Tuesday, April 15, 2025

Led Zeppelin - Led Zeppelin IV [CD 1987] (1971)

Year: 8 November 1971 (CD 1987)
Label: Atlantic Records (US), SD 19129-2
Style: Hard Rock, Classic Rock
Country: London, England
Time: 42:36
Format: Flac Tracks 16/44,1 kHz
Size: 262 Mb

Charts: UK #1, AUS #2, AUT #12, CAN #1, GER #5, JPN #2, NLD #7, NOR #3, SWE #8, US #2. GER: 3x Gold; NLD: Platinum; SWI: 2x Platinum; UK: 6x Platinum; AUS: 9x Platinum; CAN & US: 2x Diamond.
Following the release of Led Zeppelin III in October 1970, the group took a break from live performances to concentrate on recording a follow-up. They turned down all touring offers, including a proposed New Year's Eve gig that would have been broadcast on television. They returned to Bron-Yr-Aur, a country house in Snowdonia, Wales, to write new material.
Recording sessions for the album began at Island Records' new studios on Basing Street in London on 5 December 1970, with the recording of "Black Dog". The group had considered Mick Jagger's home, Stargroves as a recording location, but decided it was too expensive. They subsequently moved the following month to Headley Grange, a country house in Hampshire, England, using the Rolling Stones Mobile Studio and the engineer Andy Johns, with the Stones' Ian Stewart assisting. Johns had just worked on engineering Sticky Fingers and recommended the mobile studio. The guitarist and producer Jimmy Page later recalled: "We needed the sort of facilities where we could have a cup of tea and wander around the garden and go in and do what we had to do." This relaxed, atmospheric environment at Headley Grange also provided other advantages for the band, as they were able to capture spontaneous performances immediately, with some tracks arising from the communal jamming. The bassist and keyboardist John Paul Jones remembered there was no bar or leisure facilities, but this helped focus the group on the music without being distracted.
Once the basic tracks had been recorded, the band added overdubs at Island Studios in February. The band spent five days at Island, before Page then took the multitrack tapes to Sunset Sound in Los Angeles for mixing on 9 February, on Johns' recommendation, with a plan for an April 1971 release. Mixing would take ten days, before Page travelled back to London with the newly mixed material. The band had a playback at Olympic Studios. The band disliked the results, and so after touring through the spring and early summer, Page remixed the whole album in July. The album was delayed again over the choice of cover and whether it should be a double album, with a possible suggestion it could be issued as a set of EPs.
(en.wikipedia.org/wiki/Led_Zeppelin_IV)

Led-Zeppelin71-Led-Zeppelin-IV-us-back Led-Zeppelin71-Led-Zeppelin-IV-us-02 Led-Zeppelin71-Led-Zeppelin-IV-us-01

FilesPayout     FilePv     KatFile     UploadyIo

All my files:     KatFile

Led Zeppelin - Led Zeppelin III [CD 1987] (1970)

Year: 5 October 1970 (CD 1987)
Label: Atlantic Records (US), SD 19128-2
Style: Hard Rock, Classic Rock
Country: London, England
Time: 42:59
Format: Flac Tracks 16/44,1 kHz
Size: 253 Mb

Charts: UK #1, AUS #1, AUT #24, CAN #1, GER #3, JPN #8, NLD #3, NOR #3, SWE #14, US #1. GER, SWI & NLD: Gold; UK: Platinum; AUS: 3x Platinum; US: 6x Platinum.
By 1970, Led Zeppelin had achieved commercial success in both the UK and the US with their first two albums. They were determined to have a proper break, having recorded most of Led Zeppelin II in various locations while on tour, financing the sessions with the album sales and tour receipts. Following an exhausting concert tour of North America that spring, lead singer Robert Plant recommended to guitarist and producer Jimmy Page that they should retreat to Bron-Yr-Aur, an 18th-century cottage in Snowdonia, Wales, on a hilltop overlooking the Dyfi Valley, three miles (4.8 km) north of the market town Machynlleth. Plant had spent holidays there with his family.
This remote setting had no running water or electric power, which encouraged a slight change of musical direction for the band towards an emphasis on acoustic arrangements. Page later explained that the tranquillity of Bron-Yr-Aur stood in sharp contrast to the continual touring of 1969, affecting the overall tone of the songwriting and dominance of acoustic guitars. His playing was influenced by folk guitarists Davey Graham and Bert Jansch, who regularly used alternative guitar tunings. Plant also recalled the band were "obsessed with change" and enjoyed listening to John Fahey. The band specifically wanted a change in direction, to show they could play any style of music they wanted.
(en.wikipedia.org/wiki/Led_Zeppelin_III)

Led-Zeppelin70-Led-Zeppelin-III-back Led-Zeppelin70-Led-Zeppelin-III-inside Led-Zeppelin70-Led-Zeppelin-III-front

FilesPayout     FilePv     KatFile     UploadyIo

All my files:     KatFile

Led Zeppelin - Led Zeppelin II [CD 1987] (1969)

Year: 22 October 1969 (CD 1988)
Label: Atlantic Records (US), SD 19126-2
Style: Hard Rock, Classic Rock
Country: London, England
Time: 41:37
Format: Flac Tracks 16/44,1 kHz
Size: 244 Mb

Charts: UK #1, AUS #1, AUT #25, CAN #1, GER #1, JPN #8, NLD #1, NOR #2, SWE #4, US #1. AUT: Gold; GER: Platinum; AUS & UK: 4x Platinum; CAN: 9x Platinum; US: Diamond.
Led Zeppelin II was conceived during a busy period of Led Zeppelin's career from January through August 1969, when they completed four European and three American concert tours. Each song was separately recorded, mixed and produced at various studios in the UK and North America. The album was written on tour, during periods of a couple of hours in between concerts, a studio was booked and the recording process begun, necessarily resulting in spontaneity and urgency, which is reflected in the sound. Several songs resulted from improvisation while touring and were recorded mostly live in the studio.
Recording sessions for the album took place at a wide variety of studios in the UK and US, including Olympic and Morgan Studios in London, England; A&M, Quantum, Sunset, Mirror Sound and Mystic Studios in Los Angeles; Ardent Studios in Memphis, Tennessee; A&R, Juggy Sound, Groove and Mayfair Studios in New York City; and R&D Studios. Some of these were ill-equipped, leading to one Vancouver studio, which had an 8-track set-up without even proper headphone facilities, being credited as "a hut". A more favourable set-up was Mystic Studios in Hollywood, Los Angeles with Chris Huston engineering.
Lead singer Robert Plant later complained that the writing, recording, and mixing sessions were done in many different locations, and criticised the writing and recording process. "Thank You", "The Lemon Song" and "Moby Dick" were overdubbed during the tour, while the mixing of "Whole Lotta Love" and "Heartbreaker" was also done on tour. Page later stated, "In other words, some of the material came out of rehearsing for the next tour and getting new material together."
Page and Kramer spent two days mixing the album at A&R Studios, and the album's production was entirely credited to Jimmy Page, with Eddie Kramer engineering. Kramer was quoted as saying, "The famous Whole Lotta Love mix, where everything is going bananas, is a combination of Jimmy and myself just flying around on a small console twiddling every knob known to man." Kramer later gave great credit to Page for the sound that was achieved, despite the inconsistent conditions in which it was recorded: "We cut some of the tracks in some of the most bizarre studios you can imagine ... but in the end it sounded bloody marvellous ... there was one guy in charge and that was Mr. Page."
(en.wikipedia.org/wiki/Led_Zeppelin_II)

Led-Zeppelin69-Led-Zeppelin2-us-back Led-Zeppelin69-Led-Zeppelin2-us-inside Led-Zeppelin69-Led-Zeppelin2-us-front

FilesPayout     FilePv     KatFile

All my files:     KatFile

Led Zeppelin - Led Zeppelin I [CD 1987] (1969)

Year: 12 January 1969 (CD 1987)
Label: Atlantic Records (US), SD 19126-2
Style: Hard Rock, Classic Rock
Country: London, England
Time: 44:56
Format: Flac Tracks 16/44,1 kHz
Size: 282 Mb

Charts: UK #6, AUS #1, AUT #18, CAN #11, GER #11, NLD #14, NOR #14, SWE #11, US #10. SWI & NLD: Gold; AUS & UK: 2x Platinum; US: 8x Platinum; CAN: Diamond.
In July 1968, the English rock band the Yardbirds disbanded after two founder members Keith Relf and Jim McCarty quit the group to form the band Renaissance, with a third, Chris Dreja, leaving to become a photographer shortly afterwards. The fourth member, guitarist Jimmy Page, was left with rights to the name and contractual obligations for a series of concerts in Scandinavia. Page asked seasoned session player and arranger John Paul Jones to join as bassist, and hoped to recruit Terry Reid as singer and Procol Harum's B. J. Wilson as drummer. Wilson was still committed to Procol Harum, and Reid declined to join but recommended Robert Plant, who met with Page at his boathouse in Pangbourne, Berkshire in August to talk about music and work on new material.
Page and Plant realised they had good musical chemistry together, and Plant asked friend and Band of Joy bandmate John Bonham to drum for the new group. The line-up of Page, Plant, Jones and Bonham first rehearsed on 19 August 1968 (the day before Plant's 20th birthday), shortly before a tour of Scandinavia as "the New Yardbirds", performing some old Yardbirds material as well as new songs such as "Communication Breakdown", "I Can't Quit You Baby", "You Shook Me", "Babe I'm Gonna Leave You" and "How Many More Times". After they returned to London following the tour, Page changed the band's name to Led Zeppelin, and the group entered Olympic Studios at 11 p.m. on 25 September 1968 to record their debut album.

(en.wikipedia.org/wiki/Led_Zeppelin_(album))

Led-Zeppelin69-Led-Zeppelin1-us-back Led-Zeppelin69-Led-Zeppelin1-us-inside Led-Zeppelin69-Led-Zeppelin1-us-front

FilesPayout     FilePv     KatFile

All my files:     KatFile

David Gilmour - David Gilmour (1978)

Year: 26 May 1978 (CD May 1987)
Label: Columbia Records (US), CK 35388
Style: Pop Rock, Progressive Rock
Country: Cambridge, England (6 March 1946)
Time: 46:22
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

Charts: UK #17, AUS #14, GER #17, ITA #80, NZ #22, SWE #21, US #29. US: Gold.
David Gilmour is the debut solo studio album by Pink Floyd guitarist and co-lead vocalist David Gilmour, released on 26 May 1978. The album reached number 17 in the UK and number 29 on the Billboard US album charts; it was certified Gold in the US by the RIAA. The album was produced by Gilmour, and consists mostly of blues and guitar-oriented rock songs, except for the piano-dominated ballad "So Far Away".
The tracks used for the album were recorded between February and March 1978 with engineer John Etchells at Super Bear Studios in France. They were then mixed at the same studio by Nick Griffiths. Session musicians included bass guitarist Rick Wills and drummer Willie Wilson, both of whom used to be part of Jokers Wild with Gilmour. The album was recorded at the same studio where Pink Floyd bandmate Richard Wright had recorded his first solo album Wet Dream just weeks before, though it would not be released until September 1978.
The album cover used for the first EMI pressings of the album LP was done by Hipgnosis and Gilmour and includes Gilmour, Rick Wills and Willie Wilson in the cover photo; Gilmour was credited on the cover for contributing "Keyboards, Vocals" though he was primarily a guitarist. The CBS/Columbia pressings (outside Europe) listed Gilmour as contributing "Guitars, Keyboards, Vocals". Among those depicted on the inner sleeve is Gilmour's then-wife, Ginger.
(en.wikipedia.org/wiki/David_Gilmour_(album))

David-Gilmour78-David-Gilmour-back David-Gilmour78-David-Gilmour-front David-Gilmour78-David-Gilmour-inside

FilesPayout     FilePv     KatFile

All my files:     KatFile

Monday, April 14, 2025

Gary Moore - Dark Days In Paradise (1997)

Year: 26 May 1997 (CD 1997)
Label: Virgin Records (Europe), CDV 2826
Style: Pop Rock, Rock
Country: Belfast, Northern Ireland (4 April 1952 - 6 February 2011)
Time: 67:30
Format: Flac Tracks 16/44,1 kHz
Size: 462 Mb

Charts: UK #43, AUT #19, FIN #27, GER #32, NOR #27, SWE #23, SWI #22.
Eschewing the blues focus of Moore's prior work for a more contemporary feel, Dark Days in Paradise is a diverse and rhythmical album that incorporates many styles, including drum and bass, soul, folk, jazz, Irish folk, Eastern music and ballads. Instead of blues rock, Moore utilises electronic beats alongside his soaring guitar playing. According to critic Andrew Hirst, the album's wide range of styles are "alien to [Moore's] usual blues output", highlighting the jungle track "Always There For You", the Britpop song "One Fine Day" and the soulful "I Have Found My Love in You", but noted that each style is accompanied by Moore's guitar work. Neil McCormick describes it as an "understated song-based collection" encompassing lo-fi pop (as on "One Good Reason"), as well as shades of hip hop, world music and jungle. Colin Larkin comments that the record has "little blues on offer", instead attempting "rock, AOR and pop", while Jones says that the album saw Moore "[take] up the Britpop challenge". The Irish Times called the first of two consecutive experimental pop albums recorded by Moore, followed by A Different Beat (1999).
Moore said that Dark Days in Paradise "encompasses all the influences I've had in my career over the years and a few new ones. There's a bit of everything in there. I've been listening to a lot of hip-hop, drum 'n' bass, reggae, R&B, very rhythmical stuff." He added that the record was not a response to people's perception of him as an artist, bur rather "just what I wanted to do. The same when I started, or went back, to playing blues, I just felt it was time for a change." The production buoys the melodies with elegant string arrangements, with guitar solos generally minimised. Of the more unusual material, "One Fine Day" has been described as a Beatlesque song containing a bassline evocative of the Beatles' "Rain" (1966), while "Like Angels" is a keyboard-heavy ballad reminiscent of late 1980s music, whereas "Always There for You" uses racing jungle rhythms as a backdrop for an otherwise soulful track. Though Moore had abandoned blues on the album, song titles such as "Cold Wind Blows" and "Where Did We Go Wrong" still betray a moodiness reminiscent of Moore's blues work.

(en.wikipedia.org/wiki/Dark_Days_in_Paradise)

01. One Good Reason (03:02)
02. Cold Wind Blows (05:26)
03. I Have Found My Love In You (04:53)
04. One Fine Day (04:58)
05. Like Angels (07:32)
06. What Are We Here For? (05:44)
07. Always There For You (04:33)
08. Afraid Of Tomorrow (06:42)
09. Where Did We Go Wrong? (06:36)
10. Business As Usual (18:02)

FilesPayout     FilePv     KatFile

All my files:     KatFile

Sunday, April 13, 2025

Deborah Harry And Blondie - The Complete Picture - The Very Best Of Deborah Harry And Blondie (1991)

Year: March 4, 1991 (CD 1991)
Label: Chrysalis Records (Europe), CDP 3218172
Style: New Wave, Pop Rock
Country: New York City, U.S.
Time: 74:50
Format: Flac Tracks 16/44,1 kHz
Size: 496 Mb

It contained all of Blondie's highest-charting singles such as "Heart of Glass", "Sunday Girl", "The Tide Is High", "Atomic", and "Call Me", as well as some of Deborah Harry's solo singles, including the UK top-10 single "French Kissin' in the USA".
The Complete Picture reached number three on the UK Album Chart, remaining on the chart for 25 weeks, and was certified gold by the British Phonographic Industry (BPI). The album was released as a double vinyl LP, containing five tracks on each side. However, for the compact disc format, all 20 tracks were released on one CD.
A video collection was also released. It omits "Sunday Girl" and "Rip Her to Shreds" since there are no official promo videos for them, though several tracks not present on the album were included such as Deborah Harry's "Backfired" and "Now I Know You Know" (from her 1981 album KooKoo), "Free to Fall" (from 1986's Rockbird), and Blondie's videos for "The Hardest Part" (1979) and "Detroit 442" (1978).
(en.wikipedia.org/wiki/The_Complete_Picture:_The_Very_Best_of_Deborah_Harry_and_Blondie)
This import CD is one of the best Blondie and Debbie Harry compilations for original music, unless one is looking for remixes and rarities. The 20-track disc covers the years 1977-1990, and includes "Heart of Glass," "Call Me," "French Kissin' in the U.S.A.," "Rapture," "Atomic," "The Tide Is High," and others. Very solid song selection (and track order). First released in 1993, the current version has superior sound quality. Casual fans will most likely choose Best of Blondie [Chrysalis], as it only has the best of Blondie. But some of Debbie Harry's songs will please the casual fan, so Complete Picture may be a better alternative than the more expensive Platinum Collection for the adventurous shopper.
(allmusic.com/album/complete-picture-the-very-best-of-deborah-harry-and-blondie-mw0000740533)

Deborah-Harry-Blondie91-Best-Of-back Deborah-Harry-Blondie91-Best-Of-01

FilesPayout     FilePv     KatFile

All my files:     KatFile

Mark Knopfler (ex Dire Straits) & Chet Atkins - Neck And Neck [Japanese Ed. K2HD] (1990)

Year: October 9, 1990 (CD 2012)
Label: Sony Music (Hong Kong, Japan), 88691998902
Style: Folk Rock, World, Country Rock
Country: Glasgow, Scotland / Luttrell, Tennessee, U.S.
Time: 38:26
Format: Flac Tracks 16/44,1 kHz
Size: 227 Mb

Neck and Neck is a collaborative album by American guitarist Chet Atkins and British singer-songwriter and guitarist Mark Knopfler, released on October 9, 1990, by Columbia Records. "Poor Boy Blues" was released as a single.
At the 33rd Annual Grammy Awards in 1991, the track "Poor Boy Blues" won Best Country Vocal Collaboration, while the track "So Soft Your Goodbye" won Best Country Instrumental Performance. Atkins originally recorded "Yakety Axe", a parody of Boots' Randolph's "Yakety Sax", on his 1965 album More of That Guitar Country. This new recording features lyrics and a new arrangement that were composed by Merle Travis. Atkins also previously recorded "I'll See You in My Dreams" on an album with Travis.
The track "There'll Be Some Changes Made" was later included as track 10 of the 15-track 1996 Rolls-Royce Sound System Demonstration Disc and accompanying cassette.
(en.wikipedia.org/wiki/Neck_and_Neck)

Mark-Knopfler-Chet-Atkins90-Neck-And-Neck-07 Mark-Knopfler-Chet-Atkins90-Neck-And-Neck-03 Mark-Knopfler-Chet-Atkins90-Neck-And-Neck-01

FilesPayout     FilePv     KatFile

All my files:     KatFile

Marillion - Clutching At Straws [Japanese Ed.] (1987)

***Year: 22 June 1987 (CD Oct 26, 2005)
***Label: Toshiba Records (Japan), TOCP-67787
***Style: Neo-Prog, Progressive Rock, Art Rock
***Country: Aylesbury, Buckinghamshire, England
***Time: 52:18
***Format: Flac Tracks 16/44,1 kHz
***Size: 322 Mb

Charts: UK #2, CAN #81, FIN #15, FRA #20, Ger #3, NL #3, NOR #4, SWE #9, SWI #3, US #103. UK & GER: Gold.
The character of Torch (supposedly a descendant of the Jester from earlier album sleeves) is a 29-year-old out-of-work man whose life is a mess. He seeks comfort mostly in alcohol to numb himself. He is trying, but failing, to forget what lies at his feet-a failed marriage, being a deadbeat father, and his lack of commercial success as a singer in a band. As he gets drunk, he also writes about his surroundings and his laments. Since Torch has no other real outlet at his disposal, he ends up in bars, hotel rooms, and on the road, screaming and drunk, thus, he is described as beyond redemption or hope.
Marillion took a break after their tour in support of the album (with Fish eventually quitting) after it was released. The song "Incommunicado" describes the pitfalls of the business, and how pressures in real life exerted by the band's US label Capitol Records were crushing in from outside for them to either succeed or get dropped by the company, which would happen to Marillion anyway a few years later.
(en.wikipedia.org/wiki/Clutching_at_Straws)

01. Hotel Hobbies (03:35)
02. Warm Wet Circles (04:25)
03. That Time Of The Night (The Short Straw) (06:00)
04. Going Under (02:47)
05. Just For The Record (03:09)
06. White Russian (06:27)
07. Incommunicado (05:16)
08. Torch Song (04:05)
09. Slainte Mhath (04:45)
10. Sugar Mice (05:46)
11. The Last Straw, Happy Ending (05:58)

FilesPayout     FilePv     KatFile

All my files:     KatFile

John Renbourn (ex Pentangle) - Faro Annie (1971)

Year: 1971 (CD 2002)
Label: Sanctuary Records (UK), CMRCD534
Style: Baroque Rock, Folk Rock, Blues Rock
Country: London, England (8 August 1944 - 26 March 2015)
Time: 41:52
Format: Flac Tracks 16/44,1 kHz
Size: 231 Mb

Faro Annie is the 1971 solo album by British folk musician John Renbourn. On this release, Renbourn ventures into folk rock and blues territory. There is also heavy use of the sitar on this album, played by Renbourn himself. He is joined on the album by Pentangle bandmates Danny Thompson and Terry Cox.
(en.wikipedia.org/wiki/Faro_Annie)
Pentangle singer/guitarist John Renbourn often takes a folk-rock approach, and often investigates American folk songs, on Faro Annie, beginning with the traditional "White House Blues," a song about the 1901 assassination of President William McKinley. "Buffalo Skinners" is a song associated with Woody Guthrie that Renbourn gives an unusually calm treatment to, adding for the first but not the last time a background sitar part. "Kokomo Blues" is the first overtly folk-rock track, finding Renbourn joined by the Pentangle rhythm section of bassist Danny Thompson and drummer Terry Cox. The first song with a distinctly British derivation is "Willy O'Winsbury," but before long Renbourn is evoking Robert Johnson on "Come on in My Kitchen." That Delta blues is followed by "Country Blues," and then the original instrumental title tune. Throughout, Renbourn and his cohorts explore the various folk styles with delicacy and restraint; that's the British element coming through, and it gives an elegance to the material.
(allmusic.com/album/faro-annie-mw0000227588)

John-Renbourn71-Faro-Annie-slipcase-back John-Renbourn71-Faro-Annie-01 John-Renbourn71-Faro-Annie-02

FilesPayout     FilePv     KatFile

All my files:     KatFile

Saturday, April 12, 2025

Jethro Tull - Minstrel In The Gallery (1975)

Year: 5 September 1975 (CD 1992)
Label: Chrysalis Records (UK), CDP 32 1082 2
Style: Gothic Rock, Art Rock, Classic Rock
Country: Blackpool, Lancashire, England
Time: 45:13
Format: Flac Tracks 16/44,1 kHz
Size: 283 Mb

Charts: UK #20, AUS #20, AUT #7, GER #14, NOR #13, SWE #50, US #7. UK: Silver; CAN & US: Gold.
The album's title refers to the use of a minstrel's gallery in the great hall of castles or manor houses, inspired by a balcony in the recording space which is shown in a photo of the band on the back cover of the original LP. The minstrel analogy is used thematically in the lyrics of the title track and "Baker St. Muse". "Cold Wind to Valhalla" is based on elements of Norse mythology, such as the afterlife hall of Valhalla mentioned in the song's title and lyrics. The cover art of the album is an alteration of the 1838 oil painting Twelfth Night Revels in the Great Hall, Haddon Hall, Derbyshire by artist Joseph Nash, depicting a group of minstrels (altered from the original painting to represent the five members of the band) performing to a raucous crowd of revelers at the Haddon Hall country estate.
Critics have described Minstrel in the Gallery's lyrics and subject matter as showing an introspective and cynical air, possibly the byproduct of Anderson's recent divorce from first wife Jennie Franks. However, Anderson has denied the divorce as inspiration for the album, saying that the album's subject matter is "like everything else, you mix a bit of personal stuff with a bit of fantasy."
Stylistically the album is varied, exemplary of Jethro Tull's progressive-influenced hard rock performances, with long instrumental passages, invested with elements of British folk and archaic, pre-Elizabethan sounds. Team Rock called Minstrel in the Gallery's musical style a "heavy metal take on the obsessively ornamented style of A Passion Play".
(en.wikipedia.org/wiki/Minstrel_in_the_Gallery)

01. Minstrel In The Gallery (08:16)
02. Cold Wind To Valhalla (04:19)
03. Black Satin Dancer (06:52)
04. Requiem (03:45)
05. One White Duck - 0-Nothing at All (04:38)
06. Baker Street Muse (16:42)
07. Grace (00:37)

Jethro-Tull75-Minstrel-In-The-Gallery-back Jethro-Tull75-Minstrel-In-The-Gallery-front Jethro-Tull75-Minstrel-In-The-Gallery-inside

FilesPayout     FilePv     KatFile

All my files:     KatFile

Genesis - A Trick Of The Tail (1976)

Year: 13 February 1976 (CD 1984)
Label: Charisma Records (UK), CDSCD 4001
Style: Progressive Rock, Art Pop
Country: Godalming, Surrey, England
Time: 51:08
Format: Flac Tracks 16/44,1 kHz
Size: 308 Mb

Charts: UK #3, AUS #93, GER #43, ITA #4, NL #7, NZ #4, SWE #17, US #31. UK & US: Gold.
After Peter Gabriel departed for a solo career, Genesis embarked on a long journey to find a replacement, only to wind back around to their drummer, Phil Collins, as a replacement. With Collins as their new frontman, the band decided not to pursue the stylish, jagged postmodernism of The Lamb Lies Down on Broadway -- a move that Gabriel would do in his solo career -- and instead returned to the English eccentricity of Selling England by the Pound for its next effort, A Trick of the Tail. In almost every respect, this feels like a truer sequel to Selling England by the Pound than Lamb; after all, that double album was obsessed with modernity and nightmare, whereas this album returns the group to the fanciful fairy tale nature of its earlier records. Also, Genesis were moving away from the barbed pop of the first LP and returning to elastic numbers that showcased their instrumental prowess, and they sounded more forceful and unified as a band than they had since Foxtrot. Not that this album is quite as memorable as Foxtrot or Selling England, largely because its songs aren't as immediate or memorable: apart from "Dance on a Volcano," this is about the sound of the band playing, not individual songs, and it succeeds on that level quite wildly -- to the extent that it proved to longtime fans that Genesis could possibly thrive without its former leader in tow.
(allmusic.com/album/a-trick-of-the-tail-mw0000193940)

Genesis76-ATrick-Of-The-Tail-back Genesis76-ATrick-Of-The-Tail-01 Genesis76-ATrick-Of-The-Tail-02

FilesPayout    FilePv    KatFile

All my files:     KatFile

Black Sabbath - The Sabbath Stones [Compilation] (1996)

Year: 29 April 1996 (CD 1996)
Label: I.R.S. Records (UK & Europe), 7243 8 37532 2 2
Style: Hard Rock, Heavy Metal
Country: Birmingham, England
Time: 80:20
Format: Flac Tracks 16/44,1 kHz
Size: 547 Mb

The Sabbath Stones (1996) is a compilation album of Black Sabbath songs taken from albums ranging from 1983's Born Again to 1995's Forbidden. It was never formally released in the US or Canada, and was the last album to be released by Black Sabbath with I.R.S. Records.
The album was created solely to fulfill Black Sabbath's contract with I.R.S. It included a short story about Black Sabbath which had some mistakes, including the misspelling of Vinny Appice's name on the front cover of the CD as "Vinnie", a mistake which also appeared on both the Mob Rules and Live Evil sleeves.
This compilation features at least one song from each of the eight Black Sabbath albums released from 1983 until 1995. This period covers all five studio albums released by the band with lead singer Tony Martin, one studio album with lead singer Ian Gillan, one with Glenn Hughes and one with Ronnie James Dio.
The version of "Headless Cross" that appears on this album starts with the last few seconds of the track "The Gates of Hell" (Which precedes "Headless Cross" on the Headless Cross album) before the opening drum line.
‘Loser Gets It All’, according to the liner notes in the album, was supposedly one of Tony Iommi’s favorite tracks to both perform and write. It was recorded during the Forbidden sessions, but only appeared on the Japanese version of the album.
(en.wikipedia.org/wiki/The_Sabbath_Stones)


Black-Sabbath96-The-Sabbath-Stones-01 Black-Sabbath96-The-Sabbath-Stones-03 Black-Sabbath96-The-Sabbath-Stones-04

FilesPayout     FilePv     KatFile

All my files:     KatFile

Yes - The Yes Album [Japan Ed. for USA] (1971)

Year: February 19, 1971 (CD July 1987)
Label: Atlantic Records (Japan), SD 19131-2
Style: Symphonic Rock, Art Rock
Country: London, England
Time: 41:45
Format: Flac Tracks 16/44,1 kHz
Size: 261 Mb

Charts: CAN #46, US #40, NLD #7, UK #4. UK: Silver; US: Platinum.
The Yes Album is the third studio album by English progressive rock band Yes. It was the band's first album to feature guitarist Steve Howe, who replaced Peter Banks in 1970, as well as their last to feature keyboardist Tony Kaye until 1983's 90125.
The band spent mid-1970 writing and rehearsing new material at a farmhouse at Romansleigh, Devon, and the new songs were recorded at Advision Studios in London in the autumn. The album was the first by the band to feature all-original material. While the album retained close harmony singing, Kaye's Hammond organ, and Chris Squire's melodic bass, as heard on earlier releases, the new material also covered further styles including jazz piano, funk, and acoustic music. All of the band members contributed ideas, and tracks were extended in length to allow music to develop. Howe contributed a variety of guitar styles, including a Spanish laud, and recorded the solo acoustic guitar piece "Clap", live at the Lyceum Theatre, London.
(en.wikipedia.org/wiki/The_Yes_Album)

01. Yours Is No Disgrace (09:42)
02. The Clap (03:17)
03. Starship Trooper: a. Life Seeker b. Disillusion c. Wurm (09:34)
04. I've Seen All Good People a. Your Move b. All Good People (06:56)
05. A Venture (03:18)
06. Perpetual Change (08:56)

FilesPayout    FilePv    KatFile

All my files:     KatFile

Friday, April 11, 2025

Poco - Pickin' Up The Pieces (1969)

Year: May 19, 1969 (CD )
Label: Audio Fidelity (US), AFZ 158
Style: Country Rock, Folk Rock, Soft Rock
Country: Los Angeles, California, U.S.
Time: 40:09
Format: Flac Tracks 16/44,1 kHz
Size: 262 Mb

Pickin' Up the Pieces is the debut album by country rock band Poco, released in 1969. It was one of the earliest examples of the emerging genre of country rock. Several of the songs date back to Richie Furay's days in Buffalo Springfield. An early version of "What a Day" was included on the Buffalo Springfield box set in 2001.
Bassist Randy Meisner appears on the album but quit the band shortly before the record was released. Meisner's exit was the result of his anger from being excluded (at Furay's insistence) from participation in the final mix playback sessions for the album, as only Messina and Furay were to complete production. His image was removed from the painting on the cover and replaced with the dog seen at the far left. His bass parts and backing vocals were left in the mix, but his lead vocals were removed, and new versions were sung by George Grantham. He is not credited as a group member on the completed album, but is listed in the credits as providing "supporting vocals and bass".
In his Allmusic review, music critic Bruce Eder called the album a "startlingly great record, as accomplished as any of Buffalo Springfield's releases, and also reminiscent of the Beatles and the Byrds... The mix of good-time songs, fast-paced instrumentals, and overall rosy feelings makes this a great introduction to the band, as well as a landmark in country-rock only slightly less important (but arguably more enjoyable than) Sweetheart of the Rodeo." Robert Christgau wrote; "Nice and happy, but considering the personnel a disappointment."
(en.wikipedia.org/wiki/Pickin%27_Up_the_Pieces_(Poco_album))

01. Foreward (00:50)
02. What a Day (02:30)
03. Nobody's Fool (03:28)
04. Calico Lady (03:03)
05. First Love (03:10)
06. Make Me a Smile (03:20)
07. Short Changed (03:24)
08. Pickin' Up the Pieces (03:19)
09. Grand Junction (03:00)
10. Oh Yeah (04:09)
11. Just in Case It Happens, Yes Indeed (02:48)
12. Tomorrow (03:13)
13. Consequently, So Long (03:49)
Poco69-Pickin-Up-The-Pieces-AF-01 Poco69-Pickin-Up-The-Pieces-AF-02 Poco69-Pickin-Up-The-Pieces-AF-03

FilesPayout    FilePv    KatFile

All my files:     KatFile