Egg - The Civil Surface (1974)

Year: December 1974 (CD 2003)
Label: Sunrise Records (Europe), 30523032
Style: Canterbury Scene, Progressive Rock, Avant-garde, Instrumental
Country: London, England
Time: 40:24
Format: Flac Tracks 16/44,1 kHz
Size: 227 Mb

The Civil Surface is the third and final studio album by the English progressive rock band Egg, originally released in 1974 on Caroline Records. The band had broken up in 1972, leaving some of their favourite stage pieces unrecorded. At organist Dave Stewart's suggestion, the trio re-united solely to record these final numbers. Among the guest musicians on the album are Steve Hillage (guitar), Lindsay Cooper (oboe, bassoon) and vocalists Amanda Parsons, Ann Rosenthal and Barbara Gaskin.
Listeners have complained that the drums are mixed too loud on the album's organ trio pieces. In an article written for the UK fanzine Ptolemaic Terrascope in 1990 (quoted in Mark Powell's liner notes of the Esoteric Recordings CD re-release), Stewart explains that it was the unbending wish of drummer Clive Brooks that his drums be featured prominently in the mix, and that the other members were unable to persuade him otherwise.
In a 2007 review for website All About Jazz, John Kelman wrote, "The Civil Surface reflects widening interests, with Stewart's greater jazz-centricity and wryly melodic Canterbury flavor most notable on the longer tracks "Germ Patrol," "Enneagram" and "Wring Out the Ground (Loosely Now)" ... The complex writing—episodic tracks filled with complex meters, rich harmonies and tight arrangements, as well as some strong solos—bears an unmistakable link to Hatfield but, with Campbell's rigorous classicism an equal part of the equation, it still sounds like Egg."
(en.wikipedia.org/wiki/The_Civil_Surface)

01. Germ Patrol (08:30)
02. Wind Quartet 1 (02:20)
03. Enneagram (09:07)
04. Prelude (04:17)
05. Wring Out the Ground Loosely Now (08:11)
06. Nearch (03:11)
07. Wind Quartet 2 (04:46)

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Chris De Burgh - Far Beyond These Castle Walls [Japanese Ed.] (1974)

Year: 1974 (CD June 21, 1989)
Label: Pony Canyon Inc. (Japan), D18Y4129
Style: Art Pop, Pop Rock
Country: U.S. / U.K. / Santa Fe Province, Argentina (15 October 1948)
Time: 44:23
Format: Flac Tracks 16/44,1 kHz
Size: 247 Mb

Chris de Burgh has never really received proper credit for his lyrics. While his reputation as a musician was cemented early on by such classic tracks as ‘Spanish Train’, ‘Crusader’ and ‘The Traveller’, his equally poignant use of the English language deserves attention.
Let us, however, not speak of ‘Lady in Red’.
If we pretend, for a moment, that each of Chris de Burgh’s albums is instead a collection of poems, the results are startling. Far from being merely a competent guitarist and composer with a talent for soaring and majestic melodies, Chris de Burgh is also a poet.
However, Far Beyond These Castle Walls ... (1974), Chris de Burgh’s first collection of poetry, showcases a poet who, alas, does not yet know it.
(daveydreamnation.com/non-fiction/essays/lyrics-chris-de-burgh-far-beyond-castle-walls/)
On Chris de Burgh's debut album, his gentle, beguiling vocal style is introduced, which instantly trademarks him as a genuine master of the soft ballad. de Burgh's engaging dominance of words and lyrics carries both his love songs and his simple light rock tunes to a higher level, thanks to the attention and care given to each of his pieces. As an inaugural album, the songs hold well as they are delicately cushioned by his voice, but are substantially thin where melody or appealing choruses are concerned. Both "Windy Night" and "Watching the World" draw the most attention, bringing de Burgh's silkiness to the focal point. "Satin Green Shutters" beautifully illustrates his knack for sounding sincere and charismatic within the boundaries of a love song. What is most important about this album is the manner in which it reveals de Burgh as one of the finest mood-invoking artists ever. Even the last song, entitled "Goodnight," ends the album with his lush voice still hovering in the air once the music has finished. While the lyrics and recipe of the songs themselves come across as rather nimble compared to future releases, it is here that he lets his song styling make a name for himself.
(allmusic.com/album/far-beyond-these-castle-walls-mw0000373485)

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Steve Harley & Cockney Rebel - Best Of The 70's (2000)

Year: 2000 (CD 2000)
Label: Disky Communications (Netherlands), SI 990322
Style: Classic Rock, Glam Rock, Progressive Rock
Country: London, England
Time: 72:37
Format: Flac Tracks 16/44,1 kHz
Size: 506 Mb

Singer-songwriter, while not quite managing to elbow David Bowie aside, produced well-crafted hits topped by Make Me Smile (Come Up and See Me).
Steve Harley was many things, but a man held back by modesty was not among them.
In his first big music press interview – before the appearance of Cockney Rebel’s debut album, when all they had released was a solitary single that featured a 40-piece orchestra, which had failed to make the UK charts – he proclaimed his band “a musical force that others will follow” and pitted himself squarely against the biggest names in British pop. Cockney Rebel, he suggested, would kick David Bowie “up the arse”: “he’ll say ‘I’ve got to step on it to stay at the top’.”
When it arrived, Cockney Rebel’s debut album featured a song called Mirror Freak that loudly announced he was going to supplant Marc Bolan – “too cute to be a big rock star” – in the public’s affections: “We can feel a change is on the way … a new man he appears to be winning … you’re the same old thing we’ve always known.”
Harley was given to dismissing any band that had a lead guitarist, a musician noticeably absent from Cockney Rebel’s line-up and on another occasion, he claimed the band were so good that divine intervention had to be involved: “I feel like God’s touched me and said ‘here’s a mission and someone’s gotta do it’.”
This was big talk that perhaps told you something about Harley’s background as a journalist: he may have only worked for local papers, but he knew what made for lively copy. The thing was, that for a moment at least, Harley appeared to have the goods to back up his more extravagant pronouncements.
Cockney Rebel’s first two albums, The Human Menagerie and The Psychomodo, arrived alongside the first signs that glam rock was waning, or at least that its most artful practitioners were moving on – Bowie had killed off Ziggy Stardust, Bolan had announced the genre “dead” and “embarrassing” – and suggested the arrival of a fresh take.
Whatever you made of Harley’s thoughts on electric guitars, their relative, if not complete, absence from Cockney Rebel’s sound gave them a clear point of difference. Driven instead by electric piano and Jean-Paul Crocker’s electric violin, you could definitely make out the influence of Bowie and the kind of 50s rock’n’roll that was a touchstone throughout glam, but their sound also drew on psychedelia, Brecht and Weill cabaret, folk (Harley had done time in Britain’s folk clubs and as an acoustic guitar-toting busker) and, occasionally, classical music.
His voice was a mannered sneer that occasionally sounded a little like The Kinks’ Ray Davies and occasionally seemed to presage the arrival of punk – it was certainly the perfect fit for his lyrics, which were both thick with lurid imagery – “hooked on absinthe and daffodils/telling tales of white gardenia” – and big on withering disdain.
(full version: theguardian.com/music/2024/mar/17/steve-harley-1970s-cockney-rebel-whose-talent-was-almost-as-big-as-his-ego)

01. Make Me Smile - Come Up And See Me (04:03)
02. Love - Compared With You (04:23)
03. Judy Teen (03:43)
04. Mr. Raffles - Man, It Was Mean (04:36)
05. Mr. Soft (03:22)
06. Sebastian (06:58)
07. That's My Life In Your Hands (03:51)
08. Here Comes The Sun (02:59)
09. All Men Are Hungry (04:49)
10. Roll The Dice (03:28)
11. The Best Years Of Our Lives (05:47)
12. Star For A Week - Dino (04:39)
13. Rain In Venice (04:53)
14. The Last Time I Saw You (05:40)
15. Psychomodo (04:06)
16. Irresistable - Remix (05:12)

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AC/DC - Dirty Deeds Done Dirt Cheap [Japanese Ed.] (1976)

Year: 20 September 1976 (CD Dec 19, 2007)
Label: Sony Music (Japan), SICP 1701
Style: Hard Rock
Country: Sydney, Australia
Time: 39:59
Format: Flac Tracks 16/44,1 kHz
Size: 280 Mb

Charts: AUS #5, CAN #95, FRA #15, GER #19, NZ #20, SWE #50, SWI #25, UK #13, US #3. SWI & UK: Gold; GER: Platinum; AUS: 6x Platinum; US: 7x Platinum.
AC/DC began recording Dirty Deeds Done Dirt Cheap in December 1975 at Albert Studios with Harry Vanda and George Young (elder brother of guitarists Malcolm and Angus) producing. In April 1976, the band went on their first tour of the UK, where "It's a Long Way to the Top (If You Wanna Rock 'n' Roll)" was released as a single. According to the book AC/DC: Maximum Rock & Roll, Vanda and Young travelled to the UK to record several songs with the band at Vineland Studios for a scheduled EP, which was eventually scrapped. "Carry Me Home" later appeared in 1977 as a B-side to "Dog Eat Dog", while "Dirty Eyes" remained unreleased and was later reworked into "Whole Lotta Rosie" for 1977's Let There Be Rock. Only "Love at First Feel" was used for Dirty Deeds, but not for the Australian release. A song titled "I'm a Rebel" was recorded at Maschener Studios as well, with music and lyrics written by another elder Young brother, Alex Young. This song was never released by AC/DC, and remains in Albert Productions' vaults. German band Accept later released it as a single, and named their second album after it. High Voltage was released in the United States in 1976. However, hampered by visa problems and a lack of interest from Atlantic Records in the US, the band returned to Australia to finish their third album.
Cover art for the Australian version was assembled by Richard Ford at EMI Studios, Sydney, Australia.
Also according to AC/DC: Maximum Rock & Roll, years later, Stephen King convinced the band to do the soundtrack for his film Maximum Overdrive (the soundtrack released as Who Made Who) by putting "Ain't No Fun" on the record player and singing along to the entire song line-for-line in order to prove how much of a fan he was of their music.
The motel featured on the cover of the international release of the album was the Imperial 400 Motel, located at 6826 Sunset Boulevard, Los Angeles, until being closed down in 1982 and subsequently falling under an assortment of ownerships.
(en.wikipedia.org/wiki/Dirty_Deeds_Done_Dirt_Cheap)

01. Dirty Deeds Done Dirt Cheap (03:51)
02. Love At First Feel (03:12)
03. Big Balls (02:38)
04. Rocker (02:51)
05. Problem Child (05:46)
06. There's Gonna Be Some Rockin' (03:18)
07. Ain't No Fun (Waiting Round To Be A Millionaire) (06:57)
08. Ride On (05:53)
09. Squealer (05:27)

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The Graham Bond Organisation - There's A Bond Between Us [6 bonus tracks] (1965)

Year: 10 December 1965 (CD 2009)
Label: Repertoire Records (Germany), REP 5117
Style: Blues Rock, British Invasion, Jazz Rock
Country: United Kingdom
Time: 59:09
Format: Flac Tracks 16/44,1 kHz
Size: 312 Mb

Jack Bruce (Bass, Vocals), Ginger Baker (Drums, Original Cover Design), Graham Bond (Hammond Organ, Alto Saxophone, Mellotron, Lead Vocals), Dick Heckstall-Smith (Tenor Saxophone), Robert Stigwood (Producer).
Bond's second album stakes out similar territory as his debut in a more polished but slightly less exciting fashion. Some of the covers are a bit routine and hackneyed, and the original material isn't quite as strong (or frequent) as on the first effort. On a few tunes, the group expands from rave-ups to mellower, jazzier ballads that retain an R&B base. Highlights include the early Jack Bruce composition "Hear Me Calling Your Name" (to which he also contributes a fine lead vocal) and the excellent Bond tune "Walkin' in the Park," which holds up to the best early British R&B numbers. The album is also notable for being one of the very first rock LPs to feature the Mellotron, which Bond uses subtly and well.
(allmusic.com/album/theres-a-bond-between-us-mw0000788075)

01. Who's Afraid of Virginia Woolf (02:04)
02. Hear Me Calling Your Name (02:37)
03. The Night Time Is the Right Time (03:00)
04. Walkin' in the Park (03:30)
05. Last Night (02:59)
06. Baby Can It Be True (05:03)
07. What'd I Say (04:15)
08. Dick's Instrumental (02:32)
09. Don't Let Go (02:43)
10. Keep a Drivin' (Stereo) (02:05)
11. Have You Ever Loved a Woman (04:52)
12. Camels and Elephants (04:42)
13. Lease on Love (Stereo) (Single A-Side) [Bonus Track] (02:58)
14. My Heart's in Little Pieces (Stereo) (Single B-Side) [Bonus Track] (03:23)
15. Saint James Infirmary (Single A-Side) [Bonus Track] (03:40)
16. Soul Tango (Single B-Side) [Bonus Track] (03:12)
17. You've Gotta Have Love Babe (Single A-Side) [Bonus Track] (02:32)
18. I Love You (Single B-Side) [Bonus Track] (02:53)

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Savoy Brown - Bring It Home (2021)

Year: 2021 (CD 2021)
Label: Deadline Music (Canada), CLO2365
Style: Blues Rock, Boogie Rock
Country: London, England
Time: 58:37
Format: Flac Tracks 16/44,1 kHz
Size: 389 Mb

Kim Simmonds' 80s albums might have been a bit generic in both playing and songwriting but on this album he returns to old recipes and they are still tasty.
A skilled frontman keeps the tracks more interesting than Mr. Simmonds handling the vocals himself and it gives him more room to concentrate on his guitar playing. At 58 minutes there is some generic blues rock fillers still but the majority of tracks recall the good old boogie days.
(allmusic.com/album/bring-it-home-mw0000183308)
Wow, this is a terrific blues rock album and it sounds like it was made in the early 70's. Mr. Simmonds is a helluva blues guitarist, one of if not the best, and his guitar is allover this raw, sweaty, gritty, visceral hard blues rock album. Actually old friend Lonesome Dave Preverett guest on guitar
If you want to hear a master at work, "Bring It Home" is as good a place to start as any. All hail blues rock and all hail Kim Simmonds and his fantastic guitar work.
(rateyourmusic.com/release/album/savoy-brown-kim-simmonds/bring-it-home/)

01. Mr. Brown's Boogie (04:35)
02. Sweet Loving Thing (03:52)
03. Too Much of A Good Thing (04:16)
04. Misery (05:12)
05. Shake For Me (04:39)
06. Pack It Up (04:05)
07. High On Your Love (03:56)
08. Worried Man (05:29)
09. Little Wheel (07:00)
10. ou're In For A Big Surprise (04:26)
11. Real Fine Woman (03:44)
12. That's What Love Will Do (03:19)
13. Baby Please Change Your Mind (03:58)

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Love - Live In England 1970 (2007)

Year: 2007 (CD Jun 26, 2007)
Label: Hip-O Select (US), B0007827-02
Style: Psychedelic Rock, Garage Rock
Country: Los Angeles, California, U.S.
Time: 56:34
Format: Flac Tracks 16/44,1 kHz
Size: 381 Mb

Arthur Lee seems so embedded in the 1960s that it's hard to imagine him existing outside that decade. Strongly influenced by the baroque folk-pop of the Byrds, his smart, steely psychedelia conveyed a dark vision of hippie America-- a distinct contrast to the good vibrations typically associated with the Summer of Love. That was the same year-- 1967, for those of you who don't read Rolling Stone (which I think might be everybody)-- that Lee and his band Love released its scene-paranoid masterpiece Forever Changes, on which he painted himself as a true L.A. outsider, haunting the scrub-brush hills and looking deep into the dark heart of the city around him. In those songs, he foretells his own doom, and everyone else's: On "The Red Telephone", he sings, "Sitting on the hillside/ Watching all the people die/ I'll feel much better on the other side."
On these two albums (Out Here and False Start), Lee repeatedly refers to other artists and other songs, which doesn't anchor him to the mainstream culture but reiterates his underground detachment. This constant dissociation heightens the lively tension on the live disc, which was recorded at various stops on the band's 1970 tour of England. Like the studio version that closes Out Here, "Gather 'Round" appropriates the melody from Dylan's "The Times They Are A'Changin'", not out of laziness but as a pointed commentary on the death of that generation's idealism. Lee thrives on complication and contradiction: As either a supremely cynical or a playful gesture, he turns the song into an impromptu cover of Wilson Pickett's "Funky Broadway". Similarly, he performs songs from every Love album (including a particularly caustic "Bummer in the Summer" from Forever Changes) as a means of acknowledging his past glories as well as his fraught history. Live, this version of Love sounds like a band mustering the conviction to take on the world one more time. But they never did: Lee disbanded the line-up shortly after the tour. Love would barely see the 70s, except as a series of failed reunions.
(full version: pitchfork.com/reviews/albums/10386-the-blue-thumb-recordings/)

01. Good Times (03:50)
02. August (05:17)
03. My Little Red Book (02:52)
04. Nothing (04:38)
05. Orange Skies (03:59)
06. Andmoreagain (04:00)
07. Gather Round (07:00)
08. Bummer In the Summer (03:26)
09. Singing Cowboy (08:14)
10. Signed D.C. (06:43)
11. Love Is More Than Words Or Better Late Than Never (06:31)

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Black Sabbath - Reunion [Japanese Ed. 2CD Live] (1998)

Year: 19 October 1998 (CD October 28, 1998)
Label: Sony Records (Japan), SRCS 8807-8
Style: Hard Rock, Heavy Metal
Country: Birmingham, England
Time: 54:06, 53:32
Format: Flac Tracks 16/44,1 kHz
Size: 432. 420 Mb

Charts: UK #41, CAN #6, FIN #29, FRA #65, GER #32, SWE #11, SWI #84, US #11. UK: Silver; CAN & US: Platinum.
Reunion is a live album by English heavy metal band Black Sabbath, released on 19 October 1998. As implied by the title, the album features a reunion of the original lineup of vocalist Ozzy Osbourne, guitarist Tony Iommi, bassist Geezer Butler and drummer Bill Ward for the first time since Never Say Die! (1978). "Psycho Man", one of two studio tracks on the album, was the last to feature Ward on drums. Black Sabbath received their first ever Grammy Award in 2000 for the live recording of "Iron Man" taken from Reunion.
Six years after founding member Ozzy Osbourne departed Black Sabbath under less than amicable circumstances, he briefly rejoined his former bandmates for a single performance on 13 July 1985 at the Live Aid benefit concert in Philadelphia, and again in 1992 for the climax of his No More Tours farewell tour. Much to the dismay of fans, neither brief reconciliation had resulted in a full-fledged Black Sabbath reunion resulting in a new album and tour. A serious attempt at a reunion in 1993 proved fruitless as the band members lamented the reappearance of old animus. In 1997, Osbourne, Iommi and Butler reunited for the 1997 Ozzfest shows as Black Sabbath. Ward was absent due to health issues, and he was replaced by Faith No More's Mike Bordin. Ward had made a brief return to Black Sabbath for a short South American tour in 1994, but it was with Tony Martin fronting the band. Anticipation for a full and meaningful reunion of the Osbourne-era version of the band was high.
(en.wikipedia.org/wiki/Reunion_(Black_Sabbath_album))

01. War Pigs (08:27)
02. Behind The Wall Of Sleep (04:06)
03. N.I.B. (06:44)
04. Fairies Wear Boots (06:19)
05. Electric Funeral (05:01)
06. Sweet Leaf (05:07)
07. Spiral Architect (05:39)
08. Into The Void (06:31)
09. Snowblind (06:08)

01. Sabbath Bloody Sabbath (04:36)
02. Orchid - Lord Of This World (07:06)
03. Dirty Women (06:28)
04. Black Sabbath (07:29)
05. Iron Man (08:20)
06. Children Of The Grave (06:30)
07. Paranoid (04:29)
08. Psycho Man (Studio Track) (05:19)
09. Selling My Soul (Studio Track) (03:10)

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Egg - The Polite Force (1971)

Year: February 1971 (CD 2008)
Label: Esoteric Records (UK), ECLEC 2036
Style: Canterbury Scene, Progressive Rock
Country: London, England
Time: 42:57
Format: Flac Tracks 16/44,1 kHz
Size: 255 Mb

It was inevitable that Egg would be compared with Emerson, Lake & Palmer - a trio of bass/keyboards/drums with the bassist also singing, coming along at the very end of the 1960s, incorporating serious classical influences (and directed quotations) into their extended pieces. On their second album, The Polite Force, they try for a higher wattage sound than Emerson, Lake & Palmer, without as high velocity a brand of song. Dave Stewart's organ playing is as aggressive and melodic as Keith Emerson's, and he accomplishes a lot with less in the way of high-speed histrionics. That doesn't mean they aren't given to some electronic excesses. The album is diverting enough in its successful spots to carry the rest of it, but there are some missteps -- including one track dominated by guest horn players - that were enough to keep this album from being a favorite, even among art-rock fanatics. Reissued in Japan in the late '90s as part of the Decca/Deram psychedelic retrospective series.
(allmusic.com/album/the-polite-force-mw0000261107)

01. A Visit To Newport Hospital (08:28)
02. Contrasong (04:25)
03. Boilk (Incl. Bach: 'Durch Adams Fall Ist Ganz Verderbt') (09:22)
04. Long Piece No. 3: Part One (05:08)
05. Long Piece No. 3: Part Two (07:38)
06. Long Piece No. 3: Part Three (05:03)
07. Long Piece No. 3: Part Four (02:51)

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Gong - Angel's Egg: Radio Gnome Invisible Part II [4 bonus tracks] (1973)

Year: 7 December 1973 (CD October 4, 2004)
Label: Virgin Records (Europe), 7243 8 66556 2 2
Style: Canterbury Scene, Progressive Rock
Country: Paris, France
Time: 60:47
Format: Flac Tracks 16/44,1 kHz
Size: 338 Mb

It was recorded using The Manor Mobile studio at Gong's communal home, Pavillon du Hay, Voisines, France, and mixed at The Manor, Oxfordshire, England. The album was produced by "Gong under the direction of Giorgio Gomelsky".
Angel's Egg is the second in Gong's Radio Gnome Invisible trilogy of albums, following Flying Teapot and preceding You. The trilogy forms a central part of the Gong mythology. The original album did not have an apostrophe in the title.
The original vinyl edition came with a booklet containing an extensive explanation of the mythology, including lyrics, a glossary of terms, and profiles of characters in the story and band members. This edition also had a gatefold cover (omitted in later pressings), a plain inky blue inner sleeve to match the gate fold and booklet, and had the original black and white Virgin label which was discontinued after 1973; it was one of the last albums to use the original label. Some copies had a sticker over top of the female nude in the moon on the cover.
The CD version released by Virgin Records, and later reissued on Charly Records contains an extra track: "Ooby-Scooby Doomsday or The D-day DJs Got the D.D.T. Blues", that ends with a male voice choir glissando (questionably regarded by some[by whom?] as a parody on Pink Floyd's "Echoes"), starting with "Ahhhh" and ending with "Chooo", mimicking a sneeze. The track was originally released on the Live Etc. album but was excluded from the CD release (which reissued that double album as one disc), and included on this album instead.
(en.wikipedia.org/wiki/Angel%27s_Egg_(album))

01. Other Side Of The Sky (07:38)
02. Sold To The Highest Buddha (04:28)
03. Castle In The Clouds (01:12)
04. Prostitute Poem (04:53)
05. Givin My Luv To You (00:47)
06. Selene (03:42)
07. Flute Salad (02:09)
08. Oily Way (03:37)
09. Outer Temple (01:08)
10. Inner Temple (02:34)
11. Percolations (00:45)
12. Love Is How Y Make It (03:28)
13. I Never Glid Before (05:37)
14. Eat That Phone Book Coda (03:14)
15. Other Side Of The Sky (Single Version) (04:36)
16. Ooby-Scooby Doomsday Or The D-Day DJ's Got The D.D.T. Blues (05:11)
17. Love Is How Y Make It (1973 Vocal Mix) (02:32)
18. Eat That Phone Book Coda (Early Version) (03:09)

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Brand X (Phil Collins) - Unorthodox Behaviour (1976)

Year: 18 June 1976 (CD 1996)
Label: Virgin Records (UK), CASCD1117
Style: Jazz Rock, Instrumental, Progressive Rock
Country: London, England
Time: 41:05
Format: Flac Tracks 16/44,1 kHz
Size: 221 Mb

The 70’s jazz fusion flavour is audible right away when Nuclear Burn (6:23) begins. You hear and feel that the bass is not played by an ordinary bass player. Percy Jones has his very own sound and he plays quite fast. Guitar and keyboards only accompany him until the chorus (if you can speak of a chorus in an instrumental) when Goodsall (guitar) and Lumley (keyboards) take over the track! Collins’s drum sound is quite different from his Genesis sound. He works the snare and the hi-hat a lot and not so much with the toms. You can hear it here in the opening track what a fantastic and sympathetic drummer he used to be. The track ends in what seems to be a jam, but probably was written like that. You can hear the influence of Pat Metheny and Weather Report. It is jazz, but it is also rock – jazz rock or fusion music.
Euthanasia Waltz (5:42) is much calmer. An acoustic guitar is the dominant instrument before a well-rounded solo on the electric piano comes in and leads the track into a seemingly improvised jam before the track returns to the electric guitar. Phil whirls across the snare and adds highlights on the ride cymbals. The remarkable bass comes in only in the second third of the track and plays a solo. In the end the contemplative initial motive returns on the acoustic guitar.
Born Ugly (8:18) is the second longest track on the album. A very groovy number. It is best described as a session with a structure. The middle part is a bit psychedelic as the band weave a large soundscape with growing intensity. Phil then destroys this calm with his drums. The guitar solo may have been influenced by Indian music; in fact, it even sounds like a sitar in places. The track sounds like a complete improvisation by musicians who already rely blindly on each other on this their first album.
Smacks Of Euphoric Hysteria (4:30) is one of the shorter tracks. It has a slow groove. Phil’s drums are in the front; he plays a number of riffs on the toms. There is an obvious intention to give each musician more or less the same time in the centre spot. The album does not contain any track that is dominated by just one instrument.
The title track is the longest on the record (8:29). It begins quiet and even tentative and builds up a tension that is broken up suddenly by Phil’s drumming. A dialogue develops between the guitar and the keyboards; bass and drums occasionally pop in. Collins and Jones work together marvellously. This is another track that sounds like an improvised jam that all the musicians really enjoy. Some listeners may find the track too long with too many repetitions. The band really let down their hair on this one!
Running On Three is a shorter, fast track in which bass and drums play intriguing roles. The keyboards share the melodic work; a guitar solo rocks the middle bridge. The overall impression is a jazz jam.
The final track of the debut album is called Touch Wood. It begins with some (seemingly) chaotic acoustic guitar over ethereal piano sounds. Half the track passes before something like a structure emerges. A soprano saxophone comes in. The bass is played like a percussive instrument. There are no drums. The only percussion instrument you hear – briefly – is a shaker that oscillates between the left and right speakers. The track fades after 3:04 minutes and leaves the listener with silence.
(Full version: www.genesis-news.com/c-Brand-X-Unorthodox-Behaviour-Album-Review-s742.html)

01. Nuclear Burn (06:23)
02. Euthanasia Waltz (05:42)
03. Born Ugly (08:15)
04. Smacks Of Euphoric Hysteria (04:30)
05. Unorthodox Behaviour (08:29)
06. Running Of Three (04:38)
07. Touch Wood (03:04)

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Ginger Baker's Air Force (ex Cream) - Ginger Baker's Air Force [2LP on 1CD. Live] (1970)

Year: 30 March 1970 (CD 2004)
Label: Lemon Records (UK), CD LEM 22
Style: Jazz Rock, Afro Rock
Country: London, England (19 August 1939 - 6 October 2019)
Time: 78:03
Format: Flac Tracks 16/44,1 kHz
Size: 520 Mb

For a change, the late 1960s yielded up a supergroup that lived up to its hype and then some. Ginger Baker's Air Force was recorded live at Royal Albert Hall in January of 1970 -- in fact, this may be the best-sounding live album ever to come out of that notoriously difficult venue -- at a show that must have been a wonder to watch, as the ten-piece band blazed away in sheets of sound, projected delicate flute parts behind multi-layered African percussion, or built their songs up Bolero-like, out of rhythms from a single instrument into huge jazz-cum-R&B crescendos. Considering that this was only their second gig, the group sounds astonishingly tight, which greatly reduces the level of self-indulgence that one would expect to find on an album where five of the eight tracks run in excess of ten minutes. There aren't too many wasted notes or phrases in the 78 minutes of music included here, and Steve Winwood's organ, Baker, Phil Seamen, and Remi Kabaka's drums, and the sax playing by Chris Wood, Graham Bond (on alto), and Harold McNair, all stand out, especially the sax trio's interwoven playing on "Don't Care." Additionally, Denny Laine plays louder, flashier, more virtuoso-level guitar than he ever got to turn in with the Moody Blues, bending notes in exquisite fashion in the opening of Air Force's rendition of the Cream standard "Toad," crunching away on rhythm elsewhere, and indulging in some more introspective blues for "Man of Constant Sorrow." The original CD reissue, which sounded pretty good, was deleted in the early '90s, but this album has been remastered again and repackaged as part of the Ginger Baker retrospective Do What You Like on Polygram's Chronicles series. It's a must-own for jazz-rock, Afro-fusion, blues-rock, or percussion fans.
(allmusic.com/album/ginger-bakers-air-force-mw0000202606#userReviews)

01. Da Da Man (07:13)
02. Early In The Morning (11:16)
03. Don't Care (12:28)
04. Toad (12:59)
05. Aiko Biaye (13:00)
06. Man Of Constant Sorrow (03:55)
07. Do What You Like (11:39)
08. Doin' It (05:29)

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T. Rex - Futuristic Dragon (1976)

Year: 30 January 1976 (CD 2011)
Label: Fat Possum Records (US), FP1249-2
Style: Glam Rock, Rock
Country: London, England
Time: 40:42
Format: Flac Tracks 16/44,1 kHz
Size: 304 Mb

Futuristic Dragon is the eleventh studio album by English rock band T. Rex. The album was preceded by two successful singles that went into the UK chart, "New York City" and "Dreamy Lady". The album saw Marc Bolan continuing to experiment, blending rock with soul music and disco elements on certain tracks.
The album features some unusually dense production from singer and songwriter Marc Bolan, especially on "Chrome Sitar" and "Calling All Destroyers", which contained unusual musical embellishments such as the sitar and other sonic sound effects.
The album includes a nod to a new genre disco on the track "Dreamy Lady", which was released as a single under the moniker of "T Rex Disco Party". Futuristic Dragon also contains tracks heavily influenced by American soul music, which Bolan had been experimenting with since 1973. "All Alone", "Ride My Wheels", and "Dawn Storm" all feature predominantly soul-based rhythms and instrumentation.
The sleeve illustration was conceived by artist George Underwood, who had first worked with Bolan on the 1968 Tyrannosaurus Rex album My People Were Fair and Had Sky in Their Hair....
(en.wikipedia.org/wiki/Futuristic_Dragon)

01. Futuristic Dragon (01:52)
02. Jupiter Liar (03:42)
03. Chrome Sitar (03:14)
04. All Alone (02:50)
05. New York City (03:58)
06. My Little Baby (03:09)
07. Calling All Destroyers (03:57)
08. Theme for a Dragon (02:00)
09. Sensation Boulevard (03:49)
10. Ride My Wheels (02:28)
11. Dreamy Lady (02:55)
12. Dawn Storm (03:43)
13. Casual Agent (03:00)

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Paul Rodgers (ex Free & Bad Company) - Midnight Rose (2023)

Year: 2023 (CD Sep 22, 2023)
Label: Sun Record Company (US), 5047806720
Style: Rock
Country: Middlesbrough, England (17 December 1949)
Time: 32:15
Format: Flac Tracks 16/44,1 kHz
Size: 247 Mb

Midnight Rose is a studio album by Paul Rodgers, of Free and Bad Company fame. It is his first album of original material since Electric (1999). It was recorded in 2022 and 2023 at Roper Recording in Peachland and Bryan Adams' studio, The Warehouse, in Vancouver.
The song "Take Love" was previously worked on and played live by Rodgers as part of the Queen + Paul Rodgers project, although a studio version ultimately never materialised from the group.
The album has received mixed reviews with Blues Rock Review praising it as "a totally satisfying set of eight rocking songs that demonstrate why Paul Rodgers is considered one of the best singer/songwriter/frontmen of the rock & roll genre." PopMatters awarded it 6/10 with Michael Elliot saying the album, "signals the return of one of rock's greatest voices, which remarkably has not diminished over the decades and remains as expressive and powerful as ever, even if the material doesn't always match those golden vocal cords." In a 3/5 review, Loudersound.com suggests that "there are flashes of brilliance – class acts will always be class acts – but there are also moments when one wonders bemusedly what the hell is going on here."
(en.wikipedia.org/wiki/Midnight_Rose_(album))

01. Coming Home (03:19)
02. Photo Shooter (03:42)
03. Midnight Rose (04:00)
04. Living It Up (03:06)
05. Dancing In The Sun (03:49)
06. Take Love (04:20)
07. Highway Robber (05:05)
08. Melting (04:50)

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Supertramp - Indelibly Stamped (1971)

Year: 25 June 1971 (CD ????)
Label: Polygram Records (Germany), 393 129-2
Style: Progressive Pop, Soft Rock
Country: London, England
Time: 40:23
Format: Flac Tracks 16/44,1 kHz
Size: 251 Mb

Charts: AUS #53, US #158. CAN & FRA: Gold.
Rick Davies and Roger Hodgson more or less pressed the reset button on Indelibly Stamped. The band was re-tooled to include Dave Winthrop (flute/sax), Frank Farrell (bass/keyboards) and Kevin Currie (drums) and the progressive affectations of Supertramp were replaced with English rock/pop that drew from a mix of influences while still managing to sound original. Unfortunately, what the album lacks is a compelling raison d’etre. Maybe that’s what happens when you’re bankrolled by a rich Dutch patron.
For years, I’ve viewed this album as a disappointment. And, in view of what came before and after, it is. But there are some interesting songs that fans will want to salvage: Forever, Rosie Had Everything Planned, Times Have Changed. Stylistically, Indelibly Stamped is all over the place. The Beatles, Procol Harum, Traffic (Aries) and even Frank Zappa (Potter) are equally valid reference points along the way. English pop/rock in 1970/1 was still finding its way in a world without The Beatles, and Indelibly Stamped sometimes feels like that search set to music.
Over their career, it’s easy to see Supertramp‘s second album as a wrong turn or a case of turning the wheel too sharply in a different direction after drifting into deep progressive waters. Yet it’s rarely less than interesting and you have to at least partially admire the band’s ambitions. While you won’t find a pair of lost hits on here (unless you’re looking at the album cover), Indelibly Stamped isn’t the inedible stump that some have made it out to be.
“There was confused testosterone going off in all directions. There is no theme or continuity to the album or its artwork, but there is some interesting stuff on it.” — Roger Hodgson, talking about Indelibly Stamped in a Goldmine interview (March 17, 2006).
(progrography.com/supertramp/supertramp-indelibly-stamped-1971/)

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).

01. Your Poppa Don't Mind (03:03)
02. Travelled (04:24)
03. Rosie Had Everything Planned (03:01)
04. Remember (04:12)
05. Forever (05:00)
06. Potter (02:23)
07. Coming Home to See You (04:44)
08. Times Have Changed (03:49)
09. Friend in Need (02:07)
10. Aries (07:36)

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Supertramp - Some Things Never Change (1997)

Year: 24 March 1997 (CD 1997)
Label: EMI Records (UK & Europe), 89989 2
Style: Progressive Pop, Soft Rock
Country: London, England
Time: 70:03
Format: Flac Tracks 16/44,1 kHz
Size: 429 Mb

Charts: UK #74, CAN #44, FRA #2, GER #3, NL #12, NOR #19, SWI #2. FRA: Gold; SWI: Platinum.
Rick Davies, Bob Siebenberg, Mark Hart, and John Helliwell re-formed Supertramp with a number of anonymous studio musicians in 1997 to record and release Some Things Never Change, their first album in ten years. And the title is correct -- nothing much has changed within Supertramp's world; they're simply churning out the same sophisticated jazzy, lite-funk-inflected pop as they did in the mid-'80s. The only thing that is different is that the group can no longer write ingratiatingly catchy melodies as they did when they called it quits in the '80s, but hardcore fans will still find the instrumental interplay a joy to hear.
(allmusic.com/album/some-things-never-change-mw0000020860)

01. It's A Hard World (09:46)
02. You Win, I Lose (04:31)
03. Get Your Act Together (04:47)
04. Live To Love You (05:19)
05. Some Things Never Change (06:26)
06. Listen To Me Please (04:46)
07. Sooner Or Later (06:51)
08. Help Me Down That Road (04:37)
09. And The Light (04:41)
10. Give Me A Chance (04:23)
11. C'est What? (08:17)
12. Where There's A Will (05:35)

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Cheap Trick - In Color [5 bonus track] (1977)

Year: September 1, 1977 (CD 1998)
Label: Epic Records (US), EK 65573
Style: Hard Rock, Power Pop
Country: Rockford, Illinois, U.S.
Time: 46:19
Format: Flac Tracks 16/44,1 kHz
Size: 311 Mb

Charts: US #73, AUS #93, JPN #30. US & CAN: Platinum.
“Any fears of a sophomore slumber party were put to bed with the brilliant In Color. Producer Tom Werman captures a softer and zanier Cheap Trick on songs like I Want You To Want Me and Come On, Come On that has as much in common with The Bay City Rollers as The Beatles.
“As with their first record, underneath the perfect three-minute pop songs run Rick Nielsen’s dark currents of sexual angst. Hello There asks the musical question ‘Would you like to do a number with me?’ and, knowing Nielsen’s sense of humor, I’d guess the number he has in mind is somewhere between 68 and 70. Clock Strikes Ten is a blatant booty call. On later albums, Nielsen would cross the lines of good taste, but he’s got his ducks lined up in a perfect row here; the first four tracks on this record are as strong an opening as you’ll find on any pop or rock record.
“In Color also has a surfer-boy swagger to it that seemed to emanate from Robin Zander’s persona: Southern Girls, Oh Caroline and ‘Come On, Come On’ have an indelible twang to them. [Yes, I actually wrote ‘indelible twang,’ as if there are twangs that come off with a good rubbing.] It’s worth mentioning to newbies that ‘I Want You To Want Me’ is the exception on In Color. When I first bought this album as a kid, I was disappointed to find that the whole thing didn’t sound like ‘Mr. Blue Sky.’ Looking back, I can’t believe I didn’t fall head over heels for Downed, ‘Oh Caroline’ and ‘Southern Girls,’ but I was kind of a wiener as a kid. I’ve since gotten a handle on that. So, to sum things up, great power pop record, half of it classic Cheap Trick, and not nearly as lascivious as my little review would make it out to be.”
I didn’t say it was a good review, but I guess I’m feeling a bit nostalgic this morning. I would add that In Color, even more so than Cheap Trick, is the quintessential power pop record. Any band that could rock as hard as Aerosmith and lace their songs with melodies as sweet as anything from Electric Light Orchestra was destined for some measure of immortality. Of course, Cheap Trick eventually proved mortal (the muses being fickle things), but for their first three or four albums, there wasn’t a better power pop band on the planet.
(progrography.com/cheap-trick/review-cheap-trick-in-color-1977/)

01. Hello There (01:41)
02. Big Eyes (03:09)
03. Downed (04:10)
04. I Want You To Want Me (03:11)
05. You're All Talk (03:34)
06. Oh Caroline (02:59)
07. Clock Strikes Ten (03:02)
08. Southern Girls (03:43)
09. Come On, Come On (02:39)
10. So Good To See You (03:46)
11. Oh Boy (Instrumental version) (Bonus track) (03:10)
12. Southern Girls (Previously unreleased demo) (Bonus track) (03:03)
13. Come On, Come On (Previously unreleased demo) (Bonus track) (02:06)
14. You're All Talk (Previously unreleased live version) (Bonus track) (03:41)
15. Goodnight (Previously unreleased live version) (Bonus track) (02:18)

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Golden Earring - Together (1972)

Year: 16 June 1972 (CD 2001)
Label: Red Bullet (Netherlands), RB 66.205
Style: Rock, Classic Rock
Country: The Hague, Netherlands
Time: 39:24
Format: Flac Tracks 16/44,1 kHz
Size: 261 Mb

Together represents an important step forward for Golden Earring. Unlike the group's previous outings, the songs on this album don't fall into strict rock or progressive categories. Instead, the group blurs these strict lines and weaves elements of each genre into a distinctive style that gives the songs their unique flavor. For instance, "Brother Wind" has the complex arrangement and length of a prog rock epic, but it moves forward with the energy and powerful riffing of a hard rock song. The group also makes a concerted effort to give each song a tight arrangement and usually more than one catchy hook. The result is the band's first truly consistent album. Driving rockers abound on Together: "Avalanche of Love" is driven by a procession of gutsy riffs that live up to the song's title, and "Buddy Joe" is a surging, dramatic adventure tale built on a singalong chorus and an insidiously catchy Indian-style guitar riff (this rousing tune has remained a popular part of the band's live set list). "Jangalene" is another highlight, a cleverly arranged tune that starts out as an acoustic blues but flowers into a full-throttle rocker midway through. The downside of Together is that, while the songs are all solid and the arrangements stay interesting, it is slightly less adventurous than previous albums. As a result, its songs never quite hit the manic highs of past classics like "Big Tree, Blue Sea" or "She Flies on Strange Wings." Despite that minor quibble, Together remains an impressive album and clearly shows off the chops and songwriting skills that would bring the group a massive worldwide success the next year with Moontan.
(allmusic.com/album/together-mw0000454487)

01. All Day Watcher (04:50)
02. Avalanche Of Love (04:15)
03. Cruisin' Southern Germany (03:02)
04. Brother Wind (07:57)
05. Buddy Joe (03:50)
06. Jangalene (05:10)
07. From Heaven From Hell (06:07)
08. Thousand Feet Below You (04:11)

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Savoy Brown - Ain't Done Yet (2020)

Year: August 28, 2020 (CD 2020)
Label: Quatro Valley Records (UK & Europe), QVR 0129
Style: Blues Rock, Rock
Country: London, England
Time: 47:06
Format: Flac Tracks 16/44,1 kHz
Size: 318 Mb

I love the relentless bassy drive and guitar wail of opener 'It's All Gone Wrong' which if I'm honest is the first ever song I can remember listening to by Savoy Brown, a band who ironically I've always loved the name of - imagining it as a kid perhaps being a wonderfully rich colour or an exotic variety of vegetable or animal (it's not of course, but Wikipedia gives you the real story).
I am being a little disingenuous though: for a band that has been around since 1965 and released 41 albums over the decades - this is I think their 42nd album, I have of course heard them before though I must admit it was in the early 80's when as a kid I didn't understand or appreciate Blues Rock.  Kim Simmonds has been with them from day one and it's his guitar and vision that has driven the band through the decades and seen off scores of members  along the way and listening to 'Ain't Done Yet' it really is Kim's guitar that speaks to you on every song.
The quality on show here in 2020 amidst coronavirus leaves me with a rather weighty 42 album problem to revisit because I can't imagine any fans of guitar driven Blues Rock not finding something to love here so I see some back-catalogue delving ahead!
Take the six minute six second drive down 'Devil's Highway' which follows that cracking opener - it's a languid lonely drive that has a little Cris Rea, a little Dire Straits in the mix, and it's a surprisingly smooth ride but it's that lead guitar that shines above the horizon driving you on.
And there are eight other great songs here that come at you from all angles like the Folkier, slide-infused 'River on the Rise'; the stuttering barroom blues of 'Borrowed Time' and the traditional swing and groove of the title track 'Ain't Done Yet'.
When you add the variety that comes with the likes of the stripped back acoustic shuffle of 'Rockin' in Louisiana' versus say the darker, fuzzier Hendrix-touched 'Soho Girl' you not only get a nice rocking ride but you end up with an album that reinforces the axiom - Savoy Brown clearly 'Ain't Done Yet'.
(therockpit.net/2020/album-review-savoy-brown-aint-done-yet/)

01. All Gone Wrong (04:14)
02. Devil's Highway (06:09)
03. River On The Rise (05:02)
04. Borrowed Time (04:14)
05. Ain't Done Yet (03:57)
06. Feel Like a Gypsy (06:04)
07. Jaguar Car (04:22)
08. Rockin' In Louisiana (04:03)
09. Soho Girl (04:21)
10. Crying Guitar (04:36)

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The Beatles - Abbey Road (1969)

Year: 26 September 1969 (CD )
Label: EMI Records (Europe), 0946 3 82468 2 4
Style: Rock, Classic Rock
Country: Liverpool, England
Time: 47:29
Format: Flac Tracks 16/44,1 kHz
Size: 315 Mb

Charts: UK #1, AUS #1, CAN #1, FRA #1, GER #1, NOR #1, US #1. FRA & GER: Platinum; AUS: 3x Platinum; UK: 8x Platinum; CAN & US: Diamond.
After the recording sessions for the proposed Get Back album, Paul McCartney suggested to producer George Martin that the group get together and make an album "the way we used to do it", free of the conflict that had begun during sessions for The Beatles (also known as the "White Album"). Martin agreed, but on the strict condition that all the group—particularly John Lennon—allow him to produce the record in the same manner as earlier albums and that discipline would be adhered to. No one was sure that the work would be the group's last, though George Harrison later recalled that "it felt as if we were reaching the end of the line".
(en.wikipedia.org/wiki/Abbey_Road)

01. Come Together (04:19)
02. Something (03:02)
03. Maxwell’s Silver Hammer (03:27)
04. Oh! Darling (03:27)
05. Octopus’s Garden (02:50)
06. I Want You (She’s So Heavy) (07:47)
07. Here Comes the Sun (03:05)
08. Because (02:45)
09. You Never Give Me Your Money (04:02)
10. Sun King (02:26)
11. Mean Mr. Mustard (01:06)
12. Polythene Pam (01:12)
13. She Came In Through the Bathroom Window (01:58)
14. Golden Slumbers (01:31)
15. Carry That Weight (01:36)
16. The End (02:21)
17. Her Majesty (00:25)

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Love - Comes In Colours [Compilation] (1992)

Year: 1992 (CD 1992)
Label: Raven Records (Australia), RVCD-29
Style: Psychedelic Rock, Garage Rock
Country: Los Angeles, California, U.S.
Time: 74:53
Format: Flac Tracks 16/44,1 kHz
Size: 438 Mb

Love is an American rock band formed in Los Angeles in 1965. Led by Arthur Lee, the band's primary songwriter, they were one of the first racially diverse American rock bands. Their sound incorporated an eclectic range of styles including garage, folk rock, and psychedelia. While finding only modest success on the music charts, peaking in 1966 with their US No. 33 hit "7 and 7 Is," Love would come to be praised by critics as their third album, Forever Changes (1967), became generally regarded as one of the best albums of the 1960s.
The band's classic lineup is considered to consist of Lee, the guitarist and singer Bryan MacLean, the bassist Ken Forssi, the guitarist Johnny Echols and the drummer Donnie Conca, who was replaced by Alban "Snoopy" Pfisterer. By 1968, only Lee remained and he continued recording as Love with varied members through the 1970s. MacLean and Forssi died in 1998. Lee died in 2006. Forever Changes was added to the Library of Congress's National Recording Registry in 2011. In recent years, original member Johnny Echols has toured under the title of the Love Band or Love Revisited.
(en.wikipedia.org/wiki/Love_(band))

01. My Little Red Book (02:30)
02. Can't Explain (02:39)
03. A Message To Pretty (03:11)
04. Softly To Me (02:53)
05. Hey Joe (02:41)
06. Signed D. C. (02:46)
07. And More (02:58)
08. Seven And Seven (02:15)
09. No. 14 (01:42)
10. Stephanie Knows Who (02:27)
11. Orange Skies (02:50)
12. Que Vida! (03:40)
13. The Castle (03:00)
14. She Comes In Colours (02:45)
15. Alone Again (03:15)
16. And More Again (03:20)
17. Old Man (02:58)
18. A House Is Not A Motel (03:28)
19. The Daily Planet (03:30)
20. Live And Let Live (05:27)
21. Laughing Stock (02:33)
22. Your Mind And We Belong Together (04:21)
23. August (05:05)
24. Arthur Lee Interview-Love Origins (02:26)

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Black Sabbath - Black Sabbath [3" CD Single] (1988)

Year: 1988 (CD 1988)
Label: Castle Communications (France), CD3-5
Style: Hard Rock, Heavy Metal
Country: Birmingham, England
Time: 16:37
Format: Flac Tracks 16/44,1 kHz
Size: 106 Mb

3-inch compact disc single. Limited Edition 5000. Special Edition. This 3" compact disc single is suitable for any compact disc player using the special adaptor as supplied.
(Description on the back cover.)

 

 

01. Paranoid (02:48)
02. Iron Man (05:55)
03. War Pigs (07:52)

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The Electric Prunes - Mass In F Minor (1968)

Year: January 1968 (CD 2000)
Label: Rhino Records (Europe), R2 7519, CCM-134-2
Style: Psychedelic Rock, Progressive Rock
Country: San Fernando Valley, Los Angeles, California, U.S.
Time: 32:24
Format: Flac Tracks 16/44,1 kHz
Size: 205 Mb

Album consists of a musical setting of the mass sung in Latin and Greek and arranged in the psychedelic style of the band, and was written and arranged by David Axelrod.
Following the limited commercial success of the Electric Prunes' previous album, Underground, the band's manager Lenny Poncher and their producer Dave Hassinger, whose company owned the rights to the band name, agreed with Reprise Records that their third album would be written and arranged by David Axelrod, a classically trained musician. The album was planned to combine religious and classical elements with psychedelic rock, in a religious-based rock-opera concept album.[2] Axelrod was given carte blanche by Hassinger to do what he wanted with the Electric Prunes.
When the existing band – singer James Lowe, guitarists Ken Williams and Mike Gannon, bassist Mark Tulin, and drummer Michael "Quint" Weakley – came to record the album, it became apparent that the complex arrangements largely outstripped the band's ability to perform them to the standards expected by Axelrod, or within the time set aside for recording. Although Lowe, Tulin (the only band member who could read music) and Weakley appeared on all the tracks, and Williams and Gannon also appeared on the first three tracks ("Kyrie Eleison", "Gloria" and "Credo"), the album was finished by studio musicians working with engineer Richie Podolor on guitar, and a Canadian group, the Collectors.[2] The choral-style vocals were by Lowe, double-tracked.[5] Hassinger was credited with producing the album.
(en.wikipedia.org/wiki/Mass_in_F_Minor)

01. Kyrie Eleison (03:21)
02. Gloria (05:45)
03. Credo (05:02)
04. Sanctus (02:57)
05. Benedictus (04:52)
06. Agnus Dei (04:29)
07. Hey Mr President (bonus) (02:49)
08. Flowing Smoothly (bonus) (03:06)

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Nazareth - Rampant [8 bonus tracks] (1974)

Year: May 1974 (CD 2010)
Label: Salvo Records (Europe), SALVOCD034
Style: Hard Rock, Classic Rock
Country: Dunfermline, Fife, Scotland
Time: 79:54
Format: Flac Tracks 16/44,1 kHz
Size: 557 Mb

Charts: CAN #80, US #157, AUT #1, GER #11, NOR #3, UK #13. CAN: Gold.
Rampant is the fifth studio album by the Scottish hard rock band Nazareth, released in 1974. It was their third album to be produced by Roger Glover, and proved to be the last time they would work with him. The track "Loved and Lost" was sampled by DJ Shadow on "Enemy Lines" from his 2011 album The Less You Know, The Better.
It was recorded in 1974 on the shores of Lake Geneva in Montreux, Switzerland, with the help of the Rolling Stones Mobile Studio and produced by former Deep Purple's bassist Roger Glover, whose last collaboration was with the group.
With this album, Nazareth make a slight musical change incorporating Southern rock intonations into some of their songs ("Glad When You're Gone", "Jet Lag" or the title that opens the "Silver Dollar Forger"). AllMusic critic Donald A. Guarisco compares the sound of the album as a cross between the sound of early AC/DC albums and Lynyrd Skynyrd's most "Hard rock" titles.
(en.wikipedia.org/wiki/Rampant_(album))

01. Silver Dollar Forger (05:37)
02. Glad when you're gone (04:17)
03. Loved and lost (05:12)
04. Shanghai'd in Shanghai (03:44)
05. Jet lag (06:42)
06. Light my way (04:09)
07. Sunshine (04:15)
08. (A) Shapes of things (B) Space safari (06:18)
09. Down (B-Side of Love hurts) (03:54)
10. Razamanaz (BBC live recording) (04:32)
11. Night woman (BBC live recording) (04:00)
12. Alcatraz (BBC live recording) (04:22)
13. Vigilante man (BBC live recording) (05:43)
14. Morning dew (BBC live recording) (07:38)
15. Broken down angel (BBC live recording) (04:26)
16. Woke up this morning (BBC live recording) (04:58)

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Emerson, Lake & Palmer - In The Hot Seat (1994)

Year: 26 September 1994 (CD 1994)
Label: Victory Records (UK), 828 554-2
Style: Progressive rock, Symphonic Rock
Country: London, England
Time: 71:33
Format: Flac Tracks 16/44,1 kHz
Size: 433 Mb

The making of the album was complicated by health issues encountered by both keyboard player Keith Emerson and drummer Carl Palmer. Emerson had trouble with the ulnar nerve, which made it difficult for him to control his right hand. As the prognosis for recovery after the surgical treatment was not promising, he had to overdub the right-hand parts with his left hand. Palmer suffered problems with carpal tunnel syndrome, which led to numbness in his fingers. He underwent surgery to correct the issue.
"Daddy" was written by Lake in memory of missing child Sara Anne Wood and was used to raise awareness of missing and abducted children. The royalties from the song initially brought in $5,000 and were donated to the Sara Anne Wood Rescue Center, a national non-profit foundation established by Wood's father.
"Street War" originated in summer 1988 sessions by Lake with Geoff Downes under the project name Ride the Tiger, but was reworked for this album by adding and rewriting lyrics and composing new music. Ride the Tiger was finally released in 2015.
(en.wikipedia.org/wiki/In_the_Hot_Seat)

01. Hand Of Truth (05:22)
02. Daddy (04:42)
03. One By One (05:07)
04. Heart On Ice (04:19)
05. Thin Line (04:45)
06. Man In The Long Black Coat (04:12)
07. Change (04:43)
08. Give Me A Reason To Stay (04:14)
09. Gone Too Soon (04:11)
10. Street War (04:24)
11. Pictures At An Exhibition a. Promenade (01:45)
12. Pictures At An Exhibition b. The Gnome (02:07)
13. Pictures At An Exhibition c. Promenade (01:45)
14. Pictures At An Exhibition d. The Sage (03:10)
15. Pictures At An Exhibition e. The Hut Of Baba Yaga (01:16)
16. Pictures At An Exhibition f. The Great Gates Of Kiev (05:24)

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Cockney Rebel - The Psychomodo [Japanese Ed.] (1974)

Year: 2 June 1974 (CD July 26б 1991)
Label: Tochiba-EMI (Japan), TOCP-6791
Style: Rock, Glam Rock, Progressive Rock
Country: London, England
Time: 50:15
Format: Flac Tracks 16/44,1 kHz
Size: 315 Mb

Cockney Rebel recorded The Psychomodo in February and March 1974 at Morgan Studios, Nova Sound Studios and Air Studios in London. It was mastered at Abbey Road Studios. The album saw Harley receive his first production credit, as he produced the album alongside producer Alan Parsons. In similarity to "Sebastian" and "Death Trip" from The Human Menagerie, a large symphony orchestra and choir was used on "Tumbling Down", with orchestral arrangements conducted by Andrew Powell.
In 2012, Harley recalled of his experience recording the album, "The Psychomodo was a record whose time we laughed through. Alan Parsons came in as co-producer and his own willingness to accept many offbeat ideas made life easy enough. More strings and horns, and again we had Andrew Powell, with his brilliant classical-rock thinking, to orchestrate."
In a 1974 interview with Music Scene, violinist Jean-Paul Crocker expressed his opinion that The Psychomodo was a much stronger album than The Human Menagerie. He commented, "I think it's more of a development than could ever have been expected. It's a completely different album and the basic difference is in the way we're playing on it. We wanted the first album to be heavier than it was, but it turned out quite weak, and we sounded like a bleedin' folk group most of the time."
(en.wikipedia.org/wiki/The_Psychomodo)

01. Sweet Dreams (02:06)
02. Psychomodo (04:04)
03. Mr. Soft (03:17)
04. Singular Band (03:01)
05. Ritz (07:15)
06. Cavaliers (08:35)
07. Bed In The Corner (03:31)
08. Sling It! (02:43)
09. Tumbling Down (05:55)
10. Big Big Deal (04:36)
11. Such A Dream (05:06)

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AC/DC - High Voltage [Japanese Ed.] (1975)

Year: 17 February 1975 (CD Dec 19, 2007)
Label: Sony Music (Japan), SICP 1700
Style: Hard Rock
Country: Sydney, Australia
Time: 44:20
Format: Flac Tracks 16/44,1 kHz
Size: 314 Mb

Charts: AUS #14. AUS: 5x Platinum.
In November 1973, guitarists Malcolm Young and Angus Young formed AC/DC and recruited bassist Larry Van Kriedt, vocalist Dave Evans, and Colin Burgess, ex-Masters Apprentices drummer. Soon the Young brothers decided that Evans was not a suitable frontman for the group; they felt he was more of a glam rocker like Gary Glitter. The band had recorded only one single with Evans, "Can I Sit Next To You Girl", with "Rockin' in the Parlour" as the B-side. In September 1974, Ronald Belford "Bon" Scott, an experienced vocalist and friend of producer George Young, replaced Dave Evans after friend Vince Lovegrove recommended him. The addition of Scott redefined the band; like the Young brothers, Scott had been born in Scotland before emigrating to Australia in his childhood, and loved rock and roll, especially Little Richard. Scott had played in the Valentines, the Spektors and Fraternity. In a 2010 interview with Mojo's Sylvie Simmons, Angus Young recalled that Scott "moulded the character of AC/DC... Everything became more down to earth and straight ahead. That's when we became a band."
(en.wikipedia.org/wiki/High_Voltage_(1975_album))

01. It's A Long Way To The Top (If You Wanna Rock 'N' Roll) (05:01)
02. Rock 'N' Roll Singer (05:03)
03. The Jack (05:52)
04. Live Wire (05:49)
05. T.N.T. (03:34)
06. Can I Sit Next To You Girl (04:12)
07. Little Lover (05:39)
08. She's Got Balls (04:51)
09. High Voltage (04:14)

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Thin Lizzy - Jailbreak (1976)

Year: 26 March 1976 (CD April 20, 1990)
Label: Vertigo Records (US), 822 785-2
Style: Hard Rock, Classic Rock
Country: Dublin, Ireland
Time: 36:18
Format: Flac Tracks 16/44,1 kHz
Size: 215 Mb

Charts: AUS #51, UK #10, US #18, CAN #5, SWE #21. CAN, UK & US: Gold.
Considering my latest Dadrock fixations include the best of Def Leppard and Thin Lizzy, another highly inspirational old school record from days gone which deserves contemporary praise is the latter's wildly incongruous but infinitely tutorial Jailbreak from 1976. In short, I've been rocking this once-owned-on-vinyl gem's ballsiest songs for a spell, and have finally acclimated myself to its poppy fare, as their guitar play is still cool, albeit decidedly mellow and soft compared to smoking slew of adrenaline charged classics we've grown to love. That said, even if you're not the most ardent Lizzy (non Borden) fan, there's no denying a good part of this slab is pure rock n' roll magic, enhanced by the twin-riffed and soloed dynamo's Irish heritage. Much like Budgie's Impeckable, if you can get past its wacky pacing, there's a lot to learn from sadly departed Phil Lynott and the boys (to point where his spirit hovers ever gayly, in the original sense of the word).
As far as kick-ass openers go, it's hard to surpass the simple but hooking title track - alongside riffs to Black Sabbath's definitive "Paranoid" and Deep Purple's guitar shop infuriating "Smoke On The Water", it's crunchy, swaying beat is impossible to resist. This amazingly fun tune also displays the long active trooper's penchant for wickedly poised and muffled staccato shuffles, taken to their most mesmerizing level on "Warriors", which these fledgling fingers are taking to like a duck to water, with its wah-wah'd, Ace Frehley style blues (metal) solo. Its numerous little guitar fills procure climatic feelings of sunglasses shaded wingman-ery. If anything, "Jailbreak" is as great as AC/DC's equally vintage version. Okay, I understand how the next three tracks might ruffle leather and spike wrist metal merchants, but taken at face value - as in, out of context, on their own - they're quite good. For instance , "Angel From The Coast" is a slippery canoodler with a Hawaiian type boogie!
I've no trouble wigging out to saxophoned waltzer "Running Back" either, but admittedly, the whimsy gets old by the time "Romeo And The Lonely Girl" strut on by. Thankfully, the sizzling duo of Scott Gorham and Brian Robertson pulls through with one of their classic, powerfully charged tango leads. Much like Wishbone Ash and UFO (or lone wolf Jimi Hendrix), it's easy to see how Iron Maiden was influenced by their twin guitar tag-team. This is no more evident than on "Warriors", with its laid back yet auspicious intro riff and bass line culminating into one of the gang's toughest and slickest riffs, enhanced of course by that tricky muffle-shuffle...propelled into outer space once its closing dirge seals the deal. I also dig the Sabbathian chord interlude in its stead. Of note, drummer Brian Downey's loosely break-beat-ish time keeping tactics make me think of a less inebriated and dishevelled, but just as groovy Bill Ward. Side A is masterfully bookended; the same applies to slightly shorter Side B.
First, the fluff: both "Fight Or Fall" and "Cowboy Song" mildly dilute Jailbreak's awesomeness. This is where I put my foot down and exclaim: "Why?". However, they're not total losses, as the random Wild West tribute shines due to Phil's solemn crooning, again proving himself as a well-rounded and talented front man and bassist taken from us far too soon. Musically, it's amusing, but its bland predecessor yields to the skip button. Closer "Emerald" is real banger; along with mega commercial radio star "The Boys Are Back In Town", it features the band's iconic ease with folksy Irish type melodies, riffed to oblivion and back, especially the former's killer pre-solo which translates into more wickedly phrased leads. As for the seminal staple, I was delighted to find out, as with Judas Priest's ultimate driving hit, "You've Got Another Thing Coming", it tucks within its happy-go-lucky confines more than meets the ear, particularly rhythm wise.
(https://www.metal-archives.com/reviews/Thin_Lizzy/Jailbreak/4446/) Review by CHAIRTHROWER. March 17th, 2025

01. Jailbreak (04:04)
02. Angel From The Coast (03:06)
03. Running Back (03:16)
04. Romeo And The Lonely Girl (03:58)
05. Warriors (04:12)
06. The Boys Are Back In Town (04:30)
07. Fight Or Fall (03:48)
08. Cowboy Song (05:18)
09. Emerald (04:04)

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