First Fruit

Take one part blues traditionalist, blend it with a forward-thinking music academy graduate, serve with a side order of skill and a garnish of Nordic beauty. What have you got? Singer/guitarist Erja Lyytinen, a.k.a. “the Finnish slide goddess.” ~ The Blues Magazine

Excellent addition to any prog rock music collection.
There are a lot of people who'll champion the Grand Hotel album, but as far as I'm concerned, it is Exotic Birds And Fruit that is the most complete album in the latter half of Procol Harum's career.

Procol Harum's seventh studio album, Exotic Birds and Fruit, was released in April 1974. In its original LP incarnation, four songs made up side one – "Nothing But the Truth," "Beyond the Pale," "As Strong as Samson," and "The Idol" – all of which featured some of the band's best later work…

The Screaming Blue Messiahs - The Peel Sessions (1986) {EP, Strange Fruit–BBC DEI8315-2 rec 1984}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 80 Mb | MP3 @320 -> 28 Mb
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© 1986 Strange Fruit / BBC Enterprises Ltd. | DEI8315-2
Rock / Alternative / Power Rock / Punk-Blues / Rock & Roll / Blues Rock

This scorching Peel Session from 1984 is a prime introduction to the Screaming Blue Messiahs' catchy mix of guitar-driven garage rock, punk, blues, and rockabilly. All four songs are better here than in their studio form, with "Good and Gone" and "Someone to Talk To" being absolutely awesome, along with quite cool versions of "Tracking the Dog" and "Let's Go Down to the Woods and Pray" as well.

Procol Harum's seventh studio album, Exotic Birds and Fruit, was released in April 1974. In its original LP incarnation, four songs made up side one – "Nothing But the Truth," "Beyond the Pale," "As Strong as Samson," and "The Idol" – all of which featured some of the band's best later work. They had retreated somewhat from the orchestral hybrid of their previous album, Grand Hotel, although "Nothing But the Truth" still boasted a string arrangement. They replaced the sweetening with extra muscle in the remaining instruments, making this one of the group's harder rocking sets. And lyricist Keith Reid, having explored elegant decay in Grand Hotel, was unusually straightforward in his social prescriptions here.