This set makes a nice introduction to Donovan's peak years in the mid- to late '60s, including both his Baroque flower power material for Epic Records like "Sunshine Superman" and the fairy tale funky "Hurdy Gurdy Man" as well as his earlier and more folky recordings for Pye Records (they were released in the U.S. by Hickory Records) like "Catch the Wind," "Colours," the stylistically prescient "Sunny Goodge Street," and the beautiful "Turquoise" (which is as gorgeous as it is ridiculous). The sides included here are perfect examples of Donovan's unique Woody Guthrie meets Timothy Leary style, and having both the Pye and Epic material side by side is a definite plus.
Released in 2003, The Journey Goes On is the band's seventh studio album for metal act featuring dual vocalists, Dougie White (Rainbow/Malmsteen) & John Sloman (Lone Star/Gary Moore), the followup to 2000's 'Nowhere To Hide'. Includes guitarist Dennis Stratton (Iron Maiden) & founding members Chris & Tino Troy. The Journey Goes On is a first rate melodic rock album, and should especially appeal to fans of Demon, Ten, Cornerstone, Magnum, and John Payne-era Asia. If you're expecting a NWOBHM revival album though, you're going to be disappointed.
Cyrille Verdeaux and Clearlight re-visit and expand upon 'Clearlight Symphony'. Totally new recording featuring a wide range of instrumentation. The playing of Didier (the only Gong member who has made it onto this release from the trio of Gongsters on the original) distinctively glows as always.
A continuation of the sound established on his Alligator debut, I Smell Smoke is even more impressive than its much-heralded predecessor. While vocally Michael Burks still invites comparison to Albert King, especially on gospel-fried ballads like "Lie to Me" (the Flying V guitar he sports on this album's cover shot further reinforces the similarities between the two artists), his guitar work has become more electrified and confident. With a tone sounding at times like Eric Clapton's psychedelic work in Cream and a rugged four-piece band supporting him, this is a tough, uncompromising contemporary blues/blues-rock/R&B album that doesn't pull punches. Co-produced and mixed by veteran Jim Gaines, the sound is professional but not polished, with Burks' strong persona commanding attention. However, the songs – which are far above average – are as important as the performance. Mostly written by outside sources, Burks avoids the crowd-pleasing covers that populate his live shows, instead digging into obscure tunes such as Latimore's "Let the Doorknob Hit You," delivering them with his gutsy punch.