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6 Jan 2018

Sunbirds “Sunbirds” 1971 first LP + "Zagara" 1973 second LP Germany Jazz Rock Fusion

Sunbirds “Sunbirds” 1971 first LP + "Zagara" 1973 second LP Germany Jazz Rock Fusion

Sunbirds 1971 first album full on vimeo

Sunbirds  “Zagara” 1973 seconfd album full dailymotion

or full ok

Sunbirds were a band project formed in 1971 by German drummer Klaus Weiss. (17/02/1942-10/12/2008) Weiss had already twelve years of career as a jazz drummer behind him in 1971 and was appreciated by US jazz men touring in Europe. He had played among others with Bud Powell, Johnny Griffin, Kenny Drew and Don Byas. From 1962 to 1965 he had worked with Klaus Doldinger and in 1966 Weiss won the International Jazz Competition in Vienna. 
In 1971 he formed the multinational Klaus Weiss Quartet featuring American bassist Jimmy Woode, Dutch saxophonist Ferdinand Povel and Austrian pianist Fritz Pauer, The same musicians joined by Philip Catherine on guitar and Juan Romero on percussion recorded in august of 1971 the first self titled Sunbirds record. The record presented an interesting form of early jazz rock with an extensive use of electronic keyboards. One year later in august of 1972 the Sunbirds released their second record, Zagara, again the Klaus Weiss Quartet joined this time by Ron Carter on double bass, Leczek Zadlo on flute, Lucas Costa and Rafael Weber on guitar and Norman Tolbert on percussion. This record presented an orientation towards Latin Fusion. The first record is highly recommended…~

Sunbirds “Sunbirds” 1971
4.5 stars. Man this has been treat to listen to of late. I never heard of these guys before but they came highly recommended from Greg Walker so I took the chance, and i’m SO glad it did. Based out of Germany in the early seventies this Jazz / Rock / Fusion band released two albums,this being the debut. Love the album cover as well. While these guys were based out of Munich, Germany it should be noted that this was a multi-national band with a Dutch flautist, American bassist and the guitarist from Belgium. It should also be noted that these guys were all seasoned players, all having played in important bands or projects before this. Most were close to 30 years of age when this album was recorded while the American bassist Jimmy Woode was over 40 years of age. Jimmy by the way played piano and trombone before switching to bass and played in Duke Ellington’s big band from 1955- 1959. He also played with Miles Davis, Louis Armstrong, Ella Fitzgerald, Dizzy Gillespi and Charlie Parker amongst others. In the book “The Crack In The Cosmic Egg” they had this to say about the SUNBIRDS : “On their debut "Sunbirds” they made a dreamy, yet powerful fusion with an abundance of solos, extensively featuring Belgian guitarist Philip Catherine, and smooth jazz keys from Fritz Pauer, feeling like a spacey EMBRYO cum Miles Davis. It’s one of the great timeless fusion albums of the era that really gets the balance right, even when some of the tunes are so catchy that they linger in the mind long after".
“Kwaeli” has a relaxed beat with bass and flute helping out. Electric piano comes in as the tempo keeps picking up and slowing down. So good ! “Sunrise” sounds amzing as the flute plays over top. Crisp drumming as the organ comes and goes. “Spanish Sun” is mellow with flute and bass. It starts to pick up before 2 minutes as a beat comes in then guitar. Great sound ! The guitar stands out before 3 ½ minutes then the electric piano comes to the fore. It’s building.It settles back before 10 minutes to end it.

“Sunshine” is uptempo as the flute plays over top. Nice bass too. The organ replaces the flute and rips it up. The flute is back before 3 minutes. The guitar leads for a while then the flute is back to end it. “Sunbrids” has some atmosphere to start. A relaxing soundscape takes over around 2 minutes. The guitar leads after 3 ½ minutes then it’s the electric piano’s turn. Drums dominate after 8 ½ minutes. “Blues For DS” is groovy baby ! The flute plays over top as the bass,drums and guitar lead the way. Distorted keys before 2 minutes then the flute returns followed by electric piano.

You’ll notice the word “sun” in three of the five song titles as well as in the band’s name. Well it’s because most of the songs they were creating were in E-minor or E-major and E is the so-called sun note in esotericism. Man I like this album, especially the electric piano. Amazing stuff !…by Mellotron Storm …..~

Discovery is perhaps the single most pleasurable feature that awaits the prog enthusiast, similar perhaps to the wine lover who is in constant search for a new vintage, a fresh varietal to quench his thirst. Because of the vast array of sub genres, there is a seemingly limitless treasure trove of unknown albums that lie hidden barely beneath the sand, waiting to be unearthed. Such is the case with the multi-national Sunbirds, a gift from my pal Mellotron Storm who ignited my curiosity with his review (isn’t that the real purpose of this site?) and the find is curiously attractive, as I am currently in a heavy jazz-rock-fusion mode (happens often in winter) with arrivals of the first 4 Nucleus albums and Isotope’s Gary Boyle, all to be reviewed imminently. Just like with a sunken cache, the jewel is tarnished only by time and in fact, only glows brighter than ever before with each listen. The first comment remains concretely evident in that the early 70s were nothing more than a giant organic laboratory of experimentation with a huge arsenal of modern instruments for the time, electric piano, synths and treated electric guitars, all conspiring to alter the limits of jazz by providing a solid rock backbone. There is nothing more pleasing than the e-piano, the celebrated Fender Rhodes in particular and this debut has endless cascades of the glorious keyboard within its grooves, here played by Fritz Pauer . Belgian guitarist Phillip Catherine sizzles fiercely when called upon which is often and the delectable flute also has a predominant role. This is groove music par excellence, an all-instrumental blitz that powers forward with reptilian efficiency, urbane at some moments and galactically spacey at others. On “Sunshine”, Catherine palpitates brilliantly within the confines of a sweltering mass of trippy notes, while on the scintillating “Kwaeli” the flute and bass enjoy a slow dance of loving embrace, as American jazz stalwart Jimmy Woode lays down a fierce bass furrow that burrows deeply into the psyche, the guitar hovering over the entity with bold confidence, sounding like much very early Santana. When the e-piano enters the fray, well?.wow! You have to marvel at the deft musicianship. That perceivable Latin flavor is proven by the “Spanish Sun” track, perhaps even the highlight piece here, sounding like some soundtrack to a 70s American movie filmed in San Francisco, breezy, trippy, groovy and all the cool words used back then apply. The riffling rhythm guitar is simply superb, whilst the flute dances above the fray with manic delicacy, propelled by Klaus Weiss’ spontaneous drumming. “Blues for D.S.” just keeps glowing cheerfully, the bass and drums setting down a crawling groove on which the soloists can evoke sensational sequences of sounds that seeks out the most far-flung expanses without becoming cheesy. The rumbling organ does well in inspiring the simmering pot effect. “Sunrise” like the title suggests is vivacious, funky, playful and gently intense. The mood is super-cool and Catherine’s playing style explains why he replaced Jan Akkerman in latter day Focus, loads of “flick o the wrist” riffs abound , rekindling images of the jam tracks off Focus “3” album. The finale is called “Fire Dance” and once again, the onus is on heat and shimmer, with the axe blasting forth with relish (and mustard!) , the groove shining bright and you can imagine the smile on the musicians faces as this simmers to an end. Incredible music .
Some may slimily claim that this is very dated and has no context by today’s standards but we are dealing with an ancient musical artifact that is essentially timeless. Hey, Miles Davis, Mozart, Bach and countless others still thrill to the gills, so why not the Sunbirds? This is a tremendous recording that has a distinctive place in the prog heritage. Thanks, John via Greg Walker (networking works!). In terms of prog academia, if you ever wanted to get into an electric piano orgy, look no further!…by tszirmay ….~

Surely the German equivalent to Soft Machine - and in a very good way - teutonic sextet Sunbirds debut album should seriously excite jazz fans who like a bit of the exciting 1970’s and furiously inventive fusion movement. Released in 1971 and featuring a line-up consisting of four different nationalities overall - Philip Catherine(guitar), Ferdinand Povel(flute), Fritz Pauer(keyboards), Jimmy Woode(bass), Juan Romero(percussion) and Klaus Weisse(drums) - this impressively-played, mystically-potent psychedelic opus finds the musicians firing-up electric jazz and oddball krautrock invention into a densely cosmic mixture that stretches across the bulk of albums six excellent tracks, colouring each-and-every with a slick, neon-lit fluidity that lights up the complex passages and quicksilver timing There are of course lighter moments, with opening number ‘Sunbirds’ exhibiting a more conventional streak and slight big-band-bent, yet for most this is very much Soft Machine- meets-Miles Davis 1969 to 1975 'electric’ period-meets-Embryo-meets-German underground- of-the-late-sixties. So, highly recommended then. Go Listen. Now. STEFAN TURNER, STOKE NEWINGTON, 2012….~

Jazz/Fusion ensemble from Munich led by German drummer Klaus Weiss (R.I.P.) and Austrian pianist Fritz Pauer (R.I.P.) and found in 1971.When Pauer presented Weiss some new songs, the two of them gathered Belgian guitarist Philip Catherine, Dutch flutist Ferdinand Povel and American drummer Jimmy Woode (R.I.P.) and formed Sunbirds.The recordings of their debut took place at the Union Studios in Munich on 24th August 1971.Weiss had good connections with various labels and the album was eventually released on BASF the same year.“Sunbirds” features also as a guest Juan Moreno on percussion.
The style of Sunbirds was a cross between Electric Jazz and Psychedelic Kraut-Fusion with changing atmospheres and plenty of enjoyable rhythms and solos.Quite diverse music, that goes from hypnotic and more psychedelic material to dynamic and energetic Fusion with good breaks and solos.The first relies much on the mellow rhythm section and the delicate flutes of Povel, the more powerful moments though find the band in full collaboration with Catherine’s very effective guitar work next to Pauer’s long and virtuosic solos.And there are plenty of them in this album in a semi-improvised approach along with endless interplays with flutes, guitars and electric piano in evidence.Some moments, maybe because of the presence of Catherine and especially on “Spanish sun”, recall the style of PORK PIE, having a light spacey atmosphere blended with a tremendous Psych-Kraut feeling.Beats of Funk can easily be traced throughout the releae, but I do not regard them as the more succesful addition next to the main style the band has chosen.

Originally the band had composed 8 tracks, including “Fire Dance” and “Dreams”, which were cut due to 55-min. long material, unable to be filled in the vinyl version.However the remastered and excellent Garden of Delights re-issue (no surprise here) includes both of them along with a fantastic booklet, containing the history of Sunbirds and BASF label both in English and German.

Very nice and adventurous Jazz/Fusion, which can be easily heard even today.Kraut-Rock and Jazz-Rock fans should simply hurry to get this one, followed by another warm recommendation for the rest of the readers…3.5 stars….by apps79 …..~

What a mesmerizing album! What a discovery! It’s like the gold mine of these golden 60’s/70’s years is never ending and that vintage records like this seem to pop out from nowhere…especially the year 1971. This album is simply a jazzrock monument! But it’s actually considered as a Krautrock band and indeed their music is a brillant synthesis of both genres. The influences and comparisons evoke at times SOFT MACHINE, EMBRYO for the world influences. Long freeform jams with tons of joyous flute and of course, great psychedelic guitar solos, reminding me of at times a lighter form of fusion à la HERBIE MANN. We can notice the participation of belgian guitarist Philip Catherine at his debuts. The record is well recorded and well reissued by Garden of delights (thanks a lot!). A must have for any serious jazzrock and/or krautrock fan!.. by oliverstoned …..~

Line-up / Musicians
-Ferdinand Povel/ fl
-Philip Catherine/ g
-Fritz Pauer/el-p
-Jimmy Woode/ b
-Juan Romero/ perc
-Klaus Weiss/dr

Songs / Tracks Listing
4.Spanish Sun
5.Blues For D.S.
7.Fire Dance 

Sunbirds “Zagara” 1973 second album

Originally released in 1973, as this was the short-lived jazz / fusion collective’s second and final lp. About as good as their first self-titled record (see my review) also reissued by the Garden Of Delights label. Tunes here that I liked the most were the -almost- ethnic-sounding “Fire Dance”, the laid-back “Homecoming”, the well-received “My Dear Groovin” and the eleven-minute [somewhat inventive, one might say] “African Sun” with some really great flute playing featured. Might possibly appeal to of Epidaurus, Can or Pierre Moerlen’s Gong. Also available on vinyl lp from Garden Of Delights….by ..Mike Reed…~
Back in the seventies, the only German band most British people had heard of was Kraftwerk. A few more knowledgeable music lovers have heard of Can, and maybe, Neu!, Cluster or Harmonia. That however, was the extent of their knowledge of German music. That was a great shame, as Germany in the seventies, had one of the most vibrant and eclectic music scenes. One of the best kept secrets of the German music scene was Sunbirds, who released two albums between 1971 and 1973.
Sunbirds were a Munich based jazz-rock band, who released their eponymous debut album on the BASF label in 1971. Two years later,and Sunbirds returned with their sophomore album Zagara. Sadly, Zagara was also Sunbirds’ final album. After just two albums, Sunbirds recording career was over. Zagara was Sunbirds’ swan-song, and brought to a close what could’ve been a glittering career.
No wonder. Sunbirds lineup featured five talented and experienced musicians. They came from Germany, Austria, Holland, England and America. These five musicians had worked with some of the biggest names in jazz, before Sunbirds recorded their eponymous debut album on 21st August 1971.
Drummer Klaus Weiss was born in Gevelsberg, Germany, in 1942. By 1971, he ahd previously alongside Bud Powell, Johnny Griffin and Kenny Drew. Klaus Weiss had also been a member of the Klaus Dinger Quartet. However, since 1967, Klaus Weiss was the drummer Erwin Lehn Orchestra. In his downtime, Klaus collaborated with many musicians, including Hampton Hawkes, Leo Wright and free jazz pioneer Don Cherry. Although he was only twenty-nine, Klaus was an experienced musician. So were other future members of Sunbirds, including Klaus Weiss’ partners in the rhythm section.
Bassist Jimmy Woode was born in Philly in 1928, and compared to the other members of Sunbirds, was almost a veteran. Jimmy had already enjoyed a glittering career, and had been a professional musician for over twenty years.
Originally, Jimmy Woode had played piano and trombone, but later, switched to double bass. On graduating high school, Jimmy studied music in his home town of Philly, and then in Boston. He then went on to play alongside some of the great and good of jazz.
This included Charlie Parker, Miles Davis, Dizzy Gillespie, Ella Fiztgerald, Sarah Vaughan and Louis Armstrong. Then in 1955, Jimmy Woode joined Duke Ellington’s big band. For the next five years, Jimmy was part of the Duke’s band. However, in 1960 he left the Duke’s employ, and headed to Europe.
Jimmy Woode wasn’t the first American jazz musician to head to Europe. Many jazz musicians had made Europe their home, and were enjoying a renaissance in their career. So Jimmy headed to Sweden, and later, made Germany his home. By the time he joined the Sunbirds, Jimmy was living in Munich. So was guitarist Philip Catherine.
Just like Jimmy Woode, Philip Catherine had made Munich his home. He was born in London in 1942, into a musical family. Phillip’s grandfather had, at one point, been the first violinist with the London Symphony Orchestra. Phillip was similarly talented.
Phillip Catherine had been inspired to play the guitar after hearing George Brassens. From the first time he picked up a guitar, music seemed to flow from Phillip. Soon, he had developed into a talented guitarist. Unlike Jimmy Woode, he didn’t study music. Instead, he learnt from listening to the great jazz men of the day. Eventually, he was playing alongside them.
From 1969, right through until he joined Sunbirds, Philip Catherine accompanied Lou Bennett, Dexter Gordon and Stéphane Grappelli. Philip’s versatility allowed him to adapt to playing alongside a wide variety of artists. That was also the case with Dutch saxophonist Ferdinand Povel.
He was born in the Haarlem, near Amsterdam, in 1947.Growing up, Ferdinand Povel learnt to play the saxophone. Eventually, Ferdinand Povel was equally comfortable playing the tenor and alto sax. Ferdinand could also play the flute. Success came early in Ferdinand’s career.
In 1964, when Ferdinand Povel was only seventeen he won the prestigious Loosdrecht, the Netherlands Jazz Festival. This essentially launched Ferdinand’s career. By 1969, he was touring with Goykovich’s Summit Quartet, where he switched between the tenor and occasionally the alto saxophone. It was only when Ferdinand joined Sunbirds that he switched to flute full time. The final member of Sunbirds’ cosmopolitan lineup was Austrian pianist Fritz Pauer.
He was born in Vienna born pianist, was born in 1943, and was the youngest member of the Sunbirds. However, he already had a wealth of experience. Fritz Pauer had played alongside Fatty George and Hans Koller in the early sixties. Then as the sixties drew to a close, Fritz formed a trio with Erich Bachtragi and Jimmy Woode. Then in 1970, Fritz joined the ORF Radio Band By 1971, Fritz Pauer had written a number of new songs, and was about to show them to another future member of Sunbirds.
Having written some new songs, pianist Fritz Pauer decided to take them to Klaus Weiss. When Klaus saw the songs, he was impressed, so much so, that he suggested to Fritz that they record these songs with a new band.
Gradually, the new band took shape. Cosmopolitan described its lineup. The rhythm featured Klaus on drums, American bassist, and Fritz’s friend Jimmy Woode and English guitarist Phillip Catherine. Augmenting them, were Fritz on electric piano, and Ferdinand Povel on flute. However, there was a problem, the new band didn’t have a name.
It was then that one of the band was looking at the three songs Fritz had written. They had were Sunrise, Sunshine and Sunbirds, and were all written in the key of E. There was a reason for this. E was regarded as the sun note in esotericism. That’s why one of the band suggested Sunbirds as the name of the band. It stuck, and Sunbirds began work on their debut album, Sunbirds.
Given Fritz had already written Sunrise, Sunshine and Sunbirds, the members of Sunbirds only had to write a few more songs before they could record their debut album. Eventually, another five tracks were written. However, only three would feature on Sunbirds’ eponymous debut album; the Phillip Catherine composition Kwaeli; the Jimmy Woode penned Blues For D.S. and Spanish Sun, which was penned by the five members of Sunbirds. These tracks were recorded on 24th August 1971 at Union Studios, München, Germany.
The five members of Sunbirds worked with Reinhold Mack at the Union Studios. He recorded what became Sunbirds, while twenty-nine year old Klaus Weiss produced the album. Sunbirds recorded eight tracks in one day. All that was left was to mix the tracks.
On 25th August 1971, the five members of Sunbirds returned to Union Studios. As they began to mix Sunbirds, they chose the songs that would make it onto the album. Eventually, two tracks didn’t make the cut. The first was Fire Dance, which would be rerecorded on Sunbirds’ sophomore album Zagara. Now there were only seven tracks left. Still it was too long to fit on one album. Something had to give. Eventually, it was decided that Dreams a ten minute epic would be cut from the album. The six remaining tracks became Sunbirds. Now all they needed to do was get a label interested in Sunbirds.
Luckily, Klaus Weiss had connections at BASF, one of Germany’s biggest labels. When Klaus let the the A&R people at BASF hear the album, they were so impressed by Sunbirds that they signed the new band. Things began to happen quickly.
Later in 1971, Sunbirds was released on BASF. However, there were no critically acclaimed reviews. Instead, Sunbirds seemed to pass critics by. This however, wasn’t unusual.
In the early seventies, across Germany, many talented groups were releasing albums of groundbreaking music. Often, this music was way ahead of its time. Kraftwerk and Amon Düül II were finding this out the hard way. So would Sunbirds, and would only be later that their music found the audience it deserved.
Sadly, when Sunbirds was released in 1971, the album sunk without trace. Part of the problem was, by 1971, BASF was a vast conglomerate. A record company was just part of its business portfolio. However, BASF didn’t seem to have the personnel to run what was a pan European record company.
They seemed to lack the expertise to promote Sunbirds. That essentially killed the album. BASF seemed to lack a proper distribution network that ensure the album found its way into shops. That was the last straw. So it was no surprise that Sunbirds across not a commercial success.
Far from it. Only a few discerning record buyers bought Sunbirds’ eponymous debut album. At most, only a few thousand copies of Sunbirds were sold. For Sunbirds, this was a huge blow. A bigger blow came when BASF pulled the plug on Sunbirds.
For the five members of Sunbirds, this came as a crushing blow. A tour had been planned to promote Sunbirds. That fell by the wayside. As it was, Fritz didn’t have the time to head out on tour. So a decision was made that Sunbirds remainder a studio project. It was a case of what might have been. Especially, when one revisits Garden Of Delights reissue of Sunbirds.
Opening Sunbirds is Kwaeli, where the the Klaus’ drums provide the backdrop to Jimmy’s bass. As it’s plucked confidently and deliberately, it takes centre-stage. Meanwhile, Klaus provides the heartbeat, before pounding the cymbals. That’s the signal for Fritz’s Hohner Electra-piano and Ferdinand’s flute enter. By then, the arrangement is moodily meandering along, with Phillip’s chiming guitar joining the fray. Soon, the tempo increases as Sunbirds enjoy the opportunity to stretch their legs, as elements of fusion and progressive rock melt into one. The result is a truly timeless track.
Sunrise is the first of a trio of tracks penned by Fritz Pauer. From the distance, the sound of Sunbirds’ rhythm section draws closer. They seem to almost gallop along. That however, is down to the way Klaus plays the cymbals. He eschews the drums, allowing the rest of the rhythm section to join forces with the flute and chirping guitar. Repetition is the key as Sunbirds thoroughly explore the groove. Once they’ve taken things as far as they possibly can, they throw a curveball. Washes of keyboards and wah-wah guitar add a psychedelic hue. By then, it’s fusion meets psychedelia and classic rock. Soon, Sunbirds are off and running, as they head in the direction of progressive rock. Sci-fi sounds are added to the arrangement. So is a Hendrix-esque performance from guitarist Phillip Catherine, as Sunbirds become sonic explorers, adding space rock to their heady musical brew.
Spanish Sun is a twelve minute epic. Its elegant sound gradually unfolds. Just a wistful flute accompanies the probing bass, and soon, the unmistakable sound of Fritz Pauer’s Hohner Electra. Everyone is playing within themselves, leaving space in the music. That’s until the bass is let off the lease, and a smattering sci-fi sounds show that it’s all change. Another clue is Klaus’ drums. They lock horns with the rumbling bass and glistening guitar. By now, the tempo is rising, and Phillip Catherine has stepped forward and begins to unleash his finest solo so far. Seamlessly, he and his guitar become one. Behind him, the rhythm section lock into a groove where jazz and rock unite. Swirls of sci-fi sounds dance, while Sunbirds’ rhythm section take centre-stage. Later, Fritz lays down a solo on his eclectic piano. It’s augmented by Phillip’s guitar, while the rhythm section drive the arrangement along. For twelve magical minutes, Sunbirds combine to create what’s their Magnus Opus, Spanish Sun.
From the get-go, Sunbirds kick loose on Sunshine. Klaus’ hypnotic drums provide backdrop as for the buzzing bass and airy flute. Soon, a chiming, funky guitar is unleashed. Choppy licks accompany the Fritz Pauer’s Hohner Electra. His fingers fly across the keyboards, as he and Phillip seem to drive each other to greater heights. Meanwhile, the rest of the rhythm are content to let them enjoy the limelight. Later, Klaus gets in on the act, and works his way round his kit. Ferdinand then joins the fray, and Sunbirds are in full flight. Later, Phillip steps forward and steals the show; delivering what’s without doubt, his best solo on the album. His fingers flit up and down the fretboard, as he delivers a fluid, jazz-tinged musical masterclass. This proves to be the icing on a particularly tasty musical cake.
Dramatic describes the introduction to Sunbirds. Space is left as the bass hums menacingly and cymbals shimmer. Ferdinand’s flute adds to the cinematic sound. Meanwhile, the keyboards add a brief otherworldly sound. Soon, Sunbirds are playing as one, and the arrangement meanders along. The feel-good sound they create brings back memories of long, sunny summer days. At 3.26 guitarist Phillip Catherine steps forward, and delivers another of his trademark glistening solos. It’s another stunning solo. Sometimes, it seems Phillip has nowhere to go, but he seems to find another note. It’s like slight of hand. Behind him, swathes of otherworldly sounds are joined by the rhythm section. Later, when Phillip’s guitar drops out, Sunbirds play as one. They fuse elements of fusion, classic rock, psychedelia, space rock and avant garde, as they take the listener on a magical, musical mystery tour.
Closing Sunbirds, is Blues For D.S. The title is ironic. By 1971, many new German groups had rejected the blues influence on music. This included pioneers like Kraftwerk, Kluster, Cluster and Neu! For them, the blues was the ghost of music past. It wasn’t part of Germany’s musical past. So a new generation of German musicians rejected the blues influence on modern music. Still, though, many other German bands embraced blues, and blues rock was a popular genre. However, Sunbirds were musical alchemists.
Granted there’s a brief blues influence on Blues For D.S. However, jazz is the most obvious influence. Keyboards and the rhythm section combine, before the mellow, airy sound of the flute breeze along. It’s accompanied by chirping, funky guitar licks. Soon, jazz funk shines throughs. When Phillip Catherine takes charge, Fritz Pauer is at his side. They breeze their way through the track. His guitar runs are augmented by stabs of electric piano, before Ferdinand’s flute takes centre-stage. He’s helped on his way by Jimmy’s bass and Phillip’s chiming guitar. Then it’s Fritz’s turn to shine, when he delivers a glorious solo. Meanwhile, Klaus is content to let other people take the limelight, as this wistful, but beautiful sounding track draws to a close.
That’s not the end of Garden Of Delights reissue of Sunbirds. They’ve included the Dreams, another ten minute epic, plus Fire Dance. This means that for the first time, ever, people got the opportunity to hear Sunbirds as the band intended. The eight tracks on Sunbirds feature a band who could’ve and should’ve, had a glittering career.
The problem was, Sunbirds signed to the wrong label. BASF in 1971, seemed to a be somewhat dysfunctional record company. It wasn’t equipped to promote new artists. If they had been, then Sunbirds would’ve found a much wider audience. Sunbirds, it seemed, had signed to the wrong label.
Who knows what might have happened if Klaus Weiss had had contacts at Ohr, Brain or even Liberty? Maybe these labels would’ve promoted Sunbirds more effectively, and the band wouldn’t have been relegated to a studio project. That’s why it was another two years before Sunbirds returned with their sophomore album Zagara in 1973. Sadly, it didn’t fare any better than Sunbirds. However, Sunbirds weren’t alone.
Far from it. In the early seventies, countless bands released albums of groundbreaking music. However, many of these albums sunk without trace. Often, it was through no fault of the band. Many had the misfortune to sign to the wrong label. Some of these labels lacked the knowledge, nous or funds to promote an album. As a result, albums that could’ve played an important part in German musical history were lost for a generation.
That was the case with Sunbirds. It was forty years before Sunbirds was officially reissued by Garden Of Delights in 2011 on CD. Then in 2015, Garden Of Delights rereleased Sunbirds on vinyl as a limited edition of 1,000. That was a fitting homage to Sunbirds’ eponymous debut album, which had been recorded more than a generation earlier, in 1971.
It’s hard to believe that Sunbirds was recorded back in 1971. Sunbirds has a timeless sound, and could’ve been recorded anywhere between 1971 and 2015. While fusion is the most prominent genre on Sunbirds, and to some extent, provides the biggest clue to the date of Sunbirds’ ‘birth’. However, Sunbirds it isn’t just a fusion album. There’s diversions via avant garde, classic rock, jazz, funk, progressive rock and psychedelia. These curveballs disguise Sunbirds’ age, and play their part their part in the album that should’ve launched what was a long and illustrious career for Sunbirds.
Sadly, that wasn’t to be. However, a small crumb of comfort to the four remaining members of Sunbirds is that their eponymous debut album is being discovered by a new generation of music lovers are discovering Sunbirds’ music. They’re discovering one of German music’s best kept secrets. Not any more.
The genie is out the bottle, and somewhat belatedly, Sunbirds are receiving the credit, critical acclaim and hopefully, the commercial success their music deserves. At last, Sunbirds’ timeless eponymous debut album is being heard by a much wider, and appreciative audience than heard it upon its release back in 1971. They’ll cherish Sunbirds’ groundbreaking, genre-melting album, which is a musical treasure trove, from what was, one of the finest Munich based bands of the early seventies….Derek music blog…~

Line-up / Musicians
-Ferdinand Povel/ fl
-Leczek Zadlo/ fl
-Lucas Costa/ gtr
-Rafael Weber/ gtr
-Fritz Pauer/ p
-Jimmy Woode/ dbl b
-Ron Carter/ dbl.b
-Norman Tolbert/ perc,
-Klaus Weiss/ dr

A1 Fire Dance 4:41
A2 Homecoming 4:09
A3 Ocean Song 4:09
A4 Stillpointing 2:55
A5 Zagara 2:59
B1 My Dear Groovin 4:09
B2 I Don’t Need 4:07
B3 African Sun 11:00 

Heather Black “Heather Black” 1978 Texas Private Southern Psych Hard Blues Rock 2 LP`s

Heather Black “Heather Black” 1978  Texas Private Southern Psych Hard Blues Rock 2 LP`s

“Greatful Death meets Allman Brothers and Little Feat” long Killer tracks with wild guitar.

Bass, Vocals – Jimmy Jones (6) 
Drums, Vocals – Doug Lavery 
Engineer – Bert Frilot, Ollie Perry 
Lead Guitar, Vocals – Tommy Christian 
Lead Vocals, Rhythm Guitar – Gaylan Latimer 
Organ – Wayne Brooks (2)

A1 Most Peculiar 2:58 
A2 Get Out Of My Life Woman 4:20 
A3 No Sad Songs 2:34 
A4 We All Got To Help Each Other 3:30 
A5 Lead It On 5:19 
B Rock & Roll 15:30 
C1 Lucille 2:50 
C2 California Dreamin 7:38 
C3 Come On And Get It 3:40 
D Seeing Is Believing 9:20 

High Street "Down To The Brown" 1981 US Private Prog Rock

High Street  "Down To The Brown" 1981 US Private  Prog Rock

a Jersey band. High Street played rough-edged AOR with a heavy touch of psych –despite the fact that they looked like a typical Jersey Shore bar band…

Tom Cianflone - keys, vocals 
Robert De Santis - lead vocals, percussion 
Greg Strollo - horns, vocals 
Larry Francis - guitars, vocals 
Anthony Wayne - bass, vocals 
Tony Tomaino - crusm, vocals

1. Street Angel 
2. Starting Line 
3. Southern Lullaby 
4. Silverball 
5. You keep on Rockin’ 
6. Music Man 
7. Thinking Back 
8. Born a Lady 
9. Journey 
10. Just can’t be love 
11. Trackin me down 

Colosseum “Time On Our Side” 2014 UK Prog Jazz Rock

Colosseum “Time On Our Side” 2014 UK Prog Jazz Rock
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To play a new Colosseum album is to step into the unknown. Anything could happen. All bets are off. While less questing bands are content to issue fading photocopies of their best-selling work, latest album Time On Our Side is the sound of old friends embarking on new adventures. “We never try to recreate the past,” says drummer Jon Hiseman, who co-founded the pioneering British group in 1968. “So the music has changed again, and anyone hoping for Son of Valentyne is in for a shock. Having said that, I think Colosseum sounds like no other band. This unlikely collection of writers and performers seems to have a ‘Colosseum’ effect on the music…” Released on Ruf Records in 2014, Time On Our Side walks a creative tightrope, stretching the genre-blurring band’s palette while always showing their inimitable thumbprint. The jiving jump-blues of City Of Love. The shape-shifting jazz of Dick’s Licks. The stacked harmonies of You Just Don’t Get It. The melancholy ache of New Day. It feels like Colosseum, even if it doesn’t always sound like them. Hiseman cites the original mission-statement as “rocky, jazzy rhythms, vocals with intelligent words, improvised solos” - but in truth, there’s not a pigeonhole in the world that can contain them. Eleven years have passed since Tomorrow’s Blues: a lifetime in rock 'n’ roll. Time On Our Side may have been a pleasure to record, at Hiseman’s own Temple Music Studio in Surrey, yet its completion marks the end of a period of some uncertainty. “We started it in 2010 by meeting in the studio and playing through demos that had been written by the bandmembers,” the drummer remembers. “But after 2010, the future of Colosseum was always going to be decided by whether Barbara would be able to tour again…” Of course, multi-instrumentalist Barbara Thompson is a vital part of the Colosseum story. She and Hiseman met in 1964, then married in 1967, and during the band’s first run, she played - albeit uncredited - on the first three albums. Colosseum split in 1971, and Thompson led her own outfit, yet she remained a close ally, and when the reunited band lost original saxophonist Dick Heckstall-Smith in 2004, she stepped up. “Dick was a great admirer of Barbara,” recalls Hiseman, “and she was the obvious choice. He was a rough, tough masculine player who took no prisoners. Barbara tells a softer, more feminine story and we get more girls in the audience. No complaints!” Undoubtedly, Thompson’s sax lines are the fairydust on the new material, from Safe As Houses to The Way You Waved Goodbye. Yet there were times, says Hiseman, when the band feared her involvement might not be possible: “Her Parkinson’s progresses, and the medication becomes less effective, so she stops playing, then a new medication arrives and she picks up where she left off. This has happened three times now - and recording this album was stopped in 2012 because it looked as if she would never play again. When a new Swedish miracle drug arrived twelve months ago, we decided to go for it, maybe one last time: finish the album and tour again.” The completion alone of Time On Our Side, then, is a towering achievement. That this new album is so dazzlingly successful is testament to the enduring genius of one of Britain’s most inventive lineups. Almost a half-century after Colosseum’s formation, this is unmistakably the sound of a band with gas still in the tank and endless lightbulbs popping over their heads. “I know that when we get together we all feel like we are coming home,” says Hiseman. “This album was easy to make and it just feels right…”….~

OK… I have bought and listened to every Colosseum album since 1969’s magnificent “Valentyne Suite”. 
And then the wonderful “Daughter of Time”, the stunning “Live”… and then the LONG G A P until the glorious Reunion Concert - all wonderful “tears-to-the-eyes” stuff… and the recent (but gentler) “Bread and Circuses” and “Tomorrow’s Blues”. 
This is a delicious album, and it reflects their maturity - less flash, less speed, but never-the-less this is Colosseum. 
So what have we here? The post Dick H-S world with the truly superb Barbara Thompson replacing his majesty. She is less raw and more lyrical than DHS - but she fits in perfectly (given that she has been playing with them for years!) 
The rest of the old codgers (which they are, if you think about it! Can’t be any of them under 60?) are still making beautiful music. Perhaps they are a little gentler, perhaps those drum fills are a little less energetic, perhaps we are all getting old. I know I am! 
Chris Farlowe is in good voice (and he started in 1957 - he must be getting on for 75) - and has a little help from his friends now and again… 
Dave Clempson hurls some great riffs out of his liquid guitar (one of the unsung guitar heroes… on a par with Mr. Gilmour) 
Dave Greenslade tootles about on the organ - nothing too exciting 
Mr. Hiseman ticks along, and I missed the excitement of his early work - just listen to the speed and accuracy of his drumming on the original “Live” album.
Mark Clarke carries on with his lovely underpinning bass lines 
I have listened to the album several times, and it purrs along - a bit of blues here, a bit of jazz there - nothing leaps out and grabs you - but the quality of the recording is excellent. 
Definitely one for the train, or a Sunday afternoon’s snooze in front of the fire, or a quiet dinner party. ….by….Mark Shackelford …amazon…~

Initially I thought this album was little “tame” compared to the old colosseum stuff but after a couple of listens it grew on me and is rarely off the deck for more than a few days. In my youth I enjoyed the excitement of the jazz/rock genre but I have mellowed over the years and it would appear that Jon and his mates have also taken a more laid back approach to their compositions and delivery. Now much more subtle and sophisticated. The musicianship remains impeccable and vibrant. I hope there will be another album in the future but health and the ageing process takes its toll, even for these legends….by… P. D.…..~

A welcome return for the progressive jazz rock outfit Colosseum who have overcome their collective health problems to record an album that pushes the stylistic envelope, and almost leaves them in search of an identity. 
Happily a combination of strong material and inspired playing ensures a coherent set worthy of their enduring musical cannon. 
Given the virtual collapse of the jazz rock and fusion market in the interim period between the band’s original dissolution and their comeback in 1994, the album title has an ironic ring about it. On their last studio album ‘Tomorrow’s Blues’ they traded their former progressive style for a more mature blues feel, but this album has a surprisingly broader sweep. 
‘Time On Our Side’ initially feels less accessible than it’s predecessor, but repeated plays reveals a greater musical depth, with deep grooves, shifting themes and expansive solos. Above all, veteran vocalist Chris Farlowe hits his stride from ‘Dick’s Licks’ onwards, while Pete Brown esoteric lyrics gradually become less impenetrable to blend in with the shifting musical landscape. 
The opening Hiseman/Thompson composition ‘Safe As Houses’ sets a high standard. It’s a keyboard led groove with poignant lyrics and some fine horn work from Barbara Thompson. 
In sharp contrast, ‘Blues To Music is a radical departure for the band, being a bluesy duet between Farlowe and the song’s writer, the Americana sounding Ana Gracey (Hiseman and Thompson’s daughter). Bolstered by potent bv’s and some discernible spark between both vocalists, the track blows away any doubters and gives the band another potential musical avenue. 
The cutely titled ‘The Way We Waved Goodbye’ fails to build on its initial bristling intent despite consecutive sax and guitar breaks and ultimately runs out of steam. ‘Dicks Licks’ is more interesting, being a restless laid back jazzy shuffle with characteristic tempo changes that ushers in lounge music and echoes of Steely Dan, before eventually settling into a groove that fades out too soon.. 
‘City Of Love’ is the album highlight. It evokes Brubeck‘s ‘Take 5’ on the introductory theme and leads to Chris Farlowe’s best vocal on the album. There’s a mix of double horn and guitar lines, backed by some startlingly good Crosby Stills & Nash style harmonies, all offset by Clemson’s sinewy guitar, on a song that flows beautifully. 
It’s almost as if the whole album has worked towards this one glorious moment when the band finally finds its unique oeuvre. And having done so, the combo leans into the bluesy song with some swagger, led by Hiseman’s crisp drumming which shapes the music and drives the band on relentlessly. 
The track is cleverly juxtaposed by Mark Clarke’s vocal piece ‘Nowhere To Be Found’. An exercise in cool restraint, the arrangement places the emphasis on the voice and sonic resonance, with a tinge of echo reverb. Each vocal inflection and carefully considered note brings an extra emotive nuance to a song glued together by Greenslade’s drifting organ line. 
There’s an essential ebb and flow to the sequencing, as evidenced by the uplifting feel of the slide-led Clemson/Brown composition ‘You Just Don’t Get It’. Its a slowly evolving, smoking blues on which Clem’s slide soars above Farlowe’s excellent phrasing and some Kokomo style bv’s. It’s destined to be a live favourite, and comes closest to embodying Colosseum’s current bluesy style. Barbara’s deep-toned solo is the icing on the cake on a superb track. 
Dave Greenslade’s sonorous ballad ‘New Day’ could have been written for Jack Bruce, albeit there’s an organ solo and the chorus sounds like The Band. Colosseum do actually include an ode to Jack, as they stretch out on the live version of Bruce’s ‘Morning Story’. The song may not have aged that well, but it’s given fresh life by a magnificent solo from Barbara Thompson. 
The two tracks are sandwiched by the original title track of the album ‘Anno Domini’. The gritty effort is padded with jazzy riffs, a fusiony mid-section and a horn led motif that will surely connect with older fans in search of jazz in their veins 
‘Time On Our Side’ is a slow burner, which brings rich reward with repeated plays. The title says it all really. We live in a world of instant, disposable downloads, while this is music that demands patience, endeavour and open mind. The bottom line is that those committed to putting in the listening time will find some great music……by Pete Feenstra …..~

Colosseum” is a British rock band that is regarded as one of the responsible bands for the development of progressive rock. The band was formed in 1968 by drummer Jon Hiseman, tenor saxophonist Dick Heckstall-Smith and bass guitarist Tony Reeves. All of them had previously played in John Mayall’s “Bluesbreakers”. In addition, Dave Greenslade (organist) and Jim Roche (guitar) are attracted. Jim Roche had played on only one track when he was replaced by James Litherland (guitar and vocals). “Colosseum” had their debut in Newcastle in 1969. The performance was recorded by the BBC Radio One DJ John Peel, for his radio program 'Top Gear’, so that the band immediately became well known. Their second album “Valentyne Suite” is considered their best album. Hereafter, in 1970 James Litherland is replaced by Dave “Clem” Clempson for the production of the album “The Grass Is Greener”. Tony Reeves is replaced by Mark Clarke and John Hiseman recruits singer Chris Farlowe (“Atomic Rooster”), so that Clempson can concentrate on playing guitar. In 1970 they release “Daughter Of Time”. In March 1971, the band gives a series of gigs, which are released on a live double album in that year. In 1975 Hiseman founded “Colosseum II”, a more jazz oriented clone, with Gary Moore as guitarist and Don Airey on keyboards. In 1994 a reunion tour took place, followed by the release of a CD and new studio material. Saxophonist Barbara Thompson (who is married to Jon Hiseman) becomes the replacement of Dick Heckstall-Smith who died in 2004. In April of this year, the band announces that they will be touring Europe again in 2014/2015. Their first performance will take place in Italy and their last in London. 

“Time on Our Side - MMXIV” (with the work name “Anna Domini”) is after more than forty-five years, the new (I suspect the seventh) studio album of “Colosseum”. The band started with the recordings in May 2011. The album contains ten songs, to which Barbara Thompson, Jon Hiseman, Clem Clempson and Dave Greenslade collaborated. Pete Brown is a British songwriter, who also wrote the lyrics of several songs. 

1 “Safe As Houses” opens the album with a kind of protest song, then in 2 “Blues To Music” special guest Ana Gracey, the vocals together with Chris Farlowe. Singer-songwriter Ana Gracey is the daughter of Jon Hiseman and Barbara Thompson. It is mainly the duets of both and the accents of guitarist Clem Clempson, who make something special from this track. In 3 “The Way You Waved Goodbye” it is mainly Dave Greenslade and the sax grooves of Barbara Thompson that stand out. 4 “Dick’s Licks” is a quiet public tribute to the late 2004 saxophonist Dick Heckstall-Smith. Then there is 5 “City Of Love”, which reminds me of Jazz Bilzen 1977, where “Colosseum II” still performed at the center on Friday 12 August. From their double live album from 1971, I knew their fantastic hit “Walking In The Park” and the super strong sax improvisations of Dick Heckstall-Smith. In the smooth jazzy 5 “City Of Love” vocalist Farlowe can go full-on and Mark Clarke’s strong bass line holds the cheek. This is undoubtedly my favorite song on the album. The subtle 6 “Nowhere To Be Found” together with the beautiful 8 “New Day” is one of the zen moments of the album. A typical “Colosseum” track with ditto sound thanks to Hiseman and Greenslade, it is spun out 9 “Anno Domini"that the valve 10 precedes "Morning Story”. This bonus track is a live version of Jack Bruce’s “Morning Glory” , a tribute to a man who meant so much for British jazz and blues! 

With “Time On Our Side” from “Colosseum” memories are literally brought to the surface and many fans will not have to be convinced with superlatives. 11 Years of waiting (partly due to Barbara Thompson’s illness) was worth it! Hopefully we can see them at work during the planned Europe tour, also on a Belgian stage …by…Eric Schuurmans….~

As well as giving label space to a considerable quotient of promising and energetic youthful bluesers, Ruf Records, less-frequently but admirably, gives encouragement to more mature pioneers who remain key to the development of the complex polygon that is modern blues. 

With Jon Hiseman, the late Dick Heckstall-Smith and Hammond pilot Dave Greenslade aboard, the first Colosseum tip-toed around ‘the blues’ at the jazzier end of its spectrum, the experimental and improvisational nature of recordings and gigs earning them the respect of prog fans into the bargain. The 2014 incarnation of the band sees Hiseman, Greenslade and fellow original member Clem Clempson aboard. They are supplemented by Hiseman’s wife, saxophonist Barbara Thompson, an occasional uncredited contributor to early Colosseum releases, bassman Mark Clarke and Chris Farlowe, both of whose history with Colosseum goes back to 1970. 

And it’s that same willingness to elbow their way out of genre straitjackets that defines Time On Our Side, where Colosseum are content to pick and mix licks and tricks from the rock n roll smorgasbord and beyond as their strong, well-structured songs demand. 

Clempson’s bluesy guitar coils around arrangements, with his contribution of tasteful and ethereal bottleneck snaking through the vocals on ‘You Don’t Get It’. His memorable, almost geometric guitar figure underpins a rousing rock climax to ‘Anno Domini’, the working title for the album, it seems, where Farlowe soars soulfully over almost Baroque keyboard and saxophone interplay. The singer’s album highlight is ‘City Of Love’, where Colosseum jazz swing perches solidly on Mark Clarke’s massive walking bass riff. 

Hiseman and Thompson’s daughter, singer and writer Ana Gracey guests, singing her own ‘Blues To Music’ with panache and soul. 
The band feels privileged to have Barbara still aboard as her constant battle with illness is a frequent limiter to recording and touring. Yet, she has rarely sounded freer and more energised than on Time On Our Side, scorching the reeds on ‘Safe As Houses’ and adding beautiful emotional brass embellishments from start to finish. 
Hiseman’s original vision for Colosseum was, ‘…rocky, jazzy rhythms, vocals with intelligent words, improvised solos”. 

Check...check...check...check. Check it out..... by David James Innes .....~

Funny title, Time on our side , for the band Colosseum on the scene since 1968 and that for eleven years, Tomorrow blues was in fact released in 2003, did not publish a new studio album. 

There are the two founding members Jon Hiseman on drums and Dave Greenslade on the Hammond organ and keyboards, and Clem Clempson guitar, Mark Clark bass and Chris Farlowe vocals, who have been part of the band since the 1970s with the release of the third album Daughter of time . Only Dick Heckstall-Smith saxophone is missing, which unfortunately left us in 2004, replaced by Barbara Thompsonwhich is also Jon Hiseman's wife. 

The Colosseums with their original fusion of rock-prog-jazz, where Dave Greenslade's keyboards and Dick Heckstall-Smith's saxophone played the main role, gave us at least two very large albums both released in 1969: Those who are about to die health you , their debut album, and the next Valentyne Suite . 

They broke up in 1971 leaving a good testimony of their live concerts with the double Colosseum live , reformed in 1974, dissolved again in 1978 and distributed in 1994 when they also resumed the recordings with three studio albums and several live and collected . 

There is their unmistakable trademark in this new work, nine tracks and a final bonus track live, but it is a surprisingly modern sound with veins also blues and soul, which resumes in many moments their classic and original style of a time keeping, as Jon Hiseman reminds us , the group's motto: "rock and jazz rhythm, music with intelligent lyrics and improvised solos". 

Great start with Safe as houses , rock-soul with an obsessive bass and Hammond riff, where Chris Farlowe's warm voice and Barbara Thompson's saxophone solos are grafted, the second song is Blues to music where Chris duet with Ana Gracey on a musical carpet made of blues and soul, while Dick's licks is the most jazzy song of the whole album, and City of love sways between blues and jazz and a succession of guitar, saxophone and organ. 

Also noteworthy is Anno Domini , the song that brings us closer to the first Colosseum , a synthesis of rock, jazz and prog, and New day with its melancholic and sweet pop atmosphere, a sure hit, a break between so many rhythms, music dense and sparkling with many solos. 

The finale is a tribute to Jack Bruce , who disappeared a few weeks ago, with a successful live version of one of his great songs, Morning story, an epic ride where Barbara's bravura on the saxophone also emerges. 

An honest, warm, pleasant record, well played by musicians with a long history and a great professionalism and a lot of passion that still have fun, after so many years, to make new albums and new regular tours, which will please the fans of the group but that it could also bring new fans to discover this historical group that has time, and good music, on its Giuseppe Verrini....~ 

Bass, Vocals – Mark Clarke (2) 
Drums, Producer – Jon Hiseman 
Guitar, Vocals, Keyboards, Producer – Clem Clempson 
Keyboards, Producer – Dave Greenslade 
Saxophone – Barbara Thompson 
Vocals – Ana Gracey (tracks: 2), Chris Farlowe

Jon Hiseman * - drums (1968-1971, 1994-present) / bandleader 
Dave Greenslade * - Hammond organ, keyboards (1968-1971, 1994-present) 
Dave "Clem" Clempson - guitar, keyboards, vocals (1969 -1971, 1994-present) 
Mark Clarke - bass, vocals (1970-1971, 1994-present) 
Chris Farlowe - vocals (1970-1971, 1994-present) 
Barbara Thompson - saxophones (2004-present) 
Special guest: Ana Gracey: vocals (2) 

Former members: 
Dick Heckstall-Smith * - saxophones (1968-1971, 1994-2004 / died 2004) 
Tony Reeves * - bass (1968-1970) 
Jim Roche * - guitar (1968) 
James Litherland * - guitar, vocals (1968-1969) 
Louis Cennamo - bass (1970) 
* First 1968 members 

1 Safe As Houses 4:25 
2 Blues To Music 
Vocals – Ana Gracey 
3 The Way You Waved Goodbye 5:11 
4 Dick’s Licks 4:29 
5 Nowhere To Be Found 4:40 
6 City Of Love 4:25 
7 You Just Don’t Get It 6:29 
8 New Day 3:53 
9 Anno Domini 6:04 
10 Morning Glory (Bonus Track) 7:22 

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