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

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

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

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

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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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Kraftwerk - Autobahn [Japanese Ed.] (1974)

Year: November 1974 (CD May 27, 1998)
Label: Tochiba-EMI (Japan), TOCP-50578
Style: Electronic Pop, Experimental, Synth-Pop
Country: Dusseldorf, West Germany
Time: 42:46
Format: Flac Tracks 16/44,1 kHz
Size: 217 Mb

The album marked several personnel changes in the band, which was initially a duo consisting of Florian Schneider and Ralf Hutter; later, the group added Klaus Roder on guitar and flute, and Wolfgang Flur on percussion. The album also completed the group's transition from the experimental krautrock style of their earlier work to an electronic pop sound consisting mostly of synthesizers and drum machines. Recording started at the group's own Kling Klang facility, but was predominantly made at Conny Plank's studio. Autobahn also includes lyrics and a new look for the group that was suggested by Emil Schult, an associate of Schneider and Hutter.
Most of the album is taken up by the 22-minute "Autobahn", featuring lyrics by Schneider, Hutter, and Schult. The song was inspired by the group's joy of driving on Germany's autobahns, and recorded music that reflected a trip emulating the sounds of a vehicle. The album's release in West Germany saw little press attention. "Autobahn" was released as a single and received airplay at a Chicago radio station, leading it to spread across the United States. In 1975, the song became an international hit and Kraftwerk's first release of their music in the US. "Autobahn"'s success led to the band touring the United States with new member Karl Bartos, who replaced Roder, followed by a tour of the United Kingdom.
Initial reception to Autobahn was mixed; receiving negative reviews, from Rolling Stone and Village Voice, who felt the music was inferior to earlier music from Wendy Carlos and Mike Oldfield, and positive reviews that praised the title track as hypnotic and arresting for its imagery of driving on the autobahn. Critics from the Fort Worth Star-Telegram and Newsday included the album in their "Honorable Mentions" sections of their year-end lists. Retrospectively, the album has been unanimously praised; Simon Witter wrote in NME the album is of "enormous historical significance" and Simon Reynolds said the album is where Kraftwerk's music really starts to matter. Musicians of the 1970s and 1980s, including David Bowie, cited the album as a major influence.
(en.wikipedia.org/wiki/Autobahn_(album))

01. Autobahn (22:44)
02. Kometenmelodie 1 (06:25)
03. Kometenmelodie 2 (05:48)
04. Mitternacht (03:44)
05. Morgenspaziergang (04:03)

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Iron Maiden - Powerslave [Japanese Ed.] (1984)

Year: 3 September 1984 (CD Aug 24, 1990)
Label: Tochiba-EMI (Japan), TOCP-6341
Style: Heavy Metal, Hard Rock
Country: London, England
Time: 50:58
Format: Flac Tracks 16/44,1 kHz
Size: 356 Mb

Released in 1984, Powerslave is Iron Maiden’s fifth studio release and vocalist Bruce Dickinson’s third outing with the band. While opinions will differ, Powerslave is arguably the strongest, early-80s, release for Maiden as The Number Of The Beast and Piece Of Mind both have exceptional songs but aren’t quite the cohesive album experience that Powerslave is. If nothing else, Powerslave is the embodiment of the heavy metal genre featuring intricate compositions and powerful performances that marked a high point in the band’s career, both in terms of their musical evolution and global popularity.
As is always the case with Iron Maiden, the album artwork is exquisite. Of course, with a keen interest in Ancient Egypt, I may be a little biased, but Powerslave doesn’t disappoint in that regard for it is as bold as the music contained within. However, when you get down to the sonic elements of Maiden’s records, while the production and overall mix are generally superb, the mastering of their albums, particularly the remastered releases, has been a point of contention amongst fans.
(subjectivesounds.com/musicblog/iron-maiden-powerslave-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. Aces High (04:32)
02. 2 Minutes To Midnight (06:03)
03. Losfer Words (Big 'Orra) (04:15)
04. Flash Of The Blade (04:05)
05. The Duellists (06:07)
06. Back In The Village (05:02)
07. Powerslave (07:11)
08. Rime Of The Ancient Mariner (13:39)

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Jon Lord (Deep Purple) - Windows [Japanese Ed.] (1974)

Year: September 1974 (CD 1994)
Label: Tochiba-EMI (Japan), TOCP-8442
Style: Symphonic Rock, Progressive Rock
Country: Leicester, England (9 June 1941 - 16 July 2012)
Time: 48:50
Format: Flac Tracks 16/44,1 kHz
Size: 271 Mb

Looking back across hard rock history, stylistic parallels with certain aspects of classical music’s more bombastic incarnations are unavoidable. The full-tilt Sturm und Drang of Wagner, the opening riff of Beethoven’s Fifth (surely the allegro con brio Smoke On The Water of symphonic fortissimo) clearly presage rock’s essential elements. But back when rock was young, Elton still Reg, and Jon Lord endeavouring to fuse two largely disparate genres into harmonious union, his noble experiment couldn’t have been greeted with more horror by classicists than if he were attempting to fashion a hybrid of Jeff Goldblum and a fly.
Pop, as it still remained, was way more open to bold progression. Incredibly, record-buyers stoically avoided no less than three Deep Purple albums beforeConcerto For Group And Orchestra (technically attributed to ‘Jon Lord With Deep Purple’) finally afforded the band their first UK chart placing. Encouraged – validated even – Lord persevered. 1972’s Purps-inspired, Beeb-commissioned Gemini Suite with the LSO and Malcolm Arnold was similarly well received, but then came ’74’s Windows (co-composed with Moog-handed Eberhard Schoener).
Comprised of two extended pieces for a rock septet (that included David Coverdale and Glenn Hughes on vocals) and the Munich Chamber Orchestra, complete with complementary sopranos, it was experimental and ambitious, yet sadly a bridge too far.
(bing.com/translator?from=&to=ru&setlang=ru)

01. Continuo on B.A.C.H. (16:27)
02. Window (32:22)

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Iron Maiden - Killers [Japananese Ed.] (1981)

Year: 2 February 1981 (CD Mar 1, 1986)
Label: Tochiba-EMI (Japan), CP32-5107
Style: Heavy Metal, Hard Rock
Country: London, England
Time: 38:42
Format: Flac Tracks 16/44,1 kHz
Size: 261 Mb

Released in 1981, Killers solidified Iron Maiden's status as heavy metal pioneers. Building on the foundation laid by their self-titled debut album, the band pushed their boundaries and continued to evolve by delivering a record that combined adrenaline-fueled energy with thought-provoking lyrics and some of the greatest riffs you’re ever likely to hear.
It’s also Paul Di’Anno's final album, as vocalist, with Maiden and is somewhat bittersweet for as incredible as Bruce Dickinson is on the microphone, Di’Anno’s gravelly singing style was perfect for Maiden’s musical style. That said, I can’t imagine Maiden’s albums post-Killers had Di’Anno remained a member of the band. What has remained consistent, throughout the years, is Maiden’s album artwork and Killers is one of their very best. Eddie’s demonic grin is captivating and if the music doesn’t grab you, the artwork certainly will.
(subjectivesounds.com/musicblog/iron-maiden-killers-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. The Ides of March (01:45)
02. Wrathchild (02:54)
03. Murders in the Rue Morgue (04:17)
04. Another Life (03:23)
05. Genghis Khan (03:07)
06. Innocent Exile (03:52)
07. Killers (05:01)
08. Prodigal Son (06:11)
09. Purgatory (03:20)
10. Drifter (04:48)

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Saxon - Strong Arm Of The Law [Japanese Ed.] (1980)

Year: 7 November 1980 (CD 28 Sep 1994)
Label: Tochiba-EMI (Japan), TOCP-8373
Style: Hard Rock, Heavy Metal
Country: Barnsley, South Yorkshire, England
Time: 37:36
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

While 1980’s Strong Arm Of The Law was out mere months after Wheels of Steel, Saxon seemed to be making a concentrated push into proper heavy metal territory. Its predecessor certainly showed this development with a hard rock hustle supplemented by hard-hitting rhythms and punchier songs, but the performances seem to up the intensity with an assortment of faster tempos. The opening “Heavy Metal Thunder” lives up to its title with a flurry of drums, fiery verses, and a howling chorus. Subsequent tracks don’t hit the same intensity but you’ll still get your share of blazing speeds. Tracks like “To Hell and Back Again” and “At 20,000 Feet” have the sort of fast-paced guitar gallops and double bass drums that would soon help give life to thrash’s ilk while “Taking Your Chance” has that toe-tapping briskness with a foot placed in their rock roots.
Of course, the album still has its share of mid-tempo songs but even those have a more noticeable shuffle. The title track and “Hungry Years” can feel a little drawn out but come out strong thanks to their catchy choruses and a certain spring in their steps. The closing “Dallas 1PM” also develops the contemporary narrative template last seen on “747 (Strangers In The Night),” pairing a level chug with lyrics detailing the assassination of Johnny F Kennedy. It’s kind of wild how the matter of fact presentation ends up working in its favor.
Strong Arm of the Law’s status as the middle child of the Saxon trilogy ala Motorhead’s Bomber can make it easy to overlook, but it may secretly be their strongest album. The swift turnaround worked in the band’s favor, striking while the iron was hot in terms of gaining popularity and upping the ante in terms of aggression and songwriting. It secured Saxon’s blue collar metal mastery and set them up for even greater potential on the horizon.
(metal-archives.com/reviews/Saxon/Strong_Arm_of_the_Law/2397) Review by Twisted_Psychology. February 16th, 2025

01. Heavy Metal Thunder (04:21)
02. To Hell And Back Again (04:48)
03. Strong Arm Of The Law (04:43)
04. Taking Your Chances (04:21)
05. 20,000 Ft (03:25)
06. Hungry Years (05:08)
07. Sixth Form Girls (04:19)
08. Dallas 1 PM (06:27)

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Saxon - Wheels Of Steel [Japanese Ed.] (1980)

Year: 3 April 1980 (CD 28 Sep 1994)
Label: Tochiba-EMI (Japan), TOCP-8372
Style: Hard Rock, Heavy Metal
Country: Barnsley, South Yorkshire, England
Time: 38:54
Format: Flac Tracks 16/44,1 kHz
Size: 268 Mb

Wheels of Steel is the second studio album by English heavy metal band Saxon. Released in 1980 by Carrere Records, it was their first album to enter the UK Albums Chart, peaking at number 5, and is their highest-charting album in the UK Albums Chart to date. The album eventually went on to achieve gold status in the UK.
"747 (Strangers in the Night)" is about a power cut that forced planes in New York to remain in ascent in 1965 with the power outage provoking a Scandinavian flight to detour to Kennedy airport in the dark.
The title track is featured in the video games Grand Theft Auto: Episodes from Liberty City (Grand Theft Auto: The Lost and Damned and Grand Theft Auto: The Ballad of Gay Tony) and Brutal Legend. It has also been covered by L.A. Guns on their album Rips the Covers Off and bears a strong resemblance to the outro riff of "Rock 'n' Roll Doctor" by Black Sabbath, although according to guitarist Graham Oliver the song was actually inspired by the Ted Nugent song "Cat Scratch Fever".
(en.wikipedia.org/wiki/Wheels_of_Steel)

01. Motorcycle Man (04:00)
02. Stand Up And Be Counted (03:09)
03. 747 (Strangers In The Night) (04:58)
04. Wheels Of Steel (05:58)
05. Freeway Mad (02:41)
06. See The Light Shining (04:55)
07. Street Fighting Gang (03:12)
08. Suzie Hold On (04:34)
09. Machine Gun (05:22)

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Sammy Hagar (Van Halen, Montrose) - Sammy Hagar [Japanese Ed.] (1977)

Year: January 1977 (CD Aug 24, 1994)
Label: Tochiba-EMI (Japan), TOCP-8342
Style: Rock, Hard Rock
Country: Salinas, California, U.S. (October 13, 1947)
Time: 39:02
Format: Flac Tracks 16/44,1 kHz
Size: 255 Mb

I first became a big-time Sammy Hagar fan after I saw him open up for Boston in 1977. It was a concert I will never forget. Boston was good, but Sammy Hagar just completely blew me away because I basically had never heard of him before. I wonder how many people first discovered Sammy Hagar from that tour. When you think about it, that’s one of the reasons why record companies put up-and-coming artists as opening acts on tours for major bands.
Now, of course, Sammy Hagar had already made a name for himself in the music business as the lead vocalist for Montrose. Nonetheless, if you weren’t a Montrose fan or didn’t pay much attention to album credits, you probably never heard of Sammy Hagar. Capital Records and, of course, the Red Rocker himself were out to change all of that. The one song I remember the most from that night was “Red.” The next day, I went to Sam Goody’s record store at the Smith Haven Mall, and there it was.
It made perfect sense. Everything on the cover was red, the car, the buildings, the people on the street and the clothes that Sammy Hager wore. I never understood why they didn’t call the album Red. It was just called Sammy Hagar. However, over the years, most Sammy Hagar fans have referred to it as the Red Album. Just like Beatles fans referred to the White Album as The White Album even though it was just called The Beatles.
The cover for Sammy Hagar’s self-titled debut album was shot on location in London on Stockwell Road. The buildings in the background were actually all red. The outfit, that is the red outfit that Sammy Hagar was wearing was borrowed from Foghat’s Tony Stevens. And, of course, we don’t really know who owned the car, but it’s a cool-looking car. The reason the photograph was taken in London was because Sammy Hagar recorded his self-titled album at the legendary Abbey Road Studios.
The Sammy Hagar album opened up with what would become one of his signature songs called “Red.” This was exciting rock and roll music with a fantastic opening. The way the bass and drums created that driving groove set it all up for those power chords that hit you rapid-fired as if an invasion had just begun. It sounded so good, every instrument thriving in its own space with power and emotion. I still get pumped up every time I hear this song. Scott Mathews was incredibly powerful on this track. David Lewark and Sammy Hagar’s guitar work was extraordinary, while Bill Church’s bass playing provided pulsating eighth-note patterns that took it home. Alan Fitzgerald’s keyboard work wrapped it all up with some special effects that drizzled all over the track at some very key moments.
The album’s second track was a cover of Donovan’s “Catch The Wind.” For myself and probably many other young 16-year-old rock fans, that was the first time I had ever heard of that song. The third track to appear on the album would instantly become a fan favorite. Sammy Hagar’s own composition “Cruisin’ & Boozin'” was a testament to the times. It was common place for young people to get in their cars, stop at a local 7-Eleven, pick up a few six-packs of beer, and drive around all night looking for fun or trouble. What a great song this was, though. The rhythm change from the grooving verse to the half-tempo party atmosphere in the chorus was very effective. It just made you want to have a good time like the song said. We used to play this one all the time in the car.
(full version: classicrockhistory.com/why-sammy-hagars-1977-sammy-hagar-lp-was-one-of-his-best/)

01. Red (04:04)
02. Catch The Wind (04:38)
03. Crusin' And Boozin' (03:09)
04. Free Money (03:59)
05. Rock 'N' Roll Weekend (03:09)
06. Fillmore Shuffle (03:44)
07. Hungry (03:05)
08. The Pits (03:06)
09. Love Has Found Me (03:51)
10. Little Star/Eclipse (06:14)

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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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