Eric Burdon (The Animals) - Survivor (1978)

Year: 1978 (CD ????)
Label: Polydor Records (????), 2310 577
Style: Rhythm and Blues, Rock and Roll, Classic Rock
Country: Walker, Newcastle upon Tyne, England (11 May 1941)
Time: 40:52
Format: Flac Tracks 16/44,1 kHz
Size: 282 Mb

With 8 out 10 numbers credited to Zoot Money (17 July 1942 – 8 September 2024) & Eric Burdon what you have here is a good time Rock n Roll recording with a hoard of artists. With the exception of Hollywood woman, Eric's voice is in fine form, backed by many including Maggie Bell, coming out strong on woman of the rings. Many good time rock n roll guitarists all over this release including Alexs Korner, whom together with Eric revisit their roots and perform a stand out track, Brownie Mcghee's I was born to live the blues, the only non RnR number on this release. This album is definitely up there with rock n roll releases of the Seventies.
(allmusic.com/album/survivor-mw0000847661)

01. Rocky (04:02)
02. Woman Of Rings (04:16)
03. The Kid (03:12)
04. Tomb Of The Unknown Singer (04:29)
05. Famous Flames (04:19)
06. Hollywood Woman (03:53)
07. Hook Of Holland (04:32)
08. I Was Born To Live The Blues (03:55)
09. Highway Dealer (03:28)
10. P. O. Box 500 (04:41)

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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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Gong - Expresso II (1978)

Year: March 1978 (CD Dec 16, 1989)
Label: Virgin Records (Japan), VJD-5019
Style: Canterbury Scene, Progressive Rock, Jazz Rock, Blues Rock
Country: Paris, France
Time: 37:32
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

Key to the new album’s rich aesthetic was an increased emphasis on percussion. While rhythms had always been given a prominent role under the drummer’s stewardship, never before had they come in such variety or enjoyed such precedence. With Pierre Moerlen and brother Benoit playing a variety of mallet instruments, Mireille Bauer added further marimba and vibraphone textures to Francois Causse’s tribal conga drum patterns to create a whirlwind of high and low pitched polyrhythms.
Something of an anomaly in the context of the album, opener “Heavy Tune” finds former Rolling Stone Mick Taylor’s steely guitar work adding a hard rock edge to a strident jazz-funk jam. More representative, the following “Golden Dilemma” features a furious-paced percussive barrage offset by Hansford Rowes’s funky rhythm guitar licks, while the gentle “Sleepy” features the band at their most dreamlike, with multiple layers of vibes and marimba creating a magic box effect that’s abetted by similarly mystical violin courtesy of former Curved Air man Darryl Way. Elsewhere, the sprightly “Soli,” driven by Hansford Rowe’s roaming bass runs, and Francois Causse’s Latin conga rhythms, heads yet further into jazz fusion territory, a path continued with the erroneously titled, gamelan-influenced “Boring” and the conga-heavy Latin experiments of “Three Blind Mice.”
Expresso II’s release saw out the band’s contract with Virgin and was to be the final studio album under the Gong moniker until 1992. Rechristened Pierre Moerlen’s Gong, the outfit would continue to mine their rhythm-heavy brand of jazz fusion into the 80s.
(udiscovermusic.com/stories/rediscover-gongs-expresso-ii/)

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. Heavy Tune (06:25)
02. Golden Dilemma (04:53)
03. Sleepy (07:18)
04. Soli (07:39)
05. Boring (06:26)
06. Three Blind Mice (04:49)

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David Byron - Baby Faced Killer (1978) Ken Hensley - Eager To Please (1975) [2LP on 1CD]

Year: 1978 / 1975 (CD 2000)
Label: CD-Maximum (Russia), CDM 198-61
Style: Hard Rock, Rock, Pop
Country: England
Time: 78:24
Format: Flac Tracks 16/44,1 kHz
Size: 518 Mb

David Byron - Epping, Essex, England (29 January 1947 - 28 February 1985). Ken Hensley - Plumstead, London, England (24 August 1945 - 4 November 2020).
---After David Byron was fired from Uriah Heep in 1976 he formed Rough Diamond whose album the following year was as dire as it was predictable. The rest of his alcohol-fuelled decline was just a matter of time, apparently.
Not quite. In 1978 he teamed up with producer and songwriter Daniel Boone who tried to reinvent Byron as a singer beyond his heavy metal confines. The title track, Only You Can Do It and Heaven Or Hell are catchy pop songs with synthesizers and electronically treated vocals that reek of ELO. Rich Man’s Lady and Acetylene Jean are smooth rockabilly. Then there’s the electro-disco of African Breeze, complete with tribal rhythms.
In retrospect, Baby Faced Killer is a brave album that’s flawed because it tries to do too much too soon. If it had focused on developing just one of these styles it might have succeeded as Byron’s voice was certainly adaptable and the production was sleek and brimming with ideas.
(loudersound.com/reviews/david-byron-baby-faced-killer-album-review)
---At first it might seem like Eager To Please is a heavy metal album in the vein of Hensley's day-job group, Uriah Heep: "Eager To Please" boasts a barrage of dramatic power chords and "Stargazer" is built on a chugging electric guitar riff that is pure hard rock. However, this is illusion is dissipated by the rest of the album, which includes several songs in the moody and subtle style of Hensley's previous solo outing, Proud Words On A Dusty Shelf. Eager To Please is a more ambitious and studio-crafted affair than that album, even featuring full-blooded orchestral arrangements on some of its tracks, but it still relies on the same song-focused approach. Highlights this time out include "Through The Eyes Of A Child," a tale of lost innocence that highlights a heart-rending vocal from Hensley against a heart-tugging backdrop of strings, and "House On The Hill," a nostalgic acoustic tune with an intoxicatingly dreamy melody. "Take And Take" is another strong track, a mid-tempo rocker that effectively conveys the strong emotions in its lyrics through a potent combination of slide guitar and soaring background vocals. The only real problem with Eager To Please is that its combination of hard rock and soft rock lacks cohesion and makes this outing feel more like a collection of songs than a fully-coherent album. Despite this quibble, Eager To Please still offers a strong, thoughtfully-crafted batch of songs that show off the range of this oft-underrated songwriter. It is a necessity for Uriah Heep fans and is very likely to appeal to other fans of well-produced 1970's classic rock.
(allmusic.com/album/eager-to-please-mw0000849801)

David Byron - Baby Faced Killer (1978):
01. Baby Faced Killer (03:11)
02. Rich Man.s Lady (03:51)
03. Sleepless Nights (03:50)
04. African Breeze (04:13)
05. Everbody's Star (04:21)
06. Heaven Or Hell (04:44)
07. Only You Can Do It (04:05)
08. Don't Let Me Down (03:20)
09. Acetylene Man (03:20)
10. I Remember (04:11)

Ken Hensley - Eager To Please (1975):
11. Eager To Please (04:53)
12. Stargazer (03:49)
13. Secret (04:04)
14. Through The Eyes Of Child (02:18)
15. Part Three (03:48)
16. The House On The Hill (03:20)
17. Winter Or Summer (03:00)
18. Take And Take (03:44)
19. Longer Shadows (03:34)
20. In The Morning (02:36)
21. How Shall I Know (04:01)

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Nick Lowe (ex Brinsley Schwarz) - Jesus Of Cool [10 bonus tracks] (1978)

Year: March 1978 (CD Feb 18, 2008)
Label: Proper Records (Czech Republic), CHOSEN1
Style: New Wave, Power Pop
Country: Surrey, England (24 March 1949)
Time: 62:51
Format: Flac Tracks 16/44,1 kHz
Size: 412 Mb

Two verses of the song "So It Goes" were featured in the 1979 film Rock 'n' Roll High School.
Jesus of Cool has a number of tracks attacking the commercialism and greed of the music industry and the shallow content of pop music: "Music for Money," the fraternal twin songs "Shake and Pop" and "They Called It Rock," and "Rollers Show," the last being a parody of the teen audience of the Bay City Rollers. Although musically sophisticated in conventional genres, the album shares the energy, cynicism and rebelliousness of the contemporary new wave movement.
The original vinyl album cover features six pictures of Nick Lowe. The UK, US and Scandinavian versions featuring a slightly different selection of photos. On both covers, the phrase "PURE POP FOR NOW PEOPLE" is spelled out in small letters across the photos. "PURE" was small yellow print in the top left photo, "POP" was small red print in the top middle, "FOR" was small blue print in the top right, "NOW" was small blue print bottom left, "PEO" was small yellow print in the bottom middle and "PLE" was small red print in the bottom right.
The UK version had a photo of three kitsch glass swan ornaments on the back sleeve. The US version replaced this with a picture of Lowe dressed up in a green Riddler suit made by Antoinette Laumer Sales. The design of the inner sleeve also differs between the UK and US versions. The UK, US and Scandinavian sleeves were designed by Barney Bubbles.
(en.wikipedia.org/wiki/Jesus_of_Cool)

01. Music For Money (02:07)
02. I Love The Sound Of Breaking Glass (03:14)
03. Little Hitler (03:00)
04. Shake And Pop (03:23)
05. Tonight (04:00)
06. So It Goes (02:34)
07. No Reason (03:34)
08. 36 Inches High (02:59)
09. Marie Provost (02:51)
10. Nutted By Reality (02:51)
11. Heart Of The City (Live) (04:09)
12. Shake That Rat (02:13)
13. I Love My Label (03:01)
14. They Called It Rock (03:13)
15. Born A Woman (02:29)
16. Endless Sleep (04:08)
17. Halfway To Paradise (02:27)
18. Rollers Show (03:33)
19. Cruel To Be Kind (Original Version) (02:52)
20. Heart Of The City (02:07)
21. I Don't Want The Night To End (01:57)

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Mickey Jupp - Juppanese (1978)

Year: 1978 (CD 2006)
Label: Repertoire Records (Germany), REPUK 1084
Style: Rock, Pub Rock, Rhythm and Blues, Rock and Roll
Country: Worthing, Sussex, England (6 March 1944)
Time: 57:53
Format: Flac Tracks 16/44,1 kHz
Size: 400 Mb

Like Dave Edmunds, guitarist/pianist/vocalist Mickey Jupp was a champion of traditional rock & roll during the late '70s, a time when it had been all but discarded. Unlike Edmunds, Jupp wrote the majority of his own material, which updated '50s rock & roll with a tongue-in-cheek irony.
Jupp began his career with the Essex-based British R&B group the Orioles in the early '60s. The band earned a devoted local following in the early '60s, yet they never had the opportunity to record. The Orioles broke up late in 1965 after Jupp was arrested for not making alimony payments to his wife. Three years later, he returned to music, forming Legend, who laid the groundwork for English pub rock of the early '70s. Following the release of their third album in 1971, Legend disbanded and Jupp took another lengthy break from music. When he was coaxed back into performing in 1975 by Lee Brilleaux, the lead singer of Dr. Feelgood, pub rock was in its last days yet Jupp was well respected in the scene, since both Ducks Deluxe and Dr. Feelgood had recorded versions of his songs ("Cheque Book" and "Down at the Doctors," respectively).
Jupp released his first solo single, "Nature's Radio," on Arista Records in 1978. The single led to a contract with Stiff Records, who released the "Old Rock 'N' Roller" single and the Juppanese album in 1978; the bulk of Juppanese was recorded with Rockpile and produced by Nick Lowe. Released the same year as his debut, Mickey Jupp's Legend featured material from his previous band. Following the release of Juppanese, Jupp joined Stiff's Rail Tour, although he left the lineup before it hit the U.S. because he was afraid of flying. Shortly afterward, he left Stiff Records and signed with Chrysalis in 1979. The same year he released Long Distance Romancer, which was produced by 10cc members Kevin Godley and Lol Creme; like Juppanese, it failed to gain a large audience. Jupp moved over to A&M Records in 1982, releasing Some People Can't Dance. After releasing one more record on A&M, 1983's Shampoo Haircut and Shave, he was dropped from the label. Jupp spent the rest of the '80s and '90s touring the U.K., releasing the occasional album on independent labels.
After releasing one more record on A&M, 1983's Shampoo Haircut and Shave, he was dropped from the label. Jupp spent the rest of the '80s and '90s touring the U.K., releasing the occasional album on independent labels.
(mickeyjupp.se/)

01. Making Friends (03:27)
02. Short List (02:39)
03. Old Rock 'n' Roller (03:09)
04. School (03:09)
05. If Only Mother (03:01)
06. Down In Old New Orleans (03:09)
07. You'll Never Get Me Up In One Of Those (03:14)
08. Pilot (03:53)
09. S.P.Y (03:24)
10. The Ballad Of Billy Bonney (03:30)
11. Partir C'est Mourir Un Peu (04:09)
12. Brother Doctor, Sister Nurse (04:03)
13. Nature's Radio (Single B-Side) (03:25)
14. You Made A Fool Out Of Me (LP Stiff Sounds) (04:10)
15. Be Stiff (LP Be Stiff) (02:59)
16. Don't Talk To Me (Single A-Side) (03:24)
17. Junk In My Trunk (Single B.-Side) (02:58)

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Brand X - Masques [Japanese Ed. SHM-CD] (1978)

Year: 8 September 1978 (CD July 30, 2014)
Label: Universal Music (Japan), UICY-76415
Style: Jazz Rock, Instrumental, Progressive Rock
Country: London, England
Time: 49:07
Format: Flac Tracks 16/44,1 kHz
Size: 307 Mb

After a couple of really well-working Brand X releases, the band went on a bit different path than before with "Masques". This album can be seen as a tighter, quirkier and harder release but still with the usual Brand X playfulness and the amazingly solid instrumentation. Phil Collins was too busy with Genesis at the time for this release that he got replaced by Chuck Burgi, a superb drummer who does a mind-boggling performance here, up to pair with Collins I would say. Collins returned after this release.
This might be the most complex Brand X album, stuffed with odd time signatures. The songs are well composed and structured with a great sense of melody too, in Brand X' usual quirky style, of course! There are no really weak tracks here, with the possible exception of the minimalistic noodling title track. Otherwise, "Masques" reminds on of their best releases in their discography!
(progarchives.com/album.asp?id=3476) My rating: 4.5/5, rounded up to 5 for being so underrated. Review by Bj-1. March 19, 2005

01. The Poke (05:11)
02. Masques (03:16)
03. Black Moon (04:49)
04. Deadly Nightshade (11:21)
05. Earth Dance (06:09)
06. Access To Data (08:02)
07. The Ghost Of Mayfield Lodge (10:16)

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The Alan Parsons Project - Pyramid (1978)

Year: May 1978 (CD 1987)
Label: Arista Records (Germany), 258 983
Style: Progressive Pop, Soft Rock
Country: London, England
Time: 37:48
Format: Flac Tracks 16/44,1 kHz
Size: 216 Mb

Alan PARSON is the king of catchiness and emotions here! No more sophisticated complex patterns. He proves here that complexity is not necessarily required to make an excellent album. All the songs are at least very good, and more: they are all very catchy and thus will retain your attention! That's a tour de force by PARSON! Sincerely, "Pyramid" is among my favorite ones from him. I have miscellaneous kinds of feelings when I listen to the tracks. "Voyager" was the theme of a jeans advertisement on TV; The poignant "What Goes Up" has a mix of romance, nostalgia and melancholy; The Elton JOHN esque "One More River" will give you a kick in the ass; The funny "Pyramania" will make you sing and beat the ground. "Hyper Gamma Spaces" announces a complete mastering of serious modern rythmic & melodic keyboards. You will notice that the lead & backing vocals are really among the main strength of this album.
(progarchives.com/album.asp?id=1093) Review by greenback. August 15, 2004

The material on this album is very lightweight, even in comparison with other works by the Alan Parsons Project. The opening creates an interesting atmosphere, but by the third similarly soft rock song in a row, this album cries out for a rocker. One More River is the first rocker on the album, but it is more of a Rock 'N' Roll number, very much in the vein of Elton John. Even the vocals sound like Elton's!
In The Lap Of The Gods is fairly interesting symphonic prog number, but still rather lightweight. Pyramania is so horrible that it hurts my brain! Skip this one unless you want to go seriously insane! Hyper-Gamma Spaces is an instrumental that could have been a theme song to some cartoon. The last song is a symphonic ballad, decent but rather forgettable.
As always with the Project, this album is very well-produced and overall very well-crafted. But that is not enough to make a good album. Only for fans and collectors this one.
(progarchives.com/album.asp?id=1093) Review by SouthSideoftheSky. December 3, 2008

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. Voyager (02:25)
02. What Goes Up... (03:31)
03. The Eagle Will Rise Again (04:22)
04. One More River (04:18)
05. Can.t Take It With You (05:04)
06. In The Lap Of The Gods (05:28)
07. Pyromania (02:44)
08. Hyper-Gamma-Spaces (04:19)
09. Shadow Of A Lonely Man (05:34)

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