V.A. - The Rough Guide To Psychedelic Cambodia (2014) 2xCD / FLAC (tracks+.cue), lossless

The Rough Guide to Psychedelic Cambodia compiles various psychedelic rock sides recorded during the '60s and '70s in Cambodia. Also included are a few cuts by contemporary Cambodian rock revivalists Dengue Fever and the Cambodian Space Project. The vintage recordings made by some of the biggest names in Cambodian pop including Ros Seresyothea, Sinn Sisamouth, Pan Ron, and others. These are electric guitar and organ-heavy songs, featuring a mix of American blues, rock, and R&B influences mixed with more traditional Cambodian styles. In that sense, many of the cuts like Yos Olarang's "Cyclo" and Ros Seresyothea's "Jam 10 Kai Theit" (Wait Ten Months More) have a lot in common with the lo-fi garage rock being made in the United States at the time. Other tracks like Ros Seresyothea's "Komlos Sey Chaom" (Love God) and "Thgnai Kor Chrer" (The Sun Is Setting) were simply inspired reworkings of Shocking Blue's "Venus" and the Animals' "House of the Rising Son," albeit sung with new Khmer lyrics (a common practice in Cambodia at the time). After the Khmer Rouge came to power, there was a cultural ban on Western-style rock music and many of the albums made during that period were destroyed and lost. Furthermore, many of the musicians who made this music were arrested and, in some cases, executed by the Khmer Rouge during the Cambodian genocide. Thankfully, a few of these recordings were preserved and collected here. by Matt Collar  
Tracklist 1 :
1    Ros Sereysothea–    Jam 10 Kai Theit (Wait Ten Months More)    3:28
2    Pan Ron–    Paem Nas Sneha (Love Like Honey)    3:01
3    Yos Olarang–    Cyclo    4:27
4    Dengue Fever–    Tiger Phone Card    3:36
5    Ros Sereysothea–    Komlos Say Chaom (Love God) 3:15
Written-By [Uncredited] – Robbie van Leeuwen
6    Pan Ron–    Kom Veacha Tha Sneha Knom 3:19
Written-By [Uncredited] – Sonny Bono
7    Ros Sereysothea–    Penh Jet Thai Bong Mouy (A Go Go)    3:04
8    The Cambodian Space Project–    Whiskey Cambodia    9:17
9    Ros Sereysothea–    Chnam Oun Dop Praya Mauy (I'm 16)    3:49
10    Pan Ron–    Bros Ey Kov Prerl (Naughty Boy)    3:25
11    Ros Sereysothea–    Jas Bong Ju Am    3:29
12    Pan Ron–    Koun K'Teuy (Baby Lady Boy)    2:39
13    Ros Sereysothea–    Penh Chet Tae Bong Mouy (I Love Only You)    3:30
14    Dub Addiction–    The Mighty Plan    6:00
15    Sin Sisamouth–    Thgnai Kor Chrer (The Sun Is Setting)    5:00
Tracklist 2 :
The Cambodian Space Project "Out Of The Black & Into The Stratosphere"    
1    The Cambodian Space Project–    Dance Twist    2:40
2    The Cambodian Space Project–    If You Wish To Love Me    3:21
3    The Cambodian Space Project–    Broken Flower    3:49
4    The Cambodian Space Project–    Woman 5:17
Featuring – Kong Nay
5    The Cambodian Space Project–    When Are You Free    3:51
6    The Cambodian Space Project–    Cycle Of Love 3:35
Featuring – MC Curly, Srey Thy
7    The Cambodian Space Project–    The Girl Is Away But The Heart Is At Home 5:51
Featuring – Kong Nay
8    The Cambodian Space Project–    Love Like Honey (David Gunn Vocal Remix) 4:17
Remix – David Gunn
9    The Cambodian Space Project–    House Of The Rising Sun    5:33
10    The Cambodian Space Project–    Black To Gold    3:55

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

ALBATROS - Garden of Eden (1978-2000) FLAC (tracks+.cue), lossless

ALBATROS only had one album, in which they were invited into a studio to record. The 3 songs written had to be shortened to fit an LP format. However, this one album was the only effort that we heard from ALBATROS, and that's a shame because their theatric and complex arrangements similar to early GENESIS and EMERSON, LAKE & PALMER, were great to hear, they had a very distinct sound. The band was a sextet and consisted of Peter Breitbarth on guitar, Thomas Büscher on drums, Achim Hubricht on bass, Harald Hubricht on keyboards, Christian Köppen on piano, Hansi Köppen on vocals and Jürgen Polzin on congas. Of course, "Garden of Eden" is recommended, the songs included on it were actual shortened versions of the real arrangements even though they seem extended anyways. It was the only album from them and now that it's on CD, it's a tad easier to find even though there were only 500 pressings of this album. web
Trackslist:
1. A Man Lie me (19:49)
2. Sundriver (11:32)
3. Garden Of Eden (10:13)
Total Time: 41:34
Line-up / Musicians
- Peter Breitbarth / guitar
- Thomas Büscher / drums
- Achim Hubricht / bass
- Harald Hubricht / keyboards
- Christian Köppen / piano
- Hansi Köppen / vocals
- Jürgen Polzin / congas, PA

CZAR - Czar (1970-2005) FLAC (tracks+.cue), lossless

In kind of the same way some Nektar tracks can't fail to bring a smile to your face in their close-but-no-cigar similarity to Pink Floyd, Czar's sole and obscure album sometimes sounds like an earnest if inferior emulation of King Crimson's first album. Nowhere is that more apparent than the opening track, "Tread Softly on My Dreams," which comes off a bit like King Crimson's "21st Century Schizoid Man" and "In the Court of the Crimson King" with perhaps a dash of "Epitaph" thrown into a blender. It may be derivative (and Czar guitarist Mick Ware does acknowledge King Crimson having had a huge impact on the band in the liner notes to the 2007 expanded-CD edition), but that doesn't mean it's not enjoyable for those with a yen for early keyboard-heavy British prog rock. Certainly few other tracks by anyone came as close to re-creating King Crimson's ominous Mellotron sound as "Tread Softly on My Dreams." And while the King Crimson influence (especially via that Mellotron, though also with foreboding crunching guitar riffs) is heard on the rest of the album as well, it's not as blatant on the other tracks. Czar has a greater tendency toward songs with a West Coast psychedelic influence, and a greater willingness to use vocal harmonies and organ that echo Keith Emerson as well as King Crimson. It is, however, those passages that stress the creepiest aspects of Bob Hodges' accomplished keyboards (whether Mellotron or other instruments) that are most impressive, if not among the more original such things to be heard in British prog rock. A nifty curiosity on its own terms, its length is doubled by the expanded edition, which adds historical liner notes and eight bonus tracks. One, the heavily classical-influenced (but rocking) outtake, "Ritual Fire Dance," would and should have fit in fine on the LP; the non-LP 45, "Oh Lord I'm Getting Heavy"/"Why Don't We Be a Rock and Roll Band?," in contrast, is far more straight-ahead rock than the material on the album, and far less distinguished. The five final tracks, all previously unreleased 1971 demos, could almost be the work of a different band, the keyboard prog rock menace having been jettisoned in favor of so-so period good-time rock with a slight rootsy/country influence (and, on "I Laid It on the Line," an apparent attempt to follow in the steps of T. Rex).  by Richie Unterberger   
Tracklist
1 Tread Softly On My Dreams
2 Cecelia
3 Follow Me
4 Dawning Of A New Day
5 Beyond The Moon
6 Today
7 A Day In September
Credits
Bass, Acoustic Guitar, Vocals – Paul Kendrick
Drums – Del Gough
Guitar, Acoustic Guitar, Vocals – Mick Ware
Mellotron, Piano, Organ, Celesta, Harpsichord, Vocals – Bob Hodges
Noises – Dave, Roger

ARRIGO BARNABÉ E A BANDA SABOR A VENENO - Clara Cocrodilo (1983-2001) APE (tracks+.cue), lossless

Tracklist:
1 Acapulco Drive In 4:30
Arranged By, Synthesizer, Electric Piano – Bozo
Backing Vocals – Passoca, Teté
Backing Vocals, Arranged By – Gi Gibson
Lyrics By, Arranged By – Paulo Barnabé
Music By – Gibson Gibson, Paulo Barnabé
Music By, Arranged By, Bass Guitar – Otávio Fialho
Music By, Synthesizer, Vocals – Arrigo Barnabé
Vocals – Mané Silveira
2 Orgasmo Total 4:37
Written-By, Arranged By, Vocals – Arrigo Barnabé
3 Diversões Eletrônicas 7:49
Alto Saxophone, Clarinet – Baldo Versolatto
Backing Vocals – Eliana Estevão, Passoca, Teté
Synthesizer, Electric Piano, Piano, Backing Vocals – Bozo
Written-By, Arranged By, Electric Piano, Piano – Regina Porto
Written-By, Arranged By, Vocals – Arrigo Barnabé
4 Instante 3:30
Clarinet – Marcelo Galberti
Soprano Saxophone, Flute – Mané Silveira
Written-By, Arranged By – Arrigo Barnabé
5 Sabor De Veneno 2:31
Piano, Electric Piano – Regina Porto
Piano, Electric Piano, Percussion, Written-By, Arranged By, Vocals – Arrigo Barnabé
Vocals, Arranged By [Vocals] – Teté
6 Infortúnio 4:50
Arranged By – Itamar Assumpção
Arranged By, Drums, Percussion, Backing Vocals – Paulo Barnabé
Backing Vocals – Bozo, Passoca, Teté
Cello – Mario "Biafra" Aydar
Written-By, Vocals, Arranged By – Arrigo Barnabé
7 Office Boy 6:59
Backing Vocals – Teté
Electronics, Narrator – Regina Porto
Written-By, Arranged By, Narrator, Vocals – Arrigo Barnabé
8 Clara Crocodilo 7:21
Backing Vocals – Bozo, Eliana Estevão, Gilberto Mifune, Passoca, Teté
Guitar, Violin, Backing Vocals – Gi Gibson
Lyrics By, Narrator, Arranged By – Arrigo Barnabé
Music By – Arrigo Barnabé, Mário Lucio Cortes
Credits:
Alto Saxophone, Clarinet – Baldo Versolatto
Clarinet – Felix Wagner
Percussion – Rogério
Producer – Robinson Borba
Recorded By – Carlos A. Duttweller, Francisco Braga
Recorded By, Mixed By – Marcus Vinicius
Tenor Saxophone, Clarinet – Chico Guedes
Trombone, Bass Trombone – Ronei Stella
Vocals – Suzana, Vania

CAPTAIN BEEFHEART & HIS MAGIC BAND - Safe as Milk (1967-1999) RM / APE (image+.cue), lossless

Beefheart's first proper studio album is a much more accessible, pop-inflected brand of blues-rock than the efforts that followed in the late '60s -- which isn't to say that it's exactly normal and straightforward. Featuring Ry Cooder on guitar, this is blues-rock gone slightly askew, with jagged, fractured rhythms, soulful, twisting vocals from Van Vliet, and more doo wop, soul, straight blues, and folk-rock influences than he would employ on his more avant-garde outings. "Zig Zag Wanderer," "Call on Me," and "Yellow Brick Road" are some of his most enduring and riff-driven songs, although there's plenty of weirdness on tracks like "Electricity" and "Abba Zaba." [Buddha's 1999 reissue of Safe as Milk contained restored artwork and seven bonus tracks.]  by Richie Unterberger
Tracklist:
1 Sure 'Nuff 'N Yes I Do 2:15
Written-By – Don Van Vliet, Herb Bermann
2 Zig Zag Wanderer 2:40
Drum [Log Drum] – Milt Holland
Written-By – Don Van Vliet, Herb Bermann
3 Call On Me 2:37
Written-By – Don Van Vliet
4 Dropout Boogie 2:32
Drum [Log Drum] – Milt Holland
Written-By – Don Van Vliet, Herb Bermann
5 I'm Glad 3:31
Written-By – Don Van Vliet
6 Electricity 3:07
Theremin – Sam Hoffman
Written-By – Don Van Vliet, Herb Bermann
7 Yellow Brick Road 2:28
Percussion [Additional] – Taj Mahal
Written-By – Don Van Vliet, Herb Bermann
8 Abba Zaba 2:44
Percussion [Additional] – Milt Holland
Written-By – Don Van Vliet
9 Plastic Factory 3:08
Written-By – Don Van Vliet, Herb Bermann, Jerry Handley
10 Where There's Woman 2:09
Written-By – Don Van Vliet, Herb Bermann
11 Grown So Ugly 2:27
Written-By – Robert Pete Williams
12 Autumn's Child 4:02
Guitar – Russ Titelman
Theremin [Probably Played] – Sam Hoffman
Written-By – Don Van Vliet, Herb Bermann
Bonus Tracks
13 Safe As Milk (Take 5) 4:13
Written-By – Don Van Vliet
14 On Tomorrow 6:56
Written-By – Don Van Vliet
15 Big Black Baby Shoes 4:50
Written-By – Don Van Vliet
16 Flower Pot 3:55
Written-By – Don Van Vliet
17 Dirty Blue Gene 2:43
Written-By – Don Van Vliet
18 Trust Us (Take 9) 7:22
Written-By – Don Van Vliet
19 Korn Ring Finger 7:26
Written-By – Don Van Vliet
Credits:
Arranged By – Don Van Vliet (tracks: 2 to 10, 12 to 19), Ry Cooder (tracks: 1, 11)
Bass – Jerry Handley, Ry Cooder (tracks: 8, 11)
Drums – John French
Guitar – Alex St. Clair Snouffer, Jeff Cotton (tracks: 13 to 19), Ry Cooder (tracks: 1 to 12)
Marimba [Bass] – Captain Beefheart (tracks: 1 to 12)
Mastered By – Elliott Federman
Shenai [Shinei] – Captain Beefheart (tracks: 13 to 19)
Vocals, Harmonica – Captain Beefheart

CAPTAIN BEEFHEART & THE MAGIC BAND - Unconditionally Guaranteed (1974-1987) FLAC (tracks+.cue), lossless

The most reviled album of Captain Beefheart's entire career, 1974's ironically titled Unconditionally Guaranteed unfortunately largely deserves its negative reputation. Recorded in the U.K. as the first album of Captain Beefheart's contract with Virgin Records, it's also the last album that features any members of the Trout Mask Replica-era band, notably guitarists Zoot Horn Rollo and Alex St. Clair, plus former Mothers of Invention percussionist Art Tripp. Rather like Van Morrison's later album, A Period of Transition, Unconditionally Guaranteed is clearly a deliberate attempt by the Captain to restrain his more peculiar tendencies in search of a wider audience. As might be expected, the wider audience didn't show up, and his longtime fans were put off by the album's more commercial facets. It's not an entirely useless album, as the tunes do have some of the blues-rock punch that's at the root of Beefheart's work, and the lyrics, mostly declarations of love for his wife, Jan Van Vliet, who receives co-writing credit with producer Andy DiMartino on all ten tracks, seem heartfelt enough. The problem is that DiMartino's production and arrangements are flaccid and dull, and Beefheart (purposely) sings as if he's half asleep throughout. Even Captain Beefheart himself disowns this record.  by Stewart Mason 
Tracklist:
1 Upon The My-O-My 2:40
2 Sugar Bowl 2:11
3 New Electric Ride 3:00
4 Magic Be 2:55
5 Happy Love Song 3:54
6 Full Moon, Hot Sun 2:19
7 I Got Love On My Mind 3:07
8 This Is The Day 4:48
9 Lazy Music 2:49
10 Peaches 3:20
Credits:
Acoustic Guitar – Andy DiMartino
Arranged By – Andy DiMartino, Don Van Vliet
Bass – Rockette Morton
Flute – Del Simmons
Guitar – Alex Saint Claire, Zoot Horn Rollo
Harmonica – Don Van Vliet
Keyboards – Mark Marcellino
Percussion – Art Tripp
Saxophone – Del Simmons
Vocals – Don Van Vliet
Written-By – Don Van Vliet, Jan Van Vliet
Written-By [Written With] – Andy DiMartino

NAXATRAS - Naxatras (2015) Mp3

HUMBLE PIE - Natural Born Bugie (2000) 2CD / FLAC (image+.cue), lossless

SIDDHARTHA - Trip To Innerself (2009) FLAC (image+.cue), lossless

This album suddenly pops into the picture, and whilst drowning myself in contour less and eroding music - I suddenly hear strong melodies combined with a sense of nouveau Floyd soundscapes, that tickle my fancy like a midget alzheimers patient in a feather suit dancing the jig at the end of my bed.  Now you are probably thinking: Oh goody another copy cat band with loads of buttery Gilmour soloing.
Siddhartha is a Turkish band, and even though I pride myself with having music from the far side of the globe, the only other album I have from this country, is by a symphonic act called Asia Minor. Compared to Asia Minor that perhaps wields the most peculiar of all English accents known to prog, you´d be hard pressed to hear where Siddhartha hail from, if it wasn´t for those small sneaky Arabian melodies that from time to time are played by an elegant sounding electric guitar. These are very effective sections by the way and furthermore constitute a small part of what makes this album so good: a multitude of different characteristics.
You´ll hear spacey synths steaming and oozing from behind the tracks like some sonic back draft from an invisible door. They are there, but then again not really. Just like those waves of sound you´ll get from a pensive Richard Barbieri, they exist like musical ghosts hovering ballet instructors. In the front of these surrealistic vacuums of sound, you´re treated to melodies led mostly by electric guitars(one track is with an acoustic). Using massive build ups, without ever getting in the vicinity of post rock, these guitars utilize swaying and fluctuating riffing that orgasm in - yep, you´ve guessed it: buttery Gilmour solos! But not quite, as this ax man is far more fiddly(in a good way though), and he relies on completely different musical ideas. In fact, I am quite sure the third track is a spacey psychedelic rendition of the melodic guitar refrain from Metallica´s Unforgiven, without being a rip off. That´s diversity for ya right there. As a natural musical eruption of these soft wailing guitars, you quite often also get another solo intertwining itself into the main line, and beautiful things are afoot - shooting you right out of your sofa and into the skies. This guy is a real treat, and the way he infuses his culture into the notes is masterful and subtle, just like a Persian ninja sneaking his hand up your skirt.
What definitively shifts the focus away from the Floyd, and adds a deep bountiful and rawkous foundation - is an incredibly heavy drummer. This dude sounds like a cement mixer! He changes the face of the music, which by itself would be soothing and psychedelic, - and puts a hot poker up its backside. I could say something ludicrous along the lines of: This is a rocking Pink Floyd on steroids, and whilst being close to the truth, - it would also diminish what this band has successfully achieved, and that is to have created an astounding piece of psychedelic tinged song based music.
There are no duds on this album, and the farther you get into its bosom the more enthralling and alluring it gets. The soft bitter sweet vocals are another hit, which brings a fragility to the mix that is highly intoxicating and used very effectively in all the right places. Soaring male siren singing in a world of grunts, coarseness or whiny margarine.
Fans of Porcupine Tree and Vespero should definitely also try this album, as it conveys a way of developing and enhancing a form of music that once was monopolized by a single artist. Well not any more boyo! 4.5 original stars. by Guldbamsen 
 Tracklist
1 A Trip To Innerself 10:15
2 The Explorer 6:51
3 Desert 3:30
4 Baroque 3:57
5 Nervous Breakdown 11:51
6 Beyond Destiny 9:33
7 Distant Cry 6:42
8 Black 8:45
Credits
Bass – Ulaş Akın
Drums – Kaan Sezgin
Guitar – Ege Madra
Keyboards – Neslihan Engin (tracks: 4, 6, 7), Orkun Öker, Volkan Yıldırım
Lead Vocals, Guitar – Özgür Kurcan
Percussion – Berke Özcan (tracks: 2)
Vocals – Kerem Özyeğen (tracks: 2)

HUMBLE PIE - As Safe as Yesterday Is (1969-2008) FLAC (tracks+.cue), lossless

Humble Pie, known as boogie hammerheads, at least once achieved American popularity in the mid-'70s. Its origins were quite different, however, and its debut album, As Safe as Yesterday Is, is a visionary blend of hard blues, crushing rock, pastoral folk, and post-mod pop. It would be even more impressive if the group had written songs to support its sound, but it seemed to have overlooked that element of the equation. Still, there's no denying that the sound of the band isn't just good, it's quite engaging, as the band bring disparate elements together, letting them bump up against each other, forming a wildly rich blend of hippie folk and deeply sexy blues. Musically, this set a template for a lot of bands that followed later -- Led Zeppelin seemed to directly lift parts of this, and Paul Weller would later rely heavily on this for his '90s comeback -- and it's very intriguing, even rewarding, on that level. But it falls short of a genuine classic, even with its originality and influence, because the songwriting is rarely more than a structure for the playing and the album often sounds more like a period piece than an album that defined its times. by Stephen Thomas Erlewine   
Tracklist:
1 Desperation 6:28
John Kay
2 Stick Shift 2:24
Peter Frampton
3 Buttermilk Boy  4:21
Steve Marriott
4 Growing Closer 3:12
Ian McLagan
5 As Safe as Yesterday Is 6:07
Peter Frampton / Steve Marriott
6 Bang! 3:27
Steve Marriott
7 Alabama '69 4:37
Steve Marriott
8 I'll Go Alone 6:18
Peter Frampton
9 A Nifty Little Number Like You 6:12
Steve Marriott
10 What You Will 4:22
Steve Marriott
Bonus Tracks
11 Natural Born Bugie 4:14
Steve Marriott
12 Wrist Job 4:15
Steve Marriott

TRACE - Discography 3 Albums 1974-76 / 5CD (2014) LIMITED EDITION / FLAC (tracks), lossless

Rick van der Linden's father was a pianoplayer, so it was not a surprise that young Rick took piano-lessons. Later he started to learn playing the organ and finally he went to the Haarlem Conservatory. He played in many bands and nightclubs and was impressed by Brian AUGER and Keith EMERSON. Rick got worldwide recognition with the 'classic-rock formula' from EKSEPTION but he wanted his own band to show his keyboard pyrotechnics. He founded TRACE with bass player Jaap van Eik (CUBY AND THE BLIZZARDS, The MOTIONS, SOLUTION, LIVING BLUES) and drummer Pierre van der Linden (TEE SET, BRAINBOX, FOCUS), a real Dutch supergroup! Now he got the opportunity to work out his own ideas with keyboard-dominated symphonic rock. In '74 TRACE released their eponymous debut-album, in '75 their second entitled "Birds" (Ian Mosley had replaced Pierre van der Linden) and in '76 their third and final "Ladies". TRACE is a kind of Dutch equivalent to early ELP but Rick has a wider array of keyboards, including Hammond B3 organ, Hohner clavinet and pianet, ARP - and EMI synthesizers, harpsichord, Solina string-ensemble, Mellotron and church organ. He even used the sound of a bagpipe! The music is a treat for fans from bands like The NICE, ELP, TRIUMVIRAT and early LE ORME. Despite good albums, great concerts and worldwide recognition, Trace didn't work out the high expectations and the 'supertrio' dissolved in the late Seventies. Nowadays Jaap van Eik is chief-editor from the technical based music magazine Music Maker and Rick is after many years again on tour with a new EKSEPTION line-up, including a magnificent digital church organ and his wife on vocals.

The first two albums "Trace" and "Birds" (released on CD with bonustracks by Musea Records) deliver exciting, often sumptuous, keyboard driven symphonic rock: the mainly instrumental music is loaded with virtuosic keyboard runs, swirling Hammond organ and majestic Mellotron eruptions from wizard Rick van der Linden, supported by a powerful and propulsive rhythm-section. In my opinion the tracks on "Birds" sound more elaborate and refined. The epic composition "King-bird" (featuring Jaap van Eik on electric guitar) showcases the hugh potential of TRACE: dazzling keyboard runs, many changes of climate and dynamic interplay. The third album "Ladies" is a lacklustre effort, the band was running out of ideas. This record turned out to be their swansong. Progarchives

1974 - Trace [Philips] 2014, Pseudonym [2CD]

This is the first release by the Dutch group Trace, formed in 1973 by keyboardist Rick van der Linden (previously the leader of Ekseption) with drummer Pierre van der Linden (from the group Focus) and bassist Jaap van Eik (with various groups). As expected, van der Linden's keyboards pretty much dominate the session, which is a decent effort by progressive rock standards. "Galliarde" blends part of Bach's "Italian Concerto in F major" (BMV 971) with a traditional Polish dance that originated in the 13th century. This piece incorporates a small pipe organ, a Hammond organ, and a mellotron. It segues into van Eik's "Gare le Corbeau" (primarily a feature for electric bass) before returning to a reprise of "Galliarde." Grieg's "The Death of Ace" (from his "Peer Gynt Suite") begins with a piano solo by the leader, before the tedious mellotron returns to simulate a mournful choir; van der Linden's synthesizer playing also leaves a lot to be desired on this track. Among van der Linden's originals on this record, "The Escape of the Piper" blends a touch of jazz with a whimsical inclusion of bagpipes; while "Once" features the keyboardist on organ in an up-tempo blues groove, as well as a bit of electric harpsichord and a good bit of musical humor. Less successful is "Progression," which is a bit long and bombastic, or "The Lost Past," which is an extended drum solo by Pierre van der Linden. While Trace followed up this release with two additional recordings before disbanding, this is their best record. by Ken Dryden  
Tracklist:

Disc 1 [1:16:52]:

1. Gaillarde - Part One (6:23)
2. Gare Le Corbeau (2:05)
3. Gaillarde - Part Two (4:36)
4. Death Of Ace (5:16)
5. Escape Of The Piper (3:11)
6. Once (4:13)
7. Progression (12:04)
8. A Memory - Part One (3:48)
9. Lost Past (3:27)
10. A Memory - Part Two (1:43)
11. Final Trace (3:50)
12. Progress [single version] (4:04)
13. Tabu (4:14)
Bonus Tracks, Previously Unreleased:
14. Bach-Atel [single version] (3:30)
15. Another World [demo] (5:14)
16. Gnome Dance [demo] (5:07)
17. Final Trace [demo] (3:52)
Disc 2 [1:15:27]:
Bonus Tracks, Previously Unreleased:
1. Fairy Tale – Overture (4:48)
2. A Swedish Largo (19:46)
3. Gnome Dance (4:29)
4. Nocturne (6:01)
5. Bach-Atel (4:11)
6. Another World (5:10)
7. Escape Of The Piper [extended version] (5:21)
8. Once [jam] (6:00)
9. A Memory [demo] (8:47)
10. Swedish Largo [demo] (5:49)
11. Once [demo] (4:50)
Credits

- Rick Van Der Linden / keyboards

- Jaap Van Eik / bass, guitar

- Pierre Van Der Linden / drums

1975 - Birds [Philips] 2014, Pseudonym [2CD]

This is the second of three records by Trace, a trio led by keyboardist Rick van der Linden. By the time they recorded their second LP just one year after taping their debut, they had already

undergone a change in personnel, with Ian Mosely replacing Pierre van der Linden on drums. The album's first side is sort of an extended suite, though it is an incongruous mix of pipe organ with a plodding electric bass and drums during "King Bird." "Preacher Bird" features a weak lyric sung with little feeling by bassist Jaap van Eik and has a prominent role for the acoustic piano, although the synthesizer and harpsichord sneak in as well. "Bouree" is taken from Bach's "English Suite No. 2 in A minor" (BMV 807) and is turned into a miniature hard rocker before it deteriorates into a comical midsection with fake bird calls and a tiresome vamp. But "Opus 1065," the leader's interpretation of Bach's "Concerto for Harpsichord and Strings in A minor" (BMV 1065) never picks up sufficient steam, though it features some tasty violin by guest Darryl Way. The one true bright spot of this release is van der Linden's sprightly solo piano arrangement of jazzman Bix Beiderbecke's "In a Mist," which unfortunately is barely over a minute in length. The downhill slide of Trace on this second LP is painfully obvious, so it is doubtful that there is much demand for this long-deleted record. by Ken Dryden  

Tracklist:

Disc 1 [42:46]:

1. Bourrée (2:27)

2. Snuff (2:25)

3. Janny - In A Mist (1:13)

4. Opus 1065 (7:45)

5. Penny (2:42)

6. Trixie-Dixie 0:26)

7. Birds - Suite (21:59)

Bonus Track:

8. Birds [single version] (3:39)

Disc 2 [50:11]:

Bonus Tracks, Previously Unreleased:

1. Birds [live] (5:16)

2. Tabu [live] (11:47)

3. Gaillarde [live] (11:06)

4. King-Bird [live] (2:15)

5. Gaillarde [live] (6:26)

6. Snuff [live] (2:32)

7. Gaillarde – Reprise [live] (3:29)

8. Birds [live] (3:15)

9. Peace Planet [live] (4:02)

Credits

- Rick Van Der Linden / keyboards

- Jaap Van Eik / bass, guitar, vocals

- Ian Mosley / drums, timpani, gong, tambourine

Guests:

- Darryl Way / acoustic & electric violin on "Opus 1065"

- Coen Hoedeman / assorted monkeys on "Bourrée"

1976 - The White Ladies [Vertigo] 2014, Pseudonym

It was painfully obvious that the group Trace was already a memory as this final release was being recorded. Keyboardist Rick van der Linden, its founder, is the only remaining member from either of Trace's previous two records. This LP is a dreadful concept album, van der Linden's musical interpretation of an old Dutch legend about "The White Ladies," which dates from the Middle Ages. Van der Linden recruited a few associates from his old band Ekseption, including bassist Cor Dekker and drummer Peter de Leeuwe, as well as additional musicians. But Harry Schafer's narration is stifling, and singer Hetti Smit's vocals are forgettable, as is all of the original music. The leader's reworking of classical compositions by Beethoven is also of little help. Following this recorded fiasco, it is safe to say that Rick van der Linden and Trace sank without a trace. Skip this turkey.  by Ken Dryden

Tracklist:

1. Legend - Part One (3:29)

2. Interlude - Part One (0:20)

3. Confrontation (2:37)

4. Interlude - Part Two (0:48)

5. Dance Of The White Ladies (1:34)

6. Doubts (3:28)

7. Trace - Part One (0:16)

8. Witches' Dance (2:37)

9. Surrender (2:12)

10. Interlude - Part Three (0:36)

11. Pathétique (2:26)

12. Legend - Part Two (2:19)

13. Interlude - Part Four (0:10)

14. Rescue (3:47)

15. Trace - Part Two (0:26)

16. Back Home (3:18)

17. Meditation {For René} (3:58)

18. Flashback (0:33)

19. Conclusion (3:34)

Bonus Tracks, Previously Unreleased:

20. Matthäus Passion [demo] (2:02)

21. Interlude – Part Two [demo] (0:44)

22. Dance Of The White Ladies [demo] (1:40)

23. Doubts [demo] (3:50)

24. Witches’ Dance [demo] (2:53)

25. Pathétique [demo] (2:56)

26. Legend [demo] (2:42)

27. Interlude – Part Four [demo] (0:14)

28. Back Home [demo] (2:17)

29. Meditation {For René} [demo] (4:16)

30. Flashback [demo] (0:32)

31. Conclusion [demo] (4:45)

32. Back Home [demo] (2:50)

33. Fugue [live] (2:28)

Credits

- Rick Van Der Linden / keyboards

- Cor Dekker / bass

- Peter de Leeuwe / drums

- Dick Remelink / saxes, flute

- Hans Jacobse / additional keyboards

- Hetty Smit / vocals

- Harry Schafer / narrator

EARTH AND FIRE - Earth And Fire [1970] BONUS

This top notch Dutch band from The Hague had their pinnacle during the early Seventies when they delivered some outstanding 24 carat symphonic rock albums. EARTH AND FIRE was founded by the twin brothers Chris (guitar) and Gerard (keyboards) Koerts in '68. Soon bass player Hans Ziech, drummer Kees Kalis and singer Lisette joined them. Unfortunately Lisette had to give up singing because of a serious eye-disease and Kees Kalis left. They were replaced by Ton v/d Kley and the beautiful, very sexy Jerney Kaagman. She was a discovery by GOLDEN EARRING singer Barry Hay, they knew each other from the blossoming rock scene in The Hague.
When EARTH AND FIRE had a hugh success with three Sixties poprock oriented singles "Seasons", "Ruby is the one" and "Wild and exciting" (in '70 all reached the Dutch Top 5), the band decided to become professionals. Gerard Koerts bought a Mellotron, this instrument changed the Dutch progrock history because EARTH AND FIRE used it for a more lush symphonic keyboard sound. Eventually they developed a very unique progrock style (a bit similar to the French progrock band SANDROSE and UK band JULIAN'S TREATMENT featuring lots of organ, Mellotron, strong and sensitive electric guitar and distinctive vocals from Jerney Kaagman. And EARTH & FIRE remained successful with their single releases, the Mellotron drenched "Storm and Thunder" ('72, #6), "Memories" ('72, #1), "Maybe Tomorrow, Maybe Tonight" ('73, #3) and "Love of Life" ('74, #2) all reached the Dutch Top 10. Also the albums in that era sold very well and gained worldwide recognition: "Songs of the Marching Children" ('71, reaching #12), "Atlantis" ('73, reaching #6) and "To the World of the Future" ('75, reaching #7) are considered as 'progrock classics', especially in Japan EARTH & FIRE is even more popular than FOCUS! Gradually their sound turned into more poppy, culminating into the success of the very commercial song Weekend, reaching #1 and remaining 13 weeks in the charts! Also the following albums "Gate to Infinity" ('77), Reality Fills Fantasy" ('79, reaching #2)), "Andromeda Girl" ('81, reaching #12)) and "In a State of Flux" "82) lost most of the symhonic ingredients.
The albums "Song of the Marching Children" and "Atlantis" belong to the best of the Dutch progrock history. The epic title tracks from both albums (between 16 and 19 minutes) are recommended: the sound is very warm and melodic with lots of changing atmospheres, accelerations and surprising breaks. The one moment you hear a mellow organ, twanging acoustic guitars and a fairy-like voice from Jerney, the other moment there are bombastic eruptions with majestic Mellotron, heavy floods of organ and some fiery electric guitar work, topped by the powerful voice of Jerney. By the way, she has been married for almost 30 years with Bert Ruiter, former bass player from FOCUS...! Progarchives
Tracks:
1. Wild And Exciting (Chris Koerts/Gerard Koerts) - 4:27
2. Twilight Dreamer (Chris Koerts) - 4:15
3. Ruby Is The One (Chris Koerts) - 3:25
4. You Know The Way (Gerard Koerts) - 3:45
5. Vivid Shady Land (Chris Koerts) - 4:10
6. 21th Century Show (Chris Koerts) - 4:13
7. Seasons (George Kooymans) - 4:07
8. Love Quiver (Chris Koerts/Gerard Koerts) - 7:34
9. What's Your Name (Chris Koerts/Gerard Koerts) - 3:34
Bonus:
10. Mechanical Lover (single B-side,1969) (Chris Koerts) - 2:15
11. Hazy Paradise (single B-side,1970) (Chris Koerts/Hans Ziech) - 3:44
12. Memories (single A-side,1972) (Chris Koerts/Gerard Koerts/Hans Ziech) - 3:19
13. Invitation (single A-side,1971) (Chris Koerts) - 3:46
14. From The End Till The Beginning (single B-side,1972) (Chris Koerts/Gerard Koerts/Hans Ziech) - 4:53
15. Storm And Thunder (single A-side,1971) - 2:45 (Track 15 is miscredited on back and inner sleeve as "Lost Forever" (which was the B-side of "Storm And Thunder")
16. Song Of The Marching Children (single B-side,1971) (Chris Koerts) - 4:04
17. Thanks For The Love (single A-side,1975) (Chris Koerts/Hans Ziech) - 3:36
18. What Differences Does It Make (single A-side,1976) (Chris Koerts/Hans Ziech) - 3:07
  Personnel:
- Jerney Kaagman - female lead vocals
- Chris Koerts - electric & acoustic guitar
- Gerard Koerts - guitar, keyboards
- Hans Ziech - bass
- Cees Kalis - drums

EARTH AND FIRE - Earth And Fire 

[1970] Red Bullet / 1993 Repertoire / CBR320 / scans

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IVORY - Sad Cypress [1980]

As underrated as the Neuschwanstein album is overrated. Both bands seemed to be going for the same thing, but I think Ivory were a lot more successful at it. They have a lush, dense dual-keyboard sound (the only prog band I know of led by a father-son duo of keyboardists) and a charming singer. As the band¡¯s leader was a sexagenarian ex-classical musician, some of this is awfully pompous: the title track based on a Shakespeare sonnet and ¡°In Hora Ultima¡± featuring some vocals in Latin. That aside, this is prime symphonic rock, some of the best from Germany actually. The four bonus tracks on the CD (with a mechanistic all-keyboard sound) are a little on the superfluous side, but the main album is definitely first-rate!
Basic symphonic progressive Genesis influenced band. The music is quite good but why, just why does the singer sing in English ? Especially when he pronounces the letter 'w' as a 'v'. Imagine ! This is simply awful. I just can't get over it. The only good tracks are the instrumentals and "In Hora Ultima" where the lyrics are latin ! The last two tracks are bonus and not as interesting.
Studio Album, released in 1980
Tracks Listing
1. At This Very Moment (3:57)
2. In Hora Ultima (7:12)
3. Sad Cypress (8:34)
4. Time Traveller (4:15)
5. My Brother (13:52)
6. The Great Tower* (9:44)
7. Incantation* (4:42)
8. Construction N° 2* (2:29)
9. Barbara* (13:45)
Total Time: 68:30
*CD bonus tracks
Line-up / Musicians
- Ulrich Sommerlatte / keyboards
- Thomas Sommerlatte / keyboards
- Christian Mayer / lead vocals, acoustic & electric guitars
- Goddie Daum / acoustic & electric guitars
- Charly Stechl / bass, flute
- Fredrik Rittmüller / drums
guest musician:
- Antonio Ognissanti / latin vocals
Notes
LP Jupiter Records 202 428-320 (1980 Germany)
CD Musea FGBG 4089.AR (1993 France)
CD MALS 039 (2005 Russia)
CD Belle Antique BELLE 091534 (Japan)
digital releases include four bonus tracks (tracks 6-9) recorded between 1983 and 1987

IVORY - Sad Cypress 

[1980] Jupiter Records / CBR320 / scans

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DAVID BOWIE - Space Oddity [1969]

When David Bowie's second album appeared in late 1969, he was riding high. His first ever hit single, the super-topical "Space Oddity," had scored on the back of the moon landing that summer, and so distinctive an air did it possess that, for a moment, its maker really did seem capable of soaring as high as Major Tom. Sadly, it was not to be. "Space Oddity" aside, Bowie possessed very little in the way of commercial songs, and the ensuing album (his second) emerged as a dense, even rambling, excursion through the folky strains that were the last glimmering of British psychedelia. Indeed, the album's most crucial cut, the lengthy "Cygnet Committee," was nothing less than a discourse on the death of hippiness, shot through with such bitterness and bile that it remains one of Bowie's all-time most important numbers -- not to mention his most prescient. The verse that unknowingly name-checks both the Sex Pistols ("the guns of love") and the Damned is nothing if not a distillation of everything that brought punk to its knees a full nine years later. The remainder of the album struggles to match the sheer vivacity of "Cygnet Committee," although "Unwashed and Slightly Dazed" comes close to packing a disheveled rock punch, all the more so as it bleeds into a half minute or so of Bowie wailing "Don't Sit Down" -- an element that, mystifyingly, was hacked from the 1972 reissue of the album. "Janine" and "An Occasional Dream" are pure '60s balladry, and "God Knows I'm Good" takes a well-meant but somewhat clumsy stab at social comment. Two final tracks, however, can be said to pinpoint elements of Bowie's own future. The folk epic "Wild Eyed Boy from Freecloud" (substantially reworked from the B-side of the hit) would remain in Bowie's live set until as late as 1973, while a re-recorded version of the mantric "Memory of a Free Festival" would become a single the following year, and marked Bowie's first studio collaboration with guitarist Mick Ronson. The album itself however, proved another dead end in a career that was gradually piling up an awful lot of such things.   by Dave Thompson 
Tracklist  
1 Space Oddity 5:14
Arranged By – David Bowie, Paul Buckmaster
Producer – Gus Dudgeon
2 Unwashed And Somewhat Slightly Dazed 6:11
3 (Don't Sit Down) 0:40
4 Letter To Hermione 2:31
5 Cygnet Committee 9:31
6 Janine 3:21
7 An Occasional Dream 2:55
8 Wild Eyed Boy From Freecloud 4:47
9 God Knows I'm Good 3:16
10 Memory Of A Free Festival 7:08
Credits
Acoustic Guitar – Keith Christmas
Arranged By – David Bowie (tracks: 1 to 10), Paul Buckmaster (tracks: 1), Tony Visconti (tracks: 2 to 10)
 Bass – Herbie Flowers, John Lodge,  Tony Visconti
Cello – Paul Buckmaster
Drums – John Cambridge, Terry Cox
Flute – Tim Renwick, Tony Visconti
Guitar – Mick Wayne, Tim Renwick
Harmonica – Benny Marshall And Friends
Harpsichord [Electric Harpsichord] – Rick Wakeman
Kalimba – David Bowie
Organ [Rosedale Electric Chord Organ] – David Bowie
Stylophone – David Bowie
Twelve-String Guitar – David Bowie
Vocals – David Bowie
Written-By – David Bowie (tracks: 1 to 10)
Notes
This album has been released and re-released with various titles and various cover-designs over time. It's generally considered Bowie's first rock album.

The 1969 original versions were released on Philips and titled "David Bowie" while the concurrent North American (US and Canada) releases on Mercury had a strap line "Man of Words/Man of Music" at the top of the album. Although Mercury still cataloged it as "David Bowie" it was commonly called by the strap line and when RCA repackaged and re-released it in 1972, they erroneously referred to this advertising title. Both Philips and Mercury releases use images from the same 1969 portrait photo-shoot on the front cover, but as the Mercury image is a different frame and enlarged the artwork surrounding the portrait was not included.

The 1969 North American Mercury release removes a short hidden track, between track 2 and 3. On the UK Philips edition this piece of music was, as indicated by the groove rills, at the beginning of the third track "Letter to Hermione", yet was timed as being part of the second track.

In 1972 following Bowie's commercial breakthrough, the North American version, without the hidden track, was re-released by RCA titled after the album's hit, "Space Oddity", and with a then current facial portrait photo on the cover. Rear cover art, when including timings, still included the hidden track even though it was not present on any RCA issue. This title and cover art version had international re-releases in 1984 by RCA.

In 1990, using the same front cover as the 1972 RCA issue, the album was issued by RYKO and subsequently EMI with the hidden track subsequently restored and named for the first time - "Don't Sit Down".

All later official editions contain the music as presented on the original 1969 UK Philips album - and post 1997 most do not name the hidden track.

In 1999 EMI and Virgin re-released the album with the 30 year old 1969 cover but with the 1972 title.

Finally, in 2009 for the 40th Anniversary edition it was re-released by EMI and Virgin with title and cover art exactly as the original UK release.


The musicians on the album were hired for the sessions and included among others Herbie Flowers, Rick Wakeman, Tony Visconti and members of the band Junior's Eyes, who would act as Bowie's band promoting the album. While the album didn't chart in 1969 and was considered a commercial failure, the 1972 re-release charted in 17th position on the UK charts

 DAVID BOWIE - Space Oddity

 [1969] Philips / CBR320 / scans

O Púbis da Rosa

MY SLEEPING KARMA [2006]

Tracklist
1 Intention 9:19
2 23 Enigma 6:43
3 Hymn 72 4:58
4 Glow 11 7:52
5 Drannel Xu LIop 7:10
6 Eightfold Path 8:11
Credits
Written-By – My Sleeping Karma

MY SLEEPING KARMA - My Sleeping Karma

GEMA 2006 / FLAC

O Púbis da Rosa

GRAVY TRAIN - Gravy Train [1970]

 Jethro Tull and Comus had a baby, and they named it Gravy Train. That's not strictly accurate, of course, but as the band's eponymous debut opens with the fluid changes of "The New One," it's not too far of a reach, either. Richly harmonic, daringly jam-laden, and peppered with guitar roars that simply defy comparison, Gravy Train is the sound of the British underground at its most joyously liberated peak -- a time when a bunch of apparent freaks could simply go into a major recording studio and let rip. Except Gravy Train's concept of "letting rip" has more in common with a symphony orchestra than the Edgar Broughton Band. Without, of course, the orchestra. But there's a moment in the midst of "Think of Life" that cannot help but put one in mind of later Deep Purple, as the flute and guitar battle for supremacy, while the blues workout "Coast Road" is as breathtaking as any of that genre's better-feted exponents. If Gravy Train has any faults whatsoever, the fascination with peculiar vocal effects can grow a little wearing, especially as frontman Norman Barrett already appears to have a fabulous range of his own -- "Dedication to Sid," in particular, glories in such trickery, although the heartbeat bassline that runs through the number is so hypnotic that it's easy to forget everything else that's going on. In fact, Gravy Train is littered with moments like that, an album of so many surprises that even when you think you know it, you can still find something else you'd never noticed. And it all adds up to a genuine minor classic. by Dave Thompson 
Tracklist
1 The New One 5:15
2 Dedication To Sid 7:17
3 Coast Road 6:46
4 Enterprise 6:20
5 Think Of Life 5:10
6 Earl Of Pocket Nook 16:11

Credits
Bass, Vocals – Les Williams
Drums – Barry Davenport
Engineer – Keith Harwood
Flute [Alto, Simultaneous Alto And Tenor], Vocals – J.D. Hughes
Lead Vocals, Guitar – Norman Barrett
Written-By, Composed By – Gravy Train

GRAVY TRAIN
Gravy Train [1970]
CBR320/scan

O Púbis da Rosa

ERIC BURDON & THE ANIMALS - The Twain Shall Meet [1968] FLAC

 The mix of topical songs, surreal antiwar anthems, and diffuse psychedelic mood pieces on The Twain Shall Meet is extremely ambitious, and while much of the group's reach exceeds its grasp, it's all worth a trip through as a fascinating period piece. In fact, the mood pieces predominate, mostly underwritten and under-rehearsed, and recorded without the studio time needed to make them work. "Just the Thought" and "Closer to the Truth" are dull and unfocused, even as psychedelia, while "No Self Pity" and "We Love You Lil" are above average musical representations of mind-altered states. "We Love You Lil" opens with a clever play on the old popular tune "Lili Marlene" that leads to an extended guitar jam and ethereal backing that rather recalls the early work of Focus, among other progressive rock acts. "All Is One" is probably unique in the history of pop music as a psychedelic piece, mixing bagpipes, sitar, oboes, horns, flutes, and a fairly idiotic lyric, all within the framework of a piece that picks up its tempo like the dance music from Zorba the Greek while mimicking the Spencer Davis Group's "Gimme Some Lovin'." On the more accessible side are "Monterey," a distant precursor to Joni Mitchell's more widely heard post-festival anthem "Woodstock," with some clever musical allusions and a great beat, plus lots of enthusiasm; and the shattering "Sky Pilot," one of the grimmest and most startling antiwar songs of the late '60s, with a killer guitar break by Vic Briggs that's marred only by the sound of the plane crash in the middle.  by Bruce Eder   

 

1 Monterey 4:18

2 Just The Thought 3:47

3 Closer To The Truth 4:31

4 No Self Pity 4:50

5 Orange And Red Beams 3:45

6 Sky Pilot 7:27

7 We Love You Lil 6:48

8 All Is One

Bass – Daniel McCulloch

Drums – Barry Jenkins

Guitar – Victor Briggs

Guitar, Violin – John Weider

Vocals – Eric Burdon

Written-By – Jenkins*, Mc Culloch*, 

Burdon*, Weider*, Briggs*

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