Gordon Giltrap - The Platinum Collection (Vinyl Rip)

Gordon Giltrap (born 6 April 1948, at the British Home for Mothers and Babies, Brenchley, Kent) is an English acoustic and electric guitarist and composer, whose musical styles cross multiple genres - folk, blues, folk rock, pop, classical and rock.

Giltrap started to learn the guitar at the age of twelve. Never receiving any formal tuition on the instrument, he gradually developed his own style and technique.

His musical career started to take off in the 1960s, playing live in London in the folk scene, alongside contemporaries such as Bert Jansch (who greatly influenced the young guitarist), John Renbourn and Mike Oldfield.

At the age of eighteen he signed to Transatlantic Records and released a couple of albums. While popular on the folk and university circuit, the 1970s marked a turning point and much greater recognition. At this time Giltrap started to concentrate on more purely instrumental pieces, and in 1976 released the album Visionary, based on the art and poetry of William Blake.

The success of this album prompted Giltrap to give up the singer/songwriter approach and form the Gordon Giltrap Band, which toured extensively in the UK at that time. A follow-up album, Perilous Journey, consolidated his success, being named at one of the best albums of 1977 by The Sunday Times. A single taken from the album, "Heartsong", received extensive airplay and reaching #21 in the UK Singles Chart. The track was later used as the signature tune of the BBC TV series Holiday. The next album Fear of the Dark was released in 1978.

By the end of the 1970s he was commissioned to write a number of notable pieces, such as the classically inspired The Brotherhood, based on the art of the Pre-Raphaelites, and The Eye of the Wind Rhapsody[1], an orchestral work celebrating the exploration of the New World by British sailing ships. In the 1990s, Gordon played a key role in Cliff Richard's Heathcliff musical, playing the musical narrator. He also composed a number of pieces for the show.

He is also a regular columnist for Acoustic magazine, along with Martin Taylor, Doyle Dykes, Simon Mayor and Julie Ellison.




Disc 1

1. Heartsong
2. The Price Of Experience
3. Vision
4. Inner Dream
5. Night
6. Revelation
7. Awakening
8. From The Four Winds
9. Lucifer's Cage
10. Night Rider
11. Morbio Gorge
12. The Deserter


Disc 2

1. Oh Well
2. The Tyger
3. The Ecchoing Green
4. Pastoral
5. Fast Approaching
6. 0 Jerusalem
7. Fear Of The Dark
8. Quest
9. Cascade
10. Reflections And Despair
11. Visitation
12. Weary Eyes

Double LP covering music from the period 1976 - 1979

Released on LP and MC on

Sorry for the delay
This is a vinly rip
It shows the limatations of 20 odd years of abuse
If you like this album go out and buy origanal music from the artist

Link http://www.mediafire.com/?mn0gmmnnj5n

The Byron Band - On The Rocks

Best known as Uriah Heep's legendary frontman and vocalist with this album, and his newly formed friendship/song writing partnership with Robin George, On The Rocks saw David Byron come up with an absolute corker of an album. The original vinyl album was itself a classic, but now with the inclusion of a handful of bonus tracks this CD release is the must have format. On The Rocks is at least as strong as anything David Byron recorded with Uriah Heep - yes that is a powerful statement, and yes I am a huge Byron era Heep fan too - but it's true. The only probelm with this album is that it contained the only officially released material by the relatively short-lived Byron Band........until of course when Robin George dusted off some demos and live recordings a few years back for the Lost And Found 2CD release - which is also a very worthwhile collection of material, especially if you want to see just how some of the classic tracks from On The Rocks came to life.


On the Rocks is an album by The Byron Band, taking its name from their singer, British Rock vocalist, David Byron.

Despite featuring Byron and lauded guitarist Robin George the album didn't achieve commercial success.

The original UK vinyl release, on Creole Records, came with a poster of the sleeve's artwork.

Currently OOP, it was available on CD on the German specialist label Repertoire (Repertoire REP 431), with bonus tracks as detailed below. For completists, this release had a cream inlay tray.


Track listing

1. Rebecca (Byron / George) – 4:01
2. Bad Girl (Byron / George) – 4:52
3. How Do You Sleep (Byron / George) – 6:09
4. Little By Little (Byron / George) – 3:54
5. Start Believing (Byron / George) – 4:04
6. Never Say Die (Byron / George) – 4:25
7. King (Byron / George) – 3:40
8. Piece Of My Love (Byron / George) – 6:47

1993 CD release bonus tracks:

1. Every Inch Of The Way (Byron / Boone) – 3:25 / Single release
2. Routine (Byron / Boone) – 3:52 / b-side of 'Every Inch Of The Way'
3. Tired Eyes (Byron / George) – 2:39 / b-side of 'Rebecca' single.
4. Every Inch Of The Way (Byron / Boone) – 4:58 / Long version out-take, previously unreleased


Band members

* David Byron: Vocals
* Robin George: Guitars
* Mel Collins: Saxophones
* Bob Jackson: Keyboards
* Roger Flavelle: Bass
* John Shearer: Drums and Percussion

Other Credits

* Background Vocals: The Powder Puffs
* Bass Guitar on "Little By Little" by Robin George
* Engineered by: David Baker
* Mixed by: Robin George, David Baker & David Byron
* Produced and Arranged by: Robin George
* Executive Producer: David Byron
* Mastered by: Melvyn Abrahams (Strawberry Mastering Ltd.)
* Cover Design: Lon Goddard (Thanks Simon)

Link http://www.mediafire.com/?dez2rzdj2ez

or

http://www.megaupload.com/?d=WLZI1ZRT

Various Artists - Guitar Speak

In 1988, the IRS No Speak label began releasing albums in the "Guitar Speak" trilogy. In this project, various guitarists were called upon to provide new material for compilation releases. The guitarists surveyed in this series generally came from diverse musical backgrounds -- making objective reviewing even more difficult than usual, but also making the listening process quite rewarding for the open-minded.

It almost goes without saying that an album of this sort would probably appeal primarily to "professionals" of the guitar craft. Not being such a professional myself, I hasten to point out that this review is intended to judge the final musical product at least as much as "the technical prowess" of the guitarist in question. Matters of speed, precision, and range are very important things. But they aren't the only important things.

In general, the first Guitar Speak album is a valuable collection of various styles, with each guitarist given enough space to showcase their abilities to the desired extent. The two high points of the album, from my perspective, are the works of Alvin Lee and Steve Howe.

Alvin Lee's performance was somewhat of a surprise to me, given that I've never heard Ten Years After, nor did I believe them to be a group that I would be interested in. This piece, however, was an excellent showcase of Lee's skills, moving from sweeping melodies to driving riffs, and even taking the time to indulge in a two-hand tapping section. It's unquestionably a "hard rock" piece, but nonetheless a very good one. David Hubbard's keyboards were also incorporated well. An excellent way to the begin the album.

The excellence of Steve Howe's piece was, of course, much less surprising to me. "Sharp On Attack" (which has since resurfaced in an alternate form on Homebrew, and also appears of Yesoteric 3) is an excellent display of Howe's talents. Steve uses more guitars on his piece than anyone else on this album (five, to be precise), and the internal diversity which results makes it well worth it. The acoustic opening provides excellent flavouring, and the middle section of the piece ranks among Howe's better melodies of recent years. This piece must be considered as the second official installment in Howe's redemption for the early 1980s (with "Sketches In The Sun" being the first), and it does its job well.

The surprise of the album, from my perspective, was that Steve Hunter's piece was so good. "Urban Strut" starts off in a less-than-promising way, but quickly develops into a decent blues-prog jam with one of the better melodies on the album.

Most of the other tracks on the album fall into the "good but not great" category. The late Randy California's "The Prisoner" is a rather dark piece, developing towards a strangely cathartic (for the listener, that is) section towards the end -- I liked it, but not quite enough to grant it a higher rating. Eric Johnson's "Western Flyer" features various clever developments on the guitar, but never quite breaks through into something really special (a microcosmic glimpse at Johnson's career, some might argue).

Leslie West's "Let Me Out'A Here" is notable for being the first track on the album not to feature drums in any capacity. ;) On its own, its also a good piece, pushing forth a good melody with various "dark" chords.

Ronnie Montrose's "Blood Alley 152" is the only mistake on the album. Montrose apparently wrote this piece after excising all of the jazz influences from his system, and the listener must suffer as a result. Bludgeoning power chords (vaguely reminiscent of "Don't Fear The Reaper") mingle with really dumb rhythm guitar parts to create a show-offy piece without much substance at all. The quiet section of the piece isn't very interesting either. A few decent spots appear in scattered locations, but aren't enough to save the piece. The " * * 1/2 " rating is granted mostly for the objective fact that Montrose is, from a technical level, possessing of some reasonable skill; my subjective rating would be lower. Placing this piece directly before "Sharp On Attack" must be regarded as a considerable error on someone's part.

Phil Manzanera's "Sphinx" is a bit of a disappointment. The opening section (featuring acoustic percussion, bass, and only an incidental acoustic guitar section) is fairly interesting, but Manzanera's electric spotlight in the main body of the song... well... isn't all that interesting, frankly. There is some entertainment value to the piece, perhaps, but this could have been much better.

Rick Derringer's "Sloe Moon Rising" isn't too interesting at first, but it gets better toward the end. Not a terribly notable piece, but listenable enough. Pete Haycock's "Danjo" has a (surprise!) banjo-esque opening, which unfortunately doesn't really develop quite as well as it could. It's still good, but the main body of the piece doesn't sustain the character of the introduction.

Hank Marvin's "Captain Zlogg" might appeal to Shadows fans, or fans of early-'60s Surf Music in general. For my own part, I found it to be a decent piece, with an interesting middle section, but somewhat lacking. The closing section also struck me as being a bit hackneyed.

Robby Krieger's "Strut-A-Various" is a decent ending for the album, with good work by all of the players involved. The composition seems a bit unfocused, at times, but the general value of the track still comes through.

The casual music fan might balk at the idea of an album of guitar spotlights, but those with a serious interest in guitar-driven progressive music should consider checking this album out.
The Christopher Currie

(review originally posted to alt.music.yes on 25 Apr 1997)


Artist: Track: Rating:

1. Alvin Lee No Limit * * * * 1/2
2. Randy California The Prisoner * * * 1/2
3. Eric Johnson Western Flyer * * * 1/2
4. Leslie West Let Me Out'A Here * * * 1/2
5. Ronnie Montrose Blood Alley 152 * * 1/2
6. Steve Howe Sharp On Attack * * * * 1/2
7. Phil Manzanera Sphinx * * *
8. Rick Derringer Sloe Moon Rising * * *
9. Pete Haycock Danjo * * * 1/2
10. Steve Hunter Urban Strut * * * *
11. Hank Marvin Captain Zlogg * * *
12. Robby Krieger Strut-A-Various * * * 1/2


Additional Musicians:

* David Hubbard: keyboards (track 1)
* Ed Cassidy: percussion (track 2)
* Liberty: bass (track 2)
* Tommy Taylor: drums (track 3)
* Roscoe Beck: bass (track 3)
* Glenn Letsch: bass (track 5)
* Dean Johnson: drums (track 5)
* Nigel Glockner: drums (track 6)
* John Wetton: bass guitar, Taurus pedals (track 7)
* Mikey Sturges: drums/percussion (track 7)
* Nick Parker: drums (track 8)
* CP Roth: keyboards (track 8)
* Nigel Bowers: sax (track 9)
* Livingston Brown: bass (track 9)
* Chris Bucknell: keyboards (track 9)
* Lucienne Haycock: vox harmony (track 9)
* Bruce Gary: drums (track 10)
* Jim Johnson: bass (track 10)
* John Hernandez and John Avila: bass and drums (track 12)
* Earth, Wind & Fire brass section: horns (track 12)


link http://www.megaupload.com/?d=1K1HEVX1

Def Leppard - On Through The Night

On Through the Night is the debut album by British heavy metal band Def Leppard, released in 1980. It features rerecorded versions of "Rocks Off" and "Overture", tracks from the band's original independently released EP, The Def Leppard E.P. Other tracks are rerecorded versions of early demos, some of which appeared on the First Strike and Warchild bootlegs. The album was certified platinum by the RIAA on May 9, 1989. The band have stated on many occasions that they don't like this album and consider High 'n' Dry their first proper album. The band does not play material from the album in their live concerts anymore, last playing "Rock Brigade" in 2005.

"Wasted" and "Hello America" were released as singles. However, the version of "Wasted" that appears on the single is a different recording from that of the LP, as is its b-side, "Hello America".

This album was produced by Tom Allom, perhaps best known for his work with Judas Priest, and is the only Def Leppard album that receives little or no radio airplay, as compared to the likes of their later albums like Pyromania or Hysteria.Which is a shame because if you forget everything that came after, this is an excellent debut album . It may well show a young band learning their craft and this album can be put firmly in the N.W.O.B.H.M that was around at that time. The beauty of this album,To my ears anyway, is in it's production its raw unlike the overproduced albums that were to follow. The lepps themselves may not like this album but i believe 'On Through The Night' Has stood the test of time remarkable well



















Fans insist that it never went away. Critics wish it would. But heavy metal, that belligerent bastard son of American blues and macho English rock-star attitudes, is back. It's also bigger, louder and–hard as this may be to believe–better than ever, rising to punk-rock's challenge by adding some new risks to the old riffs.

With an average age of eighteen, the five members of Def Leppard are barely old enough to remember the first Neanderthal rumblings of Black Sabbath and Deep Purple. Yet On through the Night shows they not only respect their elders, they've taken cues from their New Wave peers, too. Ignoring heavy-metal's unwritten law requiring long guitar solos in every other tune, guitarists Pete Willis and Steve Clark shoot from the hip, packing their licks into tight, three-minute pop arrangements. The anthem like "Rock Brigade" and "Hello America," with its Queen-aphonic harmonies, are apt examples.

Even when they dare to wax poetic in such apocalyptic sagas as "When the Walls Came Tumbling Down" and the seven-minute, Rush-style "Overture," Def Leppard rarely let their ambition outstrip their rock & roll sense. Bassist Rick Savage and drummer Rick Allen apply the same youthful muscle to a breast-beating ballad ("Sorrow Is a Woman") as they do to a Thin Lizzy-like raver ("Wasted"). And while Joe Elliott isn't a lead singer on the sanctified level of Robert Plant, he wails wonderfully in a resonating tenor, fortified by backup harmonies and Tom Allom's battering-ram production.

Displaying a wisdom beyond their years, Def Leppard take the timeworn basics of heavy metal, give them a punky Eighties overhaul and come up with, uh, heavy melody. On through the Night is awfully impressive for a band making its vinyl debut.

Van Halen toss melody – along with subtlety and good manners – straight out the barroom door. Specializing in decibels and cock-strutting bravado, they put forth the proposition that Might Is Always Right, and the proof on their third LP, Women and Children First, is pretty convincing. "Romeo Delight," "Everybody Wants Some!!" and the mad, triple-time dash, "Loss of Control," are works of high-volume art. Each features banshee guitars, hellish drumming, lead vocalist David Lee Roth's cries of hedonistic ecstasy, and ensemble harmonies that sound like the Byrds singing through a sewer pipe – all violently competing for attention in an explosive sound mix.

But underneath the noisy chutzpah, Roth and his mob are exceptionally good players. This is especially true of guitarist Eddie Van Halen, who harnesses feedback almost as well as Jimi Hendrix did and displays smarts plus speed in his solos. As for David Lee Roth and his big mouth, he puts up a lot better than he shuts up, baying at the moon with far more spirit and comic panache than most of his competition. Megalomania of this kind is an acquired taste, yet the haste with which Women and Children First bullied its way into the Top Ten suggests that there's a little Van Halen in everybody.

Adding a touch of Wagnerian drama to the genre, the Scorpions mine the traditional heavy-metal lode and assay a potent sound that's one part Deep Purple (lead singer Klaus Meine), one part Black Sabbath (the Francis Buchholz-Herman Rarebell rhythm section) and two parts Blue Öyster Cult (guitarists Rudolf Schenker and Matthias Jabs). Though not quite the killer that last year's Lovedrive was, Animal Magnetism, this German group's seventh American album, still scores a head-banger's bull's-eye with frantic rockers like "Falling in Love" and the rather commercial "Make It Real." The title track and "The Zoo" are a strange finale: two of the most oppressive, ham-fisted dirges I've heard since Black Sabbath turned loose "War Pigs."

Like it or not, heavy metal is here, there and everywhere. What they may lack in innovation, the Scorpions make up for in sheer amplified power, while Van Halen swagger confidently past their own limitations and Def Leppard fall back on youthful naiveté, enthusiasm and talent. To their credit, these bands have managed to tap some fresh energy from a source that apparently never went dry.

Only one quick question now: is this your idea of a good time?

DAVID FRICKE Rolling Stone



















link http://www.mediafire.com/?yihytz14jzw

Wave Repair

Introduction

Wave Repair is a shareware editor specifically designed for the restoration of WAV files that were recorded from vinyl records. It can also be used to process recordings made from tapes, but its restoration features are intended mainly for records. The name is perhaps a little unfortunate. You might think that Wave Repair is a program for fixing broken WAV files (eg. with invalid headers), which it isn't. In hindsight, I should have chosen a different name, but I'm stuck with it now.

It is a 32 bit program that runs on all versions of Windows from Windows 98 onwards. Note that from release 4.9.1, it no longer runs on Windows 95. This is because it was necessary to change the program help to a CHM file in order to maintain compatibility with Windows Vista, and CHM files are not supported by Windows 95.

In order that you can try it out to see if it will be useful to you, it is fully functional for a 30 day evaluation period. After this time, it needs to be registered to remain fully functional; the price is 30 US dollars. However, some features do continue to work without registration - see the Freeware Mode page.

Wave Repair is not a general purpose digital audio editor (in particular, it does not includes arbitrary copy/cut/paste editing of WAV files). Rather, Wave Repair eases many of the tasks that are required during restoration of music recorded from vinyl records, and which are often difficult using general purpose tools. I wrote it because I was unable to find an affordable WAV file editor which performed these tasks easily.

If you need a general purpose audio editor, I can recommend GoldWave as a good example. (I had previously also recommended CoolEdit 2000, but since Syntrillium Software was acquired by Adobe Systems, that program has sadly been discontinued). Another editor that has many satisfied users is Audacity, and it has the added bonus of being freeware.


System Requirements

* PC running any version of Windows from Windows 98 onwards
* Display set to 800x600 or greater.
* Soundcard capable of CD standard (44.1kHz/16bit/stereo) playback/recording.
* Reasonably fast hard disk. Any hard disk less than about 10 years old is almost certain to be fast enough.
* 200MHz Pentium or faster CPU recommended. Wave Repair will run on slower systems (even a 486), but some of the real-time preview functions may not work on slower machines.

Download http://www.mediafire.com/?mqyjtndn2yy

Alex Harvey And His Soul Band1964 & The Blues1965

Alex Harvey And His Soul Band - 1964
















Alex Harvey (5 February 1935 - 4 February 1982) was a Scottish rock and roll recording artist. With his Sensational Alex Harvey Band, he built a strong reputation as a live performer during the 1970s glam rock era. The band was renowned for its eclecticism and energetic live performance, Harvey for his charismatic persona and daredevil stage antics.[citation needed]

His younger brother Leslie Harvey was also a musician and became guitarist for Glasgow band Stone the Crows.




Harvey was born at 49 Govan Road, Plantation, Glasgow. His musical roots were in Dixieland jazz and skiffle music, which enjoyed considerable popularity in England and Scotland during the late 1950s. During this period, he won a competition that sought "Scotland's answer to Tommy Steele".

In 1959, Harvey formed Alex Harvey's Soul Band, and recorded blues and rock and roll material, with modest success. In 1966, Harvey found more success as a member of the pit band in the London stage production of the musical Hair. This band recorded the live LP Hair Rave Up which contained Harvey originals and other songs not from the stage show. In 1970 Harvey formed Rock Workshop with Ray Russell [1]; their first, self-titled album contained an early version of "Hole In Her Stocking", later to appear on Framed.















1. "Framed"
2. "I Ain't Worrying Baby"
3. "Backwater Blues"
4. "Let The Good Times Roll"
5. "Going Home"
6. "I've Got My Mojo Working"
7. "Teens Ville USA"
8. "New Orleans"
9. "Bo Diddley Is A Gunslinger"
10. "When I Grow Too Old To Rock"
11. "Evil Hearted Man"
12. "I Just Wanna Make Love To You"
13. "The Blind Man"

Link http://www.mediafire.com/?twwrt2nynyn

Alex Harvey - The Blues 1965

For his second album, Harvey eschewed the full R&B combo sound of his debut for a solo set of traditional blues, accompanied only by a couple of guitars. No one would mistake this for a hard-bitten set by a wizened Delta bluesman, but Harvey doesn't make an attempt to disguise the fact that he's a hard-living, life-loving Scotsman plunging full-tilt into the music he loves. As British trad blues efforts go, this is pretty good. Harvey attacks standards with a gusto that is wrenching and jolly (sometimes both at once) on this set of fairly raw performances. - Richie Unterberger

---

1. Trouble In Mind
2. Honey Bee
3. I Learned About Women
4. Danger Zone
5. The Riddle Song
6. Waltzing Matilda
7. The Blues
8. The Big Rock Candy Mountain
9. The Michigan Massacre
10. No Peace
11. Nobody Knows You When You're Down And Out
12. St. James Infirmary
13. Strange Fruit
14. Kisses Sweeter Than Wine
15. Good God Almighty

Link http://www.mediafire.com/?wmn0gmn0l24

National Head Band - Albert 1- Vinyl Rip

The National Head Band evolved from a group called The Business a quartet featuring Neil Ford (guitar, vocals), Dave Paull (bass, keyboards, guitar, vocals), Jan Schelhaas (keyboards) and John Skorsky (drums). After signing a management deal and changing their name they got a deal with Warner Brothers who, for some unfathomable reason, insisted that the group should have two drummers. Enter Lee Kerslake (drums, keyboards, vocals), fresh from recording the first Toe Fat album. However, no sooner had the band entered the studios than drummer Skorsky decided to quit! The remaining quartet had quite divisive musical tastes: Schelhaas was a soul fan, Ford was a bluesman, Paull was ostensibly a folkie and Kerslake was more into rock. Given the task of melding all these influences into a coherent album was Eddie Offord who had just completed work on The Yes Album. Offord was more than up to the task in hand and the results he achieved are admirable as elements of all of the individual members musical interests can be heard on the album, which fits neatly in with other albums released in the early seventies that are recognised as classics of the blooming progressive scene. Label incompetency, a mistimed and misplaced tour of Top Rank venues, and a whole batch of faulty album pressings did the band no favours who, unheralded, split later the same year.

Opening number Got No Time starts off with a riff that is vaguely similar to Day Tripper by The Beatles but the piano adds a bit of rhythm and blues to the proceedings. A nice heavier ending courtesy of a couple of electric guitars gives way to their acoustic counterparts in You which displays the groups talent for harmonising. The mixture of the acoustic six strings with the bold keyboard and the soulful vocals provides an interesting blend. The excellent Too Much Country Water is up next and again the harmony vocals add a lot to the number. Schelhaas provides jaunty piano and different guitar solos emanate from each speaker, before things ramp up for the ending. Lead Me Back is certainly a Beatles influenced number with the Moog being tapped for a wide range of brass band sounds. However, the song doesn't really evolve into anything that special and would have benefited from having an earlier fade out. Another Apple band, Badfinger, can be heard within the grooves of Listen To The Music and is almost up to the same standard as that masterful but ill-fated group.

Unusual for even progressive bands, the harmonium takes centre stage for Islington Farm, a more melancholy number. The guitar has a ton of echo applied to it which contrasts brightly with the layered vocals. Overall a strange little song that I'm not entirely convinced by but holds up well against other experimental numbers of the era. Paull's folk leanings are more on display during Try To Reach You with Ford's bottle neck guitar solo proves a standout moment. Leaving the country twang behind, Brand New World mixes bits of everything that has gone before. The abilities of Offord come to the fore as the blend of different voices, a fluid bass line, the organ, acoustic and electric guitars is absolutely perfect, a great song. The grand finale is provided by Mister Jesus which sets off at a blistering pace - like a distant cousin to Flight Of The Rat by Deep Purple. However, this only serves as an intro, for after two minutes the rock is replaced by the acoustic guitars, organ and harmony vocals. The ending of the song is quite masterful with initially a Beatles-type section and then a bit more up-tempo with wahwah guitar pulling things to a close.

Although not a long-lost classic album, the National Head Band showed more than enough promise that they could have achieved far greater things. Instead Kerslake went off to join Uriah Heep, Schelhaas had stints in both Camel and Caravan (whom he rejoined a couple of years ago for their excellent The Unauthorised Breakfast Item album) and Paull joined the also excellent Jonesy. No idea what Ford did after the group disbanded, although the sleeve notes to the album conclude with the fact that after 37 years with no contact Schelhaas and Ford are back in touch and have started writing together again. Will we see Albert 2 after all these years? Who can tell!
























1 Got No Time National Head Band 5:02

2 You National Head Band 3:59

3 Too Much Country Water National Head Band 4:12

4 Lead Me Back National Head Band 4:01

5 Listen to the Music National Head Band 6:30

6 Ilsington Farm National Head Band 3:11

7 Try to Reach You National Head Band 4:21

8 Brand New World National Head Band 6:24

9 Mister Jesus National Head Band 8:08

Link