Roger the Engineer (original title: Yardbirds, US, German, and French title: Over Under Sideways Down) is an album by the English blues rock band The Yardbirds, released in 1966. It was produced by bassist Paul Samwell-Smith and Simon Napier-Bell. It was the only Yardbirds album with all originally-written material. Although the record was officially titled The Yardbirds, it has since been referred to, first colloquially, then semi-officially, as Roger the Engineer, a title stemming from the drawing on its front cover, a cartoon of the record's audio engineer Roger Cameron by band member Chris Dreja. (It should be emphasised that this is one in a long and distinguished line of albums that have acquired a "rename" following a mistake, usually made by fans and / or reviewers - for example, The Beatles never made "The White Album", nor Jackson Browne "Saturate Before Using"; in all these cases, the proper album title is eponymous.) Due to the influence of Jeff Beck's experimentation with guitar distortion, the album is considered a precursor to heavy metal.
The original American versions of this album (issued with a completely different album cover and entitled "Over Under Sideways Down") omitted the songs "The Nazz Are Blue" and "Rack My Mind" and are mixed differently to the British editions. Regardless, record collectors have sought out both the mono (LN 24210) and stereo (BN 26210) versions since several tracks are featured with slight differences in the mixes. Epic's 1983 reissue (simply entitled The Yardbirds) featured the original UK album cover, the two missing tracks, duplication of the British mixing, and two additional tracks, the 1966 single "Happenings Ten Years Time Ago" b/w "Psycho Daisies", both featuring Jeff Beck and Jimmy Page.
In 2003, the album was ranked number 349 on Rolling Stone magazine's list of the 500 greatest albums of all time
Yardbirds-Roger The Engineer @320 Artwork Included
1Lost Woman 2Over, Under, Sideways, Down 3The Nazz Are Blue 4I Can't Make Your Way 5Rack My Mind 6Farewell 7Happenings Ten Years Time Ago 8Psycho Daisies 9Hot House of Omagararshid 10Jeff's Boogie 11He's Always There 12Turn Into Earth 13What Do You Want 14Ever Since the World Began 15Mr Zero 16Knowing
This band was from Scotland, their name is derived from a novel by the poet John Gray in 1728. The musicians of BEGGARS OPERA were Martin Griffiths (vocals), Rick Gardiner (guitar and vocals), Alan Park (keyboards), Gordon Sellar (bass, acoustic guitar and vocals), Virginia Scott (Mellotron and vocals) and Raymond Wilson (drums and percussion). BEGGARS OPERA made a lot of records but remained acting in the shade of most progressive rock bands.
Their debut-album "Act one" (’70) contains fluent and tasteful organ driven progrock with powerful "Sixties" sounding guitarwork. The long track "Raymond’s Road" is a splendid tribute to the "classics" featuring Mozart’s A la Turka, Bach’s Toaccata in d-fuga en Grieg’s Peer Gynt Suite on the Hammond organ. The second album "Waters of Change" (’71) is build around the dual keyboardplay of Alan Park and newcomer Virginia Scott and the distinctive, a bit cynical vocals of Gardiner. The nine tracks are beautiful symphonic landscapes with many organ solos, some swelling and glorious Mellotron waves (like The MOODY BLUES and early KING CRIMSON) and fine electric guitarwork. On the third LP "Pathfinder" BEGGARS OPERA seems to have reached its pinnacle: strong and alternating compositions with lush keyboards (Mellotron, organ, piano and harpsichord), powerful electric guitarplay and many shifting moods (even Scottish folk with bagpipes). The band released three more albums but, in my opinion, they sounded far less captivating: "Get your dog off me" (’73), "Saggittary" (’76) and "Beggar's can’t be choosers" (’79).
Sir Lord Baltimore are a pioneering American heavy metal band from Brooklyn, New York, formed in 1968 by lead vocalist/drummer John Garner, guitarist Louis Dambra, and bass player Gary Justin. Having first met in high school, Garner, Dambra, and bassist Gary Justin started rehearsing together in 1968.At the time of their formation, Dambra (as Louis Caine) was also playing for a group called The Koala, who released an eponymous LP in 1969. Additionally, Justin has cited Cream's Jack Bruce as an influence on his early career choice. After a relatively short time, the new band auditioned for Mike Appel, who was then working as a talent scout and would later launch and manage the career of Bruce Springsteen. Appel agreed to mentor them, reportedly gave them the name Sir Lord Baltimore, and would later co-write and co-produce their debut album. That album, Kingdom Come, was recorded at Vantone Studios in West Orange, New Jersey, with Jim Cretecos serving as Appel's co-producer. Additional mixing was done at New York, New York's Jimi Hendrix Electric Lady Studios by legendary engineer Eddie Kramer, better known for his work with Jimi Hendrix, KISS, and many others. According to Appel, British psychedelic rock band Pink Floyd had the opportunity to hear Sir Lord Baltimore during these sessions, and were reportedly impressed. Sir Lord Baltimore (1971)Released on Mercury Records in 1970, Kingdom Come featured very fast-paced rock 'n' roll with high levels of distortion in the guitar and, in some cases, the bass, and extensive multi-tracking to further enhance the guitar sound.Though this style of rock 'n' roll would become popular in later years, it was considerably different from the majority of that era's contemporary rock music. On February 19-20, 1971, Sir Lord Baltimore played consecutive nights at New York's Fillmore East as the opening act on a bill that included The J. Geils Band and Black Sabbath, as part of the latter's Paranoid tour. (Sir Lord Baltimore played additional dates on this tour, as well.A photo of the band used in the Fillmore East's programs was later used as the cover of their 2006 reunion album, Sir Lord Baltimore III Raw. In May 1971, Mike Saunders (of later Angry Samoans fame) wrote a favorable review of Kingdom Come for Creem magazine. Of historical note was Saunders' assertion that "...Sir Lord Baltimore seems to have down pat most all the best heavy metal tricks in the book." To date, this appears to have been the first printed use of the term "heavy metal" to reference a musical genre. Issued the same year, and again on Mercury, Sir Lord Baltimore marked a change in direction, with Kingdom Come's frenetic pace giving way to slower-tempoed songs more reminiscent of music produced by the band's hard rock peers. Sir Lord Baltimore expanded to a four-piece for this album, with Louis Dambra's brother, Joey Dambra, joining as a second guitarist.Furthermore, Sir Lord Baltimore contains the band's only officially released live recording, "Where Are We Going. Their career started to fade after Sir Lord Baltimore's release, and Mercury dropped them shortly thereafter. The band publicly blamed drugs on its initial downfall, with low record sales and non-payment of royalties also being cited.However, the band did start work in the mid-1970s for an unreleased third album originally scheduled for 1976, and music written for that project was eventually used on Sir Lord Baltimore III Raw.
About the album:
Kingdom Come/Sir Lord Baltimore is the first compilation album by American heavy metal band Sir Lord Baltimore, released on Polygram in 1994 and on Red Fox in 2003. It contains Sir Lord Baltimore's first two studio albums, 1970's Kingdom Come and 1971's Sir Lord Baltimore. However, it uses a different track listing than the source material, transposing the original records' A- and B-sides. This compilation featured the same cover image used on Kingdom Come, only with that album's title removed.
Sir Lord Baltimore-Two Albums. Kingdom Come / Sir Lord Baltimore @320
1 Kingdom Come 2 I Got A Woman 3 Hell Hound 4 Helium Head 5 Ain't Got Hung On You 6 Master Heartache 7 Hard Rain Fallin' 8 Lady Of Fire 9 Lake Isle Of Innersfree 10 Pumped Up 11 Chicago Lives 12 Loe And Behold 13 Woman Tamer 14 Caesar LXXI 15 Man From Manhattan 16 Where Are We Going
This 1992 compilation includes 20 tracks(15 Studio And 5 Live)and features all three famous guitarists: Eric Clapton, Jeff Beck and Jimmy Page
Yardbirds-The Very Best.Live And In The Studio @320
Studio 01.For Your Love 02.Evil Hearted You 03.Still I'm Sad 04.Heart Full Of Soul 05.You're A Better Man Than I 06.I'm A Man 07.Train Kept A Rollin' 08.Shapes Of Things 09.Stroll On 10.Jeff's Blues 11.Steeled Blues 12.Boom Boom 13.Got To Hurry 14.A Certain Girl 15.Good Morning Little Schoolgirl Live 16.Let It Rock 17.Too Much Monkey Business 18.Smokestack Lightning 19.Good Morning Little Schoolgirl 20.I'm A Man
A Space in Time is the seventh album by the British blues rock band, Ten Years After. It was released in October 1971 by Capitol Records.
Review By George Starostin:
Despite all the hype, Ten Years After could never have earned the title of a "prog-rock" band: sometimes they are mistakenly lumped in with the movement, but Alvin and Co.'s ambitions never really amounted that high - for the most part, they were just hardcore blues rockers with a slight experimental edge, to distinguish them from colleagues like early Fleetwood Mac or Free. Still, if there ever was a period in which they were real close to embodying some "progressive" tendencies, it was this fall of 1971, with this extremely strange, un-Ten Years After-like album, and this really great bunch of songs, with hardly a major stinker in among all the melodies. Unarguably the band's strongest and most consistent effort since the Ssssh days, A Space In Time continues the line of Watt in its heavy use of synthesizers and special effects, but this time the members probably took out some time to make these thingamajigs actually work. Alvin's guitar is not idle either; and his songwriting reached a peak at this time - never to be surpassed again.
One thing strikes you immediately as you let all the tracks flow through your mind, one by one - where's the fingerflashing? This sounds nothing like what we've grown to expect from the band because the main trademark element of the sound, Alvin's blazing speedy chops, are completely missing. An intentional move, of course; whereas I wouldn't want to accuse Alvin of sharing the famous "guitar hero complex" that managed to overtake such six-string greats as Clapton and Jeff Beck in the early Seventies, it's at least clear that on A Space In Time the man was keen on cutting out the crap and fully concentrating on the melodies and real musical substance. He wanted to be able to finally make a record that would feature him as a real solid composer, that would not just keep repeating the same lightning-speed licks over and over again. And while it's rather hard to believe without having heard the record, he did succeed. On here, you'll find the best batch of melodies ever created by the band - many of them acoustic, showing Alvin's developing passion for the unplugged atmosphere, but some electric as well. Alvin's lyrics rarely match the melodies in skillfulness or deepness, but as usual, he manages to walk the thin line between cliches/banality and pretentiousness just fine. And while his take on the 'we gotta get out of this place' schtick on 'I'd Love To Change The World' is nothing particularly special, it comes along as sincere and never too overblown. Just a guy lamenting over post-Woodstock disillusionment.
The opening track, 'One Of These Days' (not to be confounded with the famous Pink Floyd instrumental, or, for that matter, with the ninety thousand other songs by other composers with the same name), kicks in with such a staggering might that it makes you go wow. It's essentially just a slow blues rocker, but produced like they never tried before - with a deep and elaborate sound, echoey guitars, moody swirling organs, and tremendously atmospheric. My guess is that it probably inspired the Stones for "Ventilator Blues" (which is a weaker song). It does end in a slightly overlong speedy jam that tends to get a wee bit tedious due to Alvin's self-restriction on the guitar, but never mind - it is all compensated further on.
On no other Ten Years After album will you find, for instance, two tracks as moody and "place-taking" as 'Here They Come' and 'Let The Sky Fall'. Sure, Alvin and the boys did try their hand at 'mystical acoustic shuffles' earlier, particularly on Stonedhenge, but there was basically no melody-creating back then. 'Here They Come', on the other hand, is based on a slow, entrancing acoustic riff with a slight medieval influence; it's dark and a little bit creepy. 'Let The Sky Fall', on the other hand, features a reworking of the 'Good Morning Little Schoolgirl' riff, but with an entirely different purpose: the song is supposed not to let you rock your ass, but to contemplate some vivid psychedelic associations, what with all the backwards guitars and special synth effects... I love that mood.
More acoustic shuffles follow, with pretty folkish melodies that are charming in their naivety and amazing in their professional delivery. Isn't 'Over The Hill' gorgeous? The way the steady acoustic riff and the moderate strings section interact with each other certainly is, and on top of that Alvin delivers a pretty catchy vocal melody. 'Hard Monkeys' is equally good, with a nice alternation of soft/hard parts and some of Alvin's most delightful singing ever - the way he chants 'got no monkey on my back' almost manages to bring me to tears, so don't you dare laugh at the song.
All of this stuff is pretty serious, of course, for the boys, and it's only natural that sometimes they break loose and swap the grim, introspective mood of the songs for a few 'have-at-it' fun novelty numbers: 'Baby Won't You Let Me Rock'n'Roll You' is a groovy Fifties sendup that doesn't sound one second too strained as the band rips it up for two minutes, ' Uncle Jam' is an unnecessary, but short jazz jam, and 'Once There Was A Time' is a sharp-edged country-rock number with the traditional 'da-guitah-z-me-life-boy' message delivered with vivid imagery: 'Once there was a time/I robbed my mama/For a good meal and a smoke/Once there was a time/I'd sell my brother/For a dollar when I was broke/But I'd never sell my guitar, etc...'.
And over all of this rules supreme 'I'd Love To Change The World' - Alvin's epoch-defining tune which is still the band's best known self-penned composition. It's so well-balanced, in fact, and so immaculately written and performed, that I wouldn't know where to start to complain. Astute acoustic riff, masterfully created paranoid style on the fast parts, moody echoey vocals in the chorus, adrenaline-raising electric guitar, terrific hard-rocking climax: if you ask me, this song does in three minutes everything that 'Stairway To Heaven' was doing in seven and maybe more. Of course, lyrics like 'I'd love to change the world/But I don't know what to do/So I'll leave it up to you' and most of Alvin's social commentaries are pretty straightforward, but I'd still take them over Zeppelin's cheap mysticism any time of day, particularly since there are not any less old-time cliches in the 'Stairway' lyrics than there are in 'I'd Love To Change The World'. This is just to show you how much of an underrated band Ten Years After are, so there.
It's absolutely incredible that a band as ambitionless and tour-busy as Ten Years After found the time and will to record such an album; but it's also a shame that the band never preferred to follow this chosen route further, as their last two studio albums show them descending into mediocrity once again, leaving A Space In Time as the band's undisputed songwriting masterpiece and a true, if minor, rock'n'roll classic that's been overshadowed by time but will hopefully rise out of the depths of oblivion some day
Ten Years After-A Space In Time @320
1 One of These Days 2 Here They Come 3 I'd Love to Change the World 4 Over The Hill
5 Baby Won't You Let Me Rock 'N' Roll You 6 Once There Was a Time 7 Let the Sky Fall 8 Hard Monkeys 9 I've Been There Too 10 Uncle Jam
1. One Of These Days 2. You Give Me Loving 3. Good Morning Little Schoolgirl 4. Hobbit 5. Help Me 6. I Can't Keep From Cryin' Sometimes 7. Slow Blues In "C" 8. I'm Going Home 9. Choo Choo Mama
Info By Wiki: Krautrocksampler: One Head's Guide to the Great Kosmische Musik - 1968 Onwards, written by Julian Cope, is a book describing the underground music scene in Germany from 1968 through the 1970s.
File found on internet: rapidshare.com/files/112497649/KRRS.rar.html
