Jethro Tull - Too Old To Rock 'N' Roll: Too Young To Die! (1976)

Year: 23 April 1976 (CD 1987)
Label: Chrysalis Records (Germany), 252 663
Style: Progressive Rock, Gothic Rock, Folk Rock
Country: Blackpool, Lancashire, England
Time: 42:15
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

Ian Anderson should stick to music, because he most definitely is not a storyteller. This is the muddled story of one Ray Lomas, “the last of the old rockers,” whose long hair and tight jeans mark him as a person whom time has passed by. After a series of events remarkable only for their lack of humor and originality, we leave the “hero” as he is about to become a pop star in his own right.
So what? We can take comfort, though, in knowing that Anderson’s technical prowess as a composer remains undiminished. The album abounds in breathtaking musical passages. The title cut, for one, is a textbook example of the use of dynamics and nuance in a rock song: instruments subtly creep in during the verses, with the slightest of musical nods to let us know they’re there. The music builds with a tension that heightens a desperate theme, then erupts in the chorus. “Quizz Kid” features, in addition to numerous startling changes in texture, several brief but pungent solos by guitarist Martin Barre, whose playing is exemplary throughout.
(rollingstone.com/music/music-album-reviews/too-old-to-rock-n-roll-too-young-to-die-204560/)

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. Quizz Kid (05:07)
02. Crazed Institution (04:47)
03. Salamander (02:51)
04. Taxi Grab (03:55)
05. From A Dead Beat To An Old Greaser (04:08)
06. Bad-Eyed and Loveless (02:14)
07. Big Dipper (03:37)
08. Too Old To Rock 'N' Roll: Too Young To Die (05:41)
09. Pied Piper (04:32)
10. The Chequered Flag (Dead or Alive) (05:23)

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Camel - Moonmadness [Japanese Ed. 2CD] (1976)

Year: April 1976 (CD 2009)
Label: Universal Music (Japan), UICY-94134/5
Style: Art Rock, Symphonic Rock, Canterbury Scene
Country: Guildford, Surrey, England
Time: 54:41, 73:52
Format: Flac Tracks 16/44,1 kHz
Size: 347, 437 Mb

CD1: Moonmadness - original album + 3 bonus tracks. CD2: The London Hammersmith Odeon Concert - 14th April 1976.
Moonmadness is the fourth studio album by English progressive rock band Camel. It was released in April 1976 on Decca and Gama Records and is their last album recorded by the group's original line-up of Andrew Latimer, Peter Bardens, Doug Ferguson, and Andy Ward. After reaching success with their previous album, the all-instrumental The Snow Goose, the band started on a follow-up and incorporated vocals and lyrics to the new music. Moonmadness has a loose concept with one track based on the personality of each band member: "Air Born" for Andrew Latimer, "Chord Change" for Peter Bardens, "Another Night" for Doug Ferguson, and "Lunar Sea" for Andy Ward.
Camel's popularity grew in 1975 with their critically acclaimed instrumental album The Snow Goose, which was followed by the group being voted Britain's Brightest Hope by readers of the nationwide music publication Melody Maker. In late 1975, the band spent three weeks writing new music for a follow-up album, and recorded Moonmadness in January and February 1976. At the time of release, Latimer said he was very pleased with the album despite the need to rush to finish it.
The last track, "Lunar Sea", ends with a minute-long wind-blowing effect. On some LP pressings, the record arm would skip during the end of this part and naturally return to the beginning of the effect, playing it endlessly (the "terminal groove" effect).
In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album came number 23 in its list of "40 Cosmic Rock Albums".
It was voted no. 58 in the Top 100 Prog albums of All Time by readers of 'Prog' magazine in 2014 and is ranked 16th greatest prog album on progarchives.com (as of 23-07-2025).
(en.wikipedia.org/wiki/Moonmadness)

01. Aristillus (01:57)
02. Song Within a Song (07:14)
03. Chord Change (06:43)
04. Spirit of the Water (02:07)
05. Another Night (06:54)
06. Airborn (05:02)
07. Lunar Sea (09:12)
08. Another Night (single) (03:24)
09. Spirit of the Water (demo version) (02:14)
10. Lunar Sea (live) (09:50)

01. Song Within a Song (07:38)
02. Excerpts From the Snow Goose (11:03)
03. Air Born (05:12)
04. Chord Change (06:58)
05. The White Rider (09:10)
06. Preparation / Dunkirk (10:17)
07. Another Night (07:25)
08. Lady Fantasy (16:05)

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Jon Lord (Deep Purple) - Sarabande (1976)

Year: October 1976 (CD 1987)
Label: Line Records (Germany), LICD 9.00124 O
Style: Modern Classical, Progressive Rock
Country: Leicester, England (9 June 1941 - 16 July 2012)
Time: 50:06
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

Typically, when an artist branches out from their current band for a solo outing, it is to “prove” something. Wishing to be seen as more than just “one of the guys in the band,” they want to take an excursion into the studio, hoping to demonstrate to the loyal legion of fans that they have something different to offer. This is especially true when they are not the main songwriter in said group. Jon Lord, a founding member and former member of Deep Purple, successfully found a way of sounding relevant with Sarabande, his second solo outing, without losing the respect of Purple’s fan base.
Anyone expecting a Deep Purple-sounding album will be disappointed. In this case, that may be a good thing. If you have an appreciation for majestic, brain-jarring compositions of pure musicianship, Sarabande may be the album for you. With the Hungarian Philharmonic as his accompaniment, in addition to an array of other studio musicians, including a pre-Police guitarist Andy Summers, Lord offers up eight songs of pure musical, majestic bliss. To some, it may appear Lord is just being pretentious; but to those with open ears, he is merely demonstrating that his talents reach beyond his years with Deep Purple.
In a way, Sarabande almost resembles the soundtrack, to one of Hollywood’s old-time classics, ala Lawrence of Arabia or Ben-Hur. That’s what I love about it. It is truly grand on all levels. With the musicianship and the swooping, epic-like execution of each track, there is not a moment on this mesmerizing album where the listener will fail to be impressed. Combining classical music with jazz, blues, and straight forward rock, it is an ambitious piece of work that, for the most part, succeeds, thanks to the genius of Lord’s capabilities.
(full version: https://vintagerock.com/jon-lord-sarabande/)

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. Fantasia (03:32)
02. Sarabande (07:25)
03. Aria (03:48)
04. Gigue (11:10)
05. Bouree (11:07)
06. Pavane (07:45)
07. Caprice (03:13)
08. Finale (02:04)

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Kansas - Leftoverture [Japanese Ed. Blu-Spec CD] (1976)

Year: October 21, 1976 (CD Aug 24, 2011)
Label: Epic Records (Japan), EICP 20074
Style: Progressive Rock, Soft Rock
Country: Topeka, Kansas, U.S.
Time: 58:50
Format: Flac Tracks 16/44,1 kHz
Size: 433 Mb

Steve Walsh began to experience writer's block prior to the recording, and his contribution to the album would ultimately be limited to co-authoring three songs; it fell on Kerry Livgren to fill the void. The new compositions retained much of the classically inspired complexity of Livgren's previous work. As with their previous album, Masque, Kansas recorded Leftoverture at Studio in the Country in Bogalusa, Louisiana. The Studio in the Country was so named because, as Livgren described on In the Studio with Redbeard radio show in the episode spotlighting Leftoverture, "it was in the middle of a swamp. We'd walk out of the studio and there would be gators in front of the studio, mosquitos the size of B-52s and at times armadillos would run into the control room."
Leftoverture opens with the song "Carry On Wayward Son", which Livgren wrote as a sequel to "The Pinnacle", the final song from the previous album Masque (1975). The album's title, Leftoverture, is a portmanteau of leftover and overture.
(en.wikipedia.org/wiki/Leftoverture)

01. Carry On Wayward Son (05:25)
02. The Wall (04:51)
03. What's On My Mind (03:28)
04. Miracles Out Of Nowhere (06:29)
05. Opus Insert (04:28)
06. Questions Of My Childhood (03:40)
07. Cheyenne Anthem (06:55)
08. Magnus Opus (08:35)
09. Carry On Wayward Son (Live) (04:44)
10. Cheyenne Anthem (Live) (06:43)
11. Carry On Wayward Son (Single Version) (03:26)

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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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Kiss - Destroyer [Japanese Ed.] (1976)

Year: March 15, 1976 (CD Apr 25, 1986)
Label: Polystar Records (Japan), P33C-20006
Style: Hard Rock, Arena Rock, Glam Rock
Country: New York City, U.S.
Time: 34:18
Format: Flac Tracks 16/44,1 kHz
Size: 211 Mb

In 1976, Kiss was already a legend. Following their successful 1975 album “Alive!”, the band had established themselves as a worldwide phenomenon. After years of effort and sacrifice, the quartet would enjoy the fruits of fame and money. However, the band’s ambition, alongside their management team, was ever-growing, leading them to hire Bob Ezrin to produce “Destroyer”. Ezrin, who had previously worked with bands like Pink Floyd, contributed to a true gem where each of Kiss’s members musically outdid themselves, breaking out of their comfort zone and resulting in an ambitious work that sold over 7 million copies.
Amidst this work, there were hundreds of disputes that would deteriorate the relationship between the four original members: Paul Stanley, Gene Simmons, Ace Frehley, and Peter Criss.
What can we hear? We hear a band stepping out of their comfort zone in Hard Rock to experiment with a much more technically advanced musical sound. It was also Kiss’s first album to feature additional musicians, such as the New York Philharmonic Orchestra, heard on songs like “Beth” or “Great Expectations”. Bob Ezrin, the producer of “Destroyer”, encouraged the band to experiment with a much richer musical sound, demanding each member to elevate their level of execution. This made Peter Criss (drums) and Ace Frehley (guitar) uncomfortable since they were already living a Rockstar life full of parties and addictions by this time.
We hear much more complex structures and arrangements compared to their previous works, resulting in a series of signature songs for the band and its members:
“Detroit Rock City”: Paul Stanley’s iconic track, featuring one of the best guitar solos in rock history, with Ace Frehley accompanying.
“Beth”: The song that would increase the fortune of drummer and vocalist Peter Criss, his standout moment through the band’s first ballad, arranged with piano and orchestra.
“God Of Thunder”: Originally written and performed by Paul Stanley but ultimately taken by Gene Simmons to bring life to his character through a song seemingly pulled straight from the depths of darkness.
(full version: therockreview.net/kiss-destroyer-eng)

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. Detroit Rock City (05:20)
02. King Of The Night Time World (03:17)
03. God Of Thunder (04:17)
04. Great Expectations (04:25)
05. Flaming Youth (03:00)
06. Sweet Pain (03:22)
07. Shout It Out Loud (02:50)
08. Beth (02:49)
09. Do You Love Me (04:55)

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Gong - Gazeuse! [Japanese Ed.] (1976)

Year: Late 1976 (CD Dec 16, 1989)
Label: Virgin Records (Japan), VJD-5018
Style: Canterbury Scene, Progressive Rock, Jazz Rock
Country: Paris, France
Time: 39:46
Format: Flac Tracks 16/44,1 kHz
Size: 229 Mb

The group first came together under the leadership of Australian-born Daevid Allen, an early member of Soft Machine who, after being denied reentry into the UK due to visa problems in 1967, remained in France and formed Gong largely around a group of French musicians including saxophonist/flautist Didier Malherbe, the only original member left by the time Gazeuse! was released in 1976.
While not titled as such, Gazeuse! was really the first release by a Gong offspring, Pierre Moerlen's Gong, which largely abandoned the psychedelic space rock of such early Gong releases as the classic Radio Gnome Trilogy (also featuring guitarist Steve Hillage) for a more jazz-rock fusion sound. Its immediate predecessor, Shamal (Virgin)—released earlier the same year and the first to feature the trifecta of Moerlen, vibraphonist Benoit Moerlen and vibraphonist/percussionist Mireille Bauer—hinted at the future direction of this Gong offshoot (the departed Allen later reuniting his vision of Gong, one that was more in-line with its early, hippy-aesthetic days). Shamal, however, featured vocals and was more progressive-leaning, thanks to Malherbe and bassist Mike Howlett's writing, and Hillage's echo-drenched guitar (he would leave the band, along with life partner Miquette Giraudy, before the album's February 1976 release).
Gazeuse! also features Francis Moze. A tremendous fretless bassist with a positively massive tone compared to American fretless innovator Jaco Pastorius, Moze demonstrated a similarly lithe dexterity as his American cousin that allowed him to lay down an unshakable groove while, at the same time, engaging in a more interactive way with the rest of his band mates. The album also includes an early appearance by Mino Cinelu, who would go on to greater fame with American fusion super group Weather Report and, in the last decade of his life, Miles Davis.
(full version: allaboutjazz.com/gong-gazeuse-gong-virgin-records-review-by-john-kelman)

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. Expresso (05:58)
02. Night Illusion (03:42)
03. Percolations Part 1 (03:52)
04. Percolations Part 2 (06:09)
05. Shadows Of (07:48)
06. Esnuria (08:01)
07. Mireille (04:12)

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Ron Wood & Ronnie Lane - Mahoney's Last Stand (1976)

Year: September 1976 (CD 1998)
Label: New Millennium Communications (UK), PILOT 29
Style: Rock, Pop Rock
Country: Hillingdon, Middlesex, England (1 June 1947)
Time: 55:07
Format: Flac Tracks 16/44,1 kHz
Size: 326 Mb

Mahoney's Last Stand is an album by Faces bandmates Ronnie Wood and Ronnie Lane, recorded in 1972 (with sessions overlapping with the early rehearsals for the Faces' final studio album Ooh La La). It is the music soundtrack album of the low-budget 1972 Canadian film Mahoney's Last Stand (original US title: Mahoney's Estate)[1] starring Alexis Kanner (who also produced the film), Sam Waterston and Maud Adams. The film itself, little seen at the time of its release and even less so since, charts the progress of city-dweller Mahoney (Kanner) who abandons his urban existence to become a homesteader, and the drama that ensues. Pete Townshend, who guests on guitar on some tracks on the album, also receives a credit in the film for providing 'special electronic effects', alongside Wood and Lane's musical score.
For various reasons the film's release was delayed until 1976, and consequently the soundtrack album suffered the same fate (and to further confuse matters the film has since also been re-released under the title Downtown Farmer). However, due to the relative fame of Wood (and to a lesser extent, Lane), the soundtrack album has remained far more readily available than the film itself.
(en.wikipedia.org/wiki/Mahoney%27s_Last_Stand)

01. Car Radio (04:49)
02. Tonight's Number (03:12)
03. From the Late to the Early (03:42)
04. Chicken Wire (01:58)
05. Chicken Wired (03:43)
06. I'll Fly Away (00:32)
07. Title One (03:32)
08. Just for a Moment (Instrumental) (02:52)
09. 'Mona' the Blues (04:27)
10. Hay Tumble (02:54)
11. Woody's Thing (01:46)
12. Rooster Funeral (03:48)
13. Just for a Moment (02:52)
14. Insurance (04:04)
15. Safety Pin Queen (03:30)
16. Anymore for Anymore (02:03)
17. C&W Number (02:02)
18. My Fault (03:12)

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Bill Wyman (The Rolling Stones) - Stone Alone (1976)

Year: 27 February 1976 (CD 1996)
Label: Sequel Records (UK), NEM CD 847
Style: Rock, Pop Rock
Country: Lewisham, London, England (24 October 1936)
Time: 39:54
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

Stone Alone is the second solo studio album by the Rolling Stones' bass guitarist Bill Wyman. It was released in 1976 by Rolling Stones Records. The album reached number 166 on the Billboard 200.
Van Morrison plays the saxophone in "A Quarter to Three". Joe Walsh, Dr. John, Ron Wood, Al Kooper, Nicky Hopkins, and Jim Keltner played on the album.
Bill Wyman is also the author of a book called Stone Alone: The Story of a Rock 'n' Roll Band, not to be confused with this album.
In a review, AllMusic rated the album one and a half stars out of five. They noted "Apache Woman" and "Quarter to Three" but cautioned that "highlights like these are few and far between and this problem reduces Stone Alone to a curio that should only be sought out by Bill Wyman fans and Rolling Stones completists." They criticized the album for lacking "the focus and solid songs of the previous album and ends up feeling like the typical rock star's ego-trip side project. Stone Alone can't be faulted for ambition, though: nearly every song tries out a different musical style ('50s-style rock, disco, and reggae) and Wyman enlists a veritable who's who of guest musicians (everyone from Dr. John to Al Kooper to Joe Walsh) to bring the songs to life."
(en.wikipedia.org/wiki/Stone_Alone)

01. A Quarter To Three (02:53)
02. Gimme Just One Chance (02:48)
03. Soul Satisfying (02:40)
04. Apache Woman (03:33)
05. Every Sixty Seconds (04:11)
06. Get It On (03:36)
07. Feet (04:00)
08. Peanut Butter Time (03:52)
09. Wine And Wimmen (03:23)
10. If You Wanna Be Happy (02:48)
11. What's The Point (02:32)
12. No More Foolin' (03:31)

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Nazareth - Play 'n' The Game [Japanese Ed. 5 bonus tracks] (1976)

Year: 13 November 1976 (CD May 17, 2006)
Label: Air Mail Archive (Japan), AIRAC-1207
Style: Hard Rock, Classic Rock
Country: Dunfermline, Fife, Scotland
Time: 57:55
Format: Flac Tracks 16/44,1 kHz
Size: 371 Mb

PLAY ‘N’ THE GAME is an enjoyable and varied collection of songs that are more upbeat and playful than their two prior releases. While there is a bit less of the plodding hard rock riffing these Scots are known for, the songs they’ve chosen here make for nice Album Rock fare. It’s a nice change after the moodier CLOSE ENOUGH FOR ROCK ‘N’ ROLL, which was released earlier in 1976.
The record opens with the catchy and incessant riffing of “Somebody To Roll”, which is easily a highlight. This is followed with an amusing rendition of the Butler/Leiber song “Down Home Girl”, which The Rolling Stones covered back in 1965. The lyrics here hardly seem that they would be a flattering come on for any Southern girl. (“Lord I swear, the perfume you wear is made out of turnip greens” / “And every time that I kiss you girl it tastes like pork and beans”.) “Flying” is a fairly standard Nazareth ballad and probably one of the less memorable moments. The original first side of the record ends with the thumping bass groove of “Waiting For The Man”, which is a rare, but interesting funk experiment. Maybe John Deacon was listening to this bass line when he came up with "Another One Bites The Dust" a few years later? They are melodically different, but both have a similar groove.
“Born To Lose” is an up-tempo hard rocker that finds the band returning to their trademark sound, if just briefly. The Joe Tex cover “I Want To (Do Everything For You)” is a slow, pulsing R&B shuffle that works surprising well for them and play live for many years. “I Don’t Want To Go On Without You” finds the band playing much in the same vein as “Love Hurts” and possibly trying to recapture that magic again. It’s a nice track, but not quite on the same level. The Beach Boys cover “Wild Honey” is a catchy pop/rock tune that works alright, but not something I’m likely to cue up on its own. Ending the album is the Nazareth penned “L. A. Girls” that is another less memorable song that tries to be catch and is punctuated with hand claps.
Nearly half of this record is cover songs, which leads me to wonder whether the band lacked their own material or just wanted to have fun with this album. I will admit that it’s that element of playfulness that I enjoy about this record, even if doesn’t rock quite as hard as RAZAMANAZ or HAIR OF THE DOG. Overall, it’s an enjoyable collection of songs, if not always a consistent one.
(sputnikmusic.com/review/68179/Nazareth-Play-N-The-Game/) Review by Robbit. August 15th, 2015

01. Somebody To Roll (03:54)
02. Down Home Girl (05:03)
03. Flying (04:20)
04. Waiting For The Man (04:53)
05. Born To Love (03:58)
06. I Want To Do Everything For You (04:18)
07. I Don't Want To Go On Without You (03:46)
08. Wild Honey (03:03)
09. L.A. Girls (03:56)
10. Good Love (03:52)
11. I Don't Want To Go On Without You -Alternate Edit Version- (03:24)
12. Waiting For The Man (Alternate Edit Version) (06:13)
13. Somebody To Roll (Edit Version) (03:31)
14. Born To Love (Edit Version) (03:36)

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Nazareth - Close Enough For Rock'n'Roll [7 bonus tracks] (1976)

Year: March 1976 (CD 2002)
Label: Eagle Records (Germany), EAMCD138
Style: Hard Rock
Country: Dunfermline, Fife, Scotland
Time: 64:27
Format: Flac Tracks 16/44,1 kHz
Size: 520 Mb

WHILE I’VE never been one of Nazareth’s most fervent fans, I’ve always admired them for knowing and keeping within their obvious limitations. The band are but adequate musicians and Dan McCafferty is just an above-average vocalist — but together, they fuse quite tightly and create, if not inspiring, then some very reasonable rock music.
The theme of ‘Close Enough For Rock ‘N’ Roll’ is, oddly enough, one of disillusionment and boredom — yet this is hard to credit, once you bear witness to the highly raucous sounds.
`Telegram’ is the album’s major track. In four parts, ‘On Your Way’,`So You Want To Be A Rock And Roll Star’, ‘Sound Check’ and `Here We Are Again’, it tells the graphic, if at times musically cumbersome, tale of an American tour. It begins with a 747 flight and deals with immigration hassles, the limousine trip from airport to hotel (during which the car’s radio, tuned to an FM station, plays a snatch of ‘This Flight Tonight’), a Press reception and — finally — a concert itself, which ultimately degenerates into a boozy clapalong and fades. To Nazareth, the story that `Telegram’ describes is one of routine, of extreme familiarity — and yet the band attack the multi-faceted tale with a good deal of venom, perhaps venting their frustrations in this hard musical manner.
Except for a short Manny Charlton guitar instrumental, `Vicki’, and the commercial cut `Carry Out Feelings’, the rest of the album follows the same pattern — driving, below-the-belt rock music, hardly innovative, but at the same time not having enough apparent cliches for it to matter.
A good album, and one that should consolidate Naz’s position as a first division band.
(geirmykl.wordpress.com/2021/12/16/article-about-nazareth-from-sounds-april-3-1976/)

01. Telegram (Parts 1-4) (07:54)
02. Vicki (02:24)
03. Homesick Again (04:31)
04. Vancouver Shakedown (04:03)
05. Born Under The Wrong Side (03:57)
06. Loretta (03:19)
07. Carry Out Feelings (03:19)
08. Lift The Lid (03:53)
09. You're The Violin (04:47)
10. My White Bicycle [single] (05:21)
11. You're The Violin [edited A-side] (03:35)
12. Loretta [alternate single version] (02:36)
13. Carry Out Feelings [US single edit] (03:18)
14. Lift The Lid [alternate single version] (03:29)
15. My White Bicycle [orginal single version] (03:28)
16. Telegram [edited version] (04:28)

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Thin Lizzy - Johnny The Fox (1976)

Year: October 1976 (CD ????)
Label: Vertigo Records (US), 822 687-2
Style: Hard Rock, Classic Rock
Country: Dublin, Ireland
Time: 35:42
Format: Flac Tracks 16/44,1 kHz
Size: 232 Mb

Lynott and Robertson clashed over musical differences, such as the composition of "Don't Believe a Word". When Lynott first played the song in a slow 12-bar blues format, Robertson claimed it was "shite", and Lynott reacted badly, disappearing for a few days. Robertson then felt that he may have been a little harsh, and he and drummer Brian Downey decided to rework the song. Downey devised a faster shuffle rhythm and Robertson wrote the riff, and Lynott was pleased with the outcome when he returned to the studio. Robertson was annoyed when the song was credited solely to Lynott, as he felt that all three members involved should have been credited. The original bluesy arrangement was subsequently recorded by Lynott and Gary Moore on Moore's Back on the Streets in 1978, and Thin Lizzy versions later appeared on Thin Lizzy's 1983 double live album Life and the deluxe edition of Thunder and Lightning.
Robertson also co-wrote "Borderline" with Lynott, for which he did receive a writing credit. He later revealed that the song was about a girlfriend: "I was really in love, [but] she hated me. I was extremely down when I wrote it." Alcock confirmed that Robertson had significant lyrical input on this track, and that the band's other guitarist Scott Gorham had similar influence on the lyrics for "Sweet Marie".
According to Robertson, Lynott wrote "Rocky" with him in mind. John Alcock has stated that "Massacre" was written in the studio. Its lyrics came after Lynott was visited in hospital by a Protestant clergyman, and Catholic Lynott became defensive. Later he regretted his reaction, and wrote the lyric condemning religious prejudice.
"Fools Gold" was inspired by the Great Famine of Ireland of 1845–52. The lyric imagines Irish people travelling to America to escape the famine and start a new life.
The album included two tracks with the name "Johnny" in their titles as well as the album title itself, a character by that name having appeared in earlier songs such as "Showdown" and "The Boys Are Back in Town". Gorham noted the name's proliferation: "Phil should've been this guy's publicity agent, as he was cropping up everywhere!"
"'Johnny the Fox meets Jimmy the Weed' was really the only song that Lizzy did in a funk style..." noted Scott Gorham. "Phil Lynott was a huge fan of the O'Jays and their song "For the Love of Money". At every soundcheck, he'd be playing that funky riff... Once we'd found that riff, we just went for it. The whole thing really took off when Brian Downey sat down and put his personal funk take on it with the drums... And these characters – Johnny the Fox and Jimmy the Weed – they were real people. They were from the Manchester area, where Phil's mom had her hotel... They were part of a gang of cultured thieves... They weren't drug dealers, like it says in the lyrics for the song... But they were pretty heavy guys, yet they were real funny, so you couldn't help but like them."
(en.wikipedia.org/wiki/Johnny_the_Fox)

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. Johnny (04:18)
02. Rocky (03:43)
03. Borderline (04:37)
04. Don't Believe A Word (02:18)
05. Fools Gold (03:53)
06. Johnny The Fox Meets Jimmy The Weed (03:36)
07. Old Flame (03:05)
08. Massacre (03:01)
09. Sweet Marie (04:00)
10. Boogie Woogie Dance (03:06)

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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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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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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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Ian Hunter (ex Mott The Hoople) - All-American Alien Boy [Expanded Ed. 6 bonus tracks] (1976)

Year: January 1976 (CD 2006)
Label: Clumbia Records (Europe), 82876 814072
Style: Rock, Glam Rock
Country: Oswestry, Shropshire, England (3 June 1939)
Time: 79:04
Format: Flac Tracks 16/44,1 kHz
Size: 423 Mb

He could have taken the easy route and trotted out facsimiles of his brilliant eponymous solo debut, but Ian Hunter is a smarter cookie than that. He knew that if he was going to really establish himself as a solo artist, he’d have to distance himself from preconceptions of him that had developed when he was frontman of Mott the Hoople. He had to grow. He had to evolve.
In this sense, All American Alien Boy, is probably not what Mott the Hoople fans expected of Ian Hunter. Jazz-flecked soft rock must have been a bit of curve-ball for a lot of them, but he makes a decent go of it – the title in particular is a highlight of Hunter’s solo output, complete with a fancy bass solo and Hunter performing some sort of proto-rap mid-way through.
Album highlight, “Irene Wilde”, is a classic heartbroken Hunter piano ballad in the grand tradition of “Waterlow” and “Sea Diver”. The piano playing in this case is courtesy of former Grease Band lynch pin Chris Stainton, who is a key element of the sound of All American Alien Boy and throughout the album guitar duties are handled primarily by Gerry Weems, who gets a nice chunky riff to sink his teeth into on “Restless Youth”, the album’s sole rocker. Hunter also manages to pull off a significant coup by getting three quarters of Mott’s old support act to provide backing vocals. The name of that support act? Queen, who make their unmistakable presence felt on “You Nearly Did Me In”, one of the albums most rousing moments.
All American Alien Boy was irrefutable proof that Ian Hunter wasn’t going to be satisfied by leaning too heavily on his status as the former frontman of one of British rock music’s finest rock bands and was purposefully distancing himself from the commercial pop tunes that he had penned in that band’s later years. This is the sound of Ian Hunter proving that he was prepared to challenge those who thought that thought he was going to take a predictable career path.
Sure, Hunter would have enjoyed continued commercial success if he had stuck to the same template of his solo debut, but he’d have been much less interesting if he had done and chances are his career would have burned out some time ago. As it is All American Alien Boy was the sound of Ian Hunter spreading his creative wings and taking flight. All these decades later he’s still flying.
(backseatmafia.com/not-forgotten-ian-hunter-all-american-alien-boy/)

01. Letter to Brittania from the Union Jack (03:49)
02. All American Alien Boy (07:07)
03. Irene Wilde (03:43)
04. Restless Youth (06:17)
05. Rape (04:04)
06. You Nearly Did Me In (05:46)
07. Apathy 83 (04:43)
08. God (Take I) (05:40)
09. To Rule Britannia from Union Jack (aka Letter to Brittania from the Union Jack) (Session Outtake) (04:05)
10. All American Alien Boy (Single Version) (04:01)
11. Irene Wilde (Take 1 - Session Outtake) (03:50)
12. Weary Anger (aka You Nearly Did Me In) (Session Outtake) (05:42)
13. Apathy (Session Outtake) (04:39)
14. (God) Advice to a Friend (Session Outtake) (05:31)

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