The Who - My Generation (1965 uk, classic debut album, two disc japan SHM-CD remaster)

The Who's debut album "My Generation" features 48-tracks digitally remastered 2-disc SHM-CD album set - perhaps the definitive release of this landmark 1965 album. Includes the original 1965 mono mix (--1st time on CD!), B-sides, outtakes and demos from the LP sessions, plus Shel Talmy's 2002 stereo remix....An explosive debut, and the hardest mod pop recorded by anyone.

At the time of its release, it also had the most ferociously powerful guitars and drums yet captured on a rock record. Pete Townshend's exhilarating chord crunches and guitar distortions threaten to leap off the grooves on "My Generation" and "Out in the Street"; Keith Moon attacks the drums with a lightning, ruthless finesse throughout. Some "Maximum R&B" influence lingered in the two James Brown covers, but much of Townshend's original material fused Beatlesque hooks and power chords with anthemic mod lyrics, with "The Good's Gone", "Much Too Much", "La La La Lies", and especially "The Kids Are Alright" being highlights. "A Legal Matter" hinted at more ambitious lyrical concerns, and "The Ox" was instrumental mayhem that pushed the envelope of 1965 amplification with its guitar feedback and nonstop crashing drum rolls.

While the execution was sometimes crude, and the songwriting not as sophisticated as it would shortly become, the Who never surpassed the pure energy level of this record.

by Adamus67

Tracks

Disc 1 (Mono)

1.Out In The Street - 2:33

2.I Don't Mind (James Brown) - 2:37

3.The Good's Gone - 4:02

4.La-La-La Lies - 2:16

5.Much Too Much - 2:47

6.My Generation - 3:20

7.The Kids Are Alright - 3:07

8.Please, Please, Please (James Brown, John Terry) - 2:46

9.It's Not True - 2:33

10.I'm A Man (Ellis McDaniel) - 3:23

11.A Legal Matter - 2:50

12.The Ox (John Entwistle, Keith Moon, Nicky Hopkins, Pete Townshend) - 3:53

13.I Can't Explain - 2:07

14.Bald Headed Woman - 2:11

15.Anyway, Anyhow, Anywhere (Pete Townshend, Roger Daltrey) - 2:43

16.Daddy Rolling Stone (Otis Blackwell) - 2:49

17.Anytime You Want Me (Garnet Mimms, Jerry Ragovoy) - 2:37

18.Shout And Shimmy (James Brown) - 3:19

19.Circles - 3:14

20.Leaving Here (Brian Holland, Lamont Dozier, Edward Holland Jr.) - 2:48

21.Lubie (Come Back Home) (Mark Lindsay, Paul Revere) - 3:36

22.(Love Is Like A) Heat Wave (Brian Holland-Lamont Dozier-Edward Holland Jr.) - 2:41

23.Motoring (Ivy Hunter, Phil Jones, William "Mickey" Stevenson) - 2:49

24.Circles (Alternate Mix) - 3:12

All songs written by  Pete Townshend except where noted

Disc 2 (Stereo)
1.Out In The Street - 2:34
2.I Don't Mind (Full Length Version) (James Brown) - 3:44
3.The Good's Gone (Full Length Version) - 4:30
4.La-La-La Lies - 2:18
5.Much Too Much - 2:45
6.My Generation - 3:21
7.The Kids Are Alright - 3:10
8.Please, Please, Please (James Brown, John Terry) - 2:46
9.It's Not True - 2:34
10.I'm A Man (Ellis McDaniel) - 3:23
11.A Legal Matter - 2:54
12.The Ox (John Entwistle, Keith Moon, Nicky Hopkins, Pete Townshend) - 3:58
13.I Can't Explain - 2:04
14.Bald Headed Woman - 2:32
15.Anyway, Anyhow, Anywhere (Alternate Version) (Pete Townshend, Roger Daltrey) - 2:43
16.Daddy Rolling Stone (Otis Blackwell) - 2:56
17.Anytime You Want Me (Garnet Mimms, Jerry Ragovoy) - 2:38
18.Shout And Shimmy (James Brown) - 3:20
19.Circles - 3:13
20.Instant Party Mixture - 3:24
21.Leaving Here (Alternate Version)  (Brian Holland, Lamont Dozier, Edward Holland Jr.) - 2:51 

22.Lubie (Come Back Home)  (Mark Lindsay, Paul Revere) - 3:40
23.(Love Is Like A) Heat Wave (Brian Holland, Lamont Dozier, Edward Holland Jr.) - 2:41 24.Motoring (Ivy Hunter, Phil Jones, William "Mickey" Stevenson) - 2:49
All songs written by  Pete Townshend except where noted

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Taste - On The Boards (1970 ireland, classic blues rock, second album, japan SHM-CD)

"On The Boards" the Taste's second LP was issued in 1970 and was a much more satisfying affair than their debut. In fact this record was a favorite of mine as a stoned teenager in the 70's, I've recently revisited "On The Boards" and it still sounds pretty damn good. The record opens with the Taste show stopper "What's Going On" a powerful electric blues raveup with some stinging Gallagher guitar work. "Railway and Gun" is a folkish blues not too far removed from early Thin Lizzy. "It Happened Before, It'll Happen Again" is a remarkable number that really stretches out, Rory plays some really thoughtful runs on guitar and even plays some useful Alto Sax in the mid section.

"If The Day Was Any Longer" is a pretty laid back song that's almost folk-rock, Rory plays some nice Mel Lyman style harp on this one. "Morning Sun" is a full out rocker again recalling fellow Irishmen Thin Lizzy.

Side two opens with another blistering raver called "Eat My Words" the group is really clicking on this one Richard McCracken's plays lead bass right in your face ala Andy Fraser, Rory plays some razor sharp bottleneck lines while John Wilson plays the Ginger Baker part on drums. The title track "On The Boards" is a very interesting one that uses space to great effect, Rory's guitar sounds very San Francisco-ish like he just got done jamming with Barry Melton.

"If I Don't Sing I'll Cry" is a blues rock stomper in the Savoy Brown mold and may be seen as a throwaway but nothing too bad. "See Here" is a beautiful solo acoustic song by Rory, kinda like Danny Kirwan's contributions to Fleetwood Mac's classic "Then Play On" album.

"On The Boards" finishes with "I'll Remember" which is the best song on the album, the arrangement is great, the band are totally in sync and they rock like there is no tomorrow. "On The Boards" is a tight well played album that is filled with great songs with no frills just the way Rory liked it.

Taste split after this album but Rory put together another trio very much in the same mold as Taste. He made many worthwhile records in the 70's, "Deuce" being my favorite. Before punk happened his records were the only thing that got me through the wasteland of the mid 1970's. I had a chance to meet him after a concert in the 70's and he was a true gentleman. A great man who will be sorely missed. 

by Dave Furgess

Tracks
1. What's Going On - 2:48
2. Railway and Gun - 3:38
3. It's Happened Before, It'll Happen Again - 6:33
4. If the Day Was Any Longer - 2:10
5. Morning Sun - 2:39
6. Eat My Words - 3:47
7. On the Boards - 6:02
8. If I Don't Sing I'll Cry - 2:40
9. See Here - 3:05
10. I'll Remember - 3:02
All compositions by Rory Gallagher

Taste
* Rory Gallagher - Guitars, Vocals, Saxophone, Harmonica
* Richard "Charlie" McCracken - Bass Guitar
* John Wilson - Drums

More from Taste
1971  Live Taste
1971  Live at Isle of Wight

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Sugar Creek - Please Tell A Friend (1969 us, superb melt of psych, rural rock and acid-tinged folk, 2001 Akarma digipak)

In 1965  John Edwards was studying art at Ohio University when he met fellow student/guitarist Malcolm McKinney.  The pair quickly decided to form a band recruiting McKinney's brother Todd.  As St. James Doorknob the group became quite popular playing dances, parties and clubs around Athens, Ohio.  At the same time fellow students Joe Dolce and Gary Gans were playing in The Finite Minds.  

When the Finite Minds lost their lead singer, Dolce and Gans were invited to join St. James Doorknob, which quickly mutated into The Infinite Doorknob and then The Headstone Circus.  In June 1967 the band decided to take a shot at the big time. With the rest of America decamping for San Francisco, Edwards sold the car his father had lent him for school, bought a breaktruck/van and headed for Boston.  

The band began touring throughout New York and New England, writing material at a farm owned by McKinney's parents. By the time the Sugar Creek finished recording their sole 1969 album Dolce had quit (though he's represented by two of the standout selections), leaving a line-up featured Edwards, Gary Gans, and brothers Malcolm and Todd McKinney.  

Recorded in New York City with Peter Casperson producing, "Please Tell a Friend" will come as a major shock to anyone familiar with Edwards' sensitive singer/songwriter solo career.  With Edwards and Malcolm McKinney responsible for the majority of the ten tracks, the album featured a mixture of driving blues-rock ('Old House' and the feedback propelled 'Where Do You Find The Answer') and excellent psych outings ('A Million Years').  

Anyone familiar with Edwards solo career will find that his voice sounded surprisingly impressive belting out tougher material, though numbers such as 'Who Do You Think You Are', 'Lady Linda' and the Gospel-influenced 'Heavenly Road' wouldn't have been out of place on one of his early-1970s solo albums.  Personal favorites include the band's psych efforts including 'Memory Tree' and 'Night Flash'.  Killer tunes. Blessed with excellent sound quality, this one sounds great on an upscale stereo system.

Bad-cat

Tracks
1. A Million Years   (John Edwards,  Joe Dolce) - 2:31
2. Old House   (Joe Dolce) - 2:36
3. Who Do You Think You Are   (Malcolm McKinney) - 2:48
4. Where Do You Find The Answer   (Malcolm McKinney) - 6:43
5. Woman  (Malcolm McKinney) - 2:38
6. Heavenly Road   (Malcolm McKinney) - 2:50
7. Memory Tree   (Malcolm McKinney) - 5:20
8. Miss You  (John Edwards) - 4:24
9. Lady Linda  (John Edwards) - 2:02
10.Night Flash   (Malcolm McKinney) - 3:17

Sugar Creek
*John Edwards - Vocals, Guitar
*Gary Gans - Bass
*Malcolm Mckinney - Lead Guitar
*Todd McKinney - Guitar
*Joe Dolce - Guitar, Vocals, harmonica
*John Beatty - Drums

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Wizards From Kansas - Wizards From Kansas (1970 us, splendid rural psych folk rock with west coast breeze, 2007 digi pak remaster and 2012 expanded edition)

Truly The Wizards From Kansas are America’s finest horseman to gallop the spirited clouds of the Cherokee.The Wizards started their journey as Pig Newton launching their 1968 debut album Still In Kansas that pushed out a wah wah sapped version of Dylan’s “All Along The Watchtower” and the speckled “Exchange Of Clouds”. Wizards From Kansas blew Bill Graham’s mind during their enduring gifted sets at the Fillmore East in the summer of 1970. These convincing live performances gave the group a recording break which put out their self titled masterpiece.

The lineup now slightly changed has John Paul Coffin playing some of the most exact lead breaks ever to slit the Stars & Stripes particularly on the galloping “Ride With The Witches” where the vox command of Robert Joseph Menadier and his fortified bass takes full charge and authority.The obvious strength of the group was ex Little Boy Blues drummer Marc Evan Caplan who rolls with an incredibly deliberate shuttle, often in jazz restrain. The songsmith behind the Wizards was twelve- string guitarist Robert Manson Crain who wrote six tracks while guitarist Harold Earl Pierce often helped out on vox when Caplan took percussion.

The Wizards were in the same esoteric drift as Clear Light or Emitt Rhodes without Coffin’s fiery breaks.The acoustic tranquility is crystalline as it flows through “Misty Mountainside” and even more meditated upon is the spaced version of Bill Wheeler’s “High Flying Bird” far more voluptuous than We Five or Judy Henske. A stimulating edge spits through Buffy Sainte-Marie’s “Codine” influenced by the Quicksilver jam session with Blood Sweat & Butterfield Mark Naftalin on keyboards.
by Shiloh Noone

Tracks

1. High Flying Bird (Billy Edd Wheeler) - 5:07 

2. High Mister (Harold Earl Pierce, M.A. Heiman) - 2:36

3. 912 1/2 Mass (Robert Joseph Menadier, Robert Manson Crain, T. Crain) - 5:00

4. Codine (Buffy Sainte Marie) - 5:56

5. Freedom Speech (Robert Manson Crain) - 3:42

6. Flyaway Days (Ronald Sandhauss) - 4:07

7. Misty Mountainside (Robert Manson Crain) - 3:38 

8. Country Drawn (Robert Manson Crain) - 2:22

9. She Rides With Witches (Robert Manson Crain) - 4:06

10.All Along The Watchtower (Bob Dylan) - 4:04

11.Codeine (Buffy Sainte Marie) - 5:44

12.Clouds Of Exchange (Ronald Sandhauss) - 5:16

13.High Flying Bird (Billy Edd Wheeler) - 5:18

14.Country Dawn (Robert Manson Crain) - 2:36

15.Flyaway Daze (Ronald Sandhauss) - 4:34

16.She Rides With Witches (Robert Manson Crain) - 3:36

17.Misty Mountainside (Robert Manson Crain) - 3:23

18.River Road (Robert Manson Crain) - 3:35

Bonus Tracks 10-18 only on 2012 edition

Track 18 from reunion on 2010

The Wizards From Kansas
*Robert Joseph Menadier - Bass, Vocal
*Marc Evan Caplan - Drums, Percussion
*John Paul Coffin - Lead Guitar
*Robert Manson Crain - Guitar, Vocals
*Harold Earl Pierce - Guitar, Vocals

With 

*Mark Naftalin - Keyboards

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Velvet Underground - Another View (1967-69 us, unique demos and unreleased material, SHM Japan release)

One objective part of me knows that these barrel scrapings are for fanatics and archivists. But another objective part of me knows that the barrel scrapings of a seminal, protean, conceptually accomplished band are their own reward. From the raw power of the instrumental Guess I'm Falling in Love to the dry lyricism of the instrumental I'm Gonna Move Right In, from the tight studio We're Gonna Have a Real Good Time Together to the intense early Rock and Roll, you don't have to know jackshit about the band to enjoy the music--on the contrary, you have to put aside your preconceptions. Because nobody experimented more successfully than these folks.
by Robert Christgau

Tracks
1. We're Gonna Have a Real Good Time Together (Reed) - 2:56
2. I'm Gonna Move Right In - 6:30
3. Hey Mr. Rain - 4:56
4. Ride into the Sun - 3:20
5. Coney Island Steeplechase - 2:20
6. Guess I'm Falling in Love (Instrumental version) - 3:35
7. Hey Mr. Rain  - 5:16
8. Ferryboat Bill (Reed, Morrison, Yule, Tucker) - 2:10
9. Rock and Roll (Reed) - 5:18
All songs written and composed by Lou Reed, John Cale, Sterling Morrison and Maureen Tucker, except where noted.

The Velvet Underground
*John Cale - Viola, Bass Guitar
*Sterling Morrison - Guitar, Backing Vocals
*Lou Reed - Vocals, Guitar, Piano
*Maureen Tucker - Percussion
*Doug Yule - Bass Guitar, Keyboards, Backing Vocals

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Velvet Underground - VU (1968-69 us, the great "lost" album, japan remaster)

Until the early 80's, the Velvet Underground story had ended with Loaded (except for posthumously issued live albums and shoddy compilations).  But the release of V.U. is a major event, because its ten previously unissued tracks – bootleg appearances not with standing – constitute the missing link between the band's late-Sixties mood swings and Loaded's commercial near-breakthrough. Except for two songs recorded with John Cale in 1968 (Doug Yule replaced him later that year), the material on V.U. is the bulk of a projected fourth Verve/MGM album that was never finished; it became known among fans as the Great Lost Velvet Underground Album.

Had it been completed and released, the Lost Album might have seriously altered the Velvets' fortunes for the better. Although Loaded included some of Reed's biggest hits in "Sweet Jane" and "Rock and Roll," it was just too late: Reed quit shortly before its release. But V.U. captures the band at the height of its powers,
refining the edginess of the early records with a polished, accessible sound that doesn't compromise its spirit of adventure.For the first time on record, the Velvets sound like a real band, not a concept in overdrive.

"I Can't Stand It" and "Foggy Notion" are proof of this. Both songs are power-drill rockers based on the same urgent pulse as "Sister Ray," the former rolling along with a snotty glide that easily whips Reed's later rerecording on his debut solo album. There are also unexpected flashes of humor – "I live with thirteen dead cats/A purple dog that wears spats/They're livin' out in the hall/And I can't stand it anymore." The real surprise, though, is the way Reed and Sterling Morrison match up as a guitar team. Their creatively rhythmic strumming has a forceful snowball effect, and while Reed tends to take the more spectacular solos, Morrison plays effective fills with sharp, Keith Richards-style intuition.

The two songs featuring Cale slot nicely into V.U.'s cohesive tone. "Temptation inside Your Heart" combines playful R&B goofiness with a bright, busy beat and a great strangled guitar solo. The chamber-music pop of "Stephanie Says" is not too distant from that of "Sunday Morning"; still, there is a special resonance in Cale's tiptoe viola and the painful resignation in Reed's voice and lyric ("Stephanie says/That she wants to know/Why she's given half her life/To people she hates now"). The casual horror in so many of Reed's early songs sometimes made it hard to indulge his more reflective moods.  But performances like "Stephanie Says" and Reed's charming duet with Maureen Tucker, the childlike "I'm Sticking with You, " show how tender he could really be and how sensitively the Velvets could translate that feeling.

Most of the other tracks on V.U. glow with that same vigorous spirit, if not the relentless drive.  "One of These Days" is a lively parody of a cowboy drinking song, complete with sagebrush harmonies and a boozy slide-guitar break. "Ocean," a gorgeous evocation of dark ennui, dramatically showcases the Velvets' grasp of Reed's occasional romantic turns.With his thoughtful vocal and Maureen Tucker's imitation on her cymbals of rolling surf, the song anticipates Reed's later epic ballads.

A debt of thanks for resurrecting these tracks and for giving the band's first three LPs the proper reissue they've long deserved.  As for V.U., the Great Lost Velvet Underground Album is no longer lost. It is simply great.
by David Fricke

Tracks
1. I Can't Stand It - 3:21 (Recorded May 20, 1969)
2. Stephanie Says - 2:49  (February 13, 1968)
3. She's My Best Friend - 2:47  (May 14, 1969)
4. Lisa Says - 2:53 (October 1, 1969)
5. Ocean - 5:10 (June 19, 1969)
6. Foggy Notion (Reed, Morrison, Yule, Tucker, Weiss) - 6:41 (May 6, 1969)
7. Temptation Inside Your Heart - 2:30 (February 14, 1968)
8. One Of These Days - 3:50  (September 23, 1969)
9. Andy's Chest - 2:49 (May 13, 1969)
10.I'm Sticking With You - 2:26 (May 13, 1969)
All tracks written by Lou Reed except where indicated

The Velvet Underground
*John Cale – Viola, Bass Guitar, Celesta, Backing Vocals
*Sterling Morrison – Guitar, Backing Vocals
*Lou Reed – Vocals, Guitar
*Maureen Tucker – Percussion, Lead Vocal
*Doug Yule – Bass Guitar, Keyboards, Backing Vocals, Lead Guitar, Lead Vocals

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Electric Flag - An American Music Band / A Long Time Comin' (1968-69 us, psychedelic blues soul rock masterpieces)

I was suppoose to add the Joe Viglione's fantastic reviews about these two albums, but it got me when I started to listen 'm again ( I own the vinyl version), Bloomfield's guitar is ..just heavenly, my man Nick the Greek is singing like raging lava, Buddy Miles beats the hell out of his drums and all the band stands in their highest level.  This was about 44 years ago, the music that flows into the grooves hasn't  lost any drop of its magic. If you haven't got (by fault I presume) these two masterpieces don't make any further mistakes, just get them, add them to your audio player, close your eyes and let the music guide you.

Tracks
1969  An American Music Band
1. Soul Searchin' - 2:58
2. Sunny - 3:58
3. With Time There Is Change - 3:15
4. Nothing to Do - 4:20
5. See to Your Neighbour - 2:34
6. Qualified - 2:59
7. Hey Little Girl - 2:37
8. Mystery - 2:55
9. My Woman Hangs Around the House - 3:15
1968  A Long Time Comin'
10.Killing Floor - 4:10
11.Groovin' Is Easy - 3:03
12.Over-Lovin' You - 2:10
13.She Should Have Just - 5:01
14.Wine - 3:12
15.Texas - 4:46
16.Sittin' in Circles - 3:51
17.You Don't Realize - 4:58
18.Another Country - 8:44
19.Easy Rider - 0:51

Musicians
1968  A Long Time Comin'
*Mike Bloomfield – Guitar, Vocals
*Buddy Miles – Drums, Vocals
*Barry Goldberg – Keyboards
*Harvey Brooks – Bass
*Nick Gravenites – Vocals, Guitar
*Herbie Rich – Organ, Baritone Saxophone, Guitar, Vocals
*Michael Fonfara – Keyboards
*Marcus Doubleday – Trumpet
*Peter Strazza – Tenor Saxophone
*Stemsy Hunter – Alto Saxophone
*Richie Havens – Percussion, Sitar
*Sivuca – Guitar, Percussion
*Paul Beaver – Keyboards, Moog Synthesizer
*Leo Daruczek – Strings
*Charles Mccracken – Strings
*Bobby Notkoff – Strings
*Julius Held – Strings
*Roy Segal – Engineer
*Jim Marshall – Cover Photo
*Joe Church – Percussion, Producer
*John Court – Percussion, Vocals, Producer

1969  An American Music Band
*Harvey Brooks - Bass, Guitars, Tenor Sax, Vocals
*Terry Clements – Tenor Saxophone
*Marcus Doubleday - Trumpet
*Virgil Gonsalves - Flute, Baritone, Soprano Horn, Wind
*Nick Gravenites  - Guitar, Percussion, Vocals
*Stemsy Hunter - Alto Saxophone, Vocals
*Buddy Miles - Drums, Vocals
*Herbie Rich - Guitar, Horn, Keyboards, Organ, Tenor  Saxophone, Vocals
*John Simon - Horn, Organ, Piano,
*Roger Troy - Bass
*Hoshal Wright - Guitar

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Brownsville Station - School Punks (1974 uk, sharp hard boogie glam rock, Wounded Bird issue)

Flush from the success of "Smokin' in the Boys Room," which climbed all the way to number three on the pop charts, Brownsville Station was eager to keep the party going, deciding the best way to do so was to capitalize on the juvenile delinquent image they captured so perfectly on their big breakthrough.

Hence, the title of their quickly released follow-up is School Punks; the illustrated cover pictures the trio all decked out in leather in front of a graffiti-ridden school wall; the opening cut, "Kings of the Party," references the hit; "Meet Me on the Fourth Floor" rewrites it; and "Mama Don't Allow No Parkin'" and "Fast Phyllis" tell similar tales of high-school misadventures.

Unlike Yeah!, which had only two originals, School Punks is heavy on new material from Cub Koda and Michael Lutz, which are punctuated by well-chosen covers like Geno Washington's "I Get So Excited," a blues medley of "I've Got Love if You Want It/I'm a King Bee," and Gary Glitter's "I'm the Leader of the Gang." The other big change is that Koda has become the unofficial leader of the band. He sang "Smokin' in the Boys Room" and he sings everything here with the exception of the cover of Dee Clark's "Hey Little Girl," which Lutz sings.

Cub gives the band an appealing, funny, down-and-dirty persona that suits the band's heavier attack on School Punks. While there's nothing as undeniable as "Smokin' in the Boys Room," "Kings of the Party" and "I'm the Leader of the Gang" are rampaging rockers, "Ostritch" is a very funny stomping country-rocker, the band gets to stretch out on the blues medley, and the whole record just feels like one nonstop party.
by Stephen Thomas Erlewine

Tracks
1. Kings of the Party (Koda, Weck, Lutz) - 4:16
2. Mama Don't Allow No Parkin' (Koda, Lutz) - 3:07
3. Meet Me on the Fourth Floor (Koda, Lutz) - 2:58
4. Fast Phyllis (Koda, Morris, Lutz) - 2:40
5. I Get So Excited. (Gordon, Grant) - 2:55
6. Ostritch (Koda, Lutz) - 2:53
7. I Got It Bad for You (Koda, Lutz) - 2:32
8. Hey Little Girl (Stevenson, Blackwell) - 2:04
9. I've Got Love if You Want It/I'm a King Bee (Moore) - 4:07
10. I'm the Leader of the Gang (Glitter, Leander) - 3:20

Brownsville Station
*Cub Koda - Guitar, Vocals, Harmonica
*Michael Lutz - Bass, Guitar, Keyboards, Vocals
*Henri "H-Bomb" Weck - Drums, Vocals

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Grand Funk Railroad - On Time (1969 us, solid classic heavy blues rock, 2002 remaster and expanded)

The foundation of what was to become "Grand Funk Railroad" was laid in Flint, Michigan in the mid 1960's. Richard Terrance Knapp was a popular local D.J. who decided to leave radio to enter the music end of the business. After deejaying at record hops with a local band named "The Jazz Masters", which consisted of Don Brewer (drums), Al Pippins (guitar), Bob Caldwell (keyboards), and Herm Jackson (bass), Knapp lied to them that he was personal friends with Mick Jagger and Brian Jones of The Rolling Stones. Because of this and his radio connections, the band invited him to join the group as their lead singer. To sound more "English", they renamed the band "The Pack", and Richard Knapp started using "Terry Knight" as his stage name.

The group soon developed a large local following and reached number 46 on the national record charts with a song called "I Who Have Nothing", released on the small "Lucky Eleven" label. Herman Jackson was drafted, and was replaced by a local kid named Mark Farner. Eventually, Terry Knight left the band and The Pack continued on without him.

By 1968, Farner and Brewer decided to leave and form a new band of their own. They recruited bass player Mel Schacher from Question Mark and The Mysterians, and renamed themselves "Grand Funk Railroad", inspired by a Michigan landmark, The Grand Trunk Railroad. By this time, Terry Knight had landed a job at Capitol Records in New York, but accepted an invitation to become the trio's manager.

After a wildly successful performance at the Atlanta Pop Festival on July 4, 1969, the band landed a recording contract with Capitol Records and immediately began making its name by performing at several large pop festivals.

Their first singles reached the charts but Grand Funk soon proved its real strength in the album market. "On Time" reached number 27 in 1969 and was recorded in 3 days during the summer of 1969 at Cleveland Recording Company Studios, and it's unquestionably one of the best hard rock debuts ever. While some bands honed their sound over the course of a few albums, GFR had already found its niche with ON TIME, which was one of the first albums to be termed "heavy metal." Sample a young and hungry Grand Funk, with highlights including "Anybody's Answer," "Into the Sun," "Time Machine," and "Are You Ready?"
Classic-Bands

Tracks
1. Are You Ready - 3:28
2. Anybody's Answer - 5:17
3. Time Machine - 3:45
4. High On A Horse - 2:56
5. T.N.U.C. - 8:42
6. Into The Sun - 6:29
7. Heartbreaker - 6:35
8. Call Yourself A Man - 3:05
9. Can't Be Too Long - 6:34
10.Ups And Downs - 5:01
11.High On A Horse (Original Version) - 4:25
12.Heartbreaker (Original Version) - 6:52
All songs written by Mark Farner

Grand Funk Railroad
*Don Brewer: Drums, Vocals
*Mark Farner: Guitar, Harmonica, Keyboards, Vocals
*Mel Schacher: Bass, Vocals

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The Who - A Quick One (1966 uk, classic second album, japan SHM-CD double disc box remaster)

The Who weren't always a nostalgia act or merely makers of pleasant Broadway fodder. Their tough, early tracks are a key punk resource, so it hardly matters that they were forever doomed to third place behind the Beatles and the Rolling Stones in the British-pop sweepstakes. At best, the Who's raw power and intelligence offered essential messages to any era.

A Quick One is the second album by English rock band The Who, released in 1966. American record company executives at Decca Records released the album under the title Happy Jack, rather than the sexually suggestive title of the UK release, and due to "Happy Jack" being a top forty hit in the U.S. "Happy Jack" was not included on the UK version of the album, but instead was released as a non-album single. This is widely regarded by fans to have been a pivotal album for the group, due to the departure from the R&B / pop formula featured on the band's first release.

Part of the marketing push for the album was a requirement that each band member should write at least two of the songs on it (although Roger Daltrey only wrote one), so this Who album is the least dominated by Pete Townshend's writing. The album was also the band's first foray into the form of rock opera, with "A Quick One, While He's Away", the title track of the LP, a nine-minute suite of song snippets telling a story of infidelity and reconciliation. The Who would later go on to write and record the full scale rock operas Tommy and Quadrophenia.

The Who's second album is a less impressive outing than their debut, primarily because, at the urging of their managers, all four members penned original material (though Pete Townshend wrote more than anyone else). The pure adrenaline of My Generation also subsided somewhat as the band began to grapple with more complex melodic and lyrical themes, especially on the erratic mini-opera "A Quick One While He's Away". Still, there's some great madness on Keith Moon's instrumental "Cobwebs and Strange", and Townshend delivered some solid mod pop with "Run Run Run" and "So Sad About Us". John Entwistle was also revealed to be a writer of considerable talent (and a morbid bent) on "Whiskey Man" and "Boris the Spider".
by Adamus67

Disc 1   Mono 
1. Run Run Run - 2:31
2. Boris The Spider - 2:28
3. I Need You - 2:24
4. Whiskey Man - 2:56
5. Heat Wave - 1:55
6. Cobwebs And Strange - 2:29
7. Don't Look Away - 2:52
8. See My Way - 1:52
9. So Sad About Us - 3:01
10.A Quick One, While He's Away - 9:07
11.Substitute - 3:47
12.Circles - 2:28
13.I'm A Boy - 2:37
14.In The City - 2:22
15.Batman - 1:25
16.Bucket T - 2:08
17.Barbara Ann - 1:58
18.Disguises - 3:10
19.Happy Jack - 2:11
20.I've Been Away - 2:07
21.Substitute (US Single Version) - 2:57
22.I'm A Boy (Alternate Version) - 3:17
23.Batman (Instrumental) - 1:12
24.Happy Jack (Acoustic Version) - 2:52
25.Happy Jack (Alternate Mix) - 2:13

Disc 2 Stereo
1. Run Run Run - 2:43
2. Boris The Spider - 2:27
3. I Need You - 2:22
4. Whiskey Man - 2:56
5. Heat Wave - 1:53
6. Cobwebs And Strange - 2:29
7. Don't Look Away - 2:52
8. See My Way - 1:51
9. So Sad About Us - 2:58
10.A Quick One, While He's Away - 9:09
11.I'm A Boy - 2:36
12.In The City - 2:21
13.Batman - 1:34
14.Bucket T - 2:07
15.Barbara Ann - 1:57
16.Disguises - 3:19
17.I've Been Away - 2:07
18.Man With Money - 2:43
19.My Generation ~ Land Of Hope And Glory - 2:04
20.I'm A Boy (Alternate Version) - 3:43

The Who
*Roger Daltrey – Vocals, Trombone
*Pete Townshend – Guitar, Vocals, Keyboards
*John Entwistle – Bass Guitar, Keyboards, Horns, Vocals
*Keith Moon – Drums, Percussion, Vocals, Tuba

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