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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AC/DC - Who Made Who [Australian Ed.] (1986)

Year: 26 May 1986 (CD 1989)
Label: Albert Productions (Australia & New Zealand), 465253 2
Style: Hard Rock, Soundtrack
Country: Sydney, Australia
Time: 37:49
Format: Flac Tracks 16/44,1 kHz
Size: 226 Mb

Charts: AUS #4, AUT #28, CAN #12, FRA #30, GER #24, NZ #24, SWE #21, SWI #21, UK #11, US #33. SWI & UK: Gold; GER: Platinum; AUS & US: 5x Platinum.
Three tracks on the album – "Who Made Who" and the instrumentals "D.T." and "Chase the Ace" – were newly written and recorded by AC/DC for the album. The remaining tracks were previously released by the band. Only one song, "Ride On", features previous lead vocalist Bon Scott, who died in 1980. All others feature his replacement, Brian Johnson.
Along with the album, the band released a 24-minute videotape, which contained music videos for the songs "Who Made Who", "You Shook Me All Night Long", "Shake Your Foundations" (remixed), "Hells Bells", and footage from a live performance of "For Those About to Rock (We Salute You)", which was filmed in Detroit in 1983.
The video for the title track, directed by David Mallet, was recorded at the Brixton Academy in London and features a theme of countless clones of AC/DC guitarist Angus Young. According to the book AC/DC: Maximum Rock & Roll, these clones consisted of hundreds of fans who came from all over the UK, many of whom slept in the freezing cold in front of Brixton Academy for the opportunity to take part. This group was made up of approximately 300 members of the band's British fan club as well as others who had simply heard about the event on the radio.
(en.wikipedia.org/wiki/Who_Made_Who)

01. Who Made Who (03:27)
02. You Shook Me All Night Long (03:31)
03. D.T. (02:53)
04. Sink The Pink (04:13)
05. Ride On (05:50)
06. Hells Bells (05:13)
07. Shake Your Foundations (03:52)
08. Chase The Ace (03:01)
09. For Those About To Rock (05:45)

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AC-DC - Let There Be Rock [Australian Ed.] (1977)

Year: 21 March 1977 (Australasia), 15 June 1977 (CD 1995)
Label: Albert Productions (Australia), 4770852
Style: Hard Rock
Country: Sydney, Australia
Time: 40:10
Format: Flac Tracks 16/44,1 kHz
Size: 278 Mb

Charts: AUS #19, FRA #9, GER #40, NZ #42, SWE #29, SWI #12, UK #17, US #154. FRA & UK: Gold; GER: Platinum; US: 2x Platinum; AUS: 5x Platinum.
In late 1976 AC/DC were in a slump. "It was very close to being all over", manager Michael Browning said. "Things were progressing very well in London and Europe. We'd been through a whole thing with the Marquee where they broke all the house records. We'd done the 'Lock Up Your Daughters' UK tour and the Reading Festival. It was all shaping up really well."  "In the middle of the tour, I get a phone call saying Atlantic Records in America didn't like the Dirty Deeds album", said Browning. "That, in fact, they were going to drop the group from the label. And that's when things got really bad."
"There was always a siege mentality about that band. But once we all found out that Atlantic had knocked us back the attitude was: 'Fuck them! Who the fuck do they think they are?' So from that point onwards it was: 'Fuck, we'll show them!' We were seriously fucking pissed off about it. It didn't need to be discussed. We were going to go in and make that album and shove it up their arse!"
- Mark Evans
Angus Young said, "Our brother George asked us what kind of album we wanted to make and we said it would be great if we could just make a lot of guitar riffs, because we were all fired up after doing all this touring."
(en.wikipedia.org/wiki/Let_There_Be_Rock)

01. Go Down (05:30)
02. Dog Eat Dog (03:34)
03. Let There Be Rock (06:06)
04. Bad Boy Boogie (04:27)
05. Overdose (06:09)
06. Crabsody In Blue (04:43)
07. Hell Ain't A Bad Place To Be (04:13)
08. Whole Lotta Rosie (05:24)

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Gary Moore - We Want Moore [Live. 2LP on 1CD] (1984)

Year: Recorded: February & June 1984 (CD 2003)
Label: Virgin Records (Europe), MOORECD3
Style: Hard Rock
Country: Belfast, Northern Ireland (4 April 1952 - 6 February 2011)
Time: 72:47
Format: Flac Tracks 16/44,1 kHz
Size: 512 Mb

Charts: UK #32, FIN #21, GER #52, SWE #21.
We Want Moore is Gary Moore’s first official live album to be available worldwide (Rockin’ Every Night was initially only available in Japan) and is not only a superb live album but also one of the strongest albums he has ever recorded. It is clear from the off that Moore is keen to show off his metallic side with album opener Murder In The Skies, which was one of the standout tracks from his brilliant Victims Of The Future album and remains one of the heaviest tracks he has ever recorded. Although the guitarist isn’t exactly a natural vocalist, his vocals are more than adequate for the job in hand and are reasonably consistent throughout this live album. In fact it wouldn’t be too much of a stretch to say that his vocals actually sound better at times here than they did on his two previous studio albums, however keyboard player and rhythm guitarist Neil Carter does take over on lead vocals on occasion.
Moore’s take on The Yardbirds classic Shapes Of Things follows on from the energy of the album’s opener and features a truly breathtaking extended guitar solo, which shows that Moore’s guitar skills are right up there with the greats.
Following a blistering performance of the title track from his previous album, Victims Of The Future, Cold Hearted marks the albums first song from 1982’s Corridors Of Power and is possibly one of the bluesiest tracks on the album and hints towards Moore’s later days as a blues guitarist/singer. This version of Cold Hearted also incorporates an extended version of the intro to the next song, the epic End Of The World. End Of The World, also from the Corridors Of Power album is quite possibly one of the best songs he has ever recorded and features some truly jaw-dropping guitar playing particularly during the intro. This live version certainly does the song justice, there’s just one thing missing from the studio version; Jack Bruce’s vocals. Former Cream member Jack Bruce, who provided lead vocals for the original version of the song, unfortunately does not make a guest appearance on this album, however, between them, Gary Moore and Neil Carter manage to do a good job of the vocals and this version is energetic, dramatic and overall a fine performance of a truly great metal song.
Back On The Streets, with it’s sing-a-long chorus, provides a bit of light-hearted relief following the darker, heavier sound of the previous song and is one of only two songs on the album not taken from either Corridors Of Power or Victims Of The Future. This is followed by the emotional ballad, Empty Rooms, before Moore and his boys launch back into much heavier territory with the opening track from Corridors Of Power, Don’t Take Me For A Loser. Closing track, Rockin’ And Rollin’ is the only track on the album taken from 1980’s G-Force album and is a great way to close the album, the song features a surprising guest appearance from Jimmy Nail, who, in Gary Moore’s words, gives the crowd "a singing lesson". All this leaves you and evidently the crowd wanting mo(o)re...
(sputnikmusic.com/review/36671/Gary-Moore-We-Want-Moore%21/)

01. Murder In The Skies (05:33)
02. Shapes Of Things (08:14)
03. Victims Of The Future (08:25)
04. Cold Hearted (10:25)
05. End Of The World (04:33)
06. Back On The Streets (05:21)
07. So Far Away (02:38)
08. Empty Rooms (08:31)
09. Don't Take Me For A Loser (05:43)
10. Rockin' And Rollin' (06:15)
11. Parisienne Walkways (Live, bonus track) (07:03)

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Hard Stuff - Bolex Dementia [Japan Ed.] (1973)

Year: March 1973 (CD Jul 25, 2017)
Label: Belle Antique (Japan), BELLE 172761
Style: Hard Rock, Heavy Metal
Country: England
Time: 47:06
Format: Flac Tracks 16/44,1 kHz
Size: 286 Mb

Hard Stuff were an English hard rock group which included John Du Cann and Paul Hammond, formerly of Atomic Rooster. Also in the line-up were vocalist Harry 'Al' Shaw, formerly of Curiosity Shoppe and latterly Export, and John Gustafson, formerly of Quatermass.
Du Cann and Hammond had left Atomic Rooster due to disagreements with Vincent Crane over the increasingly bluesy, soulful direction in which he wanted to take that band. Consequently, compared with Atomic Rooster's more progressive leanings, Hard Stuff were based more heavily on aggressive guitar.
Originally, Du Cann, Hammond and Shaw had formed a band provisionally entitled Daemon, with the intention of eventually touring and recording under the name Atomic Rooster. Gustafson was invited to join them on that basis, but after finding out that Crane retained the rights to the Atomic Rooster name, the quartet decided to continue anyway, but under the name Bullet instead.
After recording about half an album's worth of material together, Shaw was dismissed from the lineup and was not replaced with another frontman, his tracks being re-recorded and vocals for remaining tracks being handled by Du Cann and Gustafson, both of whom had served as lead vocalists in their prior bands. Prior to the release of their debut album, they were prompted to change their name yet again, this time to Hard Stuff, due to a legal threat from a US band also called Bullet.
Hard Stuff toured across Europe, particularly in Germany and Italy, often as support to Deep Purple and Uriah Heep. Their career was curtailed by a car crash in which Du Cann and Hammond were badly injured. Although the release of a second album went ahead, the band were soon to fold. Harry 'Al' Shaw eventually resurfaced in the early 1980s with Liverpool-based NWOBHM band Export.
(en.wikipedia.org/wiki/Hard_Stuff)

01. Roll A Rocket (05:19)
02. Libel (03:58)
03. Ragman (03:00)
04. Spider's Web (04:55)
05. Get Lost (03:02)
06. Sick n' Tired (04:04)
07. Mermany (05:57)
08. Jumpin' Thumpin' (Ain't That Somethin') (02:55)
09. Dazzle Dizzy (03:42)
10. Bolex Dementia (03:46)
11. Inside Your Life (bonus track) (03:10)
12. (It's) How You Do It (bonus track) (03:11)

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Mott The Hoople - Mott The Hoople (1969)

Year: November 1969 (CD September 8, 2003)
Label: Angel Air Records (UK), SJPCD157
Style: Glam Rock, Hard Rock
Country: Hereford, Herefordshire, England
Time: 46:26
Format: Flac Tracks 16/44,1 kHz
Size: 343 Mb

Charts: UK #66, US #185.
Stevens (produced by Guy Stevens), the group's initial mentor and guide, wanted to create an album that would suggest Bob Dylan singing with the Rolling Stones. This was partially achieved, with the album including several Dylanesque cover versions along with aggressive rock originals. Years later, vocalist Ian Hunter - who had only just joined the band prior to Mott the Hoople's recording and had yet to play live with them - would insinuate, in an August 1980 Trouser Press magazine interview, that the Stones' 1971 track "Bitch" bore more than a passing resemblance to this album's "Rock and Roll Queen." (Both songs are in the key of A, and use the pentatonic scale.)
An instrumental version of The Kinks' "You Really Got Me" introduces the album, though a vocal version was recorded and is available on Mott's compilation release Two Miles From Heaven. Doug Sahm's "At the Crossroads" (originally recorded by Sahm's Sir Douglas Quintet in 1968) and Sonny Bono's "Laugh at Me" (originally issued by Sonny & Cher on their second full-length album in 1966, but without vocals from Cher) are suitably reminiscent of Bob Dylan, as is Hunter's "Backsliding Fearlessly."
Initial copies of the UK album were wrongly pressed with the song "The Road to Birmingham," (the B-side of their debut single in the UK) at the end of side one, with "Backsliding Fearlessly" replacing "Rock and Roll Queen" at the start of side two.
The album's cover is a colorized reproduction of M. C. Escher's lithograph "Reptiles." In an interesting coincidence considering Guy Stevens' desire for Mott to sound like the Rolling Stones, in early 1969 Mick Jagger had approached Escher wanting to commission a painting for the cover of the Stones' upcoming album Let It Bleed; Escher declined the request.
(en.wikipedia.org/wiki/Mott_the_Hoople_(album))

01. You Really Got Me (02:55)
02. At The Crossroads (05:33)
03. Laugh At Me (06:32)
04. Backsliding Fearlessly (03:46)
05. Rock And Roll Queen (05:10)
06. Rabbit Foot And Toby Time (02:04)
07. Half Moon Bay (10:38)
08. Wrath And Wroll (01:48)
09. Ohio (Live) (04:25)
10. Find Your Way (Instrumental) (03:32)

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Tina Brooks - True Blue (1960)

Year: Recorded on June 25, 1960 (CD 2009)
Label: Blue Note, Audio Wave (US), 84041, AWMXR-0004
Style: Tenor Saxophone, Jazz, Hard Bop
Country: New York City, U.S. (June 7, 1932 - August 13, 1974)
Time: 37:32
Format: Flac Tracks 16/44,1 kHz
Size: 267 Mb

Harold Floyd Brooks was born in Fayetteville, North Carolina, and was the brother of David "Bubba" Brooks. The nickname "Tina", pronounced Teena, was a variation of "Teeny", a childhood moniker. His favourite tune was "My Devotion". He studied harmony and theory with Herbert Bourne.
Initially, he studied the C-melody saxophone, which he began playing shortly after he moved to New York with his family in 1944. Brooks' first professional work came in 1951 with rhythm and blues pianist Sonny Thompson, and in 1955 Brooks played with vibraphonist Lionel Hampton. Brooks also received less-formal guidance from trumpeter and composer "Little" Benny Harris, who led the saxophonist to his first recording as a leader. Harris recommended Brooks to Blue Note producer Alfred Lion in 1958.
Until 1980, True Blue remained the only Brooks album commercially released. In 1980, Blue Note Japan released the Minor Move and Street Singer albums, the latter jointly credited to Jackie McLean. In 1985, Mosaic Records released The Complete Blue Note Recordings Of The Tina Brooks Quintets on a 4-LP set, which made Back to the Tracks and The Waiting Game available for the first time. The Mosaic set, a limited edition produced by Michael Cuscuna, is out of print. In the CD era, all of Brooks' Blue Note sessions as a leader or co-leader have been released on CD, including on releases by Blue Note Japan and Blue Note's Connoisseur series.
In the liner notes for the CD release of Back to the Tracks, Cuscuna wrote: "Far lesser talents have been far more celebrated" and that Brooks "was a unique, sensitive improviser who could weave beautiful and complex tapestries through his horn. His lyricism, unity of ideas and inner logic were astounding."
David Rosenthal in his book Hard Bop: Jazz and Black Music 1955-1965 wrote about Brooks. Of his composition "Street Singer", Rosenthal wrote that it is "an authentic hard-bop classic" where "pathos, irony and rage come together in a performance at once anguished and sinister."
The official Blue Note website says of Brooks: "With a strong, smooth tone and an amazing flow of fresh ideas every time he soloed, tenor saxophonist Tina Brooks should have been a major jazz artist, but his legacy is confined to a series of dates that he did for Blue Note as a sideman and leader" and that he "was one of the most brilliant, if underrated, tenor saxophonists in modern jazz."
(en.wikipedia.org/wiki/Tina_Brooks)

01. Good Old Soul (08:03)
02. Up Tight's Creek (05:19)
03. Theme For Doris (05:48)
04. True Blue (04:54)
05. Miss Hazel (05:34)
06. Nothing Ever Changes My Love For You (07:51)

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Emerson, Lake & Palmer - Works Volume 2 [Japan Ed.] (1977)

Year: 25 November 1977 (CD Mar 20, 1999)
Label: Victor Records (Japan), VICP-60642
Style: Symphonic Rock
Country: London, England
Time: 43:51
Format: Flac Tracks 16/44,1 kHz
Size: 290 Mb

After the rather dull Works, Vol. 1, the highly underrated Works, Vol. 2 is a godsend. Works, Vol. 1 took their pompous, bombastic, keyboard-driven prog rock epics to the limit; had it been stripped of its excesses and coupled with the strongest cuts from Works, Vol. 2, the band may have had an enormous success with critics and fans alike. Volume 2's brief, eclectic compositions cover an array of musical styles, combining stimulating originals and handsomely orchestrated renditions of "Maple Leaf Rag," "Honky Tonk Train Blues," and "Show Me the Way to Go Home." Lake peppers the tunes with guitar and bass flourishes, resulting in some of his most challenging instrumental work, and both he and Palmer deliver incredibly strong performances. Meanwhile,Peter Sinfield contributes some of his most mature and accomplished lyrics. Emerson's work is solid and creative, but sounds a bit dated, which is part of why the band couldn't endure. Unlike some ELP albums, Volume 2's brief pieces sustain interest; there really isn't a weak tune in the set. The five instrumentals are highlighted by two short prog rock tunes, including the jazzy "Bullfrog," which features Lake's brief jazz bass solo and Palmer's fluid, versatile drumming. "Barrelhouse Shake-down" and "Maple Leaf Rag" showcase Emerson's superb ragtime and barrelhouse piano playing, and Palmer's jazz fusion/marching band piece, "Close But Not Touching," features horns and Lake's psychedelic electric guitar lines. The vocal pieces are equally interesting. "Brain Salad Surgery" is progressive jazz-rock that bears some resemblance to King Crimson's "Cat Food," unsurprising since each features Lake singing Sinfield's lyrics. And, of course, there is the hit "I Believe in Father Christmas," a beautiful Lake/Sinfield composition that highlights Lake's strong voice and vibrant acoustic guitar.
(allmusic.com/album/works-vol-2-mw0000197673)
This is a quite terrible album to be frank. I recall listening this trough as a kid, and being amazed what kind of stuff the band managed to do after "Pictures at An Exhibition" or their debut studio recording. After that it has gathered dust in my bookshelf, except for the quick re-listening done for this review. Maybe I should try to get an euro or few from the local flea markets, as the second hand record stores won't accept it. The leftovers found from love beach's low tide could for a fine soundtrack for some Charles Bronson movies, where I understood Keith Emerson ventured few years after this release. Cool band pic at the back side of the album though, one solution would be cutting that off and practice the arts of archery to this abomination.
(progarchives.com/album.asp?id=1875) Review by Eetu Pellonpaa. June 14, 2005

01. Tiger In A Spotlight (04:36)
02. When The Apple Blossoms Bloom In The Windmills Of Your Mind I'll Be Your Vale... (03:58)
03. Bullfrog (03:51)
04. Brain Salad Surgery (03:09)
05. Barrelhouse Shake-Down (03:53)
06. Watching Over You (03:58)
07. So Far To Fall (04:57)
08. Maple Leaf Rag (02:02)
09. I Believe In Father Christmas (03:20)
10. Close But Not Touching (03:23)
11. Honky Tonk Train Blues (03:12)
12. Show Me The Way To Go Home (03:30)

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Electric Light Orchestra - Eldorado [Japan Ed. 2 bonus tracks] (1974)

Year: September 1974 (CD Sep 20, 2006)
Label: Epic Records (Japan), MHCP 1095
Style: Progressive Pop, Pop Rock
Country: Birmingham, England
Time: 48:00
Format: Flac Tracks 16/44,1 kHz
Size: 313 Mb

Electric Light Orchestra (ELO) made a huge leap forward with Eldorado, the first complete concept album by the group. Rich melodies with various rock and classical influences made this album highly accessible and well received by mainstream audiences making this ELO’s commercial break through. Composed by vocalist, guitarist, and group leader Jeff Lynne, the tune sequence loosely follows the story of a dreamer trying to escape reality. Along the way there are plenty of mixed metaphors using various classic stories and characters from Robin Hood to William Tell to Lancelot to The Wizard of Oz and, of course, Eldorado.
When formed in 1969, ELO declared its purpose as to “pick up where the Beatles left off with ‘I Am the Walrus’.”. The idea came from Roy Wood, formerly of the band, The Move, who had the idea to form a rock band that would regularly use orchestral instruments. He recruited Lynne from fellow Birmingham group, The Idle Race. The debut ,The Electric Light Orchestra, was released in 1971 but tensions between Wood and Lynne led to Wood’s departure during the recordings for ELO 2, which spawned the group’s first US hit, a cover of Chuck Berry’s “Roll Over Beethoven”. Released in late 1973, On the Third Day, featured the hit single, “Showdown,” and continued the band’s rise in popularity.
On those early albums, Lynne would overdub the strings during recording. However, on Eldorado a 30-piece orchestra and choir was hired, with Louis Clark brought on to arrange and conduct the strings (Clark would later become a full group member). This inclusion limited the group’s three resident string players to a few lead sections on scattered songs. Also during the recording of this album, bassist Ike de Albuquerque quit the group, leaving Lynn to also take on those duties. The inspiration for this ambitious record came from Lynne’s father, a classical music lover.
(Full version: classicrockreview.com/2014/08/1974-elo-eldorado/)

01. Eldorado Overture (02:12)
02. Can't Get It Out Of My Head (04:21)
03. Boy Blue (05:19)
04. Laredo Tornado (05:29)
05. Poor Boy (The Greenwood) (02:57)
06. Mister Kingdom (05:29)
07. Nobody's Child (03:56)
08. Illusions In G Major (02:37)
09. Eldorado (05:17)
10. Eldorado Finale (01:34)
11. Eldorado Instrumental Medley (Bonus) (07:56)
12. Dark City (Bonus) (00:47)

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Thin Lizzy - Vagabonds Of The Western World [4 bonus tracks] (1973)

Year: 21 September 1973 (CD 1991)
Label: Deram Records (Germany), 820 969-2
Style: Rock, Garage Rock
Country: Dublin, Ireland
Time: 58:04
Format: Flac Tracks 16/44,1 kHz
Size: 359 Mb

Before the duel guitars, before "The Boys Are Back in Town," before all that, Thin Lizzy was bassist Phil Lynott, drummer Brian Downey, and guitarist Eric Bell, a couple of Irish rock and rollers in London. They already had two albums under their belt by 1973, their self titled and Shades of a Blue Orphanage, which were not exactly commercial successes. Finally, with this album, Vagabonds of the Western World, Thin Lizzy got something of a break, relatively speaking. "Whiskey in the Jar" became a hit, based off an old Irish folk song. This would prove to be the final album before Eric Bell called it quits, and the infamous double guitars of Scott Gorham and Brian Robertson were brought in. On Vagabonds though, Eric made quite a closing statement, throwing out some great guitar work that helped make this album an excellent early Thin Lizzy record.
All three musicians were in top form on this album. The aforementioned Eric Bell plays his heart out on each song, with amazing solos on "The Hero and the Madman," "Whiskey in the Jar," and my personal favorite guitar-driven song, "The Rocker." The solo in "The Hero and the Madman" is chilling, just like the song, it fits perfectly. "Whiskey in the Jar" has an amazing hook, I’m not sure if that’s from the original folk song or not, but it is excellent. I may be biased, but I like the Thin Lizzy version better than the cover by Metallica, I just feel Phil Lynott’s voice fits the song a lot better than James Hetfield’s does. And the sound that Eric gets out of his guitar to do the opener and most of his solo for "The Rocker" is excellent. The solo goes on for half the song, something that would be repeated in later Lizzy songs like "Emerald."
Lynott has a great voice that works best on their traditional, most Irish-ish songs. His voice is smooth and melancholy on songs like the title track and "Little Girl in Bloom." He can also be the (parodying?) arrogant rocker, and…just something else on "The Hero and the Madman." The bass line for that song is perfect. It’s distant, brooding, and a little disconcerting. With each of his songs, he’s telling a story. "Mama Nature Said" is Mother Nature lamenting all the pollution. "Little Girl in Bloom" is about a girl about to marry, and she’s got a little secret. His voice melds well with his bass on those songs. It also gives a funky vibe, mixed with Bell’s guitar, on "I’m Gonna Creep Up on Ya."
Brian Downey is an amazing drummer. I love it when he goes for something almost tribal with just the bass drums on songs like "Vagabonds of the Western World." Yet, his snare keeps "The Hero and the Madman" running. For some reason, when I think of his drumming, I like to call it "outlaw drumming." I don’t know why, I just like it, it seems to fit.
On this album, there’s an Irish flavor, there’s the blues ("Slow Blues," another good guitar song), there’s straight-out rock and roll. However, there’s also "Randolph’s Tango." It’s something else, not in the good way like "The Hero and the Madman," which is a good different. "Randolph’s Tango" is nothing special, and seems very out of place. The hook reminds me of one of Queen’s campier numbers, which is fine for Queen, but it just does not sit right with Thin Lizzy.
Other than that, the variety on Vagabonds of the Western World keep things interesting, exciting, and imaginative. This album is quickly becoming my favorite Thin Lizzy album. It’s the last one with the great Eric Bell. It’ll be tough to knock off Jailbreak, which has the most awesome album insert jacket ever. Maybe one day, until then, listen to Vagabonds of the Western World, it’s an excellent Irish rock album.
(sputnikmusic.com/review/9232/Thin-Lizzy-Vagabonds-Of-The-Western-World/)

01. Mama Nature Said (04:54)
02. The Hero And The Madman (06:12)
03. Slow Blues (05:16)
04. The Rocker (05:15)
05. Vagabond Of The Western World (04:48)
06. Little Girl In Bloom (05:17)
07. Gonna Creep Up On You (03:32)
08. A Song For While I'm Away (05:13)
09. Whisky In The Jar (05:47)
10. Black Boys On The Corner (03:26)
11. Randolph's Tango (03:53)
12. Broken Dreams (04:26)

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Yes - Time And A Word [Japan Ed.] (1970)

Year: 24 July 1970 (UK), 2 November 1970 (US) (CD Aug 10, 1989)
Label: Atlantic Records (Japan), 18P2-2882
Style: Symphonic Rock, Art Rock
Country: London, England
Time: 39:27
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

"No Opportunity Necessary, No Experience Needed", the album's first cover song and opening track, was written by American artist Richie Havens. It opens with an orchestral theme taken from the soundtrack to the 1958 Western film The Big Country by Jerome Moross.
Anderson wrote "The Prophet" which tells the story of a man, followed by many, who tells the others to find and believe in themselves and not follow "like sheep". The song borrows a theme from "Jupiter, the Bringer of Jollity" from The Planets suite by English composer Gustav Holst and shows Anderson incorporating other themes from classical music, to which he listened regularly.
"Sweet Dreams" was particularly well-received by future Yes guitarist Trevor Rabin, who requested that the band perform the song in concert during the 90125 tour in 1984. However, other than a performance in Champaign, the track is not known to have been performed during the tour.
The song "Time and a Word" saw the band searching for an anthem-type song. Anderson, who was still musically naive, presented its basic theme to the group on a guitar, using only two or three chords, leaving the other band members trying to discern what he was playing. The song was recorded with Foster on acoustic guitar. Again, Banks didn't agree and claimed it was not meant to be part of the final mix, having been intended only as a guide track. On the final version, Banks played his parts over Foster's.
The sleeve for the album's original UK pressing was designed and photographed by Laurence Sackman and co-ordinated by Graphreaks. The front cover features a black-and-white Dada-esque chequered design and a nude woman, while the back cover included photographs of each member in front of a wind machine, distorting their faces. The front cover art was deemed inappropriate by the American record distributors, so Atlantic Records arranged for photographer Barrie Wentzell, at his Wardour Street studio in London, to take a new photo of the band for use on the US printing. By the time the photograph was taken, Steve Howe had replaced Peter Banks as Yes' guitarist, so Howe appears on the American version of the album cover. However, the back of the US record sleeve is identical to the UK version, so it includes a picture of Banks. Howe has said that the original album cover was rejected because it was sexist, but that he was angry at Atlantic Records for continually printing and selling an album with his photo on the cover even though he did not play on the record. The cover of the compilation album Yesterdays painted by Roger Dean, which was released in America, was a homage to the cover of this album. It featured a nude woman in the same pose, with her head not being visible, and with a black butterfly on her hip, just as on Time and a Word.
(en.wikipedia.org/wiki/Time_and_a_Word)

01. No Opportunity Necessary, No Experience Needed (04:49)
02. Then (05:43)
03. Everydays (06:07)
04. Sweet Dreams (03:49)
05. Prophet (06:35)
06. Clear Days (02:06)
07. Astral Traveller (05:53)
08. Time and a Word (04:22)

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Emerson, Lake & Palmer - Emerson, Lake & Palmer (1970)

Year: 20 November 1970 (CD February 14, 2011)
Label: Sony Music (Europe), 88697830072
Style: Symphonic Rock
Country: London, England
Time: 41:28
Format: Flac Tracks 16/44,1 kHz
Size: 262 Mb

Charts: UK #4, AUS #9, CAN #17, GER #7, ITA #20, NED #4, NOR #18, JP #66, US #18. UK & US: Gold.
Lively, ambitious, almost entirely successful debut album, made up of keyboard-dominated instrumentals ("The Barbarian," "Three Fates") and romantic ballads ("Lucky Man") showcasing all three members' very daunting talents. This album, which reached the Top 20 in America and got to number four in England, showcased the group at its least pretentious and most musicianly -- with the exception of a few moments on "Three Fates" and perhaps "Take a Pebble," there isn't much excess, and there is a lot of impressive musicianship here. "Take a Pebble" might have passed for a Moody Blues track of the era but for the fact that none of the Moody Blues' keyboard men could solo like Keith Emerson. Even here, in a relatively balanced collection of material, the album shows the beginnings of a dark, savage, imposingly gothic edge that had scarcely been seen before in so-called "art rock," mostly courtesy of Emerson's larger-than-life organ and synthesizer attacks. Greg Lake's beautifully sung, deliberately archaic "Lucky Man" had a brush with success on FM radio, and Carl Palmer became the idol of many thousands of would-be drummers based on this one album (especially for "Three Fates" and "Tank"), but Emerson emerged as the overpowering talent here for much of the public.
(allmusic.com/album/emerson-lake-palmer-mw0000650116)

01. The Barbarian (04:33)
02. Take A Pebble (12:33)
03. Knife-Edge (05:06)
04. The Three Fates (Clotho - Lachesis - Atropos) (07:44)
05. Tank (06:52)
06. Lucky Man (04:37)

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