Kraftwerk - Autobahn [Japanese Ed.] (1974)

Year: November 1974 (CD May 27, 1998)
Label: Tochiba-EMI (Japan), TOCP-50578
Style: Electronic Pop, Experimental, Synth-Pop
Country: Dusseldorf, West Germany
Time: 42:46
Format: Flac Tracks 16/44,1 kHz
Size: 217 Mb

The album marked several personnel changes in the band, which was initially a duo consisting of Florian Schneider and Ralf Hutter; later, the group added Klaus Roder on guitar and flute, and Wolfgang Flur on percussion. The album also completed the group's transition from the experimental krautrock style of their earlier work to an electronic pop sound consisting mostly of synthesizers and drum machines. Recording started at the group's own Kling Klang facility, but was predominantly made at Conny Plank's studio. Autobahn also includes lyrics and a new look for the group that was suggested by Emil Schult, an associate of Schneider and Hutter.
Most of the album is taken up by the 22-minute "Autobahn", featuring lyrics by Schneider, Hutter, and Schult. The song was inspired by the group's joy of driving on Germany's autobahns, and recorded music that reflected a trip emulating the sounds of a vehicle. The album's release in West Germany saw little press attention. "Autobahn" was released as a single and received airplay at a Chicago radio station, leading it to spread across the United States. In 1975, the song became an international hit and Kraftwerk's first release of their music in the US. "Autobahn"'s success led to the band touring the United States with new member Karl Bartos, who replaced Roder, followed by a tour of the United Kingdom.
Initial reception to Autobahn was mixed; receiving negative reviews, from Rolling Stone and Village Voice, who felt the music was inferior to earlier music from Wendy Carlos and Mike Oldfield, and positive reviews that praised the title track as hypnotic and arresting for its imagery of driving on the autobahn. Critics from the Fort Worth Star-Telegram and Newsday included the album in their "Honorable Mentions" sections of their year-end lists. Retrospectively, the album has been unanimously praised; Simon Witter wrote in NME the album is of "enormous historical significance" and Simon Reynolds said the album is where Kraftwerk's music really starts to matter. Musicians of the 1970s and 1980s, including David Bowie, cited the album as a major influence.
(en.wikipedia.org/wiki/Autobahn_(album))

01. Autobahn (22:44)
02. Kometenmelodie 1 (06:25)
03. Kometenmelodie 2 (05:48)
04. Mitternacht (03:44)
05. Morgenspaziergang (04:03)

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Ringo Starr (The Beatles) - Goodnight Vienna [3 bonus tracks] (1974)

Year: 15 November 1974 (CD 1993)
Label: Capitol Records (US), CDP 0777 7 80378 2 8
Style: Soft Rock, Rock
Country: Liverpool, England (7 July 1940)
Time: 45:11
Format: Flac Tracks 16/44,1 kHz
Size: 272 Mb

While all three other former Beatles had contributed to Ringo (1973), only John Lennon contributed to Goodnight Vienna. On 17 June 1974, Starr called Lennon, who was about to record his Walls and Bridges album, and asked him to write a song he could include on his next album. Lennon wrote what became the title track, "Goodnight Vienna". A demo of "(It's All Down to) Goodnight Vienna" was recorded by Lennon on 28 June, with the session musicians from Walls & Bridges and sent to Starr in advance of the sessions. Besides writing and playing piano on the title track, Lennon suggested Starr cover The Platters' hit "Only You (And You Alone)" playing acoustic guitar and providing a guide vocal for Starr to follow. Starr's versions of both "Only You (And You Alone)" and "(It's All Down to) Goodnight Vienna" were recorded at a session produced by Lennon. Elton John also contributed a track, "Snookeroo", co-written with Bernie Taupin. Harry Nilsson gave Starr the track "Easy for Me", which he later recorded his own version of for his Duit on Mon Dei album.
(en.wikipedia.org/wiki/Goodnight_Vienna)

01. Goodnight Vienna (02:34)
02. Occapella (02:56)
03. Oo-Wee (03:46)
04. Husbands And Wives (03:36)
05. Snookeroo (03:29)
06. All By Myself (03:24)
07. Call Me (04:08)
08. No No Song (02:34)
09. Only You (And You Alone) (03:27)
10. Easy For Me (02:21)
11. Goodnight Vienna (reprise) (01:21)
12. Back Off Boogaloo (bonus track) (03:22)
13. Blindman (bonus track) (02:44)
14. Six O'Clock (Extended Version) (05:23)

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Jon Lord (Deep Purple) - Gemini Suite (1971)

Year: October 1971 (CD 1987)
Label: Line Records (Germany), LICD 9.00122 O
Style: Modern Classical, Progressive Rock
Country: Leicester, England (9 June 1941 - 16 July 2012)
Time: 47:24
Format: Flac Tracks 16/44,1 kHz
Size: 208 Mb

After the 1969 classical / rock fusion Concerto for Group and Orchestra, Jon Lord was commissioned to write a follow-up. This was Gemini Suite, five long movements inspired by the members of Deep Purple, and performed live in September 1970 at the Royal Festival Hall with The Light Music Society Orchestra (the album of the concert was issued in 1993 as Gemini Suite Live). Jon Lord then recorded it in the studio as his first solo project in 1971, with the London Symphony Orchestra conducted by Malcolm Arnold and soloists drawn from the rock world. Gemini Suite was an important step for Lord and led to albums such as Windows (1974) and Sarabande (1976).
The album was originally released in Europe and America in 1971 with different cover artwork. The 1973 US reissue featured a third version of the cover artwork. In 1983 the album was re-released on LP in Germany and four years later also for the first time on CD.
(en.wikipedia.org/wiki/Gemini_Suite)

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. Guitar (09:00)
02. Piano (08:07)
03. Drums (07:22)
04. Vocals (05:51)
05. Bass-Guitar (05:04)
06. Organ (12:00)

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Saxon - Denim And Leather (1981)

Year: 25 September 1981 (CD Oct 1987)
Label: Fame Records (UK), CD-FA 3175
Style: Hard Rock, Heavy Metal
Country: Barnsley, South Yorkshire, England
Time: 38:01
Format: Flac Tracks 16/44,1 kHz
Size: 278 Mb

Produced by Nigel Thomas, Denim and Leather is less abrasive than the previous albums but still sonic meat and potatoes. It’s topped and tailed with two of the greatest songs Saxon would ever produce. Continuing their penchant for offbeat lyrical subjects and songs about forms of transport, opening track Princess of the Night tells the tale of a steam train delivering mail through ice and snow. (You’ll have to suspend your disbelief at a British train actually running during such inclement weather). It’s a darting, precision rocker with a riff you can’t believe no-one thought of before and a joyously bluesy guitar solo from Paul Quinn. Closing track Denim and Leather is a genuine and charming tribute to the metal fans that put Saxon on the map, highlighting the band’s down-to-earth attitude. It’s a stomping anthem with a huge and irresistible chorus and one of the most memorable opening lines in metal history: “Where were you in ’79 when the dam began to burst?”
After the superb opening the first side is a mixed-bag. Never Surrender is vintage Saxon and follows Princess of the Night in bruising style but the quality starts to trail off. Rough and Ready is a stodgily unconvincing hard-man boast and Play it Loud is a flat stab at a party anthem. Side 2 immediately gets the album back on track with And the Bands Played On, another of the album’s outstanding victories. Despite its musical similarity to 747 (Strangers in the Night) it has its own unique identity and appeal: a feel-good ode to the inaugural Monsters of Rock festival at Castle Donington. As with the title track, Saxon’s everyman charm works wonders: rather than singing about how amazing their own performance was, they celebrate the festival itself, the attending horde and name-check other bands on the bill. It’s got simple, memorable guitar riffs and Biff Byford’s breathless delivery is a joy “Will it rain, will it snow, will it shine? We don’t know” and it’s one of those classics you never tire of hearing. Midnight Rider continues the musical lap of honour, recounting the band’s early tours of the States with the rolling tempo and gear-changing chords perfectly capturing the excitement of the road trip. The album’s most ripping number, the apocalyptic Fire in the Sky, and the triumphant title-track finish the album on a high.
Along with Wheels of Steel and Strong Arm of the Law, Denim and Leather is often thought of as the third in Saxon’s “classic trilogy”. As is often the case with trilogies, the final part is the weakest of the three but it’s still a must-hear with some of the band’s most accomplished songwriting and the guitar duo of Graham Oliver/Paul Quinn at a lively peak. The highlights are magnificent metal classics and far outweighs any filler to elevate the album to star status. It was their second highest charting album in the UK so Saxon’s position at the head of the NWOBHM pack remained secure and just two years on from their debut release they already had a discography and a following worthy of celebration. The dam was well and truly burst.
(heavymetaloverload.com/2015/01/05/saxon-denim-and-leather-review/)

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. Princess Of The Night (04:01)
02. Never Surrender (03:12)
03. Out Of Control (04:08)
04. Rough And Ready (04:51)
05. Play It Loud (04:10)
06. And The Bands Played On (02:48)
07. Midnight Rider (05:45)
08. Fire In The Sky (03:36)
09. Denim And Leather (05:26)

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The Rolling Stones - The Rolling Stones, Now! [Japanese Ed.] (1965)

♠ Year: 13 February 1965 (CD Apr 25, 1989)
♣ Label: Polydor Records (Japan), P25L 25034
♥ Style: Classic Rock, Rhythm and Blues, Rock and Roll
♦ Country: London, England
♪ Time: 36:25
♪ Format: Flac Tracks 16/44,1 kHz
♪ Size: 198 Mb

U.S. issues of the UK Rolling Stones No. 2 LP.
It was a love of the blues and early American R&B that forged the friendship between a teenage Mick Jagger and Keith Richards down Dartford way, so it’s only fitting that the Rolling Stones’ second release continued to rely upon these building blocks.
Consequently, we’re treated to the fledgling Stones’ take on Chuck Berry’s You Can’t Catch Me, a fairly faithful rendering, but with Jagger’s decidedly English sneer and Richards’ rolling, ramshackle riffery adding to its original charm.
The Jagger/Richards songwriting partnership also gains momentum, with three composition credits to their name – Off The Hook with its Yardbird-esque guitar motif and relentless refrain; What A Shame is a bluesy bruiser and gives bassist Bill Wyman a moment to shine under Brian Jones’s sparse bottleneck, while Grown Up Wrong pays real homage to their hero Mr Berry.
But in terms of solid blues prowess, it’s the band’s interpretation of Muddy Waters’ I Can’t Be Satisfied that truly impresses – Brian Jones’s fluid slide playing on this track was seldom bettered.
No.2 was a monster hit in the UK, and deservedly so as it convincingly straddled the bridges between the blues and rock’n’roll and set the blueprint for the relentless Rolling Stones march into the future.
(loudersound.com/features/the-best-30-british-blues-rock-albums-ever)

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. Everybody Needs Somebody To Love (Version 2) (03:01)
02. Down Home Girl (04:15)
03. You Can't Catch Me (03:40)
04. Heart Of Stone (02:52)
05. What A Shame (03:09)
06. I Need You Baby (Mona) (03:37)
07. Down The Road Apiece (03:01)
08. Off The Hook (02:39)
09. Pain In My Heart (Version 1) (02:15)
10. Oh! Baby (We Got A Good Thing Goin') (Version 1) (02:12)
11. Little Red Rooster (03:08)
12. Surprise, Surprise (02:30)

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Denny Laine (Paul McCartney) - Holly Days (1977)

Year: May 13, 1977 (CD ????)
Label: Unofficial Release (Russia), DLMPLCD 140802/76
Style: Rock
Country: Tyseley, Birmingham, England (29 October 1944 - 5 December 2023)
Time: 29:53
Format: Flac Tracks 16/44,1 kHz
Size: 202 Mb

Musicians: Denny Laine, Paul McCartney, Linda McCartney.
Of the myriad side projects and offshoots which occupied Paul McCartney and Wings during the early to mid-'70s, it is regrettable that this is the only one which came to full fruition - regrettable because it's also the only one in which Fab Macca had any kind of vested financial interest, thus opening the door for decades' worth of subsequent critics to write it of as just another means of adding more cash to the coffers. Of course, there's no denying that McCartney's acquisition of the Buddy Holly songbook was a prime reason for this collection of, indeed, Buddy Holly covers. But to dwell on that is to overlook the fact that, alongside Wildlife, Red Rose Speedway, and two or three later Wings 45s, Holly Days sounds more like McCartney's original blueprint for Wings than anything else the group accomplished. Laine, Paul, and Linda alone feature on the album, recording in the same Rude studios (the appropriately named Rude Studio where McCartney banged out his demos), and not sounding much more advanced. A note on the sleeve even warns, "this album consists of monophonic recordings, electronically reprocessed to give a stereo effect," and anyone familiar with any of the Beatles' own early-'60s recordings will know exactly what that sounds like. Holly Days is crude, ramshackle, and impossibly primitive, then, but its naivete is its strength, its amateurism is its armor. It's the sound of three musicians having fun with songs that they love, eschewing effects, ignoring mistakes, and cherishing the lo-fi brashness of it all. Laine's lead vocals are excellent, the McCartneys' harmonies are spot-on, and the musicianship - mainly Paul - is supremely slapdash. The result, for anybody wishing to seriously anthologize McCartney's solo output, is an album as honest as any he's been involved in, and a lot more fun than most of them. Holly Days - happy days!
(allmusic.com/album/holly-days-mw0000538847)

01. Heartbeat (02:35)
02. Moondreams (02:41)
03. Rave On (01:54)
04. I'm Gonna Love You Too (02:17)
05. Fools Paradise (02:46)
06. Lonesome Tears (03:02)
07. It's So Easy / Listen to Me (03:47)
08. Look at Me (03:11)
09. Take Your Time (03:38)
10. I'm Lookin for Someone to Love (03:58)

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Justin Hayward (The Moody Blues) - Songwriter [4 bonus tracks] (1977)

Year: February 11, 1977 (CD 2004)
Label: Decca Records (UK & Europe), 00422 8822832 5
Style: Soft Rock, Rock, Pop Rock
Country: Swindon, Wiltshire, England (14 October 1946)
Time: 54:45
Format: Flac Tracks 16/44,1 kHz
Size: 403 Mb

Justin Hayward and John Lodge parted ways after Blue Jays, releasing solo albums in 1977. Songwriter and Natural Avenue were full of ideas, suggesting that both artists might have benefited from a wider canvas than that afforded to them in The Moody Blues. Not that Octave was a bad album, but it’s not demonstrably better than what Hayward and Lodge were able to do on their own. Songwriter sounds like the Moodies, The Beatles and 10cc, which is to say intelligent and inventive pop music that feels fresh with each song. Hayward plays much of the music himself; in fact, I’m pretty sure he plays everything—including the flute, cello and violin—on the closing Nostradamus. Though the album charted well, it didn’t produce a hit single. They’re one of the rare acts where the sum may actually be smaller than the parts, since I wouldn’t know where to begin editing on Blue Jays, Natural Avenue or Songwriter, and I couldn’t imagine any Moodies album without the contributions of its other three members. Maybe they should have been making double albums all along...
(progrography.com/justin-hayward/review-justin-hayward-songwriter-1977/)

01. Tight Rope (04:49)
02. Songwriter (Part 1) (03:32)
03. Songwriter (Part 2) (02:33)
04. Country Girl (04:02)
05. One Lonely Room (05:21)
06. Lay It On Me (02:55)
07. Stage Door (05:11)
08. Raised On Love (03:13)
09. Doin' Time (04:22)
10. Nostradamus (06:37)
11. Wrong Time, Right Place (bonus track) (02:35)
12. Marie (bonus track) (03:53)
13. Heart Of Steel (bonus track) (03:25)
14. Learning The Game (bonus track) (02:11)

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The Who - Who Are You [Japanese Ed. SHM-CD] (1978)

Year: 18 August 1978 (CD Feb 20, 2013)
Label: Universal Music (Japan), UICY-20425
Style: Classic Rock, Rock, Pop Rock
Country: London, England
Time: 70:59
Format: Flac Tracks 16/44,1 kHz
Size: 510 Mb

It’s staggering, in retrospect, that The Who – punks before punk was invented – should have run scared from Rotten and company. Yet by 1978 there’s no doubt they had lost their way: Quadrophenia and The Who By Numbers had scarcely added to their stage set list and they were unashamedly trading on past glories, while Roger Daltrey had more than one eye on his parallel solo career. A reset was desperately needed, and Who Are You was it.
But as the accompanying book to this set explains (8CD Boxset), civil war was breaking out on several levels in the band’s Ramport Studios. Daltrey headbutted co-producer Glyn Johns, leaving Pete Townshend’s brother-in-law Jon Astley to pick up the musical, if not physical, pieces. Drummer Keith Moon was read the riot act for his impaired performance – he shaped up remarkably, only to accidentally/fatally overdose weeks after release. Bassist John Entwistle rejected the initial mix, claiming it didn’t have enough bottom end. And guitarist/songwriter Townshend routinely downed tools at five to be with his family.
All in all, it’s amazing that a coherent album resulted. The title track, reflecting Townshend’s fear that the new wave would make his band seem irrelevant, has since gone on to be acclaimed a classic. Music Must Change is still an endearing oddity: its 6/8 time signature flummoxed Keith Moon, as writer Townshend had predicted, so doesn’t feature him at all. Curiously, it was one of only four songs from the album ever played live, alongside Who Are You, Sister Disco and Trick Of The Light. The latter was one of three John Entwistle contributions among the nine tracks, a high proportion indeed.
This was the last Who album with Keith Moon.
(recordcollectormag.com/reviews/album/the-who-who-are-you-reviews)

01. New Song (04:13)
02. Had Enough (04:30)
03. 905 (04:02)
04. Sister Disco (04:22)
05. Music Must Change (04:38)
06. Trick of the Light (04:47)
07. Guitar and Pen (05:58)
08. Love is Coming Down (04:06)
09. Who Are You (06:21)
10. No Road Romance (Previously unreleased) (05:05)
11. Empty Glass (Previously unreleased) (06:23)
12. Guitar and Pen (Olympic '78 mix - previously unreleased) (06:02)
13. Love is Coming Down (Work-in-progress mix - previously unreleased) (04:05)
14. Who Are You (Lost verse mix - previously unreleased) (06:22)

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Deep Purple - Rapture Of The Deep [20th Anniversary 2CD] (2005)

Year: 24 October 2005 (CD Aug 29, 2025)
Label: Ear Music (Germany), 0220730EMU
Style: Hard Rock
Country: London, England
Time: 59:52, 21:19
Format: Flac Tracks 16/44,1 kHz
Size: 450, 168 Mb

Like Bananas, the album received generally positive reviews from critics and fans. The album peaked on Billboard's US Top Independent Albums chart at position No. 43. In the US, the album sold 2500 copies during the first week. In the UK, the album sold 3500 copies during the first week and 1200 copies during the week after. It also made the top 20 in several European charts. The title track "Rapture of the Deep" was released as a promo single in 2005. It is the fourth studio album from Deep Purple since Steve Morse joined the band in 1994 and the second to feature veteran keyboardist Don Airey. The album was produced by Michael Bradford who also produced the band's previous release, Bananas.
The album's title relates to an alternative name for the nitrogen narcosis psychological condition capable of affecting deep sea divers. Of the title, bassist Roger Glover said: "I like it because it's got opposites, a duality there, and I'm always fond of that. If you're a scuba diver and you dive down below three atmospheres or 110, 120 feet, something like that, you have excess nitrogen in your blood, and it's called nitrogen narcosis. It's a known danger. And what it does to you, is it makes you really happy, like being drunk. The danger is you're in rapture, you're in a state of pure joy and bliss and at one with the world, and you love being down there and you want to be part of it, so you take your mask off and die."
(en.wikipedia.org/wiki/Rapture_of_the_Deep)

01. Money Talks (05:34)
02. Things I Never Said (04:47)
03. Rapture Of The Deep (05:54)
04. Clearly Quite Absurd (05:24)
05. Mtv (04:54)
06. Back To Back (04:02)
07. Wrong Man (04:33)
08. Girls Like That (03:56)
09. Kiss Tomorrow Goodbye (04:17)
10. Don't Let Go (04:34)
11. Junkyard Blues (05:31)
12. Before Time Began (06:19)

01. MTV (04:57)
02. Money Talks (04:29)
03. Back To Back (03:57)
04. Before Time Began (05:05)
05. Closing Notes (02:49)

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The Carpenters - Carpenters With The Royal Philharmonic Orchestra [Japanese Ed.] (2018)

Year: 7 December 2018 (CD Dec 7, 2018)
Label: Universal Music (Japan), UICY-15801
Style: Soft Rock, Pop, Vocal
Country: Downey, California, U.S.
Time: 69:25
Format: Flac Tracks 16/44,1 kHz
Size: 512 Mb

Carpenters with the Royal Philharmonic Orchestra is a compilation album by American duo the Carpenters. It was released on 7 December 2018, by A&M Records and Universal Music Enterprises. The album features Carpenters' "original vocal and instrumental tracks" accompanied by new orchestral arrangements by the Royal Philharmonic Orchestra. The Japanese release has "Please Mr. Postman" as a bonus track.
Richard Carpenter served as the album's arranger, conductor and co-producer. The Royal Philharmonic recorded its portions at Abbey Road Studio. The album was completed at Capitol Studios in Los Angeles.
(en.wikipedia.org/wiki/Carpenters_with_the_Royal_Philharmonic_Orchestra)

01. Overture (01:30)
02. Yesterday Once More (03:56)
03. Hurting Each Other (03:58)
04. I Need To Be In Love (04:30)
05. For All We Know (02:56)
06. Touch Me When We’re Dancing (03:15)
07. I Believe You (03:53)
08. I Just Fall In Love Again (05:01)
09. Merry Christmas, Darling (03:01)
10. Baby It’s You (03:11)
11. (They Long To Be) Close To You (03:40)
12. Superstar (03:51)
13. Rainy Days And Mondays (03:36)
14. This Masquerade (04:50)
15. Ticket To Ride (04:10)
16. Goodbye To Love (03:58)
17. Top Of The World (02:59)
18. We’ve Only Just Begun (04:04)
19. Please Mr. Postman (02:56)

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Bad Company - Run With The Pack (1976)

Year: January 30, 1976 (CD 1994)
Label: Swan Song (Europe), 7567-92435-2
Style: Hard Rock, Blues Rock
Country: London, England
Time: 36:30
Format: Flac Tracks 16/44,1 kHz
Size: 247 Mb

Charts: UK #4, AUS #9, CAN #13, FRA #19, NDL #11, NOR #11, NZ #32, SWE #23, US #5. UK: Gold; US: Platinum.
The cover of the Coasters single "Young Blood" peaked at No. 20. The album also spawned rock radio classics "Silver, Blue & Gold", "Live for the Music", and the title track. "Silver, Blue & Gold" was never released as a single, but is one of the band's most popular compositions.
Cash Box said of "Do Right by Your Woman" that it "is an acoustic number, with some twelve-string work" and that "the harmonies are excellent, at times reminiscent of CSNY, and a low-down harmonical fill."
Classic Rock History critic Janey Roberts rated the title track as Bad Company's greatest song, saying that its energy "just simply defines what Bad Company was all about" and praising the "great intros" and "pulsating verses that built up to superman style choruses." Classic Rock critic Malcolm Dome rated it as Bad Company's 6th best song, praising its "panache and subtlety."
The album was remastered and re-released in 1994. The vinyl album had a shiny, silver cover, but CD versions feature a simple, light grey cover. The original album cover also came as a gatefold, with a photo of the band inside, sitting around a couch near a television tuned in to a Bugs Bunny cartoon.
(en.wikipedia.org/wiki/Run_with_the_Pack)

01. Live For The Music (03:58)
02. Simple Man (03:38)
03. Honey Child (03:17)
04. Love Me Somebody (03:08)
05. Run With The Pack (05:23)
06. Silver, Blue and Gold (05:04)
07. Young Blood (02:41)
08. Do Right By Your Woman (02:53)
09. Sweet Lil' Sister (03:31)
10. Fade Away (02:52)

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AC/DC - The Razors Edge [remastered] (1990)

Year: 24 September 1990 (CD 2003)
Label: Epic Records (Europe), EPC 510771 2
Style: Hard Rock
Country: Sydney, New South Wales, Australia
Time: 46:42
Format: Flac Tracks 16/44,1 kHz
Size: 361 Mb

It was a major comeback for the band, featuring the hits "Thunderstruck", "Are You Ready" and "Moneytalks". This is the only studio album to feature Welsh drummer Chris Slade, who was the drummer for AC/DC from 1989 to his dismissal in 1994.
Critical commentary for the album was generally mixed, with Alex Henderson of AllMusic complimenting Brian Johnson and Angus Young, while John Mendelsohn from Rolling Stone criticises its similarity to the band's past works. The album reached number 2 on the US Billboard 200 and number 4 on the UK Albums Chart, a smash commercial success that returned the band to a peak equivalent to that of their late 1970s and early 1980s popularity. The album earned multi-platinum certifications in Australia, Canada, Germany, Switzerland and the US. To support The Razors Edge, the band undertook the Razors Edge World Tour, starting in November 1990.
(en.wikipedia.org/wiki/The_Razors_Edge_(AC/DC_album))

01. Thunderstruck (04:52)
02. Fire Your Guns (02:53)
03. Moneytalks (03:45)
04. The Razors Edge (04:22)
05. Mistress for Christmas (03:59)
06. Rock Your Heart Out (04:06)
07. Are You Ready (04:10)
08. Got You by the Balls (04:30)
09. Shot of Love (03:56)
10. Let's Make It (03:32)
11. Goodbye & Good Riddance to Bad Luck (03:13)
12. If You Dare (03:18)

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Edgar Winter - Edgar Winter's White Trash (1971)

Year: 1971 (CD 1989)
Label: Epic Records (US), EK 30512
Style: Blues Rock, Rock and Roll, Funk, Gospel
Country: Beaumont, Texas, U.S. (December 28, 1946)
Time: 43:30
Format: Flac Tracks 16/44,1 kHz
Size: 286 Mb

A quite brilliant album and no mistake and maybe the man’s most beloved of all his album releases that combines a heady mixture of rock, R&B, gospel and funk. When this album first appeared in 1971 it blew a breath of fresh air through the album releases of the time. Highlights include a smattering of gospel with Fly Away (featuring a full vocal chorus that adds the uplifting spirit of the track) and Save the Planet (a real rabble rousing song that demands that you jump off your chair and clap your hands in time to the words) on one side of the coin along with chart material such as the lower end of the Top 40 cut, Keep Playin’ That Rock and Roll while not forgetting the lovely Dying to Live that includes some fine piano work and pokes an effective dig at Vietnam, the cause celebre of the time.
In terms of audiophile reproduction, this track is a good example of the nature of the pressing which is effectively quiet without any blurring in the upper mids or smudging of the bass. There is a tremendous dynamic range in evidence here. Winter’s piano is accurate and tonally solid while Winter’s own vocal delivery is passionate, fervent but lusty in terms of the complexity that can be heard through those rasping vocal chords of his.
If there is one overarching personality of this album that links each track together, it is its joyous nature and sense of never-ending rhythm, a forward motion that also creates a perfect sense of escapism. I will bet that, before long, once you’ve learned a few lines of your own, you won’t be able to resist in singing along to much of this disc yourself.
(theaudiophileman.com/edgar-winters/)

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. Give It Everything You Got (04:32)
02. Fly Away (03:02)
03. Where Would I Be (03:59)
04. Let's Get It On (05:05)
05. I've Got News for You (03:56)
06. Save the Planet (05:41)
07. Dying to Live (04:04)
08. Keep Playin' That Rock 'n' Roll (03:46)
09. You Were My Light (05:02)
10. Good Morning Music (04:20)

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Camel - Mirage [Japanese Ed. 4 bonus tracks + Germany Ed. AAD] (1974)

Year: 1 March 1974 (CD May 27, 2009. 1989)
Label: Universal Music / Deram Records (Japan/Germany), UICY-94131/820 613-2
Style: Art Rock, Symphonic Rock, Canterbury Scene, Progressive Rock
Country: Guildford, Surrey, England
Time: 68:08, 38:03
Format: Flac Tracks 16/44,1 kHz
Size: 426, 267 Mb

Camel’s Mirage (1974), with its iconic, cigarette-brand-referencing cover art, was a record that seemed to materialise, fully formed, from the patchouli-scented smoke of the era.
While the previous year's self-titled debut promised much, Mirage was where the band truly found their voice: a clever mix of symphonic sweep, jazz fusion and melodic subtlety that set them apart from the prog giants of the day, even if it didn't reach the same levels of success.
Built around extended suites like Lady Fantasy and Nimrodel, the album blended pastoral English whimsy with intricate musicianship, led by Andy Latimer’s lyrical guitar and Peter Bardens’ swirling keys.
Though Mirage didn’t trouble the charts on release, its reputation has only grown, even if some still confuse the group with Peter Frampton's band of the same name.
(loudersound.com/music/albums/camel-mirage)

Germany Ed. - 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).

Japanese Ed. 4 bonus tracks:

01. Freefall (05:53)
02. Supertwister (03:19)
03. Nimrodel / The Procession / The White Rider (09:17)
04. Earthrise (06:42)
05. Lady Fantasy: Encounter / Smiles for You / Lady Fantasy (12:45)
06. Supertwister (live) (03:15)
07. Mystic Queen (live) (06:07)
08. Arubaluba (live) (07:47)
09. Lady Fantasy: Encounter / Smiles for You / Lady Fantasy (original Basing Street Studios mix) (12:59)

Germany Ed. AAD:

01. Freefall (05:54)
02. Supertwister (03:23)
03. Nimrodel - The Procession - The White Rider (09:18)
04. Earthrise (06:41)
05. Lady Fantasy (12:45)

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Grateful Dead - Aoxomoxoa [HDCD 4 bonus tracks] (1969)

♪ Year: June 20, 1969 (CD 2003)
♪ Label: Rhino Records (Germany), 8122-74394-2
♪ Style: Psychedelic Rock, Acid Rock
♪ Country: Palo Alto, California, U.S.
♪ Time: 79:24
♪ Format: Flac Tracks 16/44,1 kHz
♪ Size: 503 Mb

This is a mildly surprising collection of music, essentially because it is so mellowed. The tunes are soft and gentle, the lyrics graciously decipherable, the vocals hesitant and wavering. There is a remarkable lack of harshly inflected rhythms and scalding guitar, for which the Dead have been so justly famed. Instead, Axoxomoxa is a wider application of the ideas we saw in Anthem of The Sun: long, dreamy ballads, occasionally interspersed with rock passages, but more often content to float their own ethereal way. Very different, a bit sadly, from the driving power of the first album. But this third one is a delight. It's filled with surreal (What's Become Of The Baby) and romantic visions (Mountains Of The Moon), rural whimsy and funk, and some great old blues (Dupree's Diamond Blues and Cosmic Charlie).
Somehow, the Grateful Dead have done the impossible. They've kept their standards in the face of white-hot pressures to change. Not only have they remained an intact musical unit, they've improved their skills and sharpened and adjusted their technique, all of which indicates that they have retained their sanity. I find that pretty amazing.
Heavily in debt, much of it from back taxes, seeing their community fall down around them, the Dead have willingly and happily played innumerable benefits and free concerts in the park (Golden Gate), because they love the music. When a human being takes this course of action, when he faces and withstands the demands to mold himself to the social main-current, concentrating only on the realization of his constructive ideas, you call him by one word: artist. The Dead are artists. They've ignored packaging trends, preferring to wrap their albums simply, without folding covers and other little goodies. They've made no media appearances, save for three, which I can remember: a KPIX special on the Haight, some two years ago; an Irving Penn photographic essay, titled "The Incredibles," in Look; and about 10 seconds on a CBS documentary of Bill Graham. The Grateful Dead are considered, very simply, poor commercial material and a sight from which the eyes of America's children must somehow be shielded.
(full version: deadsources.blogspot.com/2024/10/1969-aoxomoxoa-review.html)

01. St. Stephen (04:27)
02. Dupree's Diamond Blues (03:34)
03. Rosemary (02:00)
04. Doin' That Rag (04:44)
05. Mountains of the Moon (04:04)
06. China Cat Sunflower (03:42)
07. What's Become of the Baby (08:13)
08. Cosmic Charlie (05:44)
09. Clementine Jam (10:51)
10. Nobody's Spoonful Jam (10:09)
11. The Eleven Jam (15:05)
12. Cosmic Charlie [Live] (06:47)

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