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

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

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

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

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Robert Wyatt (ex Soft Machine) - The End Of An Ear (1970)

Year: 4 December 1970 (CD 1999)
Label: Columbia Records (Austria), 493342 2
Style: Free Jazz, Avant-garde
Country: Lydden, Kent, England (28 January 1945)
Time: 47:01
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

In the glorious machine-powered future, we can look forward to AI-created music conceived “in the style of Robert Wyatt” and nod approvingly as a jumble of drums, horns and piano come tumbling from our computer speakers. In the drug-fueled past, of course, we had to make due with the electrical connections contained in our own craniums. Metal or soft machine is splitting hairs, you may say, and I (with none of my own to split) might argue otherwise, but we are the true author of neither. Music like this exists because it must, because the rules of chaos dictate that even clouds will occasionally take the perfect form of a cat, and that even whacked-out moles like Robert Wyatt will discover genius in chaos (or that chaos will discover the genius in Robert Wyatt).
The End of an Ear begins and ends with Wyatt’s bizarre interpretation of Gil Evans’ Las Vegas Tango. Wyatt largely replaces the horns with gibberish, creating a strange tapestry of sound that comes surprisingly close to the original while at the same time seeming nothing like it. The remaining “songs” feature the same instrumentation—drums, horns, keyboards, bass, voice—that take Wyatt’s dadaism to new heights (depths?). Frank Zappa made music like this, only he made it on purpose. Wyatt is less rigid, though perhaps no less intentional. Sometimes, The End of an Ear sounds like music. To Saintly Bridget is alien space jazz. To Carla Marsha and Caroline is simultaneously melodic and oddly disquieting. To Caravan and Brother Jim starts out relatively normal before becoming enveloped in cryptic cacophony. I’m not sure what Columbia thought they had signed on for with this album, but that they didn’t sign up for a sequel probably says a lot. Wyatt’s first solo album has all the earmarks of a contract breaker. More likely, he was letting off steam as Soft Machine devolved into a “normal” jazz fusion band (the quotes implying normal relative to the strange world of Soft Machine). If you’re into Zappa’s stranger experiments or just enjoy listening to a Dadaist drummer thumb his nose at the world for forty minutes, The End of an Ear could be the beginning of a beautiful relationship. It’s not for everyone, and possibly not for anyone (despite its dedications), but in a world where art can now be condensed into a set of algorithms, it’s refreshing to hear someone making music while breaking so many rules.
(progrography.com/robert-wyatt/review-robert-wyatt-the-end-of-an-ear-1971/)

01. Las Vegas Tango Part One (Repeat) (08:13)
02. To Mark Everywhere (02:26)
03. To Saintly Bridget (02:21)
04. To oz Alien Daevyd And Gilly (02:09)
05. To Nick Everyone (09:12)
06. To Caravan And Brother Jim (05:20)
07. To The Old World (Thank You For The Use of Your Body, Goodbye) (03:17)
08. To Carla, Marsha And Caroline (For Making Everything Beautifuller) (02:47)
09. Las Vegas Tango Part 1 (11:13)

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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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Leonard Cohen - Greatest Hits [5 bonus tracks] (1975)

Year: January 1, 1975 (CD 2009)
Label: Columbia Records (Europe), 88697556132
Style: Folk Rock, Rock
Country: Westmount, Quebec, Canada (September 21, 1934 - November 7, 2016)
Time: 78:08
Format: Flac Tracks 16/44,1 kHz
Size: 512 Mb

According to Ira Nadel's 1996 Cohen memoir Various Positions, Cohen agreed to the project because there was a new generation of listeners and he was given complete artistic control; he picked the songs, designed the package, and insisted that the lyrics be included. The album was not a hit in the United States but did well in Europe, Cohen's major market at the time. He toured in support of the album in 1976, beginning in Berlin on April 22 and ending in London on July 7. It was during this tour that Cohen recorded the funky, disco-infused "Do I Have To Dance All Night" at Musicland Studios. The single was only released in Europe.
The front cover photograph was taken in 1968 in a Milan hotel room by a Gino, according to Cohen's liner notes. Alternative rock band Ween based the album cover for their 1991 album, The Pod, on this photograph.
In July 2009, this compilation was re-released in England under the title Greatest Hits with updated artwork and a revised track listing. Four tracks from the original 1975 version ("Lady Midnight", "The Partisan", "Last Year's Man" and "Take This Longing") were removed and nine tracks released after 1975 ("Everybody Knows", "Waiting for the Miracle", "A Thousand Kisses Deep", "The Future", "Closing Time", "Dance Me to the End of Love", "First We Take Manhattan", "I'm Your Man" and "Hallelujah") were added.
(en.wikipedia.org/wiki/The_Best_of_Leonard_Cohen)

01. Suzanne (03:50)
02. So Long, Marianne (05:38)
03. Sisters Of Mercy (03:34)
04. Famous Blue Raincoat (05:09)
05. Everybody Knows (05:36)
06. Waiting For The Miracle (03:25)
07. Who By Fire (02:34)
08. Chelsea Hotel #2 (03:07)
09. Hey, That's No Way To Say Goodbye (02:55)
10. Bird On The Wire (03:26)
11. A Thousand Kisses Deep (06:27)
12. The Future (06:42)
13. Closing Time (05:59)
14. Dance Me To The End Of Love (04:40)
15. First We Take Manhattan (05:52)
16. I'm Your Man (04:27)
17. Hallelujah (04:38)

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