Lost In My Dream (An Anthology 1968-1974) (CD) ~ Spooky Tooth (A... Cover Art

Lost In My Dream (An Anthology 1968-1974) (CD)

By: Spooky Tooth (Artist)


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Product Description


Track Listing

DISC 1 for Lost In My Dream (An Anthology 1968-1974) (CD) Album By Spooky Tooth (Artist)
1   WEIRD  
2   SUNSHINE HELP ME  
3   SOCIETY S CHILD  
4   IT S ALL ABOUT A ROUNDABOUT  
5   HERE I LIVED SO WELL  
6   TOBACCO ROAD  
7   LOVE REALLY CHANGED ME  
8   LUGER S GROOVE  
9   THE WEIGHT  
10   WHEN I GET HOME (PREVIOUSLY UNRELEASED)  
11   SOMETHING GOT INTO YOUR LIFE (PREVIOUSLY UNRELEASE  
12   LOST IN MY DREAM (FIRST MIX - PREVIOUSLY UNRELEASE  
13   BETTER BY YOU, BETTER THAN ME  
14   WAITIN FOR THE WIND  
15   FEELIN BAD  
16   HANGMAN HANG MY SHELL ON A TREE  
17   OH! PRETTY WOMAN  
 
DISC 2 for Lost In My Dream (An Anthology 1968-1974) (CD) Album By Spooky Tooth (Artist)
1   HOSANNA  
2   THE WRONG TIME  
3   I AM THE WALRUS  
4   SON OF YOUR FATHER  
5   THE LAST PUFF  
6   WILDFIRE  
7   TIMES HAVE CHANGED  
8   COTTON GROWING MAN  
9   OCEAN OF POWER  
10   AS LONG AS THE WORLD KEEPS TURNING  
11   THINGS CHANGE  
12   SUNLIGHT OF MY MIND  
13   FANTASY SHIFTER  
14   HIGHER CIRCLES  
15   HELL OR HIGH WATER  
16   THE MIRROR  
 


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Review

Record Collector (magazine) (p.94) - 4 stars out of 5 -- "[T]heir power and musicianship has long attracted admirers, from Small Faces' Steve Marriott to Paul Weller."

Review

Record Collector (magazine) (p.94) - 4 stars out of 5 -- "[T]heir power and musicianship has long attracted admirers, from Small Faces' Steve Marriott to Paul Weller."

Title Note

It's reasonable, even logical, to question the need for a two-disc compilation from an early-'70s band that had negligible impact on the British or American charts or either of those country's musical sensibilities. But since 2000's THAT WAS YESTERDAY only covered the years ending with 1970's THE LAST PUFF, there was an opening, if maybe not a need, for a more extensive look at the act that finally called it quits after 1974's THE MIRROR. Also, since the band served as a breeding ground for musicians who went on to greater acclaim elsewhere (bassist Greg Ridley joined Humble Pie, guitarists Luther Grosvenor and Mick Jones followed with Mott the Hoople and Foreigner, respectively, and Gary Wright, who wrote the bulk of the group's material, went on to a solo career), Spooky Tooth is deserving of this comprehensive, 34-track, two-and-a-half-hour collection. Both Wright and vocalist/frontman Mike Harrison were captivating blue-eyed soul singers, the latter nearly the equal of, and very similar to, Steve Marriott. When they sang together and the material was of high enough quality, the effect was of a nascent Humble Pie with more soul and less boogie. Spooky Tooth's brooding, slow-to-midtempo blues-rock, tinged in the early years with more than a little psychedelia, was an intriguing concoction, especially when applied to covers such as their distinctive, and some might argue, definitive versions of Janis Ian's "Society's Child," blues staple "Tobacco Road" and "Evil Woman" (not the ELO song of the same title, but one best recognized through Canned Heat's rendition). A few rare singles and B-sides make an appearance along with a pair of previously unreleased songs circa 1968 on disc one. Disc two follows the latter part of Tooth's historical progression and is, despite no hits, also intermittently enticing. Interestingly, the final four tracks from 1974's unfairly overlooked THE MIRROR where lead singer Harrison was replaced by Boxer's Mike Patto, are some of the most commercial, melodic, and driving tunes the band recorded. A 16-page color booklet filled with excellent liner notes, detailed track annotation, rare photos, and an extensive history of the band help make this set the definitive profile of an act that, with a few more breaks, could have been a force to be reckoned with instead of a footnote to England's '70s blues-rock exports.

Album Description

It's reasonable, even logical, to question the need for a two-disc compilation from an early-'70s band that had negligible impact on the British or American charts or either of those country's musical sensibilities. But since 2000's THAT WAS YESTERDAY only covered the years ending with 1970's THE LAST PUFF, there was an opening, if maybe not a need, for a more extensive look at the act that finally called it quits after 1974's THE MIRROR. Also, since the band served as a breeding ground for musicians who went on to greater acclaim elsewhere (bassist Greg Ridley joined Humble Pie, guitarists Luther Grosvenor and Mick Jones followed with Mott the Hoople and Foreigner, respectively, and Gary Wright, who wrote the bulk of the group's material, went on to a solo career), Spooky Tooth is deserving of this comprehensive, 34-track, two-and-a-half-hour collection. Both Wright and vocalist/frontman Mike Harrison were captivating blue-eyed soul singers, the latter nearly the equal of, and very similar to, Steve Marriott. When they sang together and the material was of high enough quality, the effect was of a nascent Humble Pie with more soul and less boogie. Spooky Tooth's brooding, slow-to-midtempo blues-rock, tinged in the early years with more than a little psychedelia, was an intriguing concoction, especially when applied to covers such as their distinctive, and some might argue, definitive versions of Janis Ian's "Society's Child," blues staple "Tobacco Road" and "Evil Woman" (not the ELO song of the same title, but one best recognized through Canned Heat's rendition). A few rare singles and B-sides make an appearance along with a pair of previously unreleased songs circa 1968 on disc one. Disc two follows the latter part of Tooth's historical progression and is, despite no hits, also intermittently enticing. Interestingly, the final four tracks from 1974's unfairly overlooked THE MIRROR where lead singer Harrison was replaced by Boxer's Mike Patto, are some of the most commercial, melodic, and driving tunes the band recorded. A 16-page color booklet filled with excellent liner notes, detailed track annotation, rare photos, and an extensive history of the band help make this set the definitive profile of an act that, with a few more breaks, could have been a force to be reckoned with instead of a footnote to England's '70s blues-rock exports.



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