The Guess Who - This Time Long Ago [2CD Compilation '67-'68] (2001)

Year: 1967-1968 (CD July 12, 2001)
Label: Ranbach Music Ltd. (Canada), L-00013
Style: Garage Rock, Hard Rock, Psychedelic Rock
Country: Winnipeg, Manitoba, Canada
Time: 44:45, 50:41
Format: Flac Tracks 16/44,1 kHz
Size: 251, 320 Mb

In the CD era, the catalog of the pre-Wheatfield Soul Guess Who has been very hard to come by. Together with Sundazed's Shakin' All Over! (which focuses on their hardest-rocking mid-'60s cuts), this two-CD Canadian collection of rare and unreleased 1967-1968 recordings fills in the gap well. A few of these songs did appear on non-LP Canadian and/or U.K. singles, like the devastating garage punkers "It's My Pride" and "If You Don't Want Me" (which are also on the Sundazed comp); the sappy 1967 ballad "His Girl," heard here in two versions, which was actually a minor British hit; "Flying on the Ground Is Wrong," one of the first (if not the first) covers of a Neil Young song; and unbelievably awful versions of Steve Lawrence's "Pretty Blue Eyes," recorded by the band in an attempt to get their label to release them from their contract. ("Croyez-Moi," an awkward French version of their 1966 single "Believe Me," appears for the first time here.) Most of this set, however, is devoted to unreleased material, recorded in 1967 and 1968 in the studios for CBC TV shows. Some of those performances are marginalia, like the almost note-faithful cover versions of "Light My Fire," "White Room," and "Love Is All Around," and the psychedelic instrumental "Sitar Saga." Much of disc two, however, is devoted to late-'60s originals that find the band starting to arrive at their own hard pop/rock identity, including early versions of four songs apiece from Wheatfield Soul and Canned Wheat. The standouts are early versions of "These Eyes" and the Doors-ish psychedelic suite "Friends of Mine," which includes contributions from members of the Winnipeg Symphony and some free jazz sax near the end. A CBC version of the single "When Friends Fall Out" (later to appear on American Woman), which alternates between grinding riffs in the verse and contemplative balladry on the bridge, saw Burton Cummings start to fully form his tense, belting vocal style. There's a sense of a band fishing for a style throughout much of this anthology, not always successfully, but it documents an important transitional phase in the group's evolution.
(allmusic.com/album/this-time-long-ago-mw0000011209)

01. His Girl (02:57)
02. It's My Pride (02:49)
03. If You Don't Want Me (03:05)
04. Croyez-moi (03:03)
05. His Girl (03:03)
06. This Time Long Ago (02:26)
07. Flying On The Ground is Wrong (02:38)
08. There's No Getting Away From You (02:53)
09. Miss Felicity Grey (02:19)
10. Summertime Blues (03:47)
11. Love is All Around (02:49)
12. Sitar Saga (04:43)
13. Pretty Blue Eyes (02:36)
14. Pretty Blue Eyes (02:35)
15. We're Coming to Dinner (02:55)

01. Light My Fire (03:21)
02. Light My Fire (02:55)
03. Shadow Cross The Shadows (04:15)
04. These Eyes (03:42)
05. Wednesday In Your Garden (03:23)
06. When Friends Fall Out (02:57)
07. Maple Fudge (01:54)
08. I Found Her In A Star (02:09)
09. 6 a.m. or Nearer (03:58)
10. I'm In The Mood For Love (04:08)
11. White Room (04:31)
12. Of A Dropping Pin (02:22)
13. Friends of Mine (11:00)

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Ozzy Osbourne - No Rest For The Wicked (1988)

Year: October 1988 (CD 2002)
Label: Epic Records (Europe), 502046 2
Style: Heavy Metal, Hard Rock
Country: Marston Green, Warwickshire, England (December 3, 1948)
Time: 51:28
Format: Flac Tracks 16/44,1 kHz
Size: 374 Mb

Charts: UK #23, AUS #40, FIN #7, GER #29, NOR #12, SWE #18, SWI #26, US #13. UK: Silver; AUS: Gold; CAN: Platinum; US: 2x Platinum.
No Rest for the Wicked is the recording debut of lead guitarist Zakk Wylde. After firing lead guitarist Jake E. Lee in 1987, Osbourne received a demo tape from Wylde and later hired him after an audition.
Bassist/lyricist Bob Daisley made his return to Osbourne's band after the two had a falling out in 1985. Once the album's recording was complete, Daisley was once again out, replaced by Osbourne's former Black Sabbath bandmate Geezer Butler for subsequent promotional tours.
"Miracle Man", "Crazy Babies", and "Breakin' All the Rules" were released as singles with accompanying music videos. The song "Hero" was an unlisted hidden bonus track on the original 1988 CD and cassette releases. The song "Miracle Man" was a pointed barb aimed at televangelist Jimmy Swaggart. Swaggart had long been critical of Osbourne's music and live performances, before he himself was involved in a 1988 prostitution scandal. The song "Bloodbath in Paradise" references Charles Manson and the Manson Family murders.
Creative Director John Carver was hired by Osbourne's management to conceptualize and direct the album sleeve for "No Rest For the Wicked". Carver's concept was to portray Osbourne as Jesus Christ, with photographer Bob Carlos Clarke taking the cover photo.
(en.wikipedia.org/wiki/No_Rest_for_the_Wicked_(Ozzy_Osbourne_album))

01. Miracle Man (03:44)
02. Devil’s Daughter (Holy War) (05:14)
03. Crazy Babies (04:14)
04. Breakin’ All the Rules (05:14)
05. Bloodbath in Paradise (05:02)
06. Fire in the Sky (06:24)
07. Tattooed Dancer (03:53)
08. Demon Alcohol (04:30)
09. Hero (04:48)
10. The Liar (04:32)
11. Miracle Man (live) (03:47)

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Savoy Brown - Jack The Toad - Live '70-'72 (2000)

Year: 2000 (CD 2000)
Label: Mooncrest Records (UK), 052 Z / 052 - EXPORT
Style: Blues Rock
Country: London, England
Time: 74:29
Format: Flac Tracks 16/44,1 kHz
Size: 333 Mb

The music on this CD is great, the jamming is there, the energy and fun that Savoy Brown had is evident, and its the only live recording I know of of Hellbound Train. Is it worth having, yes, for dedicated SB fans but the sound quality is sure to dissappoint. The bass is muddied and too out front, the drums just have no snap, and worse of all, Kim Simmons guitar sounds like somebody forgot to turn up his amp. You really have to perk your ears to hear him at all on many cuts. Overall, it sounds like somebody recorded this concert from outside the building on a portable cassette player, in a barrel. I did enjoy a listen to this based on the music and historical content but I just won't be able to repeat this cd to many times because of the sound quality.
(amazon.co.uk/Jack-Toad-Live-70-72/dp/B00004RGPD) Review by Timothy Barrow. 19 May 2001
Not quite sure why the guys across the pond give this such unflattering reviews; whilst it's fair to say the sound is a touch muddy and Kim Simmond's guitar is way too low in the mix, there is an energy and soul in this album that other bands can only dream of. It is very much the sound of a good bootleg, listenable but by no means perfect and therefore for fans only.
(amazon.co.uk/Jack-Toad-Live-70-72/dp/B00004RGPD) Review by Francesco. 24 April 2013

01. So Tired (04:35)
02. Let It Rock (05:48)
03. The Saddest Feeling (04:21)
04. Jack The Toad (06:51)
05. I Hate To See You Go (08:02)
06. Love Me Please (08:20)
07. Tell Mama (05:38)
08. Shake Rattle & Roll (07:43)
09. Hellbound Train (10:33)
10. All I Can Do (12:34)

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Raspberries - Fresh [Japan Ed.] (1972)

Year: November 13, 1972 (CD Oct 24, 2007)
Label: Capitol Records (Japan), TOCP-70207
Style: Power Pop, Pop Rock
Country: Cleveland, Ohio, U.S.
Time: 31:19
Format: Flac Tracks 16/44,1 kHz
Size: 225 Mb

Charts: US #36, AUS #31, CAN #19.
The Raspberries were an American pop rock band formed in 1970 from Cleveland, Ohio. They had a run of success in the early 1970s music scene with their pop rock sound, which AllMusic later described as featuring "exquisitely crafted melodies and achingly gorgeous harmonies." The members were known for their clean-cut public image and matching suits, which brought them teenybopper attention as well as scorn from some mainstream media outlets as "uncool". The group drew influence from the British Invasion era-especially the Beatles, the Who, the Hollies, and the Small Faces-and its mod sensibility. In both the US and the UK, the Raspberries helped pioneer the power pop music style that took off after the group disbanded. They also have had a following among professional musicians such as Jack Bruce, Ringo Starr, and Courtney Love.
The group's "classic" lineup consisted of Eric Carmen (vocals, guitars, bass, piano), Wally Bryson (guitars), Dave Smalley (guitars, bass) and Jim Bonfanti (drums). Their best known songs include "Go All the Way", "Let's Pretend", "I Wanna Be with You", "Tonight", and "Overnight Sensation (Hit Record)". Producer Jimmy Ienner was responsible for all four of the Raspberries' albums in the 1970s. The group disbanded in 1975 after a five-year run, and Eric Carmen proceeded to a successful career as a solo artist. Bryson and Smalley resurrected the group's name in 1999 for an album, which included singer/songwriter Scott McCarl as vocalist. In 2004, the original quartet reunited and undertook a well-received reunion tour in 2005.
(en.wikipedia.org/wiki/Raspberries_(band))

01. I Wanna Be with You (03:07)
02. Goin' Nowhere Tonight (02:06)
03. Let's Pretend (03:40)
04. Every Way I Can (02:47)
05. I Reach For the Light (03:53)
06. Nobody Knows (02:22)
07. It Seemed So Easy (03:55)
08. Might As Well (02:28)
09. If You Change Your Mind (03:56)
10. Drivin' Around (03:02)

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The Ace Of Cups - It's Bad for You But Buy It [Compilation 60's] (2003)

Year: 60's (CD 2003)
Label: Big Beat Records (UK), CDWIKD 236
Style: Blues Rock, Psychedelic Rock, Folk Rock, Garage Rock
Country: San Francisco, California, U.S.
Time: 73:36
Format: Flac Tracks 16/44,1 kHz
Size: 339 Mb

The Ace of Cups formed in San Francisco in 1967 and has been described as one of the first all-female rock bands. The members of the Ace of Cups were Mary Gannon (bass), Marla Hunt (organ, piano), Denise Kaufman (guitar, harmonica), Mary Ellen Simpson (lead guitar), and Diane Vitalich (drums). Making their mark in the burgeoning counterculture of the 1960's, they shared stages with Jimi Hendrix, Jefferson Airplane, and the Grateful Dead.
Marla, Denise, Mary Ellen, Diane and Mary found each other during the 60's as the San Francisco scene was just beginning. They were in the middle of it: Haight Ashbury and Waller St. where they played their first few notes, in Golden Gate Park's Panhandle where the Diggers fed those who were hungry , where artists made paintings, where jewelery was made from acorns, where children played ball with the smell of patchouli oil in the air, and where they opened for Jimi Hendrix. It was a creative time when you could choose to pursue anything that was new. This was a new beginning and people could be anything that they wanted. The music was the most important thing and the most fun.
The Cups played for the sake of the music, not for the possibility of stardom, although there were no other girl bands around during that time in San Francisco and the possibility was there. The Ace of Cups' name came from the Tarot card: 5 streams of water flowing from the hand of the Almighty and the 5 girls going with the flow to see where this music would take them. It took them to the Straight Theater on Haight St., the Avalon Ballrom, the Fillmore, where Bill Graham introduced their opening, the Carousel Ballroom, on the road with Jefferson Airplane to Vancover, Canada and to Winterland opening for The Band. In Chicago, where they opened for Muddy Waters and Michael Bloomfield, they went to the south side with renowned drummer Sam Lay where he had the Ace of Cups play at his club. Not bad for a girl group just wanting to write and play their songs!
(aceofcups.com/herstory)

01. Music (02:08)
02. Boy, What'll You Do Then (02:31)
03. Glue (04:38)
04. Taste of One (02:03)
05. Stones (04:46)
06. Looking for My Man (07:10)
07. Afro Blue (06:39)
08. Pretty Boy (03:44)
09. Waller Street Blues (04:46)
10. I Wanna Tesify (02:59)
11. Gospel Song (06:05)
12. Circles (05:00)
13. Catch You Later (03:56)
14. Simplicity (04:52)
15. Medley- Life in Your Hands-Thelina (07:30)
16. Hear Every Sound (04:43)

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The Rolling Stones - Exile On Main St. [Japan Ed. 2CD] (1972)

Year: 26 May 1972 (CD May 19, 2010)
Label: Polydor Records (Japan), UICY 1478/9
Style: Rock and Roll, Hard Rock
Country: London, England
Time: 67:16, 45:22
Format: Flac Tracks 16/44,1 kHz
Size: 482, 348 Mb

CD1: Exile On Main St. (album. 2LP on 1CD). CD2: bonus tracks.
Charts: UK #1, US #1, AUS #2, CAN #1, FRA #97, GER #2, JPN #7, NLD #1, NOR #1, SWE #1. UK, AUS & US: Platinum.
Exile on Main St. was originally met with mixed reviews before receiving strong reassessments by the end of the 1970s. It has since been recognized as a pivotal hard rock album, viewed by many critics as the Rolling Stones' best work and as one of the greatest albums of all time. Rolling Stone magazine ranked the album number 7 on its list of the "500 Greatest Albums of All Time" in 2003 and 2012, with it dropping to number 14 in the 2020 edition, consistently as the highest-ranked Rolling Stones album on the list. In 2012, the album was inducted into the Grammy Hall of Fame, the band's fourth album to be inducted. A remastered and expanded version of the album was released in 2010 featuring a bonus disc with 10 new tracks. Unusual for a re-release, it also charted highly at the time of its release, reaching number one in the UK and number two in the US.
(en.wikipedia.org/wiki/Exile_on_Main_St.)

01. Rocks Off (04:32)
02. Rip This Joint (02:23)
03. Shake Your Hips (02:59)
04. Casino Boogie (03:34)
05. Tumbling Dice (03:47)
06. Sweet Virginia (04:26)
07. Torn & Frayed (04:17)
08. Sweet Black Angel (02:57)
09. Loving Cup (04:25)
10. Happy (03:04)
11. Turd On The Run (02:38)
12. Ventilator Blues (03:24)
13. I Just Want To See His Face (02:53)
14. Let It Loose (05:18)
15. All Down The Line (03:50)
16. Stop Breaking Down (04:34)
17. Shine A Light (04:16)
18. Soul Survivor (03:48)

01. Pass the Wine (Sophia Loren) (04:54)
02. Plundered My Soul (03:58)
03. I'm Not Signifying (03:56)
04. Following the River (04:51)
05. Dancing in the Light (04:21)
06. So Divine (Aladdin Story) (04:32)
07. Loving Cup (05:26)
08. Soul Survivor (03:59)
09. Good Time Women (03:21)
10. Title 5 (01:49)
11. Unknown Track (04:09)

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ZZ Top - Rio Grande Mud (1972)

Year: April 4, 1972 (CD ????)
Label: Warner Bros. Records (Germany), 7599-27380-2
Style: Southern Rock, Pop Rock, Blues Rock
Country: Houston, Texas, U.S.
Time: 36:57
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

There are probably thousands of bands across the country like ZZ Top that remain provincial favorites because they rarely play anywhere further than a few hundred miles from home. So far, ZZ Top has confined major tours to its native Texas and neighboring states in the South and Southwest. This in part explains why few listeners outside these regions have heard or heard of ZZ Top, which is a shame, really, because its two records, First Album (London PS584) and Rio Grande Mud are solid works that deserve some attention.
ZZ Top is a blues-rooted powerhouse trio featuring guitarist Billy Gibbons, bass player Dusty Hill, and Frank Beard on drums. All are abnormally talented and resourceful performers, but I would hesitate to single out one member as a “leader” because each of their contributions, whether in composition, arrangement or performance, is vitally important. By nature of the group’s structure, guitarist Gibbons appears at the center of action most frequently. He sings most leads in a dark brown voice reminiscent of ex-Savoy Brown vocalist Chris Youlden and handles all instrumental solos by playing lead and slide guitar and harp. His partners take no extended breaks on either album.
ZZ Top sounds more like a British blues outfit than an American group. The band churns out sizzling electrical blues in a style not far removed from John Mayall’s original Bluesbreakers and early Fleetwood Mac. In Rio Grande Mud‘s lone instrumental, “Apologies to Pearly,” guitarist Gibbons quotes freely from Elmore James’ “Dust My Broom” and Freddie King’s “Stumble” in an arrangement that could easily fit onto A Hard Road. ZZ Top does not, however, limit its material to re-workings of previously recorded blues.
Nine of the record’s ten selections were written by various members of the band and five of those were co-authored with producer Bill Ham. As expected, ZZ Top emphasizes music over lyrics, which function principally as something to accompany instrumental arrangements. In “Just Got Paid,” for example, Gibbons slurs through two short verses in an anomalous Johnny Winter-ish voice to quickly reach the bridge where he cuts loose with a torrid slide guitar solo. Bassist Hill sings lead for “Chevrolet” and “Francene,” the band’s current single, and does a nice job at that. Other especially good tracks include “Ko Ko Blue,” “Bar-B-Q” and “Whiskey ‘n Mama”–spunky little rockers all.
With wider airplay and a little promotion, ZZ Top could, indeed, reach the top. Rio Grande Mud is a good album for people who enjoy uncompromising rock & roll at uncompromising volume. If the shoe fits, wear it.
(beatpatrol.wordpress.com/2008/11/06/zz-top-rio-grande-mud-1972/)

01. Francine (02:53)
02. Just Got Paid (03:48)
03. Mushmouth Shoutin (03:45)
04. Ko Ko Blue (04:23)
05. Chevrolet (03:19)
06. Apologies To Pearly (02:47)
07. Bar-B-Q (03:22)
08. Sure Got Cold After The Rain Fell (06:49)
09. Whiskey'n Mama (03:20)
10. Down Brownie (02:26)

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Wishbone Ash - Wishbone Ash [Japan Ed.] (1970)

Year: 4 December 1970 (CD Sep 19, 2001)
Label: Universal Music (Japan), UICY-9078
Style: Rock, Art Rock, Hard Rock
Country: Torquay, Devon, England
Time: 42:24
Format: Flac Tracks 16/44,1 kHz
Size: 289 Mb

For a band that quickly evolved into a radio-friendly prog-leaning outfit, it's a wonder that Wishbone Ash started out as the boogie and blues-based group that this debut reveals. If the term "jam band" existed in 1970, Wishbone Ash surely would have been a major player in that genre. As it was, this album stacked up nicely when compared with other British hard rock releases that year. Not as complex or calculated as Led Zeppelin's Led Zeppelin III but definitely more focused than Mott the Hoople's Mad Shadows, Wishbone Ash more closely resembled Benefit by Jethro Tull, a group that hadn't yet adopted its own progressive elements. The dual lead guitar attack of Andy Powell and Ted Turner was a component that none of the above bands possessed, but unfortunately their (shared) lead vocals lacked the punch and authority necessary for hard rock bands to be taken seriously. So while they could rock as loudly and convincingly as virtually anyone, their lead singers, perhaps, held them back from being the force they should have been. The follow-up, Pilgrimage, took steps to rectify Wishbone Ash's odd position, but this album nevertheless opened eyes and ears and revealed to the rock & roll community a band with incredible potential and talent.
(allmusic.com/album/wishbone-ash-mw0000475431)

01. Blind Eye (03:43)
02. Lady Whiskey (06:13)
03. Errors Of My Ways (06:56)
04. Queen Of Torture (03:23)
05. Handy (11:38)
06. Phoenix (10:28)

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Mike Oldfield - Islands [Japan Ed.] (1987)

Year: 28 September 1987 (CD Nov 21, 1987)
Label: Virgin Records (Japan), VJD-32006
Style: Pop Rock
Country: Reading, Berkshire, England (15 May 1953)
Time: 48:12
Format: Flac Tracks 16/44,1 kHz
Size: 297 Mb

Guest singers on the album are Bonnie Tyler, Kevin Ayers, Anita Hegerland, Max Bacon, and Jim Price. A different track list and cover was used for the American edition.
The UK front cover artwork was of a tropical island, and hidden in the surrounding sea is a large number of hand shapes. The hand images are based on a still frame from the longform video released at the same time as the album; a couple of scenes in the video, which was mainly filmed in Bali, feature a group of natives performing a ritualistic dance which involves hand-waving movements. The American cover is completely different; it displays two cube shapes. The photography on the back of the US version was by Jerry Uelsmann.
(en.wikipedia.org/wiki/Islands_(Mike_Oldfield_album))

01. The Wind Chimes (Vocals Anita Hegerland) (21:49)
02. Islands (Vocals Bonnie Tyler) (04:20)
03. Flying Start (Vocals Kevin Ayers) (03:37)
04. North Point (Vocals Anita Hegerland) (03:33)
05. Magic Touch (Vocals Jim Price) (04:15)
06. The Time Has Come (Vocals Anita Hegerland) (03:55)
07. When The Night's On Fire (Vocals Anita Hegerland) (06:41)

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The Electric Prunes - Too Much To Dream. Original Group Recordings - Reprise 1966-1967 [2CD] (2007)

Year: Rhino/Reprise Records (CD 2007)
Label: Rhino Records / Reprise Records (Europe), 8122-74882-2
Style: Psychedelic Rock
Country: Los Angeles, California, U.S.
Time: 50:31, 59:21
Format: Flac Tracks 16/44,1 kHz
Size: 275, 354 Mb

2 albums: The Electric Prunes (1967) & Underground (1967), + bonus tracks.
For a band that scored two major hit singles in their first year as recording artists, the Electric Prunes were given precious little respect by their record label, Reprise Records; the group was allowed to perform a mere two original tunes on their debut album I Had Too Much to Dream (Last Night), and when their second, Underground, didn't sell, they became glorified session men under composer and arranger David Axelrod on Mass in F Minor. When the Prunes couldn't play Axelrod's charts to his satisfaction, they were replaced by session men, and the original bandmembers weren't even invited to participate on two "Electric Prunes" albums later released by Reprise, Release of an Oath and Just Good Old Rock and Roll. Despite it all, the Electric Prunes' best work is still the stuff of legend among garage rock enthusiasts, and with good reason -- the freaked-out, fuzz-enhanced guitar lineup of Ken Williams, Jim Lowe and Weasel Spagnola created a wild and distinctive sound most of their peers would envy, and they fused the energy of the garage generation and the sonic experimentation of the burgeoning psychedelic scene with a skill few have matched before or since. Reprise finally gives the genuine Electric Prunes the tribute they deserve with Too Much to Dream -- Original Group Recordings: Reprise 1966-1967, a two-disc set that features the albums I Had Too Much to Dream (Last Night) and Underground in their entirety, as well as handful of non-LP singles, unreleased tracks and monophonic mixes. Disc one, featuring the debut album, is more enjoyable, featuring the group's biggest hits and most memorable tunes, but Underground suggests the real tragedy that the Prunes were not allowed to follow their own muse in the studio again -- the group sounds tighter, more creatively unified and more mature on Underground, and it's not hard to imagine they could have had several more fine albums in them if they'd had the chance to chart their own path. As it is, this set collects some superb and atypical '60s garage stuff, the bonus material is solid and intriguing if not always revelatory, Jim Lowe and Mark Tulin tell the band's story in the thick liner booklet, and the Prunes' famous radio ad for Vox wah-wah pedals even makes the cut. This is a first-rate anthology from a wildly underrated band, and folks with a jones for mid-'60s rock will want to find room for this in their collections.
(allmusic.com/album/too-much-to-dream-original-group-recordings-reprise-1966-1967-mw0000778074)

01. I Had Too Much to Dream (Last Night) (02:58)
02. Bangles (02:29)
03. Onie (02:42)
04. Are You Lovin' Me More (But Enjoying It Less) (02:25)
05. Train for Tomorrow (03:01)
06. Sold to the Highest Bidder (02:24)
07. Get Me to the World on Time (02:32)
08. About a Quarter to Nine (02:13)
09. The King Is in the Counting House (02:01)
10. Luvin' (02:04)
11. Try Me on for Size (02:21)
12. Tunerville Trolley (02:37)
13. Ain't It Hard (02:15)
14. Little Olive (02:43)
15. World of Darkness (02:17)
16. I've Got a Way of My Own (02:11)
17. Luvin' (mono single version) (02:07)
18. I Had Too Much to Dream (Last Night) (mono single version) (03:00)
19. Are You Lovin' Me More (But Enjoying It Less) (mono single version) (02:25)
20. Get Me to the World on Time (mono single version) (02:35)
21. Vox Wah-Wah Pedal Radio Spot (01:02)

01. The Great Banana Hoax (04:09)
02. Children Of Rain (02:37)
03. Wind-Up Toys (02:26)
04. Antique Doll (03:13)
05. It's Not Fair (02:04)
06. I Happen To Love You (03:19)
07. Dr. Do Good (02:26)
08. I (05:14)
09. Hideaway (02:42)
10. Big City (02:46)
11. Captain Glory (02:14)
12. Long Day's Flight (03:15)
13. Everybody Knows (You're Not In Love) (03:07)
14. You Never Had It Better (02:10)
15. Shadows (02:22)
16. Dr. Do Good (Mono Single Version) (02:32)
17. Hideaway (Mono Single Version) (02:47)
18. Wind-Up Toys (Mono Single Version) (02:31)
19. The Great Banana Hoax (Alternate Version) (03:21)
20. Long Day's Flight (Mono Single Version) (03:55)

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The Youngbloods - Rock Festival [Live] (1970)

Year: March 29 - July 21, 1970 (CD 1990)
Label: Line Records (Germany), LECD 9.01012 O
Style: Blues Rock, Psychedelic Rock, Folk Rock
Country: Greenwich Village, New York City, U.S.
Time: 39:07
Format: Flac Tracks 16/44,1 kHz
Size: 229 Mb

The Youngbloods embarked upon a lengthy American tour in the spring of 1970, which lasted well into the summer months. The plan was to record several dates on the tour, and release them as The Youngbloods’ first live album, Rock Festival
Between March and July 1970, the tapes were running during five concerts. The first was on March ’29th’ 1970 at The Family Dog, in San Francisco. Three weeks later, the concert at The Barn in Marshall, California on ‘16th’ April 1970 was recorded. Two nights later, on ‘18th’ April 1970, the tapes were running at the Santa Clara University. Then when The Youngbloods played at Provo Park in Berkeley, California on ‘19th’ May 1970. There was one final recording session on July ’21st’ 1970, at Pacific High Recording in San Francisco. At last, The Youngbloods’ fourth album was ready for release.
When The Youngbloods released Rock Festival later in 1967, it was to the same critical acclaim as previous albums. Rock Festival was another eclectic album, where The Youngbloods showcased their versatility. However, it’s a quite different album from their three studio albums. Rather than play to the audience, and win them over with some of their best known songs, The Youngbloods headed in new directions with covers of a traditional song including Fiddler A Dram and the free jazz workout Ice Bag.
When Rock Festival was released in 1970, it reached number eighty in the US Billboard 200. This made Rock Festival The Youngbloods’ most successful album. So much so, that a year later, The Youngbloods  decided to release a second live album, Ride The Wind.
(dereksmusicblog.com/2019/03/16/the-rise-and-fall-of-the-youngbloods/)

01. It's A Lovely Day (02:37)
02. Faster All The Time (04:29)
03. Prelude (01:01)
04. On Beautiful Lake Spenard (04:54)
05. Josiane (06:33)
06. Sea Cow Boogie (00:25)
07. Fiddler A Dram (05:15)
08. Misty Roses (04:12)
09. Interlude (02:14)
10. Peepin' 'N' Hidin' (05:02)
11. Ice Bag (02:21)

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Raspberries - Raspberries [Japan Ed.] (1972)

Year: April 10, 1972 (CD Apr 25, 2007)
Label: Capitol Records (Japan), TOCP-70206
Style: Power Pop, Pop Rock
Country: Cleveland, Ohio, U.S.
Time: 35:24
Format: Flac Tracks 16/44,1 kHz
Size: 228 Mb

Charts: US #51, AUS #30, CAN #22.
The Raspberries were an American pop rock band formed in 1970 from Cleveland, Ohio. They had a run of success in the early 1970s music scene with their pop rock sound, which AllMusic later described as featuring "exquisitely crafted melodies and achingly gorgeous harmonies." The members were known for their clean-cut public image and matching suits, which brought them teenybopper attention as well as scorn from some mainstream media outlets as "uncool". The group drew influence from the British Invasion era—especially the Beatles, the Who, the Hollies, and the Small Faces—and its mod sensibility. In both the US and the UK, the Raspberries helped pioneer the power pop music style that took off after the group disbanded. They also have had a following among professional musicians such as Jack Bruce, Ringo Starr, and Courtney Love.
The group's "classic" lineup consisted of Eric Carmen (vocals, guitars, bass, piano), Wally Bryson (guitars), Dave Smalley (guitars, bass) and Jim Bonfanti (drums). Their best known songs include "Go All the Way", "Let's Pretend", "I Wanna Be with You", "Tonight", and "Overnight Sensation (Hit Record)". Producer Jimmy Ienner was responsible for all four of the Raspberries' albums in the 1970s. The group disbanded in 1975 after a five-year run, and Eric Carmen proceeded to a successful career as a solo artist. Bryson and Smalley resurrected the group's name in 1999 for an album, which included singer/songwriter Scott McCarl as vocalist. In 2004, the original quartet reunited and undertook a well-received reunion tour in 2005.
(en.wikipedia.org/wiki/Raspberries_(band))

01. Go All the Way (03:25)
02. Come Around and See Me (03:11)
03. I Saw the Light (02:43)
04. Rock & Roll Mama (04:40)
05. Waiting (02:47)
06. Don't Want to Say Goodbye (05:08)
07. With You in My Life (02:49)
08. Get It Moving (02:34)
09. I Can Remember (08:03)

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The Doors - Live In Philadelphia [2CD] (1970)

Year: May 1, 1970 (CD November 29, 2005)
Label: Bright Midnight (Germany), RHM2 7912
Style: Rock, Psychedelic Rock
Country: Los Angeles, California, U.S.
Time: 76:18, 27:15
Format: Flac Tracks 16/44,1 kHz
Size: 483, 187 Mb

Live in Philadelphia '70 is a double live album recorded by American rock band the Doors in 1970. The performance took place in The Spectrum. This is part of previously unreleased material of the Bright Midnight Archives collection of live albums by the Doors.
(en.wikipedia.org/wiki/Live_in_Philadelphia_%2770)
One of several concerts from which 1970s official live Doors album Absolutely Live was sourced is offered in its entirety on this double-CD, Live in Philadelphia, of a May 1, 1970 show, available through the Internet only. Like Absolutely Live, it finds the band in a loosey-goosey state that drifts close to sloppiness, albeit with an engaging tipsy humor. Except for a few obligatory staples ("Light My Fire," "Break on Through," "Roadhouse Blues"), the group seemed determined not to play overly familiar tunes, even reaching back on occasion to their bar band days as a poor man's Rolling Stones for B.B. King ("Rock Me Baby"), Elvis Presley ("Mystery Train"), and Chuck Berry ("Carol") covers. Most of the tracks are previously unreleased, and it's not all hits or covers, the set list including such relatively little-traveled songs as "Ship of Fools," "Universal Mind," and "Maggie M'Gill." Certainly Jim Morrison's in a lewd 'n' bluesy mood, and for a guy with obscenity charges hanging over his head (from the group's infamous 1969 Miami concert), he lets it all hang out with surprisingly graphic recklessness on "Rock Me Baby" -- could anyone have doubted what "you feel so wet...let me slide inside" really meant? In common with most of the limited-edition releases the Doors have made available from their archive, this isn't up to the standards of their official catalog, even the relatively loose ones of Absolutely Live. But it's a good souvenir for committed fans, with much better sound than the usual bootlegs of the Doors from this era, though it's curious that the material is split into a lengthy 76-minute CD on disc one, and a mere 26-minute CD on disc two.
(allmusic.com/album/live-in-philadelphia-70-mw0000702198)

01. Announcer 'Sit Down' (05:20)
02. Tuning (01:25)
03. Roadhouse Blues (04:40)
04. Break On Through (To The Other Side) (05:12)
05. Back Door Man/Love Hides (06:51)
06. Ship Of Fools (06:55)
07. Universal Mind (04:31)
08. When The Music's Over (14:27)
09. Mystery Train (13:21)
10. Wake Up! (01:46)
11. Light My Fire (11:46)

01. The Concert Continues (00:41)
02. Maggie M'gill (05:49)
03. Roadhouse Blues (Reprise) (02:39)
04. Been Down So Long/Rock Me Baby (09:31)
05. The Music Capital Of The World, Philadelphia (00:29)
06. Carol (01:48)
07. Soul Kitchen (06:15)

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Styx - Man Of Miracles [Japan Ed. SHM-CD] (1974)

Year: November 8, 1974 (CD Jul 27, 2016)
Label: Universal Music (Japan), UICY-77822
Style: Rock, Pop Rock
Country: Chicago, Illinois, U.S.
Time: 37:52
Format: Flac Tracks 16/44,1 kHz
Size: 264 Mb

Man of Miracles is the fourth album by Styx, released in October 1974. It entered the Billboard Album charts on November 9, where it reached No. 154.
The album had a diverse sound, it showcased the style of two band members and a pre-commercial sound: James "JY" Young songs were more straight ahead hard rockers, while Dennis DeYoung songs were more mellow ballads, classical, and prog rock songs.
The original issue contained the catchy upbeat cover of "Lies" by The Knickerbockers in 1965. A second release of Man of Miracles substituted this with "Best Thing", a song also contained on the first Styx album from 1972, as the opening track on side two. The album was again reissued in 1980 with new artwork and a newly abbreviated title, Miracles. This version started the second side with the ballad "Unfinished Song", which is sung by Dennis DeYoung.
(en.wikipedia.org/wiki/Man_of_Miracles)

01. Rock & Roll Feeling (03:04)
02. Havin' A Ball (03:58)
03. Golden Lark (03:37)
04. A Song For Suzanne (05:04)
05. A Man Like Me (02:59)
06. Lies (02:49)
07. Evil Eyes (04:10)
08. Southern Woman (03:11)
09. Christopher, Mr. Christopher (04:01)
10. Man Of Miracles (04:55)

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National Health - Of Queues And Cures (1978)

Year: December 1978 (CD 2009)
Label: Esoteric Recordings (UK), ECLEC2130
Style: Progressive Rock, Instrumental, Jazz Fusion
Country: Canterbury, England
Time: 53:21
Format: Flac Tracks 16/44,1 kHz
Size: 328 Mb

With John Greaves replacing the departing Neil Murray, and neither Gowen or Parsons involved, Of Queues and Cures may be a more collective effort- -Stewart contributes three of the album's seven tracks, Pyle two (well, sort of; more of that in a moment) and one each by Miller and Greaves—but it's still dominated by Stewart's powerful playing and unmistakable harmonic construction. Opening with "The Bryden 2-Step (for Amphibians) (Part One)"—which possesses such a strong melody that Stewart would reprise it two years later in "Land's End" from Bruford's swan song, Gradually Going Tornado (Winterfold, 1980), that would also prove to be Stewart's final progressive gasp for three decades—there's a strength about the new line-up that makes its short-lived duration all the more unfortunate. Episodic in construction, with more things going for its nine minutes than most entire albums have, it's brighter, more committed and more powerfully played than anything on the group's first effort. And while Greaves has spoken about uncertainty and lack of confidence in joining the group and tackling National Health's knotty compositions, he's a perfect fit; as capable as Murray at navigating its rough waters while being an even more melodic soloist, as he proves on the opening track's fade-out.
Stewart's "Collapso," a track revisited by Stewart in 1990 for Complete's "The Apocalypso," introduces a new texture to the group: Selwyn Baptiste's steel drums. But this is no calypso tune; in fact, there's no hint of the Caribbean to be found anywhere, as yet another challenging context with an unforgettable melody leads into even greater contrapuntal complexity. Given, at this point, that American bassist Jaco Pastorius was using steel drums in his own group, it's hard to say if that was an influence on Stewart's choice to bring the texture into National Health. But regardless, it's a different space, as the song evolves into an unrelenting, high velocity passage that sets up a visceral fuzz bass solo from Greaves before returning to its theme to close.
(full version: allaboutjazz.com/national-health-national-health-of-queues-and-cures-by-john-kelman)

01. The Bryden 2-Step (for Amphibians) Part 1 (08:54)
02. The Collapso (06:19)
03. Squarer For Maud (11:51)
04. Dreams Wide Awake (08:50)
05. Binoculars (11:45)
06. Phlakaton (00:09)
07. The Bryden 2-Step (for Amphibians) Part 2 (05:31)

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Mike Oldfield - Tubular Bells [Japan Ed.] (1973)

Year: 25 May 1973 (CD Sep 5, 1984)
Label: Victor Music (Japan), VDP-64
Style: Progressive Rock, Instrumental, Pop Rock
Country: Reading, Berkshire, England (15 May 1953)
Time: 48:54
Format: Flac Tracks 16/44,1 kHz
Size: 233 Mb

I used to listen to Tubular Bells endlessly when I was about sixteen. Back then it seemed like some the most exciting music ever made, two massive suites of throbbing instrumental prog recorded by one bloke, a few mates, and one of the great British raconteurs as Master of Ceremonies. Two dozen years later my opinion of Tubular Bells is somewhat more realistic. While it is a hugely influential album, and it is a supremely clever piece of music, its reliance on repetition can render some parts of it a little dull, that is until the next layer of music is added to the mix. If nothing else you’ve got to admire Mike Oldfield’s skill and patience in putting this album together, though I do suspect that there might have been the odd overdub.
Tubular Bells has moments of gentle beauty, big slices of widdly prog, some strangely exciting moments where Oldfield just decides to rock out, parts which defy explanation (The entire Piltdown Man section still baffles me, as does ending the album with “The Sailor’s Hornpipe”), and it still has time to be one of the key releases in the evolution of electronic and ambient music. As instrumental orchestral rock music goes, there’s little than can compare to it.
As much as his fans salute the intense genius that is Mike Oldfield, he has admittedly struggled to match the artistic and commercial success of Tubular Bells ever since, despite repeated attempts to recapture its slippery appeal by way of sequels, orchestral follow ups, and even complete re-recordings using new fangled technology. Perhaps part of this is the fact that, despite the technical virtuosity, and it being painstakingly constructed from dozens of overdubs, the original version of Tubular Bells was largely organic, and subsequent attempts to remove even the most minute error have robbed this largely instrumental behemoth of its humanity.
(backseatmafia.com/classic-album-mike-oldfield-tubular-bells/)

01. Part One (25:30)
02. Part Two (23:23)

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