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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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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Keith Moon (The Who) - Two Sides Of The Moon [8 bonus tracks] (1975)

Year: March 1975 (CD 1997)
Label: BMG Music (US), 60038-2
Style: Rock, Pop Rock
Country: Wembley, Middlesex, England (23 August 1946 - 7 September 1978)
Time: 51:01
Format: Flac Tracks 16/44,1 kHz
Size: 325 Mb

Two Sides of the Moon is the only solo studio album by the English rock musician Keith Moon, drummer for the Who. It peaked at No. 155 on the Billboard 200. The album title was credited to Ringo Starr. Rather than using the album as a chance to showcase his drumming skill, Moon sang lead vocals on all tracks, and played drums only on three of the tracks ("Crazy Like a Fox", "The Kids Are Alright" and "Move Over Ms. L"), although he played percussion on "Don't Worry Baby". The album features contributions from Ringo Starr, Harry Nilsson, Joe Walsh of the Eagles, Jim Keltner, Bobby Keys, Klaus Voormann, John Sebastian, Flo & Eddie (Mark Volman and Howard Kaylan of the Turtles), Spencer Davis, Dick Dale, Suzi Quatro's sister Patti Quatro, Patti's bandmates from Fanny Jean Millington, Cam Davis, and Nickey Barclay, and future actor Miguel Ferrer.
(en.wikipedia.org/wiki/Two_Sides_of_the_Moon)

01. Crazy Like A Fox (02:09)
02. Solid Gold (02:48)
03. Don't Worry Baby (03:32)
04. One Night Stand (03:37)
05. The Kids Are Alright (03:04)
06. Move Over Ms. L (03:11)
07. Teenage Idol (02:20)
08. Back Door Sally (02:34)
09. In My Life (02:44)
10. Together (03:03)
11. Radio Spot (with Ringo Starr) (01:03)
12. I Don't Suppose (04:13)
13. Naked Man (03:21)
14. Do Me Good (02:49)
15. Real Emotion (02:59)
16. Don't Worry Baby (03:12)
17. Teenage Idol (02:15)
18. Together Rap (with Ringo Starr) (02:00)

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Ringo Starr (The Beatles) - Goodnight Vienna [3 bonus tracks] (1974)

Year: 15 November 1974 (CD 1993)
Label: Capitol Records (US), CDP 0777 7 80378 2 8
Style: Soft Rock, Rock
Country: Liverpool, England (7 July 1940)
Time: 45:11
Format: Flac Tracks 16/44,1 kHz
Size: 272 Mb

While all three other former Beatles had contributed to Ringo (1973), only John Lennon contributed to Goodnight Vienna. On 17 June 1974, Starr called Lennon, who was about to record his Walls and Bridges album, and asked him to write a song he could include on his next album. Lennon wrote what became the title track, "Goodnight Vienna". A demo of "(It's All Down to) Goodnight Vienna" was recorded by Lennon on 28 June, with the session musicians from Walls & Bridges and sent to Starr in advance of the sessions. Besides writing and playing piano on the title track, Lennon suggested Starr cover The Platters' hit "Only You (And You Alone)" playing acoustic guitar and providing a guide vocal for Starr to follow. Starr's versions of both "Only You (And You Alone)" and "(It's All Down to) Goodnight Vienna" were recorded at a session produced by Lennon. Elton John also contributed a track, "Snookeroo", co-written with Bernie Taupin. Harry Nilsson gave Starr the track "Easy for Me", which he later recorded his own version of for his Duit on Mon Dei album.
(en.wikipedia.org/wiki/Goodnight_Vienna)

01. Goodnight Vienna (02:34)
02. Occapella (02:56)
03. Oo-Wee (03:46)
04. Husbands And Wives (03:36)
05. Snookeroo (03:29)
06. All By Myself (03:24)
07. Call Me (04:08)
08. No No Song (02:34)
09. Only You (And You Alone) (03:27)
10. Easy For Me (02:21)
11. Goodnight Vienna (reprise) (01:21)
12. Back Off Boogaloo (bonus track) (03:22)
13. Blindman (bonus track) (02:44)
14. Six O'Clock (Extended Version) (05:23)

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Justin Hayward (The Moody Blues) - Songwriter [4 bonus tracks] (1977)

Year: February 11, 1977 (CD 2004)
Label: Decca Records (UK & Europe), 00422 8822832 5
Style: Soft Rock, Rock, Pop Rock
Country: Swindon, Wiltshire, England (14 October 1946)
Time: 54:45
Format: Flac Tracks 16/44,1 kHz
Size: 403 Mb

Justin Hayward and John Lodge parted ways after Blue Jays, releasing solo albums in 1977. Songwriter and Natural Avenue were full of ideas, suggesting that both artists might have benefited from a wider canvas than that afforded to them in The Moody Blues. Not that Octave was a bad album, but it’s not demonstrably better than what Hayward and Lodge were able to do on their own. Songwriter sounds like the Moodies, The Beatles and 10cc, which is to say intelligent and inventive pop music that feels fresh with each song. Hayward plays much of the music himself; in fact, I’m pretty sure he plays everything—including the flute, cello and violin—on the closing Nostradamus. Though the album charted well, it didn’t produce a hit single. They’re one of the rare acts where the sum may actually be smaller than the parts, since I wouldn’t know where to begin editing on Blue Jays, Natural Avenue or Songwriter, and I couldn’t imagine any Moodies album without the contributions of its other three members. Maybe they should have been making double albums all along...
(progrography.com/justin-hayward/review-justin-hayward-songwriter-1977/)

01. Tight Rope (04:49)
02. Songwriter (Part 1) (03:32)
03. Songwriter (Part 2) (02:33)
04. Country Girl (04:02)
05. One Lonely Room (05:21)
06. Lay It On Me (02:55)
07. Stage Door (05:11)
08. Raised On Love (03:13)
09. Doin' Time (04:22)
10. Nostradamus (06:37)
11. Wrong Time, Right Place (bonus track) (02:35)
12. Marie (bonus track) (03:53)
13. Heart Of Steel (bonus track) (03:25)
14. Learning The Game (bonus track) (02:11)

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The Who - Who Are You [Japanese Ed. SHM-CD] (1978)

Year: 18 August 1978 (CD Feb 20, 2013)
Label: Universal Music (Japan), UICY-20425
Style: Classic Rock, Rock, Pop Rock
Country: London, England
Time: 70:59
Format: Flac Tracks 16/44,1 kHz
Size: 510 Mb

It’s staggering, in retrospect, that The Who – punks before punk was invented – should have run scared from Rotten and company. Yet by 1978 there’s no doubt they had lost their way: Quadrophenia and The Who By Numbers had scarcely added to their stage set list and they were unashamedly trading on past glories, while Roger Daltrey had more than one eye on his parallel solo career. A reset was desperately needed, and Who Are You was it.
But as the accompanying book to this set explains (8CD Boxset), civil war was breaking out on several levels in the band’s Ramport Studios. Daltrey headbutted co-producer Glyn Johns, leaving Pete Townshend’s brother-in-law Jon Astley to pick up the musical, if not physical, pieces. Drummer Keith Moon was read the riot act for his impaired performance – he shaped up remarkably, only to accidentally/fatally overdose weeks after release. Bassist John Entwistle rejected the initial mix, claiming it didn’t have enough bottom end. And guitarist/songwriter Townshend routinely downed tools at five to be with his family.
All in all, it’s amazing that a coherent album resulted. The title track, reflecting Townshend’s fear that the new wave would make his band seem irrelevant, has since gone on to be acclaimed a classic. Music Must Change is still an endearing oddity: its 6/8 time signature flummoxed Keith Moon, as writer Townshend had predicted, so doesn’t feature him at all. Curiously, it was one of only four songs from the album ever played live, alongside Who Are You, Sister Disco and Trick Of The Light. The latter was one of three John Entwistle contributions among the nine tracks, a high proportion indeed.
This was the last Who album with Keith Moon.
(recordcollectormag.com/reviews/album/the-who-who-are-you-reviews)

01. New Song (04:13)
02. Had Enough (04:30)
03. 905 (04:02)
04. Sister Disco (04:22)
05. Music Must Change (04:38)
06. Trick of the Light (04:47)
07. Guitar and Pen (05:58)
08. Love is Coming Down (04:06)
09. Who Are You (06:21)
10. No Road Romance (Previously unreleased) (05:05)
11. Empty Glass (Previously unreleased) (06:23)
12. Guitar and Pen (Olympic '78 mix - previously unreleased) (06:02)
13. Love is Coming Down (Work-in-progress mix - previously unreleased) (04:05)
14. Who Are You (Lost verse mix - previously unreleased) (06:22)

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Robert Plant (Led Zeppelin) - Shaken 'N' Stirred (1985)

Year: 20 May 1985 (CD ????)
Label: Es Paranza Records (US), A2-90265
Style: Rock, Pop Rock
Country: West Bromwich, Staffordshire, England (20 August 1948)
Time: 41:59
Format: Flac Tracks 16/44,1 kHz
Size: 269 Mb

This couldn’t be the same goldenhaired lemon squeezer who fronted Led Zeppelin, could it? The fingerprints identify him as that Robert Plant, erstwhile rock god and latter-day solo artist and Honeydripper. So what is this strange-sounding new-music album, Shaken ‘n’ Stirred, all about? For starters, it sounds like he’s been listening to the last couple of records by the Police and Talking Heads, and some of the new stuff coming over from Africa. There’s also a nod to the Middle Eastern influences that wafted through Zeppelin numbers like “Kashmir.”
Самое обнадеживающее, что сам Плант, похоже, совершенно не считает это чрезмерно важным. В «Doo Doo a Do Do» слышны наложения вокализов 50-х годов с их шубопами и ша-ла-ла, уютно вплетающиеся среди жужжащих синтезаторов и перекрестных ритмов. Какой посыл? «Ммм, это новый вид мамбо», поет Плант. «Easily Lead» сочетает энергичность «Synchronicity» группы The Police с необычной склонностью Питера Гэбриэла к звуковым коллажам, а Плант на короткое время цитирует пару классических треков Led Zeppelin просто ради шутки. Еще один сильный трек — «Kallalou Kallalou», где гитарист Робби Блант немного выходит на первый план, вступая в дуэт с Плантом в бешеной разлегке, столь же безумной и драйвовой, как классический шумовой трек Zeppelin «The Crunge».
(full version: rollingstone.com/music/music-album-reviews/shaken-n-stirred-88799/) Review by Parke Puterbaugh. July 18, 1985.

01. Hip To Hoo (04:51)
02. Kallalou Kallalou (04:18)
03. Too Loud (04:10)
04. Trouble Your Money (04:15)
05. Pink And Black (03:47)
06. Little By Little (04:45)
07. Doo Doo A Do Do (05:10)
08. Easily Lead (04:38)
09. Sixes And Sevens (06:00)

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Trapeze (Glenn Hughes) - Trapeze (1970)

Year: May 1970 (CD 2015)
Label: Rock Candy Records (UK), CANDY265
Style: Progressive Rock, Hard Rock
Country: Cannock, England
Time: 34:25
Format: Flac Tracks 16/44,1 kHz
Size: 268 Mb

While a far cry from what was to come in later years, the first Trapeze album has a special kind of charm to it- even if it’s scattered at times. Musically, the band were a prog rock outfit in the vein of Jethro Tull and the Moody Blues- while maintaining some of the psychedelic vibes of the late 60s California bands. While this sounds good on paper, the album isn’t necessarily great. Some of the songs drag out while others don’t go anywhere. Still, there’s some solid prog rock tunes here- most of which can be found on the first half of the album. At best, this is a decent album.
(popculturebeast.com/album-review-trapeze-discography-1970-72/)

01. Star Breaker (03:32)
02. It's Alright (04:12)
03. Chances (02:30)
04. The Raid (02:46)
05. Sunny Side Of The Street (02:42)
06. Gimmie Good Love (03:07)
07. Monkey (03:40)
08. I Need You (04:25)
09. Soul Stealer (03:27)
10. Nothing For Nothing (04:00)

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Paul McCartney - Flowers In The Dirt [Japanese Ed.] (1989)

Year: 5 June 1989 (CD May 23, 2025)
Label: Universal Music (Japan), UICY-80480
Style: Rock, Soft Rock, Pop Rock
Country: Liverpool, England (18 June 1942)
Time: 54:08
Format: Flac Tracks 16/44,1 kHz
Size: 537 Mb

In the aftermath of his work with Wings and then a general decline in overall quality that marked his efforts in the late ‘70s and early ‘80s, Flowers in the Dirt was greeted with some skepticism by the record-buying public. Paul McCartney was still capable of writing terrific songs, but none seemed to be making the emphatic impression that accompanied early hits like “Band of the Run,” “Jet” and Maybe I’m Amazed.” It was, at a point, all about “Silly Love Songs,” and in the wake of John Lennon’s murder, Macca was looked on as a light-weight, certainly not an artist that still merited serious attention.
Flowers in the Dirt changed all that, and though it didn’t exactly set sales on fire when it was first released, it did provide a sturdy stockpile of songs that McCartney and company could effectively showcase on their landmark 1990 tour. Several of the tracks became staples of his set, and for good reason. The catchy and compelling “My Brave Face,” penned with Elvis Costello, the irrepressible “Figure of Eight” and the tender ballad “Put It There” were but three of the songs that marked this album as one of McCartney’s best.
Listening in retrospect, it’s remarkable how well the album still holds up. Unlike his other albums, the quality is generally consistent throughout, and even some of the secondary songs - “Rough Ride, “This Day Is Done,” “This One,” and the like - do well even under careful scrutiny.
An excellent example of why an album deserves a second look, Flowers in the Dirt can easily be compared with McCartney’s best. Consider it a minor masterpiece.
(glidemagazine.com/183465/paul-mccartney-reissues-1989-number-1-lp-flowers-dirt-album-review/)

01. My Brave Face (03:20)
02. Rough Ride (04:45)
03. You Want Her Too (03:14)
04. Distractions (04:42)
05. We Got Married (04:58)
06. Put It There (02:12)
07. Figure Of Eight (03:27)
08. This One (04:12)
09. Don't Be Careless Love (03:21)
10. That Day Is Done (04:22)
11. How Many People (04:16)
12. Motor Of Love (06:27)
13. Ou Est Le Soleil (04:46)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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David Byron - On The Rocks (1981) Ken Hensley - Proud Words On A Dusty Shelf (1973) [2LP on 1CD]

Year: 1981 / 1973 (CD 2000)
Label: CD-Maximum (Russia. bootleg), CDM 198-59
Style: Hard Rock, Rock, Pop Rock
Country: England
Time: 77:05
Format: Flac Tracks 16/44,1 kHz
Size: 506 Mb

The rise to fame and tragic demise of the late David Byron has been well documented in the years following his alcohol related death in 1985. In a nutshell, after fronting the British rock band Uriah Heep for ten albums and countless tours the charismatic front man was ousted from the group in 1976 and never really recovered from it, both personally and professionally. Without strong songwriting partners like Ken Hensley and Mick Box from Heep for Bryon to lean on his solo career unfortunately never reached the heights he had achieved with Heep.
(full version: seaoftranquility.org/reviews.php?op=showcontent&id=9441)
Ken Hensley is mostly known as the legendary former keyboard player for heavyweight British hard rockers Uriah Heep (also a member of The Gods, Toe Fat,and Blackfoot), but he's also kept up a pretty busy solo career since this debut from 1973. Recorded right around the time that Heep released their classic Uriah Heep Live album, Proud Words on a Dusty Shelf avoids much of the bombast & heaviness that was associated with his main band, and showed just how clever a songwriter and multi-instrumentalist Hensley really is. Playing all the keyboards, guitars, and handling the vocals, Hensley's almost one-man show was supported by two of his bandmates in Heep, drummer Lee Kerslake & bassist Gary Thain, as well as some additional bass courtesy of Dave Paul.
(full version: https://www.seaoftranquility.org/reviews.php?op=showcontent&id=16208)

01. Rebecca (04:01)
02. Bad Girl (04:52)
03. How Do You Sleep? (06:09)
04. Little By Little (03:54)
05. Start Believing (04:04)
06. Never Say Die (04:25)
07. King (03:40)
08. Piece Of My Love (06:48)
09. When Evening Comes (04:36)
10. From Time To Time (03:37)
11. King Without A Throne (03:54)
12. Rain (03:16)
13. Proud Words (03:16)
14. Fortune (05:18)
15. Black Hearted Lady (03:38)
16. Go Down (03:11)
17. Cold Autumn Sunday (05:30)
18. The Last Time (02:47)

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Trapeze (Glenn Hughes) - Medusa (1970)

Year: May 1970 (CD 1994)
Label: Polygram Records (US), 820 955-2
Style: Progressive Rock, Hard Rock
Country: Cannock, England
Time: 40:32
Format: Flac Tracks 16/44,1 kHz
Size: 227 Mb

Usually prefixed with “ex-” as former members Glenn Hughes (bassist and “Voice of Rock”), the late Mel Galley (guitar/vocals) and Dave Holland (drums) all moved on to higher profile gigs with other bands. Hughes joined Deep Purple, Galley appeared in Whitesnake and Holland served time in Judas Priest before… well… serving time.
In the early ’00s, a run of brilliant Glenn Hughes solo albums finally inspired me to investigate his old band. Medusa was Trapeze’s second album but the first to feature its most famous power trio line-up of Hughes/Galley/Holland. It was released in late 1970 and, as was often the case with the era’s Hard Rockers, it’s an album of light and shade. This means Led Zep often come up as a comparison but I hear more of a Free influence, especially in groovy Rockers like Black Cloud and Touch My Life. Although the funky, stop-start rhythms of Your Love is Alright get a little bit frustrating the band sound tight and confident, leaving plenty of space for everyone’s contributions to be heard. And with the tasteful exception of Mel Galley’s guitar jamming on Makes You Wanna Cry, there is very little instrumental showboating on Medusa which leaves the focus squarely on Glenn’s superb voice.
It’s fascinating to hear him at this early stage, with a rawer tone and delivery that brings to mind Paul Rodgers and Steve Marriott. And his voice is even more remarkable in the album’s longer tracks. Jury, Seafull and the title-track have a more progressive feel. Pastoral acoustic passages build up to intense, heavy climaxes that would appeal to fans of Uriah Heep or early Judas Priest. When Glenn employs his full vocal range at the climax of Jury the results are spine-chilling.
Medusa is an album of real maturity and depth from a group with tangible chemistry. Before going their separate ways, Trapeze would record one more excellent studio album and enjoy some live success in the US but it’s a shame their recorded output didn’t achieve more success or recognition. While it’s unsurprising that the musicians involved went on to bigger things, together they deserved way more than footnote status.
(heavymetaloverload.com/2013/09/26/trapeze-medusa/)

01. Black Cloud (06:13)
02. Jury (08:13)
03. Your Love Is Alright (04:56)
04. Touch My Life (04:08)
05. Seafull (06:35)
06. Makes You Wanna Cry (04:45)
07. Medusa (05:42)

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Ringo Starr (The Beatles) - Sentimental Journey (1970)

Year: 27 March 1970 (CD 1995)
Label: Capitol Records (US), CDP 0777 7 98615 2 1
Style: Pop Rock, Rock
Country: Liverpool, England (7 July 1940)
Time: 34:01
Format: Flac Tracks 16/44,1 kHz
Size: 199 Mb

By the end of the 1960s, it was no longer a question of if The Beatles would explore solo ventures-it was merely a matter of when. The internal strains were well-documented, and it seemed inevitable that each of the four would begin sketching out their post-Beatle identities. For Lennon, it was political provocation and primal confession. For McCartney, domestic charm and soft experimentation. For Harrison, spiritual depth and guitar-driven grandeur. And for Ringo Starr-arguably the least musically prolific of the quartet-it was... an album of 1940s standards.
Sentimental Journey, released in 1970, was a puzzling choice. While the title and cover (a photograph of the Liverpool pub where Ringo was born above) clearly aimed for nostalgic intimacy, the project felt curiously out of step-not only with the moment, but with Starr’s own emerging post-Beatle persona. It was, by any measure, an odd debut: a collection of big-band-era songs more associated with parental record collections than with the countercultural revolution The Beatles had helped spark.
The decision might have been defensible if it had been framed as kitsch or recontextualization, but Starr approached the material with sincerity. Unfortunately, sincerity could not compensate for vocal limitations. Ringo, always a charming and reliable Beatle, was never a singer of great range or interpretive power. And these songs-iconic, melodically rich, and deeply associated with legendary vocalists-required both.
The arrangements, it must be said, are competently executed. The record enlisted multiple high-profile producers and arrangers, including George Martin, Quincy Jones, and Paul McCartney himself. Each track was tailored to a different musical team, yet the results somehow feel homogenous-pleasant but lifeless. One is left with the impression that the sessions were arranged first, and Ringo’s vocals added later as an afterthought.
The material itself is largely untouchable: Night and Day, Blue, Turning Grey Over You, Stardust. But familiarity is a double-edged sword. These songs carry weight, and unless a singer can bring something revelatory-or at the very least, charmingly idiosyncratic-the risk is that they collapse under their own history. Starr, with his good-natured but flat delivery, simply can’t elevate them. The record, while well-intentioned, feels less like a sentimental journey and more like a polite detour.
(full version: clemsmusicreviews.com/ringostarr/sentimentaljourney.html)

01. Sentimental Journey (03:28)
02. Night And Day (02:26)
03. Whispering Grass (02:39)
04. Bye Bye Blackbird (02:12)
05. I'm A Fool To Care (02:39)
06. Stardust (03:25)
07. Blue Turning Grey over You (03:20)
08. Love Is A Many Splendored Thing (03:07)
09. Dream (02:42)
10. You Always Hurt The One You Love (02:20)
11. Have I Told You Lately That I Love You (02:44)
12. Let The Rest Of The World Go By (02:54)

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