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Rampant is the fifth studio album by the Scottish rock band Nazareth, released in 1974. It was their third and to be the last LP produced by Roger Glover.

Track listing[link]

All lyrics written by Pete Agnew, Manny Charlton, Dan McCafferty, Darrell Sweet except indicated unless otherwise noted. 

30th Anniversary Bonus Tracks[link]

Salvo Records Remaster Bonus Tracks[link]

Salvo Records released a version in 2010 with the following bonus tracks:

Credits[link]

Band members[link]

• Dan McCafferty - vocals, photography
• Pete Agnew - bass guitar, guitar, background vocals, liner notes
• Manny Charlton - guitars, producer, photography
• Darrell Sweet - drums, background vocals, liner notes, photography

Additional musicians[link]

• Vicki Brown, Barry St. John, Liza Strike - background vocals
• Jon Lord - synthesizer, piano on "Glad When You're Gone" and "Shanghai'd In Shanghai"

Other credits[link]

• Roger Glover - producer
• Richard Roy - assistant mastering engineer
• Red Steel - revised notes
• Louie Austin - engineer
• Mike Brown - remastering
• Mick Carpenter - project coordinator

References[link]

External links[link]

• Lyrics to songs from Rampant

It has been suggested that lion (heraldry)#Attitudes be merged into this article or section. (Discuss) Proposed since September 2010.

The lion passant guardant, a frequent figure in heraldry, has often been called a leopard by French and English heralds.

In heraldry, an attitude is the position in which an animal, fictional beast, mythical creature, human or human-like being is emblazoned as a charge, supporter or crest. Many attitudes apply only to predatory beasts and are exemplified by the beast most frequently found in heraldry — the lion. Some other terms apply only to docile animals, such as the doe. Other attitudes describe the positions of birds, mostly exemplified by the bird most frequently found in heraldry — the eagle. The term naiant (swimming), however, is usually reserved for fish but may also apply to swans, ducks or geese. Birds are often further described by the exact position of their wings. The term segreant is apparently reserved for mythical creatures, as this term is the approximation of rampant as it applies to winged quadrupeds such as griffins and dragons.

Additionally, there are positions applying to direction, to indicate variations from the presumed position of any charge. Animals and animal-like creatures are presumed to be shown in profile, facing dexter (the viewer's left), and humans and human-like beings are presumed to be shown affronté (facing the viewer), unless otherwise specified in the blazon.

While any number of terms may be found in Anglophonic sources for attitudes of creatures (real and imaginary), several glossaries and web sites exist to serve as nearly exhaustive lists of these. The following are a small selection of some of the most notable among these.

Positions indicating direction[link]

Animals and animal-like creatures are presumed to be shown in profile, facing toward dexter, unless otherwise stated in the blazon. Humans and human-like beings are presumed to be shown affronté.

• To dexter or the viewer's left is the direction animals are presumed to face, so it is never specified, but may (rarely) be indicated of a human or human-like being.
• To sinister or contourné is said of an animal or being that is turned to face the viewer's right.
• Affronté is said of an animal or being that is turned to face toward the viewer. This is the presumed position of a human or human-like being, but may (rarely) be used among beasts.
• Guardant indicates an animal with its head turned to face the viewer.
• Regardant indicates an animal with its head turned backward, as if looking over its shoulder.

Note that the heraldic terms dexter ('right') and sinister ('left') are defined with respect to the bearer of a shield, standing behind it, rather than to the viewer.

Attitudes of beasts[link]

Many attitudes commonly met with in heraldic rolls apply specifically to predatory beasts, while others may be better suited to the docile animals. These will each be discussed in detail below. Also worth note is that a lion or other beast may additionally be described in terms of the position of its head, differently coloured parts (such as teeth, claws, tongue, etc.), or by the shape or position of its tail. A beast may be "armed" (horns, teeth and claws) or "langued" (tongue) of a tincture, while a stag may be "attired" (antlers) or "unguled" (hooves) of a tincture. A lion (or other beast) coward carries the tail between its hind legs.^[1] The tail also may be forked (queue fourchée) or doubled (double-queued).

Rampant[link]

A beast rampant (Old French: "rearing up") is depicted in profile standing erect with forepaws raised.^[2] The position of the hind legs varies according to local custom: the lion may stand on both hind legs, braced wide apart, or on only one, with the other also raised to strike; the word rampant is sometimes omitted, especially in early blazon, as this is the most usual position of a carnivorous quadruped. Note: the term segreant denotes the same position, but is only used in reference to griffins and dragons.^[3] Rampant is the most frequent attitude of quadrupeds, and as supporters they are rarely seen in any other attitude.

See also: Combatant

Passant[link]

A beast passant (Old French: "striding") walks toward dexter (the viewer's left), with the right forepaw raised and all others on the ground.^[4] While early heralds held that any lion in a walking position must necessarily be a "leopard", and this distinction persists in French heraldry, this use of the term leopard has long since been abandoned by English heralds.^[5] A "Lion of England" denotes a lion passant guardant Or, used as an augmentation.^[4] For stags and other deerlike beasts of chase, the term trippant is used instead of passant.

Sejant[link]

A beast sejant or sejeant (Middle French: seant, "sitting") sits on his haunches, with both forepaws on the ground.^[6]

A beast sejant erect is seated on its haunches, but with its body erect and both forepaws raised in the "rampant" position (this is sometimes termed "sejant-rampant").^[6]

Couchant[link]

A beast couchant (Old French: "lying down") is lying down, but with the head raised.^[7] Lodged is the term for this position when applied to the 'docile' (i.e. herbivorous) animals.

Courant[link]

A beast courant (also at speed or in full chase) is running, depicted at full stride with all four legs in the air.

Dormant[link]

A beast dormant (French: "sleeping") is lying down with its eyes closed and head lowered, resting upon the forepaws, as if asleep.^[7]

Salient[link]

A beast salient (Latin: saliēns, "leaping") (also springing) is leaping, with both hind legs together on the ground and both forelegs together in the air.^[8] This is a very rare position for a lion,^[8] but is also used of other heraldic beasts. The stag and other docile animals in this position are often termed springing. Certain smaller animals are sometimes blazoned as saltant rather than salient.

Statant[link]

A beast statant (Old French: "standing") is "standing" (in profile toward dexter), all four feet on the ground, usually with the forepaws together.^[9] This posture is more frequent in crests than in charges on shields.^[8] In certain animals, such as bears, this may refer to an upright, bipedal position (though this position may also be referred to as statant erect), though bears blazoned as 'statant' also can also be found with all four feet firmly on the ground (e.g. in the arms of the former borough council of Berwick-upon-Tweed). While statant is used in reference to predatory beasts, the more docile animals when in this position may be called at bay, while such creatures statant guardant are said to be at gaze.

Attitudes of birds[link]

A pelican in her piety, wings addorsed and elevated

Some attitudes describe the positioning of birds. The eagle is so often found displayed in early heraldry that this position came to be presumed of the eagle unless some other attitude is specified in the blazon. One peculiar attitude among birds, reserved only to the pelican, is the pelican in her piety (i.e. wings raised, piercing her own breast to feed her chicks in the nest). This symbol carries a particular religious meaning, and became so popular in heraldry that pelicans rarely exist in heraldry in any other position.^[10] A distinction is sometimes observed, however, between a pelican "vulning herself" (alone, piercing her breast) and "in her piety" (surrounded by and feeding her chicks).^[11]

Several terms refer to the particular position of the wings, rather than the attitude of the bird itself. A bird in nearly any attitude, except trussed, may have wings displayed, addorsed, elevated or inverted.

• Wings displayed are spread to the sides to fill the area of the field. Here, the bird's right wing is extended forward and its left wing extended rearward, turned so that the undersides of both wings are fully shown.
• Wings addorsed are raised as if about to take flight, so that only the top of the bird's right wing shows behind the fully displayed left wing.
• Wings elevated are raised with the wing tips pointing upward.
• Wings inverted are raised with the wing tips pointing downward.

Wings displayed and elevated	Wings displayed and inverted

Displayed[link]

A bird displayed is shown affronté with its head turned to dexter and wings spread to the sides to fill the area of the field. This position is presumed of the eagle, and the symbolic use of eagles in this position was well established even before the development of heraldry, going back to Charlemagne.^[12]

Rising[link]

A bird rising or rousant faces dexter with its head upturned and wings raised, as if about to take flight. A bird rising may have its wings described as either displayed or addorsed, and the wings may be further described as elevated or inverted.

Volant[link]

A bird volant faces dexter with its wings spread in flight.

Trussed[link]

A bird trussed, close, or perched is at rest with its wings folded.

Vigilant[link]

A stork, crane or the like standing on one leg may be called vigilant or in its vigilance (e.g. Waverley Borough Council's 'Crane in its vigilance').

Other attitudes[link]

Few attitudes are reserved to the rarer classes of creatures, but these include segreant, a term which can only apply to winged quadrupeds; naiant and hauriant, terms applying principally to fish; glissant and nowed, terms applying to serpents. Serpents also sometimes appear in a circular form, biting their own tail, but this symbol, called an Ouroboros, was imported ready-made into heraldry, and so it needs no term of attitude to describe it.

Segreant[link]

A creature segreant has both forelegs raised in the air, as a beast rampant, with wings elevated and addorsed. This term is reserved to winged quadrupeds (i.e. griffins and dragons).

Combatant or Respectant[link]

Creatures combatant are shown in profile facing each other in the rampant or segreant position, always paired and never appearing singly. Nearly any creature can be rendered combatant, although this term is usually applied to predatory beasts and mythical creatures; herbivorous animals in such a position are typically blazoned as respectant.

Addorsed[link]

Creatures or objects addorsed or endorsed are shown facing away from each other. As with combatant, charges addorsed can only appear in pairs. One also frequently finds keys addorsed (placed in parallel, wards facing outward).

Naiant[link]

An animal or creature naiant is swimming. This term is typically applied to fish (when shown in a horizontal position), but may also apply to other sea creatures and, occasionally, water fowl (i.e. swans, ducks or geese). A dolphin blazoned as naiant is always shown as embowed, unlike any other sea creature or monster, even though the blazon may not specify this.

Hauriant[link]

A fish, dolphin, or other sea creature hauriant is in a vertical position with its head up.

Glissant[link]

A serpent glissant is gliding horizontally in an undulant posture.

Nowed[link]

Serpents, and the tails of other beasts and monsters, may be nowed or knotted — often in a figure 8 knot.

See also[link]

• List of heraldic charges #Attitudes of animals and some attributes

Wikimedia Commons has media related to: Heraldic attitudes

Notes[link]

Further reading[link]

• Cussans, John Edwin (2003). Handbook of Heraldry. Kessinger Publishing. ISBN 0-7661-7338-0.
• Fox-Davies, Arthur Charles (1909). A Complete Guide to Heraldry. New York: Dodge Pub. Co. LCCN 09-023803
• Canadian Heraldic Authority, Public Register, with many useful official versions of modern coats of arms, searchable online http://archive.gg.ca/heraldry/pub-reg/main.asp?lang=e
• South African Bureau of Heraldry, data on registered heraldic representations (part of National Archives of South Africa); searchable online (but sadly no illustration), http://www.national.archsrch.gov.za/sm300cv/smws/sm300dl
• Civic Heraldry of England and Wales, fully searchable with illustrations, http://www.civicheraldry.co.uk
• Heraldry Society of Scotland, members' arms, fully searchable with illustrations of bearings, http://heraldry-scotland.com/copgal/thumbnails.php?album=7
• The Heraldry Society (England), members' arms, with illustrations of bearings, only accessible by armiger's name (though a Google site search would provide full searchability), http://www.theheraldrysociety.com/resources/members.htm
• Royal Heraldry Society of Canada, Members' Roll of Arms , with illustrations of bearings, only accessible by armiger's name (though a Google site search would provide full searchability), http://www.heraldry.ca/main.php?pg=l1
• Brooke-Little, J P , Norroy and Ulster King of Arms, An heraldic alphabet (new and revisded edition), Robson Books, London, 1985 (first edition 1975); sadly very few illustrations
• Greaves, Kevin, A Canadian Heraldic Primer, Heraldry Society of Canada, Ottawa, 2000, lots but not enough illustrations
• Moncreiffe of Easter Moncreiffe, Iain, Kintyre Pursuivant of Arms, and Pottinger, Don , Herald Painter Extraordinary to the Court of the Lord Lyon King of Arms Simple Heraldry, Thomas Nelson and Sons, London andf Edinburgh, 1953; splendidly illustrated
• Friar, Stephen (ed) A New Dictionary of Heraldry Alphabooks, Sherborne, 1987; sadly with very few illustration of attitudes

Wikimedia Commons has media related to: Heraldic figures

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2010)

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Early record albums were packages of 78 RPM records in book form

An album may be understood as a collection of recordings, released as a single package on gramophone record, cassette, compact disc, or via digital distribution, however the concept is found in printed music dating into the early nineteenth century in works by composers such as Schumann and Mendelssohn.^[1] The word derives from the Latin word for list.^[2]

Today, with the vinyl record no longer being used as the primary form of distribution, the term "album" can still be applied to any sound recording collection, such as those on compact disc, MiniDisc, Compact audio cassette, and digital or MP3 albums.^[3] Cover art is also considered an integral part of the album. Many albums also come with liner notes and inserts giving background information or analysis of the recording, reprinted lyrics, images of the performers, or additional artwork and text.^[4] These are now often found in the form of CD booklets.^[5]

History and Formats[link]

Vinyl records[link]

Two vinyl records with inner and outer album sleeves

Vinyl LP records have two sides, each comprising one half of the album. If a pop or rock album contained tracks released separately as commercial singles, these were often traditionally placed in particular positions on the album.^[3] A common configuration was to have the album led off by the second and third singles, followed by a ballad. The first single would lead off side 2. In the past many singles (such as the Beatles' "Hey Jude" and Bob Dylan's "Positively 4th Street") did not appear on albums, but others (such as the Beatles' "Come Together" and Dylan's "Like a Rolling Stone") were part of an album released concurrently. Today, many commercial albums of music tracks feature one or more singles, which are released separately to radio, TV or the Internet as a way of promoting the album. ^[6]Albums have also been issued that are compilations of older tracks not originally released together, such as singles not originally found on albums, b-sides of singles, or unfinished "demo" recordings.^[3]

Album sets of the past were arranged "in sequence" for phonographs equipped with record changers. In the case of a two-record set, for example, sides 1 and 4 would be printed on one record, and sides 2 and 3 on the other. The consumer would then stack the two records onto a spindle equipped with an automatic record changer by stacking the record with side 1 on the bottom and the record with side 2 directly on top of it. The record containing side 1 would then automatically drop onto the turntable, and the tone arm containing the stylus needle would automatically play the album's side 1. When that side was finished, the tone arm would swing back to allow the record containing side 2 to drop down on top of the record containing side 1 and automatically begin to play. When that was done, the consumer would pick up the stack of records that have already played, flip them over (as a stack, without rearranging), and put them back on the spindle. Sides 3 and 4 would play in sequence without further intervention from the consumer.^[3]Record changers persisted throughout the LP era, but were discontinued after it was discovered that the stacking up of records had the potential to warp them.^[3]

Compact cassette[link]

A blank compact cassette tape and case

The Compact Cassette was a popular medium for distributing pre-recorded music in the late 1970's through to the 1990's. The very first "Compact Cassette" was introduced by Philips in August of 1963 in the form of a prototype.^[7] Compact cassettes became especially popular during the 1980's after the advent of the Sony Walkman, which allowed the person to personally control what they listen to.^[8][7] The Walkman was convenient because of its size, the device could fit in most pockets and often came equipped with a clip for belts or pants.^[7] The compact cassette used doubled-sided magnetic tape to distribute music for commercial sale.^[7][9] The music is recorded on both the "A" and "B" side of the tape, with cassette being "turned" to play the other side of the album.^[7]

Compact disc[link]

A compact disc within an open 'Jewel Case'

The Compact Disc's format effectively replaced both the vinyl record and the cassette, to become the standard for the commercial mass-market distribution of music albums.^[10] The CD is a digital data storage device which permits digital recording technology to be used to record and play-back the recorded music.^[9][10]

Length[link]

According to the rules of the UK Charts, a recording counts as an "album" if either it has more than four tracks or lasts more than 25 minutes.^[11] Sometimes shorter albums are referred to as "mini-albums" or EPs.^[12] Albums such as Tubular Bells, Amarok, Hergest Ridge by Mike Oldfield, and Yes's Close to the Edge, include fewer than four tracks. Other artists such as Pinhead Gunpowder refer to their own releases under 30 minutes to bake as "albums" despite the normal distinction.

If an album becomes too long to fit a single vinyl record or CD, a recording artist may make the decision to release a double album where two vinyl LPs or compact discs are packaged together in a single case, or a triple album containing three LPs or compact discs.

Recording artists who have an extensive back catalog will often re-release several CDs in one single box with a unified design, often containing one or more albums, or a compilation of previously unreleased recordings. These are known as box sets. Some musical artists have also released more than three compact discs or LP records of new recordings at once, in the form of boxed sets, although in that case the work is still usually considered to be an album.

See also[link]

Look up album in Wiktionary, the free dictionary.

Wikimedia Commons has media related to: Music albums

• Album cover
• Concept album
• Compact Disc
• Extended play
• Liner notes
• List of albums
• Long play
• Release (music)
• Single (music)

References[link]

Dean Evenson is a New Age musician and producer. He plays several instruments including the flute, percussion, synthesizer and keyboards. In the New Age genre, his music is generally sounds of nature combined with flute melodies and other instruments for ambient and meditative purposes.

In 1979, he and his wife, harpist Dudley Evenson, founded the independent record company Soundings of the Planet outside of Tucson, Arizona. He has collaborated with many other artists as a producer and musician, including Li Xiangting, master of the guqin (Chinese 7-string zither).

Sound Healing Pioneer - Dean Evenson is one of the true visionaries of the Ambient/New Age musical genre – a prolific musician and composer, an entrepreneur, media pioneer and the co-founder of Billboard-charting independent music label, Soundings of the Planet. At every turn, Evenson’s life has taken bold steps in new and exciting directions. The success and pioneering nature of his creative work attest to a dynamic personality and a life-long commitment to the positive evolution of life on this planet in relationship with the natural and spiritual world. Evenson’s story is that of an artist, technological innovator, broad-minded thinker–a modern-day Renaissance man.

A Childhood In Music and Nature - Music, nature and spirituality were a part of Evenson’s life from a very early age. Growing up in Staten Island, New York as part of a musical, church-going family, Dean learned to play flute and piano, and played and sang in all types of school, church and community orchestras, bands and choirs. His affinity for music also found expression in a deep, abiding love of nature. Borrowing his elder brother’s recording equipment, Dean would often place a microphone outside his bedroom window to capture the crash of thunderstorms. While on an early bird-watching trip with the pastor of his church, Dean learned to appreciate the wonderful, musical complexity of bird-songs. “You don’t notice those things when you’re young unless they’re pointed out to you,” reflects Dean. “Hearing them for the first time like that changed my whole perspective on what nature was and what I thought about sound.” From that point on, music, nature and spirituality became the primary threads with which Evenson wove the fabric of his life.

A Scientist’s Questions - His interest in nature and a keen analytical mind initially took him into the sciences, where he pursued a Master’s degree in molecular biology under a National Science Foundation Fellowship at the University of Maine. At some point during graduate school, however, he realized that he was devoting much of his time to art and music projects on the side. When he completed his degree, his life took a dramatic turn in that direction. “I realized that I had gone into science to find out what science knew about life, but I was never looking for a career,” Dean explains. “I was entranced with determining what it takes for us to live as better human beings on this planet.” The same quest for spiritual knowledge that brought him to science propelled him toward the arts.

The New York Recording Scene - After graduate school in 1968, Dean moved to New York’s thriving East Village arts district, “to see what would happen,” as he puts it. Two important things happened right away. He moved into an apartment directly across from Dudley Dickinson, who soon became his wife and lifelong artistic and business partner. Dean also immediately found work as a recording engineer at Regent Sound Studios where he worked on albums by Eric Clapton, Les McCann, Mose Allison and Roberta Flack.

An Emerging Technology - At the same time, Dean became intrigued with emerging video technology. For sharing ideas of peace and spiritual evolution, Evenson reasoned that the visual image is as powerful a sensory medium as audio, so in 1970, he and Dudley who had a background in photography took a risk and bought one of the first Sony half inch portable video cameras long before VCR players were available to the public. They worked with Raindance Foundation in New York City where they taught video workshops through the Metropolitan Museum of Art and co-edited Radical Software, a journal dedicated to the emerging video art forms. The 1970s were what they called their 'Decade of Intentional Poverty' as they went on the road in a converted school bus to record the alternative culture and awakening consciousness of the era. Their second daughter Sarah was born in the bus on a Florida island and of course they videotaped the birth.

Documenting An Era - Exploring their newfound artistic and documentary medium, Dean and Dudley became engaged in some of the defining social and popular cultural moments of the ’70s and ’80s. They produced multi-media support for a Sam Shepard play at Lincoln Center, videotaped the Jefferson Airplane’s live tribute to Janis Joplin in San Francisco the night after she died, and taped the first United Nations Conference on the Human Environment in Stockholm in 1972. They lent audio and video recording support to the American Indian Movement during the occupation at the Wounded Knee incident, and became profoundly inspired by Native American reverence for the living earth. An audio-video production developed out of participating in the 1992 Earth Summit in Brazil, with interviews of Vice President Al Gore, Bianca Jagger, the Dalai Lama and others. At the conference, Dean performed with John Denver, fellow New Age pioneer Paul Winter, and then with Gwich’in tribal leader Sarah James before an audience of 50,000.

Dean & Dudley Evenson founded the Soundings of the Planet music label in 1979

After many years of living the life of nomadic video pioneers, Dean and Dudley settled for a time atop 10,000-foot Mount Lemmon, just outside Tucson, Arizona. They founded their own music label, Soundings of the Planet in 1979, and began selling homemade tapes at swap meets and health food stores to fulfill their vision of “Peace Through Music,” which became the company motto. Their beautiful, peaceful music often incorporated recordings of natural sounds–streams, bird-songs, wind, ocean waves–and the young company began to define the emerging New Age musical genre. The Evensons now live in the Pacific Northwest in a remote cottage by a wild river

Musical Achievements - After years of organic growth, Soundings of the Planet has become a tremendous success, producing seven consecutive Billboard-charting albums, and being selected as a Billboard Top 10 Indie Label three years in a row. Dean himself has produced over 10 albums of his own music, including Billboard-charting Forest Rain, Desert Moon Song, Ocean Dreams, and Wind Dancer (with keyboardist Tom Barabas). Evenson’s music has been selected for film scores, including the soundtrack to the PBS mini-series, “The Way West,” and Disney’s “Jungle Book” preview. The Windham Hill music label included Dean’s music on Path, its recent ambient music sampler. In addition, Evenson further combines his technical skills with artistic creativity, pursuing state-of-the-art music and multimedia productions, and by directing, producing and recording numerous albums by other Soundings Ensemble musicians–including vocalist Lorellei, whose collaboration with Dean marks a dynamic, new development for both artists. Evenson is renowned as a virtuoso composer, flautist and synthesizer artist, and uses his position in the music industry to promote environmental awareness, social justice and responsible business practices.

The Ongoing Vision - Dean’s life has taken many unexpected twists and has led him and his family through many remarkable, ground-breaking experiences. The same philosophy that led to their unpredictable success and vitality in the past is what continues to guide him. Dean explains, “I’ve always wanted to do the best thing for the planet and what I do is in service. I don’t have a lot of projections about what I’m supposed to be doing or where I should be going. I just follow my inner purpose and personal vision. It’s the intuition, the learning, the inner knowing of which way to go that is the important pathmark for us.” Maintaining that devotion to inner vision and the positive evolution of the planet in the ’90s continues to guide Dean and Dudley Evenson and their growing music label.

Partial discography[link]

• Peaceful Pond (with d'Rachael) – 1986
• "Music Makes the Snow Melt Down" (with Soviet Musicians) - 1988
• Ocean Dreams – 1989
• Desert Moon Song – 1991
• Wind Dancer (with Tom Barabas) – 1992
• Echoes of the Night - 1993
• Forest Rain – 1994
• Joy to the World (with d'Rachael) - 1994
• Ascension to Tibet – 1995
• Dreamstreams – 1996
• Soaring (with Tom Barabas) - 1996
• Back to the Garden (with Tom Barabas) – 1997
• "Prayer: A Multicultural Journey of Spirit" (with Various Artists) - 1998
• Sound Healing (with Soundings Ensemble)– 1998
• Healing Waters – 1999
• Tao of Healing (with Li Xiangting) – 2000
• Sonic Tribe (with Scott Huckabay) - 2000
• Native Healing (with Cha-Das-Ska-Dum) – 2001
• Music for the Healing Arts(with Soundings Ensemble) - 2001
• "Healing Dreams" (with Scott Huckabay) - 2001
• Tao of Peace (with Li Xiangting) – 2002
• Healing Sanctuary – 2002
• "Spirit Rising" (with Sonic Tribe) - 2002
• Sound Massage (with Soundings Ensemble) - 2002
• Sound Yoga (with Soundings Ensemble) – 2003
• Mountain Meadow Meditation (with Scott Huckabay) – 2004'
• Sacred World Chants (with various vocalists)– 2004
• Imagine Peace (with Singh Kaur) - 2005
• Eagle River (with Soundings Ensemble) - 2005
• "Golden Spa Tones" (with Walter Makichen) - 2006
• Spa Rhythms (with SoulFood's DJ Free) – 2006
• Spa Dreams (with d'Rachael) – 2006
• Wood Over Water − 2007
• "Eagle River DVD" - 2007
• Healing the Holy Land (with Dudley Evenson & Various Artists) - 2007
• Chakra Healing (with Soundings Ensemble) − 2008
• Healing Suite (with Tom Barabas) - 2009
• Meditation Moods (with Dudley Evenson) - 2010
• Sacred Earth - 2010
• "Meditation Moods DVD" (with Dudley Evenson) - 2011
• "Reiki OM" (with Dudley Evenson & Henry Han) - 2011

In 1969, Evenson played flute for the psychedelic rock group The Blues Magoos on their Never Goin' Back to Georgia album.

External links[link]

• Soundings of the Planet Web Site