GONG - Magick Brother (1970-2004) RM / FLAC (tracks+.cue), lossless

In 1970, the world got its first taste of the original pothead pixie, Daevid Allen's Gong, as Magick Brother was released in France on the BYG label. Allen's wife, Gilli Smyth, penned all the tunes on the album, and Allen's now-classic "Ph.P." drawing style graces the inside of the gatefold. Leaning a little toward the pop end of the spectrum, Magick Brother is a fairly light album, devoid of the blatant psychedelic/hippie qualities which shine through so brilliantly on the later Camembert Electrique. Smyth's "space whispering" makes its debut on the opening track, though the album is not as spacy as it is ethereal. "Gong Song" is a highlight, with lyrics describing a pothead pixie who came down from the planet Gong to sing his green song -- the roots of the Gong myth. Allen's guitar sound is a bit flat and hollow throughout the project, dynamics taking a back seat in most of these recordings. He relies on distortion and various guitar augmentations, but this all works quite well in the context of the collective sound. Much of the vocal harmonizing on the album is typical of many '60s pop troupes and sounds fairly dated today. Didier Malherbe's sax and flute playing spices up this mostly pop-oriented prog rock outing, helping to make this a cut above the radio norm. Although this is an interesting release, especially for its status as the first Gong project, it is not typical Gong and is not recommended as a starting point for sampling the band's recordings. by David Ross Smith

GONG - Continental Circus (Original Soundtrack) (1972-1994) RM / WV (image+.cue), lossless

Gong performed the soundtrack for Continental Circus, Jerome Laperrousaz's film about the 1970 Grands Prix 500cc. Laperrousaz also collaborated with Gilli Smyth on the compositions, which are tighter and more intricate than the band's previous release, Magick Brother. This is possibly the smallest number of musicians involved on any Gong project, and it shows in the sound of the music -- straightforward progressive rock with no surprises. Keys and synth are kept to a minimum as the band plunges forth with the standard guitar, bass and drums. Malherbe's playing (sax/flute) has not yet moved to the forefront, and the band decided to drop the psychedelic angle for this outing. Much of the music is strictly guitar-driven, with the final instrumental cut resembling early King Crimson, as is the case on several cuts from the following, far superior release, Camembert Electrique. [There is a bootleg version of Continental Circus in existence with twice as many tracks.] by David Ross Smith
Tracklist:
1 Blues For Findlay 11:19
2 Continental Circus World 4:08
3 What Do You Want? 9:00
4 Blues For Findlay (Instrumental) 9:42
Credits:
Bass – Christian Tritsch
Drums – Pip Pyle
Saxophone, Flute – Didier Malherbe
Vocals [Space Whisper], Written-By – Gilli Smyth
Vocals, Guitar [Glissandoz] – Daevid Allen
Written-By – Jérôme Laperrousaz (tracks: 1, 2)

GONG - Camembert Électrique (1971-2015) Mini LP CD MSI Japan / RM / FLAC (image+.cue), lossless

This is a classic, the epitome of the band's early Daevid Allen phase with Ph.P.'s (pothead pixies) in full, blazing glory. In its infancy, Gong was a unique prog rock band that branched out in all directions at once while most other prog bands chose simply one path or another. Camembert Electrique is a testament to that. The band's eclectic "electric cheese" rock is a mixture of psychedelic rock, spacy atmospherics and lyrics, and doses of jazz often presented with a pop sensibility, yet always intense. From the first cut on Camembert, you are transported to planet Gong via the voice of a "radio gnome" who drops in intermittently to remind you you're not in Kansas anymore. Daevid Allen leads the band through several compositions musically (not lyrically) reminiscent of, and possibly influenced by, early King Crimson -- a hard, raw-edged sound propelled by a strong guitar-sax-percussion combo. Drummer Pip Pyle played on only a few Gong sessions; he is a major figure here, as is saxophonist Didier Malherbe. Both are up front on the wailing progressive rocker "You Can't Kill Me," which also features guitarist Allen in top form. Allen's declarative "I've Bin Stone Before," the first part of an inventive three-song medley, is of particular interest; introductory church organ and avant-garde sax make this another unique Gong experience. But the real gem on Camembert is "Tropical Fish: Selene." This jazzy composition is the most involving and intricate piece on the recording. The band moves tightly through several progressive movements and Gilli Smyth scores with her trademark "space whispering." Camembert Electrique remains undated after over 40 years and hovers "strong and steamin'" over most of the Gong catalog. by David Ross Smith 
Tracklist:
1 Radio Gnome 0:27
Daevid Allen
2 You Can't Kill Me 6:16
Daevid Allen
3 I've Bin Stone Before/Mister Long Shanks/O Mother 4:51
Daevid Allen
4 I Am Your Fantasy 3:39
Gilli Smyth / Submarine Captain Christian Tritsch
5 Dynamite: I Am Your Animal 4:29
Gilli Smyth
6 Wet Cheese Delirium 0:33
Daevid Allen
7 Squeezing Sponges Over Policemen's Heads 0:12
Daevid Allen
8 Fohat Digs Holes in Space 6:20
Daevid Allen / Gilli Smyth
9 Tried So Hard 4:36
Daevid Allen / Submarine Captain Christian Tritsch
10 Tropical Fish: Selene 7:32
Daevid Allen
11 Gnome the Second 0:25
 Daevid Allen
Credits Bass – Submarine Captain Drums, Percussion [Tables, Chairs] – Pip Pyle Guitar, Vocals [Aluminium Croon] – Bert Camembert, Daevid Allen Saxophone, Flute – Blumdido Bad De Grass Vocals [Space Whisper, Lady Voice] – Gilli Smyth, Shakti Yoni Written-By – Tritsch (tracks: 4, 5, 9), Allen (tracks: 1 to 3, 6 to 11), Smyth (tracks: 4, 5, 8)

GONG - Flying Teapot (Radio Gnome Invisible, Vol. 1) (1973-1996) FLAC (image+.cue), lossless

Produced by Giorgio Gomelsky, notable for his work with the Yardbirds, Brian Auger, and Magma, this relatively early Gong project is a great representation of the Daevid Allen-era Gong. Though not as intricate as its follow-up companion piece, Angel's Egg, The Flying Teapot is more of a true prog/space rock outing, where hippie-trippy lyrics and space whispering abound, as evidenced in the opening track, "Radio Gnome Invisible." The following cut, "Flying Teapot," is the sprawling highlight of the album. At times reminiscent of some early Weather Report jams, though not as jazzy, the tune features prominent bass, standout percussion/drums, and space whispering courtesy of Smyth. Improvisational groaning and percussion bring this jam to a close. "Pothead Pixies" is a fun pop (pot?) tune which probably received very little, if any, airplay due to the lyrics, followed by Blake's brief synth interlude, "The Octave Doctors and the Crystal Machine." "Zero the Hero and the Witch's Spell," another lengthy composition, features Malherbe's sax playing, which, at this early point in the Gong evolution, is credited for most of the jazz sounds heard in the music (remember, Pierre Moerlen has yet to join the band). This cut becomes quite heavy near its end before making a clever transition into the final cut, "Witch's Song/I Am Your Pussy." Here you hear Smyth's strange, sexually explicit lyrics, which she embellishes with ethereal voicings and cackling. This, combined with a jazzy sax from Malherbe and some very groovy musical lines near the closing, make for another fun tune. by David Ross Smith 

Tracklist:
1 Radio Gnome Invisible 5:32
Written-By – Daevid Allen
2 Flying Teapot 11:51
Written-By – Daevid Allen
3 The Pot Head Pixies 3:02
Written-By – Daevid Allen
4 The Octave Doctors And The Crystal Machine 1:51
Written-By – Tim Blake
5 Zero The Hero And The Witch's Spell 9:37
Written-By – Christian Tritsch, Daevid Allen
6 Witch's Song, I Am Your Pussy 5:08
Written-By – Daevid Allen, Gilly Smith
Credits
Bass, Piano – Francis Bacon
Congas – Rachid Whoarewe
Design [Cover Design] – Dingo, Maggie, Tom Fu
Drums, Percussion – Lawrence The Alien
Flute, Tenor Saxophone, Soprano Saxophone – The Good Count Bloomdido Bad De Grass
Guitar – Stevie Hillside, The Submarine Captain
Guitar, Vocals – Dingo Virgin
Vocals [Spacewhisper], Organ – The Good Witch Yoni
Synthesizer, Vocals – Hi. T. Moonweed

GONG - Angel's Egg (Radio Gnome Invisible, Vol. 2) (1973-2015) Mini LP SHM-CD Universal Japan / RM / FLAC (image+.cue), lossless

The companion piece to The Flying Teapot, Angel's Egg is not your usual progressive rock album. Very quirky, with many, mostly brief compositions, the album is a tad less spacy than Teapot, with just a few psychedelic-inspired lyrics, and it's very technically adept. Angel's Egg opens with a true space rock cut (one of the few on the album), filled with the usual Gilli Smyth space whispering and Daevid Allen voicings, then leads into the cleverly titled "Sold to the Highest Buddha," with Steve Hillage and Didier Malherbe prominent figures. The instrumental "Castle in the Clouds" finds Hillage coming into his own, with a sound identical to his solo work. "Givin' My Love to You" sounds like a bar song, with no music and a cluster of seemingly drunken fellas trying to sing. The instrumental "Flute Salad" gives way to "Oily Way," a showcase for Malherbe's jazzy flute. "Inner Temple," an instrumental space rock track, moves along with a jazz edge, provided by Malherbe's sax. The final three tracks are the real highlights on Angel's Egg. "I Never Glid Before" is a fantastic prog rock tune, replete with blistering Hillage solo, primo Allen lyrics and vocal, and the precise percussion of new bandmember Pierre Moerlen. This eclectic composition travels through several movements and time changes, and comes across as a perpetually progressing piece. The imaginative and jazzy "Eat That Phone Book Coda" brings the album to a close.  by David Ross Smith  
Tracklist:
1 Other Side Of The Sky 7:40
Written-By – Allen, Blake
2 Sold To The Highest Buddha 4:25
Written-By – Allen, Howlitt
3 Castle In The Clouds 1:09
Written-By – Hillage
4 Prostitute Poem 4:53
Written-By – Smyth, Hillage
5 Givin' My Luv To You 0:42
Written-By – Allen
6 Selene 3:38
Written-By – Allen
7a Flute Salad 2:09
Written-By – Malherbe
7b Oily Way 3:37
Written-By – Allen, Malherbe
8 Outer Temple 1:09
Written-By – Hillage, Blake
9 Inner Temple 2:34
Written-By – Allen, Malherbe
10 Percolations 0:46
Written-By – Moerlin
11 Love Is How Y Make It 3:26
Written-By – Allen, Moerlin
12 I Niver Glid Before 5:37
Written-By – Hillage
13 Eat That Phone Book Coda 3:09
Written-By – Malherbe
Credits
Bass – T. Being Esq
Drums, Vibraphone, Marimba – Pierre de Strasbourg
Glockenspiel – Mirielle de Strasbourg
Lead Guitar [Lewd Guitar] – Sub Capt Hillage
Producer – Gong
Synthesizer, Vocals [Lady Voce] – T. Moonweed
Tenor Saxophone, Soprano Saxophone, Flute, Vocals [Bi-Focal Vocal] – Bloomdido Bad de Grass
Vocals [Local Vocals Aluminium Croon], Guitar [Glissando Guitar] – Dingo Virgin
Vocals [Space Whisper & Loin Cackle] – Shakti Yoni

GONG - You (Radio Gnome Invisible Vol. 3) (1974-2015) Mini LP SHM-CD Universal Japan / RM / FLAC (image+.cue), lossless

You is the final installment in Gong's legendary Radio Gnome Trilogy, and it marks an important turning point for the band. By 1974, the psychedelic hippie/folk-rock element of the sound that was leader Daevid Allen's most important contribution was beginning to disappear. In its place was a more sophisticated musical vision that owed as much to jazz-rock fusion as to fellow space rockers like Pink Floyd and Hawkwind. Ironically, this is Gong's most "spacy" album, full of extended, ethereal passages that would inspire future generations of space rockers. The sound was equally defined however, by the jazzy flights of saxophonist Didier Malherbe and the sinuous rhythms of bassist Mike Howlett and drummer Pierre Moerlen (the band would eventually become the fusion-oriented Pierre Moerlen's Gong). Allen's songs still provide a crucial link to the rest of the trilogy, though the conceptual/mythological aspect is less crucial to You.  by Rovi Staff
Tracklist
1 Thought For Naught 1:30
2 A P.H.P.'s Advice 1:37
3 Magick Mother Invocation 2:11
4 Master Builder 6:09
5 A Sprinkling Of Clouds 8:42
6 Perfect Mystery 2:25
7 The Isle Of Everywhere 10:21
8 You Never Blow Yr Trip Forever 11:24
Credits
Bass Guitar – Mike Howlett
Illustration [Scandalous Mandalous On The Back] – Daevid Allen
Lead Guitar – Steve Hillage
Percussion – Benoit, Mireille, Pierre Moerlen
Synthesizer [Moog And EMS Synthesisers], Mellotron [Mellowdrone] – Hi T Moonweed
Vocals [Vocal Locust], Guitar [Glissandoz Guitar] – Dingo Virgin
Voice [Poems], Vocals [Spacewhisper] – Shakti Yoni
Voice [Wee Voices], Backing Vocals [Chourousings] – Bambaloni Yoni
Wind [Wind Instruments], Vocals – Bloomdido Bad de Grass
Written-By – Gong

GONG - Shamal (1975-2015) Mini LP SHM-CD Universal Japan / RM / FLAC (image+.cue), lossless

Between Daevid Allen's departure from the band and Pierre Moerlen's official takeover of the band, there is Shamal. This transitional album contains none of the Allen-inspired psychedelia, but also very little of Moerlen's jazz influence. Shamal is, for the most part, a progressive rock album, half vocal, half instrumental. Its most accessible tune, the opening "Wingful of Eyes," had the potential for airplay if only it hadn't been so lengthy. Penned by Mike Howlett, his not-so-great-but-appealing vocal style and lyrics will grow on you, given the opportunity. "Bambooji," mostly instrumental, opens with Didier Malherbe's flute, which at times gives this tune an Asian sound. Percussion and flute dominate and yield a Scottish feeling as well. "Mandrake" is the soft, laid-back piece on the album, followed by the closing title cut, a slight foreshadowing of the sound Pierre Moerlen and company assumed on the next several albums. Moerlen, an outstanding, classically trained drummer/percussionist, along with Jorge Pinchevsky on violin color this piece with a Mahavishnu Orchestra hue, although it's still distinctly Gong. by David Ross Smith
Tracklist:
1 Wingful Of Eyes 8:19
Electric Guitar, Acoustic Guitar – Steve Hillage
Written-By – Howlett
2 Chandra 7:16
Lyrics By – Howlett
Music By – Lemoine
Violin – Jorge Pinchevsky
3 Bambooji 5:21
Electric Guitar, Acoustic Guitar – Steve Hillage
Violin – Jorge Pinchevsky
Vocals – Miquette Giraudy
Written-By – Malherbe
4 Cat In Clark's Shoes 7:45
Violin – Jorge Pinchevsky
Voice – Jorge Pinchevsky
Written-By – Malherbe, Howlett, Lemoine
5 Mandrake 5:07
Written-By – Moerlen
6 Shamal 8:58
Violin – Jorge Pinchevsky
Vocals – Sandy Colley
Written-By – Malherbe, Howlett, Bauer, Lemoine, Moerlen
Credits:
Bass Guitar, Vocals – Mike Howlett
Violin, Voice – Jorge Pinchevsky
Drums, Vibraphone, Tubular Bells – Pierre Moerlen
Marimba, Percussion [Assorted], Glockenspiel, Xylophone, Gong – Mireille Bauer
Piano, Organ, Synthesizer [Mini-moog] – Patrice Lemoine
Producer – Nick Mason
Tenor Saxophone, Soprano Saxophone, Flute [Bamboo, C&g Flutes], Gong – Didier "Bloom" Malherbe

GONG - Gong Est Mort (1977-2015) 2 Mini LP SHM-CD / RM / FLAC (image+.cue), lossless

Live album recorded during the first « Gong reunion » in May 28, 1977 in Hippodrome de Pantin (Paris), organised by Jacques Pasquier. The classic Gong line-up with founder Daevid Allen didn’t exist anymore at this date, but reconvened for this event, which also featured all bands formed by ex or current Gong members : Daevid Allen with Euterpe, Didier Malherbe’s Bloom, the « official » Gong led by Pierre Moerlen, Mike Howlett’s Strontium 90, Tim Blake’s Crystal Machine, Steve Hillage’s band etc…
When the newly created label Tapioca announced they will release the Gong recording of this concert, Virgin interjected by legally trying to prevent the release of this album, saying the band and name Gong was signed to Virgin, as well as other artists like Steve Hillage. In an attempt to sabotage the release of the Hippodrome concert, Virgin also quickly compiled live tapes of Gong and issued the Live Etc. album in August 1977, including many pictures of the Hippodrome concert on the insert sleeves ! As a reaction, Daevid Allen and Gong freaks invaded the Virgin offices in London, claiming that Gong belonged to no-one. Eventually, Tapioca was able to release their Gong Est Mort album in September (or November ?) 1977. Though as a side-effect of the dispute with Virgin, Steve Hillage could not be credited on this recording and his face was blanked on the inner gatefold picture. web
Tracklist 1:
1. Can't Kill Me 7:59
2. I've Been Stoned Before / Mr Longshanks / O Mother 06:42
3. Radio Gnome Invisible 03:01
4. Zero The Hero & The Witches Spell 10:03
5. Flute Salade / Oily Way / Outer Temple 10:26
(0:38:13)
Tracklist 2:
1. Inner Temple (Zero Meets The Octave Doctor) 05:54
2. IAO Chant & Master Builder 06:49
3. Sprinkling Of Clouds 04:24
4. From The Isle Of Every Where To The End Of The Story Of Zero The Hero 12:18
5. You Never Blow Your Trip Forever 10:27
(0:39:54)
Credits:
Bass [Souper Bass] – Mister T. Being
Drums – Le Pere Cushion De Strasbourger
Guitar [Glissando Guitar], Vocals [Chant] – Bert Camenbert
Guitar [Uncredited] – Steve Hillage
Mixed By – Christian Gence, Daevid Allen
Saxophone [Saxo Selmer], Flute [Float] – Bloomdido Bad De Grass
Synthesizer, Keyboards – High. T. Moonweed
Vocals [Space Whisper] – Shakti Yoni

GONG - Live Etc. (1977-2015) 2 Mini LP SHM-CD Universal Japan / RM / FLAC (image+.cue), lossless

The essential Live Etc. sports incredible live versions of material from four Gong albums (Camembert Electrique, Flying Teapot, Angel's Egg, You) and one studio track which had been recorded in 1974 as an attempt at a single. The live material, recorded 1973-1975, consists of performances from several different incarnations of the band, making this an excellent starting point for anyone interested in sampling Gong. Abundant and overflowing with infusions of space, prog, and jazz, this melting pot of a band stands alone in its eclectic delivery of the goods. Highlights include Moerlen's percussion solo on "Flying Teapot," Malherbe's sax solo on "Zero the Hero...," and Hillage's guitar work on the spacy "Radio Gnome Invisible." "Where Have All the Flowers Gone" is Gong's attempt at a single; while somewhat mainstream, even this piece pushes the envelope for the airwaves. "6/8 Tune" is a superb jazzy instrumental, a kind of foreshadowing to the CD's final four tracks, which are for the most part instrumental and very progressive. The tracks blend together to form the climax and highlight of this great live album, and exhibit the jazziness that would become an integral sound in the band's future releases. Recorded after Allen's departure, this is the personnel that would go on to record Shamal, though no tracks from that album show up here. Live Etc. originally ended with the tune "Ooby-Scooby Doomsday" (another attempt at a pop hit), but at 79 minutes, the CD format could not hold it, and it has been tacked on to the end of the Angel's Egg compact disc release. by David Ross Smith   
Tracklist 1:
1. You Can't Kill Me 5:56
2. Zero The Hero And The Witch's Spell 11:05
3. Flying Teapot 6:31
4. Dynamite / I Am Your Animal 5:43
5. 6/8 Tune 3:48
6. Est-Ce Que Je Suis 4:16
7. Ooby-Scooby Doomsday Or The D-day DJ's Got The D.D.T. Blues 5:09
8. Radio Gnome Invisible 7:35
Tracklist 2:
1. Oily Way 3:21
2. Outer Temple 1:03
3. Inner Temple 5:14
4. Where Have All The Flowers Gone? 3:04
5. Isle Of Everywhere 10:24
6. Get It Inner 2:30
7. Master Builder 5:57
8. Flying Teapot (Reprise) 2:05
Credits:
Bass, Vocals – Mike Howlett
Drums – Pierre Moerlen, Rob Tait
Flute, Percussion, Saxophone, Vocals – Didier Malherbe
Guitar, Vocals – Daevid Allen, Steve Hillage
Keyboards – Patrice Lemoine
Keyboards, Vocals – Miquette Giraudy
Percussion – Mireille Bauer
Percussion, Vocals – Diane Stewart
Synthesizer, Keyboards, Vocals – Tim Blake
Vocals – Gilli Smyth

PIERRE MOERLEN'S GONG - Downwind (1979-2010) RM / FLAC (image+.cue), lossless

The impressive Downwind is the first release from the band under its new moniker, Pierre Moerlen's Gong, as Moerlen assumes creative control and dominance. The release marks a return to vocals/lyrics, which proves only partially successful. Moerlen's voice is a hit on the opener, the rocking "Aeroplane," and the collective vocals on the fast-paced, percussive "Jin-Go-Lo-Ba" (popularized by Santana) are right on target. His singing is weak, though, on "What You Know" and detracts from the song's quality. Mick Taylor makes his only appearance here with an exceptional guitar solo. Downwind is also a return to compositions dominated by rock structures and styles, the jazz element minimal this time around. The instrumental cuts are sublime: "Emotions" and "Xtasea" are relaxing; "Crosscurrents" and "Downwind" are energetic and exciting. The title cut is easily the highlight of the album, featuring guest appearances by Steve Winwood (Moog, synth) and guitarist Mike Oldfield. At almost 13 minutes, this thrilling composition resembles the early work of Oldfield, particularly strains of "Tubular Bells, Pt. 1," and specifically the section used for the film The Exorcist. On "Downwind," Moerlen's percussives are ablaze, recalling his "Percolations" performance from Gazeuse. Bassist Hansford Rowe is prominent, and saxophonist Didier Malherbe, a longtime Gong staple, makes his only appearance on the album. by David Ross Smith 
Tracklist:
1 Aeroplane 2:39
2 Crosscurrents 6:11
3 Downwind 12:30
Co-producer – Mike Oldfield
Flute – Terry Oldfield
Guitar, Bass, Drums – Mike Oldfield
Saxophone – Didier Malherbe
Synthesizer – Steve Winwood
4 Jin-Go-Lo-Ba 3:24
Written-By – M. Olatunji
5 What You Know 3:40
Lead Guitar – Mick Taylor
6 Emotions 4:44
7 Xtasea 6:39
Credits:
Bass, Vocals – Hansford Rowe
Congas, Marimba – François Causse
Drums, Vibraphone, Timpani, Cowbell, Timbales, Percussion, Organ [Hammond], Synthesizer, Vocals – Pierre Moerlen
Guitar, Vocals – Ross Record
Producer – Pierre Moerlen
Tape Op – Jess Sutcliffe
Vibraphone – Benoit Moerlen
Violin – Didier Lockwood (tracks: 1, 6, 7)
Written-By – Pierre Moerlen (tracks: 1 to 3, 5 to 7), Ruan O'Lochlain (tracks: 1 to 3, 5 to 7)

CARAVAN - Caravan (1968-2002) SHM-CD / FLAC (image+.cue), lossless

For their first album, Caravan was surprisingly strong. While steeped in the same British psychedelia that informed bands such as Love Children, Pink Floyd, and Tomorrow, Caravan relates a freedom of spirit and mischief along the lines of Giles, Giles & Fripp or Gong. The band's roots can be traced to a British blue-eyed soul combo called the Wilde Flowers. Among the luminaries to have passed through this Caravan precursor were Robert Wyatt, Kevin Ayers, and Hugh Hopper and Brian Hopper (pre-Soft Machine, naturally). By the spring of 1968, Caravan had settled nicely into a quartet consisting of Pye Hastings (guitar/bass/vocals), Richard Coughlan (drums), David Sinclair (organ/vocals), and Richard Sinclair (bass/guitar/vocals). Inspired by the notoriety and acclaim that Soft Machine encountered during the burgeoning days of London's underground scene, Caravan began a residency at the Middle Earth club. Additionally, the band was shopping a homemade demo tape around to local record companies. Before long, entrepreneur Tony Cox worked out a deal for them to record on the newly founded U.K. division of the Verve label. Caravan's self-titled debut is equally as inventive and infinitely more subtle than the Soft Machine's Volume One or Pink Floyd's Piper at the Gates of Dawn. Two of the album's best tunes -- the ethereal "Place of My Own" was backed with the dreamlike "Magic Man" -- were issued as the band's first single. Those tracks accurately exemplify the subtle complexities that Caravan would hone to great effect on later recordings. The same can also be said for album cuts such as "Love Song With Flute" and the extended nine-minute "Where but for Caravan Would I?" The latter title aptly exemplifies Caravan's decidedly less than turgid attitude toward themselves -- a refreshing contrast from the temperamental and serious Art School approach adopted by Pink Floyd and the Moody Blues. The mono and stereo mixes of the long-player are striking in their disparities. The stereo mix is at times opaque and virtually swallows the vocals most specifically on the tracks "Policeman" and "Grandma's Lawn." Otherwise, there are numerous additional nuances that discern the two. The single version of "Hello Hello" is also included as a bonus. This track was the follow-up 45 to "Place of My Own" and would appear in a slightly different form on their next LP, If I Could Do It All Over Again, I'd Do It All Over You. Potential consumers should note that the sound quality on this package is indescribably better than the HTD Records 1996 CD pressing.  by Lindsay Planer   
Tracklist 
1 Place Of My Own 4:01
2 Ride 3:42
3 Policeman 2:44
4 Love Song With Flute 4:10
Flute – Jimmy Hastings
5 Cecil Rons 4:07
6 Magic Man 4:03
7 Grandma's Lawn 3:25
8 Where But For Caravan Would I? 9:01
Written-By – Brian Hopper
Stereo Album
9 Place of MyOwn 4:02
10 Ride 3:42
11 Policeman 2:44
12 Love Song with Flute 4:10
13 Cecil Rons 4:07
14 Magic Man 4:03
15 Grandma's Lawn 3:25
16 Where but for caravan would I? 9:01
- Bonus Track -
17 Hello Hello (single version) 3:12
Credits
 Drums – Richard Coughlan
Guitar, Bass, Vocals – Pye Hastings, Richard Sinclair
Organ, Piano, Vocals – David Sinclair
Written-By – David Sinclair, Julian Hastings, Richard Coughlan, Richard Sinclair

GILGAMESH - Gilgamesh (1975-1990) FLAC (image+.cue), lossless

Gilgamesh's 1975 eponymous debut portrays a fine group that emerged during the waning days of Britain's Canterbury scene. The album by keyboardist Alan Gowen's quartet -- also featuring guitarist Phil Lee, bassist Jeff Clyne, and drummer Mike Travis in this incarnation -- was issued by Virgin Records' budget-line Caroline imprint. By the mid-'70s, Virgin's support for bands of this ilk was approaching its end, with punk and new wave soon ruling the day. Arriving late in the game, Gowen and company sounded most similar to Canterbury supergroup Hatfield and the North, and in fact Hatfields keyboardist Dave Stewart co-produced the album. Gilgamesh had clearly mastered the Hatfields' suites'n'segues approach to Canterbury-style complexity while sidestepping blatant imitation -- for the most part. Certainly from the first notes of opening three-part suite "One End More/Phil's Little Dance/Worlds of Zin," Gilgamesh prove capable of nimble thematic lines and knotty stops and starts, while admirably refraining from pyrotechnics. The suite's kitchen-sink approach makes room for King Crimson-ish Mellotron and grand piano flourishes (recalling Keith Tippett on Lizard) as well as Stevie Wonder-ish funk-lite clavinet, but the uniform production smooths out such quirky juxtapositions. "Lady and Friend" provides a true jolt, with Clyne's lullaby-like bass melody, seasoned by light electric piano/guitar accompaniment, preceded by a brief blast of full-band unison riffing seemingly designed as a rude interruption. Just over a minute and a half long, Gowen's "Arriving Twice" is a wonderful interlude, with acoustic guitar, electric piano, and synth sketching a melody that draws from jazz, folk, and classical but ultimately transcends such labels; it's the perfect segue into "Island of Rhodes," the first portion of the album's next three-part suite, with the track's namesake keyboard floating in nocturnal ambience à la In a Silent Way before the introduction of a dreamily beautiful theme accompanied by the subtlest percussive embellishments from Travis. The suite ultimately offers its own share of unpredictable twists, ending with a driving vamp as guitarist Lee cuts loose, but the production again manages to avoid shattering the prevailing vibe. The album does court Hatfields imitation here and there -- "Jamo and Other Boating Disasters" features Amanda Parsons' soprano vocals in pure Northettes style during an interlude that clearly strives for the drama of The Rotters' Club's "Mumps" coda, while elsewhere Lee employs a decidedly Phil Miller-esque electric guitar tone. But Gowen himself avoids obvious Canterbury devices, eschewing fuzz organ solos during the music's most animated moments in favor of round-toned synth voicings that snake and float through rather than pierce the air. Gilgamesh's studio-based forays may have tamped down the band's woollier aspects, but the keyboardist and his bandmates were charting their own inimitable direction, too briefly explored but holding up admirably in recordings such as this. by Dave Lynch 
Tracklist:

1 One and More/Phil's Little Dance (For Phil Miller's Trousers)/Worlds ... 10:22

Gilgamesh / Alan Gowen
2 Lady and Friend 3:44
Jeff Clyne / Alan Gowen
Gilgamesh / Alan Gowen
3 Notwithstanding 04:47
Steve Cook / Alan Gowen / Phil Lee
Gilgamesh / Alan Gowen
4 Arriving Twice 1:37
Alan Gowen
Gilgamesh / Alan Gowen
5 Island of Rhodes/Paper Boat/As If Your Eyes Were Open 6:41
Steve Cook / Alan Gowen / Phil Lee
Gilgamesh / Alan Gowen
6 For Absent Friends 1:13
Gilgamesh / Alan Gowen
7 We Are All/Someone Else's Food/Jamo and Other Boating ...  7:49
Gilgamesh / Alan Gowen
8 Just C 0:47
Gilgamesh / Alan Gowen
Credits:

Double Bass, Bass Guitar – Jeff Clyne

Drums, Percussion – Michael Travis
Electric Guitar, Acoustic Guitar, Twelve-String Guitar, Classical Guitar – Phil Lee
Piano, Electric Piano, Clavinet, Synthesizer, Mellotron – Alan Gowen
Voice – Amanda Parsons

GILGAMESH - Another Fine Tune You've Got Me Into (1978-2009) RM / APE (image+.cue), lossless

Like finely tattered lace, Gilgamesh created intricate music that was light and airy, its moods mostly gentle, yet its power incontrovertible. Two years had passed since the band's debut album, and the group had splintered, with the members going on to other projects. Regardless, 1977 saw keyboardist Alan Gowen begin composing music for a follow-up; he was soon rejoined by guitarist Phil Lee. Drummer Trevor Tomkins and bassist Hugh Hopper completed the lineup, and work began on Another Fine Tune You've Got Me Into. Floating between free-form jazz, fusion, and at-times psychedelia, what's immediately notable about the set is its complex and ever-shifting time signatures. In lesser hands, the changes would be disconcerting, but the musical riffs and swells of melodies provide a centering for the pieces, with the rhythms and music sliding and floating like drops of mercury. An excellent set from a highly talented composer and a group of excellent musicians. It's just a shame that the rest of the world was into punk rock at the time! by Dave Thompson
Tracklist:
1 Darker Brighter 5:40
Written-By – Gowen 
2 Bobberty / Theme For Something Else 10:41
Written-By – Gowen, Lee
3 Waiting 2:25
Recorded By – Peter Ball 
Written-By – Lee 
4 Play Time 7:16
Written-By – Gowen
5 Underwater Song 7:05
Written-By – Gowen 
6 Foel'd Again 1:51
Written-By – Gowen, Hopper
7 T.N.T.F.X. 2:57
Written-By – Gowen 
Credits:
Bass Guitar – Hugh Hopper
Drums – Trevor Tomkins
Guitar [Guitars] – Phil Lee
Keyboards – Alan Gowen
Painting [Cover Painting: 'The Ghost Of A Flea'] – William Blake

GILGAMESH - Arriving Twice (2000) APE (image+.cue), lossless

Based on 1975's eponymous debut album and 1978's Another Fine Tune, Gilgamesh seemed rather polite, representing the Canterbury scene's cerebral side. But nearly two decades after keyboardist/bandleader/composer Alan Gowen's 1981 passing, Cuneiform set out to broaden the understanding of this often spirited band with the archival release Arriving Twice, issued in 2000. The angularity and complexity of those '70s albums blended into a late-night trippy ambience (not necessarily a bad thing). Comparably, Arriving Twice is a wake-up call. Its eight tracks -- including three multi-part suites -- come from a 1973 demo tape and 1974 and 1975 BBC sessions. Gowen, guitarist Phil Lee, and drummer Mike Travis are present throughout, while there are three different bassists and two tracks add second keyboardist Pete Lemer. In the collection’s extensive liner notes tracing the band's history, Travis complains about the "boxy and fussy" drum sound on tracks one and two, from the 1973 demo (Gilgamesh's first-ever recording, in which Gowen is heard only on Wurlitzer electric piano), but the balance is good, the recording is clear despite one rough patch, and Gowen's unique conception -- with melodic tunefulness, advanced jazz harmonics, inimitable composing, and able soloing forming a unified whole -- is well displayed.
After an almost regal opening theme and guitar-piano unison bridge on leadoff track "With Lady and Friend," the band thrashes through a midtempo vamp nailed by bassist Neil Murray as Gowen comps jazzily, Travis builds up the energy, and Lee burns through one of his best solos ever. Deep in the following 18-minute, five-part suite, the music rushes forward on the power of Travis' drumming and Murray's buzzing bass, with fine solo work from Lee and a modally shifting Gowen. The sound becomes thin after an abrupt shift to acoustic guitar, but fills out nicely as the band traverses multiple composed and improvised segments -- including a foray into "Phil’s Little Dance," more rocked up than the mildly funky clavinet-driven version on the group's 1975 debut. "Island of Rhodes," from the BBC in 1974, prominently features new member Steve Cook playing a Hugh Hopper-esque bassline that animates the tune -- contrasting with its beautifully spacy incarnation on Gilgamesh -- while Lemer is a second subtle keyboard presence. The nine-and-a-half-minute "Extract," from the same session, is one of Gilgamesh's most organically flowing outings. After those two 1974 mono BBC tracks, the sound expands beautifully on the final four tracks, from the BBC in 1975. These pieces, now featuring bassist Jeff Cline, can all be heard on Gilgamesh (including a reprise of "Phil's Little Dance"), but here sound like the debut album on steroids -- without undercutting the loveliness of "Arriving Twice," a tune deserving iconic status among Canterbury fans. "Worlds of Zin" is on fire, and the multi-layered puzzle pieces of the intense polyrhythmic "Notwithstanding" match anything from Soft Machine's jazz-rock phase. Arriving Twice is a vital document of an underappreciated band that could be far more rousing than many listeners supposed. by Dave Lynch 
Tracklist:
1 With Lady And Friend 4:25
Composed By – Alan Gowen
2a You're Disguised 17:52
Composed By – Alan Gowen
2b Orange Diamond
Composed By – Alan Gowen
2c Northern Gardens
Composed By – Alan Gowen
2d Phil's Little Dance
Composed By – Alan Gowen
2e Northern Gardens
Composed By – Alan Gowen
3a Island Of Rhodes 6:52
Composed By – Alan Gowen, Phil Lee, Steve Cook  
3b Paper Boat
Composed By – Alan Gowen
3c As If Your Eyes Were Open
Composed By – Alan Gowen
4 Extract 9:27
Composed By – Alan Gowen
5a One End More 9:11
Composed By – Alan Gowen
5b Phil's Little Dance
Composed By – Alan Gowen
5c Worlds Of Zin
Composed By – Phil Lee
6 Arriving Twice 1:41
Composed By – Alan Gowen
7 Notwithstanding 4:21
Composed By – Alan Gowen, Phil Lee, Steve Cook  
8 Lady And Friend 4:06
Composed By – Alan Gowen, Jeff Clyne
Credits:
Bass – Jeff Clyne (tracks: 5, 6, 7, 8), Neil Murray (tracks: 1, 2), Steve Cook (tracks: 3, 4)
Drums – Mike Travis
Electric Piano, Synth [Synths] – Peter Lemer (tracks: 3, 4)
Guitar [Guitars] – Phil Lee
Piano, Electric Piano, Synth [Synths] – Alan Gowen

HENRY COW - Leg End (1973-2015) SHM-CD / FLAC (image+.cue), lossless

Political astuteness aside, Henry Cow's Leg End is simply a busy musical trip, comprised of snaking rhythms, unorthodox time signatures, and incongruous waves of multiple instruments that actually culminate in some appealing yet complex progressive rock. Here, on the band's debut, both Fred Frith and woodwind man Geoff Leigh hold nothing back, creating eclectic, avant garde-styled jazz movements without any sense of direction, or so it may seem at first, but paying close attention to Henry Cow's musical wallowing results in some first-rate instrumental fusion, albeit a little too abstract at times. Through tracks like "Amygdala," "Teenbeat," and "The Tenth Chaffinch," it's simply creativity run amok, instilling the free-spiritedness of the late '60s into this, a 1974 album. The techniques are difficult to follow, but the stewing that emerges between the piano, guitar, flute, and percussion is so animated and colorful, it actually sounds pleasant as a whole. Chris Cutler lends his uncommitted, self-governing brand of drumming to the album to help culminate the frenzy, and Leigh's tenor flute does add some extraordinary musical fabric to each of the album's ten cuts. "Nine Funerals of the Citizen King" is one of the easiest pieces to listen to, while the short but amiable "Bellycan" is an excerpt removed from the group's work with the Greasy Truckers, performed a year earlier. In 1974, Henry Cow released Unrest, which contains the same vigor and spontaneity as Leg End, only it didn't receive the same amount of attention. Shortly after, they united with Dagmar Krause and the rest of Slapp Happy to further their unconventional route. by Mike DeGagne
Tracklist  
1 Nirvana For Mice 4:53
Engineer [First Part] – Mike Oldfield
Mixed By [Remixed By] – Fred Frith
Tenor Saxophone – Geoff
Written-By – Frith
2 Amygdala 6:47
Bassoon – Lindsay Cooper
Written-By – Hodgkinson
3 Teenbeat Introduction 4:32
Mixed By [Remixed By] – Fred Frith
Voice – Cathy Williams, Maggie Thomas, Sarah Greaves
Written-By – H. Cow
4 Teenbeat 6:57
Alto Saxophone [Alto On End Of] – Tim
Mixed By [Remixed By] – Fred Frith
Voice – Cathy Williams, Maggie Thomas, Sarah Greaves
Written-By – Frith, Greaves
5 Nirvana Reprise 1:11
Mixed By [Remixed By] – Fred Frith
Written-By – Frith
6 Extract From 'With The Yellow Half-Moon And Blue Star' 2:26
Written-By – Frith
Xylophone [Pixiphone] – Jeremy Baines
7 Teenbeat Reprise 5:07
Mixed By [Remixed By] – Fred Frith
Voice – Cathy Williams, Maggie Thomas, Sarah Greaves
Written-By – Frith
8 The Tenth Chaffinch 6:06
Written-By – H. Cow
9 Nine Funerals Of The Citizen King 5:34
Written-By – Hodgkinson
10 Bellycan 3:19
Tenor Saxophone – Geoff
Written-By – H. Cow
Bonus Tracks
11 Teenbeat 10:19
Voice [Conversation] – Amanda Parsons, Ann Rosenthal
Voice [Conversation], Celesta – Dave Stewart
12 Citizen King 5:21
13 Nirvana For Moles 4:09
Credits
Bass, Piano, Whistle, Voice – John Greaves
Drums, Toy [Toys], Piano, Whistle, Voice – Chris Cutler
Guitar [Guitars], Violin, Viola, Piano, Voice – Fred Frith
Organ, Piano, Alto Saxophone [Alto Sax], Clarinet, Voice – Tim Hodgkinson
Saxophone [Saxes], Flute, Clarinet, Recorder, Voice – Geoff Leigh

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

MATCHING MOLE - Matching Mole (1972-2012) 2CD / FLAC (image+.cue), lossless

The opening track, "O Caroline," is indicative of Wyatt at his best: art rock with a human face, a playful vocal, and soul. Much of the record is instrumental improvisation, though, with the humor largely confined to the song titles ("Instant Pussy," "Dedicated to Hugh, But You Weren't Listening"). For every nifty passage (the extended melancholy Mellotron solo on "Immediate Curtain," the goofy scat vocals on "Signed Curtain"), there's equal or greater instrumental patter. Some art rock devotees really get behind this album, but it doesn't count among the more enduring statements by the Canterbury crowd.  by Richie Unterberger
Disc One - The Original Album Remastered:
1-1 O Caroline 5:06
Written-By – David Sinclair, Robert Wyatt
1-2 Instant Pussy 3:02
Electric Piano – Dave McRea
Written-By – Robert Wyatt
1-3 Signed Curtain 3:03
Written-By – Robert Wyatt
1-4 Part Of The Dance 9:14
Electric Piano – Dave McRea
Written-By – Phil Miller
1-5 Instant Kitten 4:59
Written-By – Robert Wyatt
1-6 Dedicated To Hugh, But You Weren't Listening 4:40
Electric Piano – Dave McRea
Written-By – Robert Wyatt
1-7 Beer As In Braindeer 4:02
Electric Piano – Dave McRea
Written-By – Robert Wyatt
1-8 Immediate Curtain 5:58
Written-By – Robert Wyatt
Bonus Tracks
1-9 O Caroline (Single Version) 3:33
Written-By – David Sinclair, Robert Wyatt
1-10 Signed Curtain (Single Edit) 3:05
Written-By – Robert Wyatt
1-11 Part Of The Dance Jam 20:57
Written-By – Phil Miller

Disc Two - Album Sessions Recordings December 1971 / January 1972:
2-1 Signed Curtain (Take Two) 5:32
Written-By – Robert Wyatt
2-2 Memories Membrane 11:16
Written-By – Robert Wyatt
2-3 Part Of The Dance (Take One) 7:27
Electric Piano – Dave McRea
Written-By – Phil Miller
2-4 Horse 3:47
Electric Piano – Dave McRea
Written-By – Robert Wyatt
BBC Radio One Sessions 
2-5 Immediate Kitten 9:54
Electric Piano – Dave McRea
Written-By – Robert Wyatt
 2-6 Marchides / Instant Pussy / Smoke Signal 19:36
Electric Piano – Dave McRea
Written-By – Dave McRae, Robert Wyatt
Credits
Bass Guitar – Bill MacCormick
Guitar – Phil Miller
Mellotron, Piano, Drums, Voice – Robert Wyatt
Piano, Organ – David Sinclair (tracks: 1-1 to 2-5)
Artwork [CD Artwork] – Phil Smee