Genre: Progressive Rock
Country of origin: Japan
Year of publication: 2001
Publisher (label): Vertigo
Catalog number: UICY-9053
Country: UK
Audio codec: FLAC (*.flac)
Rip type: image+.cue
Audio bitrate: lossless
Duration: 00:41:39

Tracklist:
1. People In Black (8:20)
2. Don't Go (4:37)
3. October Witches (8:05)
4. Love Song No. 6 (I'll Never Love You Girl) (6:37)
5. Dreams (7:34)
6. Time (6:26)

Personnel:
Martin Cure - laed vocal
Terry Howells - organ
Graham Amos - bass
Alan Savage - drums

The English progressive scene of the late 60s was simply flooded with up-and-coming bands and performers. Many of them, having released one or two albums, for various reasons (usually commercial futility) broke up without achieving mass success. Moreover, these so-called loser groups often represented a truly striking phenomenon in the world of progressive rock. One of these legends is the “Still Life” team. The group was formed by three school friends Martin Cure, Terry Howells and Graham Amos in 1967 in Coventry. History has not revealed the name of the original drummer, but a couple of years later Alan Savage from Northampton took over the drums. From the very beginning, Vertigo became interested in the ensemble and signed a contract to release 6 albums!!! But such grandiose plans were interrupted by the collapse of “Still Life” after the release of the first record and one single. By the way, the single “What Did We Miss/My Kingdom Cannot Lose” was released back in 1968 and went completely unnoticed. Still Life was recorded in the spring of 1970, and the work was ready in October. In terms of sound and mood, it was a completely unique work. The absence of a guitarist allowed the organist to reveal himself to the fullest. In addition to his original material, he demonstrated remarkable performing abilities. His wild and frantic Hammond solos made all six tracks sound powerful, lush and dynamic. Martin Cure's emotional vocals matched the keyboard, every note, every word was at its limit. Now their only record is highly rated among fans of early English progressive music, and with good reason