Bill Nelson (Be Bop Deluxe) - Joy Through Amplification (2012)

Year: 2012 (CD Jul 9, 2012)
Label: Sonoluxe Records (UK), CD022
Style: Electronic, Art Rock, Experimental
Country: Wakefield, England (18 December 1948)
Time: 66:57
Format: Flac Tracks 16/44,1 kHz
Size: 420 Mb

So...who is Bill Nelson?
Founder of Be-Bop Deluxe in 1973, guitarist Bill Nelson wrote all of the bands Material. Signed to EMI, the band released five studio albuMs and scored a top ten UK hit with the single 'Ships In The Night.'
?In 1979 Bill disbanded Be-Bop Deluxe and launched Red Noise whose 'Sound-On-Sound' albuM is often cited as an inspiration by Many younger bands.
Bill then forMed his own independent record label, Cocteau Records, and throughout the 80's and 90's he released Many solo albuMs as well as collaborating with other Musicians such as Yellow Magic Orchestra, David Sylvian, Harold Budd, The Associates, Cabaret Voltaire, Sandy And The Sunsets and Channel Light Vessel.
As a producer he has worked on albuMs for Roger Eno, The Skids, Gary NuMan, The Units, The RhythM Sisters, Nash The Slash and Many others.
Bill has coMposed and recorded Music for filM, television and theatrical productions.
Since 2000 he has released Many solo albuMs on his own label.
Explore this website to discover the astounding aMount of work that Bill has created throughout his career!
(billnelson.coM/bill-nelson-biography)?

01. Ampex One (01:33)

02. Sex Magic (04:49)

03. Ampex Two (01:32)

04. Vortexion Dream (04:36)

05. Ampex Three (01:14)

06. The Conjuror's Companion (Every Blessed Thing Is So Damned Fragile) (04:27)

07. Ampex Four (01:37)

08. Orpheus Dreams Of Disneyland (04:30)

09. Ampex Five (01:14)

10. Imps In The Undergrowth (03:37)

11. Ampex Six (01:21)

12. Arco Volta (02:12)

13. Ampex Seven (01:23)

14. Fire Gods Of The National Machine (04:20)

15. Ampex Eight (01:27)

16. To What Strange Place Will This Take You? (02:57)

17. Ampex Nine (01:22)

18. Heaven Holds A Grand Parade (04:43)

19. Ampex Ten (01:23)

20. Weather Blows Wild Inside My Head (03:08)

21. Ampex Eleven (01:20)

22. Why Does It Do That? (02:54)

23. Ampex Twelve (01:22)

24. These Tall Blue Days (Are Lark Amazed) (02:39)

25. Ampex Extra (02:06)

26. Monsters From Heaven (Flowers And Rain) (03:01)

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Black Sabbath - Master Of Reality (1971)

Year: 21 July 1971 (CD May 12, 1987)
Label: Warner Bros. Records (U.S.), 2562-2
Style: Hard Rock, Heavy Metal
Country: Birmingham, England
Time: 34:28
Format: Flac Tracks 16/44,1 kHz
Size: 204 Mb

Charts: UK #5, U.S. #8, AUS #8, CAN #6, FIN #3, GER #5, NL #10, NOR #12, SWE #8. UK: Gold, CAN: Platinum, US: 2x Platinum.
Not all of this, incidentally, was rendered in La Brea sinks of lugubrious bass blasts - several of the songs had high wailing solos and interesting changes of tempo, and "Paranoid" really moved. If you took the trouble to listen to the album all the way through.
Master of Reality both extends and modifies the trends on Paranoid. It has fewer songs, if you discount the two short instrumental interludes, but it is not that the songs are longer than the first record - the album is shorter. The sound, with a couple of exceptions, has evolved little if at all. The thick, plodding, almost arrhythmic steel wool curtains of sound the group is celebrated and reviled for only appear in their classical state of excruciating slowness on two tracks, "Sweet Leaf" and "Lord of This World," and both break into driving jams that are well worth the wait. Which itself is no problem once you stop thinking about how bored you are and just let it filter down your innards like a good bottle of Romilar. Rock & roll has always been noise, and Black Sabbath have boiled that noise to its resinous essence. Did you expect bones to be anything else but rigid?
The rest of the songs, while not exactly lilting, have all the drive and frenzy you could wish for in this day and age. Thematically the group has mellowed a bit, and although the morbidity still shines rankly in almost every song, the group seems to have taken its popularity and position seriously enough to begin offering some answers to the dark cul-de-sacs of Paranoid. "Sweet Leaf," for instance, shows that Black Sabbath have the balls to write a song celebrating grass this late date, and the double entendre, if you can even call it that, is much less tortuous than it would have been in 1966, with an added touch of salvation from grosser potions: "My life was empty forever on a down/Until you took me, showed me around ... Straight people don’t know what you’re about..."
Unfortunately, the religious virus also rears its zealot head, in "After Forever," which is a great Yardbirds-type arrangement nevertheless and despite its drubbing us over the head with "God is the only way to love" it does have the great line "Would you like to see the Pope on the end of a rope?"
And besides, isn’t all this Christian folderol just the flip side of the Luciferian creed they commenced with and look back on balefully in "Lord of This World"? And for those of us, like me, who prefer the secular side of Black Sabbath, there’s "Solitude," a ballad as lovely as any out of England in the last year (with flute yet), and "Children of the Grave": with "Revolution in their minds the children start to march Against the world they have to live in Oh! The hate that’s in their hearts They’re tired of being pushed around and told just what to do. They’ll fight the world until they’ve won and love comes flowing through."
(rollingstone.com/music/music-album-reviews/master-of-reality-102188/) November 25, 1971 by Lester Bangs

01. Sweet Leaf (05:04)

02. After Forever (05:25)

03. Embryo (00:28)

04. Children Of The Grave (05:17)

05. Orchid (01:31)

06. Lord Of This World (05:26)

07. Solitude (05:02)

08. Into The Void (06:11)

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Them - Them Again (UK version) (1966)

Year: 21 January 1966 (UK), April 1966 (U.S.) (CD 1992)
Label: Deram Records (Germany), 820 564-2
Style: Rhythm and Blues, Rock
Country: Belfast, Northern Ireland
Time: 48:21
Format: Flac Tracks 16/44,1 kHz
Size: 238 Mb

Them Again is the second album by the Northern Irish band, Them, whose lead singer and songwriter was Van Morrison. The album was released by Decca Records in the UK on 21 January 1966 but it failed to chart. In the U.S. it was released in April 1966 where it peaked at #138 on the Billboard charts.
Two of the original Van Morrison songs included on the album, "My Lonely Sad Eyes" and "Hey Girl", can be seen as precursors to the poetic musings of Morrison's later Astral Weeks album, released in 1968. "My Lonely Sad Eyes" begins with the words, "Fill me my cup, and I'll drink your sparkling wine/Pretend that everything is fine, 'til I see your sad eyes." The title implies that the sad eyes belong to the singer but the lyrics address the singer's love interest. The song "Hey Girl" has a pastoral feel to it, enhanced by the addition of flutes and in Brian Hinton's opinion is a "dry run for 'Cyprus Avenue'" from Astral Weeks. The cover version of Bob Dylan's "It's All Over Now, Baby Blue", is considered by author Clinton Heylin to be "that genuine rarity, a Dylan cover to match the original." Among the Van Morrison originals and cover versions found on the album, four of producer Tommy Scott's original compositions are also included.
Like "Gloria" from the first LP, "I Can Only Give You Everything" became popular with other groups, and was performed by a number of US garage bands. It was recorded by numerous acts including The Troggs, The Liverpool Five, The Haunted, The Little Boy Blues, The MC5, The Clefs, Richard Hell, and Little Bob Story. French language versions include those by Les Sultans (as "Tu es impossible"), Ronnie Bird, and Sylvie Vartan (both as "Chante"). In 2007 The San Franciscan band The Ex-Boyfriends released a version.
(en.wikipedia.org/wiki/Them_Again)

01. Could You Would You (03:14)

02. Something You Got (02:36)

03. Call My Name (02:25)

04. Turn On Your Love Light (02:23)

05. I Put A Spell On You (02:41)

06. I Can Only Give You Everything (02:44)

07. My Lonely Sad Eyes (02:34)

08. I Got A Woman (03:16)

09. Out Of Sight (02:26)

10. It's All Over Now Baby Blue (03:52)

11. Bad Or Good (02:11)

12. How Long Baby (03:41)

13. Hello Josephine (02:09)

14. Don't You Know (02:28)

15. Hey Girl (03:06)

16. Bring 'Em On In (03:46)

17. One More Time (U.S. Version) (02:48)

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Faces - Long Player [Japan Edition] (1971)

Year: February 1971 (CD Jun 23, 2010)
Label: Warner Bros. Records (Japan), WPCR 13840
Style: Rock, R&B
Country: London, England
Time: 44:46
Format: Flac Tracks 16/44,1 kHz
Size: 310 Mb

Long Player is the second album by the British rock group Faces, released in February 1971. Among the highlights are a live cover version of Paul McCartney's "Maybe I'm Amazed", the ballads "Richmond" and "Sweet Lady Mary", the party tune "Had Me a Real Good Time", and uptempo saloon bar rocker "Bad 'n' Ruin". Two tracks, "Maybe I'm Amazed" and "I Feel So Good", were recorded live at the Fillmore East, New York on 10 November 1970. The doomed romance bittersweetly detailed in "Sweet Lady Mary", meanwhile, seems very much like a thematic precursor to Stewart and Wood's better known "Maggie May", which was released only a few months later and which arguably kick-started Stewart toward eventual solo superstardom.
Also recorded during this period was the band's blistering take on Motown classic "(I Know) I'm Losing You" which later appeared on lead singer Rod Stewart's solo album Every Picture Tells a Story rather than on Long Player or as a Faces single release. This practice led to increased murmurings of discontent in some quarters that Stewart's management was keeping the best Faces studio performances for Stewart's solo projects, to the detriment of the band as a unit. While the sessions for both albums did unquestionably overlap, Stewart's dual recording contracts with different labels, as both a solo artist and as a member of the Faces, complicated matters greatly. This led to the odd situation where his Faces colleagues could only be credited individually and not explicitly as 'Faces' for their efforts on his solo albums at the time. As it was, their performance on the track was heavily implied, with a 'thank-you' from Stewart in the LP's liner notes. To further confuse matters, however, the track was then released as a single credited to 'Rod Stewart and the Faces', but only in the USA. Despite being widely regarded as one of the band's finest studio performances, this original version has never been compiled as part of any collection that deals purely with Faces material as it falls outside of their Warner Brothers contract. It has however since appeared - and usually with full credit to the band - on many Stewart solo compilations.
(en.wikipedia.org/wiki/Long_Player_(album))

01. Bad 'N' Ruin (05:22)

02. Tell Everyone (04:17)

03. Sweet Lady Mary (05:45)

04. Richmond (03:04)

05. Maybe I'm Amazed (05:31)

06. Had Me A Real Good Time (05:49)

07. On The Beach (04:14)

08. I Feel So Good (08:46)

09. Jerusalem (01:53)

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Ten Years After - Watt (1970)

Year: December 1970 (CD 1997)
Label: BGO Records (UK), BGOCD345
Style: Classic Rock, Blues Rock
Country: Nottingham, UK
Time: 38:38
Format: Flac Tracks 16/44,1 kHz
Size: 245 Mb

Charts: Australia #13, UK #5; U.S. #21.
Not exactly 'burnout', but a really disappointing album. Blame it on the heavy touring, though - creatively the guys are still there. But they just didn't have enough time or forces, and Watt is an obvious lightweight toss-off to satisfy the record company and the fans. Musically, there are no advances over Cricklewood Green here, and the atmosphere is quite similar: same sharp riffing, grim atmosphere and angry pissed-off vocals, although in general the mood is a little lighter, simnply because the songs are clearly underdeveloped in every respect and they just didn't have the opportunity to tighten up the production. Or the lyrics - does their catalog of texts contain a line more stupid than 'baby don't you cry don't you cry you shouldn't do that'?
Obviously, they suffer from lack of material; whatever the hell for else should they have put 'Sweet Little Sixteen' from their 1970 Isle Of Wight gig at the end? I mean, it comes off pretty well - fast, furious and driving - but this ain't a live album, so why bother? It doesn't work at all in the context of the album, and it ain't all that interesting musically, just a bunch of power chords and generic Berry-licks. If they were really so deeply bothered, they should have put out the entire Wight gig instead: if you consult the Message To Love video, you'll see Alvin doing a pretty nifty live version of 'I Can't Keep From Crying' on there, with speedy solos, sonic gimmicks and everything that's his trademark style. 'Sweet Little Sixteen' is just unrepresentative.
And if we don't count the short acoustic-driven instrumental link 'The Band With No Name' which sounds like it's been taken directly from an average movie soundtrack (sounds very close to whatever Danny Kirwan was penning for Fleetwood Mac at the time - pleasant, but unsubstantial folk-pop), there's only six songs on here, most of them extended well beyond the expected and necessary running time. That's my main complaint, in fact, because the main melodies themselves are more or less good and show that Alvin's songwriting talents were slightly on the rise (and would reach the apex on the next album); he'd also begun experimenting with complex song structure, not being too successful here but at least laying the ground for more effective things to come.
Highlights include some fascinating new riffs, particularly on the opening track, 'I'm Coming On'. Unfortunately, it's exactly the tune I was referring to when I mentioned the crappy lyrics, but the melody rules, even if essentially it's just a slight stylistic re-write of 'Good Morning Little Schoolgirl'. 'My Baby Left Me' (which has nothing to do with the Presley classic) is also interesting, a funny mixing of soul with country-rock, but doesn't come across as particularly memorable. Instrumentation-wise, the weirdest and most innovative number on the record is 'I Say Yeah', a rather generic rocker that is nevertheless distinguished by a frightening synth solo, if only I'm not actually confounding it with a guitar plugged through some infernal device. Whatever it is, it sounds great and must have been completely awesome for people at the time: in 1971, not too many people were doing such brave things with synthesizers. ELP, for the most part; and it's not a coincidence that the instrumental section on 'I Say Yeah' reminds me a lot of Emerson's synth jam on 'Aquatarkus'. Come to think of it, it does sound like a guitar playing rather than a keyboard instrument, so it must have been something similar to the super-weird wah-wah effect that Pete Townshend used the same year on 'Going Mobile'. In other words, keep your heads down low, folks, and prepare for the electronic onslaught....
There's also an interesting 'progressive-emulating' epic here ('She Lies In The Morning'), and it shares the same flaw: parts are good (main melody this time), parts are unbearable (the chaotic jam in the middle that's a little reminiscent of the Stones' psychedelic debauchery on Satanic, but doesn't contain any cool spacey sound effects and becomes boring from the very first second). But generally, all of these new riffs and melodies wear thin on repeated listenings, and almost none of them manage to imprint themselves in my memory, mostly because it's all been done better before. You know you're in trouble when one of the most memorable efforts on a Ten Years After record actually turns out to be an 'ugly' synth-style-guitar solo.
Still, I rate this record a point higher than I should be rating it, mainly for the fact that it includes 'Think About The Times' - one of Alvin's most beautiful ballads ever, slightly reminiscent of 'Circles' but even better. It may be naive, and the lyrics childish, but the way he sings the lines 'You are living/You are in the world' is simply charming. Not that he seems to be a very emotional guy - he's really built for speed (ahem, both literally and figuratively). But this is one of a couple of times when he somehow gets to really demonstrate his emotions. Good work, Mr Lee! The ground is thus prepared for their best studio album ever, which would come out the same year. Hey, how can it be possible to combine a two-albums-per-year schedule with heavy touring? Why, by making the first one of the two a duffer and the second one a winner, of course.
(starling.rinet.ru/music/tenyears.htm#Watt)

01. I'm Coming On (03:50)

02. My Baby Left Me (05:24)

03. Think About The Times (04:44)

04. I Say Yeah (05:18)

05. The Band With No Name (01:35)

06. Gonna Run (06:04)

07. She Lies In The Morning (07:27)

08. Sweet Little Sixteen (04:12)

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Rod Stewart - Tonight I'm Yours [Japan Edition] (1981)

Year: 6 November 1981 (CD Oct 26, 2005)
Label: Warner Bros. Records (Japan), WPCR-75103
Style: Soft Rock, Rock, New Wave
Country: London, England (10 January 1945)
Time: 41:38
Format: Flac Tracks 16/44,1 kHz
Size: 309 Mb

Charts: Dutch Albums #12, German Albums #42, New Zealand #4, Norwegian Albums #20, Swedish Albums #2, UK #8, U.S. #11. Canada - 2x Platinum, Hong Kong - Platinum, UK - Gold, U.S. - Platinum.
Tonight I'm Yours is the eleventh studio album by Rod Stewart released in 1981. It features hints of classic rock, pop and new wave. The album had three hit singles, with the title track "Tonight I'm Yours (Don't Hurt Me)" (US Billboard No. 20, US Cash Box No. 15; Canada No. 2), "Young Turks" (US No. 5), and "How Long" (US No. 49).
Tonight I'm Yours saw Rod Stewart further adopting current musical trends, after some disco-influenced songs on Blondes Have More Fun and Foolish Behaviour, by adding elements of synth-pop and new wave to a couple of songs (the title track, and "Young Turks"), while mostly keeping to his rock traditions elsewhere. The album included three covers: "Tear It Up", "How Long", and "Just Like a Woman".
The song "Never Give Up on a Dream" was dedicated to Canadian athlete Terry Fox, who ran 3,339 miles with one prosthetic leg in the Marathon of Hope to raise money for cancer research. Fox succumbed to cancer in 1981, the year the album was released.
The music video for "Tonight I'm Yours" was shot by Australian film director, Russell Mulcahy.
The album was mostly well received, being given four out of five stars in both Rolling Stone's contemporary review and in a retrospective from AllMusic. On AllMusic, Stewart has not yet surpassed the 4-star rating that the album received with any of his subsequent releases. The album has sold more than 10 million copies worldwide.
(en.wikipedia.org/wiki/Tonight_I%27m_Yours)

01. Tonight I'm Yours (Don't Hurt Me) (04:12)

02. How Long (04:14)

03. Tora, Tora, Tora (Out With The Boys) (04:31)

04. Tear It Up (02:28)

05. Only A Boy (04:10)

06. Just Like A Woman (03:57)

07. Jealous (04:33)

08. Sonny (04:04)

09. Young Turks (05:03)

10. Never Give Up On A Dream (04:22)

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Focus - Focus 3 [Japan Edition] (2xLP on 1xCD) (1972)

Year: November 1972 (CD Sep 21, 2001)
Label: Victor Records (Japan), VICP-61532
Style: Instrumental, Symphonic Rock, Art Rock
Country: Amsterdam, Netherlands
Time: 69:37
Format: Flac Tracks 16/44,1 kHz
Size: 464 Mb

Charts: Australia #36.
Focus are a Dutch progressive rock band formed in Amsterdam in 1969 by keyboardist, vocalist, and flutist Thijs van Leer, drummer Hans Cleuver, bassist Martijn Dresden, and guitarist Jan Akkerman. The band has undergone numerous formations in its history; since December 2016, it has comprised Van Leer, drummer Pierre van der Linden, guitarist Menno Gootjes, and bassist Udo Pannekeet. They have sold one million RIAA-certified albums in the United States.
After the addition of Akkerman to Van Leer's rock trio in late 1969, the band named themselves Focus and initially worked for a Dutch production of the rock musical Hair. Their debut album Focus Plays Focus (1970) gained little attention but the follow-up, Moving Waves (1971), and its lead single "Hocus Pocus", earned the band international recognition. Their success continued with Focus 3 (1972) and Hamburger Concerto (1974), the former containing their second hit single, "Sylvia". After recording two albums with various musicians, including guitarist Phillip Catherine, singer P. J. Proby, and drummers Colin Allen, David Kemper, and Steve Smith, Focus dissolved in 1978. They briefly reunited in 1990 and 1997.
In 2002, Van Leer reformed Focus with a new line-up that saw Van der Linden rejoining the group in 2004. The albums Focus 8 (2002), Focus 9 / New Skin (2006), and Focus X (2012) were well received, and Focus continue to perform worldwide. Their most recent album is Focus 11 (2018). They received a renewed interest after Nike used "Hocus Pocus" in its 2010 World Cup commercial Write The Future. Focus remain one of the most successful and influential rock bands from the Netherlands.
(https://en.wikipedia.org/wiki/Focus_(band))

01. Round Goes The Gossip (05:13)

02. Love Remembered (02:49)

03. Sylvia (03:32)

04. Carnival Fugue (06:08)

05. Focus III (06:04)

06. Answers? Questions! Questions? Answers! (13:57)

07. Anonymus II (26:24)

08. Elspeth Of Nottingham (03:05)

09. House Of The King (02:22)

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Bill Nelson (Be Bop Deluxe) - Quit Dreaming And Get On The Beam (1981)

Year: 1981 (CD 2005)
Label: Mercury Records (Europe), 9831025
Style: Electronic, Pop-Rock, New Wave
Country: Wakefield, England (18 December 1948)
Time: 76:10
Format: Flac Tracks 16/44,1 kHz
Size: 498 Mb

So...who is Bill Nelson?
Founder of Be-Bop Deluxe in 1973, guitarist Bill Nelson wrote all of the bands Material. Signed to EMI, the band released five studio albuMs and scored a top ten UK hit with the single 'Ships In The Night.'
?In 1979 Bill disbanded Be-Bop Deluxe and launched Red Noise whose 'Sound-On-Sound' albuM is often cited as an inspiration by Many younger bands.
Bill then forMed his own independent record label, Cocteau Records, and throughout the 80's and 90's he released Many solo albuMs as well as collaborating with other Musicians such as Yellow Magic Orchestra, David Sylvian, Harold Budd, The Associates, Cabaret Voltaire, Sandy And The Sunsets and Channel Light Vessel.
As a producer he has worked on albuMs for Roger Eno, The Skids, Gary NuMan, The Units, The RhythM Sisters, Nash The Slash and Many others.
Bill has coMposed and recorded Music for filM, television and theatrical productions.
Since 2000 he has released Many solo albuMs on his own label.
Explore this website to discover the astounding aMount of work that Bill has created throughout his career!
(billnelson.coM/bill-nelson-biography)?

01. Banal (03:53)

02. Living In My Limousine (04:10)

03. Vertical Games (03:15)

04. Disposible (05:55)

05. False Alarms (02:51)

06. Decline And Fall (04:43)

07. White Sound (04:10)

08. Life Runs Out Like Sand (05:23)

09. A Kind Of Loving (04:16)

10. Do You Dream In Colour (03:46)

11. U.H.F. (04:41)

12. Youth Of Nation On Fire (04:05)

13. Quit Dreaming And Get On The Beam (03:43)

14. Mr. Magnetism Himself (B Side Of Single) (03:13)

15. Living In My Limousine (Remix) (From 12'' EP) (04:23)

16. Birds Of Tin (From 12'' EP) (02:22)

17. Love In The Abstract (From 12'' EP) (03:35)

18. Be My Dynamo (From Double 7-Inch Single Set) (02:13)

19. Rooms With Brittle Views (From Double 7-Inch Single Set) (03:54)

20. All My Wives Were Iron (From Double 7-Inch Single Set) (01:31)

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Them - The Angry Young Them (mono) (1965)

Year: 11 June 1965 (CD 1998)
Label: Deram Records (Germany), 844 824-2
Style: Rhythm and Blues, Rock
Country: Belfast, Northern Ireland
Time: 39:11
Format: Flac Tracks 16/44,1 kHz
Size: 155 Mb

The Angry Young Them is the first album by the Northern Irish rock and roll group Them. The band's lead singer and songwriter was Van Morrison. In the U.S., the album was released as Them with partly different tracks.
As with several Decca releases of the period, the name of the group was conspicuously absent from the front cover and on the back of the LP they were introduced as The Angry Young Them with an essay on this theme declaring: "These five young rebels are outrageously true to themselves. Defiant! Angry! Sad! They are honest to the point of insult!"
Six of the songs on the album were Morrison originals, including the famous garage band anthem "Gloria". Another song on the album, "Mystic Eyes", was a spontaneous creation that came out of the band just "busking around" in Morrison's words and after seven minutes of instrumental playing he impulsively threw in the words of a song he had been working on. The lengthy versions of "Gloria" that the band performed at the Maritime and the ten-minute recording of "Mystic Eyes" have never surfaced. All that is left of the "Mystic Eyes" performance is the little over 21⁄2 minutes on the album that remained after splicing out from the beginning and ending. "You Just Can't Win" was a Dylan inspired song about a gold digger, set in specific places in London such as Camden Town. "Little Girl" was about a boy's obsession with a fourteen-year-old school girl (an earlier take on Lord's Taverners charity album had been deleted when a four-letter word was heard in the fade out at the end). "If You And I Could Be As Two" starts with a spoken introduction by Morrison with an aggressive Irish accent. Three Bert Berns originals were included and a cover of John Lee Hooker's "Don't Look Back" was considered by Morrison to be his finest vocal to date.
(en.wikipedia.org/wiki/The_Angry_Young_Them)

01. Mystic Eyes (02:47)

02. If You And I Could Be As Two (02:59)

03. Little Girl (02:30)

04. Just A Little Bit (02:26)

05. I Gave My Love A Diamond (02:52)

06. Gloria (02:43)

07. You Just Can't Win (02:26)

08. Go On Home Baby (02:41)

09. Don't Look Back (03:26)

10. I Like It Like That (03:22)

11. I'm Gonna Dress In Black (03:38)

12. Bright Lights Big City (02:35)

13. My Little Baby (02:14)

14. (Get Your Kicks On) Route 66 (02:27)

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Faces - A Nod's As Good As A Wink [Japan Edition] (1971)

Year: 17 November 1971 (CD Jun 23, 2010)
Label: Warner Bros. Records (Japan), WPCR 13841
Style: Rock, R&B
Country: London, England
Time: 36:17
Format: Flac Tracks 16/44,1 kHz
Size: 251 Mb

Well, now this doesn’t make any sense at all. Rod Stewart has three solo albums out, all of them excellent. With the release of A Nod Is As Good As A Wink … the Faces, with Stewart singing lead, have three albums out, each of them duller than the one that preceded it, and with the first one having been none too great to begin with. It is apparent that when Stewart takes charge of his music he elevates the musicianship of everyone around him; when he submerges himself in the artistic group democracy of this particular band he only succeeds in bringing himself down to the level of the group’s lowest common denominator. Thus, at the same time he is riding the success of an intensely personal and beautifully crafted solo album, Every Picture Tells A Story, he participates in the making of another almost completely devoid of personality, character, depth, or vision.
The Faces do not, as some have recently alleged, play badly. They are more than competent, especially at creating a mid-Sixties Rolling Stones-styled groove, as their excellent version of "Memphis" proves. But like most rockers who just barely miss their mark, they can’t sustain ideas, so their music tends to be filled with bits and pieces - a bright 30 seconds there, an exciting riff here - and then back into a basic track that is usually melodically undistinguished, unimaginatively arranged, and sounds as much of a bore to listen to as it must have been to record.
"Miss Judy’s Farm" starts off strong enough with some Ron Wood guitar and then the whole band riffing behind him. But as soon as the vocal commences, the song emerges as the dog that it is, and what started off sounding funky now just sounds like rock band hacking. "Stay With Me" is a better example of a riff song, but isn’t all that exciting either - the ending is an obvious cop from Stewart’s own arrangement (performed with the Faces) of "It’s All Over Now," from Gasoline Alley.
"That’s All You Need" contains something of the groove heard on "Cut Across Shorty" and "Every Picture Tells A Story," but there is absolutely no song present here. Ron Wood plays some great slide guitar, especially on "Memphis," but his bashing about on this cut is just plain awful.
Perhaps the Faces recognize that their days with Stewart are numbered. For on this album Ron Lane makes his debut as a regular lead singer with the band, taking his turn on, "You’re So Rude," "Last Orders Please," and "Debris." And not badly either. He has plenty of charm, some real wit, and considerable style, if not a great lead voice, and he certainly bears watching in the future. In some perverse way, it occasionally seemed to me that his efforts were at least more natural and less forced than Stewart’s on this particular album. His best number is "Last Orders Please."
(rollingstone.com/music/music-album-reviews/a-nod-is-as-good-as-a-wink-to-a-blind-horse-119081/) January 6, 1972 by Jon Landau

01. Miss Judy's Farm (03:39)

02. You're So Rude (03:43)

03. Love Lives Here (03:06)

04. Last Orders Please (02:40)

05. Stay With Me (04:41)

06. Debris (04:37)

07. Memphis Tennessee (05:28)

08. Too Bad (03:15)

09. That's All You Need (05:04)

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Ten Years After - Cricklewood Green (1970)

Year: March 1970 (CD ????)
Label: Chrysalis Records (U.S.), F2 21084, DIDX1429
Style: Classic Rock, Blues Rock
Country: Nottingham, UK
Time: 39:15
Format: Flac Tracks 16/44,1 kHz
Size: 205 Mb

Charts: Australia #19, U,S. #14, UK #4, Can #11, Den #5, Fin #8, Ger #8, Ita #17, Nor #8.
Cricklewood Green was the 4th studio album by English blues rockers Ten Years After, (TYA) released in 1970, it is a record typical of the druggy, trippy sounds of the day, with rousing guitar work by lead guitarist Alvin Lee on his semi-hollow body Gibson ES-335 ‘Big Red’ or his Heritage H-535. The record is perhaps their best studio recording worked over by sound engineer Andy Johns with effects and tricks that were new for the time, and keep this record clean and somewhat crisp from top to bottom.
Founded in 1966, this band of Englishmen named the group in honour of Elvis Presley, Lee’s idol, 10 years after his most successful year in 1956. Cricklewood Green is a tasty collection of driving rock pieces starting off with two gems, Sugar on the Road, which sounds spacey at first then faraway drums emerge up close with Lee’s mercurial riffs and a bass groove that soar. Working on the Road is a chugging bluesy rock number that features not only brilliant work by the lead guitar and organ, but Ric Lee’s drum work propels the song to climactic heights. Track three 50,000 Miles Beneath My Brain is classic psychedelica that floats on the TYA jam approach, which is intensely moody. “I want to know you, I want to show you, I want to grow you, inside of me. I want to see you I want to free you, I want to be you, inside of me”; a trippy song ,definitive of the day. Things turn towards honky tonk-like country in Year 3000 Blues, where the band shows off their abundant talents with Leo Lyons on bass, and Chic Churchill on keyboards. This is a tidy little ditty much admired in the American south for its twang and giddyup!
Track 8, Me and My Baby showcases their jazz/swing chops to surprising delight, with Lyons ‘walking’ bassline, some delicious tickling of the ivories by Churchill, and Lee’s signature guitar work to round off the number. Love Like a Man hit #10 on U.K. singles chart and got a ton of FM radio airtime. The song is reminiscent of The Doors, with some excellent organ licks that built on a rolling rhythm section and a scorching series of solos by Lee that make this record perhaps their best ever. A ‘fun fact’ about this song is that it was the first record to have a song played in 2 speeds, a 3-minute 45rpm on one side, and an 8-minute version played at 33 rpms on the other, (the long one is on this album).  
The album closes with the hippy-like acoustic set on Circles, where you can practically smell the sweet ‘summer of love’ incense in the air. As The Sun Still Burns Away, is another churning rocker built on the organ and guitar riff-off, and tops off this superb album.
Alvin Lee was considered by many the fastest lead guitarist of his day, with his lightning finger work on his crisp, disciplined solos. The record is a mixed bag of delights to put it simply; from blues/rock, to psychedelic, from country to jazzy hip-hop. It is a classic, a record  for your collection and one that would make space on any Christmas shopping list.
(guitarsexchange.com/en/unplugged/382/ten-years-after-cricklewood-green-1970/)

01. Sugar The Road (04:08)

02. Working On The Road (04:20)

03. 50,000 Miles Beneath My Brain (07:42)

04. Year 3.000 Blues (02:26)

05. Me And My Baby (04:10)

06. Love Like A Man (07:41)

07. Circles (04:01)

08. As The Sun Still Burns Away (04:43)

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Rod Stewart - A Night On The Town [Japan Edition] (1976)

Year: 18 June 1976 (CD Oct 26, 2005)
Label: Warner Bros. Records (Japan), WPCR-75099
Style: Soft Rock, Rock
Country: London, England (10 January 1945)
Time: 41:10
Format: Flac Tracks 16/44,1 kHz
Size: 289 Mb

A Night on the Town is Rod Stewart's seventh album, released in 1976. The cover art is based on Pierre-Auguste Renoir's painting Bal du moulin de la Galette, with Stewart inserted in the centre in period costume. On 30 June 2009, Rhino reissued the album as a two-disc CD with bonus tracks. A Night on the Town was Stewart's last UK number-one studio album until Time in 2013.
The album is regarded as one of Stewart's finest. "The Killing of Georgie" is one of Stewart's most hard hitting set of lyrics, a melancholic tale of a gay friend who is cast out by his family and becomes a sensation in the New York nightlife, only to be murdered by a New Jersey gang during an attempted robbery. Controversial "Tonight's the Night" was a No. 1 hit but was banned by some radio stations due to the very obvious lyrics about sex and loss of virginity. A cover of Cat Stevens' "The First Cut Is the Deepest" was also a success and has since become one of Stewart's signature songs.
(en.wikipedia.org/wiki/A_Night_on_the_Town_(Rod_Stewart_album))

01. Tonight's the Night (03:55)

02. The First Cut Is the Deepest (04:31)

03. Fool For You (03:48)

04. The killing of Georgie (part 1 & 2) (06:28)

05. The Balltrap (04:37)

06. Pretty Flamingo (03:27)

07. Big Bayou (03:53)

08. The Wild Side of Life (05:09)

09. Trade Winds (05:17)

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