The Alan Parsons Project - Tales of Mystery and Imagination (1976) (Vinyl)

Year: 1976 (LP 1976)
Label: Charisma Records (UK), CDS 4004
Style: Art Rock, Rock
Country: London, England
Time: 40:43
Format: Flac Tracks 16/44,1
Size: 254 Mb

Alan Parsons (born 20 December 1948) is an English audio engineer, songwriter, musician, and record producer. He was involved with the production of several significant albums, including the Beatles' Abbey Road and Let It Be, and the eponymous debut album by Ambrosia, as well as Pink Floyd's The Dark Side of the Moon. Parsons' own group, The Alan Parsons Project, as well as his subsequent solo recordings, have also been commercially successful. He has been nominated for 13 Grammy Awards, with his first win occurring in 2019 for Best Immersive Audio Album, Eye in the Sky (35th Anniversary Edition).

01. A1 A Dream Within A Dream (03:43)
02. A2 The Raven (03:58)
03. A3 The Tell-Tale Heart (04:41)
04. A4 The Cask Of Amontillado (04:31)
05. A5 (The System Of) Doctor Tarr And Professor Fether (04:06)
06. B1 The Fall Of The House Of Usher (15:12)
07. B2 To One In Paradise (04:29)



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Maggie Bell - Suicide Sal (1975) (Vinyl)

Year: 1975 (LP 1975)
Label: Polydor Records (UK), 2383-313
Style: Blues-Rock, Soul
Country: Glasgow, Scotland
Time: 38:38
Format: Flac Tracks 16/44,1 kHz
Size: 253 Mb

Margaret Bell (born 12 January 1945 in Maryhill, Glasgow, Scotland) is a Scottish rock vocalist. She came to fame as co-lead vocalist of the blues-rock group Stone the Crows, and was described as the UK's closest counterpart to American singer Janis Joplin.
From a musical family, she sang from her teenage years, leaving school at the age of fifteen, to work as a window dresser by day and singer at night. Bell was introduced to Leslie Harvey, by his older brother Alex, after getting up on stage to sing with the latter. Leslie Harvey was, at that time, a guitarist with the Kinning Park Ramblers. Bell joined the group as one of the vocalists. After the band split up, Bell moved to the Mecca Band at the Sauchiehall Street Locarno, and later to the Dennistoun Palais Band.
She then rejoined Harvey, forming Power initially known as The Power of Music and eventually The Power. Bell and The Power regularly performed at The Easterhouse Project, run by Archie Hind and Graeme Noble. They also toured United States Air Force bases in Germany in the mid 1960s. Peter Grant, who was managing The Yardbirds at the time, heard Power playing at one of these bases and agreed to produce and manage them, impressed by the vocal ability of Bell and the guitar playing of Harvey. Power was then renamed as Stone the Crows, an expression used by Grant upon hearing this band.
Stone the Crows split up in 1973, after Leslie Harvey's accidental death from electrocution on 2 May 1972. Harvey had been an integral part of the band and its music. Peter Grant remained as Bell's manager after the split, and along with Mark London offered to help Bell record a solo album. She subsequently recorded two further albums for Atlantic Records, one produced by Felix Pappalardi and the other produced by Felix Cavaliere. Neither has yet been released. Grant then oversaw her first solo album release Queen of the Night (1974), which was recorded in New York City with record producer Jerry Wexler.
Bell signed to the then newly formed Swan Song Records in 1974, along with Bad Company and Pretty Things, as one of the first signings to the label. Jimmy Page contributed to her second album Suicide Sal (1975). Bell then tried to capture past blues rock glories by fronting Midnight Flyer, who were a popular live act but their sole eponymous album released in 1981 was not a commercial success.
(Wikipedia)

01. A1 Wishing Well (03:38)
02. A2 Suicide Sal (03:49)
03. A3 I Was In Chains (03:04)
04. A4 If You Don't Know (03:59)
05. A5 What You Got (02:55)
06. A6 In My Life (03:11)
07. B1 Comin' On Strong (04:08)
08. B2 Hold On (04:51)
09. B3 I Saw Him Standing There (04:23)
10. B4 It's Been So Long (04:36)



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Rainbow - Rainbow (Compilation) (1989) (Russian Vinyl)

Year: 1975-1982 (LP 1989)
Label: Melodia Records (Russia), C60 27023 005
Style: Hard Rock
Country: Hertford, Hertfordshire, England
Time: 41:31
Format: Flac Tracks 16/44,1 kHz
Size: 286 Mb

"Ritchie Blackmore's Rainbow" Album Review (Tony Stewart, New Musical Express - 30 August 1975)
When a musician (in this case Ritchie Blackmore) decides to leave a band (in this case, Deep Purple), presumably because of musical differences, you`d expect him to adopt an approach dissimilar from that of his former band. But not our Ritchie.
This is the same kind of metal rock, the lineup is similar (Ronnie James Dio, vocals; Gary Driscoll, drums; Craig Gruber, bass; and Mickey Lee Souls, assorted keyboards) and even the packaging sniffs of a Purple influence. The only significant difference I can discern between the two are that (1) Rainbow are not as accomplished musicians as Purple, and (2) their breadth of vision isn`t as great. In fact this album is duller than a March morning.
The majority of the cuts are the same old riff stews; admittedly they do it capably enough, but that hardly seems sufficient. Out of the nine tracks, there are only two which are worth complimentary remarks. Those are the gentle melodic "Catch The Rainbow", and the acoustically based "Temple Of The King".
The rest are just cliched structures, such as the pounding "Man On The Silver Mountain" and "Sixteenth Century Greensleeves" where Blackmore and Dio reclaim a Uriah Heep riff which they`d borrowed from Purple originally. And even the inclusion of The Hat`s instrumental re-working of the Yardbird`s "Still I`m Sad" does nothing for me at all. Besides their lack of imagination in the composing department, with seven originals from the pens of The Hat and Ronnie James, the band lacks any real feeling. With the exception of Dio.
Now he is a good singer who has a lot of passion, good phrasing and pitch (particularly on "Temple") and puts a considerable amount of effort into the songs. Whereas The Mad Axeman and Gruber merely illustrate their technical manoeuverability, Souls (despite the name) is recording in the studio next door and you rarely hear him, and Driscoll is what you`d describe as solid. But it is a group album. The Hat keeps a low profile, filling out songs and taking the occasional lead, sounding, particularly on "Rainbow" and "Temple", like Peter Green, but there are no real instances of inspired madness. So in conclusion, all I can say is that they`re an imitation of Purple, and not a particularly good one at that.

01. A1 Man On The Silver Mountain (Dio 1975) (04:36)
02. A2 Still I'm Sad (Dio 1975) (03:55)
03. A3 Long Live Rock'n'Roll (Dio 1978) (04:21)
04. A4 All Night Long (Graham Bonnet 1979) (03:54)
05. A5 Stone Cold (Joe Lynn Turner 1982) (05:15)
06. B1 If You Don't Like Rock'n'Roll (Dio 1975) (02:36)
07. B2 Stargazer (Dio 1976) (08:24)
08. B3 Freedom Fighter (Joe Lynn Turner 1981) (04:26)
09. B4 I Surrender (Joe Lynn Turner 1981) (04:01)



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The Beatles - Please Please Me (1963) (Vinyl Stereo)

Year: 22 March 1963 (LP 1971-1973)
Label: Parlophone Records (UK), PCS 3042
Style: Classic Rock
Country: Liverpool, England
Time: 32:52
Format: Flac Tracks 16/44,1 kHz
Size: 212 Mb

George Martin Recalls Recording The Beatles' "Please Please Me" in a Day 'That Lasted 3 Weeks'.
When he was interviewed by Billboard in 2008, the "Fifth Beatle" George Martin recalled his most vivid memory recording the Beatles' first album, Please Please Me. His response was that they managed to track the whole set in one day - a day, he joked, "that lasted three weeks."
Martin died Tuesday at 90. His production credits are vast but he is best known for first signing and producing nearly all of the Fab Four's work.
The album was recorded in 13 hours, Martin said, as the band ran through its standard set from performing at the Cavern Club in Liverpool. He held off the cover of "Twist and Shout" for last because he said he knew Lennon wouldn't have any voice left after recording the intense song.
"It was a day that lasted three weeks," Martin said. "We started at about 10 in the morning, and we finished at about 11 at night. The last song we did was 'Twist and Shout' and I didn't do it earlier because I knew John wouldn't have any voice left. We did 11 songs in 11 hours. It was really a run-through. I'd seen them working in the Cavern in Liverpool, and I'd seen them other places, so I said, 'Let's just run through what you do as an act and record it.' I needed that album out quickly, so that was why I did it [that way]."
Billboard 3/9/2016

01. A1 I Saw Her Standing There (McCartney) (02:53)
02. A2 Misery (Lennon and McCartney) (01:51)
03. A3 Anna (Go to Him) (Arthur Alexander) (Lennon) (02:57)
04. A4 Chains (Gerry Goffin - Carole King) (Harrison) (02:28)
05. A5 Boys (Luther Dixon, Wes Farrell) (Starr) (02:27)
06. A6 Ask Me Why (Lennon) (02:29)
07. A7 Please Please Me (Lennon) (01:59)
08. B1 Love Me Do (McCartney) (02:21)
09. B2 P.S. I Love You (McCartney) (02:07)
10. B3 Baby It's You (M. David, B. Williams, B. Bacharach) (Lennon) (02:41)
11. B4 Do You Want to Know a Secret (Harrison) (02:01)
12. B5 A Taste of Honey (Bobby Scott, Ric Marlow) (McCartney) (02:06)
13. B6 There's a Place (Lennon and McCartney) (01:53)
14. B7 Twist and Shout (Phil Medley, Bert Russell) (Lennon) (02:33)



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Madonna - Like A Virgin (1984) (Vinyl)

Year: 1984 (LP 1989)
Label: Balkanton Records (Bulgaria), BTA 11999
Style: Pop
Country: Bay City, Michigan, U.S.
Time: 38:59
Format: Flac Tracks 16/44,1 KHz
Size: 262 Mb

On her self-titled 1983 debut, Madonna sang perky little tunes about going on vacation ("Holiday") and falling in and out of love ("Lucky Star" and "Borderline"). These were ideas grandma and grandpa could get behind, and yet the 20-something Michigan native caused a minor sensation, setting the stage for a total pop-culture takeover. Clearly, music was only one of her weapons.
While Madonna offered Middle American mallrats a taste of underground NYC dance culture, what really got people talking was the singer herself. This spunky, self-assured club kid with the belly shirts and rubber bracelets liked being a topic of conversation, and with her second album, Like a Virgin, she endeavored to keep her name on everyone’s lips.
Released 30 years ago today (Nov. 12, 1984), Like a Virgin is sometimes thought of as Madonna’s artistic coming-out party, the moment she swapped frivolous bubblegum for more thoughtful examinations of female sexuality. Such praise stems mostly from what we now know about Madonna. However, for all its merits - and it has many - Like a Virgin isn’t exactly The Feminine Mystique set to music. In fact, it’s not all that different from its predecessor.
As with her first record, Madonna went into Like a Virgin wrestling Warner Bros. for more artistic control. After her negative experiences working with Reggie Lucas, she wanted to handle more of the production herself, and she found a winning collaborator in Chic guitarist Nile Rodgers, who’d just worked on David Bowie’s Let’s Dance.
Rodgers gave Madonna’s music some extra snap and sheen, and if he didn’t quite hand the singer her first classic album -- she’d have to wait another five years for that -- he did get her to the top of the Billboard 200. He also helped craft two of the decade’s most iconic singles.
The first, of course, is "Like a Virgin," Madonna’s first No. 1 pop hit. It’s here that she most explicitly tackles sexual politics and explores that whole virgin-whore thing so central to her image. The other is “Material Girl,” a winking gold-digger anthem that can be taken a couple of different ways. The remaining seven songs range from fun-enough dance tunes to flat-out filler – but that was all it took to propel Madonna onto the same plain as Prince, Michael Jackson and Bruce Springsteen.
"Material Girl": Like so many ‘80s pop classics, this one is inextricably linked to its video, which features a pretty-in-pink Madonna paying homage to Marilyn Monroe. It’s also more clever than most people realize. She’s either making a sarcastic statement about the decade’s rampant materialism or promoting the kind of "I got mine, bitches" feminism that’s always been her guiding light. Either way, "Material Girl" is a stylish sign-of-the-times synth-funk jam she didn’t write but totally owned.
"Like a Virgin": Ask a hundred people what this song is about, and you’ll get a hundred interpretations -- none as hilariously vulgar as Quentin Tarantino’s in Reservoir Dogs, but each as valid. "Like a Virgin" was actually written by a couple of men (Billy Steinberg and Tom Kelly), and that makes the finished Madonna product all the more ambiguous. Atop a bassline like the one heard in "Billie Jean" - another complex song about purity and sex - Madonna is coquettish yet knowing. "Like a Virgin" is about reconnecting with lost innocence through the act of lovemaking, a counterintuitive idea that was bound to confuse people. It didn’t exactly clarify things when she wore a wedding dress and humped the floor while performing the song at the inaugural MTV Video Music Awards.
Billboard 11/12/2014

01. A1 Material Girl (04:02)
02. A2 Angel (04:00)
03. A3 Like A Virgin (03:43)
04. A4 Over And Over (04:14)
05. A5 Dress You Up (04:03)
06. B1 Love Don't Live Here Anymore (04:50)
07. B2 Shoo-Bee-Doo (05:20)
08. B3 Pretender (04:35)
09. B4 Stay (04:07)



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Yes - The Yes Album (1971) (Vinyl)

Year: 1971 (LP 1972)
Label: Atlantic Records (UK), K 40106
Style: Symphonic Rock
Country: London, England
Time: 40:50
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

"The Yes Album started a new plane for Yes," Steve Howe said in 2013, "where we were completely original. Not doing other people’s songs, but creating our own music. "When I joined, I said: ‘Isn’t it time Yes did the whole thing?’ They all felt the same."
First released in February 1971, Yes’s third full-lengther “felt like the first real Yes album” according to Jon Anderson.
With Peter Banks having left, Howe came in with a dazzling scope of guitar sonics and styles while the band, skint and fed up of watching other bands they knew break big, jettisoned the stabilisers.
Co-producer and engineer Eddy Offord too played a vital role in their invention of a new post-psychedelia landscape. Like radical sculptors, they curved and warped the structure of their material until it offered resonant revelations in sound.
The trippy trinity of Yours Is No Disgrace, I’ve Seen All Good People and Starship Trooper stand as evergreen Yes masterworks. Your ears enter them through fresh windows and doorways every time, even over four decades later.
Prior to recording the band – getting to know Howe – “got away from it all” in Devon, renting a farmhouse in which they wrote, rehearsed and realised they could break the time-honoured rules of popular music. In the London studio, they then put down the tracks in sections and listened back to producer Eddie Offord’s ingenious assemblages.
The artful eclecticism surprised even its creators. Even though Kaye’s subsequent departure (a Hammond aficionado, he wasn’t keen on emerging technology) and Rick Wakeman’s arrival marked what most believe to be the definitive Yes line-up, it’s a pity this quintet crafted only this one diamond, unique in its sparkle and flow.
It was and is funkier, looser, than their later jewels, while always knowing where it’s going. It’s exploratory, but concise: so much happens, but every second counts. The Yes Album gave the band their first number one (albeit thanks at first to a dubious chart, taken hurriedly from the Oxford Street Virgin store because of a postal strike), and sold a million.

John Anderson (born 25 October 1944, Accrington, Lancashire, UK) – vocals, percussion

Chris Squire (4 March 1948 – 27 June 2015, London, UK) – bass guitars, vocals

Steve Howe (born 8 April 1947, London, UK) – electric and acoustic guitars, vachalia, vocals

Tony Kaye (11 January 1946, Leicester, UK) – piano, organ, moog

Bill Bruford (born 17 May 1949, Sevenoaks, Kent, UK) – drums, percussion

01. A1 Yours Is No Disgrace (09:33)
02. A2 The Clap (03:12)
03. A3 Starship Trooper (09:13)
04. B1 I've Seen All Good People (06:46)
05. B2 A Venture (03:20)
06. B3 Perpetual Change (08:44)



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Whitesnake - Whitesnake (1987) (Vinyl)

Year: 1987 (LP 1987)
Label: Balkanton Records (Bulgaria), BTA 12336
Style: Hard Rock
Country: Middlesbrough, Cleveland, England
Time: 48:57
Format: Flac Tracks 16/44,1 kHz
Size: 366 Mb

Whitesnake are a hard rock band formed in England in 1978 by David Coverdale, after his departure from his previous band Deep Purple. Their early material has been compared by critics to the blues rock of Deep Purple, but they slowly began moving toward a more commercially accessible rock style. By the turn of the decade, the band's commercial fortunes changed and they released a string of UK top 10 albums, Ready an' Willing (1980), Come an' Get It (1981), Saints & Sinners (1982) and Slide It In (1984), the last of which was their first to chart in the US and is certified 2x platinum.
The band's 1987 self-titled album was their most commercially successful worldwide, and contained two major US hits, "Here I Go Again" and "Is This Love", reaching number one and two on the Billboard Hot 100. The album went 8 times platinum in the US, and the band's success saw them nominated for the 1988 Brit Award for Best British Group. Slip of the Tongue (1989) was also a success, reaching the top 10 in the UK and the US, and received a platinum US certification. The band split up shortly after this release, but had a reunion in 1994, and released a one-off studio album, Restless Heart (1997).
Whitesnake officially reformed in 2002 and have been touring together since, releasing four albums, Good to Be Bad (2008), Forevermore (2011), The Purple Album (2015) and Flesh & Blood (2019). In 2005, Whitesnake were named the 85th greatest hard rock band of all time by VH1.

David Coverdale – lead vocals (ex & next - Roger Glover, Jon Lord, Eddie Hardin, Bernie Marsden, Jimmy Page, Deep Purple)
John Sykes – guitars, backing vocals
Neil Murray – bass (ex & next - Colosseum II, Black Sabbath, Brian May, Peter Green, Graham Bonnet, Cozy Powell, Jon Lord, Gary Moore, Micky Moody, Michael Schenker)
Aynsley Dunbar – drums, percussion (ex & next - Eric Burdon, John Mayall, Frank Zappa, Ian Hunter, Lou Reed, Jefferson Starship, Jeff Beck, David Bowie, Whitesnake, Sammy Hagar, Michael Schenker, UFO, Journey, and Black Sabbath)

01. A1 Still Of The Night (06:40)
02. A2 Bad Boys (04:11)
03. A3 Give Me All Your Love (03:36)
04. A4 Looking For Love (06:34)
05. A5 Here I Go Again (03:58)
06. B1 Crying In The Rain (05:45)
07. B2 Is This Love (04:45)
08. B3 Straight For The Heart (03:43)
09. B4 Don't Turn Away (05:14)
10. B5 Children Of The Night (04:27)



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