Cosmos Factory - An Old Castle Of Transylvania (Japansk Heavy Progressive 1973)

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320:- (24-Bit Limited Remaster Edition. Ett måste i samlingen)

The Japanese progrock band COSMOS FACTORY made a sery of albums in the Seventies with every time another sound. I prefer their debut-album "An Old Castle Of Transylvania" (1973). The long title track (around 20 minutes) is a mind blowing blend of psychedelia and progrock with great build ups and eruptions, very compelling with strong hints from early PINK FLOYD but the swirling movements also brings the long live tracks from URIAH HEEP, DEEP PURPLE, IRON BUTTERFLY, VANILLA FUDGE and Krautrock like early JANE and ELOY on my mind.

It contains sumptuous keyboard play including heavy floods of Hammond organ and Mellotron along biting guitar. The interplay between guitar and organ is like "Set the controls for the heart of the sun" from PINK FLOYD. The other songs are also loaded with Hammond and Mellotron, a real 'keyboard nirvana' for the fans of 'vintage keyboards'.

Formed in 1970, in the ugly industrial city of Nagoya, from the ruins of GS outfit The Silencer, this progressive rock band was courted by a local rock critic who took the band under his managerial wing. They played the local scene for a couple of years before gaining anything more than local success. Cosmos Factory took their marvellous name from a wholly cosmic misreading of Creedence Clearwater Revival’s LP COSMO’S FACTORY, which has unfortunately led many to believe that they were a space rock band. Instead, they were just a fairly bombastic bunch with a good line in titles. Their best LP is the debut AN OLD CASTLE IN TRANSYLVANNIA, but even this is keyboard heavy in an Italian progressive style, and only the epic title track that closes the album enters the realms of real experiment. Otherwise, their work dwells in the same areas as The Nice, Arzachel and early King Crimson. The band finally made its name as support for The Moody Blues and signed to Columbia Records in 1973, releasing the aforementioned debut that same year.

Thereafter, the band signed a better deal with Toshiba’s hip Express label, and embarked on the unusual policy of releasing EPs. First came FANTASTIC MIRROR, followed by THE INFINITE UNIVERSE OF YOUR MIND and DAYS IN THE PAST, each appearing throughout 1975. Their second LP A JOURNEY WITH COSMOS FACTORY was released the same year. Film soundtrack work altered their music somewhat, giving it a harder, more clinical edge, and the musical arrangements of their final LPs BLACKHOLE and METAL REFLECTION were more Spartan than the previously lush arrangements of earlier albums, and not heavy metal as the titles would suggest. Cosmos Factory’s name and fabulous album titles are the main reason for the band’s inclusion here.

01. Soundtrack 1984
02. Maybe
03. Soft focus
04. Fantastic mirror
05. Poltergeist
06. An old castle of Transylvania:
I) Forest of the death
II) The cursed
III) Darkness of the world
IV) An old castle of Transylvania

Toad - Tomorrow Blue (Deras 2a Album från 1972)

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320:- (Superb hårdrock från Schweiz 1972. ett absolut måste i samlingen, utgången utgåva. Obi-fliken finns med, dock ej på bilden)

Brilliant heavy blues rock. I can only discribe it as a cross between early led zep and hendrix in places particularly the 'track change in time'There are also other influences like savoy brown and other rock bands of the era.

Swiss hard rock band formed by members of the original Brainticket, Toad's history is obscure and largely undocumented. Their debut is said to be in the realms of Dies Irae, being heavy, bluesy and experimental. However, despite getting a British release, we've never managed to locate a copy.

Their second album, "Tomorrow Blue" was surprisingly straight hard-rock, akin to Sperrmüll, with Hendrix, Status Quo and R&B influences. Their original lead singer Benjamin Jäger went on to Island.






01. Thoughts (06:27)
02. Tomorrow Blue (09:08)
03. Blind Chapman's Tales (05:21)
04. Vampires (05:39)
05. No Need (03:37)
06. Change In Time (12:21)
07. Three O Clock In The Morning (00:46)
08. Fly (06:47)
09. I Saw Her Standing There (03:27)
10. Green Ham (03:56)

Toad - Selftitled (1a Albumet Från 1972)

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320:- (Superb hårdrock från Schweiz 1972. ett absolut måste i samlingen, utgången utgåva. Obi-fliken finns med, dock ej på bilden)

Brilliant heavy blues rock. I can only discribe it as a cross between early led zep and hendrix in places particularly the 'track change in time'There are also other influences like savoy brown and other rock bands of the era.

Swiss hard rock band formed by members of the original Brainticket, Toad's history is obscure and largely undocumented. Their debut is said to be in the realms of Dies Irae, being heavy, bluesy and experimental. However, despite getting a British release, we've never managed to locate a copy.

Their second album, "Tomorrow Blue" was surprisingly straight hard-rock, akin to Sperrmüll, with Hendrix, Status Quo and R&B influences. Their original lead singer Benjamin Jäger went on to Island.






01. Thoughts (06:27)
02. Tomorrow Blue (09:08)
03. Blind Chapman's Tales (05:21)
04. Vampires (05:39)
05. No Need (03:37)
06. Change In Time (12:21)
07. Three O Clock In The Morning (00:46)
08. Fly (06:47)
09. I Saw Her Standing There (03:27)
10. Green Ham (03:56)

Kuni Kawachi & the Flower Travelling Band - Kirikyogen (Japansk Hårdrock 1970)

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350:- (Utgången utgåva, mycket svår att hitta nu.)

Kuni Kawachi - & Flower Travelling Band CD. Reissue of Kuni Kawachi's ultra-rare Kirikyogen album recorded in 1970 with members of The Flower Travellin' Band. Stunning record with great Hideki Ishema burning guitarwork and vocals from Joe! Sounds like a lost Flower Travellin' Band album except it's a bit more progressive overall.

Beginning his career in the Group Sounds act The Happenings Four, keyboard player Kuni Kawachi will nevertheless probably always be best remembered for his writing contributions to Tokyo Kid Brothers’ version of THROW AWAY THE BOOKS, WE’RE GOING OUT ON THE STREETS, and also for his prescient employment of Flower Travellin’ Band members on his first LP KIRIKYOGEN. Indeed, despite the strung out elegance of that solo record having spanned several genres, the appearance on lead vocals of Akira ‘Joe’ Yamanaka has guaranteed KIRIKYOGEN a rightful place in rock’n’roll history, and a more genuinely listenable Japrock art statement you’d be hard pressed to find. Moreover, Kawachi’s early version of Flower’s ‘Map’ is, to some ears, even better than the later ‘original’. For his second LP, 1972’s LOVE SUKI DAIKIRAI, Kawachi turned to the ubiquitous Jun ‘Kimio’ Mizutani, former teen raver with garage band Out Cast, whose lead guitar had informed such legendary LPs as People’s BUDDHA MEETS ROCK and LOVE WILL MAKE A BETTER YOU by Love Live Life +1.

Mizutani’s own highly rated solo album A PATH THROUGH HAZE was co-written by Masahiko Satoh along with Kawachi, whose painting is featured across the gatefold inner. In his later years, Kawachi moved north to become a farmer in Hokkaido, keeping his musical hand in writing TV commercials. A couple of years ago, his old Group Sounds band reformed, and are said to have played Kawachi’s KIRIKYOGEN in its entirety.

Some records are destined to be footnotes, or tangents, no matter how good they are. There's "Far Out" by the band of the same name, which is usually treated as a pre-Far East Family Band curiosity, instead of the brilliant stand alone album it actually is. More to the point, there's "Kirikyogen" (named after a theater actor, according to the liner notes,) the first solo album by Happenings Four keyboardist Kuni Kawachi, which is often treated as a lost Flower Travellin' Band album.

It's understandable, though: billed as "Kuni Kawachi and Friends," it features FTB vocalist Joe Yamanaka and FTB guitarist Hideki Ishima on every track, and both of those guys are hard to mistake for anyone else. There's also ("Music Composed Mainly By Humans") to consider, as it became Flower Travellin' Band's "Map" the following year. But FTB's secret weapon...the thoroughly out there rhythm section of Jun Kobayashi and Joji Wada...is absent, replaced by a mystery bassist and drummer (seriously, I can't find any credit for those two instruments anywhere.) So while much of FTB's signature sound is on display in the superficial sense, closer examination reveals a very different heart beating inside this black and white cover.

("Cemetery Of Love") is a good example: a somber but oddly uplifting, sitar driven number that builds to a "House Of The Rising Sun" style climax, it's tempered with light piano flourishes and a incense drenched feel that is quite at odds with Yamanaka and Ishima's usual output. Then there's the "Ramble On" rewrite of ("Classroom Of Women,") all bongos and sprightly acoustic guitar. ("Scientific Investigation") mixes third album Velvet Underground with a driving, understated beat, placid toy xylophone, and chiming guitars.

The title track actually prefigures the sound of FTB's "Make Up," heavy keyboards and pounding interludes pointing the way. Ironically, one of the songs that swings closest to the Flower Travellin' Band aesthetic is also the one that deviates the furthest. ("Time Machine") is a strange, strange track, oscillating between a mournful, mechanical churn (with lyrics that consist entirely of the title) and trippy, free form randomness (Ishima even works in a sly reference to the theme from "The Twilight Zone.") It stops and starts, stops and starts, two very different approaches balancing and complimenting each other as they melt into one thoroughly odd track. The faux military rhythm is just the sort of curveball Kobayashi and Wada would throw in FTB, but the spaced out passages belong to Kawachi. This song can really get under your skin if you let it.

Kawachi would make another album with this lineup, "Love Suki Daikirai," then continue on a solo career that would see him scoring television shows, only occasionally venturing out into the world of rock 'n' roll. He also reportedly moved to Hokkaido to become a farmer (!) "Kirikyogen," despite its excellence and all star lineup, all but disappeared in the following years (vinyl copies sell for utterly insane prices.) The album was even bootlegged, juggling the song order and taking the title "Music Composed Mainly By Humans," but somehow still managing to be very difficult to come by. Super Fuji has recently reissued it in a cardboard, mini LP sleeve, complete with a remastering job that sounds fantastic. Pick it up before it vanishes back into the ether.

01. Kirikyogen (5:09)
02. Works Composed Mainly By Humans (5:46)
03. Time Machine (7:48)
04. To Your World (6:33)
05. Graveyard Of Love (4:11)
06. Classroom For Women (3:26)
07. Scientific Investigation (3:54)

Antistatiska Innerpåsar för Mini LP

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100:- (Antistatiska innerpåsar för Mini LP CD:s. Säljes buntvis, 50 stycken per bunt.)

Paul Brett's Sage - Schizophrenia (Mycket Bra Progressive Rock UK 1972)

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310:- (24-Bit Limited Remaster Edition, utgången utgåva. Mycket bra platta, rekommenderas)

The third album for Pye’s Dawn imprint from the stylish guitarist who had previously worked with Roy Harper, Al Stewart and as part of The Strawbs as well as supplying some of the key guitar parts on Fire’s buried treasure The Magic Shoemaker. Later Paul Brett would embrace a more classical guitar style as his three albums under the Sage moniker failed to ignite audiences but, without doubt they are all buried treasures for all their cosmic harmonies and beautifully crafted songs.

Paul Brett (born 20 June 1947, Fulham, London) is a classic rock guitarist. He played lead guitar with Strawbs, The Overlanders, The Crazy World of Arthur Brown, Elmer Gantry’s Velvet Opera, The Velvet Opera, Tintern Abbey, Fire, Roy Harper, Al Stewart, Lonnie Donegan, and switched to twelve string guitar in the 1970s.

His first twelve string guitar suite, Earth Birth, was released on his own label, Phoenix Future and was produced by artist Ralph Steadman of Fear and Loathing fame. Critical acclaim led to Brett being signed on a four album deal with RCA Records. His K-tel Romantic Guitar album went platinum in the UK, but Brett stopped recording soon afterwards. He started recording again in 2000, with long time friend and fellow twelve string guitarist, John Joyce.

Brett wrote for music magazines Melody Maker, Sound International and International Musician and continued working in the music industry in the later part of his career. He now writes a regular column for Acoustic, a magazine specializing in acoustic guitars. Is also the Associate Editor and Features Writer for Music Maker and Live in London magazines.

He has appeared on BBC Television's Antiques Road Show and Flog It in the mid 2000s.

01. Custom Angel Man
02. Charlene
03. Song Of Life - Song Of Death
04. Slow Down Ma!
05. Saviour Of The World
06. Limp Willie
07. Tale Of A Rainy Night
08. Take Me Back And I Will Love You
09. Autumn
10. Make It Over
11. Bee
12. Dehlia

The Move - Shazam (Deras 2a Album UK 1970)

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320:- (Utgången utgåva, svår att hitta nu)

Shazam is the second album by The Move, released in the UK in February 1970. The LP marked a bridge between the band's quirky late '60s pop singles and the progressive, long-form style of Roy Wood's next project, the Electric Light Orchestra. It was the last Move album to feature the group's original lead vocalist, Carl Wayne.

Like Led Zeppelin's debut album, "Shazam" was basically a snippet of the Birmingham group's 1969 stage act captured on vinyl. A crunchy mix of California psychedelia, heavy metal riffs, thundering drums and quotations from classic composers, the disc was generally praised by critics -- "Rolling Stone" gave a glowing review in the spring of that year -- and is generally regarded as the band's best LP.

The band had spent most of 1969 on the cabaret circuit in England, much to the delight of lead singer/crooner Wayne and to the disgust of guitarist/composer Roy Wood. When the group finally toured the United States in the autumn for the first -- and only -- time, they let down their hair and cranked up the volume.

Thus, "Shazam" is a classic split-personality album -- one side of originals, another of covers -- from a band wrestling with split musical personalities. Wayne, who picked some of the songs on Side 2, delivers touching, tender ballads (Wood's "Beautiful Daughter") and serves as a compere on spoken-word tracks between the songs; you almost can imagine him in a tie and tux, working the audience like Viv Stanshall. 'Beautiful Daughter' was under consideration for release as a single, the follow-up to 'Curly', in 1969.

Tracks like 'Hello Susie' and 'Don't Make My Baby Blue,' meanwhile, with their distorted riffs and monster drum fills, would not have sounded out of place on Black Sabbath's debut album. 'Susie' had previously been a hit for Amen Corner, though their faster, more pop-oriented version was very different from the Move's heavy metal treatment. 'Cherry Blossom Clinic Revisited' was a variation on 'Cherry Blossom Clinic', a track from the group's debut album, taken at a slower pace, the first verse diffidently spoken by Wayne, recorded without any strings or brass, and interpolating a medley of classical tunes including works by Bach and Tchaikovsky, played on guitars.

While drummer Bev Bevan regards this as his favorite Move album, Wood's memories were more bittersweet. 1969 had been a roller-coaster, draining year for the band. The "Blackberry Way" single hit No. 1 in the UK to open the year; Bassist Trevor Burton quit shortly thereafter. The early 1969 American tour was canceled because of Burton's departure; When it finally happened later that year, it was a financial failure and a logistical farce -- because of shoddy planning, the band basically had to race across the entire country by car (and a U-Haul trailer) to make very few dates. Wood and Wayne always had different personalities and temperaments, but the relationship was quickly fraying at the edges. The two dynamic creative forces in the band were frequently at odds with one another over style and content -- Wood reckoned The Move had gone as far as it could go, short of breaking through in America, and wanted to launch a new strings-and-rock project with Jeff Lynne.

Returning to the cabaret circuit after the debacle in the United States was the last straw for Wood. One night, in Sheffield, he infamously chucked a glass at a mouthy cabaret patron who'd called him "a poofta." Wayne blew up at him backstage, and the original Move was all but finished. Wayne quit the band in January 1970, just before "Shazam" was released.

While not a commercial success in the UK -- it was overshadowed by the hit single, "Brontosaurus," which debuted a fortnight after "Shazam" hit the stores -- or in the US when it debuted on A&M Records, the heavy feel, tight harmonies and extended solos made it a cult favorite and the record that introduced most American fans to the band. It also proved to be a stylistic template for successful '70s bands such as Cheap Trick and Kiss. In the 1990s, a group called The Shazam -- a power-pop outfit from Nashville who were huge fans of The Move -- took their name from this album.

Compared to the Move's long-gestating 1968 eponymous debut, their 1970 sophomore effort Shazam is unified. It was not culled from sessions from a period of 14 months but instead largely made at one time...but that doesn't necessarily mean that it's any easier to get a handle on the album. The Move changed greatly in the period between their first albums, with original bassist Chris "Ace" Kefford leaving in a cloud of acid in 1968. In his absence, rhythm guitarist Trevor Burton jumped over to bass, beginning an odd period where the group was cutting songs, most penned by Roy Wood but a few written by David Morgan, a fellow Birmingham-based songwriter signed to the publishing company of Move lead singer Carl Wayne. Pulled between these two camps, the Move finally had a true hit single with Wood's gorgeous, watery psychedelic epic "Blackberry Way," not long after Burton left the band and Richard Price was pulled in as his replacement so the band could earn money by touring cabarets in Europe.

Here, the band grew muscular and weirder, traits that are showcased on the short-yet-sprawling Shazam. Throwing out the concise constructions and meticulous miniatures of their psychedelic singles, the Move concentrate on heavy progressive rock on Shazam. With the exception of the gentle, string-laden "Beautiful Daughter" — quite clearly a holdover from previous sessions due to both its sweetness and brevity — none of the six songs here clock in under five minutes, with two sprawling over seven and "Fields of People" inching toward the 11-minute mark. To what extent this was an intentional experiment or a way of coping with a lack of material is hard to tell; of these six, only the thunderous opener "Hello Susie" truly qualifies as a new Wood original, as "Beautiful Daughter" dates earlier and "Cherry Blossom Clinic Revisited" itself is a reworked, expanded version of a song from the debut. "Hello Susie" also points the way to the heavy, hooky rock & roll the Move would patent on Message from the Country, and it does feel different than either this new "Cherry Blossom Clinic Revisited" or the three covers that make up the second side of Shazam.

All these four songs are arranged so the band can dabble in color and texture, shifting from guitars as heavy as their Brummie cohorts Black Sabbath to fragile harmonies. It's wildly inventive music and, as pure sound, the Move may never have been better than they are here, as there are more ideas in each of these long, languid jams than most bands have in a career. Once again, the sheer number of ideas can be intimidating upon first listen and there may be so many that some listeners may never get past this rush of invention, but Shazam rewards repeated spins many times over.

01."Hello Susie" (Wood) – 4:55
02. "Beautiful Daughter" (Wood) – 2:36
03. "Cherry Blossom Clinic Revisited" (Wood) – 7:40
04. "Fields Of People" (Day/Pierson) – 10:09
05. "Don't Make My Baby Blue" (Mann/Weil) – 6:18
06. "The Last Thing on My Mind" (Paxton) – 7:35

Bonus Tracks:
07. "So You Want to Be a Rock & Roll Star [Live]"
08. "Stephanie Knows Who [Live]"
09. "Something Else [Live]"
10. "It'll Be Me [Live]"
11. "Sunshine Help Me [Live]"
12. "Piece of My Heart [Previously Unreleased Live EP Outtakes]"
13. "Too Much in Love [Previously Unreleased Live EP Outtakes]"
14. "(Your Love Keeps Lifting Me) Higher and Higher [Live]"
15. "Sunshine Help Me [Previously Unreleased Live EP Outtakes]"

MC5 - Kick Out The Jams (1a Albumet US 1969, klassiker)

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300:- (SHM-CD Limited Remaster Edition)

Kick Out the Jams is the first album by Detroit protopunkers MC5, released in 1969. It was recorded live at Detroit's Grande Ballroom over two nights, Devil's Night and Halloween, 1968. In 2003, the album was ranked number 294 on Rolling Stone magazine's list of the 500 greatest albums of all time. (However, the original Rolling Stone review by Lester Bangs was unfavorable, calling it "ridiculous, overbearing, [and] pretentious".)

The album contains such songs as the proto-punk classics "Kick Out the Jams" and "Rama Lama Fa Fa Fa", the spaced-out "Starship" (co-credited to Sun Ra because the lyrics were partly cribbed from one of Ra's poems), and an extended cover of John Lee Hooker's "Motor City is Burning" wherin Tyner praises the role of Black Panther snipers during the Detroit Insurrection of 1967. The album is generally regarded as one of the best live rock and roll records: critic Mark Deming writes that it "is one of the most powerfully energetic live albums ever made...this is an album that refuses to be played quietly." The album has gained a considerable cult following in recent years.

While "Ramblin' Rose" and "Motor City is Burning" open with inflammatory rhetoric, it was the opening line to the title track that stirred up the most controversy. Vocalist Rob Tyner shouted, "And right now it's time to... KICK OUT THE JAMS, MOTHERFUCKERS!" before the opening riffs. Elektra Records executives were offended by the line and had preferred to edit it out of the album, while the band and manager John Sinclair adamantly opposed this. The original release had "KICK OUT THE JAMS, MOTHERFUCKERS!" printed on the inside album cover, but was soon pulled from stores. Then, two versions were released, both with censored album covers, with the uncensored audio version sold behind record counters.

Making matters worse, Hudson's department store refused to carry the album. Tensions between the band and the chain got to the point where the department stores refused to carry any album from the Elektra label after the MC5 took out a full-page ad that, according to Danny Fields, "was just a picture of Rob Tyner, and the only copy was 'Fuck Hudson's.' And it had the Elektra logo." To end the conflict, Elektra dropped the MC5 from their record label. Ironically, band members later alleged that Elektra official Jac Holzman encouraged the use of the epithet on the record itself.

In the end, the album is widely considered a vital step in the evolution towards punk and a variant upon what would later be referred to as garage rock.

Later the same year, Jefferson Airplane recorded the song "We Can Be Together" for their Volunteers album, a song containing the same objectionable word as the MC5 track. Unlike Elektra, however, RCA Records released the Airplane's album wholly uncensored, following pressure from the band.

Kick Out the Jams has also been taken to be a slogan of the 1960s ethos of revolution and liberation, an incitement to "kick out" restrictions in various forms. This is myth and fiction, however; the truth is more prosaic. To quote MC5 guitarist Wayne Kramer from his interview with Caroline Boucher in Disc & Music Echo, 8 August, 1970:

"People said 'oh wow, kick out the jams means break down restrictions' etc., and it made good copy, but when we wrote it we didn't have that in mind. We first used the phrase when we were the house band at a ballroom in Detroit, and we played there every week with another band from the area.
"We got in the habit, being the sort of punks we are, of screaming at them to get off the stage, to kick out the jams, meaning stop jamming. We were saying it all the time and it became a sort of esoteric phrase. Now, I think people can get what they like out of it; that's one of the good things about rock and roll."
Kramer also referred during a 1999 interview that was excerpted for Goldmine magazine (Krause publications) that the phrase was specifically aimed toward British 1960s bands playing at the Grande who the MC5 felt were not putting enough energy into their performances. The title has also (jokingly) been reinterpreted as an establishment message masquerading as a revolutionary anthem. David Bowie sings in the song "Cygnet Committee":

[We] stoned the poor on slogans such as
Wish You Could Hear
Love Is All We Need
Kick Out The Jams
Kick Out Your Mother
And in Robert Anton Wilson and Robert Shea's classic counterculture novel Illuminatus! the title is said to have been created by the Illuminati as a jibe against a rival sect, the Justified Ancients of Mummu (or JAMs for short). The British band The KLF (also known as The JAMs), who take their name from the Wilson/Shea novel, use a sample of "Kick Out the Jams" in their songs "All You Need Is Love" and "What Time Is Love?".

01."Ramblin' Rose" (Fred Burch, Marijohn Wilkin) – 4:15
02."Kick Out the Jams" – 2:52
03."Come Together" – 4:29
04."Rocket Reducer No. 62 (Rama Lama Fa Fa Fa)" – 5:41
05."Borderline" – 2:45
06."Motor City Is Burning" (Fred "Sonic" Smith credited with writing the song although it was written by Al Smith) - 6:04
07."I Want You Right Now" (C. Frechter, L. Page) – 5:31
08."Starship" (MC5, Sun Ra) – 8:15

MC5 - Back In The USA (2a Albumet US 1970)

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300:- (SHM-CD Limited Remaster Edition)

Back in the USA is the 1970 debut studio album, and second album overall, by the American protopunk band MC5. The opening track is a cover of the classic hit "Tutti Frutti" by Little Richard, "Let Me Try" is a ballad, "The American Ruse" attacks what the Detroit quintet saw as the hypocritical idea of freedom espoused by the US government, and "The Human Being Lawnmower" expresses opposition to the US involvement in the Vietnam War. The last song on the album, which is the title track, is a cover of Chuck Berry's 1959 single "Back in the U.S.A.."

The central focus of the album is the band's actual movement away from the raw, thrashy sound pioneered and captured on their first release Kick Out the Jams. This was due in part to producer Jon Landau's distaste for the rough psychedelic rock movement, and his adoration for the straightforward rock & roll of the 1950s.

Landau, who originally wrote for Rolling Stone Magazine, was looking to get more involved in actual music production. Becoming close with Atlantic Records executive Jerry Wexler was his chance and led Landau to the politically radical MC5, who had just been picked up by Atlantic after being dropped from Elektra Records in 1969 - ironically, the Kinney National Company (later known as Time Warner), parent of Atlantic, would acquire Elektra in the same year of this album's release; both labels are now part of the Warner Music Group (now a separate company from TW), through the Atlantic Records Group.

01."Tutti Frutti" (Dorothy LaVostrie, Joe Lubin, Richard Penniman) – 1:30
02."Tonight" – 2:29
03."Teenage Lust" – 2:36
04."Let Me Try" – 4:16
05."Looking at You" – 3:03
06."High School" – 2:42
07."Call Me Animal" – 2:06
08."The American Ruse" – 2:31
09."Shakin' Street" – 2:21
10."The Human Being Lawnmower" – 2:24
11."Back in the U.S.A." (Chuck Berry) – 2:26

MC5 - High Time (3e Albumet US 1971)

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290:- (SHM-CD Limited Remaster Edition)

High Time was the third and final album released by the protopunk band MC5; it was released in 1971. After losing money on this and the group's previous album, Atlantic Records dropped the group.

MC5 were nearing the end of their long and bumpy trail when they cut High Time in 1971, and it was widely ignored upon initial release. While it lacks the flame-thrower energy and "off the man!" politics of Kick Out the Jams or the frantic pace and "AM Radio of the People" sound of Back in the USA, High Time sounds like MC5's relative equivalent to the Velvet Underground's Loaded, their last and most accessible album, but still highly idiosyncratic and full of well-written, solidly played tunes. Fred Smith's "Sister Anne" and "Skunk (Sonically Speaking)" bookend the album with a pair of smart, solidly performed hard rockers (bolstered by fine horn charts), and Wayne Kramer's "Poison" ranks with the best songs he brought to the band (he later revived it for his solo album The Hard Stuff).

For a group that was apparently on the verge of collapse, MC5 approach this material with no small amount of skill and enthusiasm, and Geoffrey Haslam's production gives the band a big, punchy sound that suits them better than the lean, trebly tone of Back in the USA. It's interesting to imagine what MC5's history might have been like if High Time had been their first or second album rather than their last; while less stridently political than their other work, musically it's as uncompromising as anything they ever put to wax and would have given them much greater opportunities to subvert America's youth if the kids had ever had the chance to hear it.

01."Sister Anne" (Fred "Sonic" Smith) - (7:23)
02."Baby Won't Ya" (Fred "Sonic" Smith) - (5:32)
03."Miss X" (Wayne Kramer) - (5:08)
04."Gotta Keep Movin'" (Dennis Thompson) - (3:24)
05."Future/Now" (Rob Tyner) - (6:21)
06."Poison" (Wayne Kramer) - (3:24)
07."Over and Over" (Fred "Sonic" Smith) - (5:13)
08."Skunk (Sonicly Speaking)" (Fred "Sonic" Smith) - (5:31)

The Stooges - S/T (1a Albumet US 1969)

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290:- (SHM-CD Limited Remaster Edition)

The Stooges is the self-titled debut of the rock band The Stooges. It was released in August 1969 and peaked at number 106 on the Billboard album charts. Two songs, "I Wanna Be Your Dog" and "1969", were released as singles.

For their first album, The Stooges had intended to record five songs: "I Wanna Be Your Dog", "No Fun", "1969", "Ann", and "We Will Fall". The five songs were staples of—and essentially the basis of—The Stooges' live set at the time. A typical Stooges song of the period would involve two minutes of composed song followed by several minutes of improvisation. Presuming that the five songs as normally performed would cover requirements for the album, the Stooges were told by Elektra that they needed more material. According to Iggy Pop, "We handed (the five-song version of the album) in and they refused it. They said, 'There aren't enough songs!' So we lied and said, 'That's OK, we've got lots more songs.'" (liner notes of 2005 reissue, p.9)

In reality, the Stooges were about a day ahead of themselves when Iggy made that statement to Elektra; overnight, the group wrote three more songs, "Real Cool Time", "Not Right", and "Little Doll", and played them for the first time in the studio.

An initial mix by producer John Cale that resembled fellow ex-Velvet Underground member Lou Reed's "closet mix" of their third album was rejected by Elektra. The mix as heard on the album was done by Iggy Pop and Elektra Records president Jac Holzman. Four of Cale's original mixes, and the full studio versions of "Ann" and "Not Right", appear on the bonus disc of the 2005 reissued version.

In 2003, the album was ranked number 185 on Rolling Stone magazine's list of the 500 greatest albums of all time. The same magazine included "1969" in their "100 Greatest Guitar Songs of All Time" list.

In March 2005, Q magazine placed "I Wanna Be Your Dog" at number 13 in its list of the 100 Greatest Guitar Tracks.

01."1969" – 4:05
02."I Wanna Be Your Dog" – 3:09
03."We Will Fall" – 10:18
04."No Fun" – 5:15
05."Real Cool Time" – 2:32
06."Ann" – 2:59
07."Not Right" – 2:51
08."Little Doll" – 3:20

The Stooges - Funhouse (2a Albumet US 1970)

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290:- (SHM-CD Limited Remaster Edition)

Fun House is the second album by the American rock band The Stooges.

It was recorded in May 1970 and released in July of the same year. Like its predecessor, The Stooges (1969), Fun House did not sell well. In subsequent years, however, it has been cited as very influential on later musicians, notably in punk rock. In 2007, the album was voted Loudest Album Ever by Q Magazine.The 1,000 Best Albums Since 1965, according to Fast 'N' Bulbous, "Fun House" stands at number 1.

The tracks were recorded live in the studio with few or no overdubs, in roughly the same order as on the record. The Stooges were known at the time more for their cataclysmic live shows than for any established musicality, so "Fun House" being recorded in this pseudo-live fashion made it the Stooges album which most closely captures the essence of their sound. It also allowed for the collector-friendly release of 1970: The Complete Fun House Sessions in 2001.

The Stooges intended that "Loose" open the album, but Elektra thought "Down On The Street" would be the stronger opener.

An alternate version of "Down On The Street", with Doors-style organ overdubbed on it by producer Don Gallucci, was pulled from the album and made into a single. It was released the same month as Fun House, and fared slightly better on the charts.

In 1989 indie rock band Blake Babies covered "Loose" for their album Earwig. They sampled Iggy's voice into the song.

Numerous other musical artists have cited Fun House as their favorite album, including Joey Ramone, Jack White, Nick Cave, Henry Rollins (along with The Velvet Underground's White Light/White Heat) and musician/engineer Steve Albini

In 1999 Rhino Records released a limited edition box set, 1970: The Complete Fun House Sessions, featuring every take of every song from every day of the recording sessions, plus the single versions of "Down On The Street" and "1970". On August 16, 2005, the album was reissued by Elektra and Rhino as a two-CD set featuring a newly remastered version of the album on disc one and a variety of outtakes (essentially highlights from the Complete Fun House Sessions box set) on disc two. Jack White contributed a quote to Iggy biographer Paul Trynka's liner notes to the reissue, in which White dubbed Fun House "by proxy the definitive rock album of America."

In 2003, the album was ranked number 191 on Rolling Stone magazine's list of the 500 greatest albums of all time.

In 1998, the Paris-based music magazine Rock & Folk placed Fun House in the top position of its "discothèque idéale."

In 2005 the album was performed live in its entirety as part of the All Tomorrow's Parties-curated Don't Look Back series.

01."Down on the Street" – 3:42
02."Loose" – 3:33
03."T.V. Eye" – 4:17
04."Dirt" – 7:00
05."1970" – 5:14 (also known as "I Feel Alright")
06."Fun House" – 7:45
07."L.A. Blues" – 4:52

Principal Edwards - Round One (Last Album UK 1974)

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270:- (24-Bit Limited Remaster Edition, utgången utgåva.)

Principal Edwards Magic Theatre was a 14-member communal performance art collective in the United Kingdom made up of musicians, poets, dancers, and sound and lighting technicians.

The collective was originally formed at the University of Exeter in the late 1960s and then was later based at farmhouse in Kettering, Northamptonshire. The group was signed to John Peel's Dandelion Records and their single, The Ballad of a Big Girl Now, was released in 1969. Following the single was the release (under the same label) of two albums - Soundtrack and The Asmoto Running Band - the second of which was produced by Nick Mason of Pink Floyd.

The sometimes whimsical, sometimes epic (verging on progressive rock) writing style of guitarist Root Cartwright was paired with the eclectic lyrical contributions of David Jones, Gillian Hadley and Monica Nettles, and was performed by vocalist Vivienne McAuliffe. The violin and recorders of Bindy Bourquin were another key element of the group's trademark sound.

Later, with a smaller nucleus (including new bassist Richard Jones from Climax Blues Band) and a name-change to, simply, Principal Edwards, they recorded a few new singles and a third album called Round One for Deram Records. Most of the Deram recordings were also produced by Nick Mason.

Since the 1970s, members' fortunes have varied greatly. Singer Martin Stellman directed Denzil Washington in For Queen and Country, David Jones ran a community centre, and Root Cartwright became a gardener and photographic artist. Bindy Bourquin and Richard Jones married and both went into teaching. Jones plays in two bands: The Climax Ceilidh Band and Meridian.

Jeremy Ensor toured (as sound engineer/tour manager) with the likes of Deep Purple, Fleetwood Mac, and Greenslade (co-producing two of their LPs) and then worked as an A&R man for CBS and Phonogram Records. He currently lives in North London and is an IT consultant.

Chris Runciman is still on the road as a tour manager/production manager and sound and lights engineer for Jackson Browne, Steve Earle, and James Taylor. He has recently been working as a technical consultant to Sir George Martin on the island of Montserrat.

Les Adey was the lighting technician for Genesis.

Serious illness and breakdowns have befallen some of the other former members, and dancer John McMahon Hill and the angelic-voiced Vivienne McAuliffe are both deceased.

01. Average Chap
02. Halibut Rock
03. Milk & Honeyland
04. The Whizzmore Kid
05. Juggernaut
06. Dear Mrs. O'Reilly
07. Triplets
08. The Rise Of The Glass White Gangster

Produced by Nick Mason
Recorded De Lane Lea studios Wembley

Paul Brett's Sage - Selftitled (Deras 1a Album Progressive Rock UK 1970)

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310:- (24-bit Limited Remaster Edition, utgången utgåva.)

The colour of Sage , most likely purple with streaks of blue, well that’s if you’ve ever listened to Paul Brett’s Sage. The multi-colored juggled history of Paul Brett most likely started with the group SW4 headed by future Blonde On Blonde Ralph Denyar. Paul would also replace Jimmy Page in Neil Christian & The Crusaders. A brief entry into the Arthur Brown Union yielded their first single, the Pete Townshend produced “Devil’s Grip” with Ronnie Wood on bass.

After brief excursions in 1967 with the Overlanders and Warren Davis Monday Band, Paul would enjoy sessions with the Dave Terry Band which later evolved into Elmer Gantry Band. The age of psychedelia had provided enriched pathways for the gifted Brett as he took his riffs to Tintern Abbey and springboarded from their into the melting pot of Elmer Gantry’s second album Ride A Hustler’s Dream which pushed out an urgent version of Blind Willie McTell’s “Statesboro Blues”. The roads were many and the options countless but a distinct destiny drew Paul into the Soulmates where he met the gifted twelve string guitarist, ex Levee Breakers Johnny Joyce who at that stage had just left Velvet Opera. The group Friday’s Chylde had just metamorphosed into Fire and churned out a surging psyche single called “Father’s Name Was Dad” with future Strawb Dave Lambert on lead. Paul would enter for the 1970 conceptual Magic Shoemaker, acknowledged as a masterpiece in the same spirit as the Small Faces’ Ogdens' Nut Gone Flake.

The Brett sessions Paul’s sessions were scattered and endless as he persued the majestic chord that David once held in his Solomon wisdom. Amongst the chosen and frozen were poet Roy Harper’s unforgettable Sophisticated Beggar, Al Stewart’s Zero She Flies alongside Jimmy Page ..the “Volcano” and “Mary Jane” singles honed from Elmar Gantry’s debut which did not include Paul as an official member. Paul would further his sessions with Strawbs on Dragonfly (lead guitar on "The Vision Of The Lady Of The Lake") and various singles included on Classic Strawbs. To add to this magnificent database Paul Brett also filled in the gaps with The Ivy League, The Flower Pot Men, Status Quo, the prolific Barclay James Harvest, ex Strawbs - Hudson & Ford, Max Bygraves, The Cyril Stapleton Orchestra, Lonnie Donegan and folk stalwart Ralph McTell, known for his hit “Streets Of London”.

The first coming of Sage ignited when ex Fire lighters Dick Dufall and percussionist ,vocalist Bob Voice joined lead guitarist Paul Brett to form Paul Brett's Sage with added employment of Nicky Higginbottom on flute and sax. The 1970 self titled ‘Hourglass’ debut was celebrated by the superb seven inch “Three D Mona Lisa” / “Mediterranean Lazy Heat” riddled with superb time signatures. The album was a shivering fusion of bongos , astounding acoustic and pulsing rhythms superbly enhanced by Jethro Tull arranger David Palmer.The percussive rhythms of “The Sun Died” and bass ambling “Little Aztec Prince” are the core style of this story tell album. Often not told are the superb lyrics ..”Reason For Your Asking” - .’You asked me why a flower died and why the Eastern horsemen rides, Why the silver lash of rain hides footprints in the dusty lane’ . Tolkienistic dimensions and apocalyptic visions cradle “Trophies Of War” and the severing “Warlock”. The 1971Jubilation Foundry, more of an acoustic affair and in hindsight Sage’s most established creation with it’s mature fusion of acoustic and harmonies now included ex Titus Groan Stuart Cowell as lead guitarist who later did some amazing things with Al Stewart.

Paul King who later played with Lambert in the King Earl Boogie Band played the harmonica on Jubilation. The album yielded the single “Dahlia” / “Cottage Made for Two”. A strong country element threads the album with elements of Strawbs, Magna Carta but a more definitive pick can be found in the heart sagging “I Fell So Far” and harmony filled “Tuesday Evening”. A cry from the gutter to the utter spills out of “Help Me Jesus” an eerie bluesy ballad that carries it’s message into the follow up holler “Jubilation Foundry”. By the time the 1972 Schizophrenia hit the shelves Sage were back into electric with some stirring lead fusion on “Custom Angel Man”. a psychedelic master of note. The album enlisted Dave Lambert on piano and organ. Schizophrenia also sprouts some very fast guitar and nifty riffs on “Song Of Life, “Song Of Death” and “Slow Down Man” with Rod Coombes on drums. In the spirit of Jubilation’s “Tuesday Evening” those S&G harmonies reel through “Tale Of A Rainy Night”. Rob Young stepped in for the flute and oboe on the exquisite “Autumn”, a Strawb template in anybody’s book. Paul brett would later team up with ex Levee Breakers Johnny Joyce from Velvet Opera as an acoustic duo and then Cyril Stapleton Orchestra (with Dave Palmer of Jethro Tull and Bob Voice of Fire.

Paul’s awesome fretwork spills through (Bradley’s Records) “Mr.Custer“ & “Summer Driftin“ singles. From 1973 Paul’s solo albums on Bradleys Records, backed by violinist/guitarist Mike Piggott first heard with John Dummer Blues Band , Bert Janch and added multi-instrumentalist Dave Griffiths rule the roost. Further albums most likely deemed Prog or Suites wash Clock’s , Phoenix Future and Earth Birth, the latter a must. The definitive purchase must be Fretdancer by Paul and that 12-string mandarin called Johnny Joyce that even Shawn Phillips stands in awe of. Paul Brett continues to record, evolving with each recording. Sadly Johnny Joyce passed from this world to a far greater dimension.

Paul Brett (born 20 June 1947, Fulham, London) is a classic rock guitarist. He played lead guitar with Strawbs, The Overlanders, The Crazy World of Arthur Brown, Elmer Gantry’s Velvet Opera, The Velvet Opera, Tintern Abbey, Fire, Roy Harper, Al Stewart, Lonnie Donegan, and switched to twelve string guitar in the 1970s.

His first twelve string guitar suite, Earth Birth, was released on his own label, Phoenix Future and was produced by artist Ralph Steadman of Fear and Loathing fame. Critical acclaim led to Brett being signed on a four album deal with RCA Records. His K-tel Romantic Guitar album went platinum in the UK, but Brett stopped recording soon afterwards. He started recording again in 2000, with long time friend and fellow twelve string guitarist, John Joyce.

Brett wrote for music magazines Melody Maker, Sound International and International Musician and continued working in the music industry in the later part of his career. He now writes a regular column for Acoustic, a magazine specializing in acoustic guitars. Is also the Associate Editor and Features Writer for Music Maker and Live in London magazines.

He has appeared on BBC Television's Antiques Road Show and Flog It in the mid 2000s.

01. 3D Mona Lisa
02. The Sun Died
03. Little Aztec Prince
04. Reason For Your Asking
05. Trophies of the War
06. The Tower
07. The Painter
08. Mediterranean Lazy Heat Wave
09. Warlock

The Soft Machine - S/T (1a Albumet UK 1968)

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375:- (Japan 24-Bit Remaster Edition. Gimmix omslag med "snurran", Utgången utgåva, mycket svår att hitta nu.)

The Soft Machine, as reissue also titled "Volume One", is the debut album by the British psychedelic rock band Soft Machine, one of the central bands in the Canterbury scene. The band, founded in 1966, recorded and released this studio album during their 1968 tour of the USA. It was produced by Chas Chandler and Tom Wilson.

A wild, freewheeling, and ultimately successful attempt to merge psychedelia with jazz-rock, Soft Machine's debut ranges between lovingly performed oblique pop songs and deranged ensemble playing from drummer/vocalist Robert Wyatt and organist Mike Ratledge. With only one real break (at the end of side one), the songs merge into each other — not always smoothly, but always with a sense of flair that rescues any potential miscues. Wyatt takes most of the vocals, and proves himself a surprisingly evocative singer despite his lack of range. Like Pink Floyd's The Piper at the Gates of Dawn, Volume One was one of the few over-ambitious records of the psychedelic era that actually delivered on all its incredible promise.



01. "Hope for Happiness" (Brian Hopper, arr. Robert Wyatt / Mike Ratledge / Kevin Ayers) – 4:21
02. "Joy of a Toy" (Ayers / Ratledge) – 2:49
03. "Hope for Happiness (reprise)" (B. Hopper, arr. Wyatt / Ratledge / Ayers) – 1:38
04. "Why Am I So Short?" (Hugh Hopper / Wyatt) – 1:39
05. "So Boot If At All" (Ratlege / Ayers / Wyatt) – 7:25
06. "A Certain Kind" (H. Hopper) – 4:11
07. "Save Yourself" (Wyatt) – 2:26
08. "Priscilla" (Ayers / Ratledge / Wyatt) – 1:03
09. "Lullabye Letter" (Ayers) – 4:32
10. "We Did It Again" (Ayers) – 3:46
11. "Plus Belle qu'une Poubelle" (Ayers) – 1:03
12. "Why Are We Sleeping?" (Ayers / Ratledge / Wyatt) – 5:30
13. "Box 25/4 Lid" (Ratledge / H. Hopper) – 0:49

John Lee Hooker - Travelin' (US 1960)

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290:- (Klassiker, utgången utgåva.)

Hooker benefited in these sides from being on Vee Jay records, a fine, sadly defunct, black owned label that provided him quality production and recording and presentation. You have the feeling that compared with a lot of his other recording companies, Vee Jay treated Johnnie Lee as a serious artist, worthy of good sound, enough time in the studio to get the take right, and tasteful accompaniment usually just drums and bass.

Here we have Hooker recorded in a special time in his career right in between the time that RB labels were milking him for a different recording every month, sometimes under different names, and the later period when the folk and the folk blues revivals got him into do one recording it seemed every week.

In 1960 when these sides were cut Hooker still had an audience in the Black base blues community and was also known to a lot of Jazz lovers as well. He's not jiving or being a charicature of himself as on some of his last CDs, sad to say.

Johnnie had "something in him that's got to come out." It's so far inside that it evades even the heart and themind. It's deep down in our bones, fear of loneliness, isolation, poverty, and defeat, love hunger in the brick and concrete squalor of the Black ghettos that were about to explode in revolt.

There is such a feeling of despair here in bluer songs that blend together: "No Shoes," "Whiskey and Women," "Canal Street," "I'm a stranger."

Born near Clarksdale, Mississippi on August 22, 1917 to a sharecropping family, John Lee Hooker's earliest musical influence came from his stepfather, Will Moore. By the early 1940's Hooker had moved north to Detroit by way of Memphis and Cincinnati. Hooker found work as a janitor in the auto factories, and at night, like many other transplants from the rural Delta, he entertained friends and neighbors by playing at "house parties". He was "discovered" by record storeowner Elmer Barbee who took him to Bernard Besman, who was a producer, record distributor and owner of Sensation Records, Besman leased some of his early Hooker recordings to Modern Records. Among Hooker's first recordings in 1948, "Boogie Chillen" became a number one jukebox hit for Modern and his first million seller. This was soon followed by an even bigger hit with "I'm In The Mood" and other classic recordings including "Crawling Kingsnake" and "Hobo Blues." Another surge in his career took place with the release of more than 100 songs on Vee Jay Records during the 1950's and 1960's.

When the young bohemian audiences of the 1960's "discovered" Hooker along with other blues originators, he and various he and others made a brief return to folk blues. Young British artist such as the Animals, John Mayall, and the Yardbirds introduced Hooker's sound to the new and eager audiences whose admiration and influence helped build Hooker to superstar status in the mid - 60's England. By 1970 he had moved to California and worked on several projects with rock musicians, notably Van Morrison and Canned Heat. Canned Heat modeled their sound after Hooker's boggie and collaborated with him on several albums and tours.

During the late 1970's and much of the 1980's, Hooker toured the U.S. and Europe steadily but grew disenchanted with recording, through his appearance in the Blues Brothers movie resulted in a heightened profile. Then, in 1989, The Healer was released to critical acclaim and sales in excess of a million copies. Today the "The King Of The Boggie" is enjoying the most successful period of his extensive career. In the past ten years Hooker's influence has contributed to a booming interest in the blues and, notably, its acceptance by the music industry as a commercially viable entity.

Hooker's career has been a series a highlights and special events since the release of The Healer. In addition to recording his on albums Mr. Lucky, Boom Boom, Chill Out, and Don't Look Back for Pointblank / Virgin, he contributed to recordings by B.B. King, Branford Marsalis, Van Morrison, and Big Head Todd and the Monsters and portrayed the title role in Pete Townshend's 1989 epic, The Iron Man.

His influence on younger generations has been documented on television with features on Showtime and a special edition of the BBC's 'Late Show' as well as appearances on "The Tonight Show" and "Late Night With David Letterman" among many others. John Lee was invited to perform The Rolling Stones and guest Eric Clapton for their national television broadcast during The Stones' 1989 Steel Wheels tour. In 1990, many musical greats paid tribute to John Lee Hooker with a performance at Madison Square Garden. Joining him on some or all of these special occasions were artists such as Bonnie Raitt, Ry Cooder, Joe Cocker, Huey Newton, Carlos Santana, Robert Clay, Mick Fleetwood, Al Cooper, Johnny Winter, John Hammond, and the late Albert Collins and Willie Dixon.

Hooker's 1991 induction into the Rock n' Roll Hall Of Fame was fitting for the man who has influenced countless fans and musicians who have in turn influenced many more. Honors continue, with recent inductions into Los Angeles' Rock Walk, The Bammies Walk Of Fame in San Francisco, and, in 1997, a star in the Hollywood Walk Of Fame.

John Lee's style has always been unique, even among other performers of the real deep blues, few of whom remain with us today. While retaining that foundation he has simultaneously broken new ground musically and commercially. At the age of 80, John Lee Hooker received his third and fourth Grammy Awards, for Best Traditional Blues Recording (Don't Look Back) and for Best Pop Collaboration for the song "Don't Look Back" which Hooker recorded with his long time friend Van Morrison. This Friendship and others are celebrated on Hooker's newest Pointblank / Virgin album, The Best Of Friends. The album also celebrates a return, exactly 50 years later, to Hooker's first hit, Boogie Chillen and serves as a perfect bookend for Hooker's first fifty years in the business.

01. No Shoes 2:25
02. I Wanna Walk 2:14
03. Canal Street Blues 2:54
04. Run On 2:11
05. I'm A Stranger 2:41
06. Whiskey And Wimmen 2:57
07. Solid Sender 2:34
08. Sunny Land 2:29
09. Goin' To California 2:23
10. I Can't Believe 2:50
11. I'll Know Tonight 2:40
12. Dusty Road

The Yardbirds - Roger The Enginer (UK 1966)

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270:- (24-Bit Limited Remaster Edition, mkt liten upplaga)

The Yardbirds are an English rock band, noted for starting the careers of three of rock's most famous guitarists: Eric Clapton, Jeff Beck and Jimmy Page. A blues-based band whose sound evolved into experimental pop rock, they had a string of hits including “For Your Love”, “Over, Under, Sideways, Down” and “Heart Full Of Soul”. They were a crucial link between British R&B and psychedelia.

The Yardbirds were pioneers in almost every guitar innovation of the '60s: fuzz tone, feedback, distortion, improved amplification, and were one of the first to put an emphasis on complex lead guitar parts and experimentation. The term, "Yardbird" is used in the southern United States as slang for 'chicken' (as in poultry), and it is a slang expression for "prisoner".

The bulk of the band's conceptual ideas, as well as their songwriting, came from the quartet of singer Keith Relf, drummer Jim McCarty, rhythm guitarist/bassist Chris Dreja, and bassist/producer Paul Samwell-Smith, all of whom co-wrote the Yardbird's original hits and constituted the core of the group.

Roger the Engineer (original title: Yardbirds, US, German, and French title: Over Under Sideways Down) is an album by The Yardbirds, released in 1966. It was produced by bassist Paul Samwell-Smith and Simon Napier-Bell. It was the only Yardbirds album with all originally-written material. Although the record was officially titled The Yardbirds, it has since been referred to, first colloquially, then semi-officially, as Roger the Engineer, a title stemming from the drawing on its front cover, a cartoon of the record's audio engineer Roger Cameron by band member Chris Dreja. Due to the influence of Jeff Beck's experimentation with guitar distortion, the album is considered a precursor to heavy metal.

The original American versions of this album (issued with a completely different album cover and entitled "Over Under Sideways Down") omitted the songs "The Nazz Are Blue" and "Rack My Mind" and are mixed differently to the British editions. Regardless, record collectors have sought out both the mono (LN 24210) and stereo (BN 26210) versions since several tracks are featured with slight differences in the mixes (see US album listing below). Epic's 1983 reissue (simply entitled The Yardbirds) featured the original UK album cover, the two missing tracks, duplication of the British mixing, and two additional tracks, the 1966 single "Happenings Ten Years Time Ago" b/w "Psycho Daisies", both featuring Jeff Beck and Jimmy Page.

In 2003, the album was ranked number 349 on Rolling Stone magazine's list of the 500 greatest albums of all time.

01 Happenings Ten Years Time Ago (Mono) (2:57)
02 Psycho Daisies (Mono) (1:50)
03 Lost Woman (Mono) (3:15)
04 Over, Under, Sideways, Down (Mono) (2:22)
05 Nazz Are Blue (Mono) (3:06)
06 I Can't Make Your Way (Mono) (2:27)
07 Rack My Mind (Mono) (3:15)
08 Farewell (Mono) (1:31)
09 Hot House of Omagarashid (Mono) (2:47)
10 Jeff's Boogie (Mono) (2:24)
11 He's Always There (Mono) (2:31)
12 Turn into Earth (Mono) (3:16)
13 What Do You Want (Mono) (3:25)
14 Ever Since the World Began (Mono) (2:07)
15 Lost Woman (Mono) (3:16)
16 Over, Under, Sideways, Down (Stereo) (2:24)
17 Nazz Are Blue (Stereo) (3:04)
18 I Can't Make Your Way (Stereo) (2:26)
19 Rack My Mind (Stereo) (3:15)
20 Farewell (Stereo) (1:29)
21 Hot House of Omagarashid (Stereo) (2:39)
22 Jeff's Boogie (Stereo) (2:25)
23 He's Always There (Stereo) (2:15)
24 Turn into Earth (Stereo) (3:06)
25 What Do You Want (Stereo) (3:22)
26 Ever Since the World Began (Stereo) (2:09)

The Yardbirds - Five Live Yardbirds (1a Albumet UK 1964)

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270:- (utgången utgåva, "obi-fliken" finns med, saknas dock på bilden.)

Five Live Yardbirds was the first important — indeed, essential — live album to come out of the 1960s British rock & roll boom. In terms of the performance captured and the recording quality, it was also the best such live record of the entire middle of the decade. Cut at a Marquee Club show in 1964 , Five Live Yardbirds was a popular album, especially once Eric Clapton's fame began to spread after leaving the band. Although the album didn't appear officially in the United States until its CD release by Rhino in the late 1980s, four of its tracks — "Smokestack Lightning," "Respectable," "I'm a Man," and "Here 'Tis" — made up one side of their classic U.S. album Having a Rave Up, and the British EMI LP became a very popular import during the early 1970s as a showcase for both the band and the playing of Eric Clapton. That album had astonishingly good sound, which was not the case with any of the reissues that followed, on vinyl or CD — even Rhino's compact disc suffered from blurry textures and noise, though it was an improvement over any release since the original EMI LP. The 1999 Repertoire Records reissue is the first CD that matches the clarity and sharpness of the original LP, and along with that improvement, their original concert has been very sensibly expanded with a half-dozen live cuts from roughly the same period, recorded at the Crawdaddy Club. Among them is a killer live version of the Billy Boy Arnold classic "I Wish You Would."There's also a pair of live tracks from German television in 1967 — "I'm a Man" and "Shapes of Things"; the two, in a flash, make up for what they lack in perfect fidelity.

01. Too Much Monkey Business
02. Got Love If You Want It
03. Smokestack Lightnin'
04. Good Morning Little Schoolgirl
05. Respectable
06. Five Long Years
07. Pretty Girl
08. Louise
09. I'm A Man
10. Here 'tis
+ bonus

The Zombies - Odessey & Oracle (UK 1968)

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270:- (utgången utgåva, svår att hitta nu)

Odessey and Oracle is a Psychedelic rock, Baroque Pop album by The Zombies released in 1968.

Odessey and Oracle was recorded in 1967 after the Zombies signed to the CBS label, and was only the second album they had released since 1965. As their first LP, Begin Here, was a collection of singles, Odessey can be regarded as the only true Zombies album. While their first album included several cover versions, Odessey consisted entirely of original compositions by the group's two main songwriters, Rod Argent and Chris White.

The group began work on the album in June 1967. Some songs were recorded at EMI's Abbey Road Studios, where earlier in the year the Beatles had recorded Sgt. Pepper's Lonely Hearts Club Band and Pink Floyd recorded The Piper at the Gates of Dawn. This was the first time Abbey Road would be used for an independently produced (non-EMI) release. By the time the recording was finished, in late 1967, the Zombies were effectively disbanded, due to lack of financial success. Odessey and Oracle was released in the UK in April 1968 and in the United States in June. The single "Time of the Season" became a surprise hit in early 1969, and Columbia Records (in the United States) re-released Odessey in February, with a different album cover that severely cropped the original illustration.

The gap in time between the UK and US record release dates owes to the Zombies having not prepared a stereo mix initially, a condition the American label insisted on. At the urging of staff producer, Al Kooper, the U.S. CBS/Columbia Records label was belatedly persuaded to release the album on their small Date Records subsidiary label. Argent and White spent their accrued royalties to book studio time and remix the album for stereo specifically for that US release. However, the ninth song "This Will Be Our Year" was not mixed into stereo in 1969 owing to a "missing" horn overdub not on the original 4-track tape.

The first song on the album, "Care of Cell 44" has been covered by a number of artists including Elliott Smith and Of Montreal .

Velvet Crush's singles compilation, A Single Odessey, is misspelled in dedication to the Zombies' album.

01."Care of Cell 44" (Rod Argent) – 3:56
02."A Rose for Emily" (Argent) – 2:19
03."Maybe After He's Gone" (Chris White) – 2:33
04."Beechwood Park" (White) – 2:43
05."Brief Candles" (White) – 3:30
07."Hung up on a Dream" (Argent) – 3:01
08."Changes" (White) – 3:19
09."I Want Her, She Wants Me" (Argent) – 2:51
10."This Will Be Our Year" (White) – 2:08
11."Butcher's Tale (Western Front 1914)" (White) – 2:47
12."Friends of Mine" (White) – 2:17
13."Time of the Season" (Argent) – 3:33
+ 14 Bonus

Original kontra förfalskningar

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Hej.

Jag vill med följande bilder visa original samt förfalskning av Mini LP CD. Jag visar i det här fallet: Still Life - Selftitled (UICY 9053) Detta album gavs ut 2001

Det börjar bli mycket svårt att skilja en originalutgåva från en förfalskning numera. Förfalskningarna görs i huvudsakligen Ryssland samt i Kina.

Om man inte har en originalutgåva från Japan är det mycket lätt att bli lurad. Förfalskningarna är numera mycket bra gjorda. Ett sätt att undvika förfalskningar är att inte köpa mycket billiga exemplar på eBay där de florerar i stora mängder. Alla album du köper av mig är i 100% original från Japan.

Här är några bilder på original CD samt förfalskning:

Guns 'N' Roses - Appetite for Destruction (1a Albumet US 1987) (Klassiker!!!)

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330:- (SHM-CD Limited Remaster Edition. Bonusomslag (Japanska utgåvan) Klistermärken medföjer. Makalös ljudkvalitet.)

Appetite for Destruction is the debut studio album by American hard rock band Guns N' Roses. Released in 1987 (see 1987 in music), it was well-received by critics and topped the American Billboard 200 chart. As of September 2008, the album has been certified diamond (plus 18x platinum) by the RIAA, accumulating worldwide sales in excess of twenty-eight million as of October 2008. The album still remains the fastest-selling debut album in history.

Axl Rose stated in 1988 that many of the songs featured on the album had been written while the band had been performing on the Los Angeles club circuit, and a number of songs that would be featured on later Guns N' Roses albums were considered for Appetite for Destruction, such as "Back Off Bitch," "You Could Be Mine" and "Don't Cry".

While the songwriting credits are credited to all five band members, many of the songs began as solo tracks that individual band members wrote separate from the band, only to be completed later. These songs include "It's So Easy" (McKagan) and "Think About You" (Stradlin). "Rocket Queen" was an unfinished Slash/Adler song that was written from their earlier band Road Crew, whereas "Anything Goes", written by Hollywood Rose and included in their compilation album The Roots of Guns N' Roses, was later re-written for Appetite.

Other songs on the album reflect the band's reaction to the debauchery of the L.A. rock and roll underground, like "Welcome to the Jungle" (Rose wrote the lyrics while in Seattle about an incident in New York City). Some of the songs focus on the band members' younger years, like "Out ta Get Me", which focuses on lead singer Axl Rose's constant trouble with the law as a youth in Indiana. The band also based songs off of their assorted female companions, reflected in the songs "Sweet Child o' Mine," "Think About You," "My Michelle," "You're Crazy," and "Rocket Queen."

Out ta Get Me
This is the fourth track on the album.
Its lyrics focus on lead singer Axl Rose's constant trouble with the law as a youth in Indiana. Slash describes it as being written even more quickly than "Welcome to the Jungle", which means it was written in under three hours. The song was covered by Marq Torien of hair metal band BulletBoys.

You're Crazy
"You're Crazy" is the tenth track on the album. It was originally written as an acoustic song, but was revamped for Appetite for Destruction (this version is one of the fastest songs in the band's catalog). The slower, acoustic version was later recorded for G N' R Lies; this version has also been performed live with electric guitars (as heard on their live album).

A working title for the song was "Fucking Crazy".

Anything Goes
"Anything Goes" is the next-to-last track on the album. It was one of the earliest-written songs by the band, having been written in 1981. It was originally named "My Way, Your Way"

01. "Welcome to the Jungle" Axl Rose Slash, Rose 4:34
02. "It's So Easy" Duff McKagan, West Arkeen McKagan, Arkeen 3:23
03. "Nightrain" McKagan, Rose Izzy Stradlin, McKagan, Rose, Slash 4:29
04. "Out ta Get Me" Rose, Stradlin Slash, Rose, Stradlin 4:24
05. "Mr. Brownstone" Stradlin Stradlin, Slash 3:49
06. "Paradise City" Rose, McKagan McKagan, Slash, Rose, Stradlin 6:46
07. "My Michelle" Rose Rose, Stradlin 3:40
08. "Think About You" Stradlin Stradlin 3:52
09. "Sweet Child o' Mine" Rose Rose, Slash, Stradlin 5:55
10. "You're Crazy" Rose, Stradlin Slash, Stradlin, Rose 3:17
11. "Anything Goes" Stradlin, Rose Stradlin, Rose, Chris Weber 3:26
12. "Rocket Queen" Rose Rose, Slash, Stradlin 6:13

Jade Warrior - Last Autumn´s Dream (UK Progressive 1972)

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270:- (utgången utgåva)

Their self-titled first album Jade Warrior was released in 1971 on the Vertigo label and establishes their trademark sound of soft/loud contrasts, and Fields multi-layered flutes and percussion vying with Duhig's cutting guitar. This was followed in the same year by Released and then in 1972 by Last Autumn's Dream, both with appearances from Dave Duhig (solo Guitar) and Allan Price (Drums). (Price is not to be confused with Alan Price of The Animals.)

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About Progressive Rock:
Progressive rock, sometimes shortened to "prog" or "prog rock", is a form of rock music that evolved in the late 1960s and early 1970s, principally from psychedelic rock, blues rock, folk rock, hard rock, classical music, and jazz fusion, but also from a wide-ranging tendency in rock music at the time to experiment with drawing inspiration from ever more diverse influences.

Progressive rock compositions are often more elaborate than the standard rock or popular verse-chorus based song structures, and the arrangements often incorporate elements drawn from classical, jazz and avant-garde music. Songs with lyrics are sometimes conceptual, abstract, or based in fantasy.

Progressive rock reached the peak of its popularity in the 1970s, but has continued as a form of popular music to this day.

The term was applied to the music of bands such as King Crimson, Jethro Tull, Genesis, Rush, Yes, Pink Floyd, Gentle Giant and Emerson, Lake and Palmer (ELP), and came into most widespread use around the mid 1970s, some years after its generally held inception. The term might also take in the music of artists such as The Moody Blues, The Nice, Frank Zappa, or other diversely influenced bands of the late 1960s and early 1970s that fit some of the musical characteristics described below.

Musical characteristics:
Like jazz and classical compositions, Progressive rock is a composed form of music, yet it usually has a spontaneous and improvised feeling, which means that it lends itself as much to intellectual analysis as it does to emotional enjoyment. Some common characteristics may include:

Form: Progressive rock songs either avoid common popular music song structures of verse-chorus-bridge, or blur the formal distinctions by extending sections or inserting musical interludes. Contrasts are often made between these sections in terms of dynamics, such that soft passages would build to louder passages and so on. This approach is common in rock music, but more pronounced in some more theatrical progressive rock groups. As the genre developed, the quantity of these sections increased, as some progressive rock acts continued their allusions towards classical music and composed entire suites, building on the traditional medleys of earlier rock bands. Another common structural feature lies in extended instrumental passages that are reminiscent of classical music, but less frequent in rock and popular music. This can often lead to pieces in excess of 20 minutes.

Timbre (instrumentation and dynamic):
Early progressive rock groups added additional instrumentation to the typical rock group lineup of a guitarist, bassist and drummer, often adding keyboards or synthesisers. These and other instruments, particularly those common to classical and jazz music, such as the flute, saxophone or violin, are frequently used as part of the overall texture of the group's musical output. Some progressive rock acts also incorporated orchestras and choirs (although this is not exclusively a feature of progressive rock, as it is a feature of 1940s swing, Motown and other orchestra-backed popular music). Dynamically, progressive rock acts often tend toward the extremes.

Rhythm:
Use of time signatures and rhythms that are rarely used in rock music. Progressive rock music is designed mainly for listening, rather than for dancing, which meant that prog rock bands are able to use unusual, changing time signatures and even layering polyrhythms. Repetitive riffs are used much less than in hard rock.

Harmony:
The I - IV - V chord progressions of the blues, was usually avoided in favour of less predictable progressions. A simple triad is frequently extended with 6ths, 7ths, 9ths and compound intervals, as in jazz harmony. The harmony of progressive rock, like jazz, is often linked with the use of modes in the melodies. Some progressive rock bands use classical harmonic progressions or quotations from well-known classical pieces in order to allude to classical music. Some pieces of progressive rock explore atonal or dissonant harmonies, and a few bands even included rudimentary serialism in their music.

Melody:
While the major and minor modes are still prevalent even in progressive rock, the blues-associated pentatonic scale is rarely emphasized. In progressive rock, melodies tend to be long and meandering, especially in instrumental solo passages, often with little or no clear indication of cadence. The use of Classical techniques such as leitmotif by some bands lends a theatrical edge to their music.

Other characteristics:
*Sometimes poetic, conceptually-themed or fantasy-based lyrics.
The advancement of technology was always a prime element in progressive rock, especially in electronics. In keyboards, the Mellotron was generally a signature sound in many progressive acts like the Moody Blues, King Crimson and Genesis, while others incorporated synthesizers. In the late 1970s, King Crimson's Robert Fripp, along with Brian Eno, developed his own patented version of electronic gadgetry called Frippertronics using analog tape loops which he still uses today in a digital format. In the 1980s, Frank Zappa would use the synclavier extensively for composing and recording.

*In the case of some strands of progressive rock, concept albums, or albums with an overarching theme: These concepts became very lengthy and elaborate in the mid 1970s era of progressive rock, sometimes in rock opera form, resulting in packages that extended to 2 or even 3 vinyl discs' worth of music (approx 45 minutes per disc). Concepts from such albums would range from historical through fantastical to metaphysical, and even, in the case of Jethro Tull's Thick as a Brick, poking fun at concept albums.

*The music is often used theatrically to provide devices or ambient soundscapes that aurally describe scenes, events or other aspects of the concept; for example, the use of leitmotif to represent the various characters in Genesis' "Harold the Barrel", and the use of clocks and cash registers to represent time and money in Pink Floyd's The Dark Side of the Moon.

*The packaging of the album as a part of the overall artistic concept: This trend began with The Beatles' Sgt. Pepper's Lonely Hearts Club Band and played a major part in the marketing of progressive rock. Some bands became as well-known for the art direction of their albums as for their sound, with the "look" integrated into the band's overall musical identity. This led to fame for particular artists and design studios, most notably Roger Dean for his work with Yes and Storm Thorgerson and his studio Hipgnosis for their work with Pink Floyd.

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01. Winter's Tale
02. Snake
03. Dark River
04. Joanne
05. Obedience
06. Morning Hymn
07. May Queen
08. Demon Trucker
09. Lady of the Lake
10. Borne on to the Solar Wind

Jade Warrior - Jade Warrior (1st Album UK Progressive 1971)

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270:- (utgången utgåva)

Jade Warrior are a British music group that were formed in 1970. The founder members were Tony Duhig (Guitar), Jon Field (Flute, Percussion, Keyboards) and Glyn Havard (Vocals, Bass). Their self titled first album Jade Warrior was released in 1971 on the Vertigo label and establishes their trademark sound of soft/loud contrasts, and Fields multi-layered flutes and percussion vying with Duhig's cutting guitar. This was followed in the same year by Released and then in 1972 by Last Autumn's Dream, both with appearances from Dave Duhig (solo Guitar) and Allan Price (Drums). Material for another two albums, Eclipse and Fifth Element was also recorded during 1973, but Vertigo cancelled the contract and these projects were shelved, not to see the light of day, until their subsequent release in 1998.

In 1974 Steve Winwood (of Traffic) urged Chris Blackwell of Island Records to listen to Jade Warrior, he did, but would only sign them as an instrumental duo, which meant there was no place for bassist/singer Glyn Havard.

Tony Duhig and Jon Field were to create four albums on Island Records, with their sonic arsenal now expanded to include choirs, harp, and a string quartet. Guest musicians on these albums included Steve Winwood (Keyboards), Fred Frith of Henry Cow (Violin) and Tony Duhig's brother Dave (solo Guitar). The four albums were Floating World (1974), Waves (1975), Kites (1976), and the final album on Island, the 1978 release Way Of The Sun.

Personal issues, illness, and Duhig moving house to set up a studio, meant that the next album to be released was the 1979 compilation Reflections taken from their Vertigo years and containing some (at the time) unreleased tracks, and it was not until 1984 that any new material emerged with the release of Horizen and then, in 1989, At Peace which was performed solely by the duo. This was followed by another long hiatus until Jade Warrior were to start their next project with new band members, Colin Henson on Guitar and Dave Sturt on Fretless bass. However, they were dealt a tragic blow by the sudden death of guitarist Tony Duhig in 1990 before he could contribute to the album. The band decided to continue on with the album, which became the 1992 release Breathing The Storm on the Voiceprint label. This trio then released a follow up album Distant Echoes in 1993 with guest appearances from Theo Travis of Gong (Saxophone), David Cross (Violin) and Tom Newman.

It seemed for a while that Jade Warrior may have disbanded as their only output was the previously mentioned Eclipse and Fifth Element, but these were recently joined by the re-issue of all four Island albums in 2006 and the news that Jade Warrior, with Glyn Havard back in the band, are preparing their next album NOW which is due for release in late 2007, early 2008. [Wikipedia]

Jade Warrior was one of the most original and unusual progressive rock bands to come from Britain in the early 70's. They combined strong ethnic influences (mostly from Chinese/Japanese culture) with progressive rock that ranged from heavy, flute-driven Tull-like riffs to peaceful and atmospheric parts. The main musicians in the band were Tony Duhig on guitar and Jon Field, who contributed with flute and lots of ethnic percussion. Especially the first side on their self-titled debut showcased their originality very well. The three-part "Masai Morning" is an orgy of ethnic percussion and very fuzzed and heavy riffs played on guitar and flute. But Duhig's distinctive sound on the guitar is actually best heard on the more quiet songs, like "The Traveller" and "Dragonfly Day". "A Prenormal Day at Brighton" is structurally a quite straightforward, flute driven heavy-prog tune, but the band manages to integrate their ethnic influences into even this one. The second side is a bit more basic but still good, although I don't care too much for the the stripped-down blues of "Petunia". The hard rock of "Telephone Girl" is better, and one of the best known tunes ehre. "Psychiatric Sergeant" has some cool jazzy flute, and the two last tracks are quiet pieces with more of the band's ethnic influences. A unique and strong debut that clearly showcased what an original and creative band Jade Warrior was. [AMG]

01. The Traveller
02. A Prenormal Day At Brighton
03. Masai Morning
04. Windweaver
05. Dragonfly Day
06. Petunia
07. Telephone Girl
08. Psychiatric Sergeant
09. Slow Ride
10. Sundial Song
11. The Traveller [Alternate Take]

Jimmy Hughes - Steal Away (Superb R&B US 1964)

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280:- (Utgången utgåva, mycket bra R&B)

Jimmy Hughes established producer Rick Hall's fledgling Fame studio as an R&B mecca with his 1964 blues ballad "Steal Away." The ex-gospel singer hooked up with Hall in 1962 but it wasn't until the explosive "Steal Away" was issued on the Fame label that his career took off. With an intense, crying vocal style that was perfect for deep soul ballads, Hughes scored with the pleading "Why Not Tonight" in 1967, although the untypically uptempo "Neighbor, Neighbor" proved another giant hit. Hughes broke away from Hall and recorded an album for Volt before retiring from performing in the mid-'70s.

Hughes grew up near Muscle Shoals, in the town of Leighton, AL, where he learned to sing in church, and joined a gospel group called the Singing Clouds before deciding to give soul music a shot. Like many soul legends, Hughes mixed the sacred and the secular in his own work, and it's been noted that "Steal Away" - the story of a late-night rendezvous between two young lovers - bears a striking resemblence to the gospel anthem "Steal Away to Jesus."

When Hughes recorded "Steal Away" - in one take - at FAME Studios in 1964, owner Rick Hall instantly knew he had a hit on his hands. He had only to convince the rest of the country. Hall remembers that with an idea from then 15-year-old friend and legendary songwriter Dan Penn, "we pressed up some 45 RPM records, borrowed a Ford Fairlane station wagon, bought two cases of vodka, and hit the road on a holy mission to transform 'Steal Away' into a hit record." Hall and Penn traveled to radio stations across the southeast, including Memphis, Tupelo, Little Rock, New Orleans, and Mobile, leaving a copy of 'Steal Away" and a bottle of vodka at every stop. "Miraculously, that's all it took," says Hall. "Each and every one of them played the new Jimmy Hughes record."

Jimmy Hughes himself picks up the story. "I resigned from my job [at a rubber factory] in April, 1964, and started touring. I went out with Sam Cooke, Jackie Wilson, Bobby Womack, when he was with his brothers, and so many other people. I played the Apollo and many other theaters. I was working with people that I'd [previously] paid to see!"

But Hughes eventually grew weary of life on the road, and retired from the music business by the early 1970s. He worked for the government for twenty five years, making parts for nuclear power plants in the Tennessee River Valley. Today, Jimmy Hughes still lives in Leighton, AL, and still sings in church most Sundays. But his recordings live on, and the sound he helped create - The Muscle Shoals Sound - has had an influence beyond anything he or Rick Hall could have imagined.

01. Lovely Ladies
02. There Is Something On Your Mind
03. A Shot Of Rhythm And Blues
04. Neighbour, Neighbour (Version 1)
05. Everybody Let's Dance
06. Steal Away
07. Try Me
08. I'm Gonna Rise Again
09. I Tried To Tell You
10. I'm Getting Better
11. Stormy Monday Blues
12. I Want Justice

The Kinks - Arthur (Or the Decline and Fall of the British Empire) (UK 1969)

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280:- (Utgången utgåva, klassiker.)

The album followed a rough period for the band, with the commercial failure of the critically acclaimed concept album The Kinks Are the Village Green Preservation Society and its follow-up single, "Plastic Man", and the departure of founding member Pete Quaife. Songwriter Ray Davies constructed the album as the soundtrack to a planned television play which was never produced, but whose storyline had been developed in collaboration with Julian Mitchell. Mitchell recently recalled: "Arthur had a most unhappy history... we got as far as casting (excellent director and actors) and finding locations and were about to go when the producer went to a production meeting without a proper budget, tried to flannel his way through it, was immediately sussed and the production pulled. I have never been able to forgive the man."

Arthur (Or the Decline and Fall of the British Empire) extends the British-oriented themes of Village Green Preservation Society, telling the story of a London man's decision to move to Australia during the aftermath of World War II. It's a detailed and loving song cycle, capturing the minutiae of suburban life, the numbing effect of bureaucracy, and the horrors of war. On paper, Arthur sounds like a pretentious mess, but Ray Davies' lyrics and insights have rarely been so graceful or deftly executed, and the music is remarkable. An edgier and harder-rocking affair than Village Green, Arthur is as multi-layered musically as it is lyrically. "Shangri-La" evolves from English folk to hard rock, "Drivin'" has a lazy grace, "Young and Innocent Days" is a lovely, wistful ballad, "Some Mother's Son" is one of the most uncompromising antiwar songs ever recorded, while "Victoria" and "Arthur" rock with simple glee.

The music makes the words cut deeper, and the songs never stray too far from the album's subject, making Arthur one of the most effective concept albums in rock history, as well as one of the best and most influential British pop records of its era. [Castle's 1998 CD reissue of Arthur contained ten bonus tracks, including mono and stereo versions of the non-LP singles "Plastic Man," "Mindless Child of Motherhood," and "This Man He Weeps Tonight," mono versions of "Drivin'" and "She's Bought a Hat Like Princess Marina," the B-side "King Kong," and the previously unreleased "Mr. Shoemakers Daughter."]

01."Victoria" – 3:40
02."Yes Sir, No Sir" – 3:46
03."Some Mother's Son" – 3:25
04."Drivin'" – 3:21
05."Brainwashed" – 2:34
06."Australia" – 6:46
07."Shangri-La" – 5:20
08."Mr. Churchill Says" – 4:42
09."She's Bought A Hat Like Princess Marina" – 3:07
10."Young And Innocent Days" – 3:21
11."Nothing To Say" – 3:08
12."Arthur" – 5:27

Bonus:
13."Plastic Man (Mono version)" – 3:04
14."King Kong (Mono version)" – 3:23
15."Drivin' (Mono version)" – 3:12
16."Mindless Child Of Motherhood (Mono version)" (Dave Davies) – 3:16
17."This Man He Weeps Tonight (Mono Version)" (Dave Davies) – 2:42
18."Plastic Man (Stereo Version)" – 3:04
19."Mindless Child of Motherhood (Stereo version)" (Dave Davies) – 3:16
20."This Man He Weeps Tonight (Stereo version)" (Dave Davies) – 2:42 (Due to a production error, it is only one side of the stereo mix in both channels; the true stereo version can be found on The Great Lost Kinks Album, on a German compilation CD, and on the UK iTunes.)
21."She's Bought A Hat Like Princess Marina (Mono version)" – 3:07
22."Mr. Shoemaker's Daughter" – 3:08

The Pretty Things - Selftitled (1st Album UK 1965)

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280:- (Klassisk debut platta)

Of all the original British Invasion groups, perhaps none are as underappreciated in the United States as the Pretty Things. Featuring the hoarse vocals of Mick Jagger-lookalike Phil May and the stinging leads of guitarist Dick Taylor (who actually played in early versions of the Rolling Stones with Jagger and Keith Richards), the Pretties recorded a clutch of raunchy R&B rockers in the mid-'60s that offer a punkier, rawer version of the early Stones sound. Their first two albums, as well as a brace of fine major and minor British hits (of which "Don't Bring Me Down" and "Honey I Need" were the biggest), feature first-rate original material and covers, and remain the group's most exciting and influential recordings. Unfortunately, the band remained virtually unknown to American audiences, most of whom would first hear "Don't Bring Me Down" on David Bowie's Pin Ups album (which also included a version of the Pretties' "Rosalyn").

After their initial run of success, the group took a sharp left turn into psychedelia with the orchestrated album Emotions (1967), impressive singles that owed more to Pink Floyd than Bo Diddley, and, most significantly, S.F. Sorrow (1968). The first rock opera, S.F. Sorrow was a major influence on Pete Townshend, who released his much more successful opera, Tommy, with the Who the following year. Founding member Taylor left shortly after S.F. Sorrow, and the group continued to record progressive rock and hard rock with less impressive results through the mid-'70s, although Parachute (1970) was named album of the year by Rolling Stone. The group reunited sporadically for occasional gigs and recordings in their early R&B vein before officially reforming to release Rage...Before Beauty in 1999

The Pretty Things' debut LP was a legendary exercise in anarchy -- 30 minutes into the two days' worth of sessions, their original producer, Jack Baverstock (the head of the label, no less), walked out, and was eventually replaced by a slightly more sympathetic personality in the hopes of salvaging something from the efforts of the band, who, whatever their shortcomings in decorum or sobriety, were on their third successive charting single. The resulting album, made under the coordination (if not control) of drummer-turned-producer Bobby Graham, made the early work of the Rolling Stones -- rivals and one-time bandmates to the Pretty Things' Dick Taylor -- sound more like the work of the Beatles: very calculated, lightweight, and...genteel. The Pretty Things is recorded with practically every song and instrument pushing the needle into the red (i.e., overload). Normally, that would be a problem, except for the fact that a third of the repertory was written by Bo Diddley and most of the other two-thirds was inspired by him (even their version of Chuck Berry's "Oh Baby Doll" sounds like it was lifted from the Two Great Guitars sessions where the two legends crossed swords) -- and Bo spent most of his career with his amplifiers set on "11" in a world where ten was the max.

"Roadrunner" is about as raw and loud as British rock & roll ever got up to that time, and it's just the beginning -- "Judgement Day" has a lead guitar buried somewhere in there, beneath rhythm instruments that sound like metal being ground up, and "13 Chester Street" is, strangely enough, an homage to the house the band once shared with the Stones' Brian Jones; appropriately enough, it mixes the band's crunchy rhythm guitar-centered sound with a Slim Harpo-style lead (all of the stuff that Jones was identified with musically), in a group "composition" that shimmers and pulses around Phil May's dissolute vocals. "Big City" takes them back to Chess Records territory, from which they never stray -- "Mama, Keep Your Big Mouth Shut" even sounds like a Chess outtake, what Leonard Chess would've said needed one more pass to get right (and he'd have been wrong). And just to show that there is some justice in the world, The Pretty Things did reach number ten on the U.K. charts, bewildering all of the more "professional" hands at Fontana Records by grabbing the ears of that harder, more intense part of the Stones' larger audience and throwing them the sonic equivalent of raw meat to chew on. Phil May reveals himself as a fairly powerful singer, though lacking some of the charisma that Mick Jagger projected, but the group's own raw power made for quirky appeal all of its own that would carry them for many years beyond this roaring start. And in the meantime, records like this would point the way not only toward the work of such American garage band icons as the MC5, but blast a path through the wilderness that the likes of Billy Childish and his band the Milkshakes and their successors would traverse.

01. Roadrunner
02. Judgement Day
03. 13, Chester Street
04. Big City
05. Unknown Blues
06. Mama, Keep Your Big Mouth Shut
07. Honey, I Need
08. Oh Baby Doll
09. She's Fine She's Mine
10. Don't Lie To Me
11. The Moon Is Rising
12. Pretty Thing
13. Rosalyn [Bonus]
14. Big Boss Man [Bonus]
15. Don't Bring Me Down [Bonus]
16. We'll Be Together [Bonus]
17. I Can Never Say [Bonus]
18. Get Yourself Home [Bonus]

The Pretty Things - Emotions (UK 1967)

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280:- (utgången utgåva)

In accordance with their label's (and not the band's) wishes, the Pretties were teamed with a middle-aged orchestra directed by Reg Tilsley on this album, which saw the Phil May-Dick Taylor songwriting team making an effort to move beyond R&B knockoffs into more sophisticated territory. Sometimes the arrangements (dubbed onto tracks without much involvement from the group) worked; more often, they were an unnecessary hindrance. An interesting failure, it contained some genuinely top-rank originals that saw the group expanding their vision into social observation and tentative psychedelia, including "My Time," "The Sun," and especially the moody, folk-rock-ish "Death of a Socialite."












01. Death Of A Socialite
02. Children 3. The Sun
04. There Will Never Be Another Day
05. House Of Ten
06. Out In The Night
07. One Long Glance
08. Growing In My Mind
09. Photographer
10. Bright Lights Of The City
11. Tripping
12. My Time
13. A House In The Country
14. Progress
15. Photographer
16. There Will Never Be Another Day
17. My Time
18. The Sun
19. Progress

Lou Reed - Rock 'N' Roll Animal (US 1974)

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260:- (utgången utgåva, klassiker)

In 1974, after the commercial disaster of his album Berlin, Lou Reed needed a hit, and Rock N Roll Animal was a rare display of commercial acumen on his part, just the right album at just the right time. Recorded in concert with Reed's crack road band at the peak of their form, Rock N Roll Animal offered a set of his most anthemic songs (most dating from his days with the Velvet Underground) in arrangements that presented his lean, effective melodies and street-level lyrics in their most user-friendly form (or at least as user friendly as an album with a song called "Heroin" can get). Early-'70s arena rock bombast is often the order of the day, but guitarists Dick Wagner and Steve Hunter use their six-string muscle to lift these songs up, not weigh them down, and with Reed's passionate but controlled vocals riding over the top, "Sweet Jane," "White Light/White Heat," and "Rock 'n' Roll" finally sound like the radio hits they always should have been. Reed would rarely sound this commercial again, but Rock N Roll Animal proves he could please a crowd when he had to. The revised CD reissue of Rock N Roll Animal released in 2000 offers markedly better sound than the album's initial release, along with two bonus cuts that give a better idea of how this band approached the material from Berlin on-stage, as well as an amusing moment of Reed verbally sparring with a heckler.

Rock n Roll Animal is a live album by Lou Reed, released in 1974. In its original form, it features five songs from different periods of his creative career, including several songs by the Velvet Underground. The songs are all re-arranged into a powerful glam rock set. The musicians were Pentti Glan (drums) and Prakash John (bass) of the contemporary Alice Cooper band, Ray Colcord (keyboards), and Dick Wagner and Steve Hunter on guitars. The album was recorded live on December 21, 1973 (1973-12-21), at Howard Stein's Academy of Music in New York.

A remastered version was released on CD in 2000. It featured greatly improved sound quality, including two tracks not included on the original LP or 1990 CD release.

Further excerpts from the same concert were released in 1975 as Lou Reed Live. This live album's stereo mix differs from its counterpart in that guitarist Dick Wagner is heard on the left channel, and Steve Hunter is on the right; this arrangement is reversed on Rock 'n' Roll Animal.

01."Intro/Sweet Jane" (Steve Hunter, Reed) (7'55)
02."Heroin" (13'05)
03."White Light/White Heat" (5'15)
04."Lady Day" (4'00)
05."Rock 'n' Roll" (10'17)
06."Intro/Sweet Jane" (Hunter, Reed) - (7'48)
07."Heroin" (13'12)
08."How Do You Think It Feels" (3'41)
09."Caroline Says I" (4'06)
10."White Light/White Heat" (4'55)
11."Lady Day" (4'05)
12."Rock 'n' Roll" (10'21)

Zior - Zior (Superb Hårdrock på Nepentha Label 1971)

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275:- (24-Bit Limited Remaster Edition. Utgången utgåva.)

Zior's 1971 debut album got immediate attention when it was released because the band used the same artist that Black Sabbath had used on their first album (an artist called Keef). This first album is a knockout of fantastic heavy rock and is still one of my favourite albums of that year.

Zior had their roots in Southend's early sixties R&B scene. Kevin Bonsor had previously been in a local R&B outfit, The Essex Five, and then classical/rock fusion outfit, Cardboard Orchestra. Pete Brewer had been in another Southend R&B band, The Night Riders. He and Bonsor were Zior's founding members recruiting Truba and Skeels (who'd once played in a London band called The Bum) via a 'Melody Maker' advert.

Zior did have a reputation as a wild live band. They were heavily into Black Magic and Satanic Mass etc. They recorded an album on the Beacon label, later in 1971, which was credited to Monument, though in fact it featured all four members of Zior.

01. I Really Do
02. Za Za Za Za Zilda
03. Loves Desire
04. New Land
05. Now I'm Sad
06. Give Me Love
07. Quabala
08. Oh Maria
09. Your Life Will Burn
10. I Was Fooling
11. Before My Eyes Go Blind
12. Rolling Thunder
13. Dudi Judy [Bonus]
14. Evolution [Bonus]
15. Cat's Eye [Bonus]
16. Strange Kind Of Magic [Bonus]
17. Ride Me Baby [Bonus]

Tudor Lodge - S/T (Bra Progressiv Folkrock UK 1971)

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260:- (Bra engelsk progressiv folkrock, original affisch konvolut. Rekommenderas varmt. Utgången utgåva.)

On a bright summer day in 1971 in England, two young gents and a woman with a flute mounted the main stage at the Cambridge Folk Festival for their moment in the sun, remembered by all the band-members as their crowning achievement. "The whole atmosphere was still love and peace", the weather was fantastic, and despite nervousness that caused John Stannard's knee to bounce audibly and repeatedly against the microphone stand, Tudor Lodge poured out their honeyed harmonies and mesmeric spider web guitar background. The audience would remember and mention the set in almost every piece of writing about the band that appeared in the years after.

The beginning of our story, however, and indeed the truest setting for our heroes lies in more intimate surroundings, the folk clubs scattered over the English countryside. Tudor Lodge was born in the year 1968 from the temporary union of John Stannard and Roger Strevens as a performing folk duo. Roger's character included an unusual, off-the-wall sense of humor and John tended not to speak at all in performance, a strange juxtaposition that insured that they would be remembered even by the most fleetingly attentive members of any audience.
Perhaps fortunately, Roger decided that he had "had enough" sometime in late 1969 and abandoned John to a series of about six shows they had committed to play. With hopes of fulfilling his obligations to the several clubs, John approached a young guitarist he had observed playing in clubs on occasion, one Lyndon Greene, with the intention of asking him to fill in for Roger on their last few gigs. Lyndon had recently returned from a spell in Turkey, where he had been forging his own "hippie trail" through the psychedelic hinterlands, and was ripe for a new adventure. They agreed to finish out the six gigs together, and upon the successful conclusion of that run of shows saw no reason not to continue on.

Ann Steuart, the final member of the central triad, found John and Lyndon. Ann is American, grew up in New York City, and in high school participated in a performing band, originally called the "Utopians" and later "Guardians of the Rainbow". In 1969, Ann, her sister, and her mother joined her stepfather in England. Ann's stepfather had been refurbishing "narrow boats" and even a Chinese junk (!) for use in the extensive system of canals and locks laid out over the English countryside. As soon as Ann arrived, they began a family tradition of taking the junk out for "pub crawls" in which they would "crawl" up and down the Grand Union Canal, stopping at each pub along the way for a beer and conversation before piloting on. Ann would often drag her guitar onshore and play a three-song floor set, and the family also had the opportunity to see many of the local acts play, including John and Lyndon's. Tudor Lodge expanded to include Ann in Summer 1970.

The fully grown Tudor Lodge show toward the end of 1970 or in 1971 consisted of two sets, each about 45 minutes long. The whole group would play together through the first set, mostly songs that later found their way onto the group's Vertigo album. They often covered Buffalo Springfield's "Expecting to Fly", CSNY's "Helplessly Hoping", and either Joni Mitchell's "Nathan La Franeer" or "The Gallery". The first set usually finished with a humorous send-up of "Stay By Me Diana" or Buddy Holly's "Oh Boy" that began with John and Lyndon singing a cappella in traditional folk style and degenerated to Elvis Presley style to end in a truly wretched finale.

The second set began with several full-group songs, usually including "Willow Tree". Apparently they would begin the song with the dramatic intro heard on the album version. John notes that it was "very weird and out of context with the rest of the set - it was us doing our avant-garde bit." The second set would continue with solo performances by each member of the band. Ann usually played her song "Two Steps Back", either using a guitar as accompaniment, or a piano if the club had one. Lyndon usually played a guitar instrumental, the Incredible String Band's "Hedgehog Song" or John Sebastian's "She's a Lady". Several more full-group songs would follow, generally finishing the show with a version of Ralph McTell's "Kew Gardens", a 1970 live example of which graces this CD.
Covering Mr. McTell's song was without doubt a tip of the hat to the band's greatest and closest-to-heart inspiration. In addition to Ralph, Bert Jansch and John Renbourn were also "inspirational but not influences because we could never play to their standard." Very often Tudor Lodge was playing in the same clubs as their favorite musicians, the Troubadour and Les Cousins in London. The late show at Les Cousins began at midnight and ran to dawn, and all the musicians who had finished their earlier gigs showed up to drink, listen and play. In one evening, one might hear Ralph McTell, Al Stewart, Mike Cooper, John Martyn, Keith Christmas and Tudor Lodge under the same roof!

Beside the couple-of-nights-a-week hometown club shows, Tudor Lodge did several extended tours of more distant parts of England, making the rounds of, and filling small local clubs with listeners. Occasionally Tudor Lodge headlined in small theaters or played support for more famous bands like Genesis, Fairport Convention, or Steeleye Span. Stranger gigs also sometimes came their way, such as a poetry night at the Roundhouse in Chalk Farm in honor of Cecil Day Lewis, where Tudor Lodge was hired to stand in for an absent Leonard Cohen. The band sat on stage in a semicircle with the various budding poets as each in turn declaimed his or her pearl of wisdom until the band's turn arrived to come forward to the podium and present the only musical offering of the evening, hastily practiced renditions of "Suzanne" and one of Mr. Cohen's other songs. Odd!

In December 1970, Karl Blore, the band's manager, arranged for an audition with the new record label, Vertigo Records. Most of Vertigo's cluster of bands were in the rock vein, and included well-known acts Black Sabbath and Uriah Heep, along with lesser known acts like Gentle Giant, Patto, Jade Warrior, and Colosseum. Many of the Vertigo albums released between 1969 and 1973 have come to be seen as the progenitors of both modern heavy metal and modern progressive rock, and the original LPs have become desperately sought-after objects for many collectors. Many collectors will buy a Vertigo album without having heard the band before, simply on the strength of the label, and this is one of the reasons that copies of the relatively obscure Tudor Lodge LP change hands for upwards of 175 pounds today. Being one of only two folk acts on the label, Tudor Lodge must have been a surprise to a few of those avid fans of the label.

Tudor Lodge auditioned in less than ideal surroundings for conveying the subtle nuances of harmony and song writing that were their stock in trade: in downtown Soho at the Marquee Club, squeezed in between two King Crimson sets! The sound person apparently cared little for changing the settings at the mixing board that he had prepared for the wildly raucous and electric King Crimson, and they had "nothing but feedback all the way through." However, the band went down well, and was signed to Vertigo Records, a major coup.
The album was recorded in a week or two in February of 1971. Danny Thompson and Terry Cox (both from the Pentangle) were hired by Vertigo to provide bass and drum tracks for the album, and learned all the songs on the spot. The unerring grace with which these two complement the Tudor Lodge musicians is certainly an astounding testament to their abilities as session men.

Within a couple of months, a single from the album sessions was released. The B-side of the single, Peter, Paul, and Mary's "The Good Times We Had", is included on this archival CD in its first re-release in any format. "The Good Times We Had" was briefly a part of Tudor Lodge's live set, but didn't settle in as a regular component. Shortly after the single, Vertigo released the album in a wonderful, intricately drawn, black and white four way foldout cover, which sold poorly during the year it was available.
After the album was released, the band began to find a somewhat larger following, and began to be invited to more of the larger venues than before as well as different types of venues. In the summer of 1971 they played that most venerable of all British folk festivals, the Cambridge Folk Festival, and in August played at the Weeley Festival in Clacton. Weeley attracted 150,000 attendants, and Tudor Lodge was sandwiched in between rock bands like Mungo Jerry, Barclay James Harvest, Mott the Hoople, the Pink Fairies and Brinsley Schwarz. The Hell's Angels were acting as security at the festival. At one point John remembers being forced to hide in his car while two Hell's Angels fought each other with iron bars just outside: "They left blood on the bonnet of my car to prove it!" Tudor Lodge was originally scheduled to play in the evening, but scheduling problems forced their set later and later until finally they played sometime near sunrise, largely "to a sea of sleeping bags with heads popping up now and then." Certainly the largest audience the band ever played for, but hard to know how many were actually aware of the treat.

In November 1971 Ann decided that it was time to take her leave; she had grown tired of the constant traveling and shortage of money. A six-week tour of Holland had been scheduled for January and February of 1972, so a replacement was needed in short order. Karl Blore was friends with many in the British folk scene, including the Richard Thompson / Sandy Denny / Fairport Convention axis, so he was able to contact and entice Linda Peters from that crew to sign on with Tudor Lodge. Linda started work with Tudor Lodge in December 1971, and the three tracks included on this CD were recorded toward the end of 1971 before the tour of Holland. "Morocco" was a regular part of the Tudor Lodge set even before Ann left the band, and was inspired by a week of evenings spent playing in a small holiday resort in Asila, a town near Tangier in 1971. "Look At Me" was a new Stannard song, and Carole King's "It's Gonna Take Some Time" was probably a song that Linda brought to the band. The band played 6 or 8 gigs in Holland and one or two in England upon their return before Linda decided it wasn't her cup of tea and departed for an illustrious musical career with Richard Thompson and solo. Linda's departure signaled the end of Tudor Lodge.

Soon after the breakup of the band, John Stannard gathered together all the Tudor Lodge folk and friends he could find and went into the studio to record a new set of songs he had been writing. In a single one-day session, the five songs that comprise tracks 6-9 and track 12 were recorded and mixed. The master reels have been lost, so these tracks were taken from a second or third generation normal bias cassette mix down tape, accounting for the inferior sound quality even after substantial equalization and adjustment performed in the digital domain. (One track, "We Are Today", is taken from a studio acetate and is better quality.) None of these songs were ever performed as part of the Tudor Lodge set, and John has played them live perhaps only once or twice over the years.

In the spring of 1972, Lyndon traveled to Berlin with Mike Silver, where he spent the next year playing gigs and recording album tracks with Mike as well as with the American John Vaughan. Over the many years since then he has played music, worked as a travel agent, as a second hand bookseller, in limited edition publishing, and at present is gearing up to live in Japan. Soon after leaving Tudor Lodge, Ann met Simon Baker, with whom she started a hotel barge business on the Thames, refurbishing boats and conducting vacation tours of the English waterways. Eventually the two moved to Jamaica and then New Hampshire in the U.S.A. John Stannard still lives in Reading, England.

However, the Tudor Lodge story does not end there. In 1981, Ann, Lyndon, and John discovered quite by chance that all three were living in Reading, and decided to play a reunion show. (One of the tracks on this CD, "Sundown Waker", is taken from a recording of the reunion show, overdubbed later by John and Lyndon.) Ann left for Jamaica soon thereafter, but John and Lyndon continued playing together. They recruited Lynne Whiteland, a local musician they admired and began playing weekly shows together. Lynne, Lyndon and John recorded track 10, "One More Drink", for this CD release. In 1985, Lyndon moved to Australia and John and Lynne were left to carry the torch as a duo. The very fine music that John, Lynne, and Lyndon have made in the 80's and 90's can be explored on the CD "Let's Talk" released by Cast Iron Records.

In an attempt to complete the circle, we have included John and Lynne's absolutely latest work as Tudor Lodge on this archival CD, tracks 4 and 5. Both tracks were recorded in February 1997 onto analog tape at the Outhouse Studio in Reading. Lynne and John wrote, arranged and recorded "Home to Stay" within 6 days of first deciding to record new material for the CD! In homage to the roots of their music, John and Lynne have also reprised "It All Comes Back To Me" from the Vertigo album in really one of the most wonderful performances on the CD. Play it for your friends and you may find yourself hoping that this little group of musicians continues to make music through many a year still to come.

01. It All Comes Back To Me
02. Would You Believe ?
03. Recollection
04. Two Step's Back
05. Help Me Find Myself
06. Nobody's Listening
07. Willow Tree
08. Forest
09. I See A Man
10. Lady's Changing Home
11. Madeline
12. Kew Gardens