Queen - Queen [Japan Ed.] (1973)

Year: 13 July 1973 (CD Apr 22, 1987)
Label: Toshiba-EMI Ltd. (Japan), CP32-5376
Style: Glam Rock, Pop Rock
Country: London, England
Time: 38:49
Format: Flac Tracks 16/44,1 kHz
Size: 242 Mb

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

Charts: UK #24, AUS #77, AUT #14, GER #6, JPN #34, NLD #14, US #83. UK & US: Gold.

What can we hear?
It’s an incredibly rock-oriented album, which is why we like it so much. Listening to Freddie Mercury with these arrangements is a real delight because he handles it wonderfully. Although Queen was always known as a rock band, their debut album tackles the genre from a more hard-hitting standpoint, with guitar riffs evoking a much heavier sound. However, what’s musically enriching about this is how they combine it with their unique style, largely thanks to Freddie’s voice and Brian’s guitars.
In “Queen,” we hear a band that managed to ground its signature sound from the start. That ‘theatrical opera’ vocal style in “Liar,” Brian May’s characteristic guitar harmonies in “Great King Rat,” John Deacon‘s ever-present bass lines in all the songs, and lastly, Roger Taylor’s finely crafted drums, there’s even a solo in “Keep Yourself Alive.” All of this, combined with Freddie Mercury’s incredible voice and his ever-present piano, makes them a rock band with this series of distinguishing features that had never been heard before.
We hear Queen with a cohesive sound, and although Freddie Mercury deserves much credit for his obvious virtuosity, this sound wouldn’t have been possible without the help of the other band members (something he himself expressed on numerous occasions).

One of Queen's Best Works.
Each song has a special essence, taking you through marked rock paths. One of our favorites is ‘Doing Alright,’ as it presents two sides of the coin passages with Freddie Mercury on the piano contrasting with the madness of fast rhythms, distortions, and Brian May’s guitar solos delivering an energizing hard rock vibe.
It’s commendable how an emerging band dared so much. The album delves into many ‘theatrical’ touches that were risky at the time. That’s why, back then, the genre was termed ‘Rock Opera,’ even though its meaning evolved over the years.
What to say about Freddie Mercury? On this album, we practically hear a debut filled with glory a young musician showcasing all his virtuosity. Perfect pitch, vocal arrangements that not every musician could conceive, and even lyrics that are incredibly imaginative. A one of a kind guy who seems to have recorded dozens of albums before this.
In the second part, the work delves into experimentation, making it even more daring. We hear this in “The Night Comes Down,” with an intro and outro very out of the ordinary, discreetly echoing some influences from Progressive Rock. Following this song, we have a great contrast with ‘Modern Times Rock N’ Roll,’ clearly influenced by Heavy Metal, sung by Roger Taylor. It’s always appreciated to have songs where other band members sing, making the listening experience more diverse.


One of the Best Debut Albums in Rock.
Despite focusing on rock, listening to this self-titled album is very dynamic. Despite its limited instrumentation, the band maximizes each of its working tools. The songs are very different from each other, the melodies are very special, quite uncommon for the time. The instrumental bridges are energetic. Listening carefully to this work for the first time is a guarantee that it will surprise you.
The album finally ends on a high note with “Seven Seas Of Rhye,” an instrumental piece that emphasizes that this work has EVERYTHING, audibly. This song is fully explored in their next album, which seems highly strategic, a subliminal message that there will be more music in the future.
Definitely one of our favorite works, representing Queen very well, an elite start.
(therockreview.net/queen-queen-eng/)

01. Keep Yourself Alive (03:47)
02. Doing All Right (04:09)
03. Great King Rat (05:42)
04. My Fairy King (04:08)
05. Liar (06:25)
06. The Night Comes Down (04:23)
07. Modern Times Rock'n' Roll (01:48)
08. Son & Daughter (03:23)
09. Jesus (03:44)
10. Seven Seas of Rhye (01:15)

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Procol Harum - A Salty Dog [Japan Ed. MFSL-CD] (1969)

Year: April 1969 (US), June 1969 (UK) (CD Jun 1985)
Label: Sanyo (Japan), MFCD 823
Style: Progressive Rock, Art Rock
Country: Southend-on-Sea, Essex, England
Time: 40:51
Format: Flac Tracks 16/44,1 kHz
Size: 204 Mb

Charts: UK #27, CAN #25, NL #8, NOR #19, US #32.
A Salty Dog has an ostensibly nautical theme, as indicated by its cover (a pastiche of the famous Player's Navy Cut cigarette pack). Interspersed with straight rock, blues and pop items, A Salty Dog showed a slight change of direction from its predecessors, being thematically less obscure. The title track itself was the first Procol track to use an orchestra, as would be referred to in the live album performance released some three years later.
The album was the first record produced by Matthew Fisher, who quit the band soon after its release. This was also the last Procol Harum album to feature bass guitarist Dave Knights.
A Salty Dog was recorded in March 1969. The musical tensions between Robin Trower and the rest of the group were beginning to show in this album, and although his guitar sound remains integral to most of the tracks, "Crucifiction Lane" (featuring a rare Trower vocal), in retrospect, shows that Trower was already moving in a different direction from the rest of the band. Still, this album is much more musically varied than the two previous albums, with three Fisher vocals and one by Trower. Many of the instruments the band used on A Salty Dog had been previously used on albums by the Beatles and the Shadows.
When Gary Brooker first performed "A Salty Dog" on piano with Keith Reid's lyrics for drummer B. J. Wilson, the room was filled with sunlight shining through the windows. Wilson, with a sunbeam on his face, told Brooker he thought "it was the most beautiful song he had ever heard." The piano intro riff of the title track is inspired by a train whistle that Brooker heard in Switzerland.
(en.wikipedia.org/wiki/A_Salty_Dog)

01. A Salty Dog (04:40)
02. The Milk of Human Kindness (03:47)
03. Too Much Between Us (03:45)
04. The Devil Came From Kansas (04:38)
05. Boredom (04:36)
06. Juicy John Pink (02:08)
07. Wreck of the Hesperus (03:48)
08. All This and More (03:53)
09. Crucifiction Lane (05:04)
10. Pilgrims Progress (04:31)

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Dave Sinclair (ex Caravan) - Out Of Sinc [Japan Ed.] (2018)

Year: 2018 (CD 2018)
Label: DSINCS Music (Japan), DSINCS CD8
Style: Progressive Rock, Pop Rock
Country: Herne Bay, Kent, England (November 24, 1947)
Time: 61:28
Format: Flac Tracks 16/44,1 kHz
Size: 392 Mb

Dave Sinclair ex. Matching Mole (1971-72), Hatfield and the North (1972-73), Polite Force (1976-77), Camel (1978-1979), Caravan.
The former Caravan keyboard tinkler is far from Canterbury these days - he lives in Japan - and pops out a solo album every four or five years. He was sacked from Caravan some time back over musical differences but, quite frankly, his solo material is so similar to what his old bandmate Pye Hastings produces these days you’d be hard-pushed to slip a thinly-sliced piece of sushi in the gap between them.
Out Of Sinc is a collection of pleasant but mostly unremarkable ballads - melodic and well produced but relying upon some hoary old musical and lyrical cliches. Too many clouds in the sky, hearts feeling free and reaching for the stars - lines that really shouldn’t come from the pen of a grown man.
Wisely, Sinclair gives most of the lead vocals to a very tuneful young lady called Yammy as his voice is a bit thin and undistinguished, and he is supported by a large cast of musicians including old bandmates Pye, Doug Boyle and Geoff Richardson.
There are one or two interesting moments. If I Run thunders along quite nicely thanks to some busy drumming from Jim Bashford (appropriate name there), fluid guitar solos from Takuya Yada and an appealing instrumental section featuring Tony Coe’s clarinet. Sadly, however, there is some unfortunate use of a Vocoder on Sinclair’s voice - the only way to properly utilise a Vocoder is to take it into the garden and demolish it with a sledgehammer.
The simple but winsome Island Of Dreams has an honest, waltz-time charm about it and Home Again manages to remain interesting throughout its 18 minutes. But anyone expecting Nine Feet Underground, Pt2 will be bitterly disappointed - it stays firmly in piano ballad territory, lifted by some welcome guitar work from Camel’s Andy Latimer.
The rest is really too mellow, predictable and unimaginative for my tastes and suggests Sinclair is resting a little too comfortably on his laurels. Perhaps this is the work of someone who wants to take things easy these days - he suffers an irregular heartbeat that two operations have failed to correct. So he is out of sync. See what he did there?
Respect to Dave for continuing to make music after 50 years in the business. But Out Of Sinc shows he’s musically, as well as geographically, far from Canterbury.
(theprogressiveaspect.net/blog/2018/07/09/dave-sinclair-out-of-sinc/) Review by Kevan Furbank. 9 July 2018

01. Blue Eyes (06:44)
02. Back With You (05:21)
03. If I Run (06:36)
04. On My own (04:49)
05. Home Again (17:54)
06. Crazie Blue (05:18)
07. Island Of Dreams (03:42)
08. Out World (05:14)
09. Rings Around The Moon (05:48)

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Matching Mole (Robert Wyatt) - March [Live] (1972)

Year: Recorded Spring 1972 (CD 2002)
Label: ???? Records (Russia, Unofficial Release), RUNE 172
Style: Canterbury Scene, Jazz Rock, Instrumental
Country: Canterbury, England
Time: 47:39
Format: Flac Tracks 16/44,1 kHz
Size: 323 Mb

Matching Mole was the band that drummer/vocalist Robert Wyatt formed after he left the pioneering UK outfit Soft Machine in July, 1971. Soft Machine had been hugely popular in France, and Wyatt named his new band after a play on the French translation of Soft Machine: machine molle. Over the course of its brief, one- year existence, Matching Mole developed a characteristic sound, a unique take on fusion, with interesting structures that encouraged individualistic expression through solos. Its legacy included two studio albums, over fifty concerts in Britain and continental Europe, and a number of TV and radio broadcasts.
Matching Mole's first, self- titled album was released in early 1972. Wyatt originally began it as a solo album in 1971, but midway through the recording broadened its scope. Matching Mole as released featured the band's first quartet line-up - Wyatt and guitarist Phil Miller (Delivery, Hatfield & The North, National Health), organist Dave Sinclair (Caravan), and bassist Bill MacCormick (Phil Manzanera's 801) - as well as a guest, electric pianist, Dave McRae (Mike Westbrook). The group supported the album with shows at home and a European tour. Not long after, Sinclair left the band and McRae joined full time.
The quartet of Wyatt, Miller, MacCormick and McRae proved to be Matching Mole's most experimental as well as most active lineup, performing numerous concerts throughout Europe. The band recorded a second album, Little Red Record, which was produced by Robert Fripp of King Crimson and released in 1972. Shortly after the album's release, Wyatt decided he did not want the responsibilities of band leader and dismantled his band.
In 2001, Cuneiform Records released Smoke Signals, containing previously unreleased live recordings. The material was selected from several different performances and arranged on the CD to replicate a typical Matching Mole concert. The band was so pleased with the way this record came out that when one of the members chanced upon a forgotten live concert from the same period, Cuneiform was contacted and arrangements were made to release this new Matching Mole CD, entitled March.
Like Smoke Signals, Matching Mole's second live album was recorded during the band's most intensive gigging period, the spring of 1972. On the CD, Bill MacCormick, Dave MacRae, Phil Miller and Robert Wyatt, the band's most adventurous line-up, give free-spirited renditions of songs from the ouevre of Matching Mole and some Canterbury friends. The songs include four drawn from Little Red Record as well as two works from the band's first album and a surprising version of Caravan’s "Waterloo Lily". The live recording was remastered and edited by writer Michael King, who compiled the prior live Matching Mole CD and wrote a biography of Wyatt, Wrong Movements (1994, SAF Publishing). Like Smoke Signals, March features cover art (including sculpted/modeled matching /marching moles) by Tom Recchion, an artist, musician, and former Warner Bros, designer based in California.
The two live Matching Mole albums released by Cuneiform double the recorded output of that important Canterbury band. The live recordings illustrate that the band's concert renditions of recorded songs differed dramatically from the heavily overdubbed versions on its studio discs, and thus reveal the integral role that jazz and improvisation played in Matching Mole's work, in theory/aethetic as well as practice/performance. March is sure to prove to be a revelation for both long time fans of and newcomers to the Canterbury school of progressive music and the work of Robert Wyatt.
(disco-robertwyatt.com/images/matching_mole/images/march_big2.jpg)

01. March (04:49)
02. Instant Pussy (04:53)
03. Smoke Signals (06:20)
04. Part Of The Dance (09:54)
05. No Alf Measures (05:44)
06. Lything And Gracing (11:36)
07. Waterloo Lily (04:21)

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National Health - National Health (1978)

Year: February 1978 (CD 2009)
Label: Esoteric Recordings (UK), ECLEC2129
Style: Progressive Rock, Canterbury Scene, Instrumental
Country: Canterbury, England
Time: 49:50
Format: Flac Tracks 16/44,1 kHz
Size: 280 Mb

National Health is the first album recorded by the progressive rock and jazz fusion group National Health, one of the last representatives of the artistically prolific Canterbury scene.
In a retrospective review, All About Jazz wrote that "revisiting the disc over 30 years later reveals a strength in composition, improvisation and orchestration/arrangement that makes it another high point in the careers of everyone involved." In his History of Progressive Rock, Paul Stump said that National Health "retains an askew charm, dominated by a wheezy, rough-and-reedy sound at odds with the amniotic sybaritism of most Progressive production jobs at the time." He opined that despite the album having been criticized for "excessive compositional rigour", the elaborate and inventive compositions actually enabled the soloists to be more adventurous. The Billboard Guide to Progressive Music called the album "easily the best of (National Health's) three releases."
(en.wikipedia.org/wiki/National_Health_(album))

01. Thermos Roads (14:32)
02. Brujo (10:14)
03. Borogoves (Excerpt From Part 2) (04:13)
04. Borogoves (Part 1) (06:30)
05. Elephants (14:20)

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Steve Winwood (ex Traffic) - Steve Winwood [MFSL-CD. 24kt Gold] (1977)

Year: June 1977 (CD February 1997)
Label: Mobile Fidelity Sound Lab (US), UDCD 691
Style: Funk Rock, Pop Rock
Country: Birmingham, England (12 May 1948)
Time: 37:36
Format: Flac Tracks 16/44,1 kHz
Size: 222 Mb

Charts: UK #12, AUS #78, JPN #95, US #22.
Steve Winwood is the debut solo studio album by blue-eyed soulster Steve Winwood. It was released in 1977, three years after the break-up of his former band, Traffic. Though the album sold moderately well in the US, it was a commercial disappointment compared to Traffic's recent albums, peaking at number 22 on the Billboard albums chart. In the UK, where Traffic's recent albums had only been moderately successful, Steve Winwood reached number 12 on The Official Charts. Island Records released two singles from the album, "Hold On" and "Time Is Running Out", both of which failed to chart.
(en.wikipedia.org/wiki/Steve_Winwood_(album))

01. Hold On (04:35)
02. Time Is Running Out (06:34)
03. Midland Maniac (08:34)
04. Vacant Chair (06:56)
05. Luck's In (05:23)
06. Let Me Make Something in Your Life (05:33)

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Savoy Brown - Witchy Feelin' (2017)

Year: 2017 (CD 2021)
Label: Ruf Records (Germany), RUF 1251
Style: Electric Blues, Blues Rock
Country: London, England
Time: 54:54
Format: Flac Tracks 16/44,1 kHz
Size: 343 Mb

Kim Simmonds founded Savoy Brown in October 1965.  At 69 he still is Savoy Brown as the band is pretty much Kim Simmonds on guitar and vocals and whoever he has a back-line.  Here we have him with Pat DeSalvo on bass and Garnet Grimm on drums doing a great job backing up this 69 year old British master of the blues guitar.
"Why Did You Hoodoo Me" is a nice an above mid-tempo blues rocker where Simmonds demonstrates his prowess on guitar for us.  He questions why he’s been cursed by his woman in this slick production.  Kim switches things up with "Livin’ On The Bayou" with a little creole inspired stuff.  A Cajun ballad with some pretty and somewhat ethereal guitar.  "I Can’t Stop the Blues" has Simmonds growling out the lyrics in a song about loneliness.  The guitar work is what this one’s all about- steady handed and cool.  The title cut is up next, a cool slow blues with nice guitar picking, and a ghostly bass line and sound. "Guitar Slinger" picks up the tempo a little and gets into what the title says- guitar slinging.  "Vintage Man" shuffles and shines nicely as Kin sings about being a vintage sort of guy in Levis, blue suede shoes and listening to his record player as he listens to and plays Jimmy Reed.
The slide comes out for "Standing In A Doorway."  Slow blues with voice and slide in a melancholy repartee, nicely done.  "Memphis Blues" gives us a driving beat and some big guitar and some more slide, but this time it’s greasy and slick.  "Can’t Find Paradise" is a big, blues rock anthem sort of piece with some more slide work. Simmonds guitar cries and wails in "Thunder, Lightning and Rain."  It’s a big cut with lots of guitar that goes on for nearly 8 minutes of 6 string soling to a steady bass and drum beat.  The CD closes to "Close to Midnight," a sultry and thoughtful instrumental of Simmonds showing us why he’s highly regard as a guitar man.
If you love Savoy Brown and Kim Simmonds then you’ll be spinning this CD a lot because this is right up your alley.  Simmonds shows us he’s still got what it takes.  The guitar is not overdone, but it’s big and impressively done.  It’s a really enjoyable set of new songs all penned by Kim.
(bluesblastmagazine.com/savoy-brown-witchy-feelin-album-review/)

01. Why Did You Hoodoo Me (05:14)
02. Livin' on the Bayou (06:01)
03. I Can't Stop the Blues (05:27)
04. Witchy Feelin' (04:37)
05. Guitar Slinger (03:53)
06. Vintage Man (03:08)
07. Standing in a Doorway (05:41)
08. Memphis Blues (04:14)
09. Can't Find Paradise (04:29)
10. Thunder, Lightning & Rain (07:56)
11. Close to Midnight (04:08)

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Savoy Brown - A Step Further (1969)

Year: September 1969 (US/Canada), October 1969 (UK) (CD 1990)
Label: Deram Records (US), 844 015-2
Style: Blues Rock
Country: London, England
Time: 40:19
Format: Flac Tracks 16/44,1 kHz
Size: 253 Mb

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

With Kim Simmonds and Chris Youlden combining their talents in Savoy Brown's strongest configuration, 1969's A Step Further kept the band in the blues-rock spotlight after the release of their successful Blue Matter album. While A Step Further may not be as strong as the band's former release, all five tracks do a good job at maintaining their spirited blues shuffle. Plenty of horn work snuggles up to Simmonds' guitar playing and Youlden's singing is especially hearty on "Made up My Mind" and "I'm Tired." The first four tracks are bona fide Brown movers, but they can't compete with the 20-plus minutes of "Savoy Brown Boogie," one of the group's best examples of their guitar playing prowess and a wonderful finale to the album. This lineup saw the release of Raw Sienna before Lonesome Dave Peverett stepped up to the microphone for Looking In upon the departure of Youlden, but the new arrangement was short lived, as not long after three other members exited to form Foghat. As part of Savoy Brown's Chris Youlden days, A Step Further should be heard alongside Getting to the Point, Blue Matter, and Raw Sienna, as it's an integral part of the band's formative boogie blues years.
(allmusic.com/album/a-step-further-mw0000691084)

01. Made Up My Mind (02:58)
02. Waiting In The Bamboo Groove (03:38)
03. Life's One Act Play (06:30)
04. I'm Tired - Where Am I (05:05)
05. Savoy Brown Boogie (Live) (22:06)

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Electric Light Orchestra - A New World Record [Japan Ed. 6 bonus tracks] (1976)

Year: October 15, 1976 (CD Sep 20, 2006)
Label: Epic Records (Japan), MHCP 1097
Style: Progressive Pop, Pop Rock
Country: Birmingham, England
Time: 59:12
Format: Flac Tracks 16/44,1 kHz
Size: 398 Mb

Charts: UK #6, AUS #1, AUT #9, GER #7, JPN #60, NLD #2, NOR #9, SWE #1, US #5. NLD: Gold; UK & US: Platinum; CAN: 2x Platinum.
A New World Record marked ELO's shift towards shorter pop songs, a trend which would continue across their career.
Their second album to be recorded at Musicland Studios in Munich, the LP proved to be the band's breakthrough in the UK; after their previous three studio recordings failed to chart in their home market, A New World Record became their first top ten album in the UK. It became a global success and reached multi-platinum status in the US and UK. The album sold five million units worldwide within its first year of release. The cover art features the ELO logo, designed by Kosh, for the first time; this logo would be included on most of the group's subsequent releases. The album yielded four hit singles, including "Livin' Thing", the transatlantic Top Ten hit "Telephone Line", which became the band's first gold US single, the UK Top Ten hit "Rockaria!", and the US number 24 hit "Do Ya", a remake of the 1972 single by The Move, of which Lynne was a member between 1970 and 1972.
In 1977, four of the album's songs were featured on the soundtrack of the film Joyride. In 2006, the album was remastered and released with bonus tracks on Sony's Epic/Legacy imprint. "Surrender" was also issued as a promotional single and an iTunes download single, which entered the top 100 download chart. The track was originally written in 1976 for a cancelled film soundtrack and was finished in 2006.
(en.wikipedia.org/wiki/A_New_World_Record)

01. Tightrope (05:06)
02. Telephone Line (04:40)
03. Rockaria! (03:12)
04. Mission (A World Record) (04:25)
05. So Fine (03:55)
06. Livin' Thing (03:32)
07. Above The Clouds (02:17)
08. Do Ya (03:45)
09. Shangri-La (05:40)
10. Telephone Line (Different Vocal) (Bonus) (04:41)
11. Surrender (Bonus) (02:37)
12. Tightrope (Instrumental Early Rough Mix) (Bonus) (04:55)
13. Above the Clouds (Instrumental Rough Mix) (Bonus) (01:14)
14. So Fine (Instrumental Early Rough Mix) (Bonus) (04:16)
15. Telephone Line (Instrumental) (Bonus) (04:51)

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Dave Greenslade (ex If & Colosseum) - Cactus Choir (1976)

Year: 1976 (CD ????)
Label: Warner Bros. Records (US), 9 56306-2
Style: Progressive Rock, Pop Rock
Country: Woking, Surrey, England (18 January 1943)
Time: 41:35
Format: Flac Tracks 16/44,1 kHz
Size: 247 Mb

David John Greenslade (born 18 January 1943) is an English composer and keyboard player. He has played with Colosseum from the beginning in 1968 until the farewell concert in 2015 and also from 1973 in his own band, Greenslade, and others including If and Chris Farlowe's Thunderbirds.
Greenslade was born in Woking, Surrey, England, the son of orchestral arranger Arthur Greenslade. Among his works are Cactus Choir, The Pentateuch of the Cosmogony (with art by Patrick Woodroffe) and From the Discworld. Television work includes music for the BBC series Gangsters (1975–1978), Bird of Prey (1982–1984) and A Very Peculiar Practice (1986), the theme to which was sung by Elkie Brooks.
After this he "virtually vanished from sight", becoming, as his friend Terry Pratchett proclaimed, "the man every TV producer in England would call when a new TV theme was needed". Greenslade's association with Pratchett, brought him back out into public view, with the 1994 release of From the Discworld, an album of music inspired by Pratchett's novels. Greenslade was active, between 1994 and 2015, after the re-forming of the band Colosseum.
Two more solo albums appeared, Going South and Routes/Roots, in 1999 and 2011 respectively.
Cactus Choir is the first solo album by British keyboardist Dave Greenslade, released in 1976 soon after the disbandment of his own eponymous band, Greenslade. His Greenslade bandmate Tony Reeves also plays on half of the album's tracks. The artwork for the cover is by Roger Dean.
(en.wikipedia.org/wiki/Dave_Greenslade)

01. Pedro's Party (02:38)
02. Gettysburg (03:58)
03. Swings And Roundabouts (04:19)
04. Time Takes My Time (06:00)
05. Forever And Ever (04:09)
06. Cactus Choir (06:15)
07. Country Dance (05:36)
08. Finale (08:37)

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Steely Dan - Pretzel Logic [Japanese Ed. SHM-CD] (1974)

Year: February 20, 1974 (CD Jun 25, 2008)
Label: Geffen Records (Japan), UICY-93517
Style: Jazz Rock, Pop Rock, Soft Rock
Country: New York, U.S.
Time: 34:03
Format: Flac Tracks 16/44,1 kHz
Size: 227 Mb

Charts: US #8, AUS #18, CAN #5, NZ #23, UK #37. UK: Silver; US: Platinum.
Pretzel Logic contains shorter songs and fewer instrumental jams than Steely Dan's previous album, Countdown to Ecstasy (1973), as the group had decided to attempt to produce complete musical statements within the three-minute pop-song format. Music critic Robert Christgau wrote that the album's solos are "functional rather than personal or expressive, locked into the workings of the music".
The music on the album is characterized by harmonies, counter-melodies, and bop phrasing, and often relies on straightforward pop influences. The syncopated piano line that opens "Rikki Don't Lose That Number" develops into a pop melody, and the title track transitions from a blues song to a jazzy chorus.
Steely Dan often incorporated jazz into their music during the 1970s. For example, on this album, "Rikki Don't Lose That Number" appropriates the bass pattern from Horace Silver's 1965 song "Song for My Father", and "Parker's Band" features riffs influenced by Charlie Parker and a lyric that invites listeners to "take a piece of Mr. Parker's band." Baxter's guitar playing drew on jazz and rock and roll influences, and on the instrumental cover of Duke Ellington's "East St. Louis Toodle-Oo", he recreates a classic Tricky Sam Nanton trombone solo on pedal steel. On that same track, Walter Becker uses talk box guitar to recreate James "Bubber" Miley's famous plunger-muted trumpet melody. Certain songs on the album incorporate additional instrumentation, including exotic percussion, violin sections, bells, and horns. Victor Feldman played a flapamba solo to introduce the song "Rikki Don't Lose That Number" on the album, but this intro was removed from the single release upon orders from Geffen Records.
"Charlie Freak" recounts the tale of a vagrant drug-addict who sells his only possession—a gold ring—to the narrator so he can buy a fix, which kills him.
(en.wikipedia.org/wiki/Pretzel_Logic)

01. Rikki Don't Lose That Number (04:33)
02. Night By Night (03:40)
03. Any Major Dude Will Tell You (03:08)
04. Barrytown (03:22)
05. East St. Louis Toodle-Oo (02:49)
06. Parker's Band (02:45)
07. Through With Buzz (01:34)
08. Pretzel Logic (04:32)
09. With A Gun (02:18)
10. Charlie Freak (02:44)
11. Monkey In Your Soul (02:34)

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Deep Purple - Deep Purple [Japanese Ed.] (1969)

Year: June 1969 (CD Dec 21, 1990)
Label: Warner Bros. Records (Japan), WPCP-4015
Style: Hard Rock, Classic Rock
Country: London, England
Time: 44:38
Format: Flac Tracks 16/44,1 kHz
Size: 272 Mb

Album recorded and mixed in the analog domain - AAD.
A=Analog. D=digital.
The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

In late 1968, Deep Purple had embarked on a successful first US tour to promote their second album The Book of Taliesyn, and returned home on 3 January 1969. The band was considered an underground act in the United Kingdom, but word of their success in America had influenced their reputation at home, as they gradually rose in popularity and request. However, their releases had yet to make an impact in the UK, where their second single, a cover of Neil Diamond's "Kentucky Woman", had not charted and was retired after six weeks, after having peaked at No. 38 in the United States and No. 21 in Canada.
Deep Purple's American label Tetragrammaton Records pressured the band to make a single to match the success of their hit "Hush", and the band had tried to satisfy that request while still in the US for the last dates of their tour; they recorded some covers in a New York studio in December 1968, without worthwhile results. The musicians had come up with much more complex original material for their second album, and making a song that would easily fit the three-minute range was apparently becoming difficult.
A few days after their US tour, Deep Purple settled in with their usual producer Derek Lawrence at De Lane Lea Studios in Kingsway, London, already used for The Book of Taliesyn sessions, to compose and record new songs and solve the new single problem. The song "Emmaretta" (named after the musical Hair cast member Emmaretta Marks, whom singer Rod Evans had met in the US) was composed for that purpose and recorded on 7 January 1969, after four takes. The heavier and more experimental song "The Bird Has Flown" was arranged and recorded later on the same day and was chosen as the B-side for the US release. The instrumental "Wring That Neck" from their previous album was the B-side of the British edition of "Emmaretta", which was issued in February 1969 and promoted by Deep Purple in their first full UK tour. This was the first time that a Deep Purple release appeared in the UK before the US. The tour started in Birmingham on 6 February with a concert broadcast by BBC Radio 1, and went on as a series of one-nighters in clubs and colleges across the country during February and March. Deep Purple's greater visibility and their declared interest in the British public induced local music magazines to print a few articles on them. However, after keyboard player and spokesperson Jon Lord publicly stated that they would play large arenas for ?2500 per show in America then come home and only be able to book small venues paying ?150 a night, typical headlines were "Purple won't starve for an ideal" and "They lose ?2350 a night working in Britain".
(en.wikipedia.org/wiki/Deep_Purple_(album))

01. Chasing Shadows (05:35)
02. Blind (05:27)
03. Lalena (05:05)
04. a. Fault Line b. The Painter (05:38)
05. Why Didn't Rosemary? (05:06)
06. Bird Has Flown (05:36)
07. April (12:07)

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David Bowie - Outside [Japanese Ed. 2CD] (1995)

Year: 25 September 1995 (CD Jun 6, 2007)
Label: Sony Records Int'l (Japan), MHCP 1340-1
Style: Experimental Rock, Ambient, Pop
Country: London, England (8 January 1947 - 10 January 2016)
Time: 74:50, 78:37
Format: Flac Tracks 16/44,1 kHz
Size: 517, 539 Mb

Outside (stylised as 1. Outside and subtitled The Nathan Adler Diaries: A Hyper-cycle) is the twentieth studio album by the English musician David Bowie, released on 25 September 1995 through Virgin Records in the United States and Arista Records, BMG and RCA Records in other territories. Reuniting Bowie with the musician Brian Eno following the late 1970s Berlin Trilogy, the two were inspired by concepts "outside" the mainstream, such as various outsider and performance artists. Recorded throughout 1994, the experimental sessions saw Bowie conceive a world where "art crimes", such as murder, pervade society. The resulting Leon project initially faced resistance from labels due to its uncommercial nature. The project's bootlegging led to additional sessions in 1995 to revise the concept and record more commercial material, inspired by a diary Bowie wrote for Q magazine.
Influenced by the television series Twin Peaks, the nonlinear narrative of Outside concerns the residents of the fictional Oxford Town, New Jersey, and follows the detective Nathan Adler as he investigates the murder of a 14-year-old girl. The tracks show perspectives of specific characters, while spoken word between-song segues convey more character ideals; the story and Adler's diary entries were presented in the album's CD booklet. Musically, Outside displays styles from art rock, industrial rock and jazz, to electronica and ambient. The album cover is a self-portrait of Bowie.
(en.wikipedia.org/wiki/Outside_(David_Bowie_album))

01. Leon Takes Us Outside (01:24)
02. Outside (04:04)
03. The Hearts Filthy Lesson (04:57)
04. A Small Plot Of Land (06:34)
05. Segue - Baby Grace (A Horrid Cassette) (01:39)
06. Hallo Spaceboy (05:14)
07. The Motel (06:50)
08. I Have Not Been To Oxford Town (03:49)
09. No Control (04:33)
10. Segue - Algeria Touchshriek (02:03)
11. The Voyeur Of Utter Destruction (As Beauty) (04:21)
12. Segue - Ramona A. Stone / I Am With Name (04:01)
13. Wishful Beginnings (05:08)
14. We Prick You (04:35)
15. Segue - Nathan Adler (01:00)
16. I'm Deranged (04:31)
17. Thru' These Architects Eyes (04:22)
18. Segue - Nathan Adler (00:28)
19. Strangers When We Meet (05:07)

01. The Hearts Filthy Lesson (Trent Reznor Alternative Mix) (05:21)
02. The Hearts Filthy Lesson (Rubber Mix) (07:48)
03. The Hearts Filthy Lesson (Simple Text Mix) (06:39)
04. The Hearts Filthy Lesson (Filthy Mix) (05:53)
05. The Hearts Filthy Lesson (Good Karma Mix By Tim Simenon) (05:00)
06. A Small Plot Of Land (Basquiat) (02:49)
07. Hallo Spaceboy (12' Remix) (06:44)
08. Hallo Spaceboy (Double Click Mix) (07:48)
09. Hallo Spaceboy (Instrumental) (07:46)
10. Hallo Spaceboy (Lost In Space Mix) (06:34)
11. I Am With Name (Album Version) (04:01)
12. I'm Deranged (Jungle Mix) (07:03)
13. Get Real (02:51)
14. Nothing To Be Desired (02:16)

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Fleetwood Mac - Fleetwood Mac [Japanese Ed.] (1975)

Year: 11 July 1975 (CD Dec 21, 1986)
Label: Reprise Records (Japan), 32XD-498
Style: Pop, Rock
Country: London, England
Time: 42:59
Format: Flac Tracks 16/44,1 kHz
Size: 239 Mb

Charts: UK #23, US #1, AUS #3, CAN #2, GER #47, NL #86, NZ #4. UK: Gold; CAN: Platinum; AUS: 4x Platinum; US: 7x Platinum.
In 1974, Fleetwood Mac relocated from England to California to manage the band's affairs better. In California, they recorded an album, Heroes Are Hard to Find, and set out on tour. Shortly after finishing the tour, Bob Welch (guitarist, singer, and composer) left the band, ending Fleetwood Mac's ninth lineup in eight years, to form the band Paris.
Prior to Welch's departure, Mick Fleetwood met with producer Keith Olsen at Sound City Studios to listen to some demos. There, Olsen played Fleetwood an album he had recently engineered, titled Buckingham Nicks. Fleetwood particularly enjoyed the guitar solo on the song "Frozen Love", and decided to hire both Olsen and the guitarist, Lindsey Buckingham. However, Buckingham would not accept Fleetwood's offer unless he agreed to also hire Buckingham's musical and romantic partner, Stevie Nicks, even though they were close to breaking up. After an informal interview at a Mexican restaurant, Mick Fleetwood invited both Buckingham and Nicks to join the band, and this tenth lineup of the band proved to be its most successful. Within three months, the band had recorded the album Fleetwood Mac.
During the recording sessions, bassist John McVie clashed with Buckingham over creative decisions made in the studio, particularly over some of the album's bass parts. McVie reminded Buckingham that "The band you're in is Fleetwood Mac. I'm the Mac. And I play the bass." Buckingham told Billboard that Christine McVie was more receptive to his creative input.
"It was so clear that right away that Christine and I had this thing. She was just really looking for direction. She was open to me taking liberties with her songs. So early on, that was probably the first thing that hit me about being in Fleetwood Mac was being extremely aware that I had something to contribute to Christine’s songs as a producer and possibly as a co-writer."
Many of the songs on Fleetwood Mac were written before Buckingham and Nicks joined the band. "Rhiannon", "I'm So Afraid", and "Monday Morning" were written and performed live by the duo and were initially slated to appear on a second Buckingham Nicks album. "Crystal" was recycled from the first Buckingham Nicks album, but with a different arrangement. Fleetwood praised these songs as "show stoppers, even as rough sketches recorded on Lindsey's four-track.
Like all of the band's studio albums, the front cover photo of Fleetwood Mac does not show the whole band, including, in this case, only drummer Mick Fleetwood (standing) and bass guitarist John McVie (kneeling).
(en.wikipedia.org/wiki/Fleetwood_Mac_(1975_album))

01. Monday Morning (02:48)
02. Warm Ways (03:54)
03. Blue Letter (02:41)
04. Rhiannon (04:11)
05. Over My Head (03:38)
06. Crystal (05:14)
07. Say You Love Me (04:11)
08. Landslide (03:19)
09. World Turning (04:26)
10. Sugar Daddy (04:10)
11. I'm So Afraid (04:23)

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Alice Cooper - Love It To Death [Japan Ed. SHM-CD] (1971)

Year: March 9, 1971 (CD December 21, 2011)
Label: Warner Bros. Records (Japan), WPCR-14301
Style: Garage Rock, Hard Rock, Glam Rock
Country: Phoenix, Arizona, U.S. (February 4, 1948)
Time: 36:56
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

Charts: US #35, CAN #39, UK #28. US: Platinum.
It was the band's first commercially successful album and the first album that consolidated the band's aggressive hard-rocking sound, instead of the psychedelic and experimental rock style of their first two albums. The album's best-known track, "I'm Eighteen", was released as a single to test the band's commercial viability before the album was recorded.
Formed in the mid-1960s, the band took the name Alice Cooper in 1968 and became known for its outrageous theatrical live shows. The loose, psychedelic freak rock of the first two albums failed to find an audience. The band moved to Detroit in 1970 where they were influenced by the aggressive hard rock scene. A young Bob Ezrin was enlisted as producer; he encouraged the band to tighten its songwriting over two months of rehearsing ten to twelve hours a day. The single "I'm Eighteen" achieved Top 40 success soon after, peaking at No. 21. This convinced Warner Bros. that Alice Cooper had the commercial potential to release an album. After its release in March 1971, Love It to Death reached No. 35 on the Billboard 200 albums chart and has since been certified platinum. The album's second single, "Caught in a Dream", charted at No. 94.
The original album cover featured the singer Cooper posed with his thumb protruding so it appeared to be his penis; Warner Bros. soon replaced it with a censored version. The Love It to Death tour featured an elaborate shock rock live show: during "Ballad of Dwight Fry"—about an inmate in an insane asylum—Cooper would be dragged offstage and return in a straitjacket, and the show climaxed with Cooper's mock execution in a prop electric chair during "Black Juju". Ezrin and the Coopers continued to work together for a string of hit albums until the band's breakup in 1974. The album has come to be seen as a foundational influence on hard rock, punk, and heavy metal; several tracks have become live Alice Cooper standards and are frequently covered by other bands.
(en.wikipedia.org/wiki/Love_It_to_Death)

01. Caught In A Dream (03:09)
02. I'm Eighteen (03:00)
03. Long Way To Go (03:02)
04. Black Juju (09:06)
05. Is It My Body (02:39)
06. Hallowed Be My Name (02:31)
07. Second Coming (03:04)
08. Ballad Of Dwight Fry (06:31)
09. Sun Arise (03:51)

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Ian Gillan Band - Scarabus (1977)

Year: 7 October 1977 (CD 1998)
Label: Eagle Records (Europe), EAMCD048
Style: Hard Rock, Jazz-Rock
Country: London, England
Time: 49:43
Format: Flac Tracks 16/44,1 kHz
Size: 336 Mb

Scarabus is the third and the last studio album by British jazz rock band Ian Gillan Band, released in October 1977.
The album was reissued in 1982 by Virgin Records in the height of popularity of Ian Gillan's group Gillan (a CD edition followed in 1989). The CD reissue included an extra track, "My Baby Loves Me". This track, recorded live at the Budokan Hall, Tokyo, Japan, on 22 September 1977, was originally part of the double LP set Live at the Budokan, and had been omitted from the UK release in error.
Ian Gillan re-used the vocal melody of the title track "Scarabus" on the song "Disturbing the Priest" six years later, on the album Born Again (1983) during his short tenure with the British hard rock/heavy metal band Black Sabbath. The guitar riff on "Mercury High" is the same as the one played by guitarist Ray Fenwick on "Back USA" from his 1971 solo album Keep America Beautiful, Get a Haircut.
The "witch" on the US cover comes from an adaptation of the movie poster for the 1976 horror film The Witch Who Came from the Sea, which itself was based on an older Frank Frazetta painting.
(en.wikipedia.org/wiki/Scarabus)

01. Scarabus (04:55)
02. Twin Exhausted (04:09)
03. Poor Boy Hero (03:09)
04. Mercury High (03:32)
05. Pre-Release (04:23)
06. Slags To Bitches (05:11)
07. Apathy (04:15)
08. Mad Elaine (04:19)
09. Country Lights (03:17)
10. Fool's Mate (04:18)
11. My Baby Loves Me (Live, bonus track) (08:12)

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