EPIDERMIS - Genius Of Original Force (1977) FLAC (tracks+.cue), lossless

EPIDERMIS was considered, in the end of the 70's, like the German GENTLE GIANT, but in regard with the group's total discography, this might be quite reductive. They created a moving sonic dreamscape with keys, bass, acoustic and electric guitar, winds, percussion and cannon vocals. Their first album was progressive music of the very dense and complex type, with multi-layered vocal arrangements comparable to GENTLE GIANT and dynamic instrumental arrangements like YES and KING CRIMSON. The four tracks often had sudden shifts of tempo and mood, resulting in exciting music, which was at times disjointed. Often unfairly dissed as a clone band, EPIDERMIS managed to render the GENTLE GIANT realm being only a quartet. They recorded second album in the early 80's called Muster-Burger
On the surprisingly very-good "Feel Me", recorded in the early 90's with the same line-up and a bunch of guest musicians, the band offers a well-researched music, built on some precious sounds (flute, oboe, violin, clarinet, vibraphone) and some complex melodies, the music evolves between GENTLE GIANT ("Free hand" period), UNIVERS ZERO and ANABIS. Progarchives

Tracklist:

1. The non-existent surroundings of god (10:40) 

2. A riddle to myself (6:35) 

3. Genius of original force (11:35) 

4. Prime origin (5:35) 

- Bonus Track - 

5. Feelings (4:52)

Total Time: 39:17

Line-up / Musicians

- Michael Kurz / keyboards, vocals 

- Rolf Lanz / guitar, vocals

- Reiner Neeb / drums, vocals 

- Wolfgang Wünsche / bass, vocals

ZOMBY WOOF - Riding On A Tear (1977-2002) FLAC (tracks+.cue), lossless

Zomby Woof was a German symphonic rock formation, the name is derived from a Frank Zappa's his Mothers Of Invention composition. The band is rooted in 1971 when guitar players Heinrich Winter and Udo Kreuss joined Frank Keinath on bass and Thomas Moritz on drums in order to form a band that still had no name and no gigs. Soon Frank moved away and no replacement was to be found. As a consequence Ulrich Herter, another guitarist, joined the band and Udo Kreuss changes to bass guitar. Shortly afterwards the two keyboard players Matthias Seelman-Eggebert (Hammond organ) and Matthias Zumbroich (keyboards) also joined which meant that the sound changed, influenced by PROCOL HARUM.Eventually the label Jupiter from the capital Munich accepted the band and the recordings started in the Olympia Music Studios in the spring of 1977. There they found a Mellotron, of course out of tune! Thanks to Udo Kreuss this incredible instrument was cleaned untilit functioned again. So despite the fact that the band didn't own a Mellotron, you can enjoy this ubiquitous keyboard on their album. On the cover you can witness the band in front of one of the slides they used during their shows. In the autumn of 1977 the LP was released by Jupiter and distributred by BMG Ariola. One estimates that eventually the sales went up to 5000 copies, a very reasonable number for such an uknown German band! A second LP on the Jupiter label never saw the daylight because Steve Kazan, the man who was responsible for this type of music was sacked because he got on everybody's nerves. In 1979 Berthold Maier and Heinrich Winter left the band to form Alarm. The were replaced by Achim Czech on drums and Harald Horvath as singer but this was not a sudden but rather gradual change in the line-up. Together with an additional vocalist named David Hanselmann (previously with MESSAGE and TRIUMVIRAT), this line-up recorded a second LP named No Hero in 1979 but the band was unable to find a record company. Without a recording contract and future prospects Zomby Woof split up, the last gig took place in their hometown Reutlingen on July 8th in 1980. Their music is very pleasant and melodic, vintage keyboard driven 24-carat symphonic rock. It sounds far from derivative, my closest comparison is Eela Craig and some Camel. The CD release contains the original nine tracks and four bonustracks (the single Dora's Drive and the B-side Mary Walking Through The Woods and two unrelased songs entitled Highwire Dance and Back Home from rehearsals). Progarchives
Tracklist:
1. Introduction (1:56)
2. Suicide (6:25)
3. Riding on a Tear (5:17)
4. Requiem - Part I (5:17)
5. Requiem - Part II (4:07)
6. Dora's Drive (8:52)
7. Mary Walking Through the Woods (5:56)
8. Walking Through the Woods (5:30)
9. Finale (0:13)
- Bonus Tracks -
10. Dora's Drive (5:19)
11. Mary Walking Through the Woods (4:31)
12. Highwire Dance (5:49)
13. Back Home (7:34)
Personnel
Ulrich Herter / Vocals, acoustic - and electric guitar and synthesizer;
Heinrich Winter / Vocals, acoustic - and electric guitar and Hohner D6 clavinet
Matthias Zumbroich / Grand piano, Hammond organ, Minimoog, string-ensemble, synthesizer, Mellotron, electric piano and saxophone
Udo Kreuß / Bass guitar
Berthold Maier / Drums, percussion and tambourine

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

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

MARILLION - Script for a Jester's Tear (1983) FLAC (image+.cue), lossless

At the time, Marillion's remarkable, full-fledged 1983 debut Script for a Jester's Tear was considered an odd bird: replete with Peter Gabriel face paint and lengthy, technical compositions, Marillion ushered in a new generation of prog rock that bound them forever to the heroics of early day Genesis. Intricate, complex, and theatrical almost to a fault, Script for a Jester's Tear remains the band's best and sets the bar for their later work. Filled with extraordinary songs that remained staples in the band's live gigs, the album begins with the poignant title track, on which Fish leads his band of merry men on a brokenhearted tour de force that culminates with the singer decrying that "…the game is over." "He Knows You Know,," a song sprinkled with drug paranoia and guilt; as the song veers to its chorus, Fish announces, "Fast feed, crystal fever, swarming through a fractured mind." If "The Web" hints at a grain of commercialism, "Garden Party" is a joyous anthem that showcases Marillion at the peak of its powers. Bogged down by some hilariously over-the-top British poetry, "Chelsea Monday" may be one of the album's lesser moments (if there are any), but the magical "Forgotten Sons" concludes the opus magnificently. Luckily for Marillion fans, EMI released a remastered version of Script with two different versions of "Market Square Heroes," "Three Boats Down from the Candy," "Grendel," "Chelsea Monday," the demo of "He Knows You Know," and an alternate track titled "Charting the Single." A vital piece for any Marillion head and an essential work for any self-respecting first- or second-generation prog rock fan. by John Franck  
Tracklist:
1 Script For A Jester's Tear 8:39
2 He Knows You Know 5:22
3 The Web 8:48
4 Garden Party 7:15
5 Chelsea Monday 8:16
6 Forgotten Sons 8:21
Credits:
Bass [Rickenbacker 4000], Bass [Fender Perc. Fretless] – Pete Trewavas
Choir – Marquee Club's Parents Association Children's Choir
Crew – Dave Walden, Deek, Gary Townsend, Priv Hedge, Tom Boyle
Drums [Tama Kit], Cymbal [Paiste Cymbals], Percussion – Mick Pointer
Effects – Peter James
Electric Guitar [Yamah SG 2000, Squire '57 Strat, Fender Strat], Acoustic Guitar [Yamaha Acoustic] – Steve Rothery
Grand Piano [Steinway], Harpsichord, Synthesizer [Mini Moog, Roland JP8, PPG Wave 2-2, Emulator, Pro One, Yamaha CS-15, Organ [Korg CX3] – Mark Kelly
Lyrics By – Fish
Voice – Fish
Voice [Newscaster] – Peter Cockburn
Written-By, Arranged By, Performer – Marillion

NECKTAR (1971-1977) 9 Albums Mini LP SHM-CD + 5 Bonus CD (2013) FLAC (image+.cue), lossless

The four Englishmen who formed the initial incarnation of Nektar met in Germany and formed the band there in 1969. For a little while in the early to mid-'70s, it seemed like they might take the American rock world by storm, but that was mostly hype, and by 1975 their big moment had already passed, although they lingered on until the end of the decade and have re-formed in the new millennium, recording several new CDs and appearing at various progressive music festivals.

Allan Freeman (keyboards, vocals), Roye Albrighton (guitar, vocals), Derek Moore (bass, Mellotron, vocals), and Ron Howden (drums) all came to Hamburg from England in 1965 as members of different bands. They met in 1968 at the Star Club, where they discovered some common ground in the Beatles as well as early rock & roll but were drawn to the more experimental sounds just beginning to emerge on the rock scene. A year later they formed Nektar and began working at combining these influences into an effective whole. By 1970, with a light show (designed and operated by unofficial fifth member Mick Brockett) added to their stage act, they began attracting a growing following in Germany. by Bruce Eder

 Journey To The Centre Of The Eye  (1971)

Nektar's debut album was one of their finest releases, saturated with abstract psychedelia and a wonderful science-fiction motif that is magnified through the rigorous but dazzling Mellotron of Allan Freeman and Roye Albrighton's nomadic guitar playing. Throughout Journey's 13 cuts, Nektar introduced their own sort of instrumental surrealism that radiated from both the vocals and from the intermingling of the haphazard drum and string work. With the synthesizer churning and boiling in front of Howden's percussive attack and Mick Brockett's "liquid lights," tracks like "Astronaut's Nightmare," "It's All in the Mind," and both "Dream Nebula" cuts teeter back and forth from mind-numbing, laid-back melodies to excitable, open-ended excursions of fantastical progressive rock. Just as Hawkwind was exploring the depths of outer space with their progressive tendencies on most of their albums, Journey to the Centre of the Eye musically probed the inner universe of the mind and body with its very own conceptual field trip. "Burn Out My Eyes" and "Warp Oversight" are let loose with buzz-saw vocals and hazy, undefined guitar chords which converge and fade into background rhythms, while the 54 seconds of "Look Inside Yourself" is a short, illusory voyage that ends too soon. Nektar's freewheeling sound is best felt on Journey and on their next three releases, as by the end of the decade, their progressive moods and ambient-like suites started to get harder and take on more of a mainstream feel.

Journey to the Centre of the Eye is the debut album from English progressive rock band Nektar that came out in late 1971. Because of its narrative nature, it has been called a rock opera and/or dense concept album. Listen to it from start to end, and you'll surely get a very enjoyable journey to the centre of the eye! Wikipedia

Tracklist 1:

1. Prelude 1:26

2. Astronauts Nightmare 6:26

3. Countenance 3:34

4. The Nine Lifeless Daughters Of The Sun 2:54

5. Warp Oversight 4:10

6. The Dream Nebula 2:16

7. The Dream Nebula II 2:26

8. It's All In The Mind 3:22

9. Burn Out My Eyes 6:35

10. Void Of Vision 1:55

11. Pupil Of The Eye 2:07

12. Look Inside Yourself 0:45

13. Death Of The Mind 4:07

Tracklist 2: Bonus CD

Official Bootleg: Live In Germany

1. Prelude 2:03

2. Astronauts Nightmare 6:50

3. Countenance 3:37

4. The Nine Lifeless Daughters Of The Sun 3:26

5. Warp Oversight 4:29

6. The Dream Nebula 2:24

7. The Dream Nebula II 2:34

8. It's All In The Mind 3:39

9. Burn Out My Eyes 7:24

10. Void Of Vision 1:11

11. Pupil Of The Eye 2:07

12. Look Inside Yourself 1:31

13. Death Of The Mind 5:04

Credits:

Roye Albrighton - guitars, vocals

Mick Brockett - liquid lights

Allan "Taff" Freeman - Mellotron, pianos, organ, vocals

Ron Howden - drums, percussion

Derek "Mo" Moore - Mellotron, bass, vocals

Keith Walters - static slides

Dieter Dierks - additional piano

 A Tab In The Ocean (1972)

A Tab in the Ocean is the second album from German-based English progressive rock band Nektar. An awesome follow-up to the classic debut. The album starts with the 17–minute title track, which got a atmosphere that fits the title quite good. The track sounds like it was recorded in a big hall, with Nektar on one side of the hall, and the recording–equipment on the other side. Wikipedia

Tracklist 1:

1. A Tab In The Ocean / The Original 1972 Mix 16:52

2. Desolation Valley ~ Waves / The Original 1972 Mix 8:12

3. Crying In The Dark / The Original 1972 Mix 6:28

4. King Of Twilight / The Original 1972 Mix 4:22

5. A Tab In The Ocean / The 1976 U.S. Mix 16:04

6. Desolation Valley ~ Waves / The 1976 U.S. Mix 8:33

7. Crying In The Dark / The 1976 U.S. Mix 5:13

8. King Of Twilight / The 1976 U.S. Mix 4:05

Tracklist 2: Bonus CD

Official Bootleg

1. A Tab In The Ocean 17:45

2. Porcelain Valley (Later Called 'Desolation Valley') 11:33

3. Cryin' In The Dark 9:16

4. Desolation Valley ~ Waves 8:24

Credits:

Roye Albrighton - guitars, vocals

Mick Brockett - liquid lights

Allan Freeman - keyboards, backing vocals, Mellotron

Ron Howden - drums, percussion, backing vocals

Derek "Mo" Moore - bass, vocals

... Sounds Like This (1973)

…Sounds Like This is the third album from English progressive rock band Nektar, released in 1973. By far their heaviest album, numerous sections of the album contain lengthy, highly chaotic electric guitar and organ solos. The track "New Day Dawning" contains a reference to the Beatles song "Norwegian Wood (This Bird Has Flown)". These pieces actually pre date the first two Nektar releases (Journey & Tab), many are from Roye Albrighton or from Mo, Taff & Ron (Prophecy) compositions from their pre Nektar days. Wikipedia

Tracklist 1:

1. Good Day 6:45

2. New Day Dawning 5:03

3. What Ya Gonna Do? 5:25

4. 1-2-3-4  12:43

5. Do You Believe In Magic 7:16

6. Cast Your Fate 5:45

7. A Day In The Life Of A Preacher: a) Preacher / b) Squeeze / c) Mr. H 12:58

8. Wings 3:47

9. Odyssey: a) Ron's On / b) Never Never Never / c) Da-Da-Dum 14:25

Tracklist 2: Bonus CD

Live November 13, 1971

1. Good Day 7:59

2. Odyssee (Da-Da-Dum) 6:51

3. 1-2-3-4  13:34

4. Do You Believe In Magic? 4:55

5. Odyssee (Ron's On) 10:42

6. New Day Dawning 7:30

Credits:

Roye Albrighton - lead vocals, guitars

Allan "Taff" Freeman - keyboards, vocals

Derek "Mo" Moore - bass, vocals

Ron Howden - drums, percussion

Mick Brockett - lights

Remember The Future (1973)

Remember the Future is the fourth album from English progressive rock band Nektar. It is a concept album featuring one song divided into two parts. …This album also have the most perfected Nektar–sound. The lyrics is about a boy who speaks to a bird, and the whole story has a very optimistic and nice message. The album was also Nektar's best selling, so it seems that the record–buying public SOMETIMES have some good taste. This album is just as important to any prog collection as Yes's "Close to the Edge", ELP's "Brain Salad Surgery" and Genesis's "Foxtrot". Wikipedia

Tracklist 1:

1. Remember The Future, Pt. 1 16:41

a) Images of the Past

b) Wheel of Time

c) Remember the Future

d) Confusion

2. Remember The Future, Pt. 2 19:01

a) Returning Light

b) Questions and Answers

c) Tomorrow Never Comes

d) Path of Light

e) Recognition

f) Let It Grow

Tracklist 2: Bonus CD

1. Remember The Future / Radio Edit 9:54

2. Let It Grow / Radio Edit 3:52

3. Lonely Roads / Radio Edit 2:18

4. New Day Dawning / The 1970 Boston Tapes 5:36

5. Do You Believe in Magic / The 1970 Boston Tapes 3:40

6. Candlelight / The 1970 Boston Tapes 4:00

7. Good Day / The 1970 Boston Tapes 8:51

8. The Life I've Been Leading / The 1970 Boston Tapes 4:34

9. Where Did You Go / The 1970 Boston Tapes 5:27

10. Sealed With A Kiss / The 1970 Boston Tapes 3:56

11. Our Love Will Last Forever / The 1970 Boston Tapes 4:53

Credits:

Allan "Taff" Freeman - keyboards, backing vocals

Roye Albrighton - guitars, lead vocals

Derek "Mo" Moore - bass guitar, backing vocals

Ron Howden - drums, percussion, backing vocals

Mick Brockett - lighting, projections and visual effects

 Down To Earth (1974)

Depending on who you ask, this is either Nektar's greatest or worst album. As Albrighton explained later, it was the band's attempt to re-invent itself as someone else -- like the Magical Mystery Tour. Old fans were appalled; but as the first album to get much airplay in the U.S., it brought in new fans who found it by far their most accessible work. Its progressive and funk elements are set around a demented circus theme, with the songs introduced by a loony Teutonic ringmaster. "That's Life," powered by chattering drums and a positively orgasmic Rickenbacker bass sound, is a standout of progressive rock showmanship. Delicate pieces like "Little Boy" and "Early Morning Clown" -- where Albrighton uses rotating Leslie speakers to great effect -- alternate with pub rockers like "Fidgety Queen" and the lumbering funk of "Nelly the Elephant." For new fans, this album is the place to start; and if they're willing to take it on its own terms, old fans might find a place in their heart for it too. by Paul Collins

Tracklist:

1 Astral Man

2 Nelly The Elephant

3 Early Morning Clown

4 That’s Life

5 Fidgety Queen

6 Oh Willy

7 Little Boy

8 Show Me The Way

9 Finale
Bonus Tracks

10 Astral Man

11 Nelly The Elephant

12 Early Morning Clown

13 That s Life

14 Oh Willy

15 Show Me The Way

16 Rovert Calvert Outtakes

Credits:

Backing Vocals – Kenneth Cole (tracks: 3, 4, 7), P.P. Arnold (tracks: 3, 4, 7)

Bass, Vocals – ''Mo'' Moore

Choir – Chipping Norton Mandies (tracks: 2, 10)

Drums, Percussion – Ron Howden

Effects [Special], Sounds – Dieter Dierks

Engineer – Barry Hammond

Keyboards, Vocals – ''Taff'' Freeman

Lead Vocals, Guitar – Roye Albrighton

Producer, Written-By – Nektar

Tenor Saxophone – Steve Gregory (tracks: 2, 5, 6, 10)

Tenor Saxophone, Baritone Saxophone – Chris Mercer (tracks: 2, 5, 6, 10)

Trombone – Chris Pyne (tracks: 2, 5, 7, 10)

Trumpet [1st] – Butch Hudson (tracks: 2, 5, 7, 10)

Trumpet [2nd] – Ron Carthy (tracks: 2, 5, 7, 10)

Tuba – Stephan Wick (tracks: 1)

Tuba [Bass] – Phil Brown (tracks: 1)

Voice [Ringmaster] – Bob Calvert (tracks: 1, 2, 4, 5)

 Sunday Night At London Roundhouse (1974)

Tracklist:
1-1 King Of Twilight 12:10
1-2 Desolation Valley 8:58
1-3 A Day In The Life Of A Preacher Featuring The Birth Of Oh Willie 19:50
1-4 Summer Breeze 3:04
1-5 Cast Your Fate 5:41
2-1 Remember The Future Part One 18:47
2-2 Odyssey (Ron's On) 11:15
2-3 1-2-3-4 12:31
2-4 Remember The Future Part Two (Let It Grow) 5:14
2-5 Woman Trouble 6:09
Credits:
Bass, Vocals – Derek 'Mo' Moore
Drums, Percussion – Ron Howden
Guitar, Lead Vocals – Roye Albrighton
Keyboards – Allan 'Taff' Freeman
Lighting [Lights] – Mick Brocket
Recorded By – Roye Albrighton
Written-By – Nektar

 Recycled (1975)

While the instrumental alliances that take place throughout Recycled aren't nearly as solid as on Journey to the Center of the Eye or Remember the Future, the album still harbors some of Nektar's intergalactic progressive rock penchants, although a slight decline in the band's cohesion is apparent. Guitarist Roy Albrighton lacks his usual gusto on most of the tracks, but tends to show signs of earlier days on both "Flight to Reality" and "Automatic Horrorscope." What does hold strong is Nektar's ability to conjure up a science-fiction atmosphere through the unorthodox application of percussion, guitar, and keyboards. Tracks like "Unendless Imagination" and "Cybernetic Consumption" wallow in a futuristic amalgam of strings and synth, with Larry Fast working the keyboards this time around. Fast holds his end up for the most part, but at times his playing sounds manufactured and colorless, which in turn dampens the rest of the surrounding instruments. Some intriguing creativity arises near the end of the album with "Sao Paulo Sunrise" and "Marvellous Moses," which resembles some of Nektar's early-'70s material. Recycled isn't a total disappointment, but the frequency of solid instrumentation and ability to hold attention does seem to fluctuate from time to time. by Mike DeGagne 
Tracklist:
Part One 17:38
1 Recycle 2:47
2 Cybernetic Consumption 2:12
3 Recycle Countdown 1:51
4 Automaton Horrorscope 3:08
5 Recycling 1:46
6 Flight To Reality 1:18
7 Unendless Imagination? 4:36
Part Two 19:07
8 São Paulo Sunrise 3:05
9 Costa Del Sol 4:04
10 Marvellous Moses 6:37
11 It's All Over 5:21
Credits:
Arranged By [Choir] – Christian Kolonovits
Arranged By [Orchestral Moog Arrangements] – Larry "Synergy" Fast
Bass, Vocals – "Mo" Moore
Choir – The English Chorale
Conductor [Choir] – Robert Howes
Drums, Percussion – Ron Howden
Guitar, Lead Vocals – Roye Albrighton
Keyboards, Vocals – "Taff" Freeman

 Live In New York (1977) 

The problem with progressive rock artists recording live albums lies in the fact that the same feeling of wonderment, musical vastness, and escapism mustered on their studio releases is difficult to capture on-stage. Half of this dilemma plagues Nektar's Live in New York release recorded in 1977, while the rest of the album's disappointments stem from the group's removal of their early-'70s progressive sound altogether. The nine cuts that make up Live in New York fail to show the true essence of their progressive beginnings, with the songs embellishing more of a straight-ahead rock & roll style. Gone are the long keyboard wanderings, the abstract guitar trips that spiral into the rest of the musical interplay, and the fantastic ambience that was once formed by the music's overall trippiness. By this time, Nektar's sound was shed of any distinctness that it once touted, presenting average-sounding pieces such as "Woman," "Good Ol' Rock'N Roll," and "Show Me the Way" without much flair or excitability. Some redemption can be found on the 15 minutes of "A Day in the Life of a Preacher," which best resembles their early style, and in "King of Twilight," a cut taken from 1972's A Tab in the Ocean album. After Roye Albrighton departed following their Recycled release, Nektar was never the same, and the regression of the rest of the band's chemistry can easily be regarded here. The album sounds messy and cluttered, with a disorganized feel coming mostly from the guitar playing and from the minimal enthusiasm of the group -- and many of the pressings of Life in New York suffer from poor production as well. While the album may be of interest to die-hard fans, Nektar's true progressive essence can be better felt through most of their studio albums. by Mike DeGagne  
Tracklist 1:
1 Introduction ~ Astral Man
2 Remember The Future Part One
3 Marvellous Moses
4 It's All Over
5 Good Day
6 That's Life
7 Show Me The Way
Tracklist 2:
1 A Day In The Life Of A Preacher
2 Desolation Valley
3 Remember The Future
4 Crying In The Dark ~ I Can See You
5 King Of Twilight
6 Woman Trouble
7 Medley: Johnny B. Goode ~ Sweet Little Rock And Roller ~ Blue Suede Shoes ~ Whole Lotta Shakin' Goin' On
8 Fidgety Queen
Credits:
Bass, Vocals, Mellotron – Mo Moore
Drums, Percussion – Ron Howden
Guitar, Vocals – Roye Albrighton
Keyboards, Vocals – Taff Freeman
Lighting [Lights] – Mick Brocket
Mixed By – Manfred Schunke
Producer, Mixed By, Design [Cover Idea And Concept] – Peter Hauke

Magic Is A Child (1977)

Magic Is a Child was released in 1977, the debut for new Nektar guitarist Dave Nelson. Carrying on, though, from where their last set left off, Nektar's fascination with shorter, punchier songs continued unabated, even while the keyboards continued to swell and the guitars shifted ever more toward the symphonic. Nektar's brightening vistas were new, however, and a fatal flaw as far as their fans were concerned. They didn't want breezy pop, and breezy pop fans didn't want Nektar, while the band's new label, Polydor, apparently didn't care either way. The art department did spring for the 13-year-old Brooke Shields to appear on the front cover, but that was it in terms of promotion. Thematically, too, little about Magic Is a Child recalls Nektar's days as prog darlings. The opening "Away from Asgard" is a fine slab of Norse storytelling, tied into the vast dark forests of northern Germany (where the band was still based), while "Midnight Light" also has a romantic Germanic tinge, as it eulogizes the village of Seeheimut. "Love to Share," in contrast, is an unabashed Beatles tribute, riddled with affectionate borrowings and an oddly effective backward drum, while "On the Run (The Trucker)" still sounds like a slice of AOR radio filler. by Jo-Ann Greene 
Tracklist:
1 Away From Asgard
2 Magic Is A Child
3 Eerie Lackawanna
4 Midnight Light
5 Love To Share (Keep Your Worries Behind You)
6 Train From Nowhere
Guitar [Ethereal] – Walt Nektroid
7 Listen
Music By – R. Albrighton
8 On The Run (The Trucker)
9 Spread Your Wings
Bonus Tracks
10 Away From Asgard (Original Demo)
11 On The Run (Alternate Mix)
12 Train From Nowhere (Alternate Version)
Featuring – Robert Fripp
Credits:
Arranged By – Jeff Kawalek, Nektar
Arranged By [String Quartet] – Stephan Galfas
Bass [Basses, Bassthings] – Mo Moore
Drums, Percussion – Ron Howden
Guitar – Dave Nelson
Keyboards – Taff Freeman
Music By – T. Freeman, D. Nelson, D. Moore, R. Howden, S. Barth (tracks: 1 to 4, 10)
Percussion [Percussives, Smurds] – Ron Howden
Strings [String Quartet] – Julien Barber, Kermit Moore, Michael Commins, Anthony Posk
Synthesizer – Taff Freeman, Larry Fast
Vocals – Taff Freeman, Dave Nelson, Mo Moore, Ron Howden

ANDERSON / BRUFORD / WAKEMAN / HOWE - Anderson Bruford Wakeman Howe (1989-2010) 2CD / FLAC (tracks+.cue), lossless

File under "Yes." When this version of the band couldn't obtain rights to the name, they put their album out under their combined names, but it's still Yes by any other name. Jon Anderson's tenor wails through spacy lyrics, Rick Wakeman constructs cathedrals of synthesized sound, Steve Howe rips high-pitched guitar leads, and Bill Bruford makes his drums sound like timpani. For all that, it's a pedestrian effort for these veterans, not as bombastic as some of their stuff, not as inspired as others, but it definitely has the "Yes" sound. "She Gives Me Love" even refers to "Long Distance Runaround." by William Ruhlmann

ANDERSON / BRUFORD / WAKEMAN / HOWE - Brother of Mine (1989) Single / FLAC (image+.cue), lossless

ANDERSON / BRUFORD / WAKEMAN / HOWE - Order of the Universe (1989) Single / Mp3

ANDERSON / BRUFORD / WAKEMAN / HOWE - An Evening of Yes Music Plus (1993) 2CD / APE (image+.cue), lossless

Recorded live on the final night of the 1989 Anderson/Bruford/Wakeman/Howe tour, this two-CD set offers both oldies and improvements upon their new material. You'll probably find yourself listening only to the second CD, as the first CD largely consists of shaky solo medleys. Howe fares the best with delicate renditions of "Mood for a Day" and "The Clap." Anderson's guitar and vocal turn comes off like a coffeehouse gig -- not bad, especially when he samples "Teakbois," but not riveting. Wakeman's "Merlin" and "Catherine Parr" solo trades speed for precision, and the crowd is unaccountably thrilled when he wrenches unimpressive blow-bottle sounds out of a keyboard. Bruford blows his solo yet again, just as in Yessongs; infatuated with electronic percussion, he produces a grating assortment of clanks and conks. Once past the solos, though, this set picks up steam. The ABWH album was a soulless-sounding production; songs like "Soul Warrior" and "Brother of Mine" are both warmer in sound and more lively in rhythm when performed on-stage. Fans may also appreciate Bruford's unprecedented live appearance on "Close to the Edge"; though he played on the 1972 studio album, he had left the band before ever getting to play it live. by Paul Collins 

RICK WAKEMAN - The Myths and Legends of King Arthur and the Knights of the Round Table (1975-1988) FLAC (image+.cue), lossless

Rick Wakeman's third solo album is among his best, as he employs his vast array of keyboards to their full extent, musically describing the characters pertaining to the days of King Arthur's reign. With orchestra and choir included, although a little less prevalent than on Journey, he musically addresses the importance and distinguishing characteristics of each figure through the use of multiple synthesizers and accompanying instruments. "Lady of the Lake" is given a mystical, enchanted feel, perpetrated by a more subtle use of piano and synthesizer, while the battle of "Sir Lancelot and the Black Knight" is made up of a barrage of feuding keyboard runs and staccato riffs, musically recounting the intensity of the duel. But it's on "Merlin the Magician" where Wakeman truly shines, as the whimsy and peculiarity of this fabled figure is wonderfully conjured up through the frenzy of the synthesizer. As one of Wakeman's most famous pieces, it is here that his astounding musicianship is laid out for all to hear, a marvelous bisque of keyboard artistry. The album's entirety is a sensational execution of Wakeman's adroitness, and with vocals from Ashley Holt and Gary Pickford Hopkins, it still stands along with Journey to the Center of the Earth and The Six Wives of Henry VIII as one of his most astute pieces. by Mike DeGagne  
Tracklist:
1 Arthur 7:26
2 Lady Of The Lake 0:45
3 Guinevere 6:45
4 Sir Lancelot And The Black Knight 5:20
5 Merlin The Magician 8:51
6 Sir Galahad 5:51
7 The Last Battle 9:41
Credits:
Acoustic Guitar, Lead Guitar – Jeffrey Crampton
Arranged By [Orchestral Arrangements] – Wil Malone
Bass – Roger Newell
Chorus Master [The English Chamber Choir, Choirmaster] – Guy Protheroe
Conductor [Orchestra And Choir] – David Measham
Coordinator [Orchestral Co-ordination] – David Katz
Drums – Barney James
Illustration – Bob Fowke, Dave Bowyer
Narrator – Terry Taplin
Percussion – John Hodson
Vocals – Ashley Hold, Gary Pickford Hopkins
Written-By, Producer – Rick Wakeman

RICK WAKEMAN - No Earthly Connection (1976-2003) FLAC (image+.cue), lossless

Released in 1976, just as prog rock's hold in the popular imagine was starting to slip, No Earthly Connection is, comparatively, a streamlined album by Rick Wakeman. It is not as elaborate and ambitious as its immediate predecessors -- which tackled Henry VII, Journey to the Centre of the Earth, and King Arthur & the Knights of the Round Table, respectively -- and only the length of a single vinyl album, with the first side devoted to the half-hour suite "Music Reincarnate" (it spills over to the second side in the original vinyl pressing) and the second splitting the difference between two songs, "The Prisoner" and "The Lost Cycle." Wakeman shows some slight hints of funk infatuation here -- "The Warning" works out its clavinet songs, with its second part buttressed by brass -- and the entirety of the "Music Reincarnate" side is a bit more forceful than expected in both its rhythms and attack. The other two songs have an element of breathing room -- even "The Lost Cycle," which begins with farting analog synths that never quite disappear over the course of the track -- but they're more distinguished by the flourishes Wakeman lays over the basic track, indications of how the keyboardist is so taken with his technique he thinks of it as nothing special, just something that deserves to be on ample display. by Stephen Thomas Erlewine 
Tracklist:
Music Reincarnate 20:24
1 Part I: The Warning
2 Part II: The Maker
3 Part III: The Spaceman
4 Part IV: The Realisation
5 Part V: The Reaper 7:34
6 The Prisoner 7:00
7 The Lost Cycle 7:00
Credits:

Bass – Roger Newell

Drums – Tony Fernandez 

Vocals – Ashley Holt

Acoustic Guitar, Electric Guitar – John Dunsterville

Organ [Pipe Organ], Electric Organ [Hammond C.3],Grand Piano [Steinway 9' Grand Piano], Electric Piano [R.M.I. Electric Piano], Clavinet [Hohner Clavinet], Synthesizer [Moogs], Harpsichord, Electric Harpsichord [Baldwin Electric Harpsichord], Upright Piano [Upright Honkey Tonk Piano],  Electric Piano [Fender Rhodes 88 Electric Piano], Mellotron, Electric Organ [Godwin Organ With Sisme Rotary Cabinet], Effects [Systech Effects Pedals] – Rick Wakeman

Trombone, Bass Trombone, Vocal Percussion – Reg Brooks

Trumpet, Flugelhorn [Flugel Horn], French Horn, Vocals – Martyn Shields

RICK WAKEMAN - Rhapsodies (1979-2009) RM / SHM-CD / FLAC (image+.cue), lossless

Most of Wakeman's albums revolve around a concept; this double album's only concept is of a collection of "rhapsodies," which here seems to mean "enthusiastic and improvisational pieces." The album is instrumental except for the opener, "Pedra de Gavea," where the electronically treated vocals are presumably by Wakeman himself. Most of the pieces are concise for Wakeman, and very lively and bright, with engaging lead parts and well-chosen keyboard sounds (something Wakeman has not always managed). "Swan Lager" sets music by Tchaikovsky and Grieg to a reggae beat. Wakeman's version of George Gershwin's "Rhapsody in Blue" is actually a low point, but his version of Gershwin's "Summertime" is nicely done. This was Wakeman's last album for A&M Records. by Stephen Raiteri
Tracklist:
1 Pedra De Gavea 4:11
2 Front Line 3:42
3 Bombay Duck 3:14
4 Animal Showdown 2:40
5 Big Ben 3:58
6 Rhapsody In Blue 5:26
7 Wooly Willy Tango 3:24
8 The Pulse 5:21
9 Swan Lager 2:50
10 March Of The Gladiators 4:53
11 Flacons De Neige 5:01
12 The Flasher 5:32
13 The Palais 2:23
14 Stand By 3:30
15 Sea Horses 3:52
16 Half Holiday 3:00
17 Summertime 4:27

CHRIS SQUIRE - Fish Out of Water [1975] LP [24-96] FLAC

Yes-like in every possible aspect, Chris Squire's Fish out of Water is an album that's typical of his band's progressive formula: softened keyboard extensions à la Patrick Moraz, steady yet atmospheric percussion work from Bill Bruford, and a smattering of flute and saxophone that accompanies a small orchestra, which includes effective horn and harp work. Squire's guitar playing is standard, coming to life the most on "Silently Falling" and "Lucky Seven," with the former boosted by a rather dazzling synthesizer solo from Moraz. Even though there are few surprises laid out on the album's five tracks, the elemental composition of pure '70s progressive rock is strewn across each song from start to finish. Squire even sounds like Jon Anderson, especially on "Hold out Your Hand," and each of the song's melodies cater to Squire's vocal ascent. Fish out of Water harbors some firm instrumental and vocal cross-breeding while remaining well within the prog rock norm.  by Mike DeGagne 
Tracklist 
A1 Hold Out Your Hand 4:14
A2 You By My Side 5:03
A3 Silently Falling 11:21
B1 Lucky Seven 6:57
B2 Safe (Canon Song) 14:53
Credits 
Arranged By, Producer, Written-By – Chris Squire
Bass, Guitar, Vocals – Chris Squire
Drums, Percussion – Bill Bruford
Flute – Jimmy Hastings
Harp – David Snell
Leader [Brass Sections] – John Wilbraham
Leader [Horn Sections] – Jim Buck
Leader [String Sections] – Julian Gaillard
Leader [Woodwind Sections] – Adrian Brett
Organ [Pipe] – Barry Rose
Organ, Synthesizer [Bass] – Patrick Moraz
Piano, Electric Piano, Conductor – Andrew Pryce Jackman
Saxophone – Mel Collins

 CHRIS SQUIRE - Fish Out of Water

 [1975] Atlantic / LP / UK [24bit-96khz] FLAC

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EKSEPTION - Ekseption [1968]

Young keyboardist Rick van der Linden, leader of Ekseption, was inspired to arrange rock treatments of classical music after hearing the Nice in concert, which led to the group's debut LP for Phillips in Europe. Although their somewhat jazzy treatment of the theme from the first movement of Beethoven's well-known Fifth Symphony was a hit in Europe, this song has not aged well. His treatments of works by Bach and Khatchaturian have their moments, but are equally dated. The group also delves into then-current rock and jazz. Jethro Tull's "Dharma for One" comes off heavy-handed, with an overly long drum solo and mediocre flute. What is truly bizarre is his arrangement of Bobby Timmons' soul-jazz composition "This Here," which is bland beyond belief, with the leader alternating between harpsichord, piano, and organ via overdubbing. Little better is the furious original "Feelings," which has a lot of energy but nothing to offer the listener. Ekseption may have won some fans initially with this release, but most of this music has disappeared without a trace since the end of the LP era, with good reason.  by Ken Dryden
Tracklist 
1 The 5th 3:22
Arranged By – Ekseption
Written-By – L. v. Beethoven
2 Dharma (For One) 3:25
Written-By – J. Tull
3 Little X Plus 2:20
Written-By – Ekseption
4 Sabre Dance 3:48
Written-By – A. Khatchaturian
5 Air 2:50
Arranged By – Ekseption
Written-By – J.S. Bach
6 Ritual Fire Dance 3:55
Written-By – M. De Falla
7 Rhapsody In Blue 4:00
Written-By – G. Gershwin
8 This Here 4:17
Written-By – B. Timmons, J. Hendricks
9 Dance Macabre Opus 40 5:05
Written-By – Saint-Saëns
10 Canvas 2:27
Written-By – B. Bennet
Credits
Drums, Vocals – Peter de Leeuwe
Guitar – Cor Dekker
Guitar, Saxophone – Huib Van Kampen
Piano, Organ – Rick Van Der Linden
Saxophone, Flute, Guitar, Vocals – Rob Kruisman
Trumpet – Rein van den Broek
Notes
"Ekseption's idea to record well-known classical themes started in 1968, when the group visited a concert of a British group called The Nice. The six boys were impressed by the way The Nice mixed pop and classical music.
A few weeks after the concert Ekseption was invited to play with one of the finest symphony orchestras in Holland - the North Holland Philharmonic - at a big festival in Haarlem.
The obvious man with Ekseption to handle this project was 22 year old pianist Rick van der Linden, who is also one the promising young classical pianists in Holland. Rick, who finished Conservatory and has played piano recitals with well-known orchestras, started to arrange several classical themes for the festival.
Some weeks before the event, however, Ekseption was told that the orchestra refused to perform with a pop group. That part of the festival was cancelled, but Ekseption stuck to the idea and decided to use the arrangement of Beethoven's "The 5th" for their new record.
"The 5th" was an instant smash hit and stayed for seven weeks in the national Top Ten. This album was the result of requests for more 'classical pop' from Ekseption's many fans." discogs

EKSEPTION - Ekseption 'Classics In Pop'

 [1968] Philips / CBR320 / scans

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TRILOGY - Here It Is [1979]

What can we expect from a band formed in the late 70's that takes the name of an ELP album?

Well, if the band has a keyboardist as Jochen Kirstein who pays tribute to Keith Emerson in every note, most like a clone band. But strangely the band is more.

Due to the interplay between Guido Hardinng (second keyboard) and Detlef Deeken, a guitarist with strong spacey roots, the band presents a strange blend with GROBSCHNITT, that sounds quite logical for the music they play.

Sadly for them, their career started when the first golden era of Symphonic was in decline, and as an extremely bombastic they had few chances to be taken seriously by a new audience that was searching for something softer and closer to Neo Prog.
Their first album "Here it Is" (1979) released by keyboardist Jochen Kirstein, keyboardist Guido Harding, bassist Ludgor Samson, guitarist Detlef Deeken, and drummer Martin Breuer, was well received in their country and some copies reached the British market, where they became some sort of cult album due to the few copies.
From this point, the story is hard to follow, couldn't find if they split after the debut, but still managed to release a second album called "Nachtlichter" in 1984 which couldn't find anywhere. Progarchives

Tracklist
1 Venice 4:31
2 Breakthrough 6:04
3 Changing Scene 9:17
4 Andy 6:10
5 Crowed 12:42
6 Encore 0:33
7 Treibsand 5:50
Credits
Bass – Ludger Samson
Composed By – Harding (tracks: 7), Kirstein (tracks: 1 to 6), Breuer (tracks: 1 to 5)
Drums – Martin Breuer
Electric Guitar, Acoustic Guitar – Detlef Deeken
Organ, Synthesizer – Jochen Kirstein
Organ, Synthesizer, Clavinet – Guido Harding
Percussion – Andy Lancenhorst (tracks: 4)

 TRILOGY - Here It Is 

[1979] Musea / CBR320 / scans

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CODA - Sound Of Passion [1986] 2CD [21th anniversary edition] 2007

CODA is a Dutch concept band created and headed by multi-instrumentalist Erik DeVroomen. With a strong emphasis on melody, their material is lushly symphonic and focuses on swirling keyboards (grand piano, novatron, clavinet and various synths played by DeVroomen), climactic moments and a few but heavily conceptual lyrics - imagine VANGELIS with some killer guitar and super-spacey segments. Between 1986 and 1996, the band released two albums and a mini CD.

Their first full-length album, "Sounds of Passion" (1986), features a 29-minute suite with lots of organ, horns and strings that give it a highly 'symphonic orchestra' feel. It is also full of mood and tempo changes as well as grandiloquent (and fortunately sparse, accented) vocals. As for the two short tracks that close the album, they are quite dispensable. Their second full-length cd, the ambitious "What a Symphony", is best described as classical music performed with modern instruments (a couple of nods are given to Mahler and Bach, in passing). Ranging from aggressive to pastoral moods, the flow is somehow unfortunately broken with frequent jazzy solos that don't quite fit into the picture. Overall, however, it is a highly melodious album and boasts a much improved production over "Sounds of Passion". progarchives

Tracklist  

Chapter 1 - Sounds Of Passion: The Album (29:14)

 Music By, Words By – Erik De Vroomen

1-1a – A) Prologue

1-1b – B) 1st Movement

1-1c – C) 2nd Movement

1-1d – D) 3rd Movement

1-1e – E) 4th Movement

1-2 – Crazy Fool And Dreamer - Album Version 4:25

Music By, Words By – Erik De Vroomen

1-3 – Defended 7:07

Music By, Words By – Erik De Vroomen

Bonus Tracks

1-4 – Sounds Of Passion 4th - Single Version 4:34

Music By, Words By – Erik De Vroomen

1-5 – Sounds Of Passion 3rd - Single Version 2:28

Music By – Erik De Vroomen

1-6 – Crazy Fool And Dreamer - Single Remix 4:24

Music By, Words By – Erik De Vroomen

1-7 – Central Station 2:06

Music By – Jacky Van Tongeren

1-8 –Coda (14) Reverberating Sounds 4:03

Music By, Words By – Erik De Vroomen

Chapter 2 - Sounds Of Passion: The Demos (31:25)

–Sequoia Sounds Of Passion - Demo Version

Bass Guitar – Maarten Holz

Drums, Percussion – Jan Stavenuiten

Electric Guitar, Acoustic Guitar – Karel De Greef

Flute, Piccolo Flute, Recorder – Pip Van Steen

Keyboards – Erik De Vroomen

Music By, Words By – Erik De Vroomen

Narrator – Roel Strik

Recorded By, Engineer, Producer, Mixed By – Erik De Vroomen, Karel De Greef, Roel Strik

2-1a – A) Prologue

2-1b – B) 1st Movement

2-1c – C) 2nd Movement

2-1d – D) 3rd Movement

2-1e – E) 4th Movement

2-2 – Nevermore (The Proud Tower I) - Demo Version 4:25

Music By – Erik De Vroomen

2-3 – Dance In The Mirror (Defended) - Demo Version 6:53

Music By, Words By – Erik De Vroomen

2-4 – True Melody (The Proud Tower II) - Demo Version 3:19

Music By – Erik De Vroomen

2-5 – Crazy Fool And Dreamer - Demo Version 4:31

Music By, Words By – Erik De Vroomen

2-6 – What A Symphony (Part 1) - Demo Version 4:48

Music By, Words By – Erik De Vroomen

2-7 – What A Symphony (Part 2) - Demo Version 5:16

Music By – Erik De Vroomen

2-8 – Reverberating Sounds - Demo Version 2:52

Music By, Words By – Erik De Vroomen

Credits

Alto Saxophone [Alto Sax] – Auke De Haan (tracks: 1-1 to 1-8, 2-2 to 2-8)

Bass [Fretless], Backing Vocals – Jacky Van Tongeren (tracks: 1-1 to 1-8, 2-2 to 2-8)

Drums, Percussion – Mark Eshuis (tracks: 1-1 to 1-8, 2-2 to 2-8)

Electric Guitar, Acoustic Guitar, Lead Vocals, Backing Vocals – Jack Witjes (tracks: 1-1 to 1-8, 2-2 to 2-8)

Flute, Piccolo Flute, Recorder – Pip Van Steen (tracks: 1-1 to 1-8, 2-2 to 2-8)

Grand Piano, Synthesizer [Assorted], Organ [Hammond, Pipe], Mellotron, Clavinet, Sampler [Emax, Emulator], Gong [Gongs], Pedalboard [Moog Taurus Bass Pedals], Percussion [Assorted], Backing Vocals, Vocals – Erik De Vroomen (tracks: 1-1 to 1-8, 2-2 to 2-8)

Narrator – Peter Van Der Laan (tracks: 1-1 to 1-8, 2-2 to 2-8)

Notes

Remastered in the 24-bit domain from the original master tapes. 

2CD Limited Edition with cardboard slipcase. 

CD 1 - Chapter 1: 

tracks 1-5: ℗ 1986 / tracks 6-8: ℗ 1992 / track 4: ℗ 1986 previously unreleased Single Version 

tracks 1-3: previously released on Sounds Of Passion on Boni Records and Sounds Of Passion on Dureco Benelux 

tracks 5: previously released on Sounds Of Passion single on Bon Records 

tracks 6-8: previously released on Crazy Fool And Dreamer CD-single on SI Music 

Recording details: 

tracks 1-5: recorded at the MMP Studios, Waalwijk, The Netherlands, November 22nd, 1983 until February 13th, 1984 

Pipe Organ recorded at Ant. Abt Church, Wijchen, The Netherlands, February 14th, 1984 by Ero Sound Mobile Recordings. 

Overdubs & Mixed by Jan Schuurman at the Bullet Sound Studios, Nederhorst Den Berg, The Netherlands, end of April & early May 1986. 

track 6: partly re-recorded by The Van Mobile Studios, Wijchen, The Netherlands, March 9th 1992 

track 7 & 8: recorded by The Van Mobile Studios, Spakenburg, The Netherlands, March 20th 1992. Mixed at The Van Mobile Studio, Spakenburg, The Netherlands, May 20th, 1992 

CD 2 - Chapter 2: 

track 1: ℗ previously unreleased Demo Version, recorded under the band name: Sequoia / tracks 2-8: ℗ 1984 previously unreleased Demo Versions / tracks 1-8: Rough Mixes / Demo Sound Quality 

Recording details: 

track 1: recorded at the Home Studios, Wijchen, November 1982 until January 1983. Recorded & rough mixed witha 4 track Fostex 250 Cassette Recorder on February 19th, 1983 

tracks 2-8: recorded at the MMP Studios, Waalwijk, The Netherlands, November until December 1983. Rough mixed at the MMP Studios, Waalwijk, The Netherlands, January 1984. 

CODA - Sound Of Passion [1986]

2007 Pseudonym Records 

2CD [21th anniversary edition]

CBR320 / scan

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