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8 Apr 2017

Ginhouse "Ginhouse" 1971 UK Heavy Prog

Ginhouse  "Ginhouse"  1971 UK Heavy Prog 
watch by psychedelic baby…
Ginhouse were a trio from Newcastle consisting of Stewart Burlison (bass, vocals), Geoff Sharkey (guitar, vocals) and David Whitaker (drums). They only recorded one album. Although Ginhouse had a strong live performance at the time - they supported bands like Yes, The Who and Fleetwood Mac - this album appeared to be their swan song; they disbanded in 1972. The first reissue on CD dates from 1993 on Green Tree Records, but it failed to reach the office of Background Magazine. Thanks to Esoteric Recordings this recently remastered reissue gave me a second chance to discover the music of this band.

When you listen to this album forty years after it has been recorded you can say that it sounds rather outdated. However, I guess that isn’t a problem as long as the compositions have something to say music wise. Well, this is certainly the case and I often wondered why this band never made it to the top. Not all pieces these musicians recorded for their sole effort can be regarded as progressive rock. Mainly songs as The Journey, Portrait Picture and Fair Stood The Wind drew my attention all the way. On these tracks the keyboard parts played by producer Anders Henriksson push the music of Ginhouse towards a musical style strongly related to In The Court Of The Crimson King (1969), the debut album by King Crimson. The combination of the lead vocals, which occasionally sound like the voice of Greg Lake, the acoustic guitar, organ and Mellotron flutes reminded me of several tracks from that album.

At the time Ginhouse were also influenced by the music of The Beatles which can be heard throughout the album. Therefore I wasn’t really surprised to hear that they covered And I Love Her, one of the many Lennon & McCartney songs. They made a rather heavy version of this mellow acoustic song. Apart from the already mentioned influences I also heard touches of the hard rock scene that flourished in those days. Ginhouse’s music isn’t as heavy and loud as the music recorded by bands as Deep Purple or Black Sabbath, although the overall sound is clearly dominated by the electric guitars. Finally I heard some elements from psychedelic rock and folk music.
by Henri Strik………..

Ginhouse were such a band. A power trio that weaved back and forth from Psychedelia to Prog-rock consisted of Geoff Sharkey, guitar - Stewart Burlison, Bass and Dave Whitacker on drums. Together a few short months in 1971 before splitting off in other directions. Sharkey was previously with the band Sammy who later morphed into Audience. Burlison and Whitacker are mysteries. But Ginhouse never had a single enter the charts and this one lp came and went with very little notice and wasn’t even issued in the States. How I found out about them was something of an accident. I had done some work for Charisma Records (the label who had Genesis, Van Der Graaf Generator, Lindesfarne and many others) - they were distributed by B&C Records who dabbled in rock and Prog-rock but were primarily a Reggae label with the exception of bands like Atomic Rooster and Arnold Corn (David Bowie). The Press Officer for Charisma sent the album as an afterthought and I was hooked from Side One.

Luckily, the album has been reissued on CD by a couple of small labels in the U.K. since the original album has been seen going for hundreds of dollars on the collectors market.

This track, or actually two of them since they blend into each other are “The Journey” and “Portrait Picture”……………

This S/T only LP by the UK group Ginhouse is a pretty satisfying effort from the start to the finish. In my opinion the record is a very balanced package filled with good songs but there are no clear standout moments. The guitarwork is strong through the whole record but the quality of the songwriting leaves something to be desired. I think this album isn’t anything spectacular even if it’s a solid disc. It would benefit from a couple of strong highlights if you ask me.

If you like guitar driven progressive rock mixed with some hard rock and minor psychedelic elements you might wanna give a try to Ginhouse’s lone LP. If I’m honest I expected a bit more from this when I listened to it for the first time. The album is not a masterpiece but it does it’s job pretty well……by….
CooperBolan ………

Great progressive hard rock power trio whose compositions have lots of different changes and movements. This will appeal to people who like stuff like May Blitz amd T2. This has a cool heavy version on The Beatles “And I love Her”. Thought that it was interesting that the main vocal melody of “Tyne God” is almost identical to the song “Winter” from the German band Frame. The Korean mini lp released on the sometimes bootleg/sometimes legit label Media Arte is really neat, and features the gimmix sleeve. I have heard that there is a Japanese mini lp of this out now as well….by….thirstymoon ………

Ginhouse is a trio from Newcastle - England had only one album issued in 1971 selftitled. Even they had strong live performance in that period, this turned to be their swan song release and they disbanded in 1972-1973, as far as I know. The first CD reissue from Green Tree records in 1993 puted them on the heavy prog map again, young listners as I am discoverd this so called “new” bands some years ago. Well, Ginhouse playes , as typical for that period a mix between hard rock parts with more progressive ones, heavy prog in the end. The album sounds good, little dated after 40 years of first issue but never the less ok. Is not a typical progressive rock band with elaborated parts like other bands had in that times, is as I said heavy prog where the guitar has an important role, the keyboards are sporadicaly included in the overall sound. I like this album, forte pieces are to me The Journey and Sun in the Bottle, the rest are also ok, but not spectacular. They remind me of Whistler and theirs Ho Hum album released same year, with some psychedelic and folky touch here and there. 3 stars for Ginhouse, good but kinda forgotten heavy prog album….by  b olariu ………

Esoteric Recordings are pleased to announce the release of a newly remastered edition of the highly collectable 1971 self-titled album by GINHOUSE. Hailing from Newcastle Upon Tyne, GINHOUSE were a short lived Progressive Rock trio featuring GEOFF SHARKEY (Lead Guitar & Vocals), STEWART BURLINSON (Bass Guitar & Vocals) and DAVE WHITTAKER (Drums). This power trio played a highly imaginative and powerful form of rock, coming to the attention of B&C Records in 1970. The band recorded their only album at Abbey Road studios with producer Anders Henriksson (also producer of the legendary Quatermass). The resulting record featured excellent original compositions such as Tyne God , The Journey , The House and Sun in a Bottle , along with a highly effective reworking of The Beatles And I Love Her . Disbanding soon after the release of their only album, the music of GINHOUSE is now highly sought after by collectors of early 70s Progressive Rock. This Esoteric Recordings release has been newly remastered from the original masters and includes an illustrated booklet and a new essay……………..

Yes this a fantastic album of the old school rock of the early 1970’s
There’s not a bad track on the album
Shame the only made this masterpiece.
Right up there with heavies of the day, Sabbath, Purple, and Zep.
Proud to own this, everyone should have a copy!….By Jackarmy1071………

Ginhouse was a three piece band who recorded one album, played numerous gigs opening for more well known bands, and then broke up. The band consisted of –Geoff Sharkey-lead guitar/vocals, Stewart Burlison-bass guitar/vocals, and Dave Whitaker-drums, Anders Henriksson who produced the album is heard on keyboards. Their lone album was recorded at Abbey Road after the band won the Melody Maker Battle of the Bands competition in 1970. This reissue was digitally remastered but doesn’t list the source used–usually master tapes. But the sound is very good–clean and spacious without any digital harshness. The booklet has an essay on the band, song information and uses the original album graphics.

Ginhouse (named from the tune “Gin House Blues”) was a progressive/at times hard-rocking trio that could shift from progressive sounding music to crunching guitar-based rock at the drop of a hat. The drumming at times is reminiscent of early King Crimson. The bass was solid and deep and oftentimes kept to a song’s melody. The guitars, depending on the arrangement, were either heavy or light sounding–both electric and acoustic. Sharkey could play fast when called for, but also used acoustic guitar to good effect. You’ll also hear occasional judicious use of strings (“Portrait Picture”) and flute (“Fair Stood The Wind”) mixed in among some songs, which help flesh out the music The vocals are right out of the 70’s British scene–nothing truly outstanding but (along with the lyrics) was a good example of progressive rock of the period. All the tunes save one (The Beatles’ “And I Love Her”) are by the band which helps give the band’s overall sound and approach to the music more depth. With song titles like “Tyne God”, “The Journey”, “Fair Stood The Wind”, and “Sun In The Bottle” Ginhouse is a good example of early 70’s progressive rock.

Ginhouse was a good band that for whatever reason didn’t “make it”. Perhaps it’s because there were so many other similar bands during this period–who knows? But listen to “Life” with it’s short yet heavy guitar solo, a piano, and progressive style drumming. “Morning After” is another example of the band’s hard-rocking progressive sound. But there’s several good tracks here that make this album worth hearing–especially if you’re (like me) a fan of this period of British music.

Why this album has never been reviewed is a bit of a mystery. Maybe it’s because the band itself is a mystery. They recorded this album and then were gone. This album begins to grow on you the more you hear it–the guitars, the bass, the drumming, the strings and keyboards, the lyrics–it’s all there. Fans of (sometimes) harder progressive rock should give this a listen, Ginhouse deserved better than to be almost forgotten……….By Stuart Jefferson ……….
A personal favorite, Ginhouse’s only album was recorded on the cheap and sounds it, but is still an excellent slice of pastoral English hard rock, inspired by Jethro Tull and possibly an inspiration on Wolf People with whom they share a very English, obviously folk rock inspired hard rock sound. Includes an interesting jazzy cover of the Beatle’s And I Love Her, and some pretty atmospheric originals, especially opening track The Tyne God. …….

The Ginhouse
*Stewart Burlison - Bass Guitar, Vocals
*Dave Whitaker - Drums
*Geoff Sharkey - Lead Guitar, Vocals

A1 Tyne God
A2 I Cannot Understand
A3 The Journey
A4 Portrait Picture
A5 Fair Stood The Wind
B1 And I Love Her
B2 Life
B3 The Morning After
B4 The House
B5 Sun In The Bottle 

Anvil “Mr. Music Man” 1979 Germany Private Prog Psych

Anvil “Mr. Music Man” 1979 Germany Private Prog Psych

This must be one of the last forgotten Krautrock obscurities from the ‘70. The B-side is actually quite rewarding, although I have to admit there’s a certain amateurishness that distracts from a totally convincing listening experience. Still some catchy songs to be found here. This is one of those albums that you know you actually shouldn’t like but for some mysterious reason you do anyway……..eskeshuus ………

Winfried Borchardt (drums) 
Jürgen Ceynowa (bass) 
Udo Kamps (rhythm guitar) 
Wolfgang Müllers (lead guitar, vocals) 
Winfried Zastrau (keyboards, vocals)

A1 Mr. Music Man 3:56 
A2 Taste And Try 4:36 
A3 Reggae For The Workers 3:30 
A4 Countdown 4:35 
B1 Sheila 7:05 
B2 Round About Feelings 4:57 
B3 Night Express 6:38 

Cymande "Second Time Round"1973 UK Funk Rock second album

Cymande  "Second Time Round"1973 UK Funk Rock second album

Cymande’s second LP is captivating enough, but perhaps too political for the masses. Still, there’ve been few better fusions of reggae and jazz than Second Time Round. The spirited “Anthracite” is driven by horns on the chorus, a scorching sax solo, and a titillating flute. Flautist Mike Rose continues to captivate on the oddly titled “Willie Headache,” which is far too mellow to cause listeners to grab for the Tylenol. Everything is centered around Steve Scipo’s bubbly bass notes, a good example being “Trevorgus,” in which the beat falls between midtempo and uptempo and everything (the horns, the rhythm, the chanting vocals) complements each other as if linked by an invisible chain. The group scintillates on “Fug,” a rapid-fire mover and shaker that speaks of people dying because of greed and deceit. Cymande let their dreads down on this one – emoting, getting real, and performing like there’s no tomorrow. Gotta give Pablo Gonsales a bone for his constant, creative work on the congas throughout; drummer Sam Kelly stays in the background, happy with his understated role and keeping it tight. Vocalist Ray King breaks off his best lead on the tempo changing “Bird,” and Joey Dee assists vocally while patting on his conga set; Peter Serreo, and Derek Gibbs sax play sparkles like champagne from beginning to end…… by Andrew Hamilton ……

Digitally remastered and expanded edition of this 1973 album including two bonus tracks. Their second LP, Second Time Round, further developed their unique musical stew of funk, soul, afro rhythms and Caribbean stylings, perhaps epitomized on the popular track ‘Fug’. This reissue boasts two non-album single edits and new sleevenotes written with the cooperation with the band and John Schroeder. Cymande (pronounced sah-mahn-day) are a legendary funk group formed in 1971 in London by musicians from Guyana, Jamaica and Saint Vincent. Their name was derived from a Calypso word for dove, symbolizing peace and love. The band was signed by producer John Schroeder to his Alaska label in the UK. Cymande went on to release three albums in the early-to-mid 1970s……….

Cymande by now should need no introduction,but for those who are just discovering this group this ensemble recorded three classic albums in the early 70’s (4 total and not counting compilation collections) that contained elements of Funk,Soul Reggae,African and Jazz. The group was made up of African descendants who hailed from Britian and various Carribean nations. The music drew comparison in the states to the more commercially popular sound infused bands like WAR and Mandrill. This album is their second release from 1973,and has the original 10 tracks sounding superb with a marvelous remastering.Great tracks such as “Genevieve” ,“Willy’s Headache” and “Anthracite” are superbly performed. The liner notes give a brief history of the band alongside a group photo. A must have for a collector of rare 70’s Funk&Soul and an essential addition to the Cymande catalog….By d.niceon……………

Heavy bass, tight percussion, and a wonderfully trippy groove – the stunning second album from Cymande, and one of our funk favorites from the 70s! These guys have a sound that’s completely unique – a vibe that mixes African and Jamaican influences up in the heady London scene of the early 70s – with results that were years ahead of their time, and which still go onto blow many minds all these years later! The bass alone is worth the price of admission – as dubby as anything from Kingston, but with a tighter focus – one that drives some sinister lines from the vocals, and which gets strong support from lots of lively conga passages. There’s a slight stoner undercurrent, but the sound of the set is never sleepy at all – and titles include the classic “Anthracite”, “Fug”, and “Them & Us” – plus “Genevive”, “Willie’s Headache”, “For Baby Ooh”, “Bird”, and “Crawshay”………..

UK funk outfit Cymande followed their eponymous debut LP with “Second Time Round”, also from 1973. Fusing musical influences such as soul, Afro-beat, reggae and calypso, they created a unique British funk sound that became a favourite sample source for hip hop producers in the next two decades. This LP includes the classic “Fug” and single / album opener “Anthracite” - a title only a UK outfit would ever call a track!…………

1: Anthracite
2: Willies’ Headache
3: Genevieve
4: Trevorgus
5: To You
6: For Baby Ooh
7: Fug
8: Crawshay
9: Bird
10: Them And Us
11: Fug (7" Mix)
12: Anthracite (7" Mix) 

Various ‎”Golden Miles” (Australian Progressive Rock 1969-1974) 2 CD Compilation

Various ‎”Golden Miles” (Australian Progressive Rock 1969-1974) 2 CD Compilation\–fI

excellent 2 cd compilation on the Australian prog/rock scene between 1969-1974 
some obscure 45s and some great album tracks 
including a good informative booklet 

If early 70s rock is your thing, get it !!……………

From its inception in 1979 – well ahead of most of the current crop of specialist reissue labels operating throughout the world – Australia’s Raven Records flew the flag for high quality anthologies prepared by collectors for collectors. 
Raven’s highly acclaimed releases were sought out internationally by those who understood and appreciated packages compiled and prepared with knowledge, integrity, attention to detail, a period design empathy, a meticulous concern for sound, and an unmistakable affection. 
True ‘labours of love’, they filled holes in many collections with flair and a rare comprehensivity, setting aside the record company politics that render so many mass-market compilations inadequate or uninspiring. 
Established by Australian writer/broadcaster/music historian Glenn A. Baker, a three-time winner of the BBC’s Rock Brain of the Universe title and compiler and / or annotator of almost 500 albums over the past 25 years (once described by Rolling Stone magazine Music Editor David Fricke as “Australia’s top pop scholar; a world-class rock journalist who writes with the enthusiasm of a true fan”). 
Along with fellow enthusiast/collector friends Peter Shillito and Kevin Mueller, plus experienced Sound Engineer and mastering expert Warren Barnett, Raven established its reputation compiling vinyl albums and EPs of otherwise unobtainable classic Australian rock / pop, by the likes of The Easybeats, The Missing Links, Bobby & Laurie, The Purple Hearts, The Twilights, The Loved Ones and The Master’s Apprentices. 
Its Ugly Things series of downunder garage punk became an international sensation, its title becoming an almost generic term for the music. 
Raven’s strength, right from the beginning, was its ability to bring together a number of sources in the creation of a package, thus being able to prepare thorough career anthologies. Raven – a wholly legitimate concern – has, from its earliest days, licensed material from multi-nationals, small independent labels and, in some cases, direct from the artist. 
It was with the advent of the CD era that Raven evolved into one of the world’s leading labels of its kind. Using, as a matter of policy, all 78 minutes available to it on a compact disc, and seeking out rarities and curios, it began issuing anthologies that were hailed as the absolute, definitive word on an artist’s career. 
Expanding its embrace to take in the '70s, '80s and '90s as well as the '50s and '60s, Raven was soon compiling fantastic 'final word’ packages of careers and specific periods. 
Its diverse catalogue now includes such acts as The Yardbirds, The Animals, The Rascals, Mink DeVille, Gram Parsons, Love, Donovan, Gerry Rafferty, John Hiatt, Michael Martin Murphey, The Four Tops, Leslie West, Nils Lofgren, Fairport Convention, Levon Helm, New Riders of the Purple Sage, Ronnie Spector, Gene Clark, New Christy Minstrels, Jose Feliciano, Hoyt Axton, Steve Young, Alice Cooper and Joe South. 

Then there are packages for such Australian heroes as The Church, The Saints, Divinyls, Doug Parkinson, Normie Rowe, Dragon, Bon Scott, Spectrum, Max Merritt and James Reyne. In some cases, such as The Velvet Underground and Del Shannon, deluxe box sets were prepared. 
As well, there have been elaborate archival projects conducted in association with the artist or their families and including a great deal of exhumed, previously unreleased material (Sandy Denny, Steeleye Span). 
Many have been digitally remastered or Super Bit Mapped. As Raven celebrates its 20th year of operation, it reaffirms its dedication to quality, imagination and diversity. Raven’s release stand apart from those of a great many other operations touted as 'collector labels’. 
They celebrate the texture, diversity and power of music from the second half of the 20th century. 
They touch on pop, rock, country, blues, folk, soul, punk and a range of other genres. 
They sound good (courtesy of the tireless efforts of mastering expert Warren Barnett), they look good and, for those who truly care about the sounds within, feel good. 
Do you have a favourite band / solo artiste you would like to see given the Raven treatment? 
Let us know by filling in the Feedback form at the 'Contact Us’ page - we’d love to hear from you
Over the past 10 years Australian progressive/alternative/underground rock of the early 1970s has taken on a huge cult collector following throughout the world; particularly in Europe, where vast sums are paid for scarce original vinyl albums by such bands as Kahvas Jute, Galadriel, Master’s Apprentices, Fraternity, Blackfeather, Company Caine, Tamam Shud, Pirana, and New Zealand’s Dragon -outfits which forged a distinctive Oz Rock sound that would eventually be embraced by an international mass audience. 
To meet the growing demand for material, often only ever pressed up on a mere handful of overlooked albums, Raven has assembled,with its customary intuitive understanding and attention for detail, a definitive 30-track double CD bringing together the most desirable, acclaimed and important examples of Australia Progressive Rock. 
A brief history lesson: In the mid-1960s,the leading downunder scream sensations formed an almost unbroken pilgrimage conga line to London, even though only a few managed to secure a foothold. But by the end of the decade there was no pot of gold left at the end of the rainbow. England was no longer swinging and the yellow brick road wasn’t really worth the journey any more. At home, the affection for homegrown heroes that existed at radio had evaporated. 
So, with nowhere to go and no hits likely to happen, Oz Rock bands bunkered down and playedto their small but usually loyal home audiences, crafting music to fit onto album sides rather than pop playlists. 
It was a challenging and confusing era for Australian musicians, who were trying to assimilate and in many cases emulate the waves of extraordinarily diverse progressive and underground rock from the top half of the world. 
For these brave riders of a new frontier, teenybopper and bubblegum bands were beneath contempt. The only music that mattered was innovative, adventurous and pushing atthe edges of the envelope - cosmic wonderchild outpourings which terrified radio. 
This era lived and died in tandem with outdoor rock festivals. It spanned from the Ourimbah Pop Pilgrimage early in 1970 (Australia’s answer to Woodstock) through Wallacia, Mulwalla, Myponga and others, to the four Sunburys (1972-75), and was best appreciated when camping rough on fire-studded hills. 
For all the undeniable excesses of the era there were breathtaking musical highlights; some vital, surging, expansiveand trulyexciting adult rock music moments created by masterful guitarists, chilling singers, driven drummers. 
Pretty much all of them are carried in this set, which comes with detailed tracking notes by era expert Ian McFarlane, an essay by Glenn A. Baker,period photographs, graphic cover art and the inclusion of some extremely rare tracks from tiny out-of-business labels. 

From the ranks of these pioneering bands came individuals who could distinguish themselves in later international rock campaigns -Fraternity’s Bon Scott in AC/DC, Bulldog’s Mick Rogers in Manfred Mann’s Earth Band, Carson’s Broderick Smith in the Dingoes, Buffalo’s Dave Tice in the Count Bishops, Kahvas Jute’s Bob Daisley in Rainbow, the Blizzard of Ozz and Gary Moore Band, and Healing Force’s Charlie Tumahai in Be Bop Deluxe. 
This is where they stretched the limits and in doing so learned a little about their music; not only where they could take it but where it could take them………….

An absolutely stunning compilation of Aussie prog. rock, that changed my view of a couple of artists. Dragon’s “Darkness” a track from a New Zealand release prior to their move to Australia, is so removed from the comercial radio fodder of their Australian period, that it’s hard to believe that it’s the same band. As for Doug Parkinson fronting Fanny Adams, “Ain’t No Lovin’ Left” is a forgotten gem, heavy blues/rock at it’ s best. For those wanting to sample what Australia had to offer in this genre this compilation is a brilliant starting point. For those looking futher, many of the releases that these tracks were lifted from have been re-issued on CD although even some of these are becoming hard to find. For those wanting the vinyl, good luck, 'cause the chance of picking up most of this stuff without extremely deep pockets is more than remote……by..ranko1964 ……….

Here is an essential sampler piece of Australasian Prog rock. Though a few of the seminal antipodean artists are not represented like Airlord, Sebastian Hardie or Windchase.This collection is mainly guitar orientated but this nonetheless makes great listening and when you own this you realize you now possess some of the world’s prog rock gems. Owning this will open an the door to finding some of Australia’s best bands of the 70’s. 

Like Blackfeather who’s Long Legged Lovely is featured. This track comes from their At The Mountains Of Madness album which will always rate 5 stars with me.Blackfeather’s guitarist John Robinson is arguably the best rock guitarist Oz has produced. The famed Daddy Cool are here with Make The Stash,Spectrum with Superbody,Fraternity with a pre AC-DC Bon Scott on vocals with a version of the aforementioned Blackfeather’s Seasons of Change. Bakery’s No Dying In The Dark can sit alongside anything by Free or Deep Purple. Fanny Addam’s with Doug Parkinson on vocals uncannily sounds like an offshoot of Black Sabbath. 

The release gets its it’s name from Healing Force’s classic Golden Miles with Charlie Tumahai on vocals and bass. Charlie who later played with Bill Nelson’s Be-Bop Deluxe has a delivery as good as anyone in rock music. A double CD with some on Australia & New Zealands best musicians and some of their best songs. This is a good as it gets!!…………..

Disc: 1 
01. No Dying in the Dark - Bakery 
02. Travelling South - Carson 
03. Lotus 1 - Lotus 
04. Golden Miles - Healing Force 
05. Inner Spring - Bulldog 
06. Melodies of St. Kilda/Southern Cross - The Master’s Apprentices 
07. Girl of 17 - Galadriel 
08. Lady Sunshine - Tamam Shud 
09. You Realise You Realise - Tully 
10. I Am the Sea - Wild Cherries 
11. Fanciful Flights of Mind - Copperwine, , Jeff St. John 
12. Getting Through - Melissa 
13. Here It Comes Again - Pirana 
14. Wichita Lineman - King Harvest 
15. Freedom Train - Friends 
16. Seasons of Change - Fraternity 
17. Satan’s Woman - Freshwater 
18. Ain’t No Loving Left - Fanny Adams 

Disc: 2 
01. Make Your Stash - Daddy Cool 
02. Superbody - Spectrum 
03. Day Superman Got Busted - Company Caine 
04. Free - Kahvas Jute 
05. Long Legged Lovely - Blackfeather 
06. Shake Off - Tymeplace 
07. Make It Begin - Sons of the Vegetal Mother 
08. Human Being - Coloured Balls 
09. ‘Til My Death - Buffalo 
10. 12 Lb Toothbrush - Madder Lake 
11. Extra Terrestrial Boogie - Mackenzie Theory 
12. Darkness - Dragon 

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