Van Halen - The Best Of Volume 1 [Japanese Ed.] (1996)

Year: October 22, 1996 (CD Dec 8, 2010)
Label: Warner Music (Japan), WPCR-14063
Style: Hard Rock, Arena Rock
Country: Pasadena, California, U.S.
Time: 76:23
Format: Flac Tracks 16/44,1 kHz
Size: 602 Mb

Best Of – Volume I is the first greatest hits album by American hard rock band Van Halen.
The album does not contain any songs from the band's 1982 album Diver Down. Best Of – Volume I also features "Humans Being", the band's contribution to the Twister soundtrack. The two newly recorded songs, "Can't Get This Stuff No More" and "Me Wise Magic", at the end of the album are with original lead vocalist David Lee Roth. These two songs were released as singles to promote this compilation. They are also the last songs recorded and released by the original Van Halen lineup of Eddie Van Halen, Alex Van Halen, Roth and Michael Anthony. Some demos recorded by the original lineup in 2000 would later be re-recorded by the Van Halen brothers, Wolfgang Van Halen, and Roth for A Different Kind of Truth, released in 2012. Anthony did not play with Van Halen again following the band's 2004 tour. He was replaced by Eddie's son Wolfgang.
(full version: en.wikipedia.org/wiki/Best_Of_%E2%80%93_Volume_I_(Van_Halen_album))

01. Eruption (01:42)
02. Ain't Talkin' 'Bout Love (03:48)
03. Runnin' With The Devil (03:37)
04. Dance The Night Away (03:08)
05. And The Cradle Will Rock... (03:34)
06. Unchained (03:29)
07. Jump (04:03)
08. Panama (03:32)
09. Hot For Teacher (Japanese bonus track) (04:44)
10. Why Can't This Be Love (03:46)
11. Dreams (04:54)
12. When It's Love (05:39)
13. Poundcake (05:21)
14. Right Now (05:22)
15. Can't Stop Lovin' You (04:08)
16. Humans Being (05:09)
17. Can't Get This Stuff No More (04:12)
18. Me Wise Magic (06:06)

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Kiss - Destroyer [Japanese Ed.] (1976)

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

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

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

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

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Kiss - Alive! [Japanese Ed. 2CD] (1975)

Year: September 10, 1975 (CD Jul 12, 2006)
Label: Universal Music (Japan), UICY-93093-94
Style: Hard Rock, Rock
Country: New York City, U.S.
Time: 35:42, 42:44
Format: Flac Tracks 16/44,1 kHz
Size: 283, 324 Mb

With 'Dressed to Kill' out and sales only slightly better than 'Hotter Than Hell', the only thing the band really had going for them was their live shows.  Their record label was nearly bankrupt and Kiss was about to lose their record deal and it was about to all coming to a crashing halt. The band had yet to receive any royalties after their pittance of an advance and their manager, Bill Aucoin, along with the band were ready to sue and get out of the contract.
In a last ditch effort to save the label and the band, Neil thought a Live album was the way to go.  The Live shows is where people finally understood what Kiss was all about.  With Gene Simmons spitting blood and breathing fire, with Ace Frehley's electrifying guitar solos, Paul Stanley's charm in his dialogue to the crowd and Peter Criss' drum riser and solo, Kiss was a Live band that needed to be heard LIVE!!  Plus, this was cheaper than an album, so they could afford to do this route.
'Alive!' was recorded over four stops on the Dressed to Kill Tour.  You had May 16 at Cobo Arena in Detroit, Michigan, naturally; June 21 at Cleveland Music Hall in Cleveland, Ohio; July 20 at RKO Orpheum Theater in Davenport, Iowa; and July 23 at Wildwoods Convention Center in Wildwood, New Jersey.  With four shows recorded, they could piece together a perfect live album…well…maybe not!
The album wasn't as "Live" as you would think.  There were numerous problems with the recordings.  The band didn't always sing perfectly in to the mic, notes were missed in their high energy performances and nothing seemed to carry-over as well as they thought it would.  They brought in legendary producer, Eddie Kramer, to fix the problems and it is immediately evident that they would have to go in the studio and overdub a lot of the album…okay, most of the album including the crowd noise.  From what I understand, the only thing that didn't get touched up was the drums which is a testament to how well Peter was playing back in those days and also to the fact he only had to sit there and play while the others ran around the stage and tried to play at the same time.
I mentioned early that Kiss was unhappy and trying to get out of their contract and five days after the release of the album (which was released on September 10, 1975), Bill Aucoin informed Neil that the band was leaving Casablanca.  Neil immediately signed a $2 million check and kept the band.  Luckily for Neil, the album sales went through the roof thanks in large part to the release of "Rock & Roll All Nite" as a single and that becoming the band's signature song. Kiss had done it.  They had a hit record and were now a successful band that were about to take over and rule the world.
I could go on and on about album details and could go in to the story of the two guys on the back cover, but I will avoid that as I am already taking up a ton of your time.  But I will at least say how lucky those guys were making that sign and being in the right place at the right time as they are now immortalized forever on a Kiss album!!  I think it is a great picture for the back cover and one of my favorites.
(2loud2oldmusic.com/2020/07/01/kiss-alive-1975-album-review-the-kiss-review-series/)

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Robert Plant (Led Zeppelin) - Manic Nirvana (1990)

Year: 19 March 1990 (CD 1990)
Label: Es Paranza Records (U.S.), 7 91336-2
Style: Hard Rock, Rock
Country: West Bromwich, England (born August 20, 1948)
Time: 49:37
Format: Flac Tracks 16/44,1 kHz
Size: 323 Mb

Manic Nirvana is the fifth studio album by former Led Zeppelin singer Robert Plant, released March 19, 1990 on Es Paranza Records. The lead single, "Big Love", reached #35 on the Mainstream Rock Tracks chart, and its follow-up, "Hurting Kind (I've Got My Eyes on You)", held #1 on the same chart for six consecutive weeks. The vinyl release had 10 songs (five per side) rather than 11, omitting "She Said".

Robert Plant made big news on 1988’s NOW AND ZEN as he, for practically the first time in his solo career, seemed to fully embrace the legacy of Led Zeppelin. It was something he had studiously avoided on previous records, though, to be honest, on songs like “Burning Down One Side” from his first solo album, or “Other Arms” from his second, he couldn’t help but put a little lemon squeeze into the mix. SHAKEN ‘N’ STIRRED (1985), though, had been devoid of much that could even be called bluesy, replaced by a strange coldness that surprised even his most devoted fans.

No, NOW AND ZEN brought back something Plant had lacked, in part by getting Jimmy Page involved on “Heaven Knows” and “Tall Cool One,” and even sampling Zeppelin riffs and vocals on the latter song, a gimmick that made it a hit, and enabled Plant to sell three million copies of the album. It can be argued, though, that it wasn’t until 1990’s MANIC NIRVANA that everything truly came together – where Plant was able to channel his past and incorporate it into a heavy but complex contemporary sound, where he was able to take his blues and move forward with them, to excellent effect.

From the guitar figure that starts "Hurting Kind (I've Got My Eyes on You)” – a sort of declaration of the big rock to come – MANIC NIRVANA crackles with an urgency Plant hadn’t been much interested in mustering with his previous few records. The guitar cuts through some of the more superfluous production tricks (the hand-clappy percussion in particular), cracking the song open so Plant can open up. The “talk about love” pre-chorus also gives him the opportunity to slide into his upper register, which is another welcome sign.

Guitarist Doug Boyle piles on the riffs – the chugging figure on “Nirvana,” the Page-like blast on “Tie Dye on the Highway,” the bluesy slide on “S S S & Q” – and Plant matches them with the swagger in his voice. It’s not that he yields completely to the six-string pyrotechnics; the synth-heavy “Anniversary” gives him space to stretch and give in to the song’s inherent drama (though it also contains Boyle’s best solo on the record, so there’s that). “Liar’s Dance,” conversely, peels back the production, providing Plant with room to go deep into the blues, a circumstance he clearly relishes.

By the time the spacy, quasi-psychedelic “Watching You” fades out and Plant has screamed, moaned and sung his fill, you realize what kind of a trip he’s taken you on, and you’re happy to have gotten to ride along. MANIC NIRVANA is Robert Plant at his post-Zeppelin best, embracing his past and present in a titanic rock sound that’ll crack your windows and rattle your walls, if you let it. And you really should.

(rhino.com/article/the-one-after-the-big-one-robert-plant-manic-nirvana)

01. Hurting Kind (I've Got My Eyes On You) (04:11)

02. Big Love (04:35)

03. S S S & Q (04:38)

04. I Cried (04:54)

05. She Said (05:13)

06. Nirvana (04:30)

07. Tie Dye On The Highway (05:16)

08. Your Ma Said You Cried In Your Sleep Last Night (04:17)

09. Anniversary (05:02)

10. Liars Dance (02:34)

11. Watching You (04:21)

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Kiss - Dressed To Kill [Japanese Ed.] (1975)

Year: March 19, 1975 (CD Apr 25, 1986)
Label: Polystar Records (Japan), P33C-20005
Style: Hard Rock, Arena Rock, Glam Rock
Country: New York City, U.S.
Time: 30:33
Format: Flac Tracks 16/44,1 kHz
Size: 196 Mb

Of all the bands who are regarded as "Classic", I will never understand why KISS is considered such. To be frank, they were the 70's version of Nickleback; a shitty, generic, Rock band with obnoxiously catchy singles and a basic understanding of "listenable music". With this in mind, one must always remember that even the worst of bands can produce a good album once in a while. KISS had that in Dressed to Kill.
Despite being only thirty whole minutes long, Dressed to Kill has a myriad of good tunes. Room Service features some of Ace Frehley's best guitar playing, riffing his way through excellent solos as Paul Stanley lights up with some excellent, hard hitting, vocals. One of the most notable changes from their first two albums was that Paul Stanley did the majority vocals in this album, as Gene Simmons was majority for their first two. This can be attributed to the fact that Paul's vocals were better received and of the financial failure of their sophomore album, which Simmon's was lead vocalist of.
Getaway is a very fun track, with booming drums from Peter Criss as Ace Frehley goes completely bonkers, doing all of the guitar work on the track with such excellent virtuosity. Rock Bottom remains one of my personal favorite tracks, with its somber tone reminiscent of Led Zeppelin IV's ethereal production quality. The sound quality of this record is top notch, especially when the hard guitar half breaks through the strings, completely doing a 180 on the entire track's atmosphere.
Of course I would be remiss if I didn't mention KISS' magnum opus. I'm talking, of course, about Rock And Roll All Nite. A bursting guitar-heavy track combining the talents of all four members of KISS evenly, creating a track that describes KISS to a tee. To be fair as well, Simmon's is the perfect vocalist for this track, as his hissing and talkative vocal performance add to the raw and unbalanced nature of the tune, as tamberine's begin meshing with guitars, chorus, and percussion to create pure madness.
Dressed to Kill is not perfect, it has flaws like every other KISS album. Cheesy lyrics, squeaky clean production, basic formula for every song, and repetition ad nauseum are easy to point out. The change is what Dressed to Kill offers that other KISS albums don't. That lies in its creative guitar playing from Ace Frehley, one of the best Rock singles of the 1970's, and Paul Stanley being majority singer for the record. In this instance, KISS reached their apex, and would never reach this height ever again.
(sputnikmusic.com/review/71446/KISS-Dressed-To-Kill/)

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. Room Service (03:03)
02. Two Timer (02:51)
03. Ladies In Waiting (02:34)
04. Getaway (02:46)
05. Rock Bottom (03:56)
06. C'mon And Love Me (03:01)
07. Anything For My Baby (02:36)
08. She (04:10)
09. Love Her All I Can (02:43)
10. Rock And Roll All Nite (02:49)

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Kiss - Hotter Than Hell [Japanese Ed.] (1974)

Year: October 22, 1974 (CD Apr 25, 1986)
Label: Polystar Records (Japan), P33C-20004
Style: Hard Rock, Arena Rock, Glam Rock
Country: New York City, U.S.
Time: 33:23
Format: Flac Tracks 16/44,1 kHz
Size: 196 Mb

01. Got To Choose is a hell of a tune to open the album with for it’s an attitude-infused mid-tempo groove-focus rock masterpiece. No, it isn’t one of KISS’ most popular tunes, but if the infectious melody doesn’t get you, Ace Frehley’s exceptional blues-infused guitar licks will.
02. Parasite is riff heaven and between Ace Frehley’s skilled writing and Gene Simmons’ raw and aggressive vocals, Parasite is not only one of the heavier tunes KISS ever recorded, but it’s one of the greatest rock numbers from the era.
03. Goin' Blind slows the album’s pace with a ballad-focused tune. Simmons knocks the vocals out of the park, but interestingly his vocal presentation differs from what we normally associate with him. The variance reminds me of Steven Tyler’s vocal delivery on Aerosmith’s self-titled debut. It isn’t bad, not by any means, but it is unique.
04. Hotter Than Hell exudes swagger and confidence, driven by gritty, distorted riffs and a stomping rhythm section, but isn’t quite the ideal title track. It works, yes, but it isn’t a standout. Part of my love/hate relationship with the tune is the chosen tempo. While I acknowledge that it was written with Free’s All Right Now in mind, I find it’s a little too slow and would like to have seen it sped up by a few beats per minute.
05. Let Me Go, Rock And Roll is a fast-paced number that embodies the rock and roll spirit of the era with its relentless rhythm and infectious energy. If nothing else, the driving bassline, dynamic guitar solos, and overall mix capture the rawness of KISS’ early, yet compelling, sound.
06. All The Way may be an album-only tune, one that is unknown to many who haven’t listened to the album, but despite being lesser known, All The Way delivers a punchy, straightforward rock feel with an edgy guitar sound that is KISS 101.
07. Watchin' You has an incredible introduction, for the dense layering of guitars and a powerful rhythm section enhance the tune and ensure the intensity of the record is maintained. The musical bed alone is such a standout that Simmons need not have written or recorded lyrics for Watchin’ You could have been instrumental gold, had it been recorded with that intent. It isn’t that the vocals detract from the song, however, it’s that the musical performance is so much stronger than Simmons’ vocal delivery.
08. Mainline shifts the tone as Peter Criss takes over vocal duties for the first time on the album. With a Southern rock influence, the laid-back vibe is a precursor to many of KISS’ most memorable tunes and this is no exception for the chorus and overall upbeat nature of Mainline will stay with you well after the album has played its final note.
09. Comin' Home, while not as heavy as many of the other tracks, does circle back to the band’s melodic roots and in that regard is a hidden gem. It is, unfortunately, one of the most sonically compromised recordings from the album and even though it’s thoroughly enjoyable, it could have been so much more had more spit and polish been applied during the recording and mixing of the song.
10. Strange Ways is an ideal closer with its slow and heavy pace that allows Criss’ vocals to shine. It also features Ace Frehley at his very best, as the band works through the track’s sludgy and psychedelic rhythm, leaving a lasting impression; one that will compel you to play the album again or sit in contemplation of the music that you’ve just heard.
(subjectivesounds.com/musicblog/kiss-hotter-than-hell-album-review)

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. Got To Choose (03:54)
02. Parasite (03:04)
03. Goin' Blind (03:39)
04. Hotter Than Hell (03:31)
05. Let Me Go, Rock 'N' Roll (02:16)
06. All The Way (03:18)
07. Watchin' You (03:45)
08. Mainline (03:52)
09. Comin' Home (02:40)
10. Strange Ways (03:21)

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Robert Plant (Led Zeppelin) - Now And Zen [Japanese Ed.] (1988)

Year: 29 February 1988 (CD Mar 25, 1988)
Label: Warner-Pioneer (Japan), 32XD-945
Style: Rock, Arena Rock
Country: West Bromwich, Staffordshire, England (20 August 1948)
Time: 47:08
Format: Flac Tracks 16/44,1 kHz
Size: 320 Mb

Robert Plant's 1988 release 'Now and Zen' was a hugely significant milestone in this process of reeducation, an album I already knew well from my youth, and one I'd not re-listened to since the advent of the compact disc. My childhood memories were that this was an overwhelmingly cheesy 80s album and I approached this rediscovery with a fair amount of scepticism born from investigating most of Led Zeppelin's back catalogue in the interim period; my expectation was that this album would fall rather short in comparison but, to my great surprise, the reality was quite different.
Like a lot of rockers who made their name in the 60s and 70s Robert Plant was widely regarded to have gone hopelessly adrift by the mid 80s. By 1987 he'd released three solo albums and each had been an exercise in denial; here was an artist going to untold lengths to hide from his rock heritage. 'Now and Zen' marks the point Plant stops trying quite so hard at distancing himself from his roots and allows himself to throw some of those familiar rock god shapes again; tellingly he even goes as far as inviting old stomping partner Jimmy Page to play on one of the album's singles 'Tall Cool One'. As successful as this reunion proves to be, intriguingly it's a more unexpected collaboration that reveals itself as the true secret to this album's success.
This release sees keyboardist Phil Johnstone establish himself as a perfect songwriting foil for Plant, a partnership that would continue long into the future. While guitars certainly flesh out many of the arrangements here they remain in the most part an embellishment, rather it's the keyboard that forms the musical backbone in the place of any rhythm guitar. This inspired choice gives the sound an unexpectedly rich pop lustre that you perhaps wouldn't have thought Robert would run with. Surprisingly this sound is one that fits bluesy horndog Plant to a tee as he sands off the rough edges of his voice to deliver a masterclass in smooth and faintly mystical pop vox. Whether tackling the consummate 'ballad-writer's ballad' 'Ship of Fools', rockabilly doo-wopping 'Billy's Revenge' or the super-slick dance pop (and unexpected masturbation ode) 'Dancing on My Own' the man never fails to impress.
Looking back at Plant's solo career you can't help but see 'Now and Zen' as an all important confidence boosting shot in the arm that paved the way for future successes like 93's eclectic 'Fate of Nations' and the well received Jimmy Page collaboration 'Walking Into Clarksdale'. He'd eventually settle into the traditional elder statesman 'tasteful' genre territories of folk and country but strangely his song writing would never again match the immediacy and easy melodic charm of the tracks included here. The 80s sucked hard for a lot of us, and Mr Plant more than most you'd think, but it's important to remember they weren't all bad. Just mostly terrible.
(full version: sputnikmusic.com/review/70638/Robert-Plant-Now-and-Zen/)

01. Heaven Knows (04:06)
02. Dance on my Own (04:30)
03. Tall Cool One (04:40)
04. The Way I Feel (05:41)
05. Helen of Troy (05:06)
06. Billy's Revenge (03:33)
07. Ship of Fools (05:01)
08. Why (04:15)
09. White, Clean and Neat (05:28)
10. Walking Towards Paradise (04:43)

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Ace Frehley (KISS) - Spaceman (2018)

Year: October 19, 2018 (CD Oct 19, 2018)
Label: eOne Records (US), EOM-CD-8773
Style: Hard Rock, Arena Rock
Country: New Jersey, U.S. (April 27, 1951 - October 16, 2025)
Time: 37:11
Format: Flac Tracks 16/44,1 kHz
Size: 312 Mb

On September 25, 2025, Frehley suffered a fall in his home studio and was forced to cancel tour dates. On October 16, 2025, TMZ reported that Frehley was on life support with a ventilator and had brain bleeding. His family considered removing him from life support after his health failed to improve. Frehley died in Morristown, New Jersey, at the age of 74, several hours after life support was stopped.
His former Kiss bandmates paid tribute to him. In a joint statement, Paul Stanley and Gene Simmons described Frehley as an "essential and irreplaceable rock soldier during some of the most formative foundational chapters of the band and its history." Peter Criss stated that "Ace influenced and touched the hearts of millions of people."
In accordance with his wishes, Frehley was interred near his parents at Woodlawn Cemetery following a private memorial service at Sinatra Memorial Home in Yonkers on October 21. The service was attended by a small group of family and friends, including the three remaining original members of Kiss.
(en.wikipedia.org/wiki/Ace_Frehley)

01. Without You I'm Nothing (04:06)
02. Rockin' With The Boys (04:15)
03. Your Wish Is My Command (03:38)
04. Bronx Boy (02:50)
05. Pursuit Of Rock And Roll (04:32)
06. I Wanna Go Back (04:01)
07. Mission To Mars (03:39)
08. Off My Back (03:38)
09. Quantum Flux (06:28)

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Aerosmith - Done With Mirrors [Japanese Ed. SHM-CD] (1985)

Year: November 4, 1985 (CD Feb 17, 2010)
Label: Universal Music (Japan), UICY-94441
Style: Hard Rock, Arena Rock
Country: Boston, Massachusetts, U.S.
Time: 35:46
Format: Flac Tracks 16/44,1 kHz
Size: 279 Mb

On November 4, 1985, Aerosmith attempted a comeback with the first album for Geffen Records (overall eighth studio album) but met with a mixed bag of rocks. The plus side the return of guitarists of Joe Perry and Brad Whitford who both respectively left in 1979 and 1981. Don’t get me wrong I really like the band but it’s tough as I must deliver a fair review – no favorites.
The lead off song “Let the Music Do the Talking” was originally from Joe Perry Project band’s first album; but was reworked for Aerosmith with changes to the lyrics and tone. I have heard both versions and it really depends on your taste which one is preferred. “The Reason a Dog” has been harshly judged over time, it is a playful dirty minded track, folks just need to stop with the thin skin attitudes. It does have teasing rock-blues melody that feels it should come from more of bar band than the eighth album of Aerosmith. “Shela” doesn’t do a thing for me it feels it belongs on someone’s else album, the tone is off-beat, hence and easy to skip it. Now, “Gypsy Boots” starts a bit slow, but quickly ratchets into gear it has that classic AC/DC feel, that pulls the listener back to the reason why I really like the band. At 2:20 it returns to slow pace of the opening riffs and does it a few more times though in between the songs rips well. Gotta say the early vinyl edition included the bluesy track called “She’s on Fire” and fast groove song that sounds a bit like The Rolling Stones influence for “The Hop”, with more blues layering. The CD version of then concluded with the song “Darkness”.
For the purest the original artwork was all backwards and only readable if held to a mirror, the remastered version reverses this experimental design which served as a suggestion of laying out lines of coke to sort off a mirror in the classic style of then.
(thehorrortimes.com/2025/08/09/aerosmith-done-with-mirrors-1985-by-vincent-mento/)

01. Let The Music Do The Talking (03:48)
02. My Fist Your Face (04:23)
03. Shame On You (03:22)
04. The Reason A dog (04:13)
05. Shela (04:25)
06. Gypsy Boots (04:16)
07. She's On Fire (03:47)
08. The Hop (03:45)
09. Darkness (03:43)

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Survivor - Eye Of The Tiger [Japanese Ed.] (1982)

Year: June 1982 (CD September 5, 1985)
Label: Canyon Records (Japan), D32Y0039
Style: Arena Rock, Soft Rock, Hard Rock
Country: Chicago, Illinois, U.S.
Time: 38:08
Format: Flac Tracks 16/44,1 kHz
Size: 277 Mb

Charts: US #2, AUS #26, CAN #4, GER #31, NLD #29, NOR #3, JPN #17, SWE #13, UK #12. US, AUS & CAN: Platinum.
Every great band needs a little luck. And for Survivor it came in 1981 when Sylvester Stallone commissioned them to write the theme song for the third movie in his blockbuster Rocky franchise. Stallone loved the Chicago rockers’ minor hit Poor Man’s Son, and wanted an anthem in a similar vein. “Something with a pulse!” he said.
Jim Peterik, Survivor’s keyboard player and principal songwriter, knew instinctively what was needed. “I saw the punches in my mind,” he said. “Bam! Bam, bam, bam!” And from that thumping staccato riff, an all-American rock classic was born.
Eye Of The Tiger topped the US and UK singles charts in July 1982. The parent album, full of brilliant songs including American Heartbeat, another hit, and gritty power ballad Ever Since The World Began – would seal Survivor’s status as one of the great AOR bands of all time.
Formed in Chicago in 1977 around the nucleus of keyboard player Jim Peterik, guitarist Frankie Sullivan and original singer Dave Bickler, Survivor shot to fame in 1982 with Eye Of The Tiger. Written for the blockbuster Rocky III – at the personal request of the movie’s star Sylvester Stallone – Eye Of The Tiger topped the charts in eight countries.
Bickler was a charismatic figure, with his powerful voice and signature Che Guevara-style beret, worn to hide his premature baldness. But after the phenomenal success of Eye Of The Tiger, he developed nodes on his vocal cords and was forced to leave the band. As Peterik said: “Very few bands can survive a lead singer transplant.”
(full version: loudersound.com/reviews/survivor-eye-of-the-tiger-album-of-the-week-club-review)

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. Eye Of The Tiger (04:06)
02. Feels Like Love (04:10)
03. Hesitation Dance (03:53)
04. The One That Really Matters (03:33)
05. I'm Not That Man Anymore (04:49)
06. Children Of The Night (04:45)
07. Ever Since The World Began (03:44)
08. American Heartbeat (04:12)
09. Silver Girl (04:53)

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