Ron Wood (The Rolling Stones) - Gimme Some Neck (1979)

Year: 20 April 1979 (CD ????)
Label: Columbia Records (Canada), CK 35702
Style: Rock, Pop Rock, Rhythm and Blues
Country: Hillingdon, Middlesex, England (1 June 1947)
Time: 38:23
Format: Flac Tracks 16/44,1 kHz
Size: 260 Mb

By 1979, Ronnie Wood had carved out for himself a niche as a sideman, first with the Jeff Beck Group, then the Faces and the Rolling Stones. But his previous two efforts at solo success had eluded him. That would change with the April 20, 1979, release of Gimme Some Neck. Produced by Roy Thomas Baker (Queen, the Cars) and featuring cover art by the guitarist himself, the album had a more polished feel than the more organic, basement qualities of Wood's previous work. Wood had also evolved by this time into a more formidable guitar player and singer since earlier in the decade. While still a ragtag wild boy of rock 'n' roll, he now possessed a depth and maturity best illustrated on songs like "Lost and Lonely" and "We All Get Old."
There were the expected appearances of close pals like Mick Jagger, Keith Richards, Dave Mason, Mick Taylor, Charlie Watts, Mick Fleetwood and others, adding their chops to bluesy, rootsy raves, including the similarly named "Worry No More" and "Don't Worry." But there was one song in particular that stood out. In his memoir, Ronnie, Wood tells a story of hanging out one night in 1975, in the studio with Eric Clapton, who was working on his album No Reason to Cry. Bob Dylan was also taking part in the sessions, which took place not far from his home in Zuma Beach, Calif.
"(Dylan) was writing a song at the time called ‘Seven Days,’" Wood recalled. "I know he liked me because, out of the blue he just gave it to me. He said, ‘You can have this one, Woody.’”
That song stands out on the record as a true tour de force, a rollicking and rambling road ode that almost feels like Wood is channeling Dylan throughout. Gimme Some Neck became Wood’s bestselling solo album, reaching No. 45 on the Billboard 200. As a result of the album's success, coupled with the fact that the Stones had no tour 1979 plans (save for a couple of benefit shows played as a result of Richards arrest) , Wood took a band on the road to promote the album. Called the New Barbarians, they toured throughout spring 1979 across North America and in August they opened for Led Zeppelin at the Knebworth Festival in England. The band included Richards, bassist Stanley Clarke, former Faces keyboard player Ian McLagan, saxophone player Bobby Keys and drummer Joseph "Ziggy" Modileste of the Meters. The set list featured songs from Gimme Some Neck along with a smattering of Stones tunes and cuts from Wood’s earlier solo albums.
The Stones soon returned to the studio to begin work on the next year's Emotional Rescue. But for Wood fans, 1979 will forever stand out as the time when he released his most solid solo album while also embarking on a typically gypsy-style tour built not around a dynamic front man, but the seductive, artistic weaving between he and his musical soul mate Richards.
(ultimateclassicrock.com/ronnie-wood-gimme-some-neck/)

01. Worry No More (02:33)
02. Breakin' My Heart (04:17)
03. Delia (00:42)
04. Buried Alive (03:37)
05. Come to Realise (03:52)
06. Infekshun (04:03)
07. Seven Days (04:10)
08. We All Get Old (04:09)
09. F.U.C. Her (03:15)
10. Lost and Lonely (04:14)
11. Don't Worry (03:25)

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Neil Young & Crazy Horse - Rust Never Sleeps [Japanese Ed.] (1979)

Year: June 22, 1979 (CD Sep 21, 2005)
Label: Warner Music (Japan), WPCR-75096
Style: Folk Rock, Country Rock, Hard Rock
Country: Toronto, Ontario, Canada (November 12, 1945)
Time: 38:22
Format: Flac Tracks 16/44,1 kHz
Size: 256 Mb

Neil Young ended off the seventies on a great note. Before releasing the live album Live Rust, Young finished the decade that was perhaps his most successful with one of this finest works up until then and remains now, ‘Rust Never Sleeps’. Although the album was recorded live on the tour of the same name, it consisted entirely of new material and with most of the audience track removed and later overdubbing, it felt like a studio recording but with a rawer, more intense and intimate feel of a live performance. Young makes some of his most memorable work ranging from the gentle, cryptic folk of the opening track to a heavier, rocking alteration of the same song to conclude. Divided into two separate sections, acoustic first and electric tunes on the second half with his famous backing band Crazy Horse, Rust Never Sleeps is one of his most unique and self representative works.
Opening with powerful, atmospheric My My Hey Hey (Out of the Blue), the albums distinctive tone is set. Possessing the infamous line “It’s better to burn out than to fade away”, an inside look at the music industry and an era as well as a modest salute to the King Elvis Presley and embracing the modern punk age with a nod to Johnny Rotten, the track is one of Young’s most prominent and for good reason. Thrasher solidifies the albums brilliant start with a beautiful, warming and intimate story telling song with some of his best and most descriptive lyrics that read like an autobiography with lines such as “And I was just getting up, hit the road before it's light; trying to catch an hour on the sun, when I saw those thrashers rolling by; looking more than two lanes wide I was feeling like my day had just begun” and a excerpt from the final verse “But me I'm not stopping there got my own row left to hoe; just another line in the field of time”. Ride My Llama and Pocahontas are also both wonderful songs that fit along side his best, especially the latter. The majority of the lyrics are written cleverly, sometimes laced with obscure metaphors, imagery and passages that may have numerous meanings, but are bound to make the listener think. What to think about depends.
The electric second half is highlighted by Powderfinger, which actually works as a transitional song in the middle with its blending of softer, mid tempo melodies with heavier guitar parts. One of Young’s undisputed highlights, the five minute plus song combines a folk country melody with mesmerizing guitars including a remarkable, yet straightforward solo and Young’s distinctive tenor. Only contending with the opener and Thrasher, this track leaves the longest lasting impression.
(sputnikmusic.com/review/12378/Neil-Young-Rust-Never-Sleeps/)

01. My My, Hey Hey (Out Of The Blue) (03:47)
02. Thrasher (05:39)
03. Ride My Llama (02:30)
04. Pocahontas (03:23)
05. Sail Away (03:48)
06. Powderfinger (05:29)
07. Welfare Mothers (03:48)
08. Sedan Delivery (04:38)
09. Hey Hey, My My (Into The Black) (05:15)

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Supertramp - Breakfast In America (1979)

Year: 16 March 1979 (CD 1983)
Label: A&M Records (US), CD-3708
Style: Pop Rock, Soft Rock, Progressive Pop
Country: London, England
Time: 45:58
Format: Flac Tracks 16/44,1 kHz
Size: 300 Mb

Charts: UK #3, AUS #1, CAN #1, FRA #1, GER #1, NL #1, NOR #1, SWE #2, SWI #1, US #1. SWI: Gold; UK, FRA, GER & NL: Platinum; US: 4x Platinum; CAN: Diamond.
The album went through two rounds of demos. The first were home demos, each of which consisted of the chief songwriter (either Rick Davies or Roger Hodgson) singing and playing either acoustic piano or Wurlitzer electric piano. The second were eight-track demos recorded at Southcombe Studios in Burbank, California during late April and early May 1978. It was in recording these demos that the band worked out the backing track arrangements for all the songs (with the exception of "Take the Long Way Home") and determined the order in which they would appear on the album.
In order to avoid spending a lot of time on mixing, the band and their production team devoted a week to experimenting with different sound setups until they found the perfect arrangement. The effort proved to be wasted, as the engineering team would end up spending more than two extremely stressful months searching for the right mix, and were finished after that length of time only because the deadline had arrived, not because they felt at all satisfied with the results.
Tensions between Hodgson and Davies were reportedly almost non-existent on the album. Engineer Peter Henderson recalled: "They got along fantastically well and everyone was really happy. There was a very, very good vibe and I think everyone was really buoyed up by the recordings and A&M's response to them." Hodgson contested this, saying that he and Davies had increasingly different lifestyles, and that he felt that Davies disliked many of his songs and kept quiet about his displeasure only because he sensed that he would be voted down. Melody Maker journalist Harry Doherty offered a third take on the duo's interactions during the album sessions: "In three days with the band, I don't think I saw Davies and Hodgson converse once, other than to exchange courteous greetings."
(en.wikipedia.org/wiki/Breakfast_in_America)

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. Gone Hollywood (05:19)
02. The Logical Song (04:11)
03. Goodbye Stranger (05:50)
04. Breakfast In America (02:39)
05. Oh Darling (03:48)
06. Take The Long Way Home (05:09)
07. Lord Is It Mine (04:09)
08. Just Another Nervous Wreck (04:25)
09. Casual Conversations (02:58)
10. Child Of Vision (07:25)

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Brand X (Phil Collins) - Product [Japanese Ed. SHM-CD] (1979)

Year: 14 September 1979 (CD July 30, 2014)
Label: Universal Music (Japan), UICY-76416
Style: Jazz Rock, Progressive Rock
Country: London, England
Time: 47:18
Format: Flac Tracks 16/44,1 kHz
Size: 295 Mb

It features primary member Phil Collins back once again on drums following his absence on Masques. Drummer Mike Clark and bassist John Giblin also appear on this album. Two of the album's tracks - "Soho" and "Wal to Wal" - were largely recorded at Phil Collins' Old Croft home in Shalford, Surrey.
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), with Lumley also playing a prominent production role.
Jones would ultimately remain the sole constant member throughout Brand X's existence (both during the original 1970s run and throughout the assorted twenty-first century reunions), with Goodsall and Lumley playing a part in most of the albums and tours. Jones ended all Brand X activities in 2020, despite resistance from the band's management and their attempts to revive the band with all-new personnel. Jones is now the sole surviving core member, with John Goodsall having died on 10 November 2021 and Robin Lumley having died on 9 March 2023.
(en.wikipedia.org/wiki/Product_(Brand_X_album))

01. Don't Make Waves (05:31)
02. Dance Of The Illegal Aliens (07:50)
03. Soho (03:42)
04. Not Good Enough-See Me! (07:31)
05. Algon (Where An Ordinary Cup Of Drinking Chocolate Costs 8,000,000,000) (06:11)
06. Rhesus Perplexus (04:02)
07. Wal To Wal (03:15)
08. ... And So To F... (06:32)
09. April (02:41)

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Aerosmith - Night In The Ruts [Japanese Ed. BSCD2] (1979)

Year: November 16, 1979 (CD Oct 9, 2013)
Label: Sony Music (Japan), SICP 30373
Style: Hard Rock
Country: Boston, Massachusetts, U.S.
Time: 35:43
Format: Flac Tracks 16/44,1 kHz
Size: 267 Mb

The title of Aerosmith's 1979 album Night in the Ruts was more than just a clever spoonerism for "right in the nuts." It encapsulated the dire state of affairs for the drug-addled, feuding rockers, whose underrated sixth LP was nonetheless doomed to fail.
The Boston quintet had been knocked from its mid-'70s perch by the end of the decade, hobbled by escalating substance abuse and exhausted from touring relentlessly in support of 1977's underperforming Draw the Line. This incessant tour schedule interrupted the sessions for Night in the Ruts, and Aerosmith's performances grew increasingly erratic as they ramped up their drug usage even more.
This exhaustion and debauchery worsened the friction between Steven Tyler and Joe Perry. The tension came to a head backstage after a show in Cleveland on July 28, 1979, and the guitarist quit the band following a cataclysmic argument. Aerosmith replaced Perry with Jimmy Crespo, who served as an official member of the band from 1979 through 1984.
Night in the Ruts' commercial performance reflected the band's burnout. The album debuted at No. 14 on the Billboard 200 but quickly fell down the charts and was panned by critics. Its only single, a cover of the Shangri-Las' "Remember (Walking in the Sand)," fizzled at No. 67 on the Hot 100.
Still, Night in the Ruts is far from the unmitigated disaster some critics made it out to be. From the autobiographical rocker "No Surprise" to the sleazy, riff-driven "Bone to Bone (Coney Island White Fish Boy)," the record features some of Aerosmith's most fiery performances, harking back to their mid-'70s glory days of Toys in the Attic and Rocks. Still, the album was relegated to the dustbin of history when Aerosmith made their miraculous, MTV-fueled comeback in the late '80s.
(ultimateclassicrock.com/aerosmith-night-in-the-ruts-doomed-to-fail/)

BSCD2: When a standard CD is mastered, an Infared beam is used to make the digital notches on the master disc (mother matrix). With the Blu-spec master, a blue laser is used which is a finer etching process. With this technology, the notches are therefore more precise which reduce playback errors. The notches on a Blu-spec CD have a width of 125 nm compared to the 500 nm width on a standard CD.
(en.wikipedia.org/wiki/Blu-spec)

01. No Surprize (04:25)
02. Chiquita (04:24)
03. Remember (Walking In The Sand) (04:04)
04. Cheese Cake (04:15)
05. Three Mile Smile (03:41)
06. Reefer Head Woman (04:01)
07. Bone To Bone (Coney Island White Fish Boy) (02:59)
08. Think About It (03:34)
09. Mia (04:15)

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The Alan Parsons Project - Eve (1979)

Year: September 1979 (CD 1990)
Label: Arista Records (Germany), 258 981
Style: Progressive Pop, Soft Rock
Country: London, England
Time: 39:36
Format: Flac Tracks 16/44,1 kHz
Size: 233 Mb

Like on "Turn of A Friendly Card", there are orchestral arrangements here. I'd rather be a man is excellent, with this usual discrete fast keyboards notes like on "Pyramid"'s HYPER-GAMMA-SPEEDS. You have the chance to hear the wonderful voice of Clare Torry (PINK FLOYD's Great gig in the sky) on don't hold back. My favorite one is probably "Secret Garden", where amazing loud bass, orchestral and vocal arrangements are played through fast and discrete keyboards. "If I Could Change The World" is a James Bond-esque main song, with beautiful female lead vocals. Most of the rest is very pop, accessible, rather addictive and well made: when ALAN PARSONS makes a pop song, he rarely misses his shot.
(https://www.progarchives.com/album.asp?id=1094) Review by greenback. April 5, 2004. ****
Alan Parsons fourth album is a very weak one with only one good track, the opening instrumental Lucifer. The rest of the songs are so lacklustre, generic and middle-of-the-road that I find it difficult to find words to describe them in detail. The worst songs from the previous Pyramid album give you a very good idea of what the majority of the songs here sound like. Some are Disco-ish Pop tunes, others are Rock 'N' Roll numbers and yet others are mildly symphonic ballads. But nothing here comes even remotely close to Prog.
The concept this time - as we all know there is always a concept behind the Project's albums - is women, or rather perhaps the relation between men and women. 'Eve' obviously refers to that famous character in The Bible which according to that particular story was the very first woman ever. I'm not really sure whether this album is a bit sexist or not? Anyway, if Parsons and Woolfson wanted to make the point that women are evil, then they really succeeded to make an album that is from hell! I would say that Eve is the low-point of the entire career of the Alan Parsons Project.
(https://www.progarchives.com/album.asp?id=1094) Review by SouthSideoftheSky. April 8, 2009. *
I'm on the outside looking in here; I have never considered the Alan Parsons Project to be that special of a group, and I fail to understand what it is that makes APP a prog rock band. EVE does not sound anything like a prog record to me; it has 80's pop music written all over it. Some of the dullest sounds I've ever heard on any album come from here. Not a single song stands out other than ''Damned If I Do'', and that song is just another slick pop hit. I would avoid this record if you enjoy lots and lots of prog rock.
(https://www.progarchives.com/album.asp?id=1094) Review by Sinusoid. May 31, 2009, 2009. *

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. Lucifer (05:09)
02. You Lie Down With Dogs (03:48)
03. Id Rather Be A Man (03:54)
04. You Wont Be There (03:37)
05. Winding Me Up (04:02)
06. Damned If I Do (04:53)
07. Dont Hold Back (03:37)
08. Secret Garden (04:44)
09. If I Could Change Your Mind (05:48)

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