Jethro Tull - Too Old To Rock 'N' Roll: Too Young To Die! (1976)

Year: 23 April 1976 (CD 1987)
Label: Chrysalis Records (Germany), 252 663
Style: Progressive Rock, Gothic Rock, Folk Rock
Country: Blackpool, Lancashire, England
Time: 42:15
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

Ian Anderson should stick to music, because he most definitely is not a storyteller. This is the muddled story of one Ray Lomas, “the last of the old rockers,” whose long hair and tight jeans mark him as a person whom time has passed by. After a series of events remarkable only for their lack of humor and originality, we leave the “hero” as he is about to become a pop star in his own right.
So what? We can take comfort, though, in knowing that Anderson’s technical prowess as a composer remains undiminished. The album abounds in breathtaking musical passages. The title cut, for one, is a textbook example of the use of dynamics and nuance in a rock song: instruments subtly creep in during the verses, with the slightest of musical nods to let us know they’re there. The music builds with a tension that heightens a desperate theme, then erupts in the chorus. “Quizz Kid” features, in addition to numerous startling changes in texture, several brief but pungent solos by guitarist Martin Barre, whose playing is exemplary throughout.
(rollingstone.com/music/music-album-reviews/too-old-to-rock-n-roll-too-young-to-die-204560/)

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. Quizz Kid (05:07)
02. Crazed Institution (04:47)
03. Salamander (02:51)
04. Taxi Grab (03:55)
05. From A Dead Beat To An Old Greaser (04:08)
06. Bad-Eyed and Loveless (02:14)
07. Big Dipper (03:37)
08. Too Old To Rock 'N' Roll: Too Young To Die (05:41)
09. Pied Piper (04:32)
10. The Chequered Flag (Dead or Alive) (05:23)

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Camel - Moonmadness [Japanese Ed. 2CD] (1976)

Year: April 1976 (CD 2009)
Label: Universal Music (Japan), UICY-94134/5
Style: Art Rock, Symphonic Rock, Canterbury Scene
Country: Guildford, Surrey, England
Time: 54:41, 73:52
Format: Flac Tracks 16/44,1 kHz
Size: 347, 437 Mb

CD1: Moonmadness - original album + 3 bonus tracks. CD2: The London Hammersmith Odeon Concert - 14th April 1976.
Moonmadness is the fourth studio album by English progressive rock band Camel. It was released in April 1976 on Decca and Gama Records and is their last album recorded by the group's original line-up of Andrew Latimer, Peter Bardens, Doug Ferguson, and Andy Ward. After reaching success with their previous album, the all-instrumental The Snow Goose, the band started on a follow-up and incorporated vocals and lyrics to the new music. Moonmadness has a loose concept with one track based on the personality of each band member: "Air Born" for Andrew Latimer, "Chord Change" for Peter Bardens, "Another Night" for Doug Ferguson, and "Lunar Sea" for Andy Ward.
Camel's popularity grew in 1975 with their critically acclaimed instrumental album The Snow Goose, which was followed by the group being voted Britain's Brightest Hope by readers of the nationwide music publication Melody Maker. In late 1975, the band spent three weeks writing new music for a follow-up album, and recorded Moonmadness in January and February 1976. At the time of release, Latimer said he was very pleased with the album despite the need to rush to finish it.
The last track, "Lunar Sea", ends with a minute-long wind-blowing effect. On some LP pressings, the record arm would skip during the end of this part and naturally return to the beginning of the effect, playing it endlessly (the "terminal groove" effect).
In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album came number 23 in its list of "40 Cosmic Rock Albums".
It was voted no. 58 in the Top 100 Prog albums of All Time by readers of 'Prog' magazine in 2014 and is ranked 16th greatest prog album on progarchives.com (as of 23-07-2025).
(en.wikipedia.org/wiki/Moonmadness)

01. Aristillus (01:57)
02. Song Within a Song (07:14)
03. Chord Change (06:43)
04. Spirit of the Water (02:07)
05. Another Night (06:54)
06. Airborn (05:02)
07. Lunar Sea (09:12)
08. Another Night (single) (03:24)
09. Spirit of the Water (demo version) (02:14)
10. Lunar Sea (live) (09:50)

01. Song Within a Song (07:38)
02. Excerpts From the Snow Goose (11:03)
03. Air Born (05:12)
04. Chord Change (06:58)
05. The White Rider (09:10)
06. Preparation / Dunkirk (10:17)
07. Another Night (07:25)
08. Lady Fantasy (16:05)

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Darryl Way's Wolf (Curved Air) - Saturation Point [Japanese Ed. SHM-CD] (1973)

Year: 1973 (CD Nov 26, 2008)
Label: Universal Music (Japan), UICY-93827
Style: Progressive Rock, Symphonic Rock, Instrumental
Country: Taunton, Somerset, England
Time: 47:30
Format: Flac Tracks 16/44,1 kHz
Size: 335 Mb

WOW! When a progressive rock band has violin and guitars in his music, usually they are not played at the same time. In fact, they are simultaneously played here, and this really contributes to give Wolf a very personal trademark. This not very well known prog band gives us here a wonderful album, full of impressive violin, electric + acoustic guitars and dynamic & punchy bass! No one else than Ian Mosley himself(Marillion)plays the drums here: they are very well played and quite complex. Everything is very well synchronized, like Gentle Giant. It sounds a bit like Curved air, Caravan, Happy the man, Gentle Giant and Frank Zappa, but this album has really its own sound, and this makes the band very interesting. The record is mainly instrumental, and the keyboards are surprisingly rare, simple and discreet: they mainly consist in electric piano. This record is heavier and more symphonic and straightforward than "Canis Lupus": there are some very seriously loaded parts, very progressive, and the violin is more omnipresent.
(rateyourmusic.com/music-review/greenback/darryl-ways-wolf/saturation-point/216103)

01. The Ache (04:51)
02. Two Sisters (04:21)
03. Slow Rag (05:18)
04. Market Overture (03:38)
05. Game Of X (05:48)
06. Saturation Point (06:46)
07. Toy Symphony (07:14)
08. A Bunch Of Fives (03:30)
09. Five In The Morning (02:40)
10. Two Sisters (Single Version) (03:19)

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Jon Lord (Deep Purple) - Sarabande (1976)

Year: October 1976 (CD 1987)
Label: Line Records (Germany), LICD 9.00124 O
Style: Modern Classical, Progressive Rock
Country: Leicester, England (9 June 1941 - 16 July 2012)
Time: 50:06
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

Typically, when an artist branches out from their current band for a solo outing, it is to “prove” something. Wishing to be seen as more than just “one of the guys in the band,” they want to take an excursion into the studio, hoping to demonstrate to the loyal legion of fans that they have something different to offer. This is especially true when they are not the main songwriter in said group. Jon Lord, a founding member and former member of Deep Purple, successfully found a way of sounding relevant with Sarabande, his second solo outing, without losing the respect of Purple’s fan base.
Anyone expecting a Deep Purple-sounding album will be disappointed. In this case, that may be a good thing. If you have an appreciation for majestic, brain-jarring compositions of pure musicianship, Sarabande may be the album for you. With the Hungarian Philharmonic as his accompaniment, in addition to an array of other studio musicians, including a pre-Police guitarist Andy Summers, Lord offers up eight songs of pure musical, majestic bliss. To some, it may appear Lord is just being pretentious; but to those with open ears, he is merely demonstrating that his talents reach beyond his years with Deep Purple.
In a way, Sarabande almost resembles the soundtrack, to one of Hollywood’s old-time classics, ala Lawrence of Arabia or Ben-Hur. That’s what I love about it. It is truly grand on all levels. With the musicianship and the swooping, epic-like execution of each track, there is not a moment on this mesmerizing album where the listener will fail to be impressed. Combining classical music with jazz, blues, and straight forward rock, it is an ambitious piece of work that, for the most part, succeeds, thanks to the genius of Lord’s capabilities.
(full version: https://vintagerock.com/jon-lord-sarabande/)

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. Fantasia (03:32)
02. Sarabande (07:25)
03. Aria (03:48)
04. Gigue (11:10)
05. Bouree (11:07)
06. Pavane (07:45)
07. Caprice (03:13)
08. Finale (02:04)

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Trapeze (Glenn Hughes) - Trapeze (1970)

Year: May 1970 (CD 1994)
Label: Polygram Records (US), 820 954-2
Style: Progressive Rock, Pop Rock
Country: Cannock, England
Time: 40:37
Format: Flac Tracks 16/44,1 kHz
Size: 197 Mb

Trapeze is the debut studio album by British rock band Trapeze. Recorded in 1969 at Morgan Studios and Decca Studios, it was produced by the Moody Blues bassist John Lodge and released in May 1970 as the second album on Threshold Records, a record label founded by Lodge's band. Trapeze is the band's only album to feature founding member John Jones (vocals, trumpet); both he and Terry Rowley (organ, piano, flute) left shortly after its release. (Rowley rejoined in 1974.)
Unlike the band's later material, which was primarily categorised as blues and hard rock, Trapeze has been described by commentators as a progressive or psychedelic rock album, owing partly to the presence of brass instruments and keyboards on the album. Songwriting was typically led by Jones, Galley and Hughes, with Rowley also co-writing two tracks. "Send Me No More Letters" was released as the only single from the album in 1969, backed with fellow album track "Another Day".
(en.wikipedia.org/wiki/Trapeze_(1970_album))

01. It's Only A Dream (00:44)
02. The Giant's Dead Hoorah! (03:33)
03. Over (03:38)
04. Nancy Gray (02:47)
05. Fairytale - Verily Verily - Fairytale (07:41)
06. It's My Life (02:50)
07. Ami (03:08)
08. Suicide (04:51)
09. Wings (03:30)
10. Another Day (02:37)
11. Send Me No More Letters (04:35)
12. It's Only A Dream - Reprise (00:40)

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Foghat - Foghat (Rock 'n' Roll) (1973)

Year: March 1973 (CD 2005)
Label: Rhino Records (US), R2 70890
Style: Hard Rock, Blues Rock
Country: London, England
Time: 38:28
Format: Flac Tracks 16/44,1 kHz
Size: 267 Mb

Foghat is the second album, and the second self-titled album, by the English rock band Foghat, released in March 1973. It is generally known by fans as Rock 'n' Roll, because of its cover picture depicting a rock and bread roll.

Formed in 1971 when Lonesome Dave Peverett & Roger Earl left the British blues-rock band, Savoy Brown, Foghat has earned eight Gold records, one Platinum record and one Double-Platinum record.  And they continue to release new music every few years. They have never stopped touring and recording although there have been several ups and downs and changes over the years.  They sadly lost Lonesome Dave Peverett in 2000 and Rod Price in 2005, but Roger Earl kept banging & kicking to keep Foghat's musical legacy going.

According to a recent review "The '70s called...but there is no way in hell we are giving Foghat back to them. The iconic band from the past is rocking just as hard as they did decades ago, if not more! Foghat's thunderous blend of blues, boogie and butt-kickin' rock 'n' roll are shaking walls and fans everywhere. There is so much talent in this band it is ridiculous.  Lead vocalist/lead guitarist Scott Holt played with Buddy Guy for over 10 years, and lead/slide guitarist Bryan Bassett played with Wild Cherry and Molly Hatchet."  Bass player Craig Macgregor who had been with the band since the '70s, unfortunately became ill in 2015 and was unable to play, and we sadly lost him in February of 2018.  Craig had recommended the very talented & personable Rodney O'Quinn as a 'fill-in' who came to Foghat via the Pat Travers band where he proved he knew how to lay down a solid groove. O'Quinn viewed MacGregor as a mentor and is a great permanent addition to the band.  And on drums, of course, is the man we must thank for keeping Foghat going...founding member Roger Earl, who's positive attitude and solid drumming style and pure joy of playing has been an inspiration to all."

If Foghat had only given us 'Slow Ride', the band's place in rock history would be secure.  But the band is so much more than that. As stated by Roger Earl, "we are still a 'work in progress', writing and recording and plan to be until the day we depart this earth".

**We sadly lost our brother, friend and Foghat member Craig MacGregor, who passed away on February 9th, 2018. RIP Mac. We miss you, brother.**

(foghat.com/band/band-bio/)

01. Ride, Ride, Ride (04:24)

02. Feel So Bad (05:08)

03. Long Way to Go (05:07)

04. It's Too Late (05:43)

05. What a Shame (03:52)

06. Helping Hand (04:41)

07. Road Fever (04:22)

08. She's Gone (03:12)

09. Couldn't Make Her Stay (01:57)

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Bill Ward (Black Sabbath) - Ward One: Along The Way (1990)

Year: 10 January 1990 (CD 1990)
Label: Chameleon Records (US), D2-74816
Style: Hard Rock, Heavy Metal
Country: Aston, Birmingham, England (5 May 1948)
Time: 49:13
Format: Flac Tracks 16/44,1 kHz
Size: 324 Mb

Musicians: Ozzy Osbourne (vocals 3,7); Zakk Wylde (guitar 4); Bob Daisley (bass 3,7); Jack Bruce (bass & vocals 5,10); Eric Singer (drums 1,4).
Билл сам записал партии ударных, вокал и фортепиано, но не на всех треках. To date, since leaving Black Sabbath (the first time) in 1980, Bill Ward has released precisely two full solo albums (plus the single “Straws”).   This is especially unfortunate, since both solo albums are particularly fine pieces of work.  The finest and most noteworthy was his first, Ward One: Along the Way, released a decade after his Sabbath departure.  A long time in the making doesn’t begin to sum it up.
Aside from some production issues (this album could use a nice, clear remix) this is among the best solo products issued by any ex-member of Black Sabbath, including Dio and Ozzy.  It has its Sabbathesque moments (a few crushing guitar chords, pounding drums, peacenik lyrics) but it truly is an animal of its own.   Bill Ward received a co-writing credit on every original Black Sabbath song, and it’s clear why.  The man has a vivid imagination, creating swirling soundscapes of music.  There is nothing here that is outright commercial, nothing straightforward, everything is just slightly fucked up.  I think most likely it was Bill that gave Black Sabbath its oddball experimental edge in the early days.  An edge they have lost now that they have given him the boot.
The obvious standout track is “Bombers (Can Open Bomb Bays)”, the thunderous single featuring none other than Ozzy himself on lead vocals.  But even that is strange and offputting, as the pitch of Ozzy’s voice is manipulated in the mix, giving him an otherworldly sound at times.
(full version: mikeladano.com/2012/11/26/review-bill-ward-ward-one-along-the-way-1990/)

01. (Mobile) Shooting Gallery (05:11)
02. Short Stories (01:06)
03. Bombers (Can Open Bomb Bays) (04:23)
04. Pink Clouds An Island (03:15)
05. Light Up The Candles (Let There Be Peace Tonight) (03:35)
06. Snakes And Ladders (06:35)
07. Jack's Land (04:41)
08. Living Naked (06:03)
09. Music For A Raw Nerve Ending (02:05)
10. Tall Stories (05:04)
11. Sweep (04:00)
12. Along The Way (03:09)

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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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Depeche Mode - The Best Of, Volume 1 [Japanese Ed. SHM-CD] (2006)

Year: 13 November 2006 (CD Nov 8, 2006)
Label: Tochiba-EMI (Japan), TOCP-66627
Style: Synth-Pop, Electronic, New Wave
Country: Basildon, Essex, England
Time: 74:46
Format: Flac Tracks 16/44,1 kHz
Size: 553 Mb

According to the band, there are no plans to release succeeding volumes in a “Best Of” series, making the “Volume 1” in the title somewhat of a joke. The debate with hits collections, as always, is over song selection. While no one can argue the inclusion of hits like “Strangelove” and “Just Can’t Get Enough,” there are plenty of other songs whose exclusion some will take issue with. On this particular “Best Of,” the most notable absence is any song from Black Celebration. Maybe it’s just that songs from Black Celebration work better as a complete thematic whole, “Stripped” following “A Question of Time” and “But Not Tonight” succeeding “New Dress.” I don’t know, but I’m still trying to fathom a “Best of Depeche Mode” without “Fly on the Windscreen.” All in all, the eighteen tracks selected for this collection are a fairly representative and fair look at a spectacular and legendary pop band that probably still isn’t given the due it deserves.
As far as the real “Best Of,” the one bearing the misleading `Volume 1" tag, at its best it is a worthy representation of 25 years of pop mastery. At its worst, it is a reminder that, given any 18 songs from this legendary band, whether your favorites or not, Depeche Mode will always be relevant. From “New Life” to “Suffer Well,” there are no bad songs on this record, only great song after great song.
(full version: treblezine.com/depeche-mode-the-best-of-vol-1/)

01. Personal Jesus (03:47)
02. Just Can't Get Enough (03:43)
03. Everything Counts (04:01)
04. Enjoy the Silence (04:14)
05. Shake the Disease (04:51)
06. See You (03:57)
07. It's No Good (05:58)
08. Strangelove (03:46)
09. Suffer Well (03:52)
10. Dream On (03:41)
11. People Are People (03:46)
12. Martyr (03:25)
13. Walking in My Shoes (05:00)
14. I Feel You (04:35)
15. Precious (04:09)
16. Master and Servant (03:49)
17. New Life (03:46)
18. Never Let Me Down Again (04:18)

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Paul McCartney - Flaming Pie [Japanese Ed.] (1997)

♪ Year: 5 May 1997 (CD Jul 25, 2025)
♪ Label: Universal Music (Japan), UICY-80482
♪ Style: Rock, Soft Rock, Pop Rock
♪ Country: Liverpool, England (18 June 1942)
♪ Time: 53:46
♪ Format: Flac Tracks 16/44,1 kHz
♪ Size: 376 Mb

His first studio album in over four years, it was mostly recorded after McCartney's involvement in the highly successful Beatles Anthology project. The album was recorded in several locations over two years, between 1995 and 1997, featuring two songs dating from 1992.
The album featured several of McCartney's family members and friends, most notably McCartney's son, James McCartney featured on electric guitar. In Flaming Pie's liner notes, McCartney said: "[The Beatles Anthology] reminded me of the Beatles' standards and the standards that we reached with the songs. So in a way it was a refresher course that set the framework for this album."
Flaming Pie peaked at number two in both the UK and the US and was certified gold. The album, which was well received by critics, also reached the top 20 in many other countries. From its release up to mid-2007, the album sold over 1.5 million copies. The album was reissued on 31 July 2020 as a part of the Paul McCartney Archive Collection with bonus tracks, outtakes and demos.
The album is ranked number 988 in the third edition of Colin Larkin's book All-Time Top 1000 Albums (2000).
(en.wikipedia.org/wiki/Flaming_Pie)

01. The Song We Were Singing (03:55)
02. The World Tonight (04:05)
03. If You Wanna (04:37)
04. Somedays (04:15)
05. Young Boy (03:54)
06. Calico Skies (02:32)
07. Flaming Pie (02:30)
08. Heaven On A Sunday (04:26)
09. Used To Be Bad (04:12)
10. Souvenir (03:41)
11. Little Willow (02:58)
12. Really Love You (05:18)
13. Beautiful Night (05:08)
14. Great Day (02:09)

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Lita Ford with Ozzy Osbourne - Close My Eyes Forever [Single] (1989)

Year: February 1989 (CD 1989)
Label: BMG Music (Austria), PD49409
Style: Glam Metal, Hard Rock
Country: London, England (September 19, 1958)
Time: 13:20
Format: Flac Tracks 16/44,1 kHz
Size: 103 Mb

“Close My Eyes Forever,” the powerful duet between Lita Ford and Ozzy Osbourne released in 1989, gave each artist their first Top 10 song on the Billboard Hot 100 chart. In the wake of Ozzy’s passing on Tuesday (July 22nd), Ford said that the metal icon changed her life.
Ford checked in with SiriusXM’s Trunk Nation With Eddie Trunk the day after Ozzy’s death (as transcribed by Blabbermouth), telling the host, “He changed my life, from the time I was 13 years old going to [a] Black Sabbath concert. That was it. That was the day and the night the light bulb went off over my head, and I just thought, ‘I have to do this. This is what I wanna do…. And so that night I came out of there, and I knew what I was gonna do with my future.”
As for the hit duet, Ford noted, “It’s just really ironic that I got to have a Top 10 hit single with Ozzy. And I have to say it was one of the highlights of my life. And we will all miss him, but his music will live on. And that’s what we have to do, is just focus on the music and all the good things that he’s left everybody.”
She added, “And I’m sure he would’ve probably been gone a long time ago if not for [his wife and manager] Sharon. I mean, Sharon was the best, and she took good care of Ozzy, and so she kept him going and she made him into the superstar that he is today.”
Just weeks prior to his passing, Ozzy had declared that “Close My Eyes Forever” was the best duet he had ever recorded.
At her concert at KK’s Steel Mill in Wolverhampton, England, on Wednesday, Ford dedicated “Close My Eyes Forever” to Ozzy, asking fans to hold their phone lights up in honor of the metal legend.
(consequence.net/2025/07/lita-ford-honors-ozzy-osbourne/)

01. Close My Eyes Forever (Remix) (04:44)
02. Under The Gun (04:50)
03. Blueberry (03:46)

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Curved Air - Second Album [Japanese Ed. SHM-CD] (1971)

Year: September 1971 (CD Apr 8, 2015)
Label: Warner Music (Japan), WPCR 16300
Style: Progressive Rock, New Age
Country: London, England
Time: 42:27
Format: Flac Tracks 16/44,1 kHz
Size: 285 Mb

The aptly titled “Second Album” catches Curved Air at the peak of their popularity following the success of the single “Back Street Luv” which remains one of their best known tracks. However in line with the high turnover that was to characterise the band’s line-up, seeds of discord were growing between guitarist Francis Monkman and multi-instrumentalist Darryl Way which led to one side being dedicated to tracks penned by Way and other members of the band while the other saw all the Monkman compositions lumped together.
The second album is always a tricky step for a band who achieve success with their first LP. Usually recorded in the gaps of a busy touring schedule, with little time to come up with new material, it can be a band’s undoing. However “Second Album” is a good effort which opens with not one but two bangs, the excellent “Young Mother” that includes an excellent instrumental break in its midst and the already mentioned “Back Street Luv”. “Jumbo” shows a band stretching its wings with the use of a string section. “You Know” is another good rocker that clearly displays the influences of american band Spirit described by Darryl Way in the liner notes, the excellent hook played in unison by the keyboard and the guitar works a treat.”Puppets” meanders a little and might be the only real filler track here but things pick up instantly with “Everdance” where Curved Air’s trademark violin and an almost chidlike-nursery rhyme lyric make it instantly memorable. Monkman’s inventivity shines through on “Bright Summer’s Day 1968” with its unusual melodies and time signature changes. Closing off the second side is the ambitious “Piece of Mind”, again a track where Monkman’s singular music vision is well displayed. This carefully constructed music suite manages to stay interesting for the whole course of its thirteen minutes.
(louderthanwar.com/curved-air-second-album-album-review/)

01. Young Mother (05:58)
02. Back Street Luv (03:41)
03. Jumbo (04:10)
04. You Know (04:11)
05. Puppets (05:29)
06. Everdance (03:08)
07. Bright Summer's Day '68 (02:54)
08. Piece Of Mind (12:53)

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Camel - The Snow Goose (1975)

Year: May 1975 (CD March 1983)
Label: Deram Records (Germany), 800 080-2
Style: Art Rock, Symphonic Rock, Instrumental
Country: Guildford, Surrey, England
Time: 43:29
Format: Flac Tracks 16/44,1 kHz
Size: 230 Mb

Looking back the history, this album should be read as Camel music inspired by "The Snow Goose". Why? This concept album was composed with a reference to Paul Gallico’s Snow Goose. Right after the success of "Mirage" which stayed at Billboard’s Top 200 for a creditable 13 weeks peaked at 149, the band brainstormed the idea of making an acclaimed literary piece concept album. Peter Bardens voted for Steppen Wolf’s but Ferguson and Latimer proposed Paul Gallico’s. So the band created the music that revolved around The Snow Goose. Unfortunately, their record label failed to sign a deal with Gallico’s publishers in the hope of obtaining official blessing for the project, ideally having the author pen a sleeve note and possibly arrange a tie-in between album and tome. That’s why this tribute to our feathered friends had its title prefaced "Music Inspired By" and remained wholy wordless. [sleeve note].
Nevertheless, the streams of music featured in this album is a good one to enjoy and you may have a rewarding experience throughout some tracks. It starts off with an ambient "The Great Marsh" (2:02) which to me personally sounds like an opener for the whole atmosphere of the album. No one would argue that "Rhayader" (3:01) is an excellent track which has powerful melody combining flute, guitar and organ performed in classical influence music with medium tempo. This song has characterized the seventies music altogether with other common songs from Genesis or Yes or ELP or Pink Floyd. I used to associate this song with "Bouree" by Jethro Tull at that time because both of them are flute-based music. "Rhayader Goes To Town" (5:20) is a logical follow- up to Rhayader as it brings the music into faster tempo with great combination of guitar and organ solo with energetic beats. These two songs must be enjoyed in its entirety.
"Sanctuary" (1:05) and "Fritha" (1:19) are songs that I consider as bridges that connect to title track "The Snow Goose" (3:12) which contains guitar solo augmented with long sustain organ in the vein of Jan Akermann of Focus. Cool guitar-based instrumental. "Friendship" (1:44) is a bit boring exploration of keyboard / organ whicch may have more meaning if we can associate with certain part of the story - say our goose was running away or swimming quickly . things like that. Otherwise, it’s a meaningless bridge. "Migration" (2:01) brings the music into up-beat style followed nicely with a cool quiet passage "Rhayader Alone" (1:50). "Flight Of The Snow Goose" (2:40) explores Bardens’ keyboard virtuosity followed with good guitar fills that bring the melody of the music combined with a bit spacey keyboard work.
"Preparation" (3:58) is to me like a theme song that brings the introduction to the next track "Dunkirk" (5:19) with the use of Hammond organ as basic rhythm section plus some howling guitar work followed with guitar solo. The song is dominated with keyboard work even though guitar fills some parts and serves as melody in some other parts. It’s a good track. "Epitaph" (2:07) and "Fritha Alone" (1:40) are bridges to upbeat music with keyboard solo in "La Princesse Perdue" (4:44). Again, I can smell a similarity with Focus music, especially the guitar part. "The Great Marsh" (1:20) concludes the album with an exploration of nature sounds .
Overall, through this album the band has demonstrated their capability to maintain their creation on par excellent with their previous album "Mirage". The album offers good combined work between organ and guitar performed in various styles. The music is cohesive to support a concept album. I think this album should be "in" any prog collection as it was one of the icons in the seventies that anyone should not miss. Recommended.
(classicrockreview.wordpress.com/category/camel-the-snow-goose/)

01. The Great Marsh (02:02)
02. Rhayader (03:01)
03. Rhayader Goes To Town (05:20)
04. Sanctuary (01:05)
05. Fritha (01:19)
06. The Snow Goose (03:12)
07. Friendship (01:44)
08. Migration (02:01)
09. Rhayader Alone (01:50)
10. Flight Of The Snow Goose (02:40)
11. Preparation (03:58)
12. Dunkirk (05:19)
13. Epitaph (02:07)
14. Fritha Alone (01:40)
15. La Princesse Perdue (04:44)
16. The Great Marsh (01:20)

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Bad Company - Burnin' Sky [Japanese Ed.] (1977)

Year: March 3, 1977 (CD Mar 7, 2007)
Label: Swan Song (Japan), WPCR-12545
Style: Hard Rock, Blues Rock
Country: London, England
Time: 45:08
Format: Flac Tracks 16/44,1 kHz
Size: 296 Mb

Charts: UK #17, AUS #15, CAN #16, NDL #14, NOR #45, NZ #32, SWE #32, US #15. US: Gold.
Before you can even digest or vomit back up Run With The Pack (or "Run With The Night", as lameass North Carolina DJ "Cosmo" so eloquently called it that time I heard him play "Young Blood" - right before he declared it to be a "great song" off of a "great album." Lameass.), the "talentless boys of rock 'n' roll" are back to shove more poorly-written dreck down your listening ear.
I'll give 'em this though: even though all these melodies sound like they were written in about two minutes, most of them are amazingly catchy. The title track, "Morning Sun," "Too Bad," "Everything I Need," "Peace Of Mind" - all disgustingly simple, but not self-parodic like on the last album. It sounds, rather, like a postmodern lo-fi college band imitating Bad Company. It's not bombastic (except for a couple of really crappy numbers); it's just a bunch of poorly-arranged songs. I like 'em! It's actually a pretty good record, though definitely not worthy of classic rock radio play. If you see it in a dollar bin, get it. It's at least an interesting, semi-unpredictable record. A cover of "Valerie, Valerah?" A seven-minute groove jam? Wow. Bad Company stretches out and tries something new. Who knows how far this'll go? Embarrassing. And the cover of "Young Blood" is unlistenable.
(albumoftheyear.org/user/markprindlebot/album/119320-burnin-sky/)

01. Burnin' Sky (05:09)
02. Morning Sun (04:06)
03. Leaving You (03:23)
04. Like Water (04:19)
05. Knapsack (01:20)
06. Everything I Need (03:23)
07. Heartbeat (02:37)
08. Peace Of Mind (03:25)
09. Passing Time (02:30)
10. Too Bad (03:52)
11. Man Needs Woman (03:45)
12. Master Of Ceremony (07:13)

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