EVERMORE BLUES

ROD PRICE - WEST FOUR 2003

2009-12-20T02:34:00.000-08:00

Blues lovers can enjoy original compositions from Foghat's lead guitarist Rod Price. Considered as one of the world's greatest slide guitarists, his raw talent really shines through on this magnificent production. The virtuoso performance on Dobro on "Chicago Suite" and the album's cover track "West Four" are awe-inspiring.

Tracks :

1. West Four
2. My Heart Struck Sorrow
3. Somethin' Else
4. I Know
5. Straight Laced Breakdown
6. Legally Blind
7. Duster's Prayer
8. I Love Your Truth
9. Standing On Holy Ground
10. Oceans Of Time
11. Chicago Suite
12. China White

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Front Cover only

ROD PRICE - OPEN 2002

2009-12-20T02:23:00.001-08:00

This is the first ever solo disc from this former Foghat lead guitarist, and it is a return to the music that he loves the best. The music here is the blues as seen and translated by the English guitarists who started the revitalization of the blues as a viable medium. He revisits the standards of many of the old blues masters: Sonny Boy Williamson, Robert Johnson, and Slim Harpo, to name a few. He takes his slide guitar to the forefront as the lead instrument on these, leaving the lead vocals to his old buddy and harp player, Shakey Vick (a happy and long-overdue reunion). The interplay between these two is a pleasure to hear; listen to the way they complement and play off each other on the Chester Burnett standard "Sitting on Top of the World." There is nothing earthshakingly new here, but there is some of the finest lead guitar work ever, with a band that allows plenty of room while at the same time giving good solid support. It brings back and adds to that wonderful style that was first brought to listeners by Eric Clapton, Jeff Beck, Peter Green, and the rest of the British guitarists. ~ Bob Gottlieb

Tracks :

1.Sitting on Top of the World
2.Walking Blues
3.Key to the Highway
4.Dynaflate
5.Bluebird Blues
6.Long Distance Call
7.Got Love It You Want It
8.One More Time
9.Stumble, The
10.Elevator Woman

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Artwork Included

JAMES TAYLOR - DAD LOVES HIS WORK 1981

2009-12-19T08:04:00.000-08:00

James Taylor bounced back from the spotty Flag with this all-original album led by his collaboration with J.D. Souther on "Her Town Too," his biggest pop hit since "Handy Man," and his biggest non-cover hit since his first, "Fire And Rain," in 1970. Also included were "Hard Times" and "Summer's Here," not to mention the unusually impassioned "Stand And Fight." After simmering this long, there wasn't much hope Taylor would ever come to a boil, but that track indicated he could at least heat up now and then. William Ruhlmann, All Music Guide

Tracks :

1. Hard Times (J. Taylor)
2. Her Town Too (J. D. Souther, J. Taylor, W. Wachtel)
3. Hour That the Morning Comes (J. Taylor)
4. I Will Follow (J. Taylor)
5. Believe It or Not (J. Taylor)
6. Stand and Fight (J. Brackman, J. Taylor)
7. Only for Me (J. Taylor)
8. Summer's Here (J. Taylor)
9. Sugar Trade (J. Buffett, T. Mayer, J. Taylor)
10. London Town (J. Taylor)
11. That Lonesome Road (D. Grolnick, J. Taylor)

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Artwork Included

JAMES TAYLOR - ACOUSTIC LIVE & RARITIES VOL.1

2009-12-19T07:48:00.000-08:00

A compilation with JT Live recordings from 1969 to 1979.

Tracks :

01 Fire & Rain
02 Yesterday
03 If I Needed Someone
04 Satisfied Mind
05 Hush A Bye
06 In My Reply
07 Up On The Roof
08 Night Owl
09 Love HAs Brought Me Around
10 One Man Parade
11 Wow Dont You know
12 Brighten your Night With My Day
13 Aint No Song
14 I Can Dream Of You
15 Lighthouse
16 You Can Close Your Eyes
17 Millworker
18 Long ago And Far Away

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Artwork Included

DARK - TAMNA VODA 1988

2009-12-19T07:00:00.000-08:00

TAMNA VODA completes the multicultural adventure cycle begun on DARK's coruscating debut. Percussionist extraordinaire Mark Nauseef, guitarist Miroslav Tadic, bassist Mark Sims, and second drummer Leonice Shinneman take us through dank tunnels of killer fusion, aided by guest musicians David Torn and L. Shankar-who rips loose with some of the most hauntingly surreal violin licks in recent memory. Dark takes its cues equally from Mahavishnu Orchestra, Krakatau, and King Crimson. In fact, the opening "Trilok," no doubt a paean to that much-regarded tabla player, could be lost sessions from Crimson's LARKS TONGUES IN ASPIC, featuring Shankar's piercing violin wails, Nauseef's nimble turns of phrase, and Tadic's volcanic guitar rushes.
Things get a little Return to Forever-ish on the skankin' "Ready to Order," replete with vibes right out of the Pierre Moerlen school of post-Gong fusion, but Nauseef's complex fills and trills upset the apple cart every few moments. It doesn't get much better than this. Dark's music is timeless, thoroughly satisfying, original, and excellent.

Tracks :

1. Trilok (M. Nauseef)
2. Xantrophyl (L.Shinneman)
3. Sacred Heart (M. Nauseef)
4. Drifting (J. Hendrix)
5. Buzzard Luck (L.Shinneman)
6. Tamna voda (M. Tadic)
7. Ready To Order (M. London Sims)
8. Smoke At Will (M. London Sims)
9. Para (J. Kühn)
10. Merciful (M. Nauseef)

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Artwork Included

BRAND X - DO THEY HURT ? 1980

2009-12-13T01:48:00.001-08:00

Brand X is guilty of going through the motions on Do They Hurt? At this juncture in Brand X's career, John Goodsall and Percy Jones are the principal forces, with Phil Collins, Morris Pert, and Robin Lumley reduced to a couple of cameos. Peter Robinson, who adopts Lumley's role of providing dreamy keyboards, and drummer Mike Clarke pick up the slack well enough, though John Giblin appears only on one track (the solid if predictably Goodsallian "Voidarama"). The album's strongest track is Goodsall's "Cambodia," which features his mesmerizing arpeggios and heroic guitar leads in a solid progressive rock instrumental. Little else on Do They Hurt? sounds better than outtakes from previous efforts, however. "Noddy Goes to Sweden" and "Triumphant Limp" are under-inspired efforts from Percy Jones; "Fragile!" (cowritten by Jones and Robinson) lacks the marimba-laden magic that made "Disco Suicide" so interesting. The album's most intriguing, and in many ways frustrating, track is "Act of Will," another attempt at a pop crossover from Goodsall that squanders a good melody by employing heavily treated (and barely intelligible) vocals from the guitarist. The record's final song, "D.M.Z.," is little more than a case of noodling around in a familiar environment. Over the years, Goodsall and Jones have developed unique compositional styles -- one listen will reveal who wrote what. But it's all been done better on earlier albums; without the eclectic approach of Product, Do They Hurt? reveals itself to be little more than a retread of earlier ideas. Of minor interest, Monty Python alumnus Michael Palin provides mildly amusing liner notes. ~ Dave Connolly, All Music Guide

Tracks :

1. "Noddy Goes to Sweden" (Jones) (4:30)
2. "Voidarama" (Goodsall) (4:25)
3. "Act of Will" (Goodsall) (4:44)
4. "Fragile" (Jones, Robinson) (5:26)
5. "Cambodia" (Goodsall) (4:30)
6. "Triumphant Limp" (Goodsall, Giblin, Lumley, Collins) (7:28)
7. "D.M.Z." (Jones) (8:37)

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Artwork Included

MAHAVISHNU ORCHESTRA - INNER WORLDS 1976

2009-12-13T01:45:00.001-08:00

One of the premiere fusion groups, the Mahavishnu Orchestra was considered by most observers during its prime to be a rock band, but its sophisticated improvisations actually put its high-powered music between rock and jazz. Founder and leader John McLaughlin had recently played with Miles Davis and Tony Williams' Lifetime. The original lineup of the group was McLaughlin on electric guitar, violinist Jerry Goodman, keyboardist Jan Hammer, electric bassist Rick Laird, and drummer Billy Cobham. They recorded three intense albums for Columbia Records during 1971-1973 and then the personnel changed completely for the second version of the group. In addition to McLaughlin, the 1974 incarnation of the band consisted of violinist Jean-Luc Ponty, Gayle Moran on keyboards and vocals, electric bassist Ralphe Armstrong, and drummer Narada Michael Walden; by 1975 Stu Goldberg had replaced Moran and Ponty had left. John McLaughlin's dual interests in Eastern religion and playing acoustic guitar resulted in the band breaking up in 1975. Surprisingly, an attempt to revive the Mahavishnu Orchestra in 1984 (using Cobham, saxophonist Bill Evans, keyboardist Mitchel Forman, electric bassist Jonas Hellborg, and percussionist Danny Gottlieb) was unsuccessful; one Warner Bros. Records, Inc. album resulted. However, when one thinks of the Mahavishnu Orchestra, it is of the original lineup, which was very influential throughout the 1970s.

Tracks :

1. All in the Family (6:01)
2. Miles Out (6:44)
3. In My Life (3:22)
4. Gita (4:28)
5. Morning Calls (1:23)
6. The Way of the Pilgrim (5:15)
7. River of My Heart (3:41)
8. Planetary Citizen (2:14)
9. Lotus Feet (4:24)
10. Inner Worlds Pts. 1 & 2 (6:33)

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Artwork Included

MAHAVISHNU ORCHESTRA - BETWEEN NOTHINGNESS & ETERNITY 1973

2009-12-13T01:36:00.001-08:00

The first Mahavishnu Orchestra's original very slim catalog was padded out somewhat by this live album (recorded in New York's Central Park) on which the five jazz/rock virtuosos can be heard stretching out at greater length than in the studio. There are only three selections on the disc, all of which were to have been on the group's then-unissued third album -- two of them, guitarist John McLaughlin's "Trilogy: Sunlit Path/La Merede la Mer" and keyboardist Jan Hammer's "Sister Andrea," are proportioned roughly as they were in their studio renditions, while the third, McLaughlin's "Dream," is stretched to nearly double its 11-minute studio length. Each develops organically through a number of sections, and there are fewer lockstep unison passages than on the earlier recordings. McLaughlin is as flashy and noisy as ever on double-necked electric guitar, and Hammer and violinist Jerry Goodman are a match for him in the speed department, with drummer Billy Cobham displaying a compelling, raw power and dexterity to his work as well, especially on the CD edition, which also gives bassist Rich Laird a showcase for his slightly subtler work. Yet for all of the superb playing, one really doesn't hear much music on this album; electricity and competitive empathy are clearly not enough, particularly on the 21-minute "Dream," which left a lot of fans feeling let down at the end of its side-two-filling run on the LP. In the decades since this album was released, the studio versions of these three pieces, along with other tracks being worked up for their third album, have appeared as The Lost Trident Sessions -- dating from May and June of 1973 -- thus giving fans a means of comparing this repertory to what the band had worked out (or not worked out) in the studio; and Between Nothingness and Eternity has come up a bit in estimation as a result, benefiting as it does from the spontaneity and energy of a live performance, though even that can only carry this work so far -- beyond the personality conflicts that broke up the band, they seem to have been approaching, though not quite reaching, a musical dead end as well. ~ Richard S. Ginell & Bruce Eder, All Music Guide

Tracks :

1. Trilogy
2. Sister Andrea
3. Dream

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Artwork Included

BRAND X - UNORTHODX BEHAVIOR 1976

2009-12-13T01:31:00.001-08:00

Phil Collins' seemingly endless well of energy afforded him two careers: one as the drummer/vocalist in Genesis, and a second as a prolific session musician. It was in this second scenario that Collins hooked up with Percy Jones, John Goodsall, and Robin Lumley during sessions for Brian Eno, Eddie Howell, and Jack Lancaster. The quartet soon formed Brand X, a fusion jazz band that matched the prodigious rhythms of Collins and fretless bassist Jones with the atmospheric melodies of Goodsall and Lumley. Unorthodox Behaviour sets the stage for what would follow: music that plies the same sonic territory as Weather Report, Mahavishnu Orchestra, and the like, punctuated by the distinctive styles of individual members. The songs, though credited to the band, reveal two factions at work, with Jones and Collins teaming for percussive sections and Goodsall and Lumley handling the lyrical passages. When Jones and Collins take the lead, as on the opening "Nuclear Burn" and sections of "Unorthodox Behaviour" and "Running on Three," the music takes a frenetic, mathematical tack. Goodsall and Lumley generally provide the mood, the dominant trait on "Euthanasia Waltz" and "Touch Wood." Middle ground is found on the funky "Born Ugly" and "Smacks of Euphoric Hysteria," true fusions of rock and jazz. Unorthodox Behaviour samples a variety of styles: from melodic to energetic, ethereal to mathematical. Without a standout soloist like John McLaughlin or Wayne Shorter, Brand X does run the risk of sounding like a generic fusion jazz outfit, but their compositional skills pick up the slack nicely. Those interested in the band may do well to start with this album, although their next three records are just as good in terms of quality. ~ Dave Connolly, All Music Guide

Tracks :

1. "Nuclear Burn" (Brand X) (6:20)
2. "Euthanasia Waltz" (Lumley) (5:39)
3. "Born Ugly" (Brand X) (8:13)
4. "Smacks of Euphoric Hysteria" (Goodsall) (4:26)
5. "Unorthodox Behaviour" (Brand X) (8:25)
6. "Running on Three" (Jones) (4:27)
7. "Touch Wood" (Brand X) (3:03)

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Artwork Included

AMERICA - LIVE 1977

2009-12-13T01:26:00.000-08:00

All of the songs on this album were taken from the fourth night of a four night engagement at the Greek Theater in Los Angeles on July 24, 1977. Playing with Gerry and Dewey were David Dickey (bass guitar), Willie Leacox (drums), Jimmy Calire (keyboards and sax), and Tom Walsh (percussion). The album reached #127 in early 1978. It was the first album released without Dan Peek.

Tracks :

Tin Man
Muskrat Love
I Need You
Old Man Took
Daisy Jane
Company
Hollywood
Sergeant Darkness
Amber Cascades
To Each His Own
Another Try
Ventura Highway
Sister Golden Hair
A Horse With No Name

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Artwork Included

AMERICA - HARBOR 1977

2009-12-13T01:21:00.000-08:00

Harbor is the seventh original studio album by American folk rock trio America, released by Warner Bros. Records in February 1977. It was the last to feature Dan Peek, who embarked on a solo Christian career shortly after the album's release. The album was produced by legendary Beatles producer George Martin.

This album was a hit in the US, reaching number 21 on the Billboard album chart. Three singles ("God of the Sun", "Don't Cry Baby" and the disco song "Slow Down") were released from the album but all failed to chart.

Tracks :

God of the Sun
Slow Down
Don't Cry Baby
Now She's Gone
Political Poachers
Sarah
Sergeant Darkness
Are You There
These Brown Eyes
Monster
Hurricane
Down to the Water

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Artwork Included

CAMEL - THE SNOW GOOSE 1975

2009-11-25T00:39:00.001-08:00

Following the relative success of Mirage, Camel decided to embark on that staple of prog rock, the concept album. When they were finished, they produced an instrumental one that holds together quite well. The Snow Goose (technically, the title is legally Music Inspired By The Snow Goose) is a beautiful work of prog grandeur, one that lovers of melodic prog should enjoy.

The story for this disc comes from a short book of the same name (hence the "legal" title). It basically has something to do with an isolated hunchback, a little girl, and a wounded (surprise!) Canadian snow goose. To get the full story, see Eric Porter's review below. Knowing nothing of the story when I first listened to this album, I can say that the plot isn't essential to enjoying the work.

Put simply, this album is a great blend of acoustic and electric guitar work, beautiful melodic keyboard work, accented by the occasional orchestral moment. It is a lush work, well orchestrated. Some of the most interesting non band work, however, is the chamber wind ensemble feel of "Friendship". Where was this when I was a high school clarinet player?

The only downfall here is that the music very rarely hits any emotional high points for me. The closest is probably the buildup of "Dunkirk". Nothing really reaches out and grabs me, tho'. But that's a relatively small nit. There is plenty of great music going on here, particularly if you can just sit back and take it in.

review by Jon Byrne

Tracks :

1. The Great Marsh — 2.02
2. Rhayader — 3.01
3. Rhayader Goes To Town — 5.20
4. Sanctuary — 1.05
5. Fritha — 1.19
6. The Snow Goose — 3.12
7. Friendship — 1.44
8. Migration — 2.01
9. Rhayader Alone — 1.50
10. Flight Of The Snow Goose — 2.40
11. Preparation — 3.58
12. Dunkirk — 5.19
13. Epitaph — 2.07
14. Fritha Alone — 1.40
15. La Princesse Perdue — 4.44
16. The Great Marsh — 1.20

Link : @

Artwork Included

DOC HOLLIDAY - RIDES AGAIN 1981

2009-11-18T11:46:00.000-08:00

Although they shared the stage with some of the bigger names during Southern rock's '70s heyday, Doc Holliday never quite managed to reach that level, but has managed to make a name for itself with fans of the genre. The band's origin can be traced back to 1971 when guitarist and lead singer Bruce Brookshire formed a blues band called Roundhouse with his brother. By the end of the decade, Roundhouse had gained the attention of Molly Hatchet's manager, setting into play circumstances that would see the band, now rechristened Doc Holliday, secure a deal with A&M Records in 1980. Featuring a lineup of Brookshire, guitarist Rick Skelton, keyboard player Eddie Stone, bass player John Samuelson, and drummer Herman Nixon, their self-titled debut was released the following year. They continued to cultivate an audience with the follow-up, Doc Holliday Rides Again, sharing bills with acts ranging from Black Sabbath and Loverboy to Gregg Allman and Molly Hatchet. However, working with producer Mack (Billy Squier, Queen) for their third album, Modern Medicine, proved to exacerbate tensions within the group. The resulting album, which saw the group try and incorporate early '80s rock into its sound, failed miserably, costing Doc Holliday its record deal and causing the band to split up. However, they would reunite for 1986's Danger Zone (which found them returning to their roots) and continue to record and tour throughout the '80s and into the '90s, although most of the band's focus would shift to European markets that were proving to be more receptive during this period. In 1999, their first three albums were re-released, including their first-time issuances on CD. Brookshire released a solo album, The Damascus Road, in 2001, which was a departure to an acoustic-based record that reflected his burgeoning Christian beliefs. However, as the common thread, Brookshire continued to keep Doc Holliday together and the group released A Better Road later that same year. ~ Tom Demalon, All Music Guide

Tracks :

1. Last Ride
2. Good Boy Gone Bad
3. Don't Go Talkin'
4. Southern Man
5. Let Me Be Your Lover
6. Doin' (It Again)
7. Don't Stop Loving Me
8. Hot Rod
9. Lonesome Guitar

Link : @

Artwork Included

DOC HOLLIDAY - DOC HOLLIDAY 1981

2009-11-18T11:35:00.000-08:00

Doc Holliday is from the State of Georgia, where Southern rock began with the legendary Allman Brothers Band. The group was signed to A&M records in 1980, and shot to world-wide attention in 1981 when their debut album “DOC HOLLIDAY” entered the Billboard charts in the top 30. They quickly began to receive the attention of the European music press, and the second album “DOC HOLLIDAY RIDES AGAIN” was a worldwide success. It contains the Southern rock classic ‘Lonesome Guitar’, a hit in the tradition of Lynyrd Skynyrd's ‘Freebird’.

In 1983, the band released their third album. “MODERN MEDICINE” was an experiment, mixing the modern rock sounds of the 80’s with Southern rock. It was a failure.During this whirlwind three-year period, Doc Holliday played 250 shows a year, sharing the bill with acts like Black Sabbath, Molly Hatchet, Charlie Daniels, Gregg Allman, Stevie Ray Vaughan, Blackfoot, April Wine, Loverboy and more. The band played at Madison Square Garden in New York City, Santa Monica Civic Center in Los Angeles, and in most major cities in between.

The pace of touring and the lack of acceptance for “MODERN MEDICINE” contributed to the band’s breakup in 1984. After some time off to reflect and regroup, Doc Holliday was reformed for the 1986 European release “DANGER ZONE” on the Metal Masters label.

In 1989, the band recorded its fifth album “SONG FOR THE OUTLAW-LIVE”, now considered a “must have” classic for any Southern rock fan. During the 90’s, the group began to tour Europe extensively.

The next album “SON OF THE MORNING STAR” came out in the Fall of 1993, and the band continued to tour Europe. In 1994, “SON OF THE MORNING STAR” came out in the U.S.

In 1996, the seventh CD “LEGACY” was released to critical acclaim worldwide, but the group began to tour less and less.

In 1999 the first three LPs, “DOC HOLLIDAY”, “DOC HOLLIDAY RIDES AGAIN” and “MODERN MEDICINE” were re-released by A&M (the first time on compact disc) and the band decided to tour Europe again.

Doc Holliday started the new millennium off with a show in Berlin, at the largest New Year’s Eve party in the world, with 2.5 million people in attendance. The Europe 2000 Tour followed. In the spring of 2000, the band was voted into the Gritz.net Southern Rock Hall Of Fame.

In 2001 Bruce Brookshire released his first solo CD “THE DAMASCUS ROAD”, an album of original acoustic-based Christian music. Bruce, along with band members Daniel Ford and Danny Lastinger performed ministry shows at churches in Europe and the U.S. and at Christian music festivals like Memphis Fest and the Cornerstone Festival.

In 2001 Halycon Music reissued the classic Doc LP’s “DANGER ZONE” and “SONG FOR THE OUTLAW-LIVE” with digital remastering and bonus tracks added to each CD. At the end of 2001, Halycon released the CD, “A BETTER ROAD” to wide critical acclaim. The 2002 Summer “A Better Road” European Tour included dates in Germany, Belgium, Switzerland and Sweden.

In the summer of 2003, Phoenix Records in Hamburg released a compilation called “GUNFIGHTER-The Best Of The 90’s”, and in the fall the band released it’s 10th album, “GOOD TIME MUSIC” on Phoenix. Doc Holliday toured Europe in November of 2003 and also in July of 2004 in support of “GOOD TIME MUSIC”.

In 2006, Phoenix Records released “REBEL SOULS", a collection of cover songs from diverse sources like The Beatles, The Marshall Tucker Band and Bad Company that were chosen to reveal some of the musical influences of this Southern rock powerhouse. The band’s 25th Anniversary Tour of Europe in the summer of 2006 saw Doc Holliday performing for fans from Scandinavia, the U.K., Belgium, France and Germany. The label and the band chose the resulting CD, titled "25 ABSOLUTELY LIVE", from over 100 live tracks that were recorded during the tour. The CD represents Southern rock at it's best, with no overdubs or additional tracking done. "What the audience heard is what you get on this CD," said Bruce Brookshire. "I think Tom Hallek and his crew at Phoenix Records did a great job of mixing and caring for those tracks". The band continues to tour sporadically in Europe, but aside from charity shows, very rarely makes an appearance in the US.

Tracks :

01. Ain't No Fool (4:05)
02. Magic Midnight (3:40)
03. A Good Woman's Hard To Find (4:18)
04. Round And Round (2:55)
05. Moonshine Runner (4:30)
06. Keep On Running (4:27)
07. Never Another Night (4:08)
08. The Way You Do (3:54)
09. Somebody Help Me (3:08)
10. I'm A Rocker (3:02)
11. Bad Love (Demo, Bonus Track) (3:43)
12. Crazy (Demo, Bonus Track) (3:09)

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Artwork Included

DEEP PURPLE - FIREBALL 1971

2009-11-16T02:19:00.000-08:00

One of Deep Purple's four indispensable albums (the others being In Rock, Machine Head, and Burn), 1971's Fireball saw the band broadening out from the no-holds-barred hard rock direction of the previous year's cacophonous In Rock. Metal machine noises introduced the sizzling title track -- an unusually compact but explosively tight group effort on which Jon Lord's organ truly shined. The somewhat tiring repetitions of "No No No" actually threatened to drop the ball next, but the fantastic single "Strange Kind of Woman" nimbly caught and set it rolling again, just in time for the innuendo-encrusted hilarity of "Anyone's Daughter," featuring one of singer Ian Gillan's first (and still best) humorous storylines to go with one of guitarist Ritchie Blackmore's most uncharacteristic, bluesiest performances ever. "The Mule" opened the vinyl album's second side with what is perhaps Purple's finest instrumental, and on the hyper-extended "Fools," the bandmembers proved they could flirt with progressive rock without plunging off its cliff (although the song could probably have done without its drawn-out middle section). And closing the album was the exceptional "No One Came," where intertwining instrumental lines locked together beautifully, Gillan wove another entertaining yarn that was part autobiography and part Monty Python, and the often underrated skills of drummer Ian Paice helped the song sound so unreservedly fresh and intuitive that one could almost be convinced the band had winged it on the spot. Sure, the following year's Machine Head would provide Deep Purple with their commercial peak, but on Fireball, the formidable quintet was already firing on all cylinders. ~ Eduardo Rivadavia, All Music Guide

Tracks :

01 Fireball
02 No No No
03 Demon's Eye
04 Anyone's Daughter
05 The Mule
06 Fools
07 No One Came
08 Strange Kind Of Woman
09 I'm Alone
10 Freedom
11 Slow Train
12 The Noise...

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Artwork Included

DEEP PURPLE - SHADES OF DEEP PURPLE 1968

2009-11-16T02:15:00.000-08:00

The usual perception of early Deep Purple is that it was a band with a lot of potential in search of a direction. And that might be true of their debut LP, put together in three days of sessions in May of 1968, but it's still a hell of an album. From the opening bars of "And the Address," it's clear that they'd gotten down the fundamentals of heavy metal from day one, and at various points the electricity and the beat just surge forth in ways that were startlingly new in the summer of 1968. Ritchie Blackmore never sounded less at ease as a guitarist than he does on this album, and the sound mix doesn't exactly favor the heavier side of his playing, but the rhythm section of Nick Simper and Ian Paice rumble forward, and Jon Lord's organ flourishes, weaving classical riffs, and unexpected arabesques into "I'm So Glad," which sounds rather majestic here.
"Hush" was the number that most people knew at the time (it was a hit single in America), and it is a smooth, crunchy interpretation of the Joe South song. But nobody could have been disappointed with the rest of this record -- one can even hear the very distant origins of "Smoke on the Water" in "Mandrake Root," once one gets past the similarities to Jimi Hendrix's "Foxy Lady"; by the song's extended finale, they sound more like the Nice. Their version of "Help" is one of the more interesting reinterpretations of a Beatles song, as a slow, rough-textured dirge.

"Hey Joe" is a bit overblown, and the group clearly had to work a bit at both songwriting and their presentation, but one key attribute that runs through most of this record -- even more so than the very pronounced heaviness of the playing -- is a spirit of fun; these guys are obviously having the time of their lives rushing through their limited repertoire, and it's infectious to the listener; it gives this record much more of a '60s feel than we're accustomed to hearing from this band. [The EMI/Spitfire re-release from 2000 is notably superior to any prior version of the CD, made from the original master tape (which had been sent directly to the group's American label, Tetragrammaton, leaving EMI with a vinyl dub, astonishingly enough), with textures far closer and crisper than have ever been heard before -- there are also five bonus tracks, two very early outtakes from their earliest sessions, an alternate version of "Help," a BBC recording of "Hey Joe," and a searing live U.S. television performance of "Hush."] ~ Bruce Eder, All Music Guide

Tracks :

1. And The Address
2. Hush
3. One More Rainy Day
4. Prelude: Happiness/I'm So Glad
5. Mandrake Root
6. Help
7. Love Help Me
8. Hey Joe
9. Emmeretta
10. Hallelujah

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Artwork Included

JAMES GANG - JESSE COME HOME 1976

2009-11-10T10:45:00.000-08:00

Jesse Come Home is the final album by James Gang, released in 1976. This album is the only one recorded with lead guitarist Bob Webb and keyboardist Phil Giallombardo (Giallombardo had been an early member of the band prior to their ever recording). The album title refers to the "namesake" of the band: Jesse James. The cover features an atmospheric painting with the folk hero riding off into the sunset, leading to fan speculation over the years that the album was always intended as the band's last. While James Gang reunited several times in the years to follow their 1977 breakup, this remains the band's final studio work.

While ignored at the time of its release, many fans consider Jesse Come Home the most accomplished and mature work released by the James Gang. It is unquestionably the most diverse and experimental James Gang album, with even Beatlesque touches.

Both Jesse Come Home and its predecessor Newborn have been released on one compact disc by Wounded Bird Records.

Tracks :

"I Need Love" (Phil Giallombardo) – 3:17
"Another Year" – 3:59
"Feelin' Alright" (Jay Giallombardo/Jim Fox/Dale Peters/Bob Webb) – 3:26
"Peasant Song" – 3:56
"Hollywood Dream"
"Love Hurts" – 3:29
"Pick Up The Pizzas" (Bob Webb) – 2:30
"Stealin' The Show" – 3:58
"When I Was A Sailor" – 6:46

Link : @

Artwork for Jesse come Home + Newborn

JAMES GANG - NEWBORN 1975

2009-11-10T09:57:00.000-08:00

Newborn is the eighth album by James Gang, released in 1975, and the only released on Atlantic Records. Guitarist Tommy Bolin and singer Roy Kenner left the band, and were replaced by guitarist Richard Shack and vocalist Bubba Keith. Notable for being perhaps the most boogie-based James Gang release and for featuring an interesting cover of the Elvis Presley classic 'Heartbreak Hotel'. Both Newborn and it's more accomplished follow-up Jesse Come Home have been reissued on one cd by Wounded Bird Records.

The album cover artwork features a reproduction of Salvador Dali's "Geopoliticus Child Watching the Birth of the New Man"

Tracks :

Merry Go Round" – 3:05
"Gonna Get By" (Bubba Keith, Mark Smith) – 3:59
"Earthshaker" (Bubba Keith) – 3:48
"All I Have" – 2:17
"Watch It" (Bubba Keith) – 3:32
"Driftin' Dreamer" – 3:31
"Shoulda' Seen Your Face" – 3:46
"Come With Me" – 2:30
"Heartbreak Hotel" (Mae Boren Axton, Tommy Durden, Elvis Presley) – 2:15
"Red Satin Lover" – 2:17
"Cold Wind" – 2:34

Link : @

Covers in Jesse come home ( 2 on 1 )

JAMES GANG - MIAMI 1974

2009-11-10T09:55:00.001-08:00

The exceptionally talented Rock group James Gang have released their CD entitled Miami. I am very confident and happy to announce that I believe James Gang fans, and Rock fans alike will be pleased with this one. With the release of Miami their artistic excellence is on full display as they have once again delivered a brilliant collection of tracks that could very well be their best work to date.

Refreshingly, this was one of those CDs I was able to just pop in and comfortably listen to from beginning to end. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

Miami is a nicely varied, mix of 9 tracks that are very well written and brilliantly performed songs by these clearly talented musicians. With many of the songs displaying a lot of the kind emotion that makes for a really great listen. Seemingly drawing from what I can only imagine are their own real life experiences. At different points touching on the most real emotions of love, and the pain of failed relationships can certainly be heard.

If you're even mildly into Rock music you'll enjoy this album. Overall Miami is an a great release. I give it my double thumbs up. You will not be disappointed with one single track.

While the entire album is outstanding the truly standout tunes are track 7 - Spanish Lover, track 6 - Praylude / Red Skies, and track 1 - Cruisin’ Down The Highway.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 8 - Summer Breezes. Wow!

Article Source: http://EzineArticles.com/?expert=Clyde_Lee_Dennis

Tracks :

"Cruisin' Down The Highway" (Tommy Bolin/Dale Peters) – 3:16
"Do It" (Tommy Bolin/Roy Kenner) – 3:38
"Wildfire" (Tommy Bolin/John Tesar) – 3:30
"Sleepwalker" (Tommy Bolin/John Tesar) – 4:01
"Miami Two-Step" (Tommy Bolin/Dale Peters/Jim Fox) – 1:32
"Praylude" – 2:33
"Red Skies" – 3:27
"Spanish Lover" (Tommy Bolin/Jeff Cooke) – 3:43
"Summer Breezes" – 2:40
"Head Above The Water" (Tommy Bolin/Dale Peters) – 4:18

Link : @

Artwork Included

TRAFFIC - ON THE ROAD 1973

2009-11-03T02:40:00.001-08:00

The venality of the business gets a workout in the 12-minute title track, a slow-building jazz-rock groove that starts with a sense of quiet menace and ends with a pealing, distorted guitar solo, with one of Steve Winwood's most impassioned and lengthy organ solos at the song's heart. "Rock & Roll Stew" and Jim Capaldi's sneering putdown "Light Up or Leave Me Alone" are even more forceful, with only the groovy ecological message of "Many a Mile to Freedom" lightening the mood. Even that song rocks harder than anything on JOHN BARLEYCORN MUST DIE, though, and that extra hint of power is likely what helped make THE LOW SPARK OF HIGH HEELED BOYS Traffic's most commercially successful album in the United States.

Tracks :

1. "Glad" / "Freedom Rider" (Winwood)/(Winwood, Capaldi) – 20:56
2. "Tragic Magic" (Chris Wood) – 8:38
3. "(Sometimes I Feel So) Uninspired" (Winwood, Capaldi) – 10:31
4. "Shoot Out at the Fantasy Factory" (Winwood, Capaldi) – 6:51
5. "Light Up or Leave Me Alone" (Capaldi) – 10:56
6. "The Low Spark of High Heeled Boys" (Winwood, Capaldi) – 17:47

Link : @

Artwork Included

RTZ - RETURN TO ZERO 1991

2009-11-01T11:43:00.000-08:00

The early success of the band Boston is well known to fans of classic rock. Their self-titled 1976 debut album made a huge commercial splash with its turbo-charged, technically sophisticated arena rock anthems. Every track on that sonic rollercoaster of an album is familiar to listeners of classic rock radio -- even the listeners who don't own a copy. But in the three decades since, Boston albums have been few and far between, and leader Tom Scholz has earned a reputation as rock's ultimate studio slowpoke. After Boston's sophomore album Don't Look Back was released in 1978, there have been consistent eight-year gaps between new Boston releases. Their much-delayed third album Third Stage arrived in 1986; the fourth album Walk On appeared in 1994; and the fifth album Corporate America came into existence in 2002. If you are anxiously awaiting a sixth Boston album, you might get one in the year 2010. Sadly, such an album would not feature the vocals of Boston's usual lead singer Brad Delp, who took his own life in March 2007.

During the stretches between Boston albums, Delp often worked on side projects with the band's former guitarist Barry Goudreau, who left Boston after the second album. Delp took part in Goudreau's self-titled 1980 solo album, and the two of them soon formed a group called Orion The Hunter, which issued a self-titled album in 1984. In 1991, after Delp temporarily left Boston, he and Goudreau formed yet another band called RTZ, short for Return To Zero. Their self-titled 1991 album Return To Zero is out of print.

Return To Zero consists of arena rock that is similar to the Boston model, but without Tom Scholz's overpowering production values. Fortunately, the quintet is served well by the comparatively subtle arrangements, and they display admirable strengths instead of shortcomings. Although Return To Zero does not have the immediately gripping power of a Boston album, it has an appeal of its own that becomes more apparent over time and repeat listenings. Delp's vocals are still penetrating without being punched across in the Boston way; Goudreau and the other three instrumentalists (keyboardist Brian Maes, drummer David Stefanelli, and bassist Tim Archibald) all sound skilled and engaged. The album's best-known song is actually one of its weaker tracks: the surprise Top 30 single "Until Your Love Comes Back Around" is a rather formulaic power ballad. But RTZ impresses with harder-rocking tracks such as "Livin' For The Rock 'N' Roll" and "Devil To Pay". This CD loads most of its better songs towards the end instead of the beginning. The best track is almost saved for last: "Hard Time (In The Big House)" is the equal of almost any song that Delp and Goudreau did with Boston. The album is inevitably dated; in fact, it sounds more like a late-'80's recording than one from the early '90's. Still, Return To Zero is certainly worthy of some respect. (Note: a second RTZ album called Lost surfaced in 1998, but it consisted of leftover tracks from the 1991 sessions, not of new recordings).

Tracks :

1. Face The Music
2. There's Another Side
3. All You've Got
4. This Is My Life
5. Rain Down On Me
6. Every Door Is Open
7. Devil To Pay
8. Until Your Love Comes Back Around
9. Livin' For The Rock 'N' Roll
10. Hard Time (In The Big House)
11. Return To Zero

Link : @

Artwork Included

BLUE OYSTER CULT - FIRE OF UNKNOWN ORIGIN 1981

2009-10-27T14:19:00.000-07:00

Back in 1981, with the release of Blue Oyster Cult's "Fire of Unknown Origin", the tone was set for where 80's rock was supposed to go. Of course, the way Blue Oyster Cult set it was based on heavy guitars, pounding drums, and the occasional keyboards. We all know it didn't go they way they planned, what with the hair-metal scene and arena rock and such, but you can't blame Blue Oyster Cult for trying. In fact, you should praise them because not only is this album one of the high points of their great discography, but it is one of the highs of intelligent 80's rock and roll.

The Cult was still reeling from the biggest spoiler in their discography, their horrid attempt to make another commercial hit, "Mirrors". Although "Cultosaurus Erectus" had done a good job in giving them back their heavy image, they still needed to return to their early album's sounds. That might be why "Fire Of Unknown Origin" was welcomed, because of it's early 70's reminiscent crunching guitars. Another reason for this album's soaring popularity was the Buck Dharma penned "Burnin' For You", which was originally recorded for his first solo album, but he reluctantly agreed to release it under the Blue Oyster Cult name when Sandy Pearlman refused to release the album with it.

The thing that makes this album one of their best is their realization of their strengths. Instead of chasing after another radio hit, like they had done on "Mirrors", they return to their roots with crunchy riffs ("Heavy Metal"), and almost-ballad vocally powered songs ("Fire Of Unknown Origin"). The sci-fi movie themes that usually come with their albums are also present, most notably in "Joan Crawford". "Don't Turn Your Back" also deserves some recognition for Dharma use of pop lyricism, but still being able to pull off the rock n' roll image.

There are albums by Blue Oyster Cult that stand miles ahead of this, but this is an almost incredible turnaround from their previous attempts at chasing their "(Don't Fear) The Reaper" fame.

Review by Chris H
COLLABORATOR Math Rock Team

Tracks :

1. Fire Of Unknown Origin (4:11)
2. Burnin' For You (4:30)
3. Veteran Of The Psychic Wars (4:50)
4. Sole Survivor (4:04)
5. Heavy Metal: The Black And Silver (3:19)
6. Vengeance (The Pact) (4:41)
7. After Dark (4:25)
8. Joan Crawford (4:54)
9. Don't Turn Your Back (4:02)

Link : @

Artwork Included

TRAFFIC - JOHN BARLEYCORN MUST DIE 1970

2009-10-24T14:34:00.000-07:00

Although JOHN BARLEYCORN MUST DIE was originally intended as Steve Winwood's post-Blind Faith solo debut, Winwood and producer/label head Chris Blackwell first drafted Jim Capaldi to provide lyrics, and then Chris Wood dropped by to add his familiar reeds, and almost by accident, Traffic was reborn.

This was a different, and better, Traffic than the ill-fated quartet lineup with Dave Mason, which never entirely settled on an artistic direction. The sound of JOHN BARLEYCORN MUST DIE, on the other hand, remained the template for the rest of the reunited band's career--long, organically developed songs with a subtle jazz-rock feel, powered by Capaldi's percussion and Winwood's organ. "John Barleycorn," a traditional English folk song about the process of brewing ale (not, as the liner notes mistakenly claim, a call for temperance), here becomes a pastoral reverie carried along by flute and acoustic guitar, and proves to be the record's highlight. However, the quality of the other songs, particularly the instrumental opener, "Glad," and the outstanding ballad "Empty Pages," is nearly as high.

http://www.cduniverse.com/search/xx/music/pid/1590902/a/John+Barleycorn+Must+Die.htm

Tracks :

1. "Glad (Winwood)" 6:59
2. "Freedom Rider" (Capaldi/Winwood) 5:30
3. "Empty Pages" (Capaldi/Winwood) 4:34
4. "I Just Want You to Know" (Capaldi/Winwood) 1:30
5. "Stranger to Himself" (Capaldi/Winwood) 3:57
6. "John Barleycorn" (Traditional/Winwood) 6:27
7. "Every Mother's Son" (Capaldi/Winwood) 7:08
8. "Sittin' Here Thinkin' of My Love" (Capaldi/Winwood) 3:33
9. "Backstage and Introduction (live)" (Capaldi/Winwood) 1:50
10. "Who Knows What Tomorrow May Bring (live)" (Capaldi/Winwood/Wood) 6:56
11. "Glad (live)" (Winwood) 11:29

Link : @

Artwork Included

CAMEL - MIRAGE 1974

2009-10-23T14:23:00.000-07:00

With their second album, Mirage, Camel begin to develop their own distinctive sound, highlighted by the group's liquid, intricate rhythms and the wonderful, unpredictable instrumental exchanges by keyboardist Pete Bardens and guitarist Andy Latimer. Camel also distinguish themselves from their prog rock peers with the multi-part suite "Lady Fantasy," which suggests the more complex directions they would take a few albums down the line. Also, Latimer's graceful flute playing distinguishes several songs on the record, including "Supertwister," and it's clear that he has a more supple technique than such contemporaries as Ian Anderson. Camel are still ironing out some quirks in their sound on Mirage, but it's evident that they are coming into their own. ~ Daevid Jehnzen, All Music Guide

Tracks :

1. Freefall
2. Supertwister
3. Nimrodel/The Procession/The White Rider
4. Earthrise
5. Lady Fantasy: Encounter/Smiles for You/Lady Fantasy

Link : @

Artwork Included

BLUE OYSTER CULT - ON YOUR FEET ON YOUR KNEES (LIVE) 1975

2009-10-21T14:18:00.000-07:00

BÖC's "On Your Feet Or On Your Knees" is another of those albums that doesn't see the light of day too often in my house these days but when it does I really enjoy the trip. I remember quite vividly listening to the opening notes of "The Subhuman" in 78 Records (a notable record store in Perth, Western Australia) the day I first spotted the cover photo of the church and limo shot through a fisheye lens in 1976. I walked out of 78's with the album about two minutes later.

As far as progressive goes, there is not a lot for the die-hard prog fan on this album, though there are smatterings of good keyboard work throughout. But if you are looking for fast- paced, crunching guitars backed by a driving rhythm section in a live setting this is an album for you. Similarly, if you want that raw, largely-untouched-at-the-mastering-stage 1970's live sound then again this is an album for you. And if you appreciate your rock a little quieter OYFOOYK has the gem of a track "(Then Came The) Last Days Of May", which features some top guitar work and vocals by Donald 'Buck Dharma' Rooser. At the end the album is rounded out with the Mars Bonfire's classic "Born To Be Wild", which is the perfect finisher for a riotous album full of good rocking fun.

In my mind OYFOOYK is a rock masterpiece, five stars all the way! Then when I look from a progressive perspective it would struggle to get three stars. Overall I reckon OYFOOYK deserves four stars as a rocking live set that conveys the vitality of the various performances (the tracks are strung together from a number of different shows) along with the band's energy.

If the classic live sound is your cup of tea OYFOOYK is an album that should be sought out. If you haven't heard it as yet I am sure you will not be disappointed when you do get the chance.

Review by T.Rox

1. Subhuman
2. Harvester of Eyes
3. Hot Rails to Hell
4. Red and the Black
5. 7 Screaming Diz-Busters
6. Buck's Boogie
7. Then Came the Last Days of May
8. Cities on Flame With Rock & Roll
9. Me 262
10. Before the Kiss, a Redcap
11. Maserati GT (I Ain't Got You)
12. Born to Be Wild

Link : @

Artwork Included