KatFile

Kayak - Night Vision (2001)

Year: 2001 (CD 2001)
Label: ProActs Records (Europe), PROCD 2057
Style: Art Rock, Pop Rock
Country: Netherlands
Time: 69:15
Format: Flac Tracks 16/44,1 kHz
Size: 455 Mb

Kayak's 'Night Vision' album came after their comeback with 'Close to the Fire' with Max Werner on vocals, the lead vocalist of their classic line-up of the seventies. On this album the band introduces Bert Heerink on vocals, former lead singer of eighties stadion metal group Vandenberg (of which I can recommend the third album 'Alibi'). All Kayak albums have a mixture of artsy pop and progressive rock elements, but the dividing line on 'Night Vision' is perhaps a bit fixed between the songs. The opener by Ton Scherpenzeel 'Icarus' is easily one of the best progressive epics the band ever created. The melancholic and lyrical 'Miracle Man' (about guru's) is also an instant succes. After that the band fires two melodic ballads, two artsy rock songs and yet another ballad before arriving by it's third highlight 'Tradition'. Another particularly well written progressive rock track, this time by Pim Koopman. Then follows a succession of songs in a downward slope, whilst the lyrics keep surprising on this album.

Now with a few progressive highlights this album is easily discarded, but I found that I keep returning to it. Songs like 'A Million Years', 'Water For Guns' , 'The Way of the World' and 'A Life without Parole' stay pleasant and enjoyable. The overall sound of the album is great and if you just skip on a few of the last songs it's overall quality is actually quite good. The main problem of this album is its place between the strong comeback album 'Close to the Fire' and their career's best concept albums; 'Merlin' and 'Nostradamus'. Kayak can make a fine progressive poprock album and this album should be seen in the tradition of the fine 'Phantom of the Night' album of 1978. I'm raising my rating to a strong 3,5 stars here.

(progarchives.com/album.asp?id=723) Review by friso. June 22, 2010

01. Icarus (08:24)

02. Miracle Man (04:54)

03. Cassandra (04:25)

04. A Million Years (04:37)

05. Water For Guns (04:08)

06. The Way Of The World (04:35)

07. Hold Me Forever (03:28)

08. Tradition (08:00)

09. All Over Again (05:06)

10. Life Without Parole (04:12)

11. How (04:57)

12. Carry On Boy (04:04)

13. Good Riddance (04:14)

14. Rings Of Saturn (04:04)

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Little Feat - Representing The Mambo (1990)

Year: 1990 (CD Apr 6, 1990)
Label: Warner Bros. Records (Europe), 7599-26163-2
Style: Pop
Country: Los Angeles, California, U.S.
Time: 51:00
Format: Flac Tracks 16/44,1 kHz
Size: 339 Mb

Wow, they’re back. And this ongoing comeback - unlike Fleetwood Mac’s - really deserves a "wow." Until their resurgence two years ago, Little Feat hadn’t recorded an album since 1979. Their new one kicks off with a blaze of rapid-fire guitar, and goes on to stomp through several states’ worth - maybe several countries’ worth-of territory.

One of those states would have to be Texas, where (in "Texas Twister") the band happily encounters a very young woman sexy enough to knock all strength out of a man. They also (in "Those Feat’ll Steer Ya Wrong Sometimes") meet a state cop not quite amiable enough to accept listening to Little Feat as an excuse for driving at double the speed limit.

If songs such as these were all Little Feat played, you might dismiss their return as nothing more than nostalgia for the way good ol’ boys used to live. (Even then, though, you’d have to smile at the way they brag about their manhood while measuring it against a woman and a cop tougher than they are.)

But there’s much more going on. The album ends with two songs ("The Ingenue" and "Silver Screen") that don’t just boogie. They also examine the lives of urban women who live mainly in fantasy; all at once the music resonates with echoes of European pop, various Latin styles, and jazz. Little Feat is as musically deft as any band around. Even their good ol’ boy songs - such as the title cut, which also has Latin overtones - are deft. It’s a cliche of rock criticism to say the band lost something it could never regain with the 1979 death of its star singer and songwriter, Lowell George. But 11 years later, the re-formed Little Feat has plenty to offer.

(https://ew.com/article/1990/04/13/representing-mambo/) Review by Greg Sandow. Published on April 13, 1990

01. Texas Twister (04:46)

02. Daily Grind (05:09)

03. Representing the Mambo (05:56)

04. Women in Love (03:50)

05. Bad Gumbo (03:28)

06. Teenage Warrior (04:53)

07. That's Her, She's Mine (04:10)

08. Feeling's All Gone (05:00)

09. Those Feat'll Steer Ya Wrong Sometimes (05:01)

10. The Ingenue (04:21)

11. Silver Screen (04:22)

TurboBit                KatFile                TezFiles

Jethro Tull - Catfish Rising [2 bonus tracks] (1991)

Year: 10 September 1991 (CD 2006)
Label: Chrysalis Records (US), 0946 3 70977 2 4
Style: Rock
Country: Bedfordshire, England
Time: 72:28
Format: Flac Tracks 16/44,1 kHz
Size: 462 Mb

Review Summary: Not the album that it could have been, and definitely not the album that Tull fans were asking for, Catfish Rising is still highly enjoyable.

By the time that the 1990’s came about, Jethro Tull was in desperate need of doing something to once again become relevant. For the past ten years, boring release came after boring release, with only two somewhat worthwhile (or, rather, not entirely embarrassing) albums being released in this relatively long time. It seemed that by now, Ian Anderson, whose voice was severely weakened, couldn’t write an entertaining tune, a notion acutely reinforced by the disastrous Rock Island. And so, in 1991, out came Catfish Rising. Was it the comeback that the band needed? Probably not, when considering that it did little to change anyone’s opinion of the band, but that doesn’t stop Catfish Rising from being a rather interesting listen.

Often overlooked as just another dreary post-Heavy Horses album, Catfish Rising actually saw Jethro Tull significantly improving upon their newer, almost Dire-Straits-esque, sound. The album moved away from the superfluous, aimless atmospherics and metallic meanderings of songs such as The Whaler’s Dues and Strange Avenues and towards a raw, bluesy sound, and for this the album is all the better.

Strangely enough, it all works. The melodies are almost always memorable, the flutes sparkle with energy, and the guitars, once again gritty and rough, spit out solos that could have been taken straight from Stand Up. For the first time in ages, Anderson’s charisma and energy is evident, and it’s obvious that the band is genuinely making an effort to make Catfish Rising sound good, something that can’t be said about many of the album’s predecessors. Martin Barre in particular surprises, with his soloing showing an unusual amount of restraint and relying less on flamboyance than usual, something exhibited perfectly by the melancholy Still Loving You Tonight, whose leads elevate a good song into absolute bliss.

Despite the bluesy direction taken by the band, one can find a fair amount of acoustic material, with the Indian-themed Like A Tall Thin Girl being a particularly refreshing listen (although, I should note that the song is marred by some of Anderson’s worst lyrics). Also of note is Rocks On The Road, a fun, quirky little number that quickly became a live favorite, with good reason.

The album’s biggest downfall comes in it’s lack of diversity. Unlike the eclectic releases of old, Catfish Rising is content with alternating between only gritty, electric bluesy numbers and soft, acoustic bluesy numbers, these occasionally including slight elements of Celtic or Indian music. Due to this unfortunate lack of variety, the album is much more tedious than it should be, especially when the music’s quality is placed into consideration, and this is in no way helped by the sixty minute length of the album.

Despite the fact that Catfish Rising is certainly a step up from the likes of Rock Island and Under Wraps, one can’t help feeling that much of it pales in comparison to the band’s back catalogue, especially when examined from a lyrical standpoint. In the end, the album seems like a less diverse, slightly more sterile Stand Up, but that really isn’t a very bad thing at all.

(sputnikmusic.com/review/39108/Jethro-Tull-Catfish-Rising/)

01. This Is Not Love (03:59)

02. Occasional Demons (03:48)

03. Roll Yer Own (04:25)

04. Rocks On The Road (05:32)

05. Sparrow On The Schoolyard Wall (05:25)

06. Thinking Round Corners (03:32)

07. Still Loving You Tonight (04:32)

08. Doctor To My Disease (04:35)

09. Like A Tall Thin Girl (03:40)

10. White Innocence (07:45)

11. Sleeping With The Dog (04:26)

12. Gold Tipped Boots, Black Jacket And Tie (03:41)

13. When Jesus Came To Play (05:08)

14. Night In The Wilderness (bonus track) (04:05)

15. Jump Start (live bonus track) (07:48)

TurboBit                KatFile

Traffic - John Barleycorn Must Die [Japan Ed. 5 bonus tracks] (1970)

Year: July 1970 (CD Sep 24, 2008)
Label: Island Records (Japan), UICY-93644
Style: Art Rock
Country: Birmingham, England
Time: 59:56
Format: Flac Tracks 16/44,1 kHz
Size: 369 Mb

Charts: UK #11, AUS #14, CAN #6, NLD #5, NO #15, US #5. US: Gold.

Everything gets started with “Glad", an instrumental which at first sounds like an aptly named celebration with Winwood’s upbeat jazz piano riff. The middle jam section includes a free-form like approach, starting with a saxophone solo by Wood on top of great rhythms by Winwood and Capaldi. The long, slow outro contains a mesmerizing mix of piano, organ, and percussion, and slowly meanders towards a segue into “Freedom Rider". The album’s first proper song subtly starts with a rocking piano and baritone saxophone phrase but employs a more upbeat and funky approach when the verse breaks in. Winwood may shine brighter on bass than keys, while Wood adds some sweeping flute passages and a potent lead on this track with poetic lyrics by Capaldi.

Side one concludes with the beat-driven rocker “Empty Pages", which has Wood moving over to Hammond organ and, while Capaldi co-wrote four of the six tracks on this album, he never shines brighter than on this one. His drumming excels from start to finish, while the optimistic lyrics speak of a “clean slate" in a new romantic life. Winwood adds his own highlight with a fine, extended electric piano lead on this track which was the sole single released from John Barleycorn Must Die.

While no tracks on the original first side contain any guitars, each of the three songs on side two feature Winwood playing electric and/or acoustic guitar. In fact, the side opener “Stranger to Himself" features both, with an acoustic in the opening and main riff and an electric slightly within the verses and fully during the blistering lead section. The first song written for this album, it is close to being a full Winwood solo effort (he even plays drums), with only some backing vocals provided by Capaldi. “John Barleycorn" is a traditional, anti-whiskey, folk song which is primarily acoustic with slight further arrangements. Through its several verses, instrumentation is built every so subtly. The album concludes with “Every Mother’s Son", another early track that features only Winwood and Capaldi. A fine droning lead guitar riff drives the slow intro, which most sounds like tunes from the Blind Faith album. The beat completely stops for two measures near the beginning of a Hammond organ lead, reflecting the loose production that is part of the overall charm of this album.

John Barleycorn Must Die peaked at number 5 on the album charts, Traffic’s highest charting album ever in the US.

(classicrockreview.com/2015/05/1970-traffic-john-barleycorn/) May 29, 2015

01. Glad (06:59)

02. Freedom Rider (05:30)

03. Empty Pages (04:34)

04. I Just Want You To Know (Bonus Track) (01:30)

05. Stranger To Himself (03:57)

06. John Barleycorn (Must Die) (06:27)

07. Every Mothers Son (07:08)

08. Sittin' Here Thinkin' Of My Love (Bonus Track) (03:33)

09. Backstage & Introduction (Live - Bonus Track) (01:50)

10. Who Knows What Tomorrow Will Bring (Live - Bonus Track) (06:56)

11. Glad (Live - Bonus Track) (11:29)

TurboBit                KatFile

Budgie - Never Turn Your Back On A Friend (1973)

Year: June 1973 (CD 1996)
Label: Repertoire Records (Germany), REP 4013-WZ
Style: Hard Rock
Country: Cardiff, Wales
Time: 42:25
Format: Flac Tracks 16/44,1 kHz
Size: 268 Mb

This particular album, released in 1973, seems to be Budgie's most recognized album. It's got Breadfan on it, after all!
1) Breadfan: It starts out snarling, upbeat, and energetic in the intro/verse/chorus. The singing struck me as very strange, but its something you get used to. The song is quite catchy. In the middle it slows down into the acoustic, melancholy sounding bridge (which is COMPLETELY different from the Metallica version). Then the rest of the song goes back into the relentless hard rock riffing and singing. IMO this is the best sounding track off the album. 5/5
2) Baby Please Don't Go: Overall a bluesy, shuffling song. Has some good guitar licks and bass riffs. The singing is a bit weird and cheesy, but in a way fits. The riffs change from verse to chorus to solo, etc. Good song; nothing amzingly special about it though. 4/5
3) You Know I'll Always Love You: A soft, short ballad-like track. Awesome melodies and singing. The lyrics are deep and reflective. Would be a 5, but it's a bit strange and cheesy in moments, so i give it a 4.5/5.
4) You're The Biggest Thing Since Powdered Milk: Starts off with a cool drum solo for the first 1:47, and then goes into catchy hard-rocking. There are some tempo changes, and it seems to get more and more visious as it goes on. Has some good guitar soloing. Drags on a bit though. 4/5
5) In The Grip Of A Tyrefitters Hand: Has a cool funk-rockish thing going on and serious singing going on (it sort of sounds like this had influenced later metal bands to come). The solos and transitions are great except for the riff after the verse which is kind of awkward sounding. Over all, a cool song. 4/5
6) Riding My Nightmare: Is in the same style of You Know I'll Always Love You. Once again good melodies and singing. Not a whole lot of variety but its a nice shot ballad. 4.5/5
7) Parents: This and Breadfan are the most well known tracks off this album. Its a 10 minute serious reflection on the person's chilhood years and his parents (sounds kind of cynical and criticizing). Has good sad sounding riffs and verses and a cool wailing solo. Sometimes drags on. 4/5
(sputnikmusic.com/review/8384/Budgie-Never-Turn-Your-Back-on-a-Friend/)

01. Breadfan (06:10)

02. Baby Please Don't Go (05:30)

03. You Know I'll Always Love You (02:15)

04. You're The Biggest Thing Since Powered Milk (08:50)

05. In The Grip Of A Tyrefitter's Hand (06:29)

06. Riding My Nightmare (02:42)

07. Parents (10:25)

TurboBit                KatFile