Suzi Quatro - The Suzi Quatro Story - Golden 20 Hits [Japanese Ed.] (1975)

Year: 1975 (CD Apr 24, 1988)
Label: Tochiba-EMI (Japan), CP28-1030
Style: Rock, Hard Rock, Glam Rock
Country: Detroit, Michigan, U.S. (June 3, 1950)
Time: 71:05
Format: Flac Tracks 16/44,1 kHz
Size: 509 Mb

Susan Kay Quatro (born June 3, 1950) is an American singer, bass guitarist, songwriter, and actress. In the 1970s, she scored a string of singles that found success in Europe and Australia, with both "Can the Can" (1973) and "Devil Gate Drive" (1974) reaching number one in several countries.
Quatro was born and raised in Detroit. Her father, Art, was a semiprofessional musician and worked at General Motors. Her paternal grandfather was an Italian immigrant to the U.S. and her mother, Helen, was Hungarian and she died in 1992. Her family name of "Quattrocchi" ("four eyes", meaning "bespectacled") was shortened to Quatro. Quatro's family was living in Detroit when she was born. She has three sisters, a brother (Michael Quatro), and one older half-sister. Her parents fostered several other children while she was growing up. Quatro grew up to be an "extrovert but solitary," according to Philip Norman of The Sunday Times, and she only became close to her mother after leaving the US for Britain.
(full version: en.wikipedia.org/wiki/Suzi_Quatro)

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. Rolling Stone (02:47)
02. Can The Can (03:34)
03. Glycerine Queen (03:47)
04. 48 Crash (03:56)
05. Daytona Demon (04:01)
06. Devil Gate Drive (03:49)
07. Too Big (03:11)
08. The Wild One (02:52)
09. Your Mamma Wont't Like Me (03:58)
10. Michael (03:41)
11. I Bit Off More Than I Could Chew (03:22)
12. I May Be Too Young (02:59)
13. Tear Me Apart (02:54)
14. Make Me Smile (03:45)
15. Half As Much As Me (04:16)
16. Roxy Roller (03:08)
17. If You Can't Give Me Love (03:55)
18. The Race Is On (04:00)
19. Stumblin' In (04:00)
20. I've Never Been In Love (03:02)

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Kiss - Destroyer [Japanese Ed.] (1976)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Slade - Keep Your Hands Off My Power Supply [US version of The Amazing Kamikaze Syndrome] (1984)

Year: 2 April 1984 (CD 1984)
Label: CBS Records (US), CSR Japan Press, ZK 39336
Style: Glam Rock, Hard Rock, Classic Rock
Country: Wolverhampton, Staffordshire, England
Time: 39:21
Format: Flac Tracks 16/44,1 kHz
Size: 260 Mb

Keep Your Hands Off My Power Supply is a studio album by the British rock group Slade, released in America and Canada on 2 April 1984. It is a repackaged version of The Amazing Kamikaze Syndrome which was released in the UK, Europe and across the rest of the world in December 1983. Keep Your Hands Off My Power Supply reached No. 33 in the US and No. 26 in Canada, giving the band their breakthrough in the US. The album proved to be the most successful North American release of Slade's career. Both "Run Runaway" and "My Oh My" enjoyed Top 40 success as singles there. In August 1984, the album was certified Gold in Canada for 50,000 sales.
The 1983 success of Quiet Riot's version of Slade's 1973 UK chart topper "Cum On Feel the Noize" led to Slade signing with CBS for their first American record deal since the 1970s. The label soon repackaged the band's recently released album, The Amazing Kamikaze Syndrome, into Keep Your Hands Off My Power Supply. The Amazing Kamikaze Syndrome, along with its singles "My Oh My" and "Run Runaway", had already achieved success in the UK and Europe. Keep Your Hands Off My Power Supply featured a different track-order. It also replaced "Cocky Rock Boys (Rule O.K.)" and "Razzle Dazzle Man" with the 1983 "My Oh My" B-Sides "Keep Your Hands Off My Power Supply" and "Can't Tame a Hurricane".
(en.wikipedia.org/wiki/Keep_Your_Hands_Off_My_Power_Supply)

01. Run Runaway (05:01)
02. My Oh My (04:12)
03. High And Dry (03:13)
04. Slam The Hammer Down (03:24)
05. In The Doghouse (02:47)
06. Keep Your Hands Off My Power Supply (03:33)
07. Cheap 'N' Nasty Luv (02:42)
08. Can't Tame A Hurricane (02:32)
09. (And Now - The Waltz) C'est La Vie (03:42)
10. Ready To Explode I The Warm Up  II The Grid  III The Race  IV The Dream (08:11)

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Steve Harley & Cockney Rebel - Best Of The 70's (2000)

Year: 2000 (CD 2000)
Label: Disky Communications (Netherlands), SI 990322
Style: Classic Rock, Glam Rock, Progressive Rock
Country: London, England
Time: 72:37
Format: Flac Tracks 16/44,1 kHz
Size: 506 Mb

Singer-songwriter, while not quite managing to elbow David Bowie aside, produced well-crafted hits topped by Make Me Smile (Come Up and See Me).
Steve Harley was many things, but a man held back by modesty was not among them.
In his first big music press interview – before the appearance of Cockney Rebel’s debut album, when all they had released was a solitary single that featured a 40-piece orchestra, which had failed to make the UK charts – he proclaimed his band “a musical force that others will follow” and pitted himself squarely against the biggest names in British pop. Cockney Rebel, he suggested, would kick David Bowie “up the arse”: “he’ll say ‘I’ve got to step on it to stay at the top’.”
When it arrived, Cockney Rebel’s debut album featured a song called Mirror Freak that loudly announced he was going to supplant Marc Bolan – “too cute to be a big rock star” – in the public’s affections: “We can feel a change is on the way … a new man he appears to be winning … you’re the same old thing we’ve always known.”
Harley was given to dismissing any band that had a lead guitarist, a musician noticeably absent from Cockney Rebel’s line-up and on another occasion, he claimed the band were so good that divine intervention had to be involved: “I feel like God’s touched me and said ‘here’s a mission and someone’s gotta do it’.”
This was big talk that perhaps told you something about Harley’s background as a journalist: he may have only worked for local papers, but he knew what made for lively copy. The thing was, that for a moment at least, Harley appeared to have the goods to back up his more extravagant pronouncements.
Cockney Rebel’s first two albums, The Human Menagerie and The Psychomodo, arrived alongside the first signs that glam rock was waning, or at least that its most artful practitioners were moving on – Bowie had killed off Ziggy Stardust, Bolan had announced the genre “dead” and “embarrassing” – and suggested the arrival of a fresh take.
Whatever you made of Harley’s thoughts on electric guitars, their relative, if not complete, absence from Cockney Rebel’s sound gave them a clear point of difference. Driven instead by electric piano and Jean-Paul Crocker’s electric violin, you could definitely make out the influence of Bowie and the kind of 50s rock’n’roll that was a touchstone throughout glam, but their sound also drew on psychedelia, Brecht and Weill cabaret, folk (Harley had done time in Britain’s folk clubs and as an acoustic guitar-toting busker) and, occasionally, classical music.
His voice was a mannered sneer that occasionally sounded a little like The Kinks’ Ray Davies and occasionally seemed to presage the arrival of punk – it was certainly the perfect fit for his lyrics, which were both thick with lurid imagery – “hooked on absinthe and daffodils/telling tales of white gardenia” – and big on withering disdain.
(full version: theguardian.com/music/2024/mar/17/steve-harley-1970s-cockney-rebel-whose-talent-was-almost-as-big-as-his-ego)

01. Make Me Smile - Come Up And See Me (04:03)
02. Love - Compared With You (04:23)
03. Judy Teen (03:43)
04. Mr. Raffles - Man, It Was Mean (04:36)
05. Mr. Soft (03:22)
06. Sebastian (06:58)
07. That's My Life In Your Hands (03:51)
08. Here Comes The Sun (02:59)
09. All Men Are Hungry (04:49)
10. Roll The Dice (03:28)
11. The Best Years Of Our Lives (05:47)
12. Star For A Week - Dino (04:39)
13. Rain In Venice (04:53)
14. The Last Time I Saw You (05:40)
15. Psychomodo (04:06)
16. Irresistable - Remix (05:12)

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T. Rex - Futuristic Dragon (1976)

Year: 30 January 1976 (CD 2011)
Label: Fat Possum Records (US), FP1249-2
Style: Glam Rock, Rock
Country: London, England
Time: 40:42
Format: Flac Tracks 16/44,1 kHz
Size: 304 Mb

Futuristic Dragon is the eleventh studio album by English rock band T. Rex. The album was preceded by two successful singles that went into the UK chart, "New York City" and "Dreamy Lady". The album saw Marc Bolan continuing to experiment, blending rock with soul music and disco elements on certain tracks.
The album features some unusually dense production from singer and songwriter Marc Bolan, especially on "Chrome Sitar" and "Calling All Destroyers", which contained unusual musical embellishments such as the sitar and other sonic sound effects.
The album includes a nod to a new genre disco on the track "Dreamy Lady", which was released as a single under the moniker of "T Rex Disco Party". Futuristic Dragon also contains tracks heavily influenced by American soul music, which Bolan had been experimenting with since 1973. "All Alone", "Ride My Wheels", and "Dawn Storm" all feature predominantly soul-based rhythms and instrumentation.
The sleeve illustration was conceived by artist George Underwood, who had first worked with Bolan on the 1968 Tyrannosaurus Rex album My People Were Fair and Had Sky in Their Hair....
(en.wikipedia.org/wiki/Futuristic_Dragon)

01. Futuristic Dragon (01:52)
02. Jupiter Liar (03:42)
03. Chrome Sitar (03:14)
04. All Alone (02:50)
05. New York City (03:58)
06. My Little Baby (03:09)
07. Calling All Destroyers (03:57)
08. Theme for a Dragon (02:00)
09. Sensation Boulevard (03:49)
10. Ride My Wheels (02:28)
11. Dreamy Lady (02:55)
12. Dawn Storm (03:43)
13. Casual Agent (03:00)

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Cockney Rebel - The Psychomodo [Japanese Ed.] (1974)

Year: 2 June 1974 (CD July 26б 1991)
Label: Tochiba-EMI (Japan), TOCP-6791
Style: Rock, Glam Rock, Progressive Rock
Country: London, England
Time: 50:15
Format: Flac Tracks 16/44,1 kHz
Size: 315 Mb

Cockney Rebel recorded The Psychomodo in February and March 1974 at Morgan Studios, Nova Sound Studios and Air Studios in London. It was mastered at Abbey Road Studios. The album saw Harley receive his first production credit, as he produced the album alongside producer Alan Parsons. In similarity to "Sebastian" and "Death Trip" from The Human Menagerie, a large symphony orchestra and choir was used on "Tumbling Down", with orchestral arrangements conducted by Andrew Powell.
In 2012, Harley recalled of his experience recording the album, "The Psychomodo was a record whose time we laughed through. Alan Parsons came in as co-producer and his own willingness to accept many offbeat ideas made life easy enough. More strings and horns, and again we had Andrew Powell, with his brilliant classical-rock thinking, to orchestrate."
In a 1974 interview with Music Scene, violinist Jean-Paul Crocker expressed his opinion that The Psychomodo was a much stronger album than The Human Menagerie. He commented, "I think it's more of a development than could ever have been expected. It's a completely different album and the basic difference is in the way we're playing on it. We wanted the first album to be heavier than it was, but it turned out quite weak, and we sounded like a bleedin' folk group most of the time."
(en.wikipedia.org/wiki/The_Psychomodo)

01. Sweet Dreams (02:06)
02. Psychomodo (04:04)
03. Mr. Soft (03:17)
04. Singular Band (03:01)
05. Ritz (07:15)
06. Cavaliers (08:35)
07. Bed In The Corner (03:31)
08. Sling It! (02:43)
09. Tumbling Down (05:55)
10. Big Big Deal (04:36)
11. Such A Dream (05:06)

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Slade - Feel The Noize - Greatest Hits (1997)

Year: February 1997 (CD ????)
Label: Polydor Records (Germany), 537 105-2
Style: Classic Rock, Glam Rock, Hard Rock
Country: Wolverhampton, Staffordshire, England
Time: 79:22
Format: Flac Tracks 16/44,1 kHz
Size: 553 Mb

Feel The Noize - Greatest Hits is a compilation album by the British rock band Slade. It was released in January 1997 and reached No. 19 in the UK charts, remaining in the charts for six weeks. The success of the compilation encouraged other bands of the Glam Rock era to release their own 'Greatest Hits' packages. At the time, a resurgence in Seventies music was happening, due to the constant mentions from Blur's Damon Albarn and Oasis's Noel Gallagher.
All tracks are written by Noddy Holder and Jim Lea except "Get Down and Get with It" by Bobby Marchan, "Look Wot You Dun" by Holder, Lea and Don Powell, and "Radio Wall of Sound" by Lea.
(en.wikipedia.org/wiki/Feel_the_Noize_%E2%80%93_Greatest_Hits)

01. Get Down And Get With It (03:50)
02. Coz I Luv You (03:24)
03. Look Wot You Dun (02:54)
04. Take Me Bak 'Ome (03:13)
05. Mama Weer All Crazee Now (03:44)
06. Gudbuy T'Jane (03:31)
07. Cum On Feel The Noize (04:31)
08. Skweeze Me, Pleeze Me (04:29)
09. My Friend Stan (02:41)
10. Everyday (03:10)
11. Bangin' Man (04:10)
12. Far Far Away (03:36)
13. How Does It Feel (05:54)
14. In For A Penny (03:35)
15. We'll Bring The House Down (03:33)
16. Lock Up Your Daughters (03:32)
17. My Oh My (04:12)
18. Run Run Away (03:44)
19. All Join Hands (04:16)
20. Radio Wall Of Sound (03:47)
21. Merry Xmas Everybody (03:26)

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Ian Hunter (ex Mott The Hoople) - All-American Alien Boy [Expanded Ed. 6 bonus tracks] (1976)

Year: January 1976 (CD 2006)
Label: Clumbia Records (Europe), 82876 814072
Style: Rock, Glam Rock
Country: Oswestry, Shropshire, England (3 June 1939)
Time: 79:04
Format: Flac Tracks 16/44,1 kHz
Size: 423 Mb

He could have taken the easy route and trotted out facsimiles of his brilliant eponymous solo debut, but Ian Hunter is a smarter cookie than that. He knew that if he was going to really establish himself as a solo artist, he’d have to distance himself from preconceptions of him that had developed when he was frontman of Mott the Hoople. He had to grow. He had to evolve.
In this sense, All American Alien Boy, is probably not what Mott the Hoople fans expected of Ian Hunter. Jazz-flecked soft rock must have been a bit of curve-ball for a lot of them, but he makes a decent go of it – the title in particular is a highlight of Hunter’s solo output, complete with a fancy bass solo and Hunter performing some sort of proto-rap mid-way through.
Album highlight, “Irene Wilde”, is a classic heartbroken Hunter piano ballad in the grand tradition of “Waterlow” and “Sea Diver”. The piano playing in this case is courtesy of former Grease Band lynch pin Chris Stainton, who is a key element of the sound of All American Alien Boy and throughout the album guitar duties are handled primarily by Gerry Weems, who gets a nice chunky riff to sink his teeth into on “Restless Youth”, the album’s sole rocker. Hunter also manages to pull off a significant coup by getting three quarters of Mott’s old support act to provide backing vocals. The name of that support act? Queen, who make their unmistakable presence felt on “You Nearly Did Me In”, one of the albums most rousing moments.
All American Alien Boy was irrefutable proof that Ian Hunter wasn’t going to be satisfied by leaning too heavily on his status as the former frontman of one of British rock music’s finest rock bands and was purposefully distancing himself from the commercial pop tunes that he had penned in that band’s later years. This is the sound of Ian Hunter proving that he was prepared to challenge those who thought that thought he was going to take a predictable career path.
Sure, Hunter would have enjoyed continued commercial success if he had stuck to the same template of his solo debut, but he’d have been much less interesting if he had done and chances are his career would have burned out some time ago. As it is All American Alien Boy was the sound of Ian Hunter spreading his creative wings and taking flight. All these decades later he’s still flying.
(backseatmafia.com/not-forgotten-ian-hunter-all-american-alien-boy/)

01. Letter to Brittania from the Union Jack (03:49)
02. All American Alien Boy (07:07)
03. Irene Wilde (03:43)
04. Restless Youth (06:17)
05. Rape (04:04)
06. You Nearly Did Me In (05:46)
07. Apathy 83 (04:43)
08. God (Take I) (05:40)
09. To Rule Britannia from Union Jack (aka Letter to Brittania from the Union Jack) (Session Outtake) (04:05)
10. All American Alien Boy (Single Version) (04:01)
11. Irene Wilde (Take 1 - Session Outtake) (03:50)
12. Weary Anger (aka You Nearly Did Me In) (Session Outtake) (05:42)
13. Apathy (Session Outtake) (04:39)
14. (God) Advice to a Friend (Session Outtake) (05:31)

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