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

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

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

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

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

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

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

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

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

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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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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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The Carpenters - Carpenters With The Royal Philharmonic Orchestra [Japanese Ed.] (2018)

Year: 7 December 2018 (CD Dec 7, 2018)
Label: Universal Music (Japan), UICY-15801
Style: Soft Rock, Pop, Vocal
Country: Downey, California, U.S.
Time: 69:25
Format: Flac Tracks 16/44,1 kHz
Size: 512 Mb

Carpenters with the Royal Philharmonic Orchestra is a compilation album by American duo the Carpenters. It was released on 7 December 2018, by A&M Records and Universal Music Enterprises. The album features Carpenters' "original vocal and instrumental tracks" accompanied by new orchestral arrangements by the Royal Philharmonic Orchestra. The Japanese release has "Please Mr. Postman" as a bonus track.
Richard Carpenter served as the album's arranger, conductor and co-producer. The Royal Philharmonic recorded its portions at Abbey Road Studio. The album was completed at Capitol Studios in Los Angeles.
(en.wikipedia.org/wiki/Carpenters_with_the_Royal_Philharmonic_Orchestra)

01. Overture (01:30)
02. Yesterday Once More (03:56)
03. Hurting Each Other (03:58)
04. I Need To Be In Love (04:30)
05. For All We Know (02:56)
06. Touch Me When We’re Dancing (03:15)
07. I Believe You (03:53)
08. I Just Fall In Love Again (05:01)
09. Merry Christmas, Darling (03:01)
10. Baby It’s You (03:11)
11. (They Long To Be) Close To You (03:40)
12. Superstar (03:51)
13. Rainy Days And Mondays (03:36)
14. This Masquerade (04:50)
15. Ticket To Ride (04:10)
16. Goodbye To Love (03:58)
17. Top Of The World (02:59)
18. We’ve Only Just Begun (04:04)
19. Please Mr. Postman (02:56)

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Camel - Mirage [Japanese Ed. 4 bonus tracks + Germany Ed. AAD] (1974)

Year: 1 March 1974 (CD May 27, 2009. 1989)
Label: Universal Music / Deram Records (Japan/Germany), UICY-94131/820 613-2
Style: Art Rock, Symphonic Rock, Canterbury Scene, Progressive Rock
Country: Guildford, Surrey, England
Time: 68:08, 38:03
Format: Flac Tracks 16/44,1 kHz
Size: 426, 267 Mb

Camel’s Mirage (1974), with its iconic, cigarette-brand-referencing cover art, was a record that seemed to materialise, fully formed, from the patchouli-scented smoke of the era.
While the previous year's self-titled debut promised much, Mirage was where the band truly found their voice: a clever mix of symphonic sweep, jazz fusion and melodic subtlety that set them apart from the prog giants of the day, even if it didn't reach the same levels of success.
Built around extended suites like Lady Fantasy and Nimrodel, the album blended pastoral English whimsy with intricate musicianship, led by Andy Latimer’s lyrical guitar and Peter Bardens’ swirling keys.
Though Mirage didn’t trouble the charts on release, its reputation has only grown, even if some still confuse the group with Peter Frampton's band of the same name.
(loudersound.com/music/albums/camel-mirage)

Germany Ed. - 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).

Japanese Ed. 4 bonus tracks:

01. Freefall (05:53)
02. Supertwister (03:19)
03. Nimrodel / The Procession / The White Rider (09:17)
04. Earthrise (06:42)
05. Lady Fantasy: Encounter / Smiles for You / Lady Fantasy (12:45)
06. Supertwister (live) (03:15)
07. Mystic Queen (live) (06:07)
08. Arubaluba (live) (07:47)
09. Lady Fantasy: Encounter / Smiles for You / Lady Fantasy (original Basing Street Studios mix) (12:59)

Germany Ed. AAD:

01. Freefall (05:54)
02. Supertwister (03:23)
03. Nimrodel - The Procession - The White Rider (09:18)
04. Earthrise (06:41)
05. Lady Fantasy (12:45)

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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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The Carpenters - Singles 1969-1981 [Japanese Ed. SHM-CD] (2000)

Year: May 23, 2000 (CD Jun 20, 2012)
Label: Universal Music (Japan), UICY-25212
Style: Soft Rock, Pop, Vocal
Country: Downey, California, U.S.
Time: 71:41
Format: Flac Tracks 16/44,1 kHz
Size: 435 Mb

The Carpenters were an American musical duo composed of siblings Karen and Richard Carpenter, known for their distinctive close harmonies and soft rock sound. They achieved remarkable commercial success in the 1970s, with their first single, "Close to You," reaching number one on the charts in 1970. Over their career, they amassed twenty Top 40 hits, including popular songs like "We've Only Just Begun," "Top of the World," and "Please Mr. Postman." Their music often featured compositions by prominent songwriters of the era, such as Carole King and Paul Williams.
The duo's clean image and mellow style contrasted with the more rebellious rock music of the time, yet they maintained a dedicated fan base. Their influence extended beyond music, with a television variety show, "Make Your Own Kind of Music," contributing to their popularity. Tragically, Karen Carpenter passed away in 1983 due to complications from anorexia, which she had struggled with for years. Despite this, the Carpenters' music continues to resonate, with many of their albums still selling well into the 21st century and a variety of compilation albums celebrating their legacy.
During their career, the Carpenters amassed twenty Top 40 hits; only one, “Touch Me When We’re Dancing,” charted outside of the 1970’s, in 1981. They started their career with immediate success as their first single, “Close to You,” hit number one in the summer of 1970, holding the top spot for four weeks and staying on the charts for fifteen. Only three months later, “We’ve Only Just Begun” held second place on the charts for four weeks. The group would have two more number-one hits: “Top of the World” in 1973 and “Please Mr. Postman” the following year. The success of the latter single, a 1961 hit for the Marvelettes and later for the Beatles, followed the success of the Carpenters’ 1973 album Now and Then, the second side of which consisted of a medley of sound-alike covers of early rock-and-roll hits, packaged in the form of an oldies radio show.
(full version: ebsco.com/research-starters/history/carpenters-music)

01. For All We Know (02:33)
02. I Believe You (03:55)
03. It’s Going To Take Some Time (02:59)
04. We’ve Only Just Begun (03:04)
05. Those Good Old Dreams (04:11)
06. Superstar (03:46)
07. Rainy Days And Mondays (03:34)
08. Goodbye To Love (03:56)
09. All You Get From Love Is A Love Song (03:46)
10. Top Of The World (02:58)
11. Only Yesterday (03:47)
12. Ticket To Ride (04:09)
13. Hurting Each Other (02:48)
14. Yesterday Once More (03:57)
15. Sing (03:18)
16. Touch Me When We're Dancing (03:19)
17. Please Mr. Postman (02:47)
18. I Need To Be In Love (03:49)
19. I Won't Last A Day Without You (04:29)
20. (They Long To Be) Close To You (03:41)
21. For All We Know (Reprise) (00:46)

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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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Brand X (Phil Collins) - Do They Hurt [Japanese Ed. SHM-CD] (1980)

Year: 18 April 1980 (CD July 30, 2014)
Label: Universal Music (Japan), UICY-76417
Style: Jazz Rock, Progressive Rock
Country: London, England
Time: 39:56
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

Do They Hurt? (1980) is the fifth album by the British jazz fusion group Brand X. The tracks on this album are outtakes from the Product sessions. ("Noddy Goes to Sweden" was a B-side from Product.)
(en.wikipedia.org/wiki/Do_They_Hurt%3F)
BRAND X is, no doubt about it, one the most original and well-known British groups of the seventies jazz/rock fusion scene. Made of musicians that are technicians at their respective instruments and that are as inspired as talented. There are really 2 BRAND X formations... the one from the mid 70s and the 1992 BRAND X. The original line-up of the band was formed by drummer Phil COLLINS of GENESIS with John GOODSALL (former ATOMIC ROOSTER) on guitar, Robin LUMLEY (a David BOWIE collaborator) on keyboards and Percy JONES (ex-LIVERPOOL SCENE) on bass. For them, the joy of playing and writing together was the main motivation. With various personnel permutations, they made typical progressive rock albums... all worth hearing! The 1992 BRAND X is GOODSALL, JONES and drummer Frank KATZ.
The band's discography starts in 1976 with "Unorthodox Behaviour" and goes on a year later with "Morrocan Poll", probably one of their best. "Is There Anything About" is the last release from this legendary jazz-rock band. After almost ten years of absence during the Eighties, "Xcommunication" is the return of BRAND X under the economical format of a trio (GOODSALL, JONES, and KATZ). They released a CD that is almost as good than on previous releases. "The X-Files" is a disc of live recordings and a disc of unreleased material. What else can be said, apart from the fact that it is another masterpiece in the Legend's discography.
(progarchives.com/artist.asp?id=660)

01. Noddy Goes To Sweden (04:30)
02. Voidarama (04:26)
03. Act Of Will (04:45)
04. Fragile (05:27)
05. Cambodia (04:34)
06. Triumphant Limp (07:32)
07. D.M.Z. (08:39)

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Extreme - III Sides To Every Story [Japanese Ed. SHM-CD] (1992)

Year: September 14, 1992 (CD Sep 17, 2008)
Label: Universal Music (Japan), UICY-93682
Style: Hard Rock, Glam Metal
Country: Boston, Massachusetts, U.S.
Time: 76:09
Format: Flac Tracks 16/44,1 kHz
Size: 516 Mb

Nuno and the boys split this album into three parts based on the three sides of every story: “Yours” “Mine,” and “The Truth.” They rather cleverly weave their political views into some songs, while they don’t cram anything down your throat either. Once again, I listened intently to Nuno Bettencourt’s guitar playing. Although, I didn’t hear the fire I witnessed on “Pornograffiti,” I still heard some funky playing.
This release seemed to be more constructed than previous releases; not controlled, but more compartmentalized and that was the band's purpose by dividing the album into three sections. “Yours” (songs 1-6), deal with political views. “Mine” (songs 7-11) has some romantic overtones. “The Truth” (songs 12-14) have some progressive offerings. Clocking in at seventy-six minutes, "III" is a lot of music to digest. I did get a little bored near the end because the mood changes from song to song in a strange way. The music is still good and taking a few minutes to listen closely will help you appreciate their direction.
Gary Cherone really uses all his vocal ability on this disc. You can see why he was chosen to front Van Halen (albeit briefly). I find it odd that Nuno has said he always wanted to be Eddie Van Halen and then Gary got to sing with him. It’s funny how the music biz works.
Since this disc didn’t have any Top 40 hits, you may not have heard most of the songs here so, if you haven’t heard this CD, consider this fresh music from Extreme.
I do like the Martin Luther King Jr. speech in “Peacemaker Die.” It gives the song and the band's lyrics more depth.
(roughedge.com/cdreviews/e/extreme.htm)

01. Warheads (05:18)
02. Rest In Peace (06:01)
03. Politicalamity (05:04)
04. Color Me Blind (05:00)
05. Cupid's Dead (05:56)
06. Peacemaker Die (06:03)
07. Seven Sundays (04:18)
08. Tragic Comic (04:44)
09. Our Father (04:02)
10. Stop The World (05:57)
11. God Isn't Dead? (02:02)
12. Rise 'n Shine (06:22)
13. Am I Ever Gonna Change (06:56)
14. Who Cares? (08:19)

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Extreme - Pornograffitti [Japanese Ed. SHM-CD] (1990)

Year: August 7, 1990 (CD Sep 17, 2008)
Label: Universal Music (Japan), UICY-93681
Style: Hard Rock, Glam Metal
Country: Boston, Massachusetts, U.S.
Time: 64:28
Format: Flac Tracks 16/44,1 kHz
Size: 444 Mb

The album begins with “Decadence Dance”, which gives the listener a good sampling of what’s to follow both musically and thematically. Released as a single, the opener was a minor success in the UK, peaking at #36. “Li’l Jack Horny” features intro guitar harmonics for melodic effect by Bettencourt before he changes direction with a strong, bluesy riff. A fine track overall with good melody of lyrics that use nursery rhymes and fables, the song borrowed its title from the six member “Li’l Jack Horn Section”, who performs on this track and “Get the Funk Out”. The latter track is driven by the bass pattern of Badger and features Pat Travers on co-lead vocals.
“More Than Words” is a fine finger-picked ballad where Cherone and Bettencourt are free to fully display their talents at the fullest. For how over-produced most of the rest of the album is, the sparse arrangement here is a brilliant break in the action, and worked well to make this a quasi-classic. Lyrically, the song examines the diminished meaning of phrase “I love you”, as actions speak louder. The song became a #1 smash on the Billboard charts in the US. The subsequent single, “Hole Hearted”, another acoustic track, was also successful, rising to No. 4 on the same popular music chart.
Extreme II: Pornograffitti has some weak moments through the middle of the album. “Money (in God We Trust)” starts with a slight dialogue about the tooth fairy before the upbeat core tries to be anthemic and preachy at the same time. Not very original or interesting and, in fact, the hook borrows heavily from AC/DC’s “What Do You Do for Money Honey”. Likewise, “It’s a Monster” 4:28 – really covers no new ground at all and, while the title track “Pornograffitti” begins with some blistering guitar riffs by Bettencourt and eventually settles into a rudiment-fused groove with steady beat, it really amounts to more Van Halen-style cloning.
The second break from form, “When I First Kissed You”, is jazzy piano ballad, completely sans guitar. Here, Badger appears to be using a stand-up, double bass which adds to the song’s feel of authenticity as well along with the fine orchestral strings over the bridge. “Suzi (Wants Her All Day What?)” is another hard rock narrative, while “He-Man Woman Hater” includes an excellent guitar intro that borrows from “Flight of the Bumblebee” with Bettencourt’s guitar accompanied by rapid, percussive tapping by Geary. Dweezil Zappa makes a cameo with the cartoonish voice of the title character. This is followed by “Song for Love”, a slow ballad with a dark feel throughout.
(full version: classicrockreview.com/2015/03/1990-extreme-ii-pornograffitti/)

01. Decadence Dance (06:49)
02. Li'l Jack Horny (04:51)
03. When I'm President (04:21)
04. Get The Funk Out (04:24)
05. More Than Words (05:33)
06. Money (In God We Trust) (04:10)
07. It ('s A Monster) (04:25)
08. Pornograffitti (06:16)
09. When I First Kissed You (04:00)
10. Suzi (Wants Her All Day What?) (03:38)
11. He-Man Woman Hater (06:20)
12. Song For Love (05:55)
13. Hole Hearted (03:40)

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May Blitz - The 2nd Of May [Japanese Ed. SHM-CD] (1971)

Year: 1971 (CD Oct 27, 2010)
Label: Universal Music (Japan), UICY-94683
Style: Hard Rock, Heavy Metal
Country: England
Time: 38:28
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

MAY BLITZ were formed by vocalist/guitarist Jamie Black who recruited Tony Newman on drums, (ex Sounds Incorporated and Jeff Beck Group), and Reid Hudson (bass, vocals) in 1969. The original lineup featured bassist Terry Poole and drummer Keith Baker, from Bakerloo, but both left before recording anything for the band. Baker had a better offer from Uriah Heep, and went to record "Salisbury" with the band.
The band survived long enough to record two incredibly heavy, powerful and psychedelic albums with strong blues undertones and progressive tendencies, despite the lack of keyboards. These were released on Vertigo, who we also associate with Black Sabbath and Uriah Heep - but the music is probably heavier than either. Their style comes in somewhere around High Tide and the Pink Fairies - but these are really ballparks.
Their debut album is a must-hear for anyone curious about the development of heavy music, and features a production in which it is not only almost possible to smell the ganja smoke, but is also rich and clear enough to provide the striking dynamic contrasts the music needs, as it occasionally veers from ambience to crushing riffs in the blink of an eye. It is certainly very unpredictable, even now.
Why this artist must be listed in progarchives.com :
Because they're an overlooked progressive blues/rock/psychedelic band with a massive scarcity value, and music that is original and highly progressive to boot!
(progarchives.com/artist.asp?id=1756)

01. For Mad Men Only (04:16)
02. Snakes And Ladders (04:42)
03. The 25th Of December 1969 (03:12)
04. ''In Part'' (06:09)
05. 8 Mad Grim Nits (04:33)
06. High Beech (05:02)
07. Honey Coloured Time (04:14)
08. Just Thinking (06:18)

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May Blitz - May Blitz [Japanese Ed. SHM-CD] (1970)

Year: 1970 (CD Oct 27, 2010)
Label: Universal Music (Japan), UICY-94682
Style: Hard Rock, Heavy Metal
Country: England
Time: 43:12
Format: Flac Tracks 16/44,1 kHz
Size: 272 Mb

May Blitz was a Canadian-British hard rock power trio that was active in the early 1970s.
The group was formed in 1969 by bassist Terry Poole and drummer Keith Baker, the rhythm section of the blues-rock trio Bakerloo, both of whom left the group when guitarist Clem Clempson departed to join Colosseum. Jamie Black joined the group on vocals and guitars but both Poole and Baker left the group before it recorded, Poole and Baker joining Vinegar Joe and Uriah Heep respectively. Black then added fellow Canadian Reid Hudson on bass and Tony Newman, who had played with Jeff Beck, The Hollies and Sounds Incorporated, on drums.
After playing UK pubs, the group signed with Vertigo Records (in the US they were on Paramount Records) and released their debut album in 1970. A second album followed in early 1971, but due to lack of commercial success the trio disbanded in late 1971. Black and Hudson, both originally from Canada, returned to their native country while Newman joined Three Man Army, founded and led by the Gurvitz brothers, Adrian and Paul. Newman later went on to a long career as a session drummer, including for David Bowie, Donovan, and George Harrison, and others.
(en.wikipedia.org/wiki/May_Blitz)

01. Smoking The Day Away (08:23)
02. I Don't Know? (04:52)
03. Dreaming (06:45)
04. Squeet (06:56)
05. Tomorrow May Come (04:52)
06. Fire Queen (04:17)
07. Virgin Water (07:04)

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