Kansas - Leftoverture [Japanese Ed. Blu-Spec CD] (1976)

Year: October 21, 1976 (CD Aug 24, 2011)
Label: Epic Records (Japan), EICP 20074
Style: Progressive Rock, Soft Rock
Country: Topeka, Kansas, U.S.
Time: 58:50
Format: Flac Tracks 16/44,1 kHz
Size: 433 Mb

Steve Walsh began to experience writer's block prior to the recording, and his contribution to the album would ultimately be limited to co-authoring three songs; it fell on Kerry Livgren to fill the void. The new compositions retained much of the classically inspired complexity of Livgren's previous work. As with their previous album, Masque, Kansas recorded Leftoverture at Studio in the Country in Bogalusa, Louisiana. The Studio in the Country was so named because, as Livgren described on In the Studio with Redbeard radio show in the episode spotlighting Leftoverture, "it was in the middle of a swamp. We'd walk out of the studio and there would be gators in front of the studio, mosquitos the size of B-52s and at times armadillos would run into the control room."
Leftoverture opens with the song "Carry On Wayward Son", which Livgren wrote as a sequel to "The Pinnacle", the final song from the previous album Masque (1975). The album's title, Leftoverture, is a portmanteau of leftover and overture.
(en.wikipedia.org/wiki/Leftoverture)

01. Carry On Wayward Son (05:25)
02. The Wall (04:51)
03. What's On My Mind (03:28)
04. Miracles Out Of Nowhere (06:29)
05. Opus Insert (04:28)
06. Questions Of My Childhood (03:40)
07. Cheyenne Anthem (06:55)
08. Magnus Opus (08:35)
09. Carry On Wayward Son (Live) (04:44)
10. Cheyenne Anthem (Live) (06:43)
11. Carry On Wayward Son (Single Version) (03:26)

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AC/DC - The Razors Edge [remastered] (1990)

Year: 24 September 1990 (CD 2003)
Label: Epic Records (Europe), EPC 510771 2
Style: Hard Rock
Country: Sydney, New South Wales, Australia
Time: 46:42
Format: Flac Tracks 16/44,1 kHz
Size: 361 Mb

It was a major comeback for the band, featuring the hits "Thunderstruck", "Are You Ready" and "Moneytalks". This is the only studio album to feature Welsh drummer Chris Slade, who was the drummer for AC/DC from 1989 to his dismissal in 1994.
Critical commentary for the album was generally mixed, with Alex Henderson of AllMusic complimenting Brian Johnson and Angus Young, while John Mendelsohn from Rolling Stone criticises its similarity to the band's past works. The album reached number 2 on the US Billboard 200 and number 4 on the UK Albums Chart, a smash commercial success that returned the band to a peak equivalent to that of their late 1970s and early 1980s popularity. The album earned multi-platinum certifications in Australia, Canada, Germany, Switzerland and the US. To support The Razors Edge, the band undertook the Razors Edge World Tour, starting in November 1990.
(en.wikipedia.org/wiki/The_Razors_Edge_(AC/DC_album))

01. Thunderstruck (04:52)
02. Fire Your Guns (02:53)
03. Moneytalks (03:45)
04. The Razors Edge (04:22)
05. Mistress for Christmas (03:59)
06. Rock Your Heart Out (04:06)
07. Are You Ready (04:10)
08. Got You by the Balls (04:30)
09. Shot of Love (03:56)
10. Let's Make It (03:32)
11. Goodbye & Good Riddance to Bad Luck (03:13)
12. If You Dare (03:18)

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Edgar Winter - Edgar Winter's White Trash (1971)

Year: 1971 (CD 1989)
Label: Epic Records (US), EK 30512
Style: Blues Rock, Rock and Roll, Funk, Gospel
Country: Beaumont, Texas, U.S. (December 28, 1946)
Time: 43:30
Format: Flac Tracks 16/44,1 kHz
Size: 286 Mb

A quite brilliant album and no mistake and maybe the man’s most beloved of all his album releases that combines a heady mixture of rock, R&B, gospel and funk. When this album first appeared in 1971 it blew a breath of fresh air through the album releases of the time. Highlights include a smattering of gospel with Fly Away (featuring a full vocal chorus that adds the uplifting spirit of the track) and Save the Planet (a real rabble rousing song that demands that you jump off your chair and clap your hands in time to the words) on one side of the coin along with chart material such as the lower end of the Top 40 cut, Keep Playin’ That Rock and Roll while not forgetting the lovely Dying to Live that includes some fine piano work and pokes an effective dig at Vietnam, the cause celebre of the time.
In terms of audiophile reproduction, this track is a good example of the nature of the pressing which is effectively quiet without any blurring in the upper mids or smudging of the bass. There is a tremendous dynamic range in evidence here. Winter’s piano is accurate and tonally solid while Winter’s own vocal delivery is passionate, fervent but lusty in terms of the complexity that can be heard through those rasping vocal chords of his.
If there is one overarching personality of this album that links each track together, it is its joyous nature and sense of never-ending rhythm, a forward motion that also creates a perfect sense of escapism. I will bet that, before long, once you’ve learned a few lines of your own, you won’t be able to resist in singing along to much of this disc yourself.
(theaudiophileman.com/edgar-winters/)

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. Give It Everything You Got (04:32)
02. Fly Away (03:02)
03. Where Would I Be (03:59)
04. Let's Get It On (05:05)
05. I've Got News for You (03:56)
06. Save the Planet (05:41)
07. Dying to Live (04:04)
08. Keep Playin' That Rock 'n' Roll (03:46)
09. You Were My Light (05:02)
10. Good Morning Music (04:20)

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Kansas - Song For America [Japanese Ed. Blu-Spec CD] (1975)

Year: February 1975 (CD Aug 24, 2011)
Label: Epic Records (Japan), EICP 20072
Style: Progressive Rock, Hard Rock, Soft Rock
Country: Topeka, Kansas, U.S.
Time: 68:13
Format: Flac Tracks 16/44,1 kHz
Size: 509 Mb 

While not a standout success as the Progressive Rock entourage were hoping it would be, their debut album nevertheless became the foundation for how Kansas would operate for the next decade. As their sophomore album was drawing near, the band began to take in more ideas and transform their music into something that would define them for the next 40 years. Make no mistake, Song For America is the Kansas we all know and love. Their debut was an amazing album, but it's Boogie Rock and acoustic elements would never return after that debut. Instead, the band looked onward towards more electronic elements.
Like the previous album, Song For America has short tunes and elongated pieces. The most notable piece is Song for America, a massive, 10-minute undertaking filled with standout synthesizers, electronic guitars, and violins galore. It relishes in its excess with so little shame that one can't help but feel exuberant towards it. Another "long song" would be the 8-minute slow ballad Lamplight Symphony. Unlike Song for America, Lamplight Symphony downplays the violins and guitars in favor of more organ, piano, and percussion elements. While it is overall a great track, some pieces tend to overlap each other to the point where it all becomes jumbled, this left certain instruments in the cold and really hindered what was an overall good track.
(full version: sputnikmusic.com/review/73049/Kansas-Song-for-America/)

01. Down The Road (03:43)
02. Song For America (10:03)
03. Lamplight Symphony (08:16)
04. Lonely Street (05:42)
05. The Devil Game (05:04)
06. Incomudro - Hymn To The Atman (12:17)
07. Song For America (Single Edit) (03:02)
08. Down The Road (Live) (03:52)
09. Incomudro - Hymn To The Atman (Live) (16:10)

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AC/DC - For Those About To Rock (We Salute You) [remastered] (1981)

Year: 20 November 1981 (CD 2003)
Label: Epic Records (Europe), EPC 510766 2
Style: Hard Rock
Country: Sydney, New South Wales, Australia
Time: 40:10
Format: Flac Tracks 16/44,1 kHz
Size: 302 Mb

Digitally remastered from  the original master tapes by George Marino at Sterling Sound.
As immensely successful as AC/DC’s 1980 album Back in Black was (it has sold around 50 million copies worldwide), the band didn’t have a No. 1 record until their seventh North American release, For Those About to Rock We Salute You came out on Nov. 23, 1981. The band came out of the gate with a full arsenal – literally. “For Those About to Rock (We Salute You),” now a traditional show-closer, is a mid-paced stormer about the band’s appreciation for its fans, and about three-and-a-half minutes in, the music is punctuated with cannon blasts that continue until the end of the song. It’s such a good song that it makes the other songs on the album, which rock in their own right, sound somewhat anemic by comparison.
Really, AC/DC were in a no-win situation, and after they went supernova with the release of Back in Black in 1980, the group became a victim of its own popularity. There was no way they were going to match the cultural impact of that album, so they tried something different. The problem was, they didn’t know exactly what they wanted and it shows. The band began working on For Those About to Rock We Salute You in July 1981 at EMI Pathe-Marconi Studios in Paris. They hired producer Robert John “Mutt” Lange, who had worked on their previous two albums and right away they ran into problems. Unhappy with the sound they were getting, they relocated to a warehouse on the edge of the city and rented the Mobile One studio.
After they recorded the music, Johnson tracked his vocals at Family Sound Studio and then AC/DC recorded overdubs at HIS Studios. Though they were done in September 1981 they second-guessed themselves all the way and by the time they were finished they didn’t know if they had recorded another hit or committed commercial suicide. Likely due to their unhappy experiences recording the album, For Those About to Rock We Salute You marked the end of AC/DC’s working relationship with Lange. “Christ! It took us forever to make that record and it sounds like it,” the late Malcolm Young told Metal CD in 1992. “It’s full of bits and pieces and it doesn’t flow properly like an AC/DC album should… By the time we’d completed it I don’t think anyone …could tell whether it sounded right or wrong.”
(full version: loudwire.com/acdc-for-those-about-to-rock-we-salute-you-album-anniversary/)

01. For Those About to Rock (We Salute You) (05:44)
02. Put the Finger on You (03:25)
03. Let's Get It Up (03:54)
04. Inject the Venom (03:30)
05. Snowballed (03:23)
06. Evil Walks (04:23)
07. C.O.D. (03:19)
08. Breaking the Rules (04:23)
09. Night of the Long Knives (03:25)
10. Spellbound (04:39)

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Edgar Winter - Entrance (1970)

Year: 1970 (CD 1992)
Label: Epic Records (US), EK 48536
Style: Jazz Rock, Blues Rock, Rock
Country: Beaumont, Texas, U.S. (December 28, 1946)
Time: 47:56
Format: Flac Tracks 16/44,1 kHz
Size: 309 Mb

When blues guitarist Johnny Winter was signed to Columbia Records in 1969 he received a $600,000 advance. It was the richest record deal cut up to that point by any artist in any genre. Johnny had made a few live appearances where he delivered electrifying performances – the news of which spread quickly throughout the industry. He was seen as the next Jimi Hendrix and labels moved quickly to lock him down. His first two albums released in 1969 were backed by a band that included future Double Trouble bassist Tommy Shannon. It also included his younger brother Edgar. Through those studio outings Johnny’s talents were made clear. But it was the support he received from his brother Edgar, who provided keys, alto sax and vocals that Epic Records found difficult to ignore. They signed Edgar in 1970 and from there he set course on his own musical path – one leaning more toward jazz, fusion, and a pop-oriented sound. Johnny would move further and further into the blues.
It’s hard to imagine that Epic knew exactly what they were getting into with Edgar Winter. Entrance is more of an expression that a definable piece of music. While songs are tracked they run into each other like a singular piece of music. The title track opens the record and it’s there where Winter’s vocals and the occasional pop arrangement drew sonic comparisons to Todd Rundgren. Those continue through the record. “Entrance” has a pop sensibility that makes it sound like a forgotten track off of Something Anything. As “Entrance” moves through a number of tempo changes Winter’s incredibly flexible and soul anchored vocals rope everything together and time stamp the material.
It’s followed by a four song bundle that’s jazz drenched. Here drummer Jimmy Gillen sails, Edgar debuts his now well-known shriek, and more importantly rips into some alto sax solos that spill over with fiery runs. They arrive, get to cruising altitude, look around a bit and come to a flashy, bounce heavy landing.
Side 2 opens with a cover of JD Loudermilk’s 1960 hit “Tobacco Road”. Here Edgar is joined by brother Johnny and his band. The signature piece to this song is the closing scream which seems to last all of an hour. It’s the ultimate expression of Edgar’s broad talents. It leaves you wondering if there is anything that this guy can’t do. While he is clearly more moved by jazz, he can still lay down the blues with the best of ‘em. That’s the case here as it is with “Back In The Blues”, a smooth slinky shuffle. The tune checks all of the boxes that make every other song on this record shine so brightly. It also affords one more moment for brother Johnny to shine - this time on some tasty harmonica parts.
(full version: goldminemag.com/columns/vinyl-finds/edgar-winters-solo-entrance/)

01. Winter's Dream: Entrance (03:29)
02. Where Have You Gone (02:40)
03. Rise to Fall (04:04)
04. Fire and Ice (06:52)
05. Hung Up (03:00)
06. Back in the Blues (02:17)
07. Re-Entrance (02:30)
08. Tobacco Road (04:10)
09. Jump Right Out (04:22)
10. Peace Pipe (04:42)
11. A Different Game (05:04)
12. Jimmy's Gospel (04:41)

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Chicken Shack - O.K. Ken [Japanese Ed.] (1969)

Year: February 1969 (CD Nov 21, 1994)
Label: Epic Records (Japan), ESCA 7566
Style: Rock, Blues Rock
Country: UK
Time: 42:19
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

Their second LP, O.K. Ken? was released in February 1969 and also garnered chart success just like the prior album 40 Blue Fingers, Freshly Packed and Ready to Serve. While it did surpass the first album by reaching No. 9 on the British charts, unlike the initial LP, it quickly dropped out of the charts due to the lack of an album single to support it. The band then decided to release a song from the first album, "When The Train Comes Back” (BH 57-3146), after overdubbing a horn section over the original track. The flipside of the single was “Hey Baby”, an outtake of the O.K. Ken? album sessions. Christine Perfect composed and provided piano and lead vocals on both single tracks but the single release was only mildly successful.
Stan Webb wrote four of the songs on the album and co-wrote two others with Christine Perfect. Webb sang all of his compositions and Perfect sang on the Perfect/Webb collaboration, "Get Like You Use to Be". Webb and Perfect sang a duet on the other Perfect/Webb collaboration, "A Woman Is The Blues". Additionally, Perfect sang on covers, "I Wanna See My Baby" and "Mean Old World". The "Pony Trap" and "Remington Ride" are both instrumentals.
Following her departure, Christine Perfect joined Fleetwood Mac in July 1970, and "Get Like You Used to Be" became a staple of Fleetwood Mac's live act from 1970 to 1975. Guitarists Danny Kirwan, Jeremy Spencer, Peter Green, Bob Welch, Bob Weston, & Lindsey Buckingham all featured on different performances of the song throughout the band's ever-changing lineups.
(en.wikipedia.org/wiki/O.K._Ken%3F)

01. Baby's Got Me Crying (02:34)
02. The Right Way Is My Way (02:33)
03. Get Like You Used To Be (03:49)
04. Pony And Trap (03:20)
05. Tell Me (04:50)
06. A Woman Is The Blues (03:27)
07. I Wanna See My Baby (03:52)
08. Remington Ride (03:02)
09. Fishing In Your River (04:40)
10. Mean Old World (03:44)
11. Sweet Sixteen (06:23)

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Chicken Shack - 100 Ton Chicken [Japanese Ed.] (1969)

Year: October 1969 (CD Nov 21, 1994)
Label: Epic Records (Japan), ESCA 7567
Style: Rock, Blues Rock
Country: UK
Time: 35:39
Format: Flac Tracks 16/44,1 kHz
Size: 210 Mb

Lethargic blues, sounding like an opening act recorded at the blues bar down the street. This record literally screams for a competent singer, as Stan Webb's lazy, mumbling vocals are almost laughable (did he intend it that way?). Sorry, but this chicken laid a 20-ton rotten egg.
(allmusic.com/album/100-ton-chicken-mw0000343023) Review by Peter Kurtz
100 Ton Chicken is the third album by the UK Brit Blues band Chicken Shack. Originally released in 1969, the follow-up album of their first two albums 40 Blue Fingers Freshly Packed And Ready To Serve [MOVLP104] and OK Ken? [MOVLP1039] was Paul Raymond's first album as a member of Chicken Shack. Raymond replaced Christine Perfect, who left the band when she married John McVie of Fleetwood Mac.
Terence Ibbott was in charge of the album artwork for 100 Ton Chicken, which was bizarre as always. The recordings sounded quite different and gave The Shack what they were looking for - a "heavier" sound. On the album Chicken Shack covered Clarence Carter tunes ("The Road Of Love" and "Weekend Love"), a great Freddie King tune "Look Ma, I'm Cryin'", Lowell Fulson's "Reconsider Baby" and Clarence Gatemouth Brown's "Midnight Hour".
(bear-family.com/chicken-shack-100-ton-chicken.html?srsltid=AfmBOoqNsQZMQtTUWCMyylSSdtquSEFeFpAMSi1Wb6bbu7dBgjpzqlqh)

01. The Road of Love (03:34)
02. Look Ma, I'm Cryin' (03:26)
03. Evelyn (04:20)
04. Reconsider Baby (03:24)
05. Weekend Love (02:17)
06. Midnight Hour (02:56)
07. Tears in the Wind (02:45)
08. Horse and Cart (03:38)
09. The Way It Is (04:26)
10. Still Worried About My Woman (03:13)
11. Anji (01:36)

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Chicken Shack - Forty Blue Fingers, Freshly Packed And Ready To Serve [Japanese Ed.] (1968)

Year: June 1968 (CD Nov 21, 1994)
Label: Epic Records (Japan), ESCA 7565
Style: Rock, Blues Rock
Country: UK
Time: 39:48
Format: Flac Tracks 16/44,1 kHz
Size: 259 Mb

Chicken Shack's first single “It's Okay With Me Baby / When My Left Eye Jumps” (BH 57-3135), was released in 1968 shortly before their first LP release 40 Blue Fingers, Freshly Packed and Ready to Serve was released later that year. Christine Perfect composed and sang the song on side A of the first single and Stan Webb composed and sang the song on the flip side. Neither side of the first single was included on the first LP release. The first non-album single and the debut LP attracted a lot of attention. 40 Blue Fingers... ended up having considerable chart success (No. 12 on the British Album Charts). Stan Webb and Christine Perfect both wrote two songs for the album and the rest of the songs were blues covers. Webb sang lead vocals on all of his compositions as well as all of the covers. Perfect sang lead only on her compositions.
Chicken Shack are a British blues and rock band, founded in the mid-1960s by Stan Webb (guitar and vocals), Andy Silvester (bass guitar), and Alan Morley (drums), who were later joined by Christine Perfect (later McVie) (vocals and keyboards) in 1967. Chicken Shack has performed with various line-ups, Stan Webb being the only constant member.
(en.wikipedia.org/wiki/Chicken_Shack)

01. The Letter (04:31)
02. Lonesome Whistle Blues (03:06)
03. When The Train Comes Back (03:36)
04. San-Ho-Zay (03:08)
05. King Of The World (05:05)
06. See See Baby (02:28)
07. First Time I Met The Blues (06:30)
08. Webbed Feet (02:57)
09. You Ain't No Good (03:40)
10. What You Did Last Night (04:41)

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Beck, Bogert & Appice - Live In Japan [Japanese Ed. 2CD] (1973)

Year: October 21, 1973 (CD ????)
Label: Epic Records (Japan), ESCA 5067-8
Style: Hard Rock, Blues Rock, Classic Rock
Country: Pittsburgh, Pennsylvania, U.S.
Time: 42:22, 45:26
Format: Flac Tracks 16/44,1 kHz
Size: 271, 301 Mb

Live in Japan is a 1973 release by the rock supergroup power trio Beck, Bogert & Appice. The album, although initially called Beck, Bogert & Appice Live, was only issued in Japan and is also known as Live in Japan. It is generally considered rare due to the fact of it being manufactured in only limited numbers in Japan. Live in Japan was the last LP by Beck, Bogert & Appice and their only live album. Within months of the album's release the band would dissolve after Jeff Beck suddenly decided to leave.
On this record, Beck can be heard heavily using a Heil Talkbox, two years before the release of Peter Frampton's landmark album, Frampton Comes Alive! (1976). The album also contains renditions of songs originally recorded by the Jeff Beck Group, "Plynth", "Going Down", and "Morning Dew" and one Yardbirds number "Jeff's Boogie".
(en.wikipedia.org/wiki/Live_in_Japan_(Beck,_Bogert_%26_Appice_album))

01. Superstition (05:17)

02. Lose Myself With You (10:49)

03. Jeff's Boogie (03:33)

04. Going Down (03:33)

05. Boogie (04:57)

06. Morning Dew (14:11)

01. Sweet Sweet Surrender (04:43)

02. Livin' Alone (06:11)

03. I'm So Proud (05:42)

04. Lady (06:16)

05. Black Cat Moan (09:13)

06. Why Should I Care (07:20)

07. Plynth , Shotgun (Medley) (05:57)

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Cheap Trick - Dream Police [4 bonus tracks] (1979)

Year: September 21, 1979 (CD 2006)
Label: Epic Records (US), 82796 94485 2
Style: Hard Rock, Power Pop
Country: Rockford, Illinois, U.S.
Time: 64:52
Format: Flac Tracks 16/44,1 kHz
Size: 449 Mb

The album overall dissociates itself quite a bit from the previous one, "Heaven Tonight", which is somewhat the projection of the 70s, to begin embracing an 80s perspective and taste, which would take definitive form some time later. The intention for change is recognizable from "Voices," still rooted in the almost ended century, to "Need Your Love," which perhaps intentionally is placed at the end just to indicate the result of their effort.
Overall, the tracks on the album have the same style, except for some pleasant highlights. Interesting, beyond the music, is also the vocal plan of the backing voices in "Dream Police." The album opens with the title track, which shouldn’t be labeled as the main highlight of this work, as you quickly realize with songs like "Way Of The World" and "I'll Be With You."
In "The House Is Rocking", there is a different trend compared to the first tracks, more refinement in the voice and the riff, and guitar solos appear throughout the track. Then comes "Gonna Raise Hell", which is just what I talked about earlier. The change in style and sound is very evident, and with this track and "The Writing On The Wall", the album takes on a more seriously rock direction.
(en.debaser.it/cheap-trick/dream-police/review)

01. Dream Police (03:54)
02. Way Of The World (03:38)
03. The House Is Rockin' (With Domestic Problems) (05:11)
04. Gonna Raise Hell (09:20)
05. I'll Be With You Tonight (03:51)
06. Voices (04:22)
07. Writing On The Wall (03:27)
08. I Know What I Want (04:30)
09. Need Your Love (07:40)
10. The House Is Rockin' (With Domestic Problems) (Live) (Bonus track) (06:16)
11. Way Of The World (Live) (Bonus track) (04:00)
12. Dream Police (No Strings version) (Bonus track) (03:53)
13. I Know What I Want (Live) (Bonus track) (04:44)

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Meat Loaf - Bat Out Of Hell (1977)

Year: October 21, 1977 (CD )
Label: Epic Records (Europe), CDEPC 82419
Style: Hard Rock, Progressive Pop
Country: Dallas, Texas, U.S. (September 27, 1947 - January 20, 2022)
Time: 46:36
Format: Flac Tracks 16/44,1 kHz
Size: 309 Mb

Charts: US #13, AUS #1, GER #11, IRE #1, NL #1, NZ #1, NOR #3, SWE #13, SWI #9, UK #3. CAN: 2x Platinum; UK: 11x Platinum; AUS: 26x Platinum; US: Diamond (14x Platinum).
Bat Out of Hell is the debut studio album by American rock singer Meat Loaf and composer Jim Steinman. The album was developed from the musical Neverland, a futuristic rock version of Peter Pan which Steinman wrote for a workshop in 1974. It was recorded during 1975–1976 at various studios, including Bearsville Studios in Woodstock, New York. The album was produced by Todd Rundgren, and released in October 1977 by Cleveland International/Epic Records. Bat Out of Hell spawned two Meat Loaf sequel albums: Bat Out of Hell II: Back into Hell (1993) and Bat Out of Hell III: The Monster Is Loose (2006).
Bat Out of Hell has sold over 43 million copies worldwide, making it one of the best-selling albums of all time. It is certified 14? platinum by the Recording Industry Association of America (RIAA). It is the best-selling album in Australia, having been certified 26? platinum by the Australian Recording Industry Association (ARIA). As of June 2019, it has spent 522 weeks in the UK Albums Chart, the fourth longest chart run by a studio album. In 2012, Rolling Stone ranked it at number 343 on its list of the 500 Greatest Albums of All Time.
A musical based on Bat Out of Hell, staged by Jay Scheib, opened at the Manchester Opera House on February 17, 2017, before transferring to the London Coliseum and Toronto's Ed Mirvish Theatre in late 2017. Between April 2, 2018 and January 5, 2019, the show was performed at the Dominion Theatre in London, before a short run the same year in the United States.
(en.wikipedia.org/wiki/Bat_Out_of_Hell)

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. Bat Out of Hell (09:51)
02. You Took the Words Right Out of My Mouth (Hot Summer Night) (05:05)
03. Heaven Can Wait (04:41)
04. All Revved Up with No Place to Go (04:19)
05. Two Out of Three Ain't Bad (05:25)
06. Paradise by the Dashboard Light (08:28)
07. For Crying Out Loud (08:44)

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Cheap Trick - In Color [5 bonus track] (1977)

Year: September 1, 1977 (CD 1998)
Label: Epic Records (US), EK 65573
Style: Hard Rock, Power Pop
Country: Rockford, Illinois, U.S.
Time: 46:19
Format: Flac Tracks 16/44,1 kHz
Size: 311 Mb

Charts: US #73, AUS #93, JPN #30. US & CAN: Platinum.
“Any fears of a sophomore slumber party were put to bed with the brilliant In Color. Producer Tom Werman captures a softer and zanier Cheap Trick on songs like I Want You To Want Me and Come On, Come On that has as much in common with The Bay City Rollers as The Beatles.
“As with their first record, underneath the perfect three-minute pop songs run Rick Nielsen’s dark currents of sexual angst. Hello There asks the musical question ‘Would you like to do a number with me?’ and, knowing Nielsen’s sense of humor, I’d guess the number he has in mind is somewhere between 68 and 70. Clock Strikes Ten is a blatant booty call. On later albums, Nielsen would cross the lines of good taste, but he’s got his ducks lined up in a perfect row here; the first four tracks on this record are as strong an opening as you’ll find on any pop or rock record.
“In Color also has a surfer-boy swagger to it that seemed to emanate from Robin Zander’s persona: Southern Girls, Oh Caroline and ‘Come On, Come On’ have an indelible twang to them. [Yes, I actually wrote ‘indelible twang,’ as if there are twangs that come off with a good rubbing.] It’s worth mentioning to newbies that ‘I Want You To Want Me’ is the exception on In Color. When I first bought this album as a kid, I was disappointed to find that the whole thing didn’t sound like ‘Mr. Blue Sky.’ Looking back, I can’t believe I didn’t fall head over heels for Downed, ‘Oh Caroline’ and ‘Southern Girls,’ but I was kind of a wiener as a kid. I’ve since gotten a handle on that. So, to sum things up, great power pop record, half of it classic Cheap Trick, and not nearly as lascivious as my little review would make it out to be.”
I didn’t say it was a good review, but I guess I’m feeling a bit nostalgic this morning. I would add that In Color, even more so than Cheap Trick, is the quintessential power pop record. Any band that could rock as hard as Aerosmith and lace their songs with melodies as sweet as anything from Electric Light Orchestra was destined for some measure of immortality. Of course, Cheap Trick eventually proved mortal (the muses being fickle things), but for their first three or four albums, there wasn’t a better power pop band on the planet.
(progrography.com/cheap-trick/review-cheap-trick-in-color-1977/)

01. Hello There (01:41)
02. Big Eyes (03:09)
03. Downed (04:10)
04. I Want You To Want Me (03:11)
05. You're All Talk (03:34)
06. Oh Caroline (02:59)
07. Clock Strikes Ten (03:02)
08. Southern Girls (03:43)
09. Come On, Come On (02:39)
10. So Good To See You (03:46)
11. Oh Boy (Instrumental version) (Bonus track) (03:10)
12. Southern Girls (Previously unreleased demo) (Bonus track) (03:03)
13. Come On, Come On (Previously unreleased demo) (Bonus track) (02:06)
14. You're All Talk (Previously unreleased live version) (Bonus track) (03:41)
15. Goodnight (Previously unreleased live version) (Bonus track) (02:18)

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