COLLEGIUM MUSICUM - Collegium Musicum (1970-2007) RM / FLAC (image+.cue), lossless

This band was active from 1971 until 1981 with six releases plus one live album. Their style is similar to Emerson Lake & Palmer, Rick Wakeman, and The Nice. There are clear Classical influences. The bands music consisted of Ludovít Nosko (vocals, guitars), Marián Varga (keyboards), Karel Witz (guitars), Fedor Freso (bass) and Dusan Hájek (drums).

Their albums contain long tracks all composed by Varga. The compositions are solid and have Classical inspirations. An example is "Hommage a J.S. Bach" or "Concerto in D" and other tracks, the guitar have much space supported by superb keyboards (Hammond organ, mini Moog, piano). I support people who think this is one of the best east Europe bands of ever. Collegium Musicum official website

Tracklist  

1 Hommage À J. S. Bach 7:16
Composed By [Uncredited] – Dušan Hájek, Fedor Frešo, Marián Varga
2 Ulica Plná Plášťov Do Dažďa 6:43
Composed By [Uncredited] – Dušan Hájek, Marián Varga
3 If You Want To Fall 13:24
Composed By [Uncredited] – Marián Varga, Peter Saller
4 Strange Theme 13:40
Composed By [Uncredited] – Marián Varga, Peter Saller
5 Concerto In D 12:35

Composed By [Uncredited] – Joseph Haydn

Conductor [Diriguje] [Uncredited] – Vladimír Popelka
Credits
Bass Guitar, Vocals [Zpěv] – Fedor Frešo
Drums [Bicí Nástroje] – Dušan Hájek
Guitar – Pavel Váně (tracks: 1, 2), Rastislav Vacho (tracks: 3, 4, 5)
Organ, Harpsichord [Cembalo] – Marián Varga

QUATERMASS - Quatermass (1970-1996) FLAC (tracks+.cue), lossless

Quatermass' only album is a must-have for prog rock enthusiasts, especially lovers of the keyboard-dominated style which flourished in the early '70s. Although there are only three members of the band, their histories are just as colorful as the music they produced. Keyboard player Pete Robinson and bass man Johnny Gustafson met drummer Mick Underwood and founded Episode Six, a band which included Ian Gillan who later fronted Deep Purple. Underwood was also involved with the Outlaws as well as the Herd, only a few years before Peter Frampton arrived. When the band finally formed Quatermass in 1970, they had set their sights on a power rock format which would use Robinson's keyboards to shape their sound. Both "Black Sheep" and "One Blind Mice" were released as singles which fell mostly on deaf ears, but the band's sound was equally as moving as the Nice's repertoire, for example, at around the same time. Quatermass' sound is far from sounding hollow, isolated, or directionless, but all of the cuts are rather rock-sturdy and instrumentally voluptuous from all points. The string work that swoops in is encompassing, Underwood's drumming exhibits personality, and the keyboard portions are remarkably striking and distinct. Even Gustafson's robust vocals work well within the music's structure, subsiding and ascending when called for, and all of the cuts result in worthy examples of well-built progressive rock, in both ballad and power rock form. Following this album, the band broke up, with Gustafson later doing session work for Kevin Ayers, Steve Hackett, and Ian Hunter, among others, while Robinson found new life within the jazz-prog band Brand X. Beautifully packaged with informative liner notes, Quatermass sounds as resounding today as it did in 1970, and upon hearing it, one can only wonder why it was so overlooked during its release.  by Mike DeGagne  
Tracklist 
1 Entropy 1:10
Written-By – P. Robinson
2 Black Sheep Of The Family 3:35
Written-By – S. Hammond
 3 Post War Saturday Echo 9:39
Written-By – Ross, Gustafson, Robinson
4 Good Lord Knows 2:51
Written-By – J. Gustafson
5 Up On The Ground 7:05
Written-By – J. Gustafson
6 Gemini 5:51
Written-By – S. Hammond
7 Make Up Your Mind 8:41
Written-By – S. Hammond
8 Laughin' Tackle 10:32
Arranged By [Strings] – Peter Robinson
Written-By – P. Robinson
9 Entropy (Reprise) 0:40
Written-By – P. Robinson
- Bonus Tracks -
10 One Blind Mice 3:15
11 Punting 7:18
Credits
Drums – Mick Underwood
Keyboards – Pete Robinson
Vocals, Bass Guitar – John Gustafson

THE DOORS - Legacy : The Absolute Best (1983-2003) 2CD / RM / FLAC (image+.cue), lossless

Truth be told, most casual Doors fans only need a well-assembled single-disc collection, containing all the hits and radio staples. Since that doesn't exist -- Rhino's 2001 collection The Very Best of the Doors missed too many key songs to suit the bill -- they'll have to settle for the comprehensive 2003 Rhino compilation Legacy: The Absolute Best, a double-disc set that replaces the previous double-disc Doors comp, the 1985 set The Best of the Doors. That collection contained 19 tracks, the number of songs that are on the first disc of this exhaustive 34-track overview. Every one of the tunes from The Best of the Doors is on Legacy, but not in the same order, since the songs on this compilation are put in roughly chronological order. Legacy also tries to give equal weight to each of the Doors albums, pulling anywhere from four to eight tracks from all the studio albums, adding "Gloria" from Alive, She Cried and a previously unissued "Celebration of the Lizard" to the end of the record. This winds up giving a thorough overview of the band's peak, whether it's on the familiar hits or on strong album cuts like "My Eyes Have Seen You" or "The Changeling." There are a couple of omissions -- most notably "Love Street" and "Summer's Almost Gone" from Waiting for the Sun and also "Ship of Fools" and "Land Ho!" from Morrison Hotel -- but overall, this draws as complete a picture as possible. It still may be a little bit much for those who just want the hits (they're all here, plus a whole lot more), but there's little question that Legacy is the best Doors compilation yet assembled. by Stephen Thomas Erlewine  
Tracklist 1:
1 Break On Through (To The Other Side) 2:29
2 Back Door Man 3:34
3 Light My Fire 7:08
4 Twentieth Century Fox 2:33
5 The Crystal Ship 2:34
6 Alabama Song (Whisky Bar) 3:19
7 Soul Kitchen 3:35
8 The End 11:46
9 Love Me Two Times 3:16
10 People Are Strange 2:12
11 When The Music's Over 11:02
12 My Eyes Have Seen You 2:29
13 Moonlight Drive 3:04
14 Strange Days 3:09
15 Hello, I Love You 2:16
16 The Unknown Soldier 3:25
17 Spanish Caravan 3:01
18 Five To One 4:27
19 Not To Touch The Earth 3:54
Tracklist 2:
1 Touch Me 3:12
2 Wild Child 2:38
3 Tell All The People 3:21
4 Wishful Sinful 2:58
5 Roadhouse Blues 4:04
6 Waiting For The Sun 4:00
7 You Make Me Real 2:53
8 Peace Frog 2:58
9 Love Her Madly 3:18
10 L.A. Woman 7:51
11 Riders On The Storm 7:10
12 The Wasp (Texas Radio And The Big Beat) 4:15
13 The Changeling 4:21
14 Gloria 6:18
15 Celebration Of The Lizard 17:01
Notas
Original album sources:
Tracks 1.01 to 1.08: from The Doors
Tracks 1.09 to 1.14: from Strange Days
Tracks 1.15 to 1.19: from Waiting For The Sun
Tracks 2.01 to 2.04: from The Soft Parade
Tracks 2.05 to 2.08: from Morrison Hotel
Tracks 2.09 to 2.13: from L.A. Woman
Track 2.14: from Alive, She Cried
Track 2.15: previously unissued

AIN SOPH - A Story of Mysterious Forest (1980-2001) FLAC (tracks+.cue), lossless

In 1980, when the crisis of progressive rock and fusion started to be apparent, a brilliant and imaginative album comes out in Japan! Any European country would have been thankful for such output at that time! Listening to this album, you can clearly recognize what guys liked listening to: Brand X and Return to Forever, among others. Ferocious moments owe a lot to Brand X, while more quiet and solemn moments such as on the last long track, bear traces of late Chick Corea on Return to Forever as well as even Collegium Musicum solemn wintery feeling (Konvergencie from 1970).

Keyboards dominate the album and are incredibly versatile. In one of the tracks, the keyboard sound changes from contemporary fusion to traditional bop within a second. Guitar is less prominent on this release, but has its electric and acoustic moments.

The first track is one of the best ones - a furious Brand X (76-77) inspired number that will rise your pressure and temperature. "Natural Selection" is another highlight with a semi-exotic and classic fusion track witha great Fender Rhodes piano soloing. The fourth track is reminiscent of Return of Forever and plenty of improvisation here by both keyboards and electric guitar. Unfortunately, the long title track is not cohesive and sounds unfocused at times. The impressive Christmas sounding symphonic organ beginning bursts into a drum workout with keyboard layers but after the first 5 minutes, the compositions loses its momentum and seem to be a disparate sequence of ideas that are not interconnected. In the end, the motives from the first 5 minutes creep in again. One of the better fusion records of the 1980. web 

Tracklist:

1 Crossfire 2:54

2 Interlude 1 1:30

3 Natural Selection 8:10

4 Variations On A Theme By Brian Smith 9:44

A Story Of Mysterious Forest (18:47)

5a Awakening

5b Longing - With The Wind

5c Mysterious Forest

5d Passion

5e Deep Sleep

5f Darkness

5g Dance

5h Misfortune

5i Mysterious Forest

5j Awakening

6 Interlude II 0:33

Credits:

Acoustic Guitar, Electric Guitar – Yozox Yamamoto

Bass, Effects – Masahiro Torigaki

Drums, Percussion, Gong [Crystal Gong] – Hiroshi Natori

Piano [Acoustic], Electric Piano, Celesta [Celeste], Organ [Hammond], Clavinet, Synthesizer [Synthesizers, Strings], Vocoder, Mellotron – Masey Hattori

Written-By – Ain Soph

A BARCA DO SOL - A Barca do Sol (1974) FLAC (tracks), lossless

A Barca Do Sol was a group that was active between 1974 and 1981. Several of its members became famous musicians or interpreters: Jaques Morelembaum (cello), David Ganc (flutes), Ritchie (flute), Nando Carneiro (violão), and the brothers Muri and Marcelo Costa. The group's concept was to provide acoustic renditions of their originals, based on American folk, in the preferred 6/8 time signature of the Clube da Esquina gang (the structure that their beautiful hit, included here, "Lady Jane," is based on), in the harmony lessons of Egberto Gismonti and Dori Caymmi, and in progressive rock (some of the flute attacks are obviously reminiscent of Jethro Tull's). This is the CD reissue of the first two of their three recorded LPs, A Barca Do Sol (1974) and Durante O verão (1976). The lyrics are an important aspect of their work; for example, "Lady Jane" was inspired both by the Rolling Stones and by D. H. Lawrence's Lady Chaterley roman (in that book, the protagonists call each other's sexual organs "Lady Jane" and "John Thomas"). Egberto Gismonti appears in two tracks playing a synthesizer, an innovation in those times in Brazil. by Alvaro Neder 
Tracklist:
1 A Primeira Batalha 3:05
Written-By – Afonso Carlos Costa, Nando Carneiro
2 Brilho Da Noite 4:03
Written-By – Geraldo E. Carneiro, Nando Carneiro
3 Arremesso 3:43
Written-By – João Carlos Pádua, Nando Carneiro
4 As Boas Consciências 3:07
Written-By – Geraldo E. Carneiro, Nando Carneiro
5 Caminhão 4:33
Written-By – Afonso Carlos Costa, Daniel Mendes Campos, Nando Carneiro
6 Lady Jane 2:20
Written-By – Geraldo E. Carneiro, Nando Carneiro
7 Dragão Da Bondade 3:00
Written-By – João Carlos Pádua, Nando Carneiro
8 Alaska 3:30
Written-By – Geraldão Carneiro, Nando Carneiro
9 Fantasma Da Ópera 2:44
Written-By – Geraldo E. Carneiro, Mauricio Costa
10 Corsário Satã 4:12
Written-By – João Carlos Pádua, Nando Carneiro
11 A Barca Do Sol 3:16
Written-By – João Carlos Pádua, Mauricio Costa, Nando Carneiro
Credits:
Acoustic Bass, Electric Bass – Marcos Stul
Flute – Marcelo Bernardes
Percussion – Marcelo Costa
Percussion, Viola, Guitar, Guitar [Violão] – Beto Rezende
Producer – Egberto Gismonti
Synthesizer – Egberto Gismonti (tracks: 3, 8)
Vocals, Guitar [Violão] – Nando Carneiro
Vocals, Viola, Guitar [Violão] – Muri Costa
Vocals, Violin, Cello – Jaquinho Morelenbaum

A BARCA DO SOL - Durante o Verão (1976) FLAC (tracks), lossless

Tracklist:
1 Durante O Verão 2:48
Written-By – Geraldo E. Carneiro, Nando Carneiro
2 Hotel Colonial 5:55
Written-By – Geraldo E. Carneiro, Muri Costa
3 A Língua & A Bainha 2:50
Written-By – Jose R. Resende, Geraldo E. Carneiro, Nando Carneiro
4 Os Pilares Da Cultura 2:41
Written-By – Geraldo E. Carneiro, Jaques Morelembaum
5 Karen 2:20
Written-By – Alain P. Ribero De Magalhães
6 Memorial Day 4:29
Written-By – Geraldo Eduardo Carneiro, Jaques Morelembaum
7 O Banquete 3:44
Written-By – João Carlos Pádua, Nando Carneiro
8 Belladonna, Lady Of The Rocks 6:25
Written-By – Geraldo E. Carneiro, Nando Carneiro
9 Outros Carnavais 2:44
Written-By – Geraldo E. Carneiro, Jaques Morelembaum
Credits:
Acoustic Bass, Electric Bass – Alain
Arranged By – A Barca Do Sol
Drums, Percussion – Marcelo
Flute – David
Percussion, Viola, Guitar, Guitar [Violão] – Beto
Vocals, Guitar [Violão] – Nando
Vocals, Viola, Guitar [Violão], Percussion – Muri
Vocals, Violin, Cello, Piano – Jaquinho

JON ANDERSON - Change We Must (1976) FLAC (image+.cue), lossless

Jon Anderson joins conductor Nigel Warren-Green and his London Chamber Academy for orchestral arrangements of new material and old favorites on Change We Must (and that sound you hear in the distance is the small army of Anderson's detractors crying "This time he's really gone too far"). But far from being the exercise in self-indulgence that some would charge, Change We Must proves to be a lovely setting for Anderson's compositions. Expertly produced by the vocalist and Tim Handley, the disc finds Anderson's voice in harmonic balance with a wonderful landscape of orchestral sounds. The combined effect is, in a word, lovely. Beginning with the Jon & Vangelis chestnut "State of Independence," the singer and orchestra achieve a natural beauty that the previous pairing aimed at but rarely captured. Likewise, "Hurry Home" and "Under the Sun" -- both of which originally appeared on In the City of Angels (the latter as "It's on Fire") -- are given a second life with Celtic and Third World arrangements, respectively. Some of the new material -- such as the "Chagall Duet," with soprano Sandrine Piau, or "Candle Song," with daughter Jade -- offer a double dose of sweetness, while other songs (notably John Adams' adaptation "Shaker Loops") are intentionally edgy. Anderson even steps out of the spotlight for a trio of piano-led instrumentals co-written with David Tolley and featuring pianist Gwendolyn Mok. These serve as a spirited interlude between songs and represent a unique departure from Anderson's often-elusive arrangements. For nostalgists, who might regard the lack of anything from Olias of Sunhillow as a missed opportunity, the Yes song "Hearts" is given a faithful but welcome reading. The title track serves as a fitting finale, with flawless production and otherwordly arrangements transporting the listener to Anderson's own plane of consciousness. Dedicated to spiritualist Nana Veary, Change We Must speaks in a multitude of musical tongues -- classical, rock, Third World, choral -- with beauty as its common thread. by Dave Connolly  

ROXY MUSIC - For Your Pleasure (1973-2015) RM / SHM-CD / FLAC (image+.cue), lossless

On Roxy Music's debut, the tensions between Brian Eno and Bryan Ferry propelled their music to great, unexpected heights, and for most of the group's second album, For Your Pleasure, the band equals, if not surpasses, those expectations. However, there are a handful of moments where those tensions become unbearable, as when Eno wants to move toward texture and Ferry wants to stay in more conventional rock territory; the nine-minute "The Bogus Man" captures such creative tensions perfectly, and it's easy to see why Eno left the group after the album was completed. Still, those differences result in yet another extraordinary record from Roxy Music, one that demonstrates even more clearly than the debut how avant-garde ideas can flourish in a pop setting. This is especially evident in the driving singles "Do the Strand" and "Editions of You," which pulsate with raw energy and jarring melodic structures. Roxy also illuminate the slower numbers, such as the eerie "In Every Dream Home a Heartache," with atonal, shimmering synthesizers, textures that were unexpected and innovative at the time of its release. Similarly, all of For Your Pleasure walks the tightrope between the experimental and the accessible, creating a new vocabulary for rock bands, and one that was exploited heavily in the ensuing decade. by Stephen Thomas Erlewine 
Tracklist:
1 Do The Strand
2 Beauty Queen
3 Strictly Confidential
4 Editions Of You
5 In Every Dream Home A Heartache
6 The Bogus Man
7 Grey Lagoons
8 For Your Pleasure
Credits:
Bass, Guest [Guest Artiste] – John Porter
Drums – Paul Thompson
Guitar – Phil Manzanera
Oboe, Saxophone – Andrew Mackay
Synthesizer, Tape [Tapes] – Eno
Voice, Keyboards – Bryan Ferry
Words By, Music By – Ferry

ROXY MUSIC - Stranded (1973-2015) RM / SHM-CD / FLAC (image+.cue), lossless

Without Brian Eno, Roxy Music immediately became less experimental, yet they remained adventurous, as Stranded illustrates. Under the direction of Bryan Ferry, Roxy moved toward relatively straightforward territory, adding greater layers of piano and heavy guitars. Even without the washes of Eno's synthesizers, Roxy's music remains unsettling on occasion, yet in this new incarnation, they favor more measured material, whether it's the reflective "A Song for Europe" or the shifting textures of "Psalm." Even the rockers, such as the surging "Street Life" and the segmented "Mother of Pearl," are distinguished by subtle songwriting that emphasizes both Ferry's tortured glamour and Roxy's increasingly impressive grasp of sonic detail. by Stephen Thomas Erlewine
Tracklist:
1 Street Life 3:29
Written-By – Ferry
2 Just Like You 3:36
Written-By – Ferry
3 Amazona 4:16
Written-By – Ferry, Manzanera
4 Psalm 8:04
Choir – The London Welsh Male Choir (Written-By – Ferry)
5 Serenade 2:59
Written-By – Ferry
6 A Song For Europe 5:46
Written-By – Mackay, Ferry
7 Mother Of Pearl 6:52
Written-By – Ferry
8 Sunset 6:04
Bass [String Bass] – Chris Lawrence (Written-By – Ferry)
Credits:
Bass – John Gustafson
Drums, Timpani – Paul Thompson
Guitar, Other [& Treatments] – Phil Manzanera
Oboe, Saxophone, Other [& Treatments] – Andy Mackay
Violin, Synthesizer, Keyboards – Eddie Jobson
Voice [Voices], Piano – Bryan Ferry

ROXY MUSIC - Country Life (1974-2015) RM / SHM-CD / FLAC (image+.cue), lossless

Continuing with the stylistic developments of Stranded, Country Life finds Roxy Music at the peak of their powers, alternating between majestic, unsettling art rock and glamorous, elegant pop/rock. At their best, Roxy combine these two extremes, like on the exhilarating opener "The Thrill of It All," but Country Life benefits considerably from the ebb and flow of the group's two extremes, since it showcases their deft instrumental execution and their textured, enthralling songwriting. And, in many ways, Country Life offers the greatest and most consistent set of Roxy Music songs, illustrating their startling depth. From the sleek rock of "All I Want Is You" and "Prairie Rose" to the elegant, string-laced pop of "A Really Good Time," Country Life is filled with thrilling songs, and Roxy Music rarely sounded as invigorating as they do here. by Stephen Thomas Erlewine
Tracklist:
1 The Thrill Of It All 6:22
Written-By – Ferry
2 Three And Nine 4:01
Written-By – Mackay, Ferry
3 All I Want Is You 2:52
Written-By – Ferry
4 Out Of The Blue 4:45
Written-By – Ferry, Manzanera
5 If It Takes All Night 3:09
Written-By – Ferry
6 Bitter-Sweet 4:49
Written-By – Mackay, Ferry
7 Triptych 3:09
Written-By – Ferry
8 Casanova 3:23
Written-By – Ferry
9 A Really Good Time 3:43
Written-By – Ferry
10 Prairie Rose 5:07
Written-By – Ferry, Manzanera
Credits:
Bass – John Gustafson
Drums – Paul Thompson
Guitar – Phil Manzanera
Oboe, Saxophone – Andrew Mackay
Strings, Synthesizer, Keyboards – Edwin Jobson
Vocals, Keyboards, Art Direction – Bryan Ferry

ROXY MUSIC - Siren (1975-2015) RM / SHM-CD / FLAC (image+.cue), lossless

Abandoning the intoxicating blend of art rock and glam-pop that distinguished Stranded and Country Life, Roxy Music concentrate on Bryan Ferry's suave, charming crooner persona for the elegantly modern Siren. As the disco-fied opener "Love Is the Drug" makes clear, Roxy embrace dance and unabashed pop on Siren, weaving them into their sleek, arty sound. It does come at the expense of their artier inclinations, which is part of what distinguished Roxy, but the end result is captivating. Lacking the consistently amazing songs of its predecessor, Siren has a thematic consistency that works in its favor, and helps elevate its best songs -- "Sentimental Fool," "Both Ends Burning," "Just Another High" -- as well as the album itself into the realm of classics. by Stephen Thomas Erlewine
Tracklist:
1 Love Is The Drug 4:05
2 End Of The Line 5:14
3 Sentimental Fool 6:11
4 Whirlwind 3:34
5 She Sells 3:45
6 Could It Happen To Me? 3:37
7 Both Ends Burning 5:12
8 Nightingale 4:05
9 Just Another High 6:28
Credits:
Bass – John Gustafson
Drums – Paul Thompson
Guitar – Phil Manzanera
Oboe, Saxophone – Andrew Mackay
Strings, Synthesizer, Keyboards – Edwin Jobson
Vocals, Keyboards – Bryan Ferry
Written-By – Mackay (tracks: 1, 3), Ferry, Jobson (tracks: 5), Manzanera (tracks: 4, 8)

ROXY MUSIC - Manifeto (1979-2015) RM / SHM-CD / FLAC (image+.cue), lossless

Returning to action after four years of solo projects, Roxy Music redefined its sound and agenda on Manifesto. More than ever, Roxy sounds like Bryan Ferry's backing band, as the group strips away its art rock influences, edits out the instrumental interludes in favor of concise pop songs, and adds layers of stylish disco rhythms. Although the songwriting is distressingly inconsistent, there are a number of wonderful moments on the record, particularly in the sighing "Angel Eyes" and the heartbroken "Dance Away." Still, trading sonic adventure for lush, accessible disco-pop isn't entirely satisfactory, even if it is momentarily seductive. by Stephen Thomas Erlewine
Tracklist:
1 Manifesto 5:29
2 Trash 2:14
3 Angel Eyes 3:32
4 Still Falls The Rain 4:13
5 Stronger Through The Years 6:16
6 Ain't That So 5:39
7 My Little Girl 3:17
8 Dance Away 3:48
9 Cry, Cry, Cry 2:55
10 Spin Me Round 5:15
Performer – Alan Spenner, Andy Mackay, Bryan Ferry, Gary Tibbs, Paul Carrack, Paul Thompson, Phil Manzanera
Written-By – Mackay (tracks: 3), Ferry, Manzanera (tracks: 1, 2, 4, 7)

ROXY MUSIC - Flesh + Blood (1980-2015) RM / SHM-CD / FLAC (image+.cue), lossless

An even slicker record than Manifesto, Flesh + Blood precariously balances between alluringly seductive, sophisticated soul-pop and cloying, radio-ready disco-pop. At its best, the album is effortlessly suave and charming -- "Over You" is one of their greatest singles, and "Oh Yeah" is nearly as persuasive -- but much of the record is devoted to ill-formed, stylish lounge-pop. In particular, the reliance on reworked covers of "In the Midnight Hour" and "Eight Miles High" is distressing, not only because it signals a lack of imagination, but also because it suggests that Flesh + Blood is simply a lesser solo effort from Bryan Ferry. And even the handful of undeniably strong moments can't erase the feeling that Roxy Music were beginning to run out of ideas. by Stephen Thomas Erlewine
Tracklist:
1 The Midnight Hour 3:12
Bass – Tibbs
Drums – Schwartzberg
Guitar – Hubbard, Manzanera
Keyboards – Ferry
Saxophone [Sax] – Mackay
Written-By – Cropper, Pickett
2 Oh Yeah 4:50
Bass – Jason
Drums – Schwartzberg
Lead Guitar – Manzanera
Piano – Ferry
Rhythm Guitar – Hubbard
Saxophone [Sax] – Mackay
Strings – Carrack
Written-By – Ferry
3 Same Old Scene 3:57
Bass – Spenner
Drums – Schwartzberg
Guitar – Manzanera
Keyboards – Ferry
Saxophone [Sax] – Mackay
Written-By – Ferry
4 Flesh And Blood 3:13
Drums – Newmark
Percussion – Schwartzberg
Synthesizer, Guitar – Ferry
Written-By – Ferry
5 My Only Love 5:19
Bass – Spenner
Drums – Newmark
Guitar – Hubbard
Lead Guitar – Manzanera
Percussion – Schwartzberg, Phillips
Piano, Strings – Ferry
Saxophone [Sax] – Mackay
Written-By – Ferry
6 Over You 3:27
Drums – Schwartzberg
Guitar – Manzanera
Keyboards – Ferry
Saxophone [Sax] – Mackay
Written-By – Ferry, Manzanera
7 Eight Miles High 4:53
Bass – Jason
Drums – Schwartzberg
Guitar – Hubbard
Keyboards – Ferry
Lead Guitar – Manzanera
Saxophone [Sax] – Mackay
Written-By – Crosby, Clark, McGuinn
8 Rain Rain Rain 3:20
Bass – Spenner
Drums – Schwartzberg
Guitar – Hubbard
Keyboards – Ferry
Saxophone [Sax] – Mackay
Written-By – Ferry
9 No Strange Delight 4:44
Bass – Jason
Drums – Schwartzberg
Guitar – Manzanera
Keyboards – Ferry
Oboe – Mackay
Written-By – Ferry, Manzanera
10 Running Wild 5:01
Bass – Spenner
Drums – Schwartzberg
Organ, Piano – Carrack
Piano – Ferry
Rhythm Guitar – Hubbard
Rhythm Guitar, Lead Guitar – Manzanera
Saxophone [Sax] – Mackay
Written-By – Ferry, Manzanera

ROXY MUSIC - Avalon (1982-2015) RM / SHM-CD / FLAC (image+.cue), lossless

Flesh + Blood suggested that Roxy Music were at the end of the line, but they regrouped and recorded the lovely Avalon, one of their finest albums. Certainly, the lush, elegant soundscapes of Avalon are far removed from the edgy avant-pop of their early records, yet it represents another landmark in their career. With its stylish, romantic washes of synthesizers and Bryan Ferry's elegant, seductive croon, Avalon simultaneously functioned as sophisticated make-out music for yuppies and as the maturation of synth pop. Ferry was never this romantic or seductive, either with Roxy or as a solo artist, and Avalon shimmers with elegance in both its music and its lyrics. "More Than This," "Take a Chance with Me," "While My Heart Is Still Beating," and the title track are immaculately crafted and subtle songs, where the shifting synthesizers and murmured vocals gradually reveal the melodies. It's a rich, textured album and a graceful way to end the band's career. by Stephen Thomas Erlewine
Tracklist:
1 More Than This 4:31
Written-By – Ferry
2 The Space Between 4:30
Written-By – Ferry
3 Avalon 4:17
Written-By – Ferry
4 India 1:45
Written-By – Ferry
5 While My Heart Is Still Beating 3:29
Written-By – Mackay, Ferry
6 The Main Thing 3:54
Written-By – Ferry
7 Take A Chance With Me 4:43
Written-By – Ferry, Manzanera
8 To Turn You On 4:17
Written-By – Ferry
9 True To Life 4:27
Written-By – Ferry
10 Tara 1:45
Written-By – Mackay, Ferry
Credits:
Backing Vocals – Fonzi Thornton (tracks: 1 to 3, 6 to 7, 9)
Bass – Alan Spenner (tracks: 1, 3 to 4, 8 to 10), Neil Jason (tracks: 2, 5 to 7)
Drums – Andy Newmark (tracks: 1 to 7, 9)
Engineer – Bob Clearmountain, Rhett Davies
Guitar – Neil Hubbard (tracks: 1 to 9), Phil Manzanera (tracks: 1 to 7, 9)
Keyboards, Written-By – Bryan Ferry
Percussion – Jimmy Maelen (tracks: 1 to 3, 5 to 7, 9)
Saxophone – Andy Mackay (tracks: 1 to 6, 9, 10)
Vocals – Bryan Ferry (tracks: 1 to 3, 5 to 9)
Written-By – Mackay (tracks: 5, 10), Ferry, Manzanera (tracks: 7)

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HENRY COW - Unrest (1974-2015) SHM-CD / FLAC (image+.cue), lossless

By this point Henry Cow consisted of guitarist Fred Frith, drummer Chris Cutler, bassist John Greaves, keyboardist Tim Hodgkinson, and, of particular importance to the band's sound at this point, bassoonist Lindsay Cooper. As is so often the case with avant-garde rock & roll, it's the composed pieces that work best, and the fact that Frith is responsible for the majority of them is significant. "Bittern Storm Over Ulm" is an absolutely brilliant demolition of the Yardbirds' "Got to Hurry," while the brief but lovely "Solemn Music" unfolds in a stately manner with atonal but pretty counterpoint between Frith and Cooper. The improvised material succeeds in a more spotty way. "Upon Entering the Hotel Adlon" demonstrates how fine the line can be between bracing free atonality and mindless cacophony. The unsettling but eventually gorgeous "Deluge," on the other hand, shows how well Henry Cow could walk that line when they tried; in this piece, random guitar skitterings, scattershot drum clatter, and pointillistic reed grunts are eventually snuck up on and overtaken by softly massed chords and Cooper's gently hooting bassoon. The effect is startlingly moving. Overall, this is one of Henry Cow's better efforts.  by Rick Anderson  
Tracklist 
1 Bittern Storm Over Ulm  2:44
Written-By – Frith
2 Half Asleep; Half Awake  7:39
Written-By – Greaves
3 Ruins
Recorded By [Parts Of Ruins By] – Mike Oldfield  12:00
Written-By – Frith
4 Solemn Music  1:09
Written-By – Frith
5 Linguaphonie  5:58
Written-By – H. Cow
6 Upon Entering The Hotel Adlon  2:56
Written-By – H. Cow
7 Arcades  1:50
Written-By – H. Cow
8 Deluge  5:52
Written-By – H. Cow
9 Silence 1:00
10 DThe Glove  6:35
Written-By – H. Cow
11 Torchfire  4:48
Written-By – H. Cow
Bonus Tracks
12 Introduction 1:52
13 Ruins Ⅰ 6:35
14 Half Asleep; Half Awake 4:11
15 Ruins Ⅱ 0:59
16 Heron Shower Over Hamburg 2:29
Credits
Bass, Piano, Voice – John Greaves
Bassoon, Oboe, Recorder, Voice – Lindsay Cooper
Drums – Chris Cutler
Guitar [Stereo Guitar], Violin, Xylophone, Piano – Fred Frith
Mixed By [Mixing Engineers] – Henry Cow (tracks: 5 to 8), Phil Becque (tracks: 1 to 4), Tim Hodgkinson (tracks: 9, 10)
Organ, Alto Saxophone [Alto Sax], Clarinet, Piano – Tim Hodgkinson
Vocals [Certain Vocals], Engineer [Engineering Assistance By] – Charles Fletcher

HENRY COW - Concerts (1976-2015) 2CD / SHM-CD / FLAC (image+.cue), lossless

Avant-garde rock & roll of 1970s vintage -- especially, it must be said, of the British variety -- doesn't typically age very well. And although Henry Cow was quite a unique ensemble, even by the standards of the 1970s avant-garde, it would be silly to deny that much of the music captured on these two live discs (originally released on LP in 1976) sounds pretty dated. But this is much more true of the song-based material than the more free-form, improvised music, which still sounds remarkably fresh and surprising 25 years later. And even the more period-specific material is of very high quality: singer Dagmar Krause (previously of Slapp Happy, later of the Art Bears) delivers fine performances on "Beautiful As the Moon/Terrible As an Army With Banners" and "Bad Alchemy," as does bassist John Greaves. On the second disc, guitarist Fred Frith tends to dominate, much to the music's benefit; for the most part, the sound is strictly abstract with Frith employing many of the extended guitar techniques that he would later expand and amplify in his solo work and in his duets with Henry Kaiser. The woodwinds and piano lend an almost classical feel to some of these tracks. It's probably not for everyone, but this really is great stuff. by Rick Anderson

HENRY COW - Western Culture (1978-2015) SHM-CD / FLAC (image+.cue), lossless

The group's fourth and final studio LP, Western Culture remained for a long time Henry Cow's hidden treasure. Two factors were instrumental to its occultation (and one more than the other): first, it was not released by Virgin like the other ones; second, it did not have the "sock" artwork common to its brothers. Obscurity aside, Western Culture remains one of the group's strongest efforts in the lines of composition, especially since the unit was literally torn apart at the time. Side one consists of a suite in three parts, "History & Prospects," written by Tim Hodgkinson. The opener, "Industry," stands as one of Henry Cow's finest achievements, the angular melody played on a cheap electric organ hitting you in the face so hard it makes an imprint in your brains. Side two features another suite, this one in four parts and by Lindsay Cooper. While Hodgkinson's music leans toward rock, energy, and deconstruction, her writing embraced more contemporary classical idioms. Filled with contrasting textures and delicate complicated melodies, these pieces showcased another aspect of the group's sound while foretelling her later works. Swiss pianist Irène Schweizer performed a cadenza of sorts in "Gretel's Tale." by François Couture
Tracklist:
History & Prospects
1 Industry 6:57
Guitar [Hawaiian], Written-By – Tim Hodgkinson
2 The Decay Of Cities 6:56
Guitar [Hawaiian], Written-By – Tim Hodgkinson
3 On The Raft 4:01
Piano, Written-By – Tim Hodgkinson
Soprano Saxophone – Fred Frith
Trumpet – Chris Cutler
Day By Day
4 Falling Away 7:39
Piano – Chris Cutler
Written-By – Lindsay Cooper
5 Gretel's Tale 3:58
Piano – Irene Schweizer
Written-By – Lindsay Cooper
6 Look Back 1:20
Written-By – Lindsay Cooper
7 Half The Sky 5:07
Bass – Georgie Born
Written-By – Lindsay Cooper, Tim Hodgkinson
Bonus Tracks
8 Silence 1:00
9 Viva Pa Ubu 4:28
10 Look Back 1:22
11 Slice 0:37
12 Half The Sky 5:05
13 Half The Sky 5:07
14 Viva Pa Ubu 2:18
15 The Herring People 2:07
Credits:
Acoustic Guitar, Electric Guitar, Bass – Fred Frith
Bassoon, Oboe, Soprano Saxophone, Sopranino Saxophone, Tape – Lindsay Cooper
Drums, Electronic Drums, Noises, Cover – Chris Cutler
Organ, Clarinet, Alto Saxophone – Tim Hodgkinson
Trombone, Violin – Annemarie Roelofs

CURVED AIR - Second Album (1971-2015) SHM-CD / FLAC (image+.cue), lossless

Time has not treated Curved Air's second album kindly. Of course it was always dominated by "Back Street Luv," which isn't simply one of the band's own finest moments, it's also one of the crucial singles of the early 1970s. But across this straightforward reissue of the accompanying album, the savage innovation which was the hallmark of their Air Conditioning debut, and the brilliant eclecticism which would characterize their next set, is nowhere in sight. Which is weird, because it always used to sound quite good. In its place, a crop of relatively straightforward but sonically flat rock songs are distinguished by Sonja Christina's most conventional, cool vocals yet -- only "Back Street Luv" truly draws any true emotion out of her, while the band's much vaunted classical/rock fusion only shakes its fist during the closing "Piece of Mind," although it must be admitted that when it shakes, it really shakes. A building, foreboding 13-minute epic, crowned by a genuinely spine-tingling recitation from TS Eliot's "The Wasteland," "Piece of Mind" is the kind of performance which you just know was played endlessly in college dorm rooms of the age. The segues from mounting rock to pondering piano seem hopelessly old-fashioned now, the building tension of violin and percussion seems obvious and hackneyed. In 1971, though, Curved Air were pioneers in every sense of the word and it is neither their fault, nor this album's, that we're not so easily impressed any longer. But maybe it isn't time which has treated this album so poorly, but the slipshod manner in which this album has been converted to CD. It sounds lifeless, sludgy, even (in places) a little slow. It has certainly not been remastered; it may not even have used the best quality tapes. Albums this ambitious need loving care and patient attention to cut the aural ice today. This one got neither. by Dave Thompson  

CURVED AIR - Phantasmagoria (1972-2015) SHM-CD / FLAC (image+.cue), lossless

The sonic caveats which accompany Collector's Choice's other Curved Air reissues remain in force; the historical truth that what sounded timelessly groovy in 1971 is not necessarily so finger-snapping three decades later remains unimpeachable. But still, Phantasmagoria is a fabulous album, the culmination of all that Curved Air promised over the course of its predecessors; the yardstick by which all rock/classical hybrids should be measured. The opening "Marie Antoinette" sets the scene with lovely melody, impassioned vocal and a terrifically understated band performance which complements every syllable uttered by vocalist Sonja Kristina. The bridge into revolution ("the rabble have gone insane") is breathtaking -- history lessons should all sound this good, and the amazing thing is that the album has only just got started. The gentle "Melinda More or Less" is swirling, sweet folky psychedelia, while "Not Quite the Same," a somewhat self-conscious ode to masturbation, disguises its proggy inclinations with a barrelhouse 6/8 rhythm and a genuinely catchy hook. "Ultra-Vivaldi" updates the first album's "Vivaldi" by, apparently, letting the Chipmunks have a go at playing it. And the four-part, side-long title track switches moods, effects, and even genres (jazz, mariachi, and the avant-garde all get a look in) to create an dazzling soundscape which allows every members a moment to shine -- without once stepping into the treacherous swamps of solos and virtuosity. This was the original Curved Air's final album -- by the time the accompanying tour was over, only Kristina and bassist Mike Wedgwood (himself a spanking new arrival) remained to carry on the good work. As farewells go, then, it is magnificent, the band's grandest hour by far. And listening to it all these decades later, one cannot help but wonder how much grander they might have become? by Dave Thompson 

CAMEL - Breathless (1978-2013) SHM-CD / FLAC (image+.cue), lossless

With Rain Dances, Camel began exploring shorter, more concise songs, but it wasn't until its follow-up, Breathless, that they truly made a stab at writing pop songs. Although they didn't completely abandon improvisational prog rock – there are several fine, jazzy interludes – most of the record is comprised of shorter songs designed for radio play. While the group didn't quite achieve that goal, Breathless is nevertheless a more accessible record than Camel's other albums, which tend to focus on instrumentals. Here, they try to be a straightforward prog rock band, and while the results are occasionally a little muddled, it is on the whole surprisingly successful. by Daevid Jehnzen

Tracklist:

1. Breathless

2. Echoes

3. Wing and Prayer

4. Down on the Farm

5. Starlight Ride

6. Summer Lightening

7. You Make me Smile

8. The Sleeper

9. Rainbow's End