Budgie - Budgie, 1971 (Hard)

1. Guts 4:21
2. Everything in My Heart 0:52
3. The Author 6:28
4. Nude Disintegrating Parachutist Woman 8:41
5. Rape of the Locks 6:13
6. All Night Petrol 5:57
7. You and I 1:41
8. Homicidal Suicidal 6:41

Tony Bourge - guitar, vocals
Burke Shelley - bass, vocals, mellotron
Ray Phillips - percussion, drums

"Budgie is the debut album of British hard rock band Budgie. It was released in June 1971 through MCA Records. The US version on Kapp Records includes 'Crash Course in Brain Surgery', originally released as a single and covered by Metallica on their 1987 EP The $5.98 EP: Garage Days Re-Revisited. 'Homicidal Suicidal' has also been covered by the Seattle grunge band Soundgarden. Canadian band Thrush Hermit covered 'Nude Disintegrating Parachutist Woman' on the album All Technology Aside, included on the 2010 'The Complete Recordings Box Set'. The opening track 'Guts' as well as 'Homicidal Suicidal' can be seen as precursors to doom metal.
Budgie has generally received moderately positive reviews. Sounds criticized the album as being somewhat nondescript, but praised it for having 'a lot of good natured foot-tapping music' and concluded 'I certainly find it infinitely preferably to Black Sabbath, and I have the feeling that Budgie might develop into something a lot more interesting.'
In a brief retrospective review, AllMusic declared that 'For those seriously interested in metal's development, bombastic treasures like 'Homicidal Suicidal,' and 'Nude Disintegrating Parachutist Woman' are essential listening.'"

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Ella Fitzgerald and Oscar Peterson - Ella and Oscar, 1975 (Vocal Jazz)

1. Mean to Me 3:30
2. How Long Has This Been Going On? 4:59
3. When Your Lover Has Gone 2:10
4. More Than You Know 4:37
5. There's a Lull in My Life 4:58
6. Midnight Sun 3:35
7. I Hear Music 2:29
8. Street of Dreams 4:08
9. April in Paris 6:32

Ella Fitzgerald - Vocals
Oscar Peterson - Piano
Ray Brown - Bass

"Although Ella Fitzgerald worked in many different settings, from big bands to guitar-and-voice duets to sets with nearly every piano player in the business (from Duke Ellington on down), one could make a case that her best recordings were made with Oscar Peterson and his small bands. Released in 1976, Ella and Oscar is one of those classic recordings, an album that's as spare and intimate as any that the pair ever issued. In fact, the only other performer featured on this set is Peterson's longtime bassist Ray Brown, whose contributions are minimal. These songs, from the mellifluous 'Mean to Me' to a languid 'April in Paris,' are simple and beautiful."

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The Art of Noise - In No Sense? Nonsense!, 1987 (Synthpop)

1. Galleons Of Stone 1:11
2. Dragnet 3:27
3. Fin Du Temps 2:05
4. How Rapid? 0:52
5. Opus For Four 3:11
6. Debut 1:57
7. E.F.L. 5:25
8. A Day At The Races 4:01
9. Ode To Don Jose 4:14
10. Counterpoint 0:57
11. Roundabout 727 0:45
12. Ransom On The Sand 1:17
13. Roller 1 3:30
14. Nothing Was Going To Stop Them Then, Anyway 0:45
15. Crusoe 3:55
16. One Earth 4:09

Robert Ahwai – Guitar
Dave Bronze - Bass
George Webley - Bass
Paul Robinson – Drums
Frank Ricotti – Percussion
Peter Rowan – Vocals
James Talbot – Saxophone
Maurice Murphy - Trumpet
Tony Fisher - Trumpet
Colin Sheen – Trombone
Ely Cathedral Choir

"In No Sense? Nonsense! was the third full-length album by Art of Noise, recorded in 1987 and released in September of that year. By the time of its recording, the group had been reduced to a duo, with engineer Gary Langan leaving the previous year—Langan's mix engineering duties were taken over by Bob Kraushaar and Ted Hayton for this album, but the music was produced entirely by Anne Dudley and J.J. Jeczalik. The album saw the group expanding its sound to include rock and orchestral instrumentation, in addition to its trademark sampling.
Many of the album's tracks are seamlessly segued; ambient soundscapes blend into percussive rhythms, dramatic buildups, melodic string arrangements, and vocal choruses and chants. The sounds of various forms of transport are a recurrent theme. Musical motifs from 'Dragnet,' 'Galleons of Stone,' and 'Ode to Don Jose' recur throughout the album.
Some cassette versions of this album have the same program recorded on both sides. The LP version has 'Ode to Don Jose' before 'A Day at the Races', whereas the CD has them in the opposite order. Some CD copies append the last minute of audio from 'E.F.L.' onto the end of 'Ode to Don Jose'.
'Ransom on the Sand' is sampled in 'Melt,' the fourth track of Leftfield's 1995 release Leftism."

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Steve Grossman - Some Shapes to Come, 1973 (Jazz)

1. WBAI 2:07
2. Haresah 7:06
3. Zulu Stomp 6:13
4. Extemporaneous Combustion 6:10
5. Alodian Mode 7:00
6. Pressure Point 4:52
7. The Sixth Sense 9:30

Steve Grossman - Sax (Soprano), Sax (Tenor)
Jan Hammer - Moog Synthesizer, Piano (Electric)
Gene Perla - Bass
Don Alias - Bells, Bongos, Congas, Drums

"By the time Steve Grossman released this debut, he and percussionist Don Alias had spent several years recording and touring with Miles Davis. Of course this time spent with the vanguard band of jazz fusion and music, in general, had a profound effect on the musicians and, thus, this album. Some Shapes to Come is an album you can stand up against almost any of the jazz fusion standouts of the '70s. No, it can't go toe to toe with that era's seminal landmark albums (Bitches Brew, Multiple, Black Market, Emergency!, etc), but in terms of artistry, musicianship, and ambition it is among the next tier of thoroughly excellent works. Grossman and Alias teamed with bassist Gene Perla (the three would later comprise the Stone Alliance power trio) and keyboardist Jan Hammer for seven tracks of Afro-Cuban tinged gutter funk and seething jazz. It comes from every angle and direction (only the swinging but fiery Pressure Point is straight-ahead, and must have been right up Perla's alley, as he was fresh off a stint with Elvin Jones' band). You'll hear touches of Mwandishi (Alodian Mode) and even McCoy Tyner (Haresah), but no sound is aped. Perla may be the understated star of the album, with every track held together by his linchpin bass work, a thump and grind that are as good as the classic grease Dave Holland, Michael Henderson, and Stanley Clarke were churning out at the time. All you have to do is check The Sixth Sense, the grimiest tune on the album. Here, the rhythm section offers a groove that, decades later, sounds far more current and hip than most of the recent, rehashed, revisionist rhetoric today's young musicians fall victim to. Hammer, who drops chords as heavy and thick as molasses throughout the album, is almost as responsible as Perla for the album's collective, steady groove. You can also see on his Sixth Sense solo why he fit in so well with the more rock-leaning Mahavishnu Orchestra, somehow manipulating his Rhodes to sound like a scorching electric guitar. But smell is the one sense that really identifies this album. It's the funk, baby. Everything grooves and bounces. Zulu Stomp is one of those jazz songs out of the James Brown breakbeat-ready school of fusion-funk and it also exhibits why Alias could arguably stake a claim as his era's greatest percussionist. It all created the perfect canvas for Steve Grossman to get busy. One could argue that through all his hell-bent solos (using the sax so rhythmically, it's almost like a percussion instrument), he didn't blow one wrong note. There are no lowlights on this album, no soft moments. Often overlooked, it is one of the '70s most unheralded jazz gems."

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Sparks - Big Beat, 1976 (Art Pop)

1. Big Boy 3:30
2. I Want to Be Like Everybody Else 2:57
3. Nothing to Do 3:09
4. I Bought the Mississippi River 2:29
5. Fill-er-up 2:20
6. Everybody's Stupid 3:41
7. Throw Her Away (and Get a New One) 3:15
8. Confusion 3:27
9. Screwed Up 4:20
10. White Women 3:24
11. I Like Girls 2:58
12. I Want to Hold Your Hand 2:56
13. England 3:18
14. Gone with the Wind 3:07
15. Intrusion/Confusion 2:47
16. Looks Aren't Everything 3:28
17. Tearing the Place Apart 3:38

Russell Mael - Vocals
Ron Mael - Keyboards
Jeffrey Salen - Guitar
Sal Maida - Bass
Hilly Boy Michaels - Drums

"Big Beat was recorded at Mediasound studios, New York in August 1976. The album was the group's first album after breaking away from their English backing band. Instead the Mael Brothers used session musicians and hired Roxy Music contributor (Viva!) Sal Maida on bass, Tuff Darts guitarist Jeffrey Salen and Hilly Boy Michaels on drums. The release was their first for Columbia Records in the US. The album employed a much heavier and harder rock sound. Initially the Mael brothers had returned to work with the early Sparks member Earle Mankey. Together, they recorded the song 'England', a song which bore much in common with the jaunty home-made and unusual sound that the three musicians had made together in the early 1970s. Conversely, Rupert Holmes and Jeffrey Lesser's production on the album was slicker and more direct and the resulting album displayed a more 'American' AOR sound. This new 'West Coast' sound was deemed a failure as Sparks felt the results were 'bereft of personality'.
The final track on the album was a re-recording of 'I Like Girls'. The song had been a live favourite from their pre-1974 days. Versions of the song had previously been recorded in 1973 and again in 1974, but both takes were deemed unsatisfactory. The 1973 recording of 'I Like Girls' was later included on the 1991 Rhino Entertainment compilation Profile: The Ultimate Sparks Collection.
The lead single, 'Big Boy', and its B-side, 'Fill-er-up', were performed for a cameo appearance in the 1976 disaster film Rollercoaster, after Kiss turned down the role.
Big Beat was not a success in terms of chart performance and failed to match the performance of the group's previous three albums. It did not chart in the UK or US.
'Big Boy' and 'I Like Girls' were released as singles but neither picked up any significant sales or radio play.
Big Beat was reissued by Island in 1994 and remastered in 2006. The first issue by the Island Masters subsidiary added 'Tearing The Place Apart' and Russell Mael's 'Gone With The Wind', both of which were recorded during the sessions for the Indiscreet album. The '21st Century Edition' added the non album single 'I Want to Hold Your Hand', its B-side, 'England', and two previously unreleased tracks; 'Looks Aren't Everything' and 'Intrusion/Confusion'. The latter is an early recording of 'Confusion'. The remastered edition is generally considered sonically superior to the earlier 1994 UK CD and the 1988 Japanese CD, but accidentally extends the track 'Throw Her Away (And Get A New One)' by about twenty seconds leading to a cold end, rather than the intended fade out present on every other edition."

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The Ganelin Trio - Poco-A-Poco, 1978 (Free Improvisation)

1. Poco 1 2:39
2. Poco 2 6:40
3. Poco 3 2:59
4. Poco 4 10:49
5. Poco 5 3:07
6. Poco 6 9:28
7. Poco 7 2:19
8. Poco 8 5:54
9. Poco 9 4:16
10. Poco 10 8:17
11. Poco 11 4:05

Vladimir Chekasin - Flute, Ocarina, Reeds, Vocals, Voices
Vyacheslav Ganelin - Basset Horn, Dulcimer, Guitar, Piano
Vladimir Tarasov - Drums, Percussion

"The Ganelin Trio (Vyacheslav Ganelin, piano and electric guitar; Vladimir Tarasov, drums; Vladimir Chekasin, reeds, wooden flutes, and voice) is the proof that the Soviet Union could produce incredible musicianship and unbridled creativity. Poco-a-Poco, recorded live in Novosibirsk, February 1978, and released in 1988 on Leo Records (it was the label's first CD), introduced the trio to Western listeners. The shock was real and invigorating. Avant-garde jazz aficionados discovered a trio of lunatics who were condensing 100 years of jazz, blending it with folkloric elements and stage antics. The resulting music is passionate, complex, ever-shifting, and very funny; it crackles with energy. Posing as a 60-minute suite, 'Poco-a-Poco' sounds more like a collage of excerpts from a live show (cuts are noticeable between sections) but ultimately it matters very little: The fact remains that this is an exciting record from beginning to end. Vyacheslav Ganelin's writing could be compared to a Russian and jazzier avatar of John Zorn. The trio moves from free jazz to 2/4 upbeat themes, from sensual Coltrane-ian melodies to wacky recorder solos. Although Catalogue, the trio's second album for Leo Records, is stronger composition-wise, Poco-a-Poco remains a must. In September 2000, the label released a reissue of the CD with extensive liner notes by Steve Kulak in a limited edition of 500 copies."

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Foghat - King Biscuit, 1976 (Boogie Rock)

1. Fool For The City 4:56
2. My Babe 4:21
3. Drivin' Wheel 5:51
4. Honey Hush 5:53
5. Night Shift 6:37
6. Slow Ride 10:38
7. Home In My Hand (1974 Bonus Track) 5:05
8. Eight Days On The Road (1974 Bonus Track) 6:00
9. Leavin' Again (Again) (1974 Bonus Track) 2:57
10. I Just Want To Make Love To You (1974 Bonus Track) 11:28
11. Bonus Interview 9:46

Lonesome Dave Peverett - Guitar, Vocals
Rod Price - Guitar, Slide Guitar, Vocals
Nick Jameson - Bass, Vocals
Craig MacGregor - Bass, Vocals
Roger Earl - Drums

"Recorded mostly in 1976, with bonus tracks taken from a 1974 concert, King Biscuit: In Concert is quite possibly the best live Foghat album on the market -- it boasts better sound quality and lengthier jams than the somewhat abbreviated Foghat Live album from 1977, and it features the band during the prime years of their career, unlike the latter-day Road Cases. There's also a studio re-recording of 'Leavin' Again' and a band interview padding out the disc, but the main emphasis is on the band's concert fireworks, and they deliver exactly what their fans want."

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Jon Lord - Gemini Suite, 1971 (Sympho Prog)

1. Guitar Soloist: Albert Lee 9:00
2. Piano Soloist: Jon Lord 8:07
3. Drums Soloist: Ian Paice 7:22
4. Vocals Soloist: Yvonne Elliman and Tony Ashton 5:51
5. Bass guitar Soloist: Roger Glover 5:04
6. Organ Soloist: Jon Lord 12:00

Jon Lord - piano, organ
Albert Lee - guitars
Ian Paice - drums
Tony Ashton - vocals
Yvonne Elliman - vocals
Roger Glover - bass
The London Symphony Orchestra conducted by Malcolm Arnold

"After the cold reception of his first orchestral release, Jon Lord wisely decided to disassociate such work from the Deep Purple name -- even though the lineup here is largely the same. Those who enjoyed 'Concerto for Group and Orchestra' will find even more to love here, while the many Deep Purple fans who didn't care for 'Concerto' will probably remain unimpressed. Still, even though 'Concerto' saw listeners suffering through orchestral noodling for a few minutes of ass-kicking rock, this time around the band and orchestra are better integrated. The first movement contains an eminently sample-worthy bit of ice-cool jazz in a drum roll and walking bassline by Paice and Glover before descending into brittle percussive piano soloing, while the third movement has some wonderfully dissonant bass soloing over the brass and percussion sections by Glover. And in a goofy but appropriate period touch, the London Symphony Orchestra members are listed by their astrological signs, rather than by 'woodwinds' or 'strings'."

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Count Basie and the Kansas City 7, 1962 (Jazz)

1. Oh, Lady Be Good 4:41
2. Secrets 4:08
3. I Want a Little Girl 4:16
4. Shoe Shine Boy 4:08
5. Count's Place 5:29
6. Senator Whitehead 4:12
7. Tally-Ho, Mr. Basie! 4:28
8. What'cha Talkin'? 5:00

Count Basie – piano, organ
Eric Dixon – tenor saxophone, flute, clarinet
Thad Jones – trumpet
Frank Wess – flute, alto flute (2, 6 & 8)
Frank Foster – tenor saxophone, clarinet 1, 3-5 & 7)
Freddie Green – guitar
Eddie Jones – bass
Sonny Payne – drums

"One of Count Basie's few small-group sessions of the '60s was his best. With trumpeter Thad Jones and tenors Frank Foster and Eric Dixon filling in the septet, Basie is in superlative form on a variety of blues, standards and two originals apiece from Thad Jones and Frank Wess. Small-group swing at its best."

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Faust - The Faust Tapes, 1973 (Kraut)

1. Exercise 0:52
2. Exercise 0:21
3. Flashback Caruso 4:01
4. Exercise 1:48
5. J'ai Mal Aux Dents 7:14
6. Untitled 1:03
7. Untitled 1:42
8. Dr Schwitters #1 0:25
9. Exercise 1:11
10. Untitled 1:18
11. Untitled 0:50
12. Dr Schwitters #2 0:49
13. Untitled 1:03
14. Untitled 0:47
15. Untitled 1:33
16. Untitled 2:18
17. Untitled 0:34
18. Untitled 0:51
19. Untitled 1:15
20. Untitled 2:28
21. Untitled 0:20
22. Untitled 1:13
23. Untitled 0:59
24. Stretch Out Time 1:35
25. Der Baum 3:49
26. Chère Chambre 3:07

Gunter Wusthoff - synthesizer, saxophone
Rudolf Sosna - guitar, keyboards
Hans-Joachim Irmler - organ
Jean-Herve Peron - bass
Arnulf Meifert - drums
Werner Dermeier - drums

"The Faust Tapes is a 1973 album by the German krautrock group Faust. The album sold well in the United Kingdom (50,000 copies) because of a marketing gimmick by Virgin Records that saw it go on sale for the price of a single. This exposure introduced British audiences to Faust.
Recommended Records reissued the album on LP in 1980, and on CD in 1996 and 2001, both mastered from vinyl sources. The Recommended LP reissue used a brand new cover design and was packaged in an oversized plastic bag. Neither CD edition included the original LP artwork; the 1996 CD used the cover art from the second 'Faust Paty 3' extract single as the front cover and the 2001 CD used the cover art from the 'Munic And Elsewhere' album as the front cover. The Virgin and Recommended LP releases, and the first Recommended CD release had no track titles.
The Faust Tapes consists of segments of songs woven together in pieces spread out over two sides of the LP.
Faust's previous record label was Polydor Germany, and when they complained that Faust's second album Faust So Far (1972) was not commercial enough, Faust's producer, Uwe Nettelbeck signed the band up with Virgin Records in London. Part of the deal between Nettelbeck and Virgin was that he would give Virgin the tapes he had of the music Faust had been working on since So Far 'for nothing' and that Virgin would release a record priced as low as possible. The result was The Faust Tapes, a full length album, which sold at 49 pence.
The Wire placed The Faust Tapes in their list 'One Hundred Records That Set the World on Fire (While No One Was Listening)'."

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