Demis Roussos - The Best Of (2011)

Year: 2011 (CD ????)
Label: FM Records (Greece), FM 012 CD
Style: Pop Rock
Country: Alexandria, Egypt (15 June 1946 - 25 January 2015)
Time: 67:56
Format: Flac Tracks 16/44,1 kHz
Size: 415 Mb

Artemios "Demis" Ventouris-Roussos (15 June 1946 – 25 January 2015) was a Greek singer, songwriter and musician. As a band member, he is best remembered for his work in the progressive rock music act Aphrodite's Child, but as a vocal soloist, his repertoire included hit songs like "Goodbye, My Love, Goodbye", "From Souvenirs to Souvenirs" and "Forever and Ever". Roussos sold over 60 million albums worldwide and became "an unlikely kaftan-wearing sex symbol".
After settling in Greece, Roussos participated in a series of musical groups beginning with the Idols when he was 17, where he met Evangelos Papathanassiou (later known as Vangelis) and Loukas Sideras, his future bandmates in Aphrodite's Child. After this, he joined the Athens-based band We Five, another cover band which had limited success in Greece.
Roussos's operatic vocal style helped propel the band to international success, notably on their final album 666, based on passages from the Book of Revelation, which became a progressive rock cult classic.
After Aphrodite's Child disbanded, Roussos continued to record sporadically with his former bandmate Vangelis. In 1970, the two released the film score album Sex Power (the album has also been credited to Aphrodite's Child), and later recorded the 1977 album Magic together. Their most successful collaboration was "Race to the End" (also sung in Spanish as "Tu Libertad"), a vocal adaptation of the musical theme from the Oscar-winning film Chariots of Fire (scored by Vangelis). Roussos also guested on Vangelis' soundtrack to Blade Runner (1982), on the tracks "Tales of the Future", "Damask Rose", "Taffey's Snake Pit Bar", and "On the Trail of Nexus 6" (several only available in non-bootleg form on the 29th Anniversary Limited Edition CD set released in 2011).
(en.wikipedia.org/wiki/Demis_Roussos)

01. Forever And Ever (03:41)
02. Goodbye My Love, Goodbye (03:55)
03. I Want To Live (03:44)
04. It's Five O'Clock (03:50)
05. My Friend The Wind (05:29)
06. My Reason (04:30)
07. Rain And Tears (03:26)
08. Lovely Lady Of Arcadia (03:27)
09. Spring, Summer, Winter and Fall (04:56)
10. We Shall Dance (04:32)
11. When Forever Has Gone (03:03)
12. Amazing Grace (03:01)
13. Glory Glory Hallelujah (03:03)
14. In My Dreams (03:10)
15. Let It Be Me (03:23)
16. Because (03:02)
17. Nature Boy (04:26)
18. Velvet Mornings (03:09)

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Barclay James Harvest - Time Honoured Ghosts [Japan Ed.] (1975)

Year: October 1975 (CD Apr 26, 2006)
Label: Universal Music (Japan), UICY-93045
Style: Pop
Country: Oldham, England
Time: 43:03
Format: Flac Tracks 16/44,1 kHz
Size: 268 Mb

Time Honoured Ghosts continued Barclay James Harvest's development away from the orchestral sweep of the earlier albums, although there's a little more filler than usual here. "In My Life" emphasizes BJH's penchant for ghostly descending vocal choruses and features an angular lead guitar part that would be recycled several years later in "Loving Is Easy." "Titles" remains memorably catchy in spite of its faintly irritating musical parlor trick of lyrics created entirely from Beatles song titles. "Moongirl" in particular demonstrates how Stewart Wooly Wolstenholme's approach to keyboards differs from most prog rock bands (with the exception, perhaps, of Pink Floyd); by subtly combining a variety of background textures (Mellotron, harpsichord, organ, piano), he acts as a foil to set off the more obvious roles played by the vocals and lead guitar.
(allmusic.com/album/time-honoured-ghosts-mw0000741248)

01. In My Life (04:41)
02. Sweet Jesus (03:30)
03. Titles (03:49)
04. Jonathan (04:47)
05. Beyond The Grave (04:08)
06. Song For You (05:21)
07. Hymn For The Children (03:40)
08. Moongirl (04:51)
09. One Night (05:25)
10. Child Of The Universe [Remake Planned For US Single - Previously Unreleased] (02:48)

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Steve Hackett (ex Genesis) - Wild Orchids (2006)

Year: 11 September 2006 (CD 2006)
Label: Inside Out Music (Europe), SPV 79170 CD
Style: Progressive Rock, New Age, Space Rock
Country: London, England (12 February 1950)
Time: 72:04
Format: Flac Tracks 16/44,1 kHz
Size: 391 Mb

With the rumor mill in high gear about a 2007 Genesis reunion, the release of band alumnus Steve Hackett's Wild Orchid couldn't come at a better time. This release reminds us just how significantly Genesis changed after his departure in 1977. Virtually all affiliation with the progressive rock camp that the group inhabited during the first part of its career ended when Hackett left after the tour that resulted in Seconds Out (Atlantic, 1977). Given the mega commercial success that followed, it's a fair assumption that the remaining members couldn't have cared less. But Hackett's unlikely to get involved in the reunion, which makes it pretty much a non-event for progressive rock fans.
That said, Wild Orchids may be the most pop-driven album of Hackett's career. But it's still a progressive album-although, with the inclusion of the Underworld Orchestra, one that fits into the symphonic arena. And while Hackett's recognizable electric guitar style is still there, the album is just as much about Hackett the writer.
Thirty years on there are still hints of Hackett's stylistic contributions to Genesis. The acoustic guitar-driven "Set Your Compass" directly references songs like "Entangled" from A Trick of the Tail (Atco, 1976). "Ego and Id" may rock more directly, but it's still a powerful vehicle for the rapid vibrato of Hackett's visceral electric guitar, using an array of effects including whammy bar, wah wah and controlled feedback. It also features Hackett's tapping style-an innovation that, dating back to Genesis' Selling England by the Pound (Atco, 1973), predated guitarist Eddie Van Halen's greater popularizing of the technique by at least five years.
"Waters of the Wild," with its electric sitar and sampled tabla, alludes to an interest in East Indian music, while the equally propulsive "Down Street," featuring Hackett's credible harmonica work, is a dark rocker with a demonic narrative. The pastoral feel of "To a Close" seems at odds with its more serious subject matter, delicate strings and Cor Anglais foreshadowing the instrumental and orchestral reading of the same theme on "She Moves in Memories."
The biggest surprise is Hackett's take on Bob Dylan's "Man In The Long Black Coat." Progressive fans may balk, but there's no sense of incongruity here, and the bluesy grit of Hackett's guitar playing isn't all that far removed from his signature style. But it's an aspect that Hackett has rarely spotlighted so vividly.
Captivating from start to finish, Wild Orchids combines Hackett's interest in orchestration with folkloric and pedal-to-the-metal progressive rock, resulting in the most seamless blend of Hackett the instrumentalist and Hackett the tunesmith since 1982's Highly Strung.
(allaboutjazz.com/wild-orchids-steve-hackett-insideout-music-america-review-by-john-kelman)

01. Transylvanian Express (03:44)
02. Waters Of The Wild (05:34)
03. Set Your Compass (03:37)
04. Down Street (07:33)
05. A Girl Called Linda (04:44)
06. Blue Child (04:24)
07. To A Close (04:48)
08. Ego And Id (04:08)
09. Man In The Long Black Coat (05:07)
10. Cedars Of Lebanon (04:01)
11. Wolfwork (04:49)
12. Why (00:47)
13. She Moves In Memories (05:00)
14. The Fundamentals Of Brainwashing (03:00)
15. Howl (04:30)
16. A Dark Night In Toytown (03:42)
17. Until The Last Butterfly (02:28)

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Steve Hillage (ex Gong) - Fish Rising (1975)

Year: 11 April 1975 (CD )
Label: Virgin Records (UK), CDVR2031
Style: Progressive Rock, Jazz Rock, Pop Rock
Country: Chingford, Essex, England (2 August 1951)
Time: 65:26
Format: Flac Tracks 16/44,1 kHz
Size: 379 Mb

Fish Rising is the debut solo album by English progressive rock musician Steve Hillage, released by Virgin Records in April 1975. It was recorded just prior to Hillage's departure from the band Gong.
Two of the compositions for the album, "Solar Musick Suite" and "Salmon Song", were among those considered back in 1972 for a second Khan release; both were in an incomplete state but now expanded and finished for the new solo project. "Aftaglid" was a newer composition written while a member of Gong.
Recording began in September 1974 at The Manor Studio in Oxfordshire where You had been recorded that summer, using a band comprising all the members of Gong except Daevid Allen and Gilli Smyth: Bassist Mike Howlett, drummer Pierre Moerlen, synthesizer player Tim Blake, saxophonist Didier Malherbe and keyboardist and vocalist Miquette Giraudy. Two guest musicians also appeared: bassoonist Lindsay Cooper of Henry Cow and Hillage's former Khan bandmate Dave Stewart, a keyboardist who was currently in Hatfield and the North. Recording paused that fall as Gong began a mammoth tour for You, then finished in January 1975 at the Manor Mobile before the group continued the tour.
(en.wikipedia.org/wiki/Fish_Rising)

01. Solar Musick Suite (16:53)
02. Fish (01:22)
03. Meditation Of The Snake (03:16)
04. The Salmon Song (08:28)
05. Aftaglid (14:43)
06. Pentagrammaspin (2006 Remix) (07:40)
07. Aftaglid (Original 'Power Trio' Backing Track) (13:01)

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Queen - Deep Cuts 2 (1877-1982) [Compilation] (2011)

Year:  (CD Jun 27, 2011)
Label: Queen Productions Ltd. (Germany), 277 178 2
Style: Rock, Pop Rock
Country: London, England
Time: 53:15
Format: Flac Tracks 16/44,1 kHz
Size: 372 Mb

Released as a companion to the expanded Queen reissues of 2011, the Deep Cuts series digs deep into the classic rock band’s albums, culling a collection of overlooked fan favorites. This 14-track collection covers the group’s time as world-conquering superstars, the era when they released News of the World, Jazz, The Game, and Hot Space. Apart from the rampaging “Sheer Heart Attack,” “Mustapha,” “Spread Your Wings,” and maybe “Dragon Attack,” there are no outright classics here, but anybody curious about digging deep into some of Queen’s better albums without purchasing the albums outright -- an admittedly small audience, to be sure -- should find this useful or at the very least entertaining.
(allmusic.com/album/deep-cuts-vol-2-1977-1982--mw0002176707)

01. Mustapha (03:01)
02. Sheer Heart Attack (03:27)
03. Spread Your Wings (04:34)
04. Sleeping On The Sidewalk (03:07)
05. It's Late (06:27)
06. Rock It (Prime Jive) (04:33)
07. Dead On Time (03:24)
08. Sail Away Sweet Sister (03:34)
09. Dragon Attack (04:21)
10. Action This Day (03:35)
11. Put Out The Fire (03:19)
12. Staying Power (04:12)
13. Jealousy (03:15)
14. Battle Theme (02:20)

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Emerson, Lake & Palmer - Trilogy [2CD] (1972)

Year: 23 June 1972 (CD Apr 27, 2015)
Label: Legacy Records (Europe), 88875004902
Style: Symphonic Rock
Country: London, England
Time: 42:12, 46:53
Format: Flac Tracks 16/44,1 kHz
Size: 287, 284 Mb

Charts: UK #2, AUS #18, CAN #5, FIN #2, GER #6, ITA #2, NED #4, NOR #4, JP #4, US #5. UK & US: Gold.
In September 1971, the band took a break in their tour promoting Tarkus (1971) and Pictures at an Exhibition (1971) to start work on a new studio album. They returned to Advision Studios in London, once again with Lake as producer and Eddy Offord as their engineer. In early 1972, New Musical Express falsely reported that the group were splitting up, causing the band to issue a statement. Keyboardist Keith Emerson had planned to do a solo album of jazz music, but the project was shelved and the band turned down a lucrative offer to write the score to a racing film entitled Fangio. The band recorded the album in October–November 1971 and January 1972.
The album was particularly difficult for Lake to record, as he described the album as "such an accurate record." Palmer noted Trilogy had the most number of overdubs put down on an Emerson, Lake & Palmer album, owing to the "enormous detail" put into the arrangements of the songs. Emerson was pleased with the album after it was completed, noting its varied arrangements and difference in style compared to Tarkus. Greg Lake also later identified it as his favorite ELP album. However, the extensive use of overdubs on 24-track machines meant that many pieces including "The Endless Engima", "Trilogy" and "Abaddon's Bolero" proved difficult to play live and were consequently dropped from live performance early in the accompanying tour. As a result, the band vowed that their next album would be one they could reproduce entirely on stage.
(en.wikipedia.org/wiki/Trilogy_(Emerson,_Lake_%26_Palmer_album))

01. The Endless Enigma (Part One) (06:41)
02. Fugue (01:56)
03. The Endless Enigma (Part Two) (02:02)
04. From The Beginning (04:13)
05. The Sheriff (03:22)
06. Hoedown (03:45)
07. Trilogy (08:52)
08. Living Sin (03:10)
09. Abaddon's Bolero (08:07)

01. From The Beginning (Alternative Version) (04:16)
02. The Endless Enigma (Part One) (New Stereo Mix) (06:43)
03. Fugue (New Stereo Mix) (01:57)
04. The Endless Enigma (Part Two) (New Stereo Mix) (02:03)
05. From The Beginning (New Stereo Mix) (04:17)
06. The Sheriff (New Stereo Mix) (03:24)
07. Hoedown (New Stereo Mix) (03:46)
08. Trilogy (New Stereo Mix) (08:58)
09. Living Sin (New Stereo Mix) (03:11)
10. Abaddon's Bolero (New Stereo Mix) (08:13)

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Stan Webb & Chicken Shack - Going Up Going Down - The Anthology 1968-2001 [2CD] (2004)

Year: 2004 (CD 2004)
Label: Castle Music (UK), 06076-81344-2
Style: Blues Rock, Blues
Country: UK
Time: 78:03, 77:17
Format: Flac Tracks 16/44,1 kHz
Size: 424, 512 Mb

Chicken Shack are a British blues band, founded in the mid-1960s by Stan Webb (3 February 1946; guitar and vocals), Andy Silvester (16 June 1947; bass guitar), and Alan Morley (drums), who were later joined by Christine Perfect (later McVie) (12 July 1943 - 30 November 2022; vocals and keyboards) in 1967. Chicken Shack has performed with various line-ups, Stan Webb being the only constant member.
David "Rowdy" Yeats and Andy Silvester had formed Sounds of Blue in March 1964 as a Stourbridge-based rhythm and blues band. They invited Stan Webb, who was leaving local band The Shades 5, to join them in August 1964. The band also included Christine Perfect and Chris Wood (24 June 1944 - 12 July 1983; later to join Traffic) amongst others in their line up.[1] With a new line-up Chicken Shack was formed as a trio in April 1965,[2] naming themselves after Jimmy Smith's Back at the Chicken Shack album. Chicken shacks (open-air roadside chicken stands) had also been frequently mentioned in blues and R&B songs, as in Amos Milburn's hit, "Chicken Shack Boogie". Over the next few years the band had a residency at the Star-Club,[1] Hamburg with Morley, then Al Sykes, Hughie Flint (who was John Mayall's drummer when Eric Clapton was in the band) and later Dave Bidwell on drums.
On Monday, August 29, 1966 at The Woodhall Community Centre, Welwyn Garden City, Hertfordshire Chicken Shack played their first recorded gig along with Cream.
On Saturday, December 31, 1966 Chicken Shack played at The Ritz in York Road, Small Heath, Birmingham their second gig?
On Sunday, January 22, 1967 at The Chateau, The Mews, Moseley, Birmingham the band were asked to turn the volume down as they were far to loud. This happened because the group had just used their newly acquired Marshall Stacks for the first time.
(en.wikipedia.org/wiki/Chicken_Shack)

01. Everyday I Have The Blues (1997) (03:00)
02. Tell Me (1997) (04:10)
03. When The Train Comes Back (1997) (03:11)
04. San Ho Zay (1997) (02:01)
05. Mean Old World (1997) (03:55)
06. Youґve Done LostYour Good Thing Now (1997) (04:25)
07. Iґm Tore Down (1997) (02:49)
08. You Take Me Down (2000) (05:10)
09. The Thrill Has Gone (1995) (06:52)
10. My Mood (1997) (02:52)
11. Midnight Hour (1997) (04:00)
12. Set Me Free (1994) (03:23)
13. Iґd Rather Go Blind (1994) (05:41)
14. Going Up Going Down (1995) (05:06)
15. Lost The Best Friend I Ever Have (1997) (07:15)
16. Black Night (1997) (05:58)
17. Prisoner (1997) (04:13)
18. He Knows The Rules (1973) (03:54)

01. Mine All The Time (03:52)
02. Cryinґ Wonґt Help You (05:09)
03. Poor Boy (05:11)
04. The Looser (02:31)
05. Quick Step (02:06)
06. Unlucky Boy (02:33)
07. As Times Goes Passing Bye (04:41)
08. Hear Me Cry (03:52)
09. Meeting On A Hill (03:14)
10. Use What Youґve Got (03:24)
11. Little Bird (04:06)
12. Let Me Love You Baby (03:23)
13. Back Door Man (07:03)
14. Tell Me (05:09)
15. Strange Situations (03:50)
16. The House That Love Lives In (05:58)
17. I Know (03:34)
18. The Last Time (07:32)

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Yello - One Second [6 bonus tracks] (1987)

Year: 4 May 1987 (CD Nov 2005)
Label: Universal Music (Europe), 06024 9830758
Style: Synth Pop, Techno Electronic
Country: Zurich, Switzerland
Time: 77:24
Format: Flac Tracks 16/44,1 kHz
Size: 526 Mb

Charts: SWI #4, AUS #95, AUT #6, GER #11, NL #64, NZ #36, SWE #24, UK #48, US #92. SWI: Gold.
Not everyone can like every album. But, for me, One Second is my all-time favorite. I have listed to it regularly since it was first released and have never tired of the complex rhythms and musical variety that it offers. One Second is different from Yello's other albums and, in my opinion, doesn't hold as much appeal for someone looking for pure techno. While the drum machines and sequencers are certainly there (and brilliantly done), the sound is less annalog and has more feel. It is not background music, but rather must be listened to to be enjoyed. The latin influence is wonderful and the music sounds as if it were made for Shirley Bassey's style and voice. In my mind, this album creates its own genre of music which I have yet to find elsewhere. It is different, but it is very very good!
(poprockbands.com/yello/albums/pry-id102378.html) Review by Ian (Wyoming). March 08, 2000
If you're a fan of Billy Mackenzie, you may want to pick up this album, since it's virtually littered with his sensual vocals and backing vocals. I don't have to tell you that the production rivals anything Trevor Horn or The Art Of Noise did at the time, the attention to detail is mind-boggling. As usual, too many disparate genres are explored (this time latin, hawaiian, torch songs, synth pop and heavy metal), which makes for an uneven listen. Also, some of the instrumentals aren't very exciting, relegating about a third of the material to the status of mere background music.
If you own the original CD version, you may want to hold on to it and not make the mistake of buying the 2005 edition (the Mackenzie sung "Snowball" is available on "The Glamour Chase"). Everything sounds way too compressed and the volume is cranked up to the max, which results in some distorted passages. It beggars belief that Boris Blank should have been responsible for this mess. 3.5 stars for the original recording, 1 for the remaster.
(rateyourmusic.com/release/album/yello/remaster-series-5-one-second-1/) Review by ippudo. Jan 22 2009

01. La Habanera (05:14)
02. Moon on Ice (04:15)
03. Call it Love (05:05)
04. Le Secret Farida (03:19)
05. Hawaiian Chance (04:20)
06. The Rhythm Divine (04:12)
07. Santiago (05:49)
08. Goldrush (04:21)
09. Dr. Van Steiner (04:21)
10. Si Senor the Hairy Grill (04:51)
11. L'Hotel (03:57)
12. Goldrush II (12' mix) (06:14)
13. The Rhythm Divine (1992 version) (04:22)
14. Call it Love (12' mix) (07:05)
15. Life is a Snowball (04:13)
16. Tool in Rose (05:41)

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Various Artists - Nativity In Black: A Tribute To Black Sabbath [Japan Ed.] (1994)

Year: October 4, 1994 (CD Oct 20, 1994)
Label: Sony Music (Japan), SRCS 7488
Style: Heavy Metal, Thrash, Goth Rock, Doom
Country: U.S., England, Brazil
Time: 75:48
Format: Flac Tracks 16/44,1 kHz
Size: 542 Mb

Perhaps more than any other single group, the Sabbath sound lay at the heart of Seattle's grunge movement 20-some years later. And many of today's top sonic heavyweights are only too ecstatic to give credit where credit is due. The liner notes may somewhat overstate Black Sabbath's ultimate importance, and quotes from the participating groups tend to gush with the praise of devoted acolytes...but that's exactly the point. The Nativity contributors approach the music with all the passion and spark of real fans, while never boxing themselves into slavish recreations of the original compositions.
(allmusic.com/album/nativity-in-black-tribute-to-black-sabbath-mw0000626504)

01. Biohazard - After Forever (05:46)
02. White Zombie - Children Of The Grave (05:50)
03. Megadeth - Paranoid (02:31)
04. 1000 Homo DJs - Supernaut (06:39)
05. Ozzy Osbourne With Therapy? - Iron Man (05:25)
06. Corrosion Of Conformity - Lord Of This World (06:24)
07. Sepultura - Symptom Of The Universe (04:15)
08. Bullring Brummies - The Wizard (05:01)
09. Bruce Dickinson With Godspeed - Sabbath Bloody Sabbath (05:36)
10. Ugly Kid Joe - N.I.B. (05:28)
11. Faith No More - War Pigs (07:02)
12. Type O Negative - Black Sabbath (07:49)
13. Cathedral - St. Vitus'Dance (Japanese Bonus Track) (02:26)
14. Cathedral - Wheels Of Confusion (Japanese Bonus Track) (05:31)

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The Soft Machine - BBC Radio 1967-1971 [2CD Live] (2003)

Year: 5 December 1967 – 1 June 1971 (CD Mar 31, 2003)
Label: Hux Records (UK), HUX 037
Style: Jazz Rock, Progressive Rock
Country: Canterbury, England
Time: 66:50, 60:54
Format: Flac Tracks 16/44,1 kHz
Size: 414, 401 Mb

For a band who, in their 'classic' guise, only released four (handily numbered) albums, the recent flurry of releases surrounding the Soft Machine may seem like an unwarranted bit of nostalgia. Especially as many of these have been some rather unpleasant bootleg-quality travesties. But this is most definitely not one of them. Hux Records have finally completed a job attempted by the label, Strange Fruit (The Peel Sessions) in the early 90s. At last those in the know can luxuriate in the lost aural treasures that have been mouldering in the BBC vaults. And for the rest of you, here's as good a place to start digging the Canterbury scene as any...
The aforementioned Peel Sessions album featured most of the same material, but, sadly, missed out on the really early gems from 1967 that still featured Kevin Ayers on bass. At this point the band were more psychedelic fledglings than soaring prog jazz birds of paradise. Yet it's interesting to see how, even at this early stage, the bands' shorter songs seemed oddly bereft when shorn of their live extemporised (and chemically enhanced) surroundings. Work such as ''A Certain Kind'' or ''Hope For Happiness'' operate far better in the context of their first album, blended into continuous, more jazzy, pieces. In fact,when the Softs returned to the BBC with new bassist Hugh Hopper they were performing nothing under 12 minutes. That aside, Ayers' quirkiness is light relief compared to the growling, humourless beast that the band had become just prior to drummer Robert Wyatt's departure.
After Kevin only Wyatt's Mockney ramblings kept the eccentric flag flying. Just compare his classic post modern re-writing of ''Moon In June'' ('We're free to play almost as long and as loud as a jazz group, or an orchestra on Radio 3. There are dancehalls and theatres with acoustics worse than here, not forgetting the extra facilities such as the tea machine, just along the corridor') with the admittedly marvellous, yet po-faced dissonance of ''Neo-Caliban Grides'' or ''Eamonn Andrews/All White'' on disc two.
It's obvious that it was only Hopper who was bridging the gap between Wyatt's wayward approach and Mike Ratledge's virtuoso noodling. One can only imagine Mike's chagrin at performing Robert's early, full vocal version of the erotic song, "Instant Pussy".
However, this is music of a wholly original hue. As an overview of a band rapidly expanding its horizons (and line-up, as we get the full seven-piece with brass section stuff as well) it's well-nigh unbeatable. Beginners may well be scared by the intricacies and oddly emotionless explorations contained herein. But perseverance is recommended. You won't be sorry...
(bbc.co.uk/music/reviews/2gdp/)

01. Clarence In Wonderland (02:57)
02. We Know What You Mean (03:11)
03. Certain Kind (03:38)
04. Hope For Happiness (04:37)
05. Strangest Scene (AKA Lullaby Letter) (04:55)
06. Facelift / Mousetrap / Noisette / Backwards / Mousetrap Reprise (11:54)
07. The Moon In June (13:02)
08. Instant Pussy (03:19)
09. Slightly All The Time / Out Bloody Rageous / Eamonn Andrews (19:14)

01. Virtually (09:58)
02. Fletcher's Blemish (12:11)
03. Neo-Caliban Grides (07:34)
04. Dedicated To You But You Weren't Listening (02:46)
05. Eamonn Andrews/All White (07:11)
06. Mousetrap:Noisette:Backwards:Mousetrap Reprise:Esther's Nose Job (21:11)

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Emerson, Lake & Palmer - Works Volume 2 [Japan Ed.] (1977)

Year: 25 November 1977 (CD Mar 20, 1999)
Label: Victor Records (Japan), VICP-60642
Style: Symphonic Rock
Country: London, England
Time: 43:51
Format: Flac Tracks 16/44,1 kHz
Size: 290 Mb

After the rather dull Works, Vol. 1, the highly underrated Works, Vol. 2 is a godsend. Works, Vol. 1 took their pompous, bombastic, keyboard-driven prog rock epics to the limit; had it been stripped of its excesses and coupled with the strongest cuts from Works, Vol. 2, the band may have had an enormous success with critics and fans alike. Volume 2's brief, eclectic compositions cover an array of musical styles, combining stimulating originals and handsomely orchestrated renditions of "Maple Leaf Rag," "Honky Tonk Train Blues," and "Show Me the Way to Go Home." Lake peppers the tunes with guitar and bass flourishes, resulting in some of his most challenging instrumental work, and both he and Palmer deliver incredibly strong performances. Meanwhile,Peter Sinfield contributes some of his most mature and accomplished lyrics. Emerson's work is solid and creative, but sounds a bit dated, which is part of why the band couldn't endure. Unlike some ELP albums, Volume 2's brief pieces sustain interest; there really isn't a weak tune in the set. The five instrumentals are highlighted by two short prog rock tunes, including the jazzy "Bullfrog," which features Lake's brief jazz bass solo and Palmer's fluid, versatile drumming. "Barrelhouse Shake-down" and "Maple Leaf Rag" showcase Emerson's superb ragtime and barrelhouse piano playing, and Palmer's jazz fusion/marching band piece, "Close But Not Touching," features horns and Lake's psychedelic electric guitar lines. The vocal pieces are equally interesting. "Brain Salad Surgery" is progressive jazz-rock that bears some resemblance to King Crimson's "Cat Food," unsurprising since each features Lake singing Sinfield's lyrics. And, of course, there is the hit "I Believe in Father Christmas," a beautiful Lake/Sinfield composition that highlights Lake's strong voice and vibrant acoustic guitar.
(allmusic.com/album/works-vol-2-mw0000197673)
This is a quite terrible album to be frank. I recall listening this trough as a kid, and being amazed what kind of stuff the band managed to do after "Pictures at An Exhibition" or their debut studio recording. After that it has gathered dust in my bookshelf, except for the quick re-listening done for this review. Maybe I should try to get an euro or few from the local flea markets, as the second hand record stores won't accept it. The leftovers found from love beach's low tide could for a fine soundtrack for some Charles Bronson movies, where I understood Keith Emerson ventured few years after this release. Cool band pic at the back side of the album though, one solution would be cutting that off and practice the arts of archery to this abomination.
(progarchives.com/album.asp?id=1875) Review by Eetu Pellonpaa. June 14, 2005

01. Tiger In A Spotlight (04:36)
02. When The Apple Blossoms Bloom In The Windmills Of Your Mind I'll Be Your Vale... (03:58)
03. Bullfrog (03:51)
04. Brain Salad Surgery (03:09)
05. Barrelhouse Shake-Down (03:53)
06. Watching Over You (03:58)
07. So Far To Fall (04:57)
08. Maple Leaf Rag (02:02)
09. I Believe In Father Christmas (03:20)
10. Close But Not Touching (03:23)
11. Honky Tonk Train Blues (03:12)
12. Show Me The Way To Go Home (03:30)

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National Health - Playtime [Live] (1979)

Year: 1979 (CD 2001)
Label: Cuneiform Records (US), Rune 145
Style: Progressive Rock, Instrumental, Jazz Fusion
Country: Canterbury, England
Time: 77:01
Format: Flac Tracks 16/44,1 kHz
Size: 449 Mb

Tracks 1-4 recorded April 27th, 1979 at A L'Ouest de la Grosne, Bresse-sur-Grosne, France. Tracks 5-9 recorded December 1st, 1979 at The Main Point, Bryn Mawr, PA, USA.
Once upon a time in the mid-1970s there was a British progressive rock band called National Health. A sprawling, ponderous seven-piece outfit, they eventually scaled down to four pieces and released two albums-their self-titled 1978 debut and its follow-up, Of Queues and Cures. This live recording captures the band on tour in late 1979, shortly before its first breakup in March of 1980.
A more stretched-out, jam-oriented affair than the original studio recordings, Playtime picks up on some of the furious, frenetic energy of the early fusion movement, when bands like Tony Williams Lifetime and the original lineups of the Mahavishnu Orchestra and Return to Forever were going straight for the jugular with raw burn, tempered with intelligent writing, strict ensemble playing and audacious, chops-oriented soloing.
There are traces of early Weather Report and Passport in pieces like keyboardist Alan Gowen’s “Flanagan’s People.” Guitarist Phil Miller’s playing here is teeming with the raggedy, distortion-laced abandon of RTF-era Bill Connors with touches of the rock-fueled bravura that Tommy Bolin flashed on Billy Cobham’s 1973 landmark, Spectrum. And bassist John Greaves (formerly of Henry Cow) combines the rumbling tone of Yes’ Chris Squire with the more adventurous, rampaging aesthetic of Ralphe Armstrong on his solos. This freewheeling 16-minute showcase travels from hard-hitting heads to strict unison playing to wide-open free sections underscored by the nimble, swinging pulse of drummer Pip Pyle. And along the way they all push the envelope on sonic textures with a variety of effects pedals and techno gadgetry. Miller’s “Dreams Wide Awake” is another raucous fusion offering in that early RTF-Mahavishnu mode, striking a perfect balance between raw abandon and laser-sharp ensemble discipline. The soloing here and on the throbbing title track is full of nasty intent, frenetic energy and chops grandstanding, just as good fusion music should be.
Other pieces like Miller’s “Nowadays a Silhouette,” Pyle’s “Pleaides” and Greaves’ “Squarer For Maude” are closer in spirit to the more controlled prog-rock of Yes, Gong and Soft Machine. But the rest of this collection bristles with intensity and catharsis. This is first rate, risk-taking jazz-rock created in a bygone era by a greatly under-recognized band.
(jazztimes.com/reviews/albums/national-health-playtime/)

01. Flanagan's People (15:57)
02. Nowadays A Silhouette (06:32)
03. Dreams Wide Awake (08:18)
04. Pleaides (10:26)
05. Rhubarb Jam (01:17)
06. Rose Sob (01:46)
07. Play Time (09:38)
08. Squarer For Maude part 1 (05:11)
09. Squarer For Maude part 2 (07:51)

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Mike Scott (ex The Waterboys) - Still Burning (1997)

Year: 1997 (CD Sep 29, 1997)
Label: Chrysalis Records (UK), 7243 8 57389 2 0
Style: Rock, Pop Rock
Country: Edinburgh, Scotland (14 December 1958)
Time: 40:31
Format: Flac Tracks 16/44,1 kHz
Size: 274 Mb

Still Burning is the second solo studio album by Mike Scott, released by Chrysalis in 1997. It followed Scott's 1995 solo debut, Bring 'em All In, and was the last of Scott's solo albums before re-forming The Waterboys in 2000. Photography was provided by Andrew Catlin and Mary Scanlon. Although well-received critically, sales of the album were poor and Scott was subsequently dropped from Chrysalis Records. This led directly to Scott's decision to revive the Waterboys' name in order to achieve wider marketplace exposure. Scott describes the making of and commercial failure of the album in detail in his 2012 autobiography, Adventures of a Waterboy.
The songs "Love Anyway" and "Rare, Precious and Gone" were released as singles. The video for the latter (available to view on YouTube) is notable for having been filmed in a booth at an airport that cost ?5.00 to operate while Scott and his band were waiting to board a flight, potentially making it one of the lowest costing filmed music videos ever produced.
(en.wikipedia.org/wiki/Still_Burning)

01. Questions (04:51)
02. My Dark Side (03:58)
03. Open (02:55)
04. Love Anyway (06:42)
05. Rare, Precious And Gone (04:06)
06. Dark Man of My Dreams (04:16)
07. Personal (02:14)
08. Strawberry Man (03:31)
09. Sunrising (04:59)
10. Everlasting Arms (02:54)

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Barclay James Harvest - Baby James Harvest [10 bonus tracks] (1972)

Year: 10 November 1972 (CD Feb 14, 2008)
Label: EMI Records (Japan), TOCP-70349
Style: Art Rock, Symphonic Rock
Country: Oldham, England
Time: 78:54
Format: Flac Tracks 16/44,1 kHz
Size: 502 Mb

"Baby James Harvest" is felt by many to be the weakest of their first four albums which were all released on the Harvest Label. This would be their last album for that label. This album is more of an acquired taste than their previous, more accessible releases. I remember being disappointed with the original LP release due to both the music and to the rather uninspired baby in a flowerpot cover, and lack of a gatefold sleeve. In retrospect however, the album was well worth getting to know.
The album contains just six tracks in all. There is the prog rock classic "Summer soldier", surely one of the most underrated prog epics by anyone. Constructed in two distinct parts, it has passing similarities with Uriah Heep's "July Morning". The final track "Moonwater" has a classical sound and structure, with delicate vocals and significant orchestration.
The diversity of the band's first album returns, with the rocking "Thank you", (a tribute to their road crew and literally everyone else), and the brass backed "Delph town morn". Elsewhere, "One hundred thousand smiles out" has more than a hint of "Space Oddity" to it.
The tracks are generally longer than those on previous albums allowing the band to develop them slightly more. The remastered version has some interesting bonus tracks, including the excellent non-album single "The Joker".
(https://www.progarchives.com/album.asp?id=3383) Review by Easy Livin. February 20, 2004
This is a second miss in-a-row for Barclay James Harvest for the same exact reasons as their previous release. On top of that the official website clearly states that the whole of this album was written and recorded in a matter of four week which is not something to be proud of!
The bands songwriting is all over the place ranging from rock & roll to classical music. The album kicks off with the rocker Crazy (Over You) which sounds a lot like In My Life from Time Honoured Ghosts. The whole rock & roll attitude doesn't really bother me that much until Thank You which is the only composition that I think a man of John Lee's great talent should be ashamed for even proposing to the rest of the band. Even Woolly Wolstenholme manages to go over the border with his Moonwater which sticks out like a sore thumb in comparison to the rest of the album.
There is clearly a lot of potential on Baby James Harvest but since writing and recording was so rushed the end result is anything but satisfactory. I actually consider it to be a miracle that the band managed to compose and record a great track like Summer Soldier which incidentally also marks the only real band effort on this album.
(https://www.progarchives.com/album.asp?id=3383) Review by Rune2000. January 10, 2010

01. Crazy (Over You) (04:17)
02. Delph Town Morn (04:48)
03. Summer Soldier (10:27)
04. Thank You (04:23)
05. One Hundred Thousand Smiles Out (06:04)
06. Moonwater (07:30)
07. Child Of Man (bonus) (03:21)
08. I'm Over You (bonus) (03:52)
09. When The City Sleeps (bonus) (04:15)
10. Breathless (bonus) (03:08)
11. Thank You (aternative version) (bonus) (04:27)
12. Medicine Man (single version) (bonus) (04:29)
13. Rock And Roll Woman (bonus) (03:17)
14. The Joker (bonus) (03:32)
15. Child Of Man (BBC Session 15.03.1972) (bonus) (03:36)
16. Moonwater (2002 Remix) (bonus) (07:20)

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Pink Floyd - The Piper At The Gates Of Dawn [3CD] (1967)

Year: 4 August 1967 (CD Sep 11, 2007)
Label: EMI Records (Europe), 50999-503919-2-9
Style: Psychedelic Rock
Country: London, England
Time: 42:15, 41:58, 32:06
Format: Flac Tracks 16/44,1 kHz
Size: 273, 274, 194 Mb

Charts: UK #6, FRA #15, GER #42, NL #46, SWI @87, US #131. UK: Gold.
The Piper at the Gates of Dawn is the debut studio album by English rock band Pink Floyd, released on 4 August 1967 by EMI Columbia. It is the only Pink Floyd album made under the leadership of founder member Syd Barrett (lead vocals, guitar); he wrote all but three tracks, with additional composition by members Roger Waters (bass, vocals), Nick Mason (drums), and Richard Wright (keyboards, vocals). The album followed the band's influential performances at London's UFO Club and their early chart success with the 1967 non-album singles "Arnold Layne" and "See Emily Play".
The album was recorded at EMI Studios in London's Abbey Road from February to May 1967 and produced by Norman Smith. It blended Pink Floyd's reputation for long-form improvisational pieces with Barrett's short pop songs and whimsical take on psychedelia. The album made prominent use of recording effects such as reverb and echo, employing tools such as EMT plate reverberation, automatic double tracking (ADT), and Abbey Road's echo chamber. Part-way through the recording sessions, Barrett's growing use of the psychedelic drug LSD accompanied his increasingly debilitated mental state, leading to his eventual departure from the group the following year. The album title was derived from referencing the god Pan in chapter seven of Kenneth Grahame's 1908 children's novel The Wind in the Willows, a favourite of Barrett's.
The album was released to critical and commercial success, reaching number 6 on the UK Albums Chart. In the United States, it was released as Pink Floyd in October on Tower Records with an altered track listing that omitted three songs and included "See Emily Play". In the UK, no singles were released from the album, but in the US, "Flaming" was offered as a single. Two of its songs, "Astronomy Domine" and "Interstellar Overdrive", became long-term mainstays of the band's live setlist, while other songs were performed live only a handful of times. In 1973, The Piper at the Gates of Dawn was packaged with the band's second album A Saucerful of Secrets (1968) and released as A Nice Pair, to introduce the band's early work to new fans gained with the success of The Dark Side of the Moon (1973).
The album has since been hailed as a pivotal psychedelic music recording. Special limited editions of The Piper at the Gates of Dawn were issued to mark its 30th, 40th, and 50th anniversaries, with the former two releases containing bonus tracks. In 2012, The Piper at the Gates of Dawn was placed at number 347 on Rolling Stone magazine's list of the "500 Greatest Albums of All Time", moved up to number 253 in the 2020 edition.
(en.wikipedia.org/wiki/The_Piper_at_the_Gates_of_Dawn)

01. Astronomy domine (04:15)
02. Lucifer sam (03:09)
03. Matilda mother (03:05)
04. Flaming (02:46)
05. Pow R. Toc H. (04:24)
06. Take up thy stethoscope and walk (03:07)
07. Interstellar overdrive (09:41)
08. The gnome (02:14)
09. Chapter 24 (03:53)
10. Scarecrow (02:10)
11. Bike (03:27)

01. Astronomy Domine (04:12)
02. Lucifer Sam (03:07)
03. Matilda Mother (03:08)
04. Flaming (02:46)
05. Pow R. Toc H. (04:26)
06. Take Up Thy Stethoscope And Walk (03:05)
07. Interstellar Overdrive (09:40)
08. The Gnome (02:13)
09. Chapter 24 (03:42)
10. The Scarecrow (02:11)
11. Bike (03:24)

01. Arnold Layne (02:55)
02. Candy And A Currant Bun (02:45)
03. See Emily Play (02:54)
04. Apples And Oranges (03:05)
05. Paintbox (03:45)
06. Interstellar Overdrive (French Edit) (05:15)
07. Apples And Oranges (Stereo Version) (03:11)
08. Matilda Mother (Alternative Version) (03:09)
09. Interstellar Overdrive (Take 6) (05:03)

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Tiger B. Smith - Tiger Rock (1972)

Year: 1972 (CD 1997)
Label: Second Battle (Germany), SB 036
Style: Hard Rock, Blues Rock
Country: Germany (21 August 1952 - 20 December 2016)
Time: 36:26
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

Five tracks comprise the album, and the Tiger bunch are nothing less than on the prowl for the bulk of it. Kicking off with “Tiger Rock” as roaring sound FX slyly open up the proceedings when Schmidt’s abrasive, near-antiseptic riffing intro cuts in to signal the band to break into a full-tilt, hardened boogie approximating the same pace and strength of Neil Young’s “Sedan Delivery” (Which is to say it’s not the usual ‘feel good at a mid pace tempo while we amp up slow and dumb down the blues like Humble fucking Pie and make you feel alllllll right!-in-the-process’ boogie nonsense but a far more streamlined and simple approach minus any fussy blues allegiance…Although THAT comes into play full force when the last track of the album derails an otherwise superb album with an obligatory and far too long blues exposition.) Tiger B. Smith just pummel it out so moronically forceful and insistently, it’s beyond mere standard blues-boogie — its savageness is far more bloodying a stomp-fest: mirrored by Schmidt’s repeated breakdown chorus of “Won’t do it!/ Won’t do it! / Won’t do it! / I will not do it! / I will not do it! / Just leave me alone!” and the abundance of double-time drum rolls which to the overall sense of abandon both fretfully defiant and willfully absurd at the same time.
The plodding, near-“Iron Man” sensibility of the rhythm guitar of “These Days” juxtaposes itself against a stoic drum pattern clipped with Dierks’ industrial effects which translates them into a sound at once deceptively hollow though thundering with hugeness and overall bass throttling from Klaus Meinhardt. Several times it collects into small, pounded-out mini-thrashes on the beat only to explode back into the even slower paced trudge ‘theme.’ A middle section picks up speed only to fall back with the added appearance of organ tones. Again and again the brief thrash sessions return as much to annoy as to excite and serve to break up the track’s otherwise super-drag quality as well as adding a sense of perfectly-timed stupidity.
(full version: headheritage.co.uk/unsung/the-book-of-seth/tiger-b-smith-tiger-rock)

01. Tiger Rock (05:16)
02. These Days (05:57)
03. Everything I Need (06:26)
04. To Hell (09:49)
05. Tiger Blues (08:56)

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