ROVO and SYSTEM 7 - "Phoenix Rising"

In which Steve and Miquette lose the METRONOME and go back to something a little more RADIO GNOME again! 

System 7 were always a frustrating band, if a 'band' is ever what they were. You always found yourself wishing that they'd escape the restrictions of the relentless "doof-doof-doof-doof-doof-doof-doof" mechanical beats and for once do something a little more Planet Gong now and again. You knew from old how musically capable Steve Hillage and Miquette Giraudy were, but you couldn't lose the feeling that they were somehow going for some easy money by catering primarily for the "Big Fish Little Fish Cardboard Box" brigade. They tend to make functional music. Goa Trance by numbers. It's okay for stirring up a tentful of midnight ravers and it's pretty useful as a soundtrack to long car journeys. But when could you ever sit down and listen to it?

For me, the best bits of System 7 were always when they lost the beats altogether and got a lot more ambient and Rainbow Dome-ified, such as on the "Water" version of "Point 3" or some of the spacey stuff on side two of "777". But when they crank up the drum machines for forty-five minutes at a stretch? They're just not interesting enough, not rhythmically involved or involving. Maybe I don't take the right kind of drugs, but I just don't get it.

Well, this is the System 7 album that those of us who don't dance have been waiting for... The album where Steve Hillage straps on a guitar and takes off into the stratosphere like you always knew he still could... The album where the mechanical beats are finally given more substance and texture by the inclusion of not one but two real drummers... The album with a much-needed injection of human interaction, courtesy of the Japanese progressive/jam band ROVO (who, deservedly, get top billing, just in case if you were wondering where to find the CD racked in HMV).

On first listening, you notice that this album... DOESN'T ALL SOUND THE SAME! Each track has a distinctive character and style. It's almost a potted summation of all the different kinds of music that Hillage has been involved in over the years.

I can't tell from listening whether the musicians were actually in the same room at the same time of recording or whether the two bands gave each other tracks to work on separately (as is the norm these days)... but the impression is definitely one of musicians jamming together.

The first track "Hinotori" is a System 7 track given the Rovo treatment. It thus becomes a huge twin guitar anthem, with the tumbling drummers to the fore and all those swirling synthesisers whizzing around your head, filling any unoccupied space.




"Love For The Phoenix" is a little more like System 7 as you know them - they even recycle the "Ya Habibi" sample from the first album as a point of reference! But the Japanese musicians offer a much richer pallet of synthesiser colours.

The audacity of it all! Just to prove that these are real musicians and not the result of laptop jiggerypokery, they follow that with a faithful version of the Mahavishnu Orchestra's "Meeting Of The Spirits" (or is it "Meetings Of The Spirit"? Even Johnny Mac himself could never make up his mind about that one!). The drums here are a little more 'anchored' than you would expect from a Billy Cobham, but the instrumental interplay (fast guitars! electric violins! bendy-note moogs!) is exactly what you'd love to hear!




The centrepiece of the album is the quarter-of-an-hour-or-so epic "Cisco", which touches several bases during the course of its allotted time. It starts off in a 'motorik' krautrock vibe, which gradually reaches a point in space situated somewhere between Hawkwind and the Boredoms (during their "Vision Creation NewSun" period. Rovo's guitarist used to be a Boredom himself). It builds to a frenzied climax during which the drummers are seemingly playing two completely different songs, before arriving somewhere off the coast of the Isle Of You with Zero the Hero and a Master Builder or five. It's impossible not to be swept along by it... which I guess is the whole point.

After all that, "Unbroken" seems like the weakest track on the album, but it too has its own appeal. If it wasn't for the contemporary hoppy-skippy dubstep rhythm, you'd swear you were listening to something from the early seventies heyday of 'jazz fusion'. It's almost like Colosseum Two were rehearsing in the studio next door, while Miquette and Steve were getting ready for the evening's rave!

If track two was a System 7 track passed on for the Rovo treatment, then "Sino Dub" must therefore be a Rovo track that has been given to the System twins to have a go at. The beats certainly have that 'doof-doof-doof' feel throughout. But at various points during its twelve minutes, there's some fabulous instrumental - oh, let's call 'em SOLOS, shall we? - moments that lift it above the dancefloor.

"Unseen Onsen" gets a solitary 'M.Giraudy' writing credit on the sleeve, so you kinda guess that they're going to end the album in a more 'ambient' mood. Sure enough, it's time to leave the drumboxes switched off - bring on the hurdy-gurdy glissandos and those bubbling sequencers and we're back in the rainbow dome once more for some serious blissing out... you wish it could have gone on longer really...

Bring on the live DVD!!!



http://www.noblepr.co.uk/Press_Releases/rovosystem7/phoenixrising.htm

Pick O' The Year (2013)

In previous years, I've divided the list into two categories; "New CDs" (that would be anything with a 2013 publishing date) and "Back Catalogue & Reissues" (which may or may not include compilations). This year, I've decided not to do that. It's becoming increasingly difficult to think that way, considering the kind of music I tend to buy and the way it is delivered now. Can I still say "New CDs" when I've purchased quite a few of them in digital download form? Previously unreleased archive recordings get issued as new releases. Some may finally be released as 'new' albums but have been the result of years, even decades of on/off work. Do newly released 'official bootleg' recordings count as 'new' albums? Anthologies? Film soundtracks which include old songs? It's a right old pickle, I can tell you. But here's the top three, without a shadow of a doubt...



Steven Wilson - "The Raven That Refused To Sing and Other Stories" (KScope)
Sorry, sorry, deepest apologies to everyone else out there in Musicland, I know it's not fair... but it's almost inevitable now. If Steven Wilson brings out a new record, then it heads straight for my own "Album of the Year" slot, no questions asked. I wouldn't actually say he can do no wrong, but his records (under whatever band name) always ooze pure class. He's disbanded all his other combos for now, and is going out under his own name... but this is still very much a band album. Having assembled a stellar cast to do his bidding, the material they have been given to learn is almost entirely played live in the studio. And played bloody well. Steven Wilson possesses the best ears in the business. His own demos are better than many people's proper records and he's still the go-to guy for remastering classic seventies prog for the audiophile market - this year he's also done Yes' "Close To The Edge" and Hawkwind's "Warrior On The Edge Of Time" and had another crack at King Crimson's "Red" for both vinyl and an expensive box set. So you just know that anything that comes out of that studio is at least going to sound lovely at the end of the day. Especially when the legendary Alan Parsons is there at his side as engineer and the original Crimson Mellotron makes a guest appearance. And if that's not enough he also gets my "Best Gig Of The Year" (at the Royal Festival Hall) and "Best Multimedia Package" (the "Drive On" CD/DVD EP or whatever you call it) awards.

The Vicar - "The Vicar Songbook #1" (DGM Panegyric)
Now this is exactly what I was talking about. Here is a 'new' album with a 2013 publishing date... but those of us who have been following the progress of the mysterious Vicar will be aware that many of these songs are a decade or more in the making, some having already emerged as demos and free "Hot Tickle" downloads from the DGM website. So I already knew that the album would be full of cracking tunes and exquisite arrangements, with echoes of "Odessey & Oracle", the studio work of Brian Wilson and Van Dyke Parks, early 10cc, a touch of Sufjan Stevens and, of course, lashings and lashings of very English prog. But nothing prepared me for what tickled my ears the first time I put on the LPCM Stereo 2.0 DVD. The long wait has certainly been worth it, because they've clearly put a lot of work into getting it right this time! I don't have a clue what all the comic book stuff and Punk Sanderson's video blogs are supposed to be about, but I know I like the music in its own right. Who is The Vicar? Well, everyone has their theories. Many of them are wrong. Suffice it to say, he makes exquisite pastoral pop music which will particularly appeal to people who hate drums and cymbals.

Matt Berry - "Kill The Wolf" (Acid Jazz)
This is the follow-up to the wonderful "Witchazel", my Album of The Year in these very pages for 2011. If you took any notice of my raving and bought that album on the back of it, then you won't be disappointed with the sequel. This is a similar blend of sunshine pop, prog-rock and psychedelic folk, mostly played and multitracked Oldfield-style by the man himself. It's all very organic and analogue-sounding, performed almost entirely on real vintage instruments and is quite quite delightful. Fans of the Isle of Wight's own "The Bees" will also find much to enjoy here. You might recognise some of the tunes if you've watched Matt's quirky sitcom "Toast Of London", although there he substitutes different words to suit the episodes.





The Rest
As is customary, there has been an endless stream of King Crimson-related material purchased as downloads this year. Best of the bunch have been the latest from Stick Men, "Deep" and the series of "Official Bootlegs" documenting The Crimson ProjeKCt's three-night stint at Tokyo's Club Citta'... Hugh Laurie's "Didn't It Rain" carries on where the award-bestrewn "Let Them Talk" left off, featuring a further selection of New Orleans jazz and blues oldies given a respectful airing by the sickeningly talented Mr Laurie and his band of fellow enthusiasts... Topping the Guilty Pleasures list this year are the (so-far) two volumes of original soundtrack material from the compellingly bitchy TV saga "Nashville" (a sort of Dallas with Telecasters, or a Twang Dynasty, if you prefer). The music rises above the rest of the run-of-the-mill soundtrack compilation fodder by virtue of having the great T-Bone Burnett as executive producer. Therefore 'It's Country, Slim, But Not As We Know It', an entirely different kind of 'fusion' from the one I've been listening to for the last forty years! While still having one foot in the puddle of 'tradition', this music shares the same reverb-drenched spooky atmosphere of Robert Plant's recent countrified (country fried?) collaborations or the best of Daniel Lanois' work with the likes of Emmylou Harris.

_______________________________________________

It is most telling that my three favourite albums of the last twelvemonth all sound like they could have been released some time before 1976.

It is probably true to say that my musical tastes were fully established, if not carved in stone, way before punk's so-called "Year Zero" rolled around. 'Progressive' rock and all its funny little sub-genres; 'modern' jazz with the emphasis on the improvised; 20th century 'classical' composition. These were the things that rocked my world, then and now. Admittedly, some of the 'clever' music I listened to during The Golden Age of Prog did indeed turn out to be self-indulgent bollocks. I won't name names, although several spring to mind immediately. Some of them I would even have counted as 'favourites' at some time or another. But even the least listenable of them had an element of "At least they're having a go!" or "How the hell do they remember it all?".You could at least be impressed by what you heard, even if you didn't always actually like it. It was real music.

Now and again I might come into contact with the 'mainstream' (i.e. the kind of music that everyone else listens to), but rarely do I hear anything built to last. Pop is fickle. It's surely not intended to last past next Thursday. Trends may have come and movements may have gone, but how much of it has stood the test of time as MUSIC?

Let's be honest.

In the late seventies, I was a student in my late teens. I gained some considerable enjoyment from a lot of the 'punk' 'music' of the day. But it was just a laugh. A bit of rumbustious, good time, rock & roll nonsense for the purpose of leaping about the room at parties. Surely it wasn't for listening to?

'Round 'bout this time there was also some pretty fine dance music about. This was the height of my 'clubbing' days. I would bop the nights away to some top hole jazz-funk and dancehall reggae (remember this was several years before all 'dance' music became mechanized and purely functional). But sit down and listen to it? Are you serious?

When 'post-whatever' rock did get all serious again in the early eighties, it rarely succeeded. I've occasionally paid a return visit to the kind of post-punk experimentalism I was 'REALLY INTO, MAN' at the turn of the eighties. Little of it has dated well. Much of it is unmusical, amateurish rubbish. What was I thinking?

For me, the music that still has LASTING VALUE over the decades tends to be the stuff that I wouldn't personally be able to create, not in a million years, no siree bob. Excuse my flimsy attempts at self-deprecation, but anything that triggers a reaction of "hmm, I could easily have done that myself" can't possibly be any good, can it? Surely your musical heroes are supposed to be better at it than you are?

Invariably then, when I sit down and think about what I've purchased and listened to over the previous year, I will usually consider whether I think I will still be listening to it in another year or more*. This music defies trends and contemporary hype, stands on its own terms, without pandering to the mainstream. But with some cracking tunes thrown in...

(*One of these days, I will see if I can find any of my "Pick O' The Year" lists from the eighties and nineties. I'm sure they're in a box somewhere. Then I'll probably find that my premise has been completely blown out of the water! Ho hum...)

STOP PRESS... Late entry alert! The Burning Shed fairies have just been, and left on my doormat both KScope CDs by the progtastic, 'somewhere-west-of-Canterbury'-styled jazz-rock collective HENRY FOOL (one is the latest album from 2013, "Men Singing", and the other is the freshly reissued debut album from 2001). It's another feather in the cap of TIM BOWNESS, he of No-Man and Judy Dyble fame. That STEVEN WILSON makes an appearance in the credits too, along with a cast of several. Both albums would certainly fit my stated remit, sounding like they could have been made 'back in moy day': more vintage keyboards than a Rick Wakeman garage sale, including mellifluous Mellotrons and Fender Rhodes (tremolo and vibrato and a-flanging-oh, alive alive oh!); pastoral flute and sax cadenzas, straight out of the Book of Jimmy Hastings; filthy-sounding guitars, some of which are provided by the very wonderful PHIL MANZANERA himself, channeling the spirit of Quiet Suns past. Bloody marvellous!

Action Painting on Ganymede

Fresh space music and some more video experimentation from yours Pedantically...

This is a new piece of ambient music/space music/call-it-what-you-will music, in which I once again follow the now familiar path of warping pre-existing parts of earlier tunes (more often than not, recent efforts have been based on CC:PP pieces) and sticking them back together in 'alien' ways. There's some churchy-sounding organ in there, a slidey-guitarry thing that's been PaulStretched beyond all recognition and, unless I'm very much mistaken, there's a choir of sampled CCs that pops up occasionally. I gave it the last-minute name of "SHE-WOLVES OF GANYMEDE", a nonsensical yet strangely evocative title, arrived at via the time-honoured method of blindly stabbing at an opened copy of Hutchinson's Junior Encyclopaedia with the blunt end of a pencil. Because I had to call it something...

The accompanying visuals are also an exercise in recycling. I used my "pointing-my-camera-out-of-the-train-window" footage (last seen here), slowed it down, sped it up, flipped it, mirrored it and submitted it to some arty, swirly effects, plus an extreme use of posterisation and median filter, until I arrived at something that resembles a juddery 8mm stop-frame animation, hand-drawn with magic markers. Which may or may not have been the effect I was aiming for...

Larks' Tongues In Aspic

An "It Was Forty Years Ago Today" Special...

It was, in fact, almost forty years ago to the day (23rd March 1973) that this timeless KING CRIMSON classic was originally unleashed on the world.

Okay, hands up! I know I sort of 'promised' in my "Pick O' The Year" blog that I would give the 40th Anniversary Edition a proper review once I'd lived with it for a while...

But what can I say about this little beauty that hasn't already been said? I mean to say! Forty years!! A lot of things have already been written about it in that time!


In fact a lot of things have been written about it recently (saves me the bother!) - so I shall just redirect you to a few of the best ones I've seen on that internet, in the months since the 'definitive' 'deluxe' editions landed on our doormats:-

Admirers On The Street - a collection of fans' memories and reviews 
Dutch Progressive Rock Page - good 'fans' overview
Something Else Reviews - review of the 40th Anniversary CD/DVD edition
All About Jazz - review of the 'Everything you could possibly need and more' box set
Sid Smith's Blogspot - first impressions from KC's official biographer
Prog Sphere Blog - good overview of the CD/DVD edition

Of course, as always, the place to go for all things KCrimsoid is the vitally important DGM LIVE itself.

Oh, alright then... here's my 'review' - Buy it! If you've not heard King Crimson's "Larks' Tongues In Aspic" by now... well, what have you been doing all this time?



*By the way, whoever posted this fab clip on that YouTube is feeding you false information, kids! The date for this German telly "Beat Club" recording is 17th October 1972 (not 1973!). But I don't think that will spoil your enjoyment too much...

It Was Forty Years Ago Today (1973)

If you thought 1972 was good, just wait till you hear what 1973 has got in store for you!



I guess 1973 was the year I "came of age" musically... Of course, I'd lived through "THE SIXTIES", but didn't realise that they were happening at the time. My experience of music, such as it was, was limited to the novelty hits of the day and whatever else oozed out of the 'medium wave' wireless, plus an occasional dip into my Dad's big band jazz collection. Musical history was being made all around, but most of it went right over my head, as I had more important childish pursuits to... um, pursue. Let's face it, as an eleven year old boy in the summer of 1969, I was far more enthralled by the Apollo space programme than anything that was happening on a farm in upstate New York. But even as a mere sprog, musically disinterested as I was, I knew enough to realise that THE BEACH BOYS were much better than THE BEATLES (and for that matter, just about everyone else was better than THE ROLLING STONES). I mean to say, it's obvious now, isn't it? Can't anyone else see it?

Then sometime in the early nineteen-seventies, I began to realise that there wasn't just "POP" music. There was also something called "ROCK" music to be discovered. This was something new to me, music that had to be listened to, because it actually had something going on. A number of factors contributed to my musical education:- 

- First and foremost, there was the Saturday afternoon radio programme hosted by the grand old man of the airwaves, ALAN "FLUFF" FREEMAN. Here I discovered all kinds of Progressive Rock for the first time - The Big Four (Floyd, Yes, Genesis, ELP) plus all those conservatoire-trained funny foreigners from Holland, Germany and Italy that seemed to tickle my fancy the moment I heard them...

- I'd missed the opportunity to hear proper "pirate" radio stations (the government killed most of those off in the sixties), but every evening I'd go to sleep hearing RADIO LUXEMBOURG struggle through the static. I hazily recall they played Redbone's "Witch Queen Of New Orleans" and something by Santana every single night. This too was something new and exotic while it lasted.

- Then, on the telly, "THE OLD GREY WHISTLE TEST" started. Regular host WHISPERING BOB HARRIS was a big advocate of this new-fangled Progressive Rock I'd been hearing about (he later managed and produced one such band called Druid). FOCUS were the first band to grab my attention. I thrilled to see RICK WAKEMAN playing excerpts from "The Six Wives Of Henry VIII" with all those keyboards!!! (Confessions Of A Gear-Head Trainspotter). Every week, the show featured at least one band that I found exciting, as well as the endless stream of American singer-songwriters coming out of the woodwork at that time.

- Some school chums had older brothers who had actual RECORD COLLECTIONS. Not only that, they played them on something called a HI-FI. Solid state, not valves. This was a revelation.

- About this time, we would have started to buy and digest the 'inkies' every week:- the NEW MUSICAL EXPRESS and SOUNDS, sometimes the MELODY MAKER. These were our holy texts. They told us what was okeydokey and what was not.

- I attended Saturday morning classes at the Art College. In the corner of the studio was an old Dansette record player and two LPs. One of them, "THE YES ALBUM" was played to death every Saturday from that point on (I don't remember what the other one was, but I've a feeling it was something by the Edgar Broughton Band).

- In the NAAFI Club at some air force base or other, there was a jukebox that repeatedly pumped out seven-inch slabs of HAWKWIND, DEEP PURPLE and ATOMIC ROOSTER at a thrillingly loud and distorted volume.

So the year 1973 (I was 14 going on 15), was when I 'found' music and it started to matter. I bought my first ever LP in the summer (Focus' "Live at the Rainbow"). Accompanying a couple of school chums (and one of those older brothers I mentioned), I went to my first ever rock concert (Hawkwind at Portsmouth Guildhall) on the 19th December. Mind Blown Forever.



Just looking at this list now, you can see that it was a golden age for some rather decent music. It's astonishing how many albums widely regarded as "all-time greatest" were released during that one twelve-month period. (They weren't all classics of course. Don't worry, I've filtered out all the Donny & Marie and Gary Glitter albums that would have been on a lot of contemporaneous Dear Santa's). I suppose everyone would say that "their time" was a golden age. I can't pretend that I was aware of all the items on this list at the time, but a frightening number of them have found their way into my collection in the years since. Many are treasured favourites to this day.

10cc - 10cc
ABBA - Ring Ring
Acqua Fragile - Acqua Fragile
Alan Hull - Pipedream
Alan Stivell - Chemins De Terre
Alice Cooper - Billion Dollar Babies
Allman Brothers Band - Brothers And Sisters
Ange - Le Cimetière Des Arlequins
Area - Arbeit Macht Frei
Argent - In Deep
Arti E Mestieri - Tilt
Banco Del Mutuo Soccorso - Io Sono Nato Libero
Band - Moondog Matinee
Barbra Streisand - And Other Musical Instruments
Beach Boys - Holland
Billy Cobham - Spectrum

Black Oak Arkansas - High On The Hog
Blue Öyster Cult - Tyranny And Mutation
Brian Eno - Here Come The Warm Jets
Bruce Springsteen - Greetings From Asbury Park, N.J./The Wild, The Innocent & The E Street Shuffle
Bryan Ferry - These Foolish Things
Buckingham Nicks - Buckingham Nicks
Budgie - Never Turn Your Back On A Friend
Camel - Camel
Can - Future Days
Caravan - For Girls Who Grow Plump In The Night
Carlos Santana & Mahavishnu John McLaughlin - Love Devotion Surrender
Clannad - Clannad
Commander Cody And His Lost Planet Airmen - Country Casanova
Curved Air - Air Cut
David Bowie - Aladdin Sane/Pin Ups
Donovan - Cosmic Wheels
Doobie Brothers - The Captain And Me
Dr. John - In The Right Place
Eagles - Desperado
Earth Wind & Fire - Head To The Sky
Edgar Broughton Band - Oora
Electric Light Orchestra - On The Third Day
Emerson, Lake & Palmer - Brain Salad Surgery
Eric Clapton - Eric Clapton's Rainbow Concert
Faces - Ooh La La
Fairport Convention - Nine/Rosie
Family - It's Only A Movie
Faust - The Faust Tapes
Flash - In The Can/Out Of Our Hands
Fleetwood Mac - Penguin
Focus - Live At The Rainbow
Frank Zappa - Over-Nite Sensation
Fripp & Eno - No Pussyfooting
Fruupp - Future Legends
Funkadelic - Cosmic Slop
Genesis - Selling England By The Pound
Gentle Giant - In A Glass House
George Harrison - Living In The Material World
Golden Earring - Moontan
Gong - Flying Teapot/Angels Egg
Grand Funk Railroad - We're An American Band
Grateful Dead - Wake Of The Flood
Greenslade - Bedside Manners Are Extra
Gryphon - Gryphon
Hall & Oates - Abandoned Luncheonette
Hawkwind - Space Ritual
Henry Cow - Leg End
Horslips - The Tain
Hugh Hopper - 1984
Humble Pie - Eat It
Ian Matthews - Valley Hi
Iggy & The Stooges - Raw Power
Il Roviesco Della Medaglia - Contaminazione
Isley Brothers - 3 + 3
It's A Beautiful Day - Today
Jefferson Airplane - Thirty Seconds Over Winterland
Jethro Tull - A Passion Play
Jimmy Buffett - A White Sport Coat And A Pink Crustacean
Jimmy Cliff - Struggling Man
John Cale - Paris 1919
John Entwistle - Rigor Mortis Sets In
John Lennon - Mind Games
John Martyn - Inside Out/Solid Air
Kevin Ayers - Bananamour
Kevin Coyne - Marjorie Razorblade
King Crimson - Larks' Tongues In Aspic
Kraan - Wintrup
Kraftwerk - Ralf Und Florian
Le Orme - Felona E Sorona
Led Zeppelin - Houses Of The Holy
Leonard Cohen - Live Songs
Little Feat - Dixie Chicken
Lou Reed - Berlin
Lynyrd Skynyrd - (Pronounced 'Leh-'nérd 'Skin-'nérd)
Magma - Mekanïk Destruktïw Kommandöh
Magna Carta - Lord Of The Ages
Mahavishnu Orchestra - Birds Of Fire/Between Nothingness & Eternity
Man - Back Into The Future
Manassas - Down The Road
Manfred Mann's Earth Band - Messin'/Solar Fire
Marvin Gaye - Let's Get It On
Michael Nesmith - Pretty Much Your Standard Ranch Stash
Mike Oldfield - Tubular Bells
Montrose - Montrose
Mott The Hoople - Mott
Neil Young - Time Fades Away
Nektar - Remember The Future
NEU! - NEU 2
New Riders Of The Purple Sage - The Adventures Of Panama Red
New York Dolls - New York Dolls
Osanna - Palepoli
Osmonds - The Plan
Peter Hammill - Chameleon In The Shadow Of The Night
Pharoah Sanders - Elevation
Pink Floyd - The Dark Side Of The Moon
Poco - Crazy Eyes
Premiata Forneria Marconi - Photos Of Ghosts
Procol Harum - Grand Hotel
Quincy Jones - Body Heat
Rare Bird - Somebody's Watching
Raspberries - Side 3
Ray Manzarek - The Golden Scarab
Renaissance - Ashes Are Burning
Return To Forever - Light As A Feather
Rick Derringer - All American Boy
Rick Wakeman - The Six Wives Of Henry VIII
Robin Trower - Twice Removed From Yesterday
Rolling Stones - Goats Head Soup
Rory Gallagher - Blueprint/Tattoo
Roxy Music - For Your Pleasure/Stranded
Roy Harper - Lifemask
Sandy Denny - Like An Old Fashioned Waltz
Santana - Welcome
Scaffold - Fresh Liver
Sensational Alex Harvey Band - Next
Serge Gainsbourg - Vu De L'Extérieur
Sly & The Family Stone - Fresh
Soft Machine - Six/Seven
Spirogyra - Bells, Boots And Shambles
Spooky Tooth - You Broke My Heart So I Busted Your Jaw
Steeleye Span - Parcel Of Rogues
Steely Dan - Countdown To Ecstasy
Steve Harley & Cockney Rebel - The Human Menagerie
Steve Miller Band - The Joker
Stevie Wonder - Innervisions
Strawbs - Bursting At The Seams
Stray - Mudanzas
String Driven Thing - The Machine That Cried
T.Rex - Tanx
Tangerine Dream - Atem
Thin Lizzy - Vagabonds Of The Western World
Three Dog Night - Cyan
Tim Buckley - Sefronia
Todd Rundgren - A Wizard, A True Star
Tom Waits - Closing Time
Tom Zé - Todos Os Olhos
Traffic - Shoot Out At The Fantasy Factory/On The Road
Van Morrison - Hard Nose The Highway
Vangelis - Earth/L'apocalypse Des Animaux
Wailers - Burnin'/Catch A Fire
War - Deliver The Word
Who - Quadrophenia
Wings - Band On The Run
Wishbone Ash - Wishbone Four/Live Dates
Yes - Yessongs/Tales From Topographic Oceans
Yoko Ono - Feeling The Space
ZZ Top - Tres Hombres