Showing posts with label Classic Rock. Show all posts
Showing posts with label Classic Rock. Show all posts

Tuesday, December 9, 2025

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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Saturday, December 6, 2025

Groundhogs - Split [Remastered] (1971)

Year: March 1971 (CD 2003)
Label: Liberty (UK & Europe), 07243 584819 2 1
Style: Rock, Blues Rock
Country: England
Time: 64:39
Format: Flac Tracks 16/44,1 kHz
Size: 400 Mb

Unlike other contemporary bands, economy of notes was not part of the Groundhogs agenda. On Split, more than any other Groundhogs album, they played in a shamanic whirling that shattered and scattered the beat around in several directions at once. The frenzied drumming of Ken Pustelnik reduced the kit to the role of moronic streetgang defenseless against one lone Kung Fu hero. Stun-guitars wah-wah’d and ricochet’d at random against concrete walls, leaving passers by mortally wounded but deliriously happy. Even Pete Cruickshank’s bass, that one remaining anchor, was no anchor at all, but a freebass undermining the entire structure. As McPhee explained in a Zigzag interview of the time: “[Ken] just wallops everything in sight and sometimes I lose him completely. Like I often come back in during a solo and can’t work out where he is — so I just have to play a note and let it feed back until I can find my way back in. And Pete doesn’t help either, because he’s all over the place and he follows me rather than Ken … so when we fall apart, we really fall apart.”
The brutal honesty of this quote showcases Tony McPhee’s determination to follow his muse to the end. His singing is confused and compassionate, dazed and un-macho at a time of hoot‘n’holler chest beating. And despite the wonder-fuelled strengths of Split’s first side, each song is reduced to the anonymity of mere numbers: “Split 1”, “Split 2”, “Split 3” and “Split 4”. Yet each is complete and each is anything but anonymous. The furious “Split 1” careers through its description of McPhee’s “suicidal derangement” as he termed it with murderous bass and wah guitar interplaying. “Split 2” de-tunes itself into awesome/awful life with a chasm guitar riff that snare shatters into a tearing riff account of McPhee leaping out of bed in black hole terror, before the floor of the room gives way and he ends: “I must get help before I go insane”.
(full version: headheritage.co.uk/unsung/album-of-the-month/groundhogs-split)

01. Split [Part One] (04:29)
02. Split [Part Two] (05:14)
03. Split [Part Three] (04:30)
04. Split [Part Four] (05:43)
05. Cherry Red (05:43)
06. A Year In The Life (03:15)
07. Junkman (05:02)
08. Groundhog (05:53)
09. Split [Part One] [Bonus Track, Live] (09:46)
10. Split [Part Two] [Bonus Track, Live] (06:17)
11. Split [Part Four] [Bonus Track, Live] (04:31)
12. Cherry Red [Bonus Track, Live] (04:10)

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Saturday, November 29, 2025

The Rolling Stones - The Rolling Stones, Now! [Japanese Ed.] (1965)

♠ Year: 13 February 1965 (CD Apr 25, 1989)
♣ Label: Polydor Records (Japan), P25L 25034
♥ Style: Classic Rock, Rhythm and Blues, Rock and Roll
♦ Country: London, England
♪ Time: 36:25
♪ Format: Flac Tracks 16/44,1 kHz
♪ Size: 198 Mb

U.S. issues of the UK Rolling Stones No. 2 LP.
It was a love of the blues and early American R&B that forged the friendship between a teenage Mick Jagger and Keith Richards down Dartford way, so it’s only fitting that the Rolling Stones’ second release continued to rely upon these building blocks.
Consequently, we’re treated to the fledgling Stones’ take on Chuck Berry’s You Can’t Catch Me, a fairly faithful rendering, but with Jagger’s decidedly English sneer and Richards’ rolling, ramshackle riffery adding to its original charm.
The Jagger/Richards songwriting partnership also gains momentum, with three composition credits to their name – Off The Hook with its Yardbird-esque guitar motif and relentless refrain; What A Shame is a bluesy bruiser and gives bassist Bill Wyman a moment to shine under Brian Jones’s sparse bottleneck, while Grown Up Wrong pays real homage to their hero Mr Berry.
But in terms of solid blues prowess, it’s the band’s interpretation of Muddy Waters’ I Can’t Be Satisfied that truly impresses – Brian Jones’s fluid slide playing on this track was seldom bettered.
No.2 was a monster hit in the UK, and deservedly so as it convincingly straddled the bridges between the blues and rock’n’roll and set the blueprint for the relentless Rolling Stones march into the future.
(loudersound.com/features/the-best-30-british-blues-rock-albums-ever)

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. Everybody Needs Somebody To Love (Version 2) (03:01)
02. Down Home Girl (04:15)
03. You Can't Catch Me (03:40)
04. Heart Of Stone (02:52)
05. What A Shame (03:09)
06. I Need You Baby (Mona) (03:37)
07. Down The Road Apiece (03:01)
08. Off The Hook (02:39)
09. Pain In My Heart (Version 1) (02:15)
10. Oh! Baby (We Got A Good Thing Goin') (Version 1) (02:12)
11. Little Red Rooster (03:08)
12. Surprise, Surprise (02:30)

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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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Friday, November 28, 2025

Deep Purple - Rapture Of The Deep [20th Anniversary 2CD] (2005)

Year: 24 October 2005 (CD Aug 29, 2025)
Label: Ear Music (Germany), 0220730EMU
Style: Hard Rock
Country: London, England
Time: 59:52, 21:19
Format: Flac Tracks 16/44,1 kHz
Size: 450, 168 Mb

Like Bananas, the album received generally positive reviews from critics and fans. The album peaked on Billboard's US Top Independent Albums chart at position No. 43. In the US, the album sold 2500 copies during the first week. In the UK, the album sold 3500 copies during the first week and 1200 copies during the week after. It also made the top 20 in several European charts. The title track "Rapture of the Deep" was released as a promo single in 2005. It is the fourth studio album from Deep Purple since Steve Morse joined the band in 1994 and the second to feature veteran keyboardist Don Airey. The album was produced by Michael Bradford who also produced the band's previous release, Bananas.
The album's title relates to an alternative name for the nitrogen narcosis psychological condition capable of affecting deep sea divers. Of the title, bassist Roger Glover said: "I like it because it's got opposites, a duality there, and I'm always fond of that. If you're a scuba diver and you dive down below three atmospheres or 110, 120 feet, something like that, you have excess nitrogen in your blood, and it's called nitrogen narcosis. It's a known danger. And what it does to you, is it makes you really happy, like being drunk. The danger is you're in rapture, you're in a state of pure joy and bliss and at one with the world, and you love being down there and you want to be part of it, so you take your mask off and die."
(en.wikipedia.org/wiki/Rapture_of_the_Deep)

01. Money Talks (05:34)
02. Things I Never Said (04:47)
03. Rapture Of The Deep (05:54)
04. Clearly Quite Absurd (05:24)
05. Mtv (04:54)
06. Back To Back (04:02)
07. Wrong Man (04:33)
08. Girls Like That (03:56)
09. Kiss Tomorrow Goodbye (04:17)
10. Don't Let Go (04:34)
11. Junkyard Blues (05:31)
12. Before Time Began (06:19)

01. MTV (04:57)
02. Money Talks (04:29)
03. Back To Back (03:57)
04. Before Time Began (05:05)
05. Closing Notes (02:49)

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Sunday, November 23, 2025

Groundhogs - Blues Obituary (1969)

Year: 1969 (CD 1999)
Label: Akarma Records (Italy), AK 039
Style: Rock, Blues Rock
Country: England
Time: 34:01
Format: Flac Tracks 16/44,1 kHz
Size: 208 Mb

Recorded during June of 1969 at Marquee Studios in London with Gary Collins and Colin Caldwell engineering, the trio of Groundhogs put the blues to rest on Blues Obituary in front of a castle on the Hogart-designed cover while six black and whites from photographer Zorin Matic grace the back in morbid Creepy or Eerie Magazine comic book fashion. Composed, written, and arranged by Tony "T.S." McPhee, there are seven tracks hovering from the around four- to seven-minute mark. The traditional "Natchez Burning," arranged by McPhee, fits in nicely with his originals while the longest track, the six-minute-and-50-second "Light Is the Day," features the most innovation -- a Ginger Baker-style tribal rant by drummer Ken Pustelnik allowing McPhee to lay down some muted slide work. As the tempo on the final track elevates along with manic guitar runs by McPhee, the jamming creates a color separate from the rest of the disc while still in the same style. Vocals across the board are kept to a minimum. It is all about the sound, Cream without the flash, bandleader McPhee vocally emulating Alvin Lee (by way of Canned Heat's Alan Wilson) on the four-minute conclusion to side one that is "Mistreated." While Americans like Grand Funk's Mark Farner turned the format up a commercial notch, Funk's "Mean Mistreater" sporting the same sentiment while reaching a wider audience, the Groundhogs on this late-'60s album keep the blues purely in the underground. The pumping beat on "Mistreated" embraces the lead guitarist's vocal, which poses that eternal blues question: "what have I done that's wrong?" Blistering guitar on the opening track, "B.D.D.," sets the pace for this deep excursion into the musical depths further down than Canned Heat ever dared go. While "Daze of the Weak" starts off sludgy enough, it quickly moves like a train out of control, laying back only to explode again. "Times" get things back to more traditional roots on an album that breaks little new ground, and is as consistent as Savoy Brown when they got into their primo groove.
(allmusic.com/album/blues-obituary-mw0000363074)

01. B.D.D. (03:50)
02. Daze of the Weak (05:16)
03. Times (05:19)
04. Mistreated (04:04)
05. Express Man (03:59)
06. Natchez Burning (04:38)
07. Light Was The Day (06:53)

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Saturday, November 22, 2025

Ronnie Wood (The Rolling Stones) - 1234 [Japanese Ed.] (1981)

Year: 2 September 1981 (CD 1 mar 1992)
Label: Sony Records (Japan), SRCS 6174
Style: Rock, Pop Rock, Classic Rock
Country: Hillingdon, Middlesex, England (1 June 1947)
Time: 38:24
Format: Flac Tracks 16/44,1 kHz
Size: 270 Mb

Every aspect of this Rolling Stone's solo album screams of superstar indulgence, from its bizarre cover shot - look, there's Ron riding a camel under some jets - to co-producer Andy Johns' fawningly surreal back cover exhortation to "don't let anybody tape it because the label needs the money." There's no chance of such an occurrence: three studios are credited - and every track boasts a different lineup. Many of the usual suspects appear, including sub-Stones keyboardist Ian McLagan, pianist Nicky Hopkins, and saxophonist Bobby Keys; R&B vocalist Bobby Womack; and pianist Nicky Hopkius. Even Stones drummer Charlie Watts pops up on a couple of tracks. Also, this rarefied company didn't have decent material to stretch out their chops. Most of the songs sound like demos or unfinished sketches with new overdubs - like the instrumental "Redeyes," which seems little more than an excuse for Wood to trot out his Dobro skills.
"Wind Howlin' Through" asks if the listener can hear that happening, but little more, and wastes a drumming cameo from Devo's Alan Myers. Wood's vocals are strained - and often impossible to decipher. They're little more than huffs and puffs on the otherwise thumping title cut, and they spoil the reggae-ish "She Was Out There," which is one of the better moments here - but "Fountains of Love" is lackluster blue-eyed soul that doesn't get off the ground. The best moments are the least contrived, notably the country-ish swagger of "Outlaws"; the glistening "Priceless"; and "She Never Told Me," which boasts a lengthy, biting guitar solo. However, it arrives too late to save this album. While hardly a total embarrassment, 1234 is easily Wood's least distinguished solo effort, although his drawings are nice.
(allmusic.com/album/1234-mw0002560769)

01. 1234 (03:29)
02. Fountain Of Love (05:11)
03. Outlaws (04:02)
04. Redeyes (03:33)
05. Wind Howlin' Through (03:04)
06. Priceless (04:20)
07. She Was Out There (05:14)
08. Down To The Ground (03:37)
09. She Never Told Me (05:50)

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Friday, November 21, 2025

Bill Wyman (The Rolling Stones) - Back To Basics (2015)

Year: 22 June 2015 (CD Jun 22, 2015)
Label: Ripple Productios Ltd (UK), PRDCD125
Style: Pop Rock, Blues Rock, Classic Rock
Country: Lewisham, London, England (24 October 1936)
Time: 43:19
Format: Flac Tracks 16/44,1 kHz
Size: 300 Mb

When Bill Wyman left his post as bassist for the Rolling Stones in 1993 after thirty years, it wasn’t a departure from the musical world. He’s been recording and touring with his band the Rhythm Kings since then, but now is releasing a new solo album; the first UK release under his own name in thirty three years! Back To Basics is aptly named, as it is totally stripped back, while touching on the easy-going feeling that the Rhythm Kings give off. Its strength is in its unashamed simplicity.
A large part of this comes from the fact that Wyman’s vocals are just so chilled. The opening track What & How & If & When & Why, for example, is an instrumentally upbeat blues-rock track with a brass section and recurring guitar, but the delivery of the lyrics subdues the overall tone. It’s a raspy, half talking, half singing kind of delivery that feels intimate and very honest; there’s nothing pretentious going on here.
Every track is fluid, instrumentally, and adds various extras to develop its own character. We get some call and response with a female vocalist in Seventeen, flamenco style Spanish guitar in November and some sultry blues harmonica  and melancholy organ in the closer I Got Time, which ends the album on a bit of a downer.
As a whole, though, everything is really cohesive, and Wyman sounds totally at home with the songwriting and delivery. The lyrics are simple, and can be easily comprehended. It’s nice to be able to hear every single word without having to even concentrate, and the themes are relatable “We had it all when we were together/We had it all, thought it was forever” (from Running Back To You). Although it’s an enjoyable listen top to bottom, Stuff (Can’t Get Enough) is definitely a stand out track for me. The rhythm of the vocals in the chorus over straight instrumental backing is a contagious and playful combination that is sure to follow you around for the rest of the day.
Back To Basics isn’t a novel release that breaks into new territory, but if it were, the album would be falsely named. It is a record that reflects the extensive musical career of a man who has nothing to prove. This is not a release aimed at boosting Bill Wyman’s profile, it’s an expression of one of the man’s passions that is still burning bright.
(renownedforsound.com/album-review-bill-wyman-back-to-basics/)

01. What & How & If & When & Why (03:37)
02. I Lost My Ring (03:36)
03. Love, Love, Love (03:40)
04. Stuff (Can't Get Enough) (04:05)
05. Running Back to You (04:00)
06. She's Wonderful (03:56)
07. Seventeen (03:49)
08. I'll Pull You Through (03:06)
09. November (03:44)
10. Just a Friend of Mine (03:41)
11. It's a Lovely Day (02:05)
12. I Got Time (03:54)

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Thursday, November 20, 2025

Keith Richards (The Rolling Stones) - Eileen [Maxi-Single] (1993)

Year: January 1993 (CD 1993)
Label: Virgin Records (US), V25H-12647
Style: Rock, Classic Rock
Country: Dartford, Kent, England (18 December 1943)
Time: 23:55
Format: Flac Tracks 16/44,1 kHz
Size: 161 Mb






01. Eileen (04:31)
02. Gimme' Shelter (Live) (06:29)
03. Wicked As It Seems (Live) (05:22)
04. How I Wish (Live) (04:10)
05. Key To the Highway (03:21)

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Keith Richards (The Rolling Stones) - Crosseyed Heart (2015)

Year: 18 September 2015 (CD Sep 18, 2015)
Label: Mindless Records (US), 602547394002
Style: Blues Rock, Classic Rock
Country: Dartford, Kent, England (18 December 1943)
Time: 58:07
Format: Flac Tracks 16/44,1 kHz
Size: 405 Mb

The Rolling Stone’s first solo album in 23 years contains exactly what one might hope for. There are beautifully played old blues songs, storming Stonesy rockers (Heartstopper, the ferocious Blues in the Morning), a sublime Gregory Isaacs reggae cover (Love Overdue) and outlaw songs about evading the authorities (Trouble). There’s dry humour in a touching lament about, ahem, the theft of a “stash” (Robbed Blind, in which he cackles: “The cops, I can’t involve them”) and the jerkily funny Amnesia, about the 2006 incident in which he fell out of a tree (“Thought I met my mother / She said: ‘You don’t belong to me’”). Contrarily, there are also several beautiful, heartfelt ballads. Richards’ fag-soaked voice isn’t as conventionally strong as Mick Jagger’s, but it is rich with character and knowing. The gorgeous Nothing on Me – about surviving whatever life throws at him – is as great a song as the 71-year-old has put his name to in decades. A terrific album, worthy of one of rock’s founding fathers.
(theguardian.com/music/2015/sep/17/keith-richards-crosseyed-heart-review)

01. Crosseyed Heart (01:52)
02. Heartstopper (03:04)
03. Amnesia (03:35)
04. Robbed Blind (04:00)
05. Trouble (04:17)
06. Love Overdue (03:28)
07. Nothing On Me (03:47)
08. Suspicious (03:42)
09. Blues In The Morning (04:26)
10. Something For Nothing (03:28)
11. Illusion (03:48)
12. Just A Gift (04:01)
13. Goodnight Irene (05:46)
14. Substantial Damage (04:21)
15. Lover's Plea (04:23)

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Saturday, November 15, 2025

Paul McCartney And Wings - Red Rose Speedway [Japanese Ed. SHM-CD] (1973)

Year: 4 May 1973 (CD Sep 20, 2024)
Label: Universal Music (Japan), UICY-80468
Style: Soft Rock, Rock, Classic Rock
Country: Liverpool, England (18 June 1942)
Time: 42:24
Format: Flac Tracks 16/44,1 kHz
Size: 374 Mb

Red Rose Speedway was McCartney’s fourth solo album, a mere three years after the break-up of The Beatles, and the second Wings release. Unlike 1971’s Wings Wild Life, he thought it would be a good idea to let people know exactly who they were, and thus in 1973 Red Rose Speedway debuted, credited to Paul McCartney and Wings. The idea worked because it became the first to go to number one (McCartney’s second as a solo act). But let’s be clear, it made number one because of the package, not the name on the label. But the name did ensure radio play and brought it to people’s attention.
Red Rose Speedway was a huge hit in 1973, thanks, in part, to the number one hit “My Love”, but it is full of twists and turns. “My Love” was not indicative of what listeners would find on the album as a whole. For example, it opens with one of McCartney and Wings’ greatest rockers, “Big Barn Bed”, with a heavy-rocking sound that would have made a great single in its own right. It is a slice of mid-70s rock, with McCartney’s ear for melody and quirky lyrics. This leads into “My Love”, which is the polar opposite. It features one of guitarist Henry McCullough’s best ever guitar solos, totally improvised mere minutes before the track was recorded live with an orchestra.
Side one ends with one of McCartney’s most underrated and beautiful songs, “Little Lamb/Dragonfly”, an emotional song, featuring some of McCartney’s most painful and beautiful vocals of his career. It is a brilliant medley of two complimentary songs that come together to form a perfect mini rock opera. “I have no answer for you little lamb/I can help you out, but I cannot help you in”, McCartney sings. It was reportedly written when a lamb on his farm was dying. But don’t be fooled, there is much more to this raw masterpiece.
Side two opens with another emotional, albeit short track, “Single Pigeon”. It is one of those songs that McCartney can knock off in his sleep, but it fits perfectly as the side opener. Side two is a heavier side, with an experimental instrumental (“Loup”) and a medley that rivals side two of Abbey Road. Here are four songs that McCartney had left unfinished and he turned them into an amazing medley that ends the album. The medley is composed of lovely love songs, including “Hold Me Tight”, (not the Beatle song) and the almost psychedelic “Lazy Dynamite”. It is an interesting and clever way to bring the album to a close.
(full version: spillmagazine.com/spill-album-review-paul-mccartney-and-wings-red-rose-speedway-50th-anniversary/)

01. Big Barn Bed (03:50)
02. My Love (04:08)
03. Get On The Right Thing (04:17)
04. One More Kiss (02:29)
05. Little Lamb Dragonfly (06:23)
06. Single Pigeon (01:53)
07. When The Night (03:37)
08. Loup (1st Indian On The Moon) (04:23)
09. Medley: Hold Me Tight - Lazy Dynamite - Hands Of Love - Power Cut (11:21)

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Wednesday, November 12, 2025

The Groundhogs - Thank Christ For The Bomb (1970)

Year: May 1970 (CD 1990)
Label: BGO Records (UK), BGOCD67
Style: Blues Rock, Classic Rock
Country: England
Time: 41:03
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

Thank Christ for the Bomb is the third studio album recorded by The Groundhogs, originally released by Liberty Records in 1970. It was engineered by Martin Birch, who had previously worked on albums by Deep Purple, Jeff Beck, Fleetwood Mac and Peter Green. It entered the UK Melody Maker album charts at number 27 on 20 June 1970, and had a total of 3 entries in that chart.
The album is a concept album, or to be exact, has two concepts. Side 1 (tracks 1–4) addresses what McPhee termed "alienness" while side 2 is, according to the sleeve notes, "the story of a man who lived in Chelsea all his life; first in a mansion then on the benches of the embankment".
(en.wikipedia.org/wiki/Thank_Christ_for_the_Bomb)

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. Strange Town (04:18)
02. Darkness Is No Friend (03:46)
03. Soldier (04:51)
04. Thank Christ For The Bomb (07:18)
05. Ship On The Ocean (03:29)
06. Garden (05:22)
07. Status People (03:34)
08. Rich Man, Poor Man (03:27)
09. Eccentric Man (04:55)

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Tuesday, November 11, 2025

The Who - The Who by Numbers (1975)

Year: 3 October 1975 (CD 1987)
Label: Polydor Records (West Germany), 831552-2
Style: Classic Rock, Rock, Pop Rock
Country: London, England
Time: 37:29
Format: Flac Tracks 16/44,1 kHz
Size: 227 Mb

With both the successes and failures of conceptual rock operas behind them, The Who made a transitional record with 1975’s The Who By Numbers. The album contains some leftover tracks from early 1970s aborted projects, Lifehouse and Long Live Rock, along with a few other tracks which remain faithful to the group’s classic rock sound. Conversely, the rest of the album contains songs previewing the solo work of guitarist Pete Townshend, who would become an ever dominant force in the group.
Townshend admits that, The Who By Numbers, was very difficult to compose and record as he suffered from writer’s block and a bout of depression as his 30th birthday approached. Produced by Glyn Johns, the sessions for the album were reportedly long and uninspired, only saved by the group’s stellar performances even when at their worst. The apathy of this project went so far that no one really cared about packaging, so bassist John Entwistle submitted the hand-drawn artwork which became the album’s cover.
Slip Kid” opens with and is built on a steady percussion which persists throughout without much further affirmative animation by drummer Keith Moon. Townshend provides crisp riffing throughout and a soaring guitar lead in the middle, with a post-lead interplay section between his pedal-effected guitars and the piano tickling of guest Nicky Hopkins. “However Much I Booze” features a bright acoustic, with bouncy bass and steady drums throughout the pleasant verses. Townshend takes lead vocals above an arrangement which is reflective of a traditional Who track in dynamics and theatrical vibe.
(full version: classicrockreview.com/2015/10/1975-the-who-by-numbers/)

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. Slip Kid (04:31)
02. However Much I Booze (05:05)
03. Squeeze Box (02:43)
04. Dreaming From the Waist (04:09)
05. Imagine a Man (04:06)
06. Success Story (03:25)
07. They Are All in Love (03:02)
08. Blue, Red and Grey (02:51)
09. How Many Friends (04:09)
10. In a Hand or a Face (03:25)

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Monday, November 10, 2025

The Rolling Stones - 12 x 5 [Japanese Ed.] (1964)

Year: 17 October 1964 (CD Apr 25, 1989)
Label: Polydor Records (Japan), P25L 25032
Style: Classic Rock, Rhythm and Blues, Rock and Roll
Country: London, England
Time: 31:15
Format: Flac Tracks 16/44,1 kHz
Size: 163 Mb

Imagine that in moments of smart alecky tomfoolery, many a person has looked at the cover of The Rolling Stones12 X 5 and yelled, “Sixty,” soon followed by uncontrollable giggling at their own corny brilliance. Had the same people seen the British EP which featured songs that appeared on 12 X 5, they would have probably yelled “Twenty-five.” In either case, the joke would most likely be met with blank stares and shaking heads, maybe a few befuddled shrugs from people not familiar with multiplication or amused by arithmetic.
The twelve songs by the five piece Stones which comprise 12 X 5 are, like its predecessor, deeply entrenched in rhythm and blues and soul; brimming with lively covers and boasting the support of bad-boy Brian Jones. Unlike its predecessor, the album offers some early Stones originals, which, though they stand on forgivably shaky legs, give a taste of what’s to come. It’s definitely an album of portent, something of a glimpse at the bands roots before Out of Our Heads or the all-original Aftermath.
The album kicks off with Chuck Berry’s “Around and Around.” The cover showcases the rhythm section, Keith Richards’ lead guitar, Jones’ piano and Mick Jagger’s vocals working in unison to create a catchy, bopping whole. The same can be said of “It’s All Over Now,” the rhythm section of Charlie Watts and Bill Wyman demonstrating their immense importance to the band as Jones and Richards guitars open up into solo bravado. “Confessin’ the Blues” crawls with a standard blues riff, Jones and Richards once again sharing guitar duties, seamlessly giving way for Jagger to wrap that mouth of his around a harmonica.
Ushered in by organ or a tasty guitar lick (depending on what version of the song you have) is The Rolling Stones’ first top-ten single stateside, “Time Is On My Side.” Originally recorded by Irma Thomas, Jagger’s lament and taunting backed by the band guide the song from beginning to the fading repetition of the song’s title, pulsing the word “time” for emphasis. Both “Time Is On My Side” and “Around and Around” were the two songs the band played on their first appearance on “The Ed Sullivan Show” in 1964. Apparently frightened by their motley looks, Sullivan vowed to never have them on the show again. In 1967, The Rolling Stones once again appeared on “The Ed Sullivan Show,” this time playing “Let’s Spend the Night Together.”
On the Rolling Stones original songs, it sounds as if Jagger is attempting to tame the muse of lyric writing with a Mars bar and a pouty-lipped pucker. While “Good Times, Bad Times,” the jilted “Congradulations,” and “Grown Up Wrong” aren’t bad by any means, they don’t have the same memorable melodic quality or the lyrical intelligence of what was to come. They stand there for the most part without the pomp, circumstance or flooring power that would characterize, for instance, the riff of “Satisfaction” or the sudden dark blast of “Paint it Black.”
Under the pseudonymous group guise of Nanker Phelge, the band delivers a grooving jam on “2120 South Michigan Avenue.” Named after the street address of Chess Records, the band blends organs, harmonica hums, blistering solos, warm thudding bass and tattering drums. Nanker Phelge also gets the credit for “Empty Heart,” a bounding rhythm and blues track that, along with “Grown Up Wrong,” is arguably one of the best of the album’s originals.
While there’s no iconic Jagger/Richards-written songs on 12 X 5, it’s an album bursting with energy and begging to be heard. By the following year, time matured the group into rock stars grown right, still tied to their roots but coming into their own in a satisfying way.
(treblezine.com/rolling-stones-12x5/) Review by Hubert Vigilla, September 19, 2004.

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. Around And Around (03:08)
02. Confessin' The Blues (02:51)
03. Empty Heart (02:39)
04. Time Is On My Side (02:55)
05. Good Times, Bad Times (02:36)
06. It's All Over Now (03:30)
07. 2120 South Michigan Avenue (02:10)
08. Under The Boardwalk (02:48)
09. Congratulations (02:30)
10. Grown Up Wrong (02:08)
11. If You Need Me (02:06)
12. Susie Q (01:49)

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Wednesday, November 5, 2025

The Who - Who's Next (1971)

Year: 2 August 1971 (CD Dec 17, 1984)
Label: MCA Records (US), MCAD-37217, DIDX-152
Style: Classic Rock, Rock, Pop Rock
Country: London, England
Time: 43:13
Format: Flac Tracks 16/44,1 kHz
Size: 269 Mb

Who's Next is the fifth studio album by English rock band the Who. It developed from the aborted Lifehouse project, a multi-media rock opera conceived by the group's guitarist Pete Townshend as a follow-up to the band's 1969 album Tommy. The project was cancelled owing to its complexity and to conflicts with Kit Lambert, the band's manager, but the group salvaged some of the songs, without the connecting story elements, to release as their next album. Eight of the nine songs on Who's Next were from Lifehouse, the lone exception being the John Entwistle-penned "My Wife". Ultimately, the remaining Lifehouse tracks would all be released on other albums throughout the next decade.
The Who recorded Who's Next with assistance from recording engineer Glyn Johns. After producing the song "Won't Get Fooled Again" in the Rolling Stones Mobile Studio, they relocated to Olympic Studios to record and mix most of the album's remaining songs. They made prominent use of synthesizer on the album, particularly on "Won't Get Fooled Again" and "Baba O'Riley", which were both released as singles. The cover photo was shot by Ethan Russell; it made reference to the monolith in the 1968 film 2001: A Space Odyssey, as it featured group members standing by a concrete piling protruding from a slag heap in Easington Colliery, County Durham, apparently having urinated against it.
The album was an immediate success when it was released on 14 August 1971. It has since been viewed by many critics as the Who's best album and one of the greatest albums of all time.
(1001albumsgenerator.com/albums/5MqyhhHbT13zsloD3uHhlQ/whos-next)

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. Baba O'Riley (04:58)
02. Bargain (05:31)
03. Love Ain't For Keepin' (02:10)
04. My Wife (03:33)
05. The Song Is Over (06:15)
06. Gettin' In Tune (04:48)
07. Going Mobile (03:41)
08. Behind Blue Eyes (03:41)
09. Won't Get Fooled Again (08:31)

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