Bad Company - Burnin' Sky [Japanese Ed.] (1977)

Year: March 3, 1977 (CD Mar 7, 2007)
Label: Swan Song (Japan), WPCR-12545
Style: Hard Rock, Blues Rock
Country: London, England
Time: 45:08
Format: Flac Tracks 16/44,1 kHz
Size: 296 Mb

Charts: UK #17, AUS #15, CAN #16, NDL #14, NOR #45, NZ #32, SWE #32, US #15. US: Gold.
Before you can even digest or vomit back up Run With The Pack (or "Run With The Night", as lameass North Carolina DJ "Cosmo" so eloquently called it that time I heard him play "Young Blood" - right before he declared it to be a "great song" off of a "great album." Lameass.), the "talentless boys of rock 'n' roll" are back to shove more poorly-written dreck down your listening ear.
I'll give 'em this though: even though all these melodies sound like they were written in about two minutes, most of them are amazingly catchy. The title track, "Morning Sun," "Too Bad," "Everything I Need," "Peace Of Mind" - all disgustingly simple, but not self-parodic like on the last album. It sounds, rather, like a postmodern lo-fi college band imitating Bad Company. It's not bombastic (except for a couple of really crappy numbers); it's just a bunch of poorly-arranged songs. I like 'em! It's actually a pretty good record, though definitely not worthy of classic rock radio play. If you see it in a dollar bin, get it. It's at least an interesting, semi-unpredictable record. A cover of "Valerie, Valerah?" A seven-minute groove jam? Wow. Bad Company stretches out and tries something new. Who knows how far this'll go? Embarrassing. And the cover of "Young Blood" is unlistenable.
(albumoftheyear.org/user/markprindlebot/album/119320-burnin-sky/)

01. Burnin' Sky (05:09)
02. Morning Sun (04:06)
03. Leaving You (03:23)
04. Like Water (04:19)
05. Knapsack (01:20)
06. Everything I Need (03:23)
07. Heartbeat (02:37)
08. Peace Of Mind (03:25)
09. Passing Time (02:30)
10. Too Bad (03:52)
11. Man Needs Woman (03:45)
12. Master Of Ceremony (07:13)

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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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Pink Floyd - The Wall [Japanese Ed. 1st press. 2CD] (1979)

Year: 30 November 1979 (CD Jun 21, 1985)
Label: CBS/Sony Inc. (Japan), 50DP 361-2
Style: Progressive Rock, Art Rock
Country: London, England
Time: 39:19, 42:00
Format: Flac Tracks 16/44,1 kHz
Size: 260, 286 Mb

The Wall is a 1979 Pink Floyd album, created after their success with The Dark Side of the Moon, Wish You Were Here, and Animals. It is unique in that it tells a complete story about the life of Pink, a fictional rock star, and his gradual decline into shutting himself away from the world. Being a double album, the first disc chronicles his life from his rocky childhood, with a father who died in war (the ending of In The Flesh?, The Thin Ice, and Another Brick in the Wall, Part 1), abusive teachers (The Happiest Days of Our Lives, Another Brick in the Wall, Part 2), an overprotective mom (Mother), and living in constant fear of war (Goodbye Blue Sky).
To paraphrase from Dan Olson (Folding Ideas on YouTube), the variety of these childhood events is core to the album's theme: there is no one singular event that causes us to shut ourselves off from the world. They are all just bricks in the wall that keep us from others. Empty Spaces, Young Lust, and One Of My Turns show that he's resorted to sex and rock and roll (through the style of these tracks) to fill himself: to numb himself from the possible pain the world can bring him. But it becomes unavoidable when his wife finds out he's been cheating on her (Don't Leave Me Now), and combined with his abusive tendencies towards her, she leaves Pink for good.
This causes him to trash his apartment (Another Brick in the Wall, Part 3) and decide, “I don't need anything at all,” finally shutting himself out (Goodbye Cruel World). The album's first half is very catchy, with the swing of In The Flesh? and the disco beat of Another Brick in the Wall, Part 2 being the best parts for me. The lyrics do a good job of describing his rough childhood and how he's attempted to fill himself with sex, rock and roll, and, as Another Brick in the Wall, Part 3 reveals, drugs. But this is a double album, and the story isn't over yet.
(full version: craccum.co.nz/the-wall-1979-album-review/)

01. In The Flesh? (03:19)
02. The Thin Ice (02:29)
03. Another Brick In The Wall (Part I) (03:10)
04. The Happiest Days Of Our Lives (01:51)
05. Another Brick In The Wall (Part II) (04:00)
06. Mother (05:33)
07. Goodbye Blue Sky (02:49)
08. Empty Spaces (02:07)
09. Young Lust (03:33)
10. One Of My Turns (03:34)
11. Don't Leave Me Now (04:16)
12. Another Brick In The Wall (Part III) (01:17)
13. Goodbye Cruel World (01:14)

01. Hey You (04:41)
02. Is There Anybody Out There (02:57)
03. Nobody Home (03:11)
04. Vera (01:29)
05. Bring The Boys Back Home (01:26)
06. Comfortably Numb (06:23)
07. The Show Must Go On (01:37)
08. In The Flesh (04:15)
09. Run Like Hell (04:20)
10. Waiting For The Worms (04:01)
11. Stop (00:31)
12. The Trial (05:19)
13. Outside The Wall (01:44)

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Pink Floyd - Animals [Japanese Ed. 1st press] (1977)

Year: 21 January 1977 (CD Jul 21, 1985)
Label: CBS/Sony (Japan), 32DP-360
Style: Progressive Rock, Psychedelic Rock
Country: London, England
Time: 41:48
Format: Flac Tracks 16/44,1 kHz
Size: 267 Mb

I admit without qualm that it began for me with Animals. My brother was in college, and one day I went through his records and listened to the ones with the coolest covers. Animals fascinated me then as it still fascinates me today. It is the acute anthropomorphic fantasy, possessing a timeless quality that has thrust it into the category of "classic," though it may remain forever in the shadow of its more commercially successful older brother, Dark Side Of The Moon. Consisting of three tracks each longer than ten minutes and two tracks under two minutes, Animals is not for the attention- span- deficient. However, within this impenetrable fortress of radio- unfriendly tracks, we hear Dave Gilmour's guitars at their absolute best, get a full-on dose of Roger Waters' powerful lyrical imagery, and are presented with the worst elements of our own humanity- packaged in the skins of "Sheep," "Dogs" and "Pigs (Three Different Ones)". For those weaned on The Wall and Dark Side, you'll find Animals to be a whole new bag of feed. Where Floyd's two most recognizable albums made their mark with operatic aggression and fear, Animals deals in dirt- under- the- fingernails reality, the common smallness that simultaneously binds and repels us all. "Dogs," a 17-minute study in the commonest of all faults, lazily dispenses bite after venomous bite into the desires that drive us to seize the fast buck and screw anyone that gets in our way: "You have to be trusted by the people that you lie to, So that when they turn their backs on you, You'll get the chance to put the knife in."
All this wrapped up in the flaky coating of two hauntingly similar and musically identical tracks casting opposite views of cynicism and hope on the proceedings. Animals is like George Orwell's Animal Farm run through a full- audio acid test- spectacular in every aspect and now in full color.
I admit without qualm that it began for me with Animals.
(pitchfork.com/reviews/albums/6307-animals/)

01. Pigs On The Wing(Part One) (01:24)
02. Dogs (17:06)
03. Pigs(Three Different Ones) (11:30)
04. Sheep (10:18)
05. Pigs On The Wing(Part Two) (01:27)

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Sammy Hagar (Van Halen, Montrose) - Sammy Hagar [Japanese Ed.] (1977)

Year: January 1977 (CD Aug 24, 1994)
Label: Tochiba-EMI (Japan), TOCP-8342
Style: Rock, Hard Rock
Country: Salinas, California, U.S. (October 13, 1947)
Time: 39:02
Format: Flac Tracks 16/44,1 kHz
Size: 255 Mb

I first became a big-time Sammy Hagar fan after I saw him open up for Boston in 1977. It was a concert I will never forget. Boston was good, but Sammy Hagar just completely blew me away because I basically had never heard of him before. I wonder how many people first discovered Sammy Hagar from that tour. When you think about it, that’s one of the reasons why record companies put up-and-coming artists as opening acts on tours for major bands.
Now, of course, Sammy Hagar had already made a name for himself in the music business as the lead vocalist for Montrose. Nonetheless, if you weren’t a Montrose fan or didn’t pay much attention to album credits, you probably never heard of Sammy Hagar. Capital Records and, of course, the Red Rocker himself were out to change all of that. The one song I remember the most from that night was “Red.” The next day, I went to Sam Goody’s record store at the Smith Haven Mall, and there it was.
It made perfect sense. Everything on the cover was red, the car, the buildings, the people on the street and the clothes that Sammy Hager wore. I never understood why they didn’t call the album Red. It was just called Sammy Hagar. However, over the years, most Sammy Hagar fans have referred to it as the Red Album. Just like Beatles fans referred to the White Album as The White Album even though it was just called The Beatles.
The cover for Sammy Hagar’s self-titled debut album was shot on location in London on Stockwell Road. The buildings in the background were actually all red. The outfit, that is the red outfit that Sammy Hagar was wearing was borrowed from Foghat’s Tony Stevens. And, of course, we don’t really know who owned the car, but it’s a cool-looking car. The reason the photograph was taken in London was because Sammy Hagar recorded his self-titled album at the legendary Abbey Road Studios.
The Sammy Hagar album opened up with what would become one of his signature songs called “Red.” This was exciting rock and roll music with a fantastic opening. The way the bass and drums created that driving groove set it all up for those power chords that hit you rapid-fired as if an invasion had just begun. It sounded so good, every instrument thriving in its own space with power and emotion. I still get pumped up every time I hear this song. Scott Mathews was incredibly powerful on this track. David Lewark and Sammy Hagar’s guitar work was extraordinary, while Bill Church’s bass playing provided pulsating eighth-note patterns that took it home. Alan Fitzgerald’s keyboard work wrapped it all up with some special effects that drizzled all over the track at some very key moments.
The album’s second track was a cover of Donovan’s “Catch The Wind.” For myself and probably many other young 16-year-old rock fans, that was the first time I had ever heard of that song. The third track to appear on the album would instantly become a fan favorite. Sammy Hagar’s own composition “Cruisin’ & Boozin'” was a testament to the times. It was common place for young people to get in their cars, stop at a local 7-Eleven, pick up a few six-packs of beer, and drive around all night looking for fun or trouble. What a great song this was, though. The rhythm change from the grooving verse to the half-tempo party atmosphere in the chorus was very effective. It just made you want to have a good time like the song said. We used to play this one all the time in the car.
(full version: classicrockhistory.com/why-sammy-hagars-1977-sammy-hagar-lp-was-one-of-his-best/)

01. Red (04:04)
02. Catch The Wind (04:38)
03. Crusin' And Boozin' (03:09)
04. Free Money (03:59)
05. Rock 'N' Roll Weekend (03:09)
06. Fillmore Shuffle (03:44)
07. Hungry (03:05)
08. The Pits (03:06)
09. Love Has Found Me (03:51)
10. Little Star/Eclipse (06:14)

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Captain Beyond - Dawn Explosion (1977)

Year: April 1977 (CD 1996)
Label: Friday Music (US), FRM 1087
Style: Rock, Hard Rock
Country: Los Angeles, California
Time: 38:01
Format: Flac Tracks 16/44,1 kHz
Size: 255 Mb

Captain Beyond has a rather legendary status in the ranks of hard '70s rock. Their fame is actually in the "cult status" category. Dawn Explosion, their third album, was a good disc, but really did not live up to the greatness of the first two releases. Still, in showcasing the group's unique blend of hard rock, psychedelia, and progressive-type arrangements, there is definitely some strong material present. The hard-edged and frantic "Icarus" and the nearly ethereal, building mini-epic "Breath of Fire (Part 1 and Part 2)" can arguably stand up to most of the material on the other releases. Where they falter here is on such songs as "If You Please" and "Midnight Memories," which seem to be trying to reach toward accessibility, but come much closer to banality and mediocrity. This disc cannot take away from the tremendous glory of the other albums, though, and several of the tracks certainly still hold up well.

(allmusic.com/album/dawn-explosion-mw0000616369)

01. Do Or Die (03:38)

02. Icarus (04:17)

03. Sweet Dreams (05:29)

04. Fantasy (06:02)

05. Breath Of Fire: (A) A Speck Within A Sphere (03:04)

06. Breath Of Fire: (B) Alone In The Cosmos (03:12)

07. If You Please (04:12)

08. Midnight Memories (04:01)

09. Space Interlude (00:52)

10. Oblivion (02:14)

11. Space Reprise (00:55)

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Supertramp - Even In The Quietest Moments... (1977)

Year: 8 April 1977 (CD ????)
Label: Polygram Records (West Germany), 394 634-2
Style: Pop Rock, Soft Rock, Progressive Pop
Country: London, England
Time: 43:41
Format: Flac Tracks 16/44,1 kHz
Size: 264 Mb

Even in the Quietest Moments... is the fifth album by the British rock band Supertramp, released in April 1977. It was recorded mainly at Caribou Ranch in Colorado with overdubs, vocals, and mixing completed at the Record Plant in Los Angeles. This was Supertramp's first album to use engineer Peter Henderson, who would work with the band for their next three albums as well.
Even in the Quietest Moments... reached number 16 on the Billboard Pop Albums Chart in 1977 and within a few months of release became Supertramp's first Gold (500,000 copies or more)–selling album in the US. In addition, "Give a Little Bit" became a US Top 20 single and reached number 29 on the UK Singles Chart. While "Give a Little Bit" was the big hit, both "Fool's Overture" and the title track also received a fair amount of FM album-rock play.
In 1978, Even in the Quietest Moments... was ranked 63rd in The World Critic Lists, which recognised the 200 greatest albums of all time as voted for by notable rock critics and DJs.
(en.wikipedia.org/wiki/Even_in_the_Quietest_Moments...)

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 A Little Bit (04:09)
02. Lover Boy (06:52)
03. Even In The Quietest Moments (06:29)
04. Downstream (04:04)
05. Babaji (04:51)
06. From Now On (06:22)
07. Fool's Overture (10:52)

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Aerosmith - Draw The Line [Japanese Ed.] (1977)

Year: December 9, 1977 (CD Oct 9, 2013)
Label: Sony Music (Japan), SICP 30371
Style: Hard Rock
Country: Boston, Massachusetts, U.S.
Time: 35:17
Format: Flac Tracks 16/44,1 kHz
Size: 237 Mb

By 1977, Aerosmith had released four studio albums, the two most recent – Toys in the Attic (1975) and Rocks (1976) – catapulting the band to stardom. However, as the band began recording its next album, Draw the Line, their excessive lifestyle, combined with constant touring and drug use, began to take its toll. "Draw the Line was untogether because we weren't a cohesive unit anymore," guitarist Joe Perry admitted in the Stephen Davis band memoir Walk This Way. "We were drug addicts dabbling in music, rather than musicians dabbling in drugs."
Although the LP would sell well more than a million copies in fewer than six weeks after its release, in 2014 Perry would refer to it as "the beginning of the end" and "the decay of our artistry."
It was recorded between June–October in an abandoned convent near New York City. The portrait of the band on the album cover was drawn by the celebrity caricaturist Al Hirschfeld.
(en.wikipedia.org/wiki/Aerosmith)

01. Draw The Line (03:23)
02. I Wanna Know Why (03:09)
03. Critical Mass (04:52)
04. Get It Up (04:02)
05. Bright Light Fright (02:20)
06. Kings And Queens (04:55)
07. The Hand That Feeds (04:23)
08. Sight For Sore Eyes (03:55)
09. Milk Cow Blues (04:15)

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Steve Tibbetts - Steve Tibbetts (1977)

Year: 1977 (CD 1995)
Label: Cuneiform Records (US), 55009
Style: Jazz Rock, Acoustic, Progressive Rock
Country: Madison, Wisconsin, U.S.
Time: 34:40
Format: Flac Tracks 16/44,1 kHz
Size: 183 Mb

Steve Tibbetts (born 1954) is an American guitarist and composer. He views the recording studio as a tool for creating sounds. Most of his albums include percussionist Marc Anderson.
Steve Tibbetts is the debut album by Steve Tibbetts, recorded in 1976. Eventually released by Frammis Records in 1979, the CD was reissued by Cuneiform in 1995.
The New Rolling Stone Record Guide wrote that Tibbets "uses a few too many cliches, [but] proves that he has the talent to make those cliches work." The Billboard Guide to Progressive Music called the album "a classic of instrumental psychedelic progressive music from the unlikely region of grassroots middle America."
(en.wikipedia.org/wiki/Steve_Tibbetts)

01. Sunrise (04:14)
02. The Secret (04:49)
03. Desert (04:39)
04. The Wonderful Day (02:21)
05. Gong (01:43)
06. Jungle Rhythm (05:37)
07. Interlude (01:52)
08. Alvin Goes To Tibet (04:16)
09. How Do You Like My Buddha? (05:04)

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Thin Lizzy - Bad Reputation [6 bonus tracks] (1977)

Year: 2 September 1977 (CD 2011)
Label: Universal Music (Germany), 2772693
Style: Hard Rock, Classic Rock
Country: Dublin, Ireland
Time: 57:22
Format: Flac Tracks 16/44,1 kHz
Size: 378 Mb

For me this is where the Thin Lizzy story really hits it’s stride in every sense. Phil Lynott had honed his song craft skills so sharp they can cut without even being unsheathed, while the band’s performing skills are simply second to none. I once heard somebody say that they felt Prince was so talented that he could do whatever he wanted to musically. Hear, hear, and I must stress that in 1977, Thin Lizzy was a similar proposition.
Kicking of with the regal and visionary “Soldier Of Fortune,” it become clear Lizzy were so far ahead of their metallic time it would take everybody else years to catch up with them. With seemingly no effort, he band peel of this mournful but determined tale with the ease and posture of people so good at their metier that they barely have to try. Good enough to make you cry, this is a true classic. It’s also a tad forlorn for an album opener, and thus the band blast back with the ballsy title song next, a fast, short and tough number that warns about the perils of high living, and friends, if you’re going to listen to anyone on this subject, Thin Lizzy are the guys to pay heed to.
Lynott’s own high living and it’s price are in full frontal concern on “Opium Trail,” a terse and desperate number that reveals the tragic and twisted honesty of the man’s writing. And then…”Southbound.” This lyric of dead cities and dejected hope is another Lizzy landmark, not only due to it’s tragic lyric, but the inventive playing and arranging that fuel this one are truly moving. “Dancing In The Moonlight,” a hit for the band overseas is clever, bouncy, catchy, and so totally un-metallic that people have been caught bitching on websites that it proves Lizzy was not a metal band at all (insert expletives and harsh slang about body parts here). I must say that the album’s remainder is not quite as strong, but damn, fool! When you’ve got three of the best heavy metal songs ever written on one side of a single album, you must feel good about it.
Sad to say, the sun was setting on the band commercially at this point, and an increased reliance on drugs and drink would really start to eat away at Lizzy’s wiring in the years to come. Even more impressive then, that as these weights crushed down on the band, they would still make a few of their best albums ever. Now, that’s impressive.
(metal-archives.com/reviews/Thin_Lizzy/Bad_Reputation/4447/) Review by brocashelm, April 21st, 2006

01. Soldier Of Fortune (05:17)
02. Bad Reputation (03:08)
03. Opium Trail (03:57)
04. Southbound (04:26)
05. Dancing In The Moonlight (It's Caught Me In Its Spotlight) (03:26)
06. Killer Without A Cause (03:33)
07. Downtown Sundown (04:08)
08. That Woman's Gonna Break Your Heart (03:25)
09. Dear Lord (04:27)
10. Killer Without A Cause (BBC Session 01/08/1977) (03:42)
11. Bad Reputation (BBC Session 01/08/1977) (02:48)
12. That Woman's Gonna Break Your Heart (BBC Session 01/08/1977) (03:27)
13. Dancing In The Moonlight (It's Caught Me In Its Spotlight) (BBC Session 01/08/1977) (03:21)
14. Downtown Sundown (BBC Session 01/08/1977) (03:53)
15. Me And The Boys (Soundcheck) (04:17)

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Brand X (Phil Collins) - Moroccan Roll [Japanese Ed. SHM-CD] (1977)

Year: April 1977 (CD July 30, 2014)
Label: Universal Music (Japan), UICY-76413
Style: Jazz Rock, Instrumental, Progressive Rock
Country: London, England
Time: 49:29
Format: Flac Tracks 16/44,1 kHz
Size: 318 Mb

Moroccan Roll is the second studio album by British jazz fusion group Brand X. The title is a pun referring to this being their second album: "more rock and roll", however, Moroccan Roll is not a step toward the rock and roll side of the fusion equation, but rather an experiment with Eastern sounds and softer textures. The album is mostly instrumental. "Sun in the Night" contains vocals sung by Brand X drummer Phil Collins in Sanskrit. "Disco Suicide" and "Maybe I'll Lend You Mine After All" also contain vocals, although they are wordless.
Brand X were a British jazz rock band formed in London in 1974. They were initially active until 1980, followed by reformations between 1992–1999 and 2016–2021.
Despite sometimes being considered to be a Phil Collins side project (due to Collins' participation as drummer between 1975 and 1977 in between his commitments to Genesis), the band was in fact centred on a core composing/playing trio of John Goodsall (guitar), Percy Jones (bass) and Robin Lumley (keyboards).
(en.wikipedia.org/wiki/Brand_X)

01. Sun In The Night (04:25)
02. Why Should I Lend You Mine (When You've Broken Yours Off Already) (11:20)
03. ...Maybe I'll Lend You Mine After All (02:04)
04. Hate Zone (04:41)
05. Collapsar (01:34)
06. Disco Suicide (07:54)
07. Orbits (01:37)
08. Malaga Virgen (08:27)
09. Macrocosm (07:23)

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Cheap Trick - Dream Police [4 bonus tracks] (1979)

Year: September 21, 1979 (CD 2006)
Label: Epic Records (US), 82796 94485 2
Style: Hard Rock, Power Pop
Country: Rockford, Illinois, U.S.
Time: 64:52
Format: Flac Tracks 16/44,1 kHz
Size: 449 Mb

The album overall dissociates itself quite a bit from the previous one, "Heaven Tonight", which is somewhat the projection of the 70s, to begin embracing an 80s perspective and taste, which would take definitive form some time later. The intention for change is recognizable from "Voices," still rooted in the almost ended century, to "Need Your Love," which perhaps intentionally is placed at the end just to indicate the result of their effort.
Overall, the tracks on the album have the same style, except for some pleasant highlights. Interesting, beyond the music, is also the vocal plan of the backing voices in "Dream Police." The album opens with the title track, which shouldn’t be labeled as the main highlight of this work, as you quickly realize with songs like "Way Of The World" and "I'll Be With You."
In "The House Is Rocking", there is a different trend compared to the first tracks, more refinement in the voice and the riff, and guitar solos appear throughout the track. Then comes "Gonna Raise Hell", which is just what I talked about earlier. The change in style and sound is very evident, and with this track and "The Writing On The Wall", the album takes on a more seriously rock direction.
(en.debaser.it/cheap-trick/dream-police/review)

01. Dream Police (03:54)
02. Way Of The World (03:38)
03. The House Is Rockin' (With Domestic Problems) (05:11)
04. Gonna Raise Hell (09:20)
05. I'll Be With You Tonight (03:51)
06. Voices (04:22)
07. Writing On The Wall (03:27)
08. I Know What I Want (04:30)
09. Need Your Love (07:40)
10. The House Is Rockin' (With Domestic Problems) (Live) (Bonus track) (06:16)
11. Way Of The World (Live) (Bonus track) (04:00)
12. Dream Police (No Strings version) (Bonus track) (03:53)
13. I Know What I Want (Live) (Bonus track) (04:44)

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Brand X - Livestock [japanese Ed. SHM-CD] (1977)

Year: 18 November 1977 (CD July 30, 2014)
Label: Universal Music (Japan), UICY-76414
Style: Jazz Rock, Instrumental, Progressive Rock
Country: London, England
Time: 41:35
Format: Flac Tracks 16/44,1 kHz
Size: 253 Mb

Excellent live album, though only two of the songs are from their studio albums ("Euthanasia Waltz" from 'Unorthodox Behaviour' and "Malaga Virgen" from 'Moroccan Roll') . The rest is new material, but is equally as good as the two tracks i just mentioned. Performances are faultless and sound quality is excellent. The drumming is split between Phil Collins and Kenwood Dennard, and both does a great job on this album. This is a very varied, but still even album and the compositions are all excellent! A burst of energy and fire!
This is high-quality fusion at it's best though not 100% perfect (a couple of parts are slighlty weaker than other parts, but still very good). Overall: 4.75 stars - Should be included in any prog collection that features Jazz-Rock!
(progarchives.com/album.asp?id=3475) Review by Bj-1. November 22, 2005

Most of it sounds as if it were recorded in the VERY early hours, in a darkened cellar. There's no interaction with the audience and very few attempts to enliven the original studio tracks. Only "Euthanasia Waltz" (off UNORTHODOX BEHAVIOUR) is given an extra dimension, with the help of a truly ecstatic guitar solo by John Goodsall, while "Malaga Virgen" (from MOROCCAN ROLL) benefits from some jaunty playing by Messrs. Dennard and Jones. (I believe the bass is mixed closer to the front than on the band's studio albums, which helps.) Both of these tracks also acquire more colour through Morris Pert's remarkable playing. Apart from these things, the rest of the album is a low-key affair. As far as I know, the opening tracks, "Nightmare Patrol" and "-Ish", cannot be found anywhere else. They're OK tracks, much in the same spirit as Brand X's early studio work, but they don't exactly set my heart on fire, if you catch my drift.
Between the tracks you'll hear the roar of what seems to be an enormous crowd. ("Euthanasia Waltz" simply gets faded out, without applause or explanation.) How strange that such an audience remained completely silent during the actual performances! Perhaps they were all totally serious guys with beards, merely nodding along sagely...
I'm a bit surprised Brand X didn't light too many sparks on stage. Devoted fans will need LIVESTOCK, if only for its (literally) unique material, but I can't help thinking the collection was scraped together in a hurry. The obligatory Hipgnosis cover makes the album look even more depressing. Aimless releases like this make you understand why the world used to cry out for the likes of Ian Dury, Madness and the Pretenders.
(progarchives.com/album.asp?id=3475) Review by fuxi. October 29, 2010

01. Nightmare Patrol (08:04)
02. -Ish (08:33)
03. Euthanasia Waltz (05:27)
04. Isis Mourning i (05:36)
05. Isis Mourning ii (04:45)
06. Malaga Virgen (09:07)

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Meat Loaf - Bat Out Of Hell (1977)

Year: October 21, 1977 (CD )
Label: Epic Records (Europe), CDEPC 82419
Style: Hard Rock, Progressive Pop
Country: Dallas, Texas, U.S. (September 27, 1947 - January 20, 2022)
Time: 46:36
Format: Flac Tracks 16/44,1 kHz
Size: 309 Mb

Charts: US #13, AUS #1, GER #11, IRE #1, NL #1, NZ #1, NOR #3, SWE #13, SWI #9, UK #3. CAN: 2x Platinum; UK: 11x Platinum; AUS: 26x Platinum; US: Diamond (14x Platinum).
Bat Out of Hell is the debut studio album by American rock singer Meat Loaf and composer Jim Steinman. The album was developed from the musical Neverland, a futuristic rock version of Peter Pan which Steinman wrote for a workshop in 1974. It was recorded during 1975–1976 at various studios, including Bearsville Studios in Woodstock, New York. The album was produced by Todd Rundgren, and released in October 1977 by Cleveland International/Epic Records. Bat Out of Hell spawned two Meat Loaf sequel albums: Bat Out of Hell II: Back into Hell (1993) and Bat Out of Hell III: The Monster Is Loose (2006).
Bat Out of Hell has sold over 43 million copies worldwide, making it one of the best-selling albums of all time. It is certified 14? platinum by the Recording Industry Association of America (RIAA). It is the best-selling album in Australia, having been certified 26? platinum by the Australian Recording Industry Association (ARIA). As of June 2019, it has spent 522 weeks in the UK Albums Chart, the fourth longest chart run by a studio album. In 2012, Rolling Stone ranked it at number 343 on its list of the 500 Greatest Albums of All Time.
A musical based on Bat Out of Hell, staged by Jay Scheib, opened at the Manchester Opera House on February 17, 2017, before transferring to the London Coliseum and Toronto's Ed Mirvish Theatre in late 2017. Between April 2, 2018 and January 5, 2019, the show was performed at the Dominion Theatre in London, before a short run the same year in the United States.
(en.wikipedia.org/wiki/Bat_Out_of_Hell)

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. Bat Out of Hell (09:51)
02. You Took the Words Right Out of My Mouth (Hot Summer Night) (05:05)
03. Heaven Can Wait (04:41)
04. All Revved Up with No Place to Go (04:19)
05. Two Out of Three Ain't Bad (05:25)
06. Paradise by the Dashboard Light (08:28)
07. For Crying Out Loud (08:44)

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The Alan Parsons Project - I Robot (1977)

Year: 8 July 1977 (CD )
Label: Ariola Records (Germany), 259 651
Style: Progressive Pop, Soft Rock
Country: London, England
Time: 41:06
Format: Flac Tracks 16/44,1 kHz
Size: 235 Mb

The album was intended to be based on the I, Robot stories written by Asimov, and Eric Woolfson spoke with Asimov himself, who was enthusiastic about the idea. As the rights already had been granted to a TV/movie company, the album's title was altered slightly by removing the comma in "I," and the theme and lyrics were made to be more generically about robots rather than to be specific to the Asimov universe. The cover inlay reads: "I Robot... The story of the rise of the machine and the decline of man, which paradoxically coincided with his discovery of the wheel... and a warning that his brief dominance of this planet will probably end, because man tried to create robot in his own image." The title of the final track, "Genesis Ch.1 v.32", follows this theme by implying a continuation to the story of Creation, since the first chapter of Genesis only has 31 verses.
According to the band's website, Paul McCartney unintentionally helped to inspire the song "Some Other Time". When Parsons had asked if McCartney could read a line of poetry for the band's first album in exchange for a favor Parsons had previously done him, McCartney replied by saying; "Some other time Alan, some other time". This gave the band an idea for a song title.
By pure coincidence, the album was released shortly after Star Wars came out in the United States. The group acknowledges that part of the album's success came from it being the only album with a robot on the cover during a time when robots were suddenly "all the rage".
The artwork was created by the English art design group Hipgnosis. The album cover photo features Storm Thorgerson's assistants in the escalator tubes of the circular Terminal 1 building of the Charles de Gaulle Airport outside of Paris. The picture was taken without the permission of the airport management. Over this is superimposed a painting of a robot with a stylised atom for a brain. The robot also appears on the label of the record. The original vinyl release has a gatefold-style cover; the inside spread has the lyrics and a monochrome photograph of Parsons. The pose and angle of the photograph echoes that of the robot on the front cover.
(en.wikipedia.org/wiki/I_Robot_(album))

01. I Robot (06:02)
02. I Wouldn't Want to Be Like You (03:23)
03. Some Other Time (04:05)
04. Breakdown (03:52)
05. Don't Let It Show (04:21)
06. The Voice (05:23)
07. Nucleus (03:31)
08. Day After Day (The Show Must Go On) (03:49)
09. Total Eclipse (03:09)
10. Genesis Ch. 1 V. 32 (03:28)

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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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