Saxon - Strong Arm Of The Law [Japanese Ed.] (1980)

Year: 7 November 1980 (CD 28 Sep 1994)
Label: Tochiba-EMI (Japan), TOCP-8373
Style: Hard Rock, Heavy Metal
Country: Barnsley, South Yorkshire, England
Time: 37:36
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

While 1980’s Strong Arm Of The Law was out mere months after Wheels of Steel, Saxon seemed to be making a concentrated push into proper heavy metal territory. Its predecessor certainly showed this development with a hard rock hustle supplemented by hard-hitting rhythms and punchier songs, but the performances seem to up the intensity with an assortment of faster tempos. The opening “Heavy Metal Thunder” lives up to its title with a flurry of drums, fiery verses, and a howling chorus. Subsequent tracks don’t hit the same intensity but you’ll still get your share of blazing speeds. Tracks like “To Hell and Back Again” and “At 20,000 Feet” have the sort of fast-paced guitar gallops and double bass drums that would soon help give life to thrash’s ilk while “Taking Your Chance” has that toe-tapping briskness with a foot placed in their rock roots.
Of course, the album still has its share of mid-tempo songs but even those have a more noticeable shuffle. The title track and “Hungry Years” can feel a little drawn out but come out strong thanks to their catchy choruses and a certain spring in their steps. The closing “Dallas 1PM” also develops the contemporary narrative template last seen on “747 (Strangers In The Night),” pairing a level chug with lyrics detailing the assassination of Johnny F Kennedy. It’s kind of wild how the matter of fact presentation ends up working in its favor.
Strong Arm of the Law’s status as the middle child of the Saxon trilogy ala Motorhead’s Bomber can make it easy to overlook, but it may secretly be their strongest album. The swift turnaround worked in the band’s favor, striking while the iron was hot in terms of gaining popularity and upping the ante in terms of aggression and songwriting. It secured Saxon’s blue collar metal mastery and set them up for even greater potential on the horizon.
(metal-archives.com/reviews/Saxon/Strong_Arm_of_the_Law/2397) Review by Twisted_Psychology. February 16th, 2025

01. Heavy Metal Thunder (04:21)
02. To Hell And Back Again (04:48)
03. Strong Arm Of The Law (04:43)
04. Taking Your Chances (04:21)
05. 20,000 Ft (03:25)
06. Hungry Years (05:08)
07. Sixth Form Girls (04:19)
08. Dallas 1 PM (06:27)

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David Byron - Take No Prisoners (1975) Ken Hensley - Free Spirit (1980) [2LP on 1CD]

Year: 1975 / 1980 (CD 2000)
Label: CD-Maximum (Russia), CDM 198-61
Style: Hard Rock, Rock, Pop Rock
Country: England
Time: 75:42
Format: Flac Tracks 16/44,1 kHz
Size: 518 Mb

This 1975 album was the first solo outing for David Byron, the lead singer for Uriah Heep. It isn't a big surprise that a good portion of the album sounds a lot like the group that gave him his day job: sturdy organ-driven hard-rockers like "Silver White Man" and "Hit Me With a White One" would not be out of place on a typical Uriah Heep album from this period. The fact that every then-current member of Uriah Heep makes at least one appearance on this record further aids this deja vu feeling. What is surprising about Take No Prisoners is how solid and consistent it is for a between-albums solo venture. The album begins powerfully with "Man Full of Yesterdays," a mid-tempo rocker with a moody, dramatic arrangement that blends an emotional Mellotron-driven sound with autobiographical lyrics.
From there, Byron deftly blends his Heep-styled rockers with a variety of roots rock and soul experiments that blend in well with the other, more traditional material: "Steamin' Along" tackles funk with surprising deftness while "Saturday Night" adds a likable country-rock element to its amped-up rock & roll attack. "Love Song" proves that Byron could do a straight ballad with surprising sensitivity and further benefits from a lovely arrangement built on a gentle harpsichord sound. Plenty of sharp rockers are interspersed between these experimental tracks, the best being "Midnight Flyer," a cleverly arranged rocker that alternates spooky, mid-tempo verses with a scorching chorus to create an exciting burst of hard rock. Overall, Take No Prisoners lacks a breakout single or the kind of genre-expanding elements that will win over the casual listener, but it is a well-crafted album that will definitely find favor with Uriah Heep fans.
(allmusic.com/album/take-no-prisoners-mw0000599761)
This album, released around the time of Hensley's departure from Uriah Heep, is a much different affair from his previous solo work. Instead of going for a traditional rock sound close to Uriah Heep, Free Spirit utilizes a ‘stylistic shotgun' approach that touches on a number of different styles including synth-pop ("Do You Feel Alright"), disco ("Inside The Mystery"), and even pure pop ("The System"). The end result is an album that offers some strong songs, but lacks the cohesion and consistency necessary for a good album. Some of the experiments work surprisingly well ("Inside The Mystery" effectively contrasts funky, danceable verses with a stately guitar-driven midsection), but others fall flat. For instance, the bouncy keyboard pop that drives "The System" does not sit well with its hard-edged cynical lyrics.
The rockers at the songs that work best on Free Spirit: "Brown Eyed Boy" is a punchy hard-rocker built on hard-driving drumwork from Deep Purple's Ian Paice and "Telephone" draws much strength from a well-judged combination of poppy background vocals and chugging guitar riffs. The ballads, usually a highlight of Hensley's work, also work nicely on this album: the best example is "Woman," which contrasts moody keyboard-driven verses with pulsating, guitar-fuelled instrumental breaks. All in all, Free Spirit's lack of a coherent style will probably turn off the casual listener but there are enough strong, well-produced tracks on this album to make it a worthwhile listen for any fans of Hensley or Uriah Heep.
(allmusic.com/album/free-spirit-mw0000846600)

01. Man Full Of Yesterdays (05:38)
02. Sweet Rock N' Roll (02:50)
03. Steamin' Along (05:11)
04. Silver White Man (03:30)
05. Love Song (02:58)
06. Midnight Flyer (05:56)
07. Saturday Night (02:17)
08. Roller Coaster (04:00)
09. Stop (Think What You're Doing) (04:16)
10. Hit Me With A White One (03:55)
11. Inside The Mystery (04:38)
12. New York (02:25)
13. The System (02:34)
14. When (03:48)
15. No More (04:37)
16. Brown Eyed Boy (04:05)
17. Do You Feel Alright (02:52)
18. Telephone (03:10)
19. Woman (03:23)
20. New Routine (03:27)

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Supertramp - Paris [Live 2CD] (1980)

Year: 26 September 1980 (CD ????)
Label: Polygram Records (West Germany), 825 726-2
Style: Pop Rock, Soft Rock, Progressive Pop
Country: London, England
Time: 43:41, 46:41
Format: Flac Tracks 16/44,1 kHz
Size: 281, 295 Mb

Charts: UK #7, AUS #3, AUT #7, CAN #3, FRA #9, GER #5, NLD #2, NOR #6, SWI #1, US #8. UK, FRA, GER & US: Gold; CAN: Platinum.
Supertramp followed Breakfast in America with this soiree in Paris. I don’t recall ever thinking to myself, “Man, I bet Supertramp would be an awesome live band,” any more than I was interested in hearing 10cc or Alan Parsons Project perform their songs on stage. Which isn’t to say that the band doesn’t do a nice job of thumbing through their back catalog or that the audience in Paris doesn’t appreciate the effort. The sax and guitar solos shine a little brighter under the stage lights, the rhythm section doesn’t miss a beat and the vocals from Roger Hodgson and Rick Davies sound as good as you remember.
The trouble with Paris is that it finds the band in a holding pattern at the peak of their popularity. It would be three years before the band released another studio album, by which time my tastes had already shifted from pop music to new wave. Enough Supertramp fans stayed along for the ride to help both Paris and Famous Last Words chart well, but it many ways this marks the end of an era. Looking back over their last few albums, it had been a great ride. Bloody Well Right, Dreamer, Ain’t Nobody But Me, The Logical Song, Take the Long Way Home, all the highlights are here (with the notable exception of “Give a Little Bit”).
The spoken intros from John Anthony Helliwell, done mostly in French, are a nice touch. So is the selection, which digs deep into popular album tracks such as School, Asylum, Hide in Your Shell and Fool’s Overture. As a treat, the band also slips in an old B side, You Started Laughing. The live mix is good, with enough crowd noise to keep you in the moment and clean editing. I can see where someone familiar with Breakfast in America would want to pick up Paris to navigate their back catalog, although I would point you first to Crime and Crisis. Fans will appreciate what basically amounts to a long curtain call after Breakfast, but for most of us Paris can wait.
(progrography.com/supertramp/review-supertramp-paris-1980/)

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. School (05:28)
02. Ain't Nobody But Me (05:37)
03. The Logical Song (03:56)
04. Bloody Well Right (07:38)
05. Breakfast In America (02:56)
06. You Started Laughing (04:02)
07. Hide In Your Shell (06:54)
08. From Now On (07:07)

01. Dreamer (03:29)
02. Rudy (07:23)
03. Soapbox Opera (04:51)
04. Asylum (06:55)
05. Take The Long Way Home (05:08)
06. Fool's Overture (10:57)
07. Two Of Us (01:23)
08. Crime Of The Century (06:31)

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Saxon - Wheels Of Steel [Japanese Ed.] (1980)

Year: 3 April 1980 (CD 28 Sep 1994)
Label: Tochiba-EMI (Japan), TOCP-8372
Style: Hard Rock, Heavy Metal
Country: Barnsley, South Yorkshire, England
Time: 38:54
Format: Flac Tracks 16/44,1 kHz
Size: 268 Mb

Wheels of Steel is the second studio album by English heavy metal band Saxon. Released in 1980 by Carrere Records, it was their first album to enter the UK Albums Chart, peaking at number 5, and is their highest-charting album in the UK Albums Chart to date. The album eventually went on to achieve gold status in the UK.
"747 (Strangers in the Night)" is about a power cut that forced planes in New York to remain in ascent in 1965 with the power outage provoking a Scandinavian flight to detour to Kennedy airport in the dark.
The title track is featured in the video games Grand Theft Auto: Episodes from Liberty City (Grand Theft Auto: The Lost and Damned and Grand Theft Auto: The Ballad of Gay Tony) and Brutal Legend. It has also been covered by L.A. Guns on their album Rips the Covers Off and bears a strong resemblance to the outro riff of "Rock 'n' Roll Doctor" by Black Sabbath, although according to guitarist Graham Oliver the song was actually inspired by the Ted Nugent song "Cat Scratch Fever".
(en.wikipedia.org/wiki/Wheels_of_Steel)

01. Motorcycle Man (04:00)
02. Stand Up And Be Counted (03:09)
03. 747 (Strangers In The Night) (04:58)
04. Wheels Of Steel (05:58)
05. Freeway Mad (02:41)
06. See The Light Shining (04:55)
07. Street Fighting Gang (03:12)
08. Suzie Hold On (04:34)
09. Machine Gun (05:22)

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Brand X (Phil Collins) - Do They Hurt [Japanese Ed. SHM-CD] (1980)

Year: 18 April 1980 (CD July 30, 2014)
Label: Universal Music (Japan), UICY-76417
Style: Jazz Rock, Progressive Rock
Country: London, England
Time: 39:56
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

Do They Hurt? (1980) is the fifth album by the British jazz fusion group Brand X. The tracks on this album are outtakes from the Product sessions. ("Noddy Goes to Sweden" was a B-side from Product.)
(en.wikipedia.org/wiki/Do_They_Hurt%3F)
BRAND X is, no doubt about it, one the most original and well-known British groups of the seventies jazz/rock fusion scene. Made of musicians that are technicians at their respective instruments and that are as inspired as talented. There are really 2 BRAND X formations... the one from the mid 70s and the 1992 BRAND X. The original line-up of the band was formed by drummer Phil COLLINS of GENESIS with John GOODSALL (former ATOMIC ROOSTER) on guitar, Robin LUMLEY (a David BOWIE collaborator) on keyboards and Percy JONES (ex-LIVERPOOL SCENE) on bass. For them, the joy of playing and writing together was the main motivation. With various personnel permutations, they made typical progressive rock albums... all worth hearing! The 1992 BRAND X is GOODSALL, JONES and drummer Frank KATZ.
The band's discography starts in 1976 with "Unorthodox Behaviour" and goes on a year later with "Morrocan Poll", probably one of their best. "Is There Anything About" is the last release from this legendary jazz-rock band. After almost ten years of absence during the Eighties, "Xcommunication" is the return of BRAND X under the economical format of a trio (GOODSALL, JONES, and KATZ). They released a CD that is almost as good than on previous releases. "The X-Files" is a disc of live recordings and a disc of unreleased material. What else can be said, apart from the fact that it is another masterpiece in the Legend's discography.
(progarchives.com/artist.asp?id=660)

01. Noddy Goes To Sweden (04:30)
02. Voidarama (04:26)
03. Act Of Will (04:45)
04. Fragile (05:27)
05. Cambodia (04:34)
06. Triumphant Limp (07:32)
07. D.M.Z. (08:39)

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Daryl Hall (Hall & Oates) & Robert Fripp (King Crimson) - Sacred Songs (1980)

Year: March 1980, Recorded: August 1977 (CD May 18, 1999)
Label: Buddha Records (US), 7446599604-2
Style: Rock, Progressive Rock, Pop Rock
Country: U.S. (October 11, 1946) / England (16 May 1946)
Time: 52:31
Format: Flac Tracks 16/44,1 kHz
Size: 356 Mb

Sacred Songs is the first solo album by American singer/songwriter Daryl Hall. It was produced by guitarist Robert Fripp, who also played on the album. Its chart debut was March 29, 1980.
The album was recorded in 1977, but RCA Records did not release it for three years. According to Nick Tosches, who wrote Dangerous Dances, the authorized biography of Hall & Oates, "RCA refused to release Sacred Songs on the grounds that it wasn't commercial" (p 85). When finally issued, the album sold well, but ultimately did not yield a hit single.
In the early 1970s, Hall had formed Hall & Oates, a partnership with guitarist/songwriter John Oates. They had produced several hit pop singles, but Hall had grown to feel artistically limited and in 1977 was much more concerned with expressing his own outlook on life and music than with making more hit songs.
Fripp had dissolved his group King Crimson in 1974, and after a sabbatical, returned to music with session work and other guest appearances.
According to the notes for the 1999 CD reissue of Sacred Songs, and to Eric Tamm's book-length study of Fripp's music, Hall and Fripp first met in 1974. Already familiar with one another's work, the duo felt an instant rapport, and planned to work together.
In 1977, Hall and Fripp reconnected while Hall was writing songs for his solo debut; Hall drafted Fripp as producer and guitarist. Hall wrote all the songs, except "Urban Landscape", (a 'Frippertronics' solo), and "NYCNY" for which Fripp wrote the music and Hall the lyrics, and which appeared also on Fripp's Exposure (1979) only with different lyrics as "I May Not Have Had Enough of Me but I've Had Enough of You".
Sacred Songs was recorded in a span of three weeks, with most of the songs initially recorded with Hall singing and playing piano alongside Fripp's guitar work, followed by overdubs by Hall & Oates' regular touring band. Hall insisted on working with his own band rather than with the Los Angeles session musicians who had played on Bigger Than Both of Us (1976), the previous fifth Hall & Oates album. Although the session players were uniformly excellent musicians, Hall felt their performances were hampered by a disconnectedness from the songs. The album was originally intended to be part of a loose trilogy of sorts with Peter Gabriel's 1978 second album and Fripp's Exposure (1979), all of which Fripp produced.
Besides Hall and Fripp, the backing band for the album consisted of bassist Kenny Passarelli, drummer Roger Pope, and guitarist Caleb Quaye, all of whom were then part of the second iteration of the Elton John Band, which had started recording and touring with John beginning in 1975.
(en.wikipedia.org/wiki/Sacred_Songs)

01. Sacred Songs (03:18)
02. Something In 4/4 Time (04:26)
03. Babs and Babs (07:50)
04. Urban Landscape (02:23)
05. Nycny (04:35)
06. The Parther Away I Am (02:53)
07. Why Was It So Easy (05:31)
08. Don't Leave Me Alone With Her (06:25)
09. Survive (06:41)
10. Without Tears (02:54)
11. You Burn Me Up I'm A Cigarette (bonus track) (02:20)
12. North Star (bonus track) (03:10)

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The Joe Perry Project (Aerosmith) - Let The Music Do The Talking (1980)

Year: March 1980 (CD 1980 ????)
Label: CBS Records (US), CK 36388
Style: Hard Rock
Country: Lawrence, Massachusetts, U.S. (September 10, 1950)
Time: 38:04
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

Let the Music Do the Talking is the first of three studio albums by The Joe Perry Project, released in 1980. It was the band's most successful, selling approximately 250,000 copies in the United States. The title track was later re-recorded in by Aerosmith on their 1985 reunion album Done With Mirrors, albeit with a slightly different melody and Steven Tyler-penned lyrics.
Fed up with the slow pace of the recording of Night in the Ruts and frustrated with the band's precarious financial situation, Perry left Aerosmith in the spring of 1979. He recruited Aerosmith's former producer Jack Douglas and chose Ralph Morman for lead singer, who Perry had previously heard performing in a band called Daddy Warbux. The group was rounded out by bassist David Hull and drummer Ronnie Stewart. "The contrast between the tortuous ordeal of recording Aerosmith and the seamless groove that characterized the Project was remarkable," Perry later recalled.
Considering Aerosmith's struggles, Columbia Records was initially hesitant to give Perry a solo deal, but he assured them he could turn in an album in "five or six weeks." In his 2014 autobiography Rocks, the guitarist states that the songs were largely autobiographical:
"Let the Music Do the Talking" – the title track – spoke for itself. It was just how I was feeling. I didn’t need to talk. Didn’t need to explain how much I wanted to be on my own timetable, free to work at my own speed, which was pretty fast. "Conflict of Interest" was inspired by my feelings about the shady side of the record business. I was going straight back to my roots, as demonstrated by the R&B-heavy "Rockin’ Train." Songs like "Life at a Glance" and "Ready on the Firing Line" were constructed around riffs that had been bouncing around my brain for months.
(en.wikipedia.org/wiki/Let_the_Music_Do_the_Talking)

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. Let The Music Do The Talking (04:42)
02. Conflict Of Interest (04:43)
03. Discount Dogs (03:42)
04. Shooting Star (03:39)
05. Break Song (02:06)
06. Rockin' Train (06:02)
07. The Mist Is Rising (06:30)
08. Ready On The Firing Line (03:54)
09. Life At A Glance (02:41)

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Rockpile (Dave Edmunds) - Seconds Of Pleasure [7 bonus tracks] (1980)

Year: October 1980 (CD April 27, 2004)
Label: Columbia Records, Legacy Recordings (US), CK 63983
Style: Power Pop, Rockabilly, Pub Rock
Country: Cardiff, Wales (15 April 1944)
Time: 54:17
Format: Flac Tracks 16/44,1 kHz
Size: 384 Mb

Seconds of Pleasure is a 1980 album by Rockpile, a band consisting of guitarists/vocalists Dave Edmunds and Billy Bremner, bassist/vocalist Nick Lowe, and drummer Terry Williams. The band had played together on various solo albums by Edmunds and Lowe in previous years, but Seconds of Pleasure would be the first (and only) album released under the Rockpile name.
The album's opening track, "Teacher, Teacher", became a minor hit on the Billboard Hot 100. The song was written by Kenny Pickett and Eddie Phillips, both of whom were former members of the 1960s British rock band The Creation. The song appears in the opening credits of the 2011 film, Bad Teacher.
"(Wrong Again) Let’s Face It” is a cover of the Squeeze song that was given away as a flexi-disc on the cover of the 4 October 1979 edition of Smash Hits.
A four-song EP, Nick Lowe & Dave Edmunds Sing the Everly Brothers, was included in the first pressings of the LP; the songs were later included on the album's various CD versions.
The front cover is a painting by the designer Barney Bubbles, who used pseudonyms and rarely signed his work. This is signed "Dag".
(en.wikipedia.org/wiki/Seconds_of_Pleasure)

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Joni Mitchell - Shadows And Light [Live] (1980)

Year: September 1980 (CD 1990)
Label: Asylum Records (US), 704-2
Style: Soft Rock, Folk Rock, Jazz Fusion
Country: Fort Macleod, Alberta, Canada (November 7, 1943)
Time: 72:24
Format: Flac Tracks 16/44,1 kHz
Size: 343 Mb

Singer-songwriter Joni Mitchell, responsible for hit songs such as “Both Sides, Now” and “Big Yellow Taxi,” is widely considered 1960s and ’70s folk royalty.
Joni Mitchell Today: Folk Singer Performs at the 2024 Grammy Awards at Age 80. Prior to the 2024 Grammys, singer-songwriter Joni Mitchell was already a nine-time trophy winner. On February 4, the 80-year-old graced the Grammy stage to collect the award for Best Folk Album, then again in a career first: as a performer during the ceremony. Alongside musician Brandi Carlile, Mitchell sang her hit song “Both Sides, Now.” Mitchell has rarely performed in recent years. A 2015 brain aneurysm left her hospitalized for weeks, and she’s had to relearn to play guitar in addition to other basic motor functions, like walking. In a major feat along her recovery journey, Mitchell performed her first full-length concert in more than 20 years at the 2022 Newport Folk Festival. Her surprise set resulted in the live album At Newport, which won this year’s folk album category.
She recorded her first album in 1968 before finding commercial and critical success with Ladies of the Canyon, Blue, and Court and Spark, three albums from the early 1970s. Mitchell’s songs have been covered by the likes of Judy Collins and Crosby, Stills, Nash & Young, with her emotionally vulnerable lyrics influencing scores of musicians. Her impact on music has earned her induction into the Rock & Roll Hall of Fame, Songwriters Hall of Fame, and the Gershwin Prize.
Singer-songwriter Joni Mitchell was born Roberta Joan Anderson on November 7, 1943, in Fort Macleod, Canada. Her famous last name mirrors that of her first husband, Chuck Mitchell.
At age 9, Joni contracted polio, and it was during her recovery in the hospital that she began performing and singing to patients. After teaching herself how to play the guitar, she went off to art college and quickly emerged as one of the leading folk performers of the late 1960s and ’70s.
(full version: biography.com/musicians/joni-mitchell)

01. Introduction (01:51)
02. In France They Kiss On Main Street (04:14)
03. Edith And The Kingpin (04:09)
04. Coyote (04:56)
05. Goodbye Pork Pie Hat (06:04)
06. The Dry Cleaner From Des Moines (04:33)
07. Amelia (06:39)
08. Pat's Solo (03:10)
09. Hejira (07:45)
10. Dreamland (04:38)
11. Band Introduction (00:50)
12. Furry Sings The Blues (05:04)
13. Why Do Fools Fall In Love (02:48)
14. Shadows And Light (05:24)
15. God Must Be A Boogie Man (05:03)
16. Woodstock (05:08)

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Black Sabbath - Live At Last [Live] (1973)

Year: Recorded 11-16 March 1973 (CD October 21, 1996)
Label: Teichiku Records (Japan), TECW-25319
Style: Hard Rock, Heavy Metal
Country: Birmingham, England
Time: 57:33
Format: Flac Tracks 16/44,1 kHz
Size: 392 Mb

Live at Last is a 1980 live album by English heavy metal band Black Sabbath. Despite its wide distribution and success (it peaked at No. 5 on the UK Albums Chart), the album was released without the permission or knowledge of the band, and is equivalent to an unofficial bootleg live album. The album was, however, released legally by the band's former manager Patrick Meehan who owned the rights to the recording. The nature of the album's initial release as being without the band's approval is demonstrated by a notoriously embarrassing goof in the original version, which falsely credited the singer as "Ossie Osbourne".
The release of Live at Last, combined with the 1982 release of Ozzy Osbourne's Speak of the Devil live album consisting entirely of Black Sabbath songs, prompted Black Sabbath to release their first official live album, 1982's Live Evil.
During the band's Volume 4 tour, the concerts held on 11 March 1973 at the Hardrock Concert Theatre in Manchester, and 16 March 1973 at the Rainbow Theatre in London, were recorded for use in a planned live album release, but the project was ultimately scrapped despite its plans being already promoted in UK newspaper articles. Despite the liner notes of a 1996 reissue of Live at Last stating the Manchester concert was held at the Free Trade Hall, this is easily proven incorrect when referencing historical documentation such as tour listings and ticket stubs.
The album has received a mixed to negative review from AllMusic, with critic Alex Henderson stating that he found the band "in decent form" but criticizing the shortness of the release and the absence of some of Black Sabbath's best known material such as "Iron Man" and their title track "Black Sabbath".
(en.wikipedia.org/wiki/Live_at_Last_(Black_Sabbath_album))

Year: Recorded 11-16 March 1973 (CD October 21, 1996)
Label: Teichiku Records (Japan), TECW-25319
Style: Hard Rock, Heavy Metal
Country: Birmingham, England
Time: 57:33
Format: Flac Tracks 16/44,1 kHz
Size: 392 Mb

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Jon (Yes) and Vangelis (Aphrodite's Child) - Short Stories (1980)

Year: January 1980 (CD 1983)
Label: PolyGram Records (Germany), 800 027-2
Style: Electronic, Art Rock
Country: Greece / United Kingdom
Time: 45:14
Format: Flac Tracks 16/44,1 kHz
Size: 211 Mb

Charts: UK #4, AUS #65, AUT #18, GER #30, NL #1, US #125, FRA #13, NOR #31. Netherlands: Gold, United Kingdom: Gold.
Review Summary: This is a very beautiful and magical album that came just in the right time. It shows the musical world of both musicians almost in a perfect way.
Jon & Vangelis was a musical project formed by the lead singer of Yes Jon Anderson and the famous Greek electronic pioneer musician Vangelis, in the 80’s. This wasn’t the first time the two had worked together. The first meeting between them took place in London, in the 70’s. Vangelis was to be the natural replacement for Rick Wakeman on the keyboards, in Yes, when he left the band after the release of their sixth studio album “Tales From Topographic Oceans”. It would never happen especially due to personal reasons of Vangelis. Meanwhile, the role went to the second choice, the Swiss keyboardist Patrick Moraz. Still, Jon Anderson has participated already, in the role of vocalist, on albums of Vangelis like “Heaven And Hell”, “See You Latter”, and played harp on the album “Opera Sauvage”, too.
So, “Short Stories” is the debut studio album of Jon Anderson and Vangelis Papathanassiou and was released in 1980. Jon Anderson was the author of the lyrics and performed all the vocals and the music was all composed by Vangelis Papathanassiou which also performed all the instruments, keyboards, synthesizers, piano and electronics. Beyond them, the album had also the participation of Raphael Preston on acoustic guitars, with some small contributions.
(Full version: sputnikmusic.com/review/78687/Jon-and-Vangelis-Short-Stories/)

01. Curious Electric (06:42)
02. Each And Everyday + Bird Son (05:08)
03. I Hear You Now (05:13)
04. The Road (04:31)
05. Far Away In Baagad (08:03)
06. Love Is + One More Time (06:18)
07. Thunder (02:14)
08. A Play Within A Play (07:02)

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