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Saturday, 31 December 2016

Sower “Sower" 1977 US Private Rural Acid Psych-folk











Sower “Sower" 1977 US very rare Private Rural Acid Psych-folk

Recorded at Val-West studios, Alb, New Mexico, Aug. 2-11, 1977
full only in dailymotion
Backing Vocals– Mike Valward 
Drums– Joe Ferwerda 
Electric Guitar– Rock Pruit 
Flute– Rayha Radha 
Guitar, Vocals, Backing Vocals, Music By– Charles Maxwell (2), Kelly Cargo 
Violin– Rob Ma Bee

Tracklist 
A1 River Road 
A2 Bellybutton Breakdown 
A3 Lie Low 
Lead Guitar [Acoustic Lead] – John B. (3) 
Violin – Yo Beinin 
A4 Down The River 
A5 Smile Back 
B1 Reborn 
B2 Waiting For The Rock And Roll 
B3 Song For The Singer 
B4 Green Fields 
B5 Burnt Norton

Grace “The Sower by Grace”US 1979? Illinois Private Xian Psych Folk Rock




Grace “The Sower by Grace”US 1979? very rare  Illinois Private Xian Psych Folk Rock

1979?

Tracks 

The Sower 
That I Might Serve Thee 
Faith 
I Can’t Wait 
Gethsemane 
Herman Smith Valdez 
You Are There 
The Love He Gives Me 
Quick To Believe A Lie 
Rich Man, Poor Man, Saved Man





Walnut Band “Go Nuts” 1976 US Private Boston Psych Southern Rock








Walnut Band “Go Nuts” 1976 US Private Boston Psych Southern Rock
full
Heavily Grateful Dead and Allman Brothers influenced hard rock, with their trademark dual guitar sound and some subdued and tasty organs. Originally released 1976 in the US as a private press. Fantastic and superrare privately released hard guitar psych from Boston. ……. 

Completely unknown band from Boston. In 1976, in private, only released a great album on the Appaloosa. Mighty played psychedelic rock with an abundance of keyboards and dual hard guitars. In 2012 he was re-released in CD format on the German NuMusi Records. No more information about the group is not. 
Jake Packard, keyboardist: 
“What can we say about our generation late sixties - early seventies? We were kids, growing in the middle of the American landscape: Vietnam, sex, drugs and rock'n'roll. Sex was love, not in debauchery and drugs - enlightenment, not dependence. Few of us still believe in the possibility of revolution … The kernel that we saddled not yet exploded: we kept looking for candy on a potato tree. When the storm clouds gather, fasten your seat belts: new is not what you say but what you do. We had a great time working on these songs, written in full cultural innocence. It is a pity that we do not have recorded all our songs … ” .. 

What new can be said about the late 60’s and early 70 ’s of the 20th century that has never been said before? We were kids growing up in that landscape point in America -Vietnam, sex, drugs, and rock fn roll. Sex was love, not death, and drugs were enlightenment, not addiction. 

A generation bought the idea of the revolution but only a few of us still believed it after the revolution was bought out. So now that decade is a tiedyed media stereotype perpetrated by those cashing in. I sti II have my mirrored aviator glasses and cowboy boots. But let’s not be cynical. 

The cannonball we ride on has not yet exploded, and the search for the candy apple growing on the sweet potato tree continues in earnest. So when storm clouds hover, take cover, and get your seat belt fastened, because it’s not what you say new, it’s the way you do it. 

We had a great time with these songs written at the last heights of a cultural innocence never to be scaled again. My only regret is I wish we recorded the so many others that don’t appear in this collection. 
Let it roll - Peace 
by Jake Packard……. 

Walnut Band 
*Dave Creighton - Bass 
*Chuck Harris - Guitar, Vocals 
*John Lackner - Guitar 
*Jake Packard - Organ, Piano, Vocals 
*Dave Thompson - Drums 

Tracklist 
A1 Thieves
A2 Diamonds
A3 Sweet Potato Tree
A4 Ain’t No Tellin’
B1 Diesel Motors
B2 Seat Belt
B3 Cannonball 



Dylan Taylor with Mike Clark & Larry Coryell “One in Mind” 2016 Jazz, Jazz Fusion

Dylan Taylor with Mike Clark & Larry Coryell  “One in Mind” 2016 Jazz, Jazz Fusion
full vk
Bassist/Cellist/Composer and Arranger Dylan Taylor is a veteran mainstay of the greater Philadelphia area Jazz scene. During his busy career Dylan has provided the bottom anchor for name artists such as Lee Konitz, Freddie Hubbard, Mose Allison and Larry Coryell, and taken part in steady local Jazz engagements in Center City’s better hotels with pianist Tom Lawton’s trio at the Four Seasons and saxophonist Tony Williams’ quartet at the RitzCarlton.
Taylor has recorded extensively for the C.I.M.P. label on respective releases with saxophonist Bobby Zankel, vibraphonist Khan Jamal and Vocalist Kelly Meashey, and was a longtime member of Bobby Zankel’s “little big band,” The Warriors of the Wonderful Sound, with recordings on Dreambox Media.
Dylan studied bass with Al Stauffer, Dennis Sandole, Buster Williams (under an NEA Jazz study Fellowship) and John Pattitucci at City College of New York, where he also studied composition with Mike Holober. In 2013 Taylor’s musical score for the feature film Takao Dancer was premiered at the Tokyo International Film Festival.
Taylor’s first self-produced project as leader, 2013’s Sweeter for the Struggle, features his friend Larry Coryell and three of Dylan’s original compositions. On both the recording and at the CD release concert, the legendary guitarist joined top Philadelphia Jazz talents including the aforementioned Tom Lawton and Bobby Zankel; one of the tunes, Art the Messenger (inspired by drummer Art Blakey), encapsulates Taylor’s spiritual feelings regarding both his musicmaking/ bandleadingapproach and his overall worldview: Specifically, that positive hope combined with the musical diversity displayed in his compositions weaving together AfroCuban,fusion, straight ahead, blues and avantgarde canplay a part in a larger message of connecting us all individually to something bigger than ourselves, a sum truly greater than its parts. As Dylan Taylor states, “I hope that my music can contribute in some way to this process.  
Featuring 

Larry Coryell; Guitar, 
Mike Clark; Drums, 
Dylan Taylor; Bass 

Tracklist: 

The One or the Nine (04:26) 
Loft Funk (07:00) 
Jumbo Liar (05:15) 
Song for Dennis (05:03) 
Excerpt (From (05:28) 
John’s Abbey (09:17) 
Hittin’ and Missin’ (07:34) 
Alabama Rhap Corollary (05:21) 
Jem'n'eye'n (08:26) 
The Dragon Gate (06:47) 

Alan Stivell ‎ “Un Dewezh ‘Barzh 'Gêr (Journée À La Maison)” 1978 French Celtic Folk,World






Alan Stivell ‎ “Un Dewezh ‘Barzh 'Gêr (Journée À La Maison)” 1978 French Celtic Folk,World
full
“Un Dewezh 'Barzh’ Gêr” is not, contrary to what one might think, only a translation for the French ears recalcitrant to the other languages, Corresponds to the official name of the album. We think of an E Langonned not so distant as that in time, let alone in mind. At the sight of the cover representing Alan, sitting cross-legged outside the door of his house playing not with a harp this time but what I think I recognize as a dulcimer, imagine a “cool album” , Modest and friendly. Everything in this album evokes, even more than in E Langonned, the musical unfolding of a day of Alan spent quietly at home, having invited a few musician friends to join him. The album is short, half of the titles is improvised, it can be said that it could have been recorded like this, all at once, in the most natural way possible. Alan’s new band is made up of a trio: Mikael AR VALY on bass, Marc PERRU on guitars and Chris HAYWARD on flute and percussion (Patrig KERRE does not participate in this new album). If this mini-ensemble does not have the historical significance of that of the Olympia 72, on the musical level it has nothing to envy him. 

This one begins with “Trinquons our Glasses”, in the name one can not more judiciously chosen, as this traditional come of Haute-Cornouaille in Brittany breathes the tranquility and the invitation to celebrate the fraternity. The melodic pattern is repetitive, but we notice that it does not bother, even after multiple listening, then what is especially interesting is the part of flute (which gives a jazzy color) beneath the duplicity of the bombarde. We continue with “Ar Wezenn Awalou” (the apple tree), interpreted a cappella by Alan (which will eventually also split), joined on the following couplets by a couple tampura / sitar not completely original (there had already been a strand Of sitar on Before Landing) but still quite unexpected! The title progresses more and more in a “zen” atmosphere, until the middle of “Henchou Kuzh”, on which Chris HAYWARD launches a small rhythm to the percussion before Alan does not call to the order by taking the relay to the harp. It sounds improvised, but also perfectly mastered. We continue with “Tabud Kemper” (Quimper, a rather recent title) sung in kan ha diskan with Yann-Jakez HASSOLD (still a link with E Langonned) while the harp and the other musicians of the small group amuse themselves in Even offering a small recreation of solos on the following instrumental (also improvised). Alan adds some notes of piano, then comes to join the whole with the faithful bagpipe. For now, even if we are not in what Alan can offer more “charmer” (the folk-rock to which he more or less regularly accustomed us), we say that everything that is presented to us Is very good and fairly accessible. 

It is then that we arrive at the first part of the second half. Formerly, we had to get up and turn the record, but there is just a little silence that separates it from what was before. The sweet harp brings us back to something more charming, more enchanting: “An Try Marrak” (the three knights), from the top of his five good minutes gives us an ideal breathing, while keeping us breathless long. It is a Cornish text (or from Cornwall English) sung by Alan with a harmony to the third (a bit like Do to Mi if you want) with the harp for only accompaniment, except at the moment of small Instrumental parts where, surprisingly, it is joined by a cello and an accordion! It gives an effect of thunder, especially since it must be enjoyed: the accordion is very rare in Alan’s music, while here we have here the latest beautiful enhancement of the other instrument Made to date. This title is undoubtedly the hidden pearl of the album, with “Tal an Tan” (face to the hearth) which is its instrumental development: Alan launches an arpeggio on the same melodic mode but in acute, Then five minutes of extra happiness with some interventions of guitar, percussion and small Irish flute. On a festive pace, “An Nighean Dubh” (the black-haired girl) emerges with her playful vocal parts, her mad flute part, then the bagpipes returns to greet the listener before the whole thing leaves again To the harp. This one takes again the theme of the song, then leaves on a variation called in English “O'Carolan’s Farewell” before launching “Inisi Hanternos” (the islands of midnight), music of closing of the album based on some crystalline arpeggios To which was added an “aquatic” effect. We could expect better outro … 

So this is an underrated acoustic album but very successful, more interesting and not just for the novelty improvised side of half its shares. The order of its pieces is perfectly ideal with respect to the chosen title and allows itself to be listened to as pleasantly as possible. The best is in winter, near a good fire, when it rains outside………..By MARCO STIVELL ……. 

In one of the issues we’ve talked about Brittany Harper Alan Stivell, whose real name - Alan Koshevlyu. He greatly contributed to the recognition of Breton culture in the twentieth century. Our today’s hero was born in the French town of Riom, where his parents emigrated from Brittany during the Second World War. But shortly after his birth the family moved to Paris. Alan’s father, Jord Koshevelu, was an unusual man. Simple Finance Ministry employee, he devoted all his spare time that as a matter of his life - the reconstruction and rebuilding of the Celtic harp in Brittany, where this noble instrument by that time disappeared. Enthusiasm Jordi brought fruit - after several years of hard work, he collected his first harp. Alan then said, “When my father pulled the first string, I was spellbound by the sound of it.” So from an early age, he came into contact with the tool, which was later dedicated his life. At the age of eight years old man had begun to speak in public, and his father at the same time seeking funds for the release of harps. With age, the young musician has expanded its horizons. Intrigued by Gaelic music, he began to learn to play the bagpipes in Glasgow, Scotland … The first professional performances of Alan Stivella occurred at the beginning of the 1960s - a revolutionary time for music. It was then that his mind originated the thought of Breton folk -roke. He soon became acquainted with the musicians of “The Moody Blues” who offered him his first branch in concert. In 1968, Breton enthusiast arrived in London and performed in the concert hall “Queen Elizabeth Hall” and then began actively touring around the world, while giving enough time to work on studio recordings. For his second album, “Renaissance of the Celtic Harp” received the Grand Prix Academy “Charles Cros” and performance in 1972 in the concert hall “Olympia” later called the “Celtic Woodstock” rose in Europe and America this wave Keltomaniya. By the end of the 1970s, Monsieur Stivell released a couple of CDs, which adhered to the two main areas of “clean” Breton folk and folk-rock. Interestingly, his modest demeanor on the stage did not correspond to the hype that has been raised around the name of Alan Stivella. In 1978, the master has recorded an amazing album, “A dewezh 'barzh’ gêr: home Day” (Day of the house) which joined the folk, rock and jazz-prog. And we have today and listen to … Each song of this album tells an interesting story. In one sung about the disappearance of apple, from which fruits to prepare delicious cider. In the other - about the economic crisis in Brittany, and the uprising of the peasants in the 1960s. In the third - on the Cornwall and the three knights in love with a lady. One song is sung on behalf of joyful sailor tells how he once entertained a black-haired girl. And another song was inspired by the work of the blind Irish harpist, singer and composer Torla O'Karolan (1670-1738) … In 1980, Alan Stivell recorded an album “Celtic Simphonie (Tir Na Nog)” which is no longer familiar sequence of songs, music goes almost continuous stream, and in the sound palette there are several choirs and instruments inherent in the symphonic, folk and rock music. Further projects virtuoso arrangement meant to music poems of modern poets Breton, accompanied by harps, Celtic creation of a national symphony orchestra, including Indian and Vietnamese instruments. But since the late 1990s, more and more clearly discernible tendency to “world music”……… 

Alan Stivell discography 

1964 - Telenn geltiek/ Harpe celtique (1er album studio et instrumental) -> 6/10 *morceau recommandé : “Airde Cuan”* 
1970 - Reflets -> 7/10 
1971 - Renaissance de la harpe celtique (instrumental) -> 8/10 
1972 - À l'Olympia (1er Live) -> 9/10 
1973 - Chemins de terre -> 8/10 
1974 - E Langonned -> 6/10 
1975 - E Dulenn/ Live in Dublin (Live) -> 7/10 
1976 - Trema'n Inis/ Vers l'île -> 6/10 
1977 - 'Raok dilestra/ Before Landing/ Avant d'accoster -> 6/10 
1978 - Un dewezh 'barzh 'gêr/ Journée à la maison -> 8/10 
1979 - International Tour/ Tro Ar Bed (Live) -> 6/10 
1979 - Symphonie celtique/ Tír Na N-Óg -> 6/10 
1981 - Terre des vivants/ Bed an dud vew -> 6/10 
1983 - Légende -> 6/10 *morceau recommandé: “Eireog Shineidin”* 
1985 - Harpes du nouvel âge (instrumental) -> 5/10 
1991 - The Mist of Avalon -> 7/10 
1993 - Again -> 7/10 
1995 - Brian Boru -> 7/10 
1997 - 70/95 Zoom (compilation) -> ??? 
1998 - 1 Douar -> 6/10 
1999 - The Best of Alan Stivell (compilation) -> 9/10 
2000 - Back to Breizh -> 6/10 *morceaux recommandés: “Vers les îles et villes de verre” et “Ceux qui sèment la mort”* 
2002 - Au-delà des mots (instrumental) -> 6/10 *morceaux recommandés: “La Celtie et l'infini” 1 à 3* 
2006 - Explore -> 5/10 *morceaux recommandés: “Miz tu” et Druidic “lands”* 
2009 - Emerald -> 5/10 
2012 - Ar Pep Gwellañ (compilation) -> 8/10 

Line-up / Musicians 

Alan Stivell / harpe, bombarde, bagpipes 
Hervé Derrien / cello 
Yann-Jakez Hassold / vocals 
Jean-Claude Olivier / sitar 
Michel Delaporte / tambourine 
Mikael Ar Vali / bass 
Mark Perru / guitar 
Chris Hayward / flute 
Claude Nicault / accordion 

Songs / Tracks Listing 

1. Let’s Clink Glasses (4:18) 
2. The Apple Tree (4:31) 
3. Hidden Ways Stivell (2:45) 
4. Wrath in Quimper (3:12) 
5. After Dinner (2:35) 
6. The Three Nights (5:48) 
7. In Front of the Hearth (5:20) 
8. The Black-Haired Maiden (3:10) 
9. O'Carolan’s Farewell (1:13) 
10. North of Midnight Islands (3:09)

Friday, 30 December 2016

Josefus ‎“Get Off My Case” 1969 US Psych Acid Hard Rock



















Josefus ‎“Get Off My Case” 1969 US Psych Acid Hard Rock 
full
watch interview by psychedelic baby…
Josefus web site…biography & photos
This unique album was recorded by Josefus in 1969 and was never released until the early 80’s when few hundrers copies on vinyl LP were pressed by ‘Epilogue records", on offer is one of them……………. 

Josefus was a band from who have been credited for being “one of the first models for the blunt sound of Texas and .” They were also mentioned in an article in titled, “The Lost Pioneers of Heavy Metal”. noted the group as one of the links between and . 
The cult legend surrounding obscure Texan hard rockers Josefus was established almost entirely by their 1970 album, Dead Man; a self-released rough gem of psychedelic hard rock originally printed in such limited quantities, that even avid collectors were largely unaware that the group had in fact recorded an earlier, never released version of it tentatively entitled: “Get Off My Case”. …………. 

The cult legend surrounding obscure Texan hard rockers Josefus was established almost entirely by their 1970 album, Dead Man; a self-released rough gem of psychedelic hard rock originally printed in such limited quantities that even avid collectors were largely unaware that the group had in fact recorded an earlier, never released version of it tentatively entitled Get Off My Case. Taking place at the same Phoenix, AZ studios, just four months earlier, on December 17 and 18, 1969, at a modest cost of $1,500, the Get Off My Case sessions yielded seven tracks, four of which would eventually find their way, re-recorded, onto the Dead Man LP. None of these – “Crazy Man,” “Country Boy,” “Situation,” and even the epic jam “Dead Man” – differed all that much from their revised, second attempts in terms of structure, but did boast looser executions and rougher production standards, which may actually prove even more appealing to low-fidelity-loving crate-diggers. Among the three cuts left out of the return sessions, both the rambling, unfocused “Get Off My Case,” and the instrumentally inspired, but lyrically fragmented “A Social Song” were, in retrospect, understandable casualties. But the more elaborate, well-constructed “Feelin’ Good” showed great promise in its sunny So-Cal psych intro and subsequent sub-Sabbath riffs, which could have easily been fine-tuned for a second attempt, had the band chosen to reprise it. In sum, these tracks afford an interesting but not quite essential survey of Josefus’ earliest material that only diehards might truly appreciate. As for the history that surrounded it: after the Get Off My Case sessions wrapped, band manager Jim Musil took its tapes to L.A. and, still insisting on touting the band by the more provocative name, “Come”, instead of their preferred Josefus, and proceeded to shop them to record companies, all to no avail. By March, he received a letter from the group requesting that their relationship be severed, as Josefus was already re-recording the album for its eventual release as Dead Man, leaving Get Off My Case to vanish into oblivion, until being tagged onto Dead Man CD reissues of the late '90s…. by Eduardo Rivadavia….allmusic…… 

A collection of mat'l recorded in 1969, prior to their signature album “Dead Man”. Only three previously unavailable songs are on here, the remainder are earlier, alternatives of tracks that appeared on the next album. The version of “Dead Man” that appears here may just be superior to the title track of the album, depending on your taste. But either way, just being in contention for such honors speaks volumes about it’s quality. The album is mostly Texas style hard rock, with strong psych influences, especially on the epic. Though few would consider the album “Dead Man” “polished”, this one actually makes that one seem so. Nonetheless, it’s appeal to fans of the band should be unquestionable. Grades - 1 A, 4 B+’s, and 2 B’s, consistently great. Comes with a booklet detailing their history..by…tymeshifter ………. 
In 1979 Bailey and Mitchell briefly reformed the band. The reunion lasted long enough to release a pair of obscure singles (“Hard Luck” b/w “On Account of You” and “Let Me Move You” b/w “Big Time Loser”). 

Released by the small Washington-based Epilogue label, “Get Off of My Case” rounded up a couple of early 1969 pre-Josefus Come efforts, along with alternative versions of “Crazy Man”, an extended “Dead Man” (probably the highlight) and “Situation”. What can you say about the tunes? If you liked their earlier stuff, than pseudo-Zepplin sludge metal like “A Social Song” and “Feelin’ Good” will certainly appeal to you. To our ears it isn’t bad, but ya’ have to be in the right mood. Again, the guitar effects heavy “Dead Man” provides the standout track. Original copies of the LP included a multi-page insert containing a various newspaper clippings and a brief 1985 Allan Vorda interview with Bailey and Turner. …by…..RDTEN1 ………. 

Pete Bailey (vocals, harp) 
Dave Mitchell (guitar) 
Douglas “Doug” Tull (drums) 
Ray Turner (bass) 

Tracklist 
A1 Crazy Man
A2 Country Boy
A3 Get Off My Case
A4 A Social Song
A5 Fellin’ Good
B1 Situation
B2 Dead Man 



Tom Lucas “Red Letter Day” 1975 US Private Psych Folk Rock

Tom Lucas “Red Letter Day” 1975 US excellent Private Psych Folk Rock only 500 copies pressed..recommended...! 
Tom Lucas "Babylon Rising" 1975 US Psych Folk Rock dailymotion
full vk
Tom Lucas was born in Central New York, not far from the city of Geneva. His father was a freelance writer who saw hundreds of his articles published, many in National Geographic. Sadly, he was hit by a car when Lucas was a young boy, and subsequently suffered mental difficulties severe enough to require admittance to a mental institution. A fundamentally different man when he was released, he no longer wrote, but in a strange twist of fate became a professional golfer, and held court at Oak Hill Country Club in Rochester, NY for many years. Meanwhile, Lucas’ mother, a nurse, was in charge of Tom and his brother and sister. They moved in with Lucas’ maternal grandmother, who was a piano teacher. From an early age, Lucas messed around with the piano. He was given sporadic lessons by his grandmother, but mainly preferred to find his own way around the keys, picking up melodies from Ray Charles albums. His musical sensibility was almost entirely formed from the R'n'B sound, rather than rock ‘n’ roll.
Lucas carved out his small, vital, piece of music lore in the 1970’s with the album Red Letter Day. Recorded in 1975 and released in a very limited run several years later, the record has become a coveted piece of cult ephemera, selling for an ungodly amount on eBay, and finally being reissued in 2004, without Lucas’ knowledge or permission, by Radioactive Records, a company known for its re-releasing of obscure rock albums whose original LP incarnations are often highly sought after by collectors. Radioactive’s unauthorized re-release of Red Letter Day might have been nothing more than an injurious insult to Lucas’ art and livelihood; instead it has become the catalyst for a revival of Lucas’ career as a vital songwriter and musician.
Red Letter Day contains an amalgam of styles, from the strident and spare sound of the anthemic, lyrically neo-Socialist, title track, to the frenetic rock catharsis of “Self-Made Man,” and including along the way a few melancholy tunes – “Days Numbered” and “Broken Wheel” – among numbers that, on the whole, fuse a R'n'B piano sensibility with the muscular intelligence of a guitar and rhythm section that knows how to use its strength to the greatest musical advantage. The high (energy) point of the album may be “Stars in the Night,” the one track left off the original release, featuring dual call-and-response vocals by Lucas and Laura Kranker, a swampy slide guitar, and lyrics that manage to evoke mysticism and reference mythology a lα Robert Graves, while avoiding the cartoonish qualities of many contemporaries who have attempted similar songwriting feats.
No musician’s work is created in a vacuum, but in the absence of any information, incorrect assumptions have been made about Lucas. Influenced more by R'n'B piano than by Neil Young or Lou Reed, Lucas’ primary instruments are his voice and the piano. Indeed, although the songs on Red Letter Day and Lifeboats are often guitar-heavy, one doesn’t need to listen very closely to realize that it’s the piano parts that give them their structure and their uniqueness. As Lucas says, “all the reviewers talk about Neil Young, but they missed the boat totally on that. First of all they missed that Neil Young’s a guitar player and I’m a piano player. And there aren’t many true rock and roll composers of stature who are true keyboard players. Rock and roll has been primarily driven by the guitar and the rhythm guitar. And that shapes the music – the medium is the message – the instruments shape it. I came at composition as a keyboard player working with guitarists, so I was always working to integrate the strong guitar players with my piano-composed work.”

Musicians 

*Tom Lucas - Vocals, Guitars, Piano 
*Geoffrey Davis. 
*Paul K. Johnson II. 
*Steve Klass. 
*Laura Kranker 
*Ismael Rodríguez. 
*Peter Sanders. 
*Russell Simon 

Tracklist 

1 Red Letter Day 4:07 
2 Babylon Rising 3:47 
3 One Eyed Gods 4:32 
4 They’re Coming 3:57 
5 Down To The Ground 4:00 
6 Days Of Reckoning Come 4:25 
7 Days Numbered 3:30 
8 Made Man 3:27 
9 Broken Wheel 3:19 

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