Sunday, April 6, 2025
Vanilla Fudge - The Return (2003)
Alice Cooper - School's Out [Japanese Ed. SHM-CD] (1972)
Label: Warner Bros. Records (Japan), WPCR-14303
Style: Garage Rock, Hard Rock, Glam Rock
Country: Phoenix, Arizona, U.S. (February 4, 1948)
Time: 36:50
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb
Charts: US #2, AUS #5, AUT #8, CAN #1, GER #3, NOR #8, SWE #8, UK #4. UK: Silver; US: Platinum.
The
original album cover (designed by Craig Braun) had the sleeve opening
in the manner of a wooden school desk, similar to Thinks: School Stinks,
by Hotlegs, released two years earlier. The band members' names appear
in the form of graffiti carved into the desk. The vinyl record inside
was wrapped in a pair of panties, though this was later discontinued as
the paper panties were found to be flammable. The desk photographed for
the album cover is on display in the Hard Rock Cafe in Las Vegas.
Ian Chapman has put forward a theory that it was a concept album about youth lost when leaving school.
AllMusic
reviewer Tim Sendra states that "half the joy derived from listening to
School's Out is to marvel at how daringly the band took all the
goodwill they had engendered to this point and blew up their
just-barely-established template in fascinating, almost reckless ways.
(en.wikipedia.org/wiki/School%27s_Out_(album))
01. School's Out (03:30)
02. Luney Tune (03:41)
03. Gutter Cat Vs. The Jets (04:39)
04. Street Fight (00:55)
05. Blue Turk (05:31)
06. My Stars (05:48)
07. Public Animal 9 (03:52)
08. Alma Mater (04:25)
09. Grande Finale (04:24)
Vanilla Fudge - Rock & Roll [4 bonus tracks] (1969)
Year: September 1969 (CD 1991)
Label: Repertoire Records (Austria), REP 4168-WZ
Style: Hard Rock, Psychedelic Rock
Country: Long Island, New York, U.S.
Time: 48:24
Format: Flac Tracks 16/44,1 kHz
Size: 269 Mb
Vanilla
Fudge was one of the first American groups to infuse psychedelia into a
heavy rock sound to create "psychedelic symphonic rock" an eclectic
genre which would, among its many offshoots, eventually morph into heavy
metal. Although, at first, the band did not record original material,
they were best known for their dramatic heavy, slowed-down arrangements
of contemporary pop songs which they developed into works of epic
proportion.
Originally, Vanilla Fudge was a blue-eyed soul cover band
called The Pigeons, formed in New Jersey in 1965 with organist, Mark
Stein, bassist, Tim Bogert and drummer, Joey Brennan, and guitarist,
vocalist and US Navy veteran, Vince Martell. They built a following by
gigging extensively up and down the East Coast, and earned extra money
by providing freelance in-concert backing for hit-record girl groups. In
early 1966, the group recorded a set of eight demos that were released
several years later as "While the World Was Eating Vanilla Fudge."
The
East Coast, in particular, New York, and New Jersey, created a sound
all its own. Inspired by groups such as The Rascals and The Vagrants
(fronted by guitarist, Leslie West of "Mountain" fame), The Pigeons
reworked many of their own existing arrangements of covers to reflect
their unique interpretation of this "East Coast Sound."
In late 1966,
drummer, Joey Brennan, moved out to the West Coast; the Pigeons
immediately drafted drummer and vocalist, Carmine Appice, a disciple of
the renowned Joe Morello (Dave Brubeck Band) and a seasoned veteran of
the club scene.
In early 1967, The Pigeons manager, Phil Basile,
convinced producer, George "Shadow" Morton (producer for The Shangri-Las
and Janis Ian), to catch their live act. Impressed by their
heavy-rocking, trippy and psychedelic version of The Supremes’ "You Keep
Me Hangin’ On," Morton offered to record the song as a single. This
resulted in a deal with the Atlantic subsidiary Atco, which requested a
name change.
The band settled on Vanilla Fudge; they were a white
group singing and playing with the soul of the brothers. The band toured
extensively behind its covers-heavy, jam-oriented debut album, Vanilla
Fudge, to expand their fan base. Vanilla Fudge, the album, was released
on June 2, 1967 the day after The Beatles’ released their Sergeant
Pepper’s Lonely Hearts Club Band. The Vanilla Fudge first album rose up
the charts to # 4 without the aid of a big hit single.
In 1968,
Vanilla Fudge headlined the Fillmore West with Steve Miller. The group
then performed "You Keep Me Hangin’ On" on The Ed Sullivan Show, and
released their second album, "The Beat Goes On." Despite its avant-garde
conceptualization and execution, the LP was a hit and climbed into the
Top Twenty. That summer, Atco reissued "You Keep Me Hangin’ On," and the
second time around it climbed into the Top Ten. It was followed by
Renaissance, one of Vanilla Fudge’s best albums, which also hit the Top
Twenty. The band had three albums in the Top One Hundred, two of which
were in the Top Twenty and one in the Top Five Single. The band toured
with Jimi Hendrix, played dates equal billed or headlined with groups
such as Cream, Janis Joplin, Jefferson Airplane, among many others; late
in the year, they toured with the fledgling Led Zeppelin as their
opening act.
In 1969, while immersed in extensive touring, Atco
released the expansive, symphonic-tinged record, Near the Beginning.
Among the group’s many TV appearances on legendary shows were Dick
Cavett, Merv Griffin Show, David Frost, Where The Action Is among
others. The group did a TV commercial for Braniff Air, and also recorded
a radio commercial for Coca Cola with guitarist Jeff Beck, a fill-in
for Vince who was unable to be there that day. This event gave rise to
the eventual creation of a Cream-styled power trio featuring Beck,
Bogert and Appice. Exhausted by the constant touring, the Vanilla Fudge
decided that their late 1969 European tour would be their last.
Following the release of their final album, Rock & Roll, they played
a few U.S. farewell dates and disbanded in early 1970.
Vanilla Fudge
reunited in 1984 and recorded a new album, Mystery, which also had Jeff
Beck as a guest artist. In the summer of 2006, the original Vanilla
Fudge reunited to tour with The Doors of the 21st Century; it culminated
in a VH-1 special, "Decades of Rock." The group currently continues to
tour in the USA. In August of 2007, they performed at Radio City Music
Hall with Deep Purple another opening act for the Fudge in the sixties.
Critics praised the Vanilla Fudge’s performance that night as one of
their greatest!
On October 15, 2006, Vanilla Fudge were inducted into
the Long Island Music Hall of Fame by Felix Cavaliere for their
contribution to music history. Other inductees were Billy Joel, Joan
Jett, and Twisted Sister to name a few. Also in 2006 they recorded a
tribute to their old friends Led Zeppelin by creating their own
interpretations of their music on their CD, "Out Through The In Door."
Vanilla
Fudge is celebrating their 50th year Anniversary in 2017 and is still
rocking the world with concerts in the USA and European tours performing
at festivals, theaters, and TV appearances on The Jimmy Fallon TV Show.
With the new CD on Cleopatra Records "Sprit of 67", Vanilla Fudge are
ready to Rock the world in 2018!!
(arotr.com/vanilla-fudge)
Traffic – Traffic (1968) SHM-CD Japan
Label: Universal-Island Records (Japan), UICY-93642
Style: Progressive Rock, Folk Rock
Country: Birmingham, England
Time: 51:19
Format: Flac Tracks 16/44,1 kHz
Size: 303 Mb
Charts: UK #9, CAN #15, US #17.
In
January 1968, after some initial success in Britain with their debut
album Mr. Fantasy, Dave Mason had departed from the group. He produced
the debut album by the group Family, containing in its ranks future
Traffic bass player Ric Grech, while Traffic went on the road. In May,
the band had invited Mason back to begin recording the new album.
The
album was somewhat of a departure from the psychedelia of Traffic's
debut, featuring a more eclectic display of influences from blues to
folk and jazz. Mason ended up writing and singing half of the songs on
the album (including his biggest hit "Feelin' Alright?"), but making
scant contribution to the songs written by Jim Capaldi and Steve
Winwood. His flair for pop melody had always been at odds with the
others' jazz ambitions, evidenced by the dichotomy seen for the songs on
this album, and by October he was again out of the band. He would
return one more time for a tour and album in 1971 to run out the band's
contract.
(en.wikipedia.org/wiki/Traffic_(Traffic_album))
01. You Can All Join In (03:36)
02. Pearly Queen (04:19)
03. Don't Be Sad (03:21)
04. Who Knows What Tomorrow May Bring (03:13)
05. Feelin' Alright? (04:18)
06. Vagabond Virgin (05:21)
07. Forty Thousand Headmen (03:13)
08. Cryin' To Be Heard (05:14)
09. No Time To Live (05:19)
10. Means To An End (02:38)
11. You Can All Join In (mono single mix) (03:45)
12. Feelin' Alright? (mono single mix) (04:03)
13. Withering Tree (stereo single mix) (02:53)
Saturday, April 5, 2025
Ten Years After - Cricklewood Green (1970)
Label: Chrysalis Records (US), F2 21084
Style: Blues Rock, Classic Rock
Country: Nottingham, England
Time: 39:15
Format: Flac Tracks 16/44,1 kHz
Size: 209 Mb
Charts: UK #4, AUS #19, CAN #11, DEN #5, FIN #8, GER #8, ITA #17, NOR #8, US #14.
Only
a year had passed since Ssssh and they’re already miles away. They’re
not being particularly amazing with their new style, but this is still
miles away. This is not the raw rip-roaring tone they had on that one.
But neither is it a bunch of weak grooves as was Stonedhenge. Instead,
this is the first record where they have discovered synthesizers – and
synthesizers were to play a vital role for the band during the next few
years. Indeed, along with the Who, Ten Years After might be defined as
pioneers of the ‘synth-genre’. On most of these songs synths play a
modest, but distinctive role (unlike the completely unabashed synthfest
on Watt), and this gives the record an obvious prog feel. Plus,
production is better than ever – modern techniques, no doubt? This is
often regarded as their best album, and indeed it was their best-hitting
album in the UK. But me no. Oh no me. These songs are all good,
ass-kicking and quite mightee, but they just don’t hook me as much as
the ones on Ssssh.
If I might suggest a comparison, this album is to
TYA as Who’s Next is to the Who. It marks the arrival of a completely
new group that’s only to happy to break up with its past. I mean, Alvin
and his guitar are still there, and they still form the centerpiece of
the band, but the sound has changed radically. Early Ten Years After
were all groovy, hip and funny; late Ten Years After are all sad,
melancholy and dark. I mean, you can still encounter a groovy ditty now
and then, but mostly it’s just creepy, gloomy tunes, with a deep,
rumbling, echoey production, an abundance of the minor key, bitter
pissed-off lyrics and a thoroughly angry and smokin’ lead guitar. A lot
of ‘cosmic’ overtones, too – in the studio at least, Ten Years After are
moving even further away from the listener, distancing themselves and
beginning to speak as if from a completely different planet. In all,
Cricklewood Green is as deceiving a title as could be – it should bring
something folkish to mind, you know, like Songs From The Wood or
something like that. Instead, it’s a dark dreary ‘cosmic rock’ album.
Bah.
(full version: classicrockreview.wordpress.com/category/ten-years-after-cricklewood-green/)
01. Sugar the Road (04:08)
02. Working on the Road (04:20)
03. 50,000 Miles Beneath My Brain (07:42)
04. Year 3.000 Blues (02:26)
05. Me and My Baby (04:10)
06. Love Like a Man (07:41)
07. Circles (04:01)
08. As the Sun Still Burns Away (04:43)
Ten Years After - Ssssh (1969)
Label: Chrysalis Records (Europe), 259 010
Style: Blues Rock, Classic Rock
Country: Nottingham, England
Time: 33:34
Format: Flac Tracks 16/44,1 kHz
Size: 206 Mb
Charts: UK #4, CAN #17, FIN #14, GER #6, NOR #16, US #20. CAN: Gold.
And
at last, this time around there was no doubt these guys were gonna be a
major act. Good lads, they seem to have realized all of the mistakes
they made on Stonedhenge, and this time you're in for a listen of your
lifetime! No more stupid grooves or Leo Lyons solo spots. No more trippy
quiet guitar sounds and no more muddy, ear-destructive production. What
you are presented with is a gruff, rip-roaring, tearing-at-the-walls
progressive blues album which boasts brilliant production - AT LAST!
I
may be a little biased towards this album, but really, you must realise
it was a grandiose effort for the boys. Ten Years After was a homemade
album of four guys getting together to play a couple of covers; Undead
was a live album made by the same boys; Stonedhenge was a first try, but
a failure; and this, this is absolutely fantastic. Well, not
absolutely. Ten Years After never made an album that was 'absolutely'
fantastic. Forget about 'absolutely'. But this is definitely fantastic
in the fantastic Ten Years After way.
Where was I? Ah yes, Ssssh. The
only real trouble with that album is an ungly cover and the fact that
you never can remember how many 's' you have to write between the
capital one and the 'h'. Apart from that, there are some great blues
numbers, some great ballads and some great heavy rockers the likes of
which were not to be found previously. The very album opener ('Bad
Scene') is not just heavy - it's practically hardcore punk: a
breathtaking speed and a gruff guitar tone that predicts the Ramones but
also kinda outdates them. But there are also tricky changes in
signature, a special jazzy middle-eight, Alvin's trademark solos,
strange electronically encoded vocals and... well, you get my drift.
There's everything that Stonedhenge sorely lacked.
(full version: starlingdb.org/music/tenyears.htm#Ssssh)
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. Bad Scene (03:30)
02. Two Time Mama (02:03)
03. Stoned Woman (03:30)
04. Good Morning Little Schoolgirl (07:01)
05. If You Should Love Me (05:23)
06. I Don't Know That You Don't Know My Name (02:02)
07. The Stomp (04:34)
08. I woke Up This Morning (05:27)
Friday, April 4, 2025
Black Sabbath - Vol. 4 (1972)
Label: Castle Communications PLC (France), NELCD 6005
Style: Hard Rock
Country: Birmingham, England
Time: 47:23
Format: Flac Tracks 16/44,1 kHz
Size: 307 Mb
Charts: UK #8, AUS #1, CAN #5, FIN #2, GER #8, NOR #7, SWE #7, SWI #17, US #13. UK: Gold; CAN & US: Platinum.
"The
band started to become very fatigued and very tired. We'd been on the
road non-stop, year in and year out, constantly touring and recording. I
think Master of Reality was kind of like the end of an era, the first
three albums, and we decided to take our time with the next album."
--- Bill Ward
Indeed,
producing a full three albums in merely two years while intensively
touring for them must have undoubtedly put strain on Black Sabbath.
After a short break, the question was whether they would be able to
equal their two classics Paranoid and Master of Reality. Whilst in the
recording process, however, a more important issue had emerged. The
entire band had gotten so used to drugs, most notably cocaine, that they
became increasingly distant to the music, as well as in their personal
relationships. After a tiny break, there was more pressure on the
quartet than ever. Nevertheless, their fourth album, the
not-all-too-inventively-titled Volume 4 (a decision record label Vertigo
made because original title Snowblind was not to their liking) became
yet another success, allowing the band to continue their legacy.
"Yeah,
the cocaine had set in. We went out to L.A. and got into a totally
different lifestyle. Half the budget went on the coke and the other half
went to seeing how long we could stay in the studio...We rented a house
in Bel-Air and the debauchery up there was just unbelievable."
--- Geezer Butler
"Yes,
Vol. 4 is a great album but listening to it now, I can see it as a
turning point for me, where the alcohol and drugs stopped being fun."
--- Bill Ward
(sputnikmusic.com/review/35048/Black-Sabbath-Vol.-4/)
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. Wheels Of Confusion (08:00)
02. Tomorrow's Dream (03:07)
03. Changes (04:43)
04. Fx (01:40)
05. Supernaut (04:43)
06. Snowblind (05:28)
07. Cornucopia (03:51)
08. Laguna Sunrise (02:52)
09. St. Vitus Dance (02:27)
10. Under The Sun (05:51)
11. Children Of The Grave (Live) (04:35)
Black Sabbath - Master Of Reality (1971)
Label: Castle Communications PLC (France), NELCD 6004
Style: Hard Rock
Country: Birmingham, England
Time: 40:01
Format: Flac Tracks 16/44,1 kHz
Size: 240 Mb
Charts: UK #5, AUS #8, CAN #6, FIN #3, GER #5, NL #10, NOR #12, SWE #8, US #8. UK: Gold; CAN: Platinum; US: 2x Platinum.
During
the album's recording sessions, Osbourne brought Iommi a large joint
which caused the guitarist to cough uncontrollably. Iommi was recording
acoustic guitar parts at the time, and his coughing fit was captured on
tape. A fragment of Iommi's coughing was later added by producer Bain as
the intro to "Sweet Leaf," a song which was admittedly an ode to
marijuana use. Iommi recalls "We all played 'Sweet Leaf' while stoned."
In an interview with Guitar World in 2001 Butler recalled: "I do
remember writing "Sweet Leaf" in the studio. I'd just come back from
Dublin, and they'd had these cigarettes called Sweet Afton, which you
could only get in Ireland. We were going: "What could we write about?" I
took out this cigarette packet, and as you opened it, it's got on the
lid: "it's the sweetest leaf that gives you the taste" I was like: "Ah,
Sweet Leaf!" Writing in Mojo in 2013, Phil Alexander observed: "To most
it is the quintessential stoner anthem, a point borne out by Sabbath's
own Olympian consumption of hashish during their early days." In the
Black Sabbath concert film The Last Supper, Ward ruminates: "Did it
enhance the music? Well, you know, we wrote 'Sweet Leaf': 'When I first
met you / didn't realize', that's about meeting marijuana, having a
relationship with marijuana ... That was part of our lifestyle at that
time."
Butler, the band's primary lyricist, had a Catholic
upbringing, and the song "After Forever" focuses entirely on Christian
themes. At the time, Black Sabbath were suspected by some observers of
being Satanists due to their dark sound, image, and lyrics. "After
Forever" was released as a single along with "Fairies Wear Boots" in
1971.
(en.wikipedia.org/wiki/Master_of_Reality)
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. Sweet Leaf (05:05)
02. After Forever (05:27)
03. Embryo (05:00)
04. Children Of The Grave (00:45)
05. Orchid (01:30)
06. Lord Of This World (05:26)
07. Solitude (05:02)
08. Into The Void (06:13)
09. Killing Yourself To Live (Live) (05:30)
Budgie - In For The Kill [4 bonus tracks] (1974)
Label: Noteworthy Productions (UK), NP5
Style: Hard Rock
Country: Cardiff, Wales
Time: 57:28
Format: Flac Tracks 16/44,1 kHz
Size: 389 Mb
Arriving
seven years and three studio albums into Budgie's career, May 1974's
‘In for the Kill' summed up the group's current state of mind. The
album, though no match for the career-best offering that preceded it,
remains one of the Welsh trio's heaviest offerings.
Of course, your
average fan today might only recognize Budgie via Metallica's covers of
‘Breadfan’ and the amusingly titled ‘Crash Course in Brain Surgery.' But
Budgie helped create the heavy rock genre with albums like 'In for the
Kill,' even if the project ultimately came to be seen as transitional.
Budgie's
initial trio of recordings had been progressively adventurous, offering
uniquely good-humored proto-metal. But then vocalist-bassist Burke
Shelley and guitarist Tony Bourge parted ways with founding drummer Ray
Phillips, welcoming the lead-footed (and aptly named) Pete Boot into the
fold. That, combined with a series of brutish metallic riffs, gave 'In
for the Kill' its titular menace -- as heard on the album's driving
title track, which would soon become the set opener for a fledgling Van
Halen.
Next came their definitive reworking of ‘Crash Course,'
originally a first-album favorite, followed by the gentle acoustic
respite of ‘Wondering What Everyone Knows’ and the ten-minute ‘Zoom
Club’ jam. These were textbook samples of Budgie’s versatility, and
carried Side One of ‘In for the Kill’ through to a brawny finish.
On
Side Two, Budgie roared out of the gates with ‘Hammer and Tongs’ (a
relatively straightforward blues whipped into a power-chord colossus a
la Led Zeppelin), segued into a snappy boogie stomper in ‘Running from
My Soul,’ and then wrapped everything up with another epic, eclectic
heavy progger in ‘Living on My Own,’ which was highlighted by a bolero
section nestled midway through.
While impressive by any external
measure, 'In for the Kill' was no match for the previous year’s ‘Never
Turn Your Back on a Friend’ and remained unjustly ignored, not charting
in the U.S. and barely making the Top 30 in the U.K. That perhaps led to
further lineup changes by Shelley and Bourge, and yet another musical
shift for the group. Steve Williams took over for Boot, and the
wonderfully idiosyncratic Budgie emerged with a serious funk rock fetish
on 1975’s excellent ‘Bandolier’ album.
(ultimateclassicrock.com/budgie-in-for-the-kill/)
01. In For The Kill (06:27)
02. Crash Course In Brain Surgery (02:39)
03. Wondering What Everyone Knows (02:55)
04. Zoom Club (09:57)
05. Hammer And Tongs (06:57)
06. Running From My Soul (03:39)
07. Living On Your Own (09:01)
08. Zoom Club (Single edit) (Bonus track) (03:26)
09. In For The Kill (2003 version) (Bonus track) (03:34)
10. Crash Course In Brain Surgery (2003 version) (Bonus track) (02:43)
11. Zoom Club (2003 version) (Bonus track) (06:04)
Thursday, April 3, 2025
Budgie - Never Turn Your Back On A Friend [3 bonus tracks] (1973)
Label: Noteworthy Productions (UK), NP4
Style: Hard Rock
Country: Cardiff, Wales
Time: 59:02
Format: Flac Tracks 16/44,1 kHz
Size: 413 Mb
This particular album, released in 1973, seems to be Budgie's most recognized album. It's got Breadfan on it, after all!
Which leads me into talking about the first track, Breadfan.
1) Breadfan
It
starts out snarling, upbeat, and energetic in the intro/verse/chorus.
The singing struck me as very strange, but its something you get used
to. The song is quite catchy. In the middle it slows down into the
acoustic, melancholy sounding bridge (which is COMPLETELY different from
the Metallica version). Then the rest of the song goes back into the
relentless hard rock riffing and singing. IMO this is the best sounding
track off the album. 5/5
2) Baby Please Don't Go
Overall a bluesy,
shuffling song. Has some good guitar licks and bass riffs. The singing
is a bit weird and cheesy, but in a way fits. The riffs change from
verse to chorus to solo, etc. Good song; nothing amzingly special about
it though. 4/5
3) You Know I'll Always Love You
A soft, short
ballad-like track. Awesome melodies and singing. The lyrics are deep and
reflective. Would be a 5, but it's a bit strange and cheesy in moments,
so i give it a 4.5/5.
4) You're The Biggest Thing Since Powdered Milk
Starts
off with a cool drum solo for the first 1:47, and then goes into catchy
hard-rocking. There are some tempo changes, and it seems to get more
and more visious as it goes on. Has some good guitar soloing. Drags on a
bit though. 4/5
5) In The Grip Of A Tyrefitters Hand
Has a cool
funk-rockish thing going on and serious singing going on (it sort of
sounds like this had influenced later metal bands to come). The solos
and transitions are great except for the riff after the verse which is
kind of awkward sounding. Over all, a cool song. 4/5
6) Riding My Nightmare
Is
in the same style of You Know I'll Always Love You. Once again good
melodies and singing. Not a whole lot of variety but its a nice shot
ballad. 4.5/5
7) Parents
This and Breadfan are the most well known
tracks off this album. Its a 10 minute serious reflection on the
person's chilhood years and his parents (sounds kind of cynical and
criticizing). Has good sad sounding riffs and verses and a cool wailing
solo. Sometimes drags on. 4/5
01. Breadfan (06:05)
02. Baby Please Don't Go (05:25)
03. You Know I'll Always Love You (02:08)
04. You're The Biggest Thing Since Powdered Milk (08:46)
05. In The Grip Of A Tyrefitter's Hand (06:24)
06. Riding My Nightmare (02:40)
07. Parents (10:21)
08. Breadfan (2003 version) (Bonus track) (05:27)
09. Parents (2004 Acoustic version) (Bonus track) (05:37)
10. Breadfan (Live 1973) (Bonus track) (06:05)
UFO - Force It [6 bonus tracks] (1975)
Label: Chrysalis Records (UK), CHRX 1074
Style: Hard Rock, Heavy Metal
Country:
Time: 65:24
Format: Flac Tracks 16/44,1 kHz
Size: 472 Mb
It was their first album to chart in the United States.
The
album was produced by Ten Years After bass player Leo Lyons. Another
Ten Years After member, Chick Churchill, played Fender Rhodes electric
piano keyboard, the first use of that instrument on a UFO record.
The
somewhat controversial original album cover was designed by Hipgnosis,
as were almost all other UFO album covers of the 1970s. The nudity on
the cover verged on breaching decency standards and the sexes of the
couple in the bathtub were not known for several years. The models were
later revealed to be Genesis P-Orridge and Cosey Fanni Tutti, both later
of the influential industrial band Throbbing Gristle. The artwork
was softened for the initial US release, making the couple in the
bathtub transparent. The cover is a pun – there are multiple taps
(British English) or "faucets" (US English) in the picture, which is a
play on the album's title.
Eduardo Rivadavia, reviewer for AllMusic,
wrote: "One of the band's best albums, Force It will not disappoint
lovers of '70s English hard rock."
(en.wikipedia.org/wiki/Force_It)
01. Let It Roll (03:57)
02. Shoot Shoot (03:39)
03. High Flyer (04:08)
04. Love Lost Love (03:21)
05. Out In The Street (05:18)
06. Mother Mary (03:49)
07. Too Much Of Nothing (04:02)
08. Dance Your Life Away (03:35)
09. This Kid's (incl. Between The Walls) (06:17)
10. A Million Miles (Previously unreleased) (Bonus track) (04:49)
11. Mother Mary (Live 11/12/75) (Bonus track) (04:04)
12. Out In The Streets (Live 11/12/75) (Bonus track) (05:12)
13. Shoot Shoot (Live 11/12/75) (Bonus track) (03:48)
14. Let It Roll (Live 25/4/76) (Bonus track) (04:59)
15. This Kid's (Live 25/4/76) (Bonus track) (04:19)
Wednesday, April 2, 2025
UFO - Phenomenon [6 bonus tracks] (1974)
Label: Chrysalis Records (UK), CHRX 1059
Style: Hard Rock, Heavy Metal
Country: London, England
Time: 63:47
Format: Flac Tracks 16/44,1 kHz
Size: 450 Mb
It was the band's first album after guitarist Michael Schenker joined them, replacing Mick Bolton.
Their
third studio album, Phenomenon was UFO's debut with major label
Chrysalis Records and their first to be released in the United States.
With the arrival of former Scorpions guitarist Michael Schenker,
Phenomenon saw UFO leave their blues-based space rock sound behind and
transition to a more straightforward hard rock sound.
"With the
Scorpions, I had recorded [the title track of] Lonesome Crow, but 'Rock
Bottom' was the continuation of that. I needed to have a song in which I
could improvise and go on an adventure. The version that we recorded
for Phenomenon had begun in rehearsals as a riff, and we kept adding
more riffs to it. And then Phil [Mogg, singer] leapt up and said, 'This
is how we'll make it into a song'… I still think of 'Rock Bottom' as a
work in progress. When I play it live now, I use the most memorable
parts of the solo, and keep a space to represent my latest frame of
mind." – Michael Schenker.
The album was produced by Leo Lyons,
bassist of English rock group Ten Years After. All tracks were recorded
at Morgan Studios in London. The original cover design and photos were
by Hipgnosis.
(en.wikipedia.org/wiki/Phenomenon_(UFO_album))
01. Oh My (02:25)
02. Crystal Light (03:47)
03. Doctor Doctor (04:12)
04. Space Child (04:01)
05. Rock Bottom (06:29)
06. Too Young To No (03:08)
07. Time On My Hands (04:12)
08. Built For Comfort (03:08)
09. Lipstick Traces (02:21)
10. Queen Of The Deep (05:49)
11. Sixteen (Demo) (Bonus track) (03:48)
12. Oh My (Demo) (Bonus track) (04:12)
13. Give Her The Gun (German single A-side) (Bonus track) (03:58)
14. Sweet Little Thing (German single B-side) (Bonus track) (03:51)
15. Sixteen (Previously unreleased) (Bonus track) (03:55)
16. Doctor Doctor (Live 06/06/74) (Bonus track) (04:24)
Nazareth - Loud 'N' Proud (1973)
Label: Vertigo Records (Germany), 838 707-2
Style: Hard Rock, Classic Rock
Country: Dunfermline, Fife, Scotland
Time: 37:13
Format: Flac Tracks 16/44,1 kHz
Size: 220 Mb
Charts: CAN #17, US #150, AUT #1, GER #8, NOR #9, UK #10. SWE: Gold; CAN: Platinum.
Review
Summary: Catchy, energetic classic hard rock which, while occasionally
flawed, is a lot of fun, with easily one of the most identifiable rock
tracks.
Nazareth are possibly best described as a Scottish mix of
Judas Priest and AC/DC, mixing a lot of bluesy riffs and solos with
occasionally metallic moments. While the band experienced some success
after this album with the strong Hair Of The Dog, Loud 'n' Proud
possesses some of their most consistently strong material and one of
their most successful songs, ultimately making it a strong, catchy
listen.
The album gets underway pretty quickly with the energetic and
catchy Go Down Fighting, which demonstrates the band's strong
guitarwork (including some fun slide guitar in the background at times)
and vocalist Dan McCaffrey's excellent higher register shouts, akin to
Brian Johnson but with a range similar to Rob Halford's; while
simplistic in terms of instrumental technicality the album is
nevertheless strong, with simple bass and drum work giving a solid
backing to the lead instruments. The following Not Faking It offers more
of the same, while demonstrating some of the more Priest-like
tendencies of the band at times. While Turn On Your Receiver and Teenage
Nervous Breakdown also demonstrate the same bluesy, catchy styling -
which is often a bit overplayed and repetitive, Free Wheeler feels a bit
more open, and the excellent This Flight Tonight (a Joni Mitchell
cover) shakes up the structure of the album a bit, demonstrating the
heights of McCaffrey's vocal performance. Child In The Son slows down
the pace further, and the raw sounding Ballad Of Hollis Brown provides
an abrasive ending, but these changes feel as though they came too late,
as the lack of variation prior makes the early half of the album drag
compared to the ending.
Despite the repetitive nature of the first
half of this album, all the tracks are still pretty strong. Perhaps the
majority doesn't compare to the amazing This Flight Tonight, one of the
catchiest rock tracks ever, but the generally strong instrumental
performance and consistently entertaining feel to the tracks keeps it
entertaining, if mostly unadventurous, throughout. Perhaps if the band
had more moments akin to that track, it would be a truly outstanding
album, but it's still a fun hard rock album worth a listen.
(sputnikmusic.com/review/56071/Nazareth-Loud-n-Proud/)
01. Go Down Fighting (03:07)
02. Not Faking It (04:01)
03. Turn On Your Receiver (03:20)
04. Teenage Nervous Breakdown (03:44)
05. Free Wheeler (05:32)
06. This Flight Tonight (03:25)
07. Child In The Sun (04:52)
08. The Ballad Of Hollis Brown (09:10)
Tuesday, April 1, 2025
Nazareth - Razamanaz (1973)
Label: Castle Records (France), CLACD 173
Style: Hard Rock, Classic Rock
Country: Dunfermline, Fife, Scotland
Time: 36:23
Format: Flac Tracks 16/44,1 kHz
Size: 213 Mb
Charts: CAN #39, US #157, GER #48, UK #11. CAN: Platinum.
After
five years of serious dues-paying on the competitive U.K. music scene,
Scottish rockers Nazareth were still looking for their big break when
they unleashed their third album, ‘Razamanaz,’ in May of 1973. They
finally found it.
Nazareth’s story begins in the city of Dumferline,
where the quartet - singer Dan McCafferty, guitarist Manny Charlton,
bassist Pete Agnew and drummer Darrell Sweet - first came together
before taking their still-developing band south to London.
There, the
hard-working group scored a recording contract in less than a year. But
neither their 1971 self-titled debut album nor the following year’s
‘Exercises’ turned too many heads, since they were both short on focus
as the young band flirted with everything from blues and folk to country
and hard rock on the records.
But fate intervened when Nazareth were
tapped to open some shows on a Deep Purple tour and they befriended
bassist Roger Glover, who agreed to produce the group's pivotal third
album.
With Glover’s keen eye for chart-topping heavy rock, Nazareth
rarely deviated from the mission at hand, straying only for the country
blues of Woody Guthrie’s ‘Vigilante Man’ and the relatively smooth
‘Broken Down Angel.’ They delivered a slew of hard-hitting, and
frequently slide guitar-lubricated, songs like ‘Night Woman,’ ‘Bad Bad
Boy,’ ‘Woke Up This Morning’ and the blistering title track.
All this
fine-tuned firepower helped ‘Razamanaz’ carry Nazareth into the U.K.
charts for the first time. And the best was still to come: After another
pair of hit-and-miss albums, Nazareth made their 1975 masterpiece ‘Hair
of the Dog.’
(ultimateclassicrock.com/nazareth-razamanaz/)
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. Razamanaz (03:51)
02. Alcatraz (04:23)
03. Vigilante Man (05:21)
04. Woke Up This Morning (03:53)
05. Night Woman (03:30)
06. Bad, Bad, Boy (03:57)
07. Sold My Soul (04:47)
08. Too Bad Too Sad (02:55)
09. Broken Down Angel (03:41)
Uriah Heep - Demons And Wizards (1972)
Label: Bronze Records (Germany), 260 137
Style: Hard Rock, Classic Rock
Country: London, England
Time: 39:56
Format: Flac Tracks 16/44,1 kHz
Size: 248 Mb
Charts: UK #20, AUS #14, CAN #22, GER #5, SWI #89, NOR #5, SWE #8, US #23, FIN #1, JPN #28. US: Gold.
Uriah
Heep had released several albums by the time Demons And Wizards was
released, including the critically acclaimed Look At Yourself, which was
released the previous year, and is also one of my all-time favourite
albums. However, it was this fourth release, Demons And Wizards, that
really established the band Uriah Heep as a household name in British
hard rock history.
At the very beginning of the early 70's, hard rock
was really starting to take its shape, especially in the UK, with
legendary rock acts contributing to the scene such as Black Sabbath, Led
Zeppelin, and Deep Purple. Uriah Heep were another band that emerged
through the hard rock scene during this time, and although they were
lesser known than the big three I mentioned, they were still just as
important, and shouldn't get overlooked.
This album saw the
introduction of bass player Gary Thain, who brought a fresh new approach
with his melodic bass lines, and a new drummer in Lee Kerslake. Thain
and Kerslake together formed the new rhythm section that became part of
the classic Uriah Heep line-up.
Demons And Wizards is most notably
famous for containing the two singles "Easy Livin", and "The Wizard",
"Easy Livin" being a very upbeat and catchy single, and possibly the
most well known single by Uriah Heep. Although I thoroughly enjoyed the
song, I did find it to be one of the weakest songs on the album, giving
me the same feeling I had about the hit song "Paranoid" by Black
Sabbath. "The Wizard", on the other hand, is a much slower paced single,
and is a beautifully written semi-acoustic ballad; both of these
singles showed a great diversity in the songwriting skills.
Other
highlights are the songs "Rainbow Demon", which is my personal favourite
song on the album, "Circle Of Hands", which is another excellent
ballad-style track with a strong keyboard performance from Ken Hensley,
particularly with the use of the organ at the intro, and "Traveler In
Time", one of the heavier and catchier songs on the album, with a
memorable riff. I also cannot go without mentioning the brilliant album
closer, which is a combination of two songs, starting with the soft
ballad "Paradise" that then merges into the lively upbeat "The Spell";
this is where you can clearly hear the progressive influences in their
style. I found "All My Life" and "Poet's Justice" slightly weaker songs,
but that certainly does not mean they are skippable by any means; they
are still good quality songs.
Demons And Wizards is a great classic
album that should certainly not be ignored if you have a taste for
classic hard rock, or are a fan of early progressive rock.
(metalstorm.net/pub/review.php?review_id=17141)
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. Wizard (03:03)
02. Traveller In Time (03:26)
03. Easy Livin' (02:38)
04. Poet's Justice (04:17)
05. Circle Of Hands (06:30)
06. Rainbow Demon (04:28)
07. All My Life (02:47)
08. Paradise - A (05:07)
09. The Spell -B (07:35)
Uriah Heep - Look At Yourself (1971)
Label: Bronze Records (Germany), 260 138-217
Style: Hard Rock, Classic Rock
Country: London, England
Time: 41:20
Format: Flac Tracks 16/44,1 kHz
Size: 245 Mb
Charts: UK #39, AUS #16, GER #11, NOR #14, US #93, FIN #1, JPN #5. JPN: Gold.
There
is more than just a hint of progressiveness about this album and yet it
never takes this factor to its tedious extremes. Uriah Heep throws into
this album a great mix of educated hard rock, great musicianship and
shows their skill to the full extent of their abilities through their
willingness to experiment.
The vocals on this album are simply
spectacular. You won't find yourself reaching for the lyric book as
every single word is crisp and clear as day. David Byron has absolutely
astonishing range in his voice, whether it's the blood curdling scream
near the end of "Shadows of Grief", the ballad harmonies echoed on "July
Morning" or simply just the rock 'n' roll ferocity of "Love Machine".
He does it all. His band mates help him out on a couple of tracks with
some truly beautiful multi-layered harmonisation.
The opening title
track shows straight away what lies in store. Incredibly heavy for its
time the guitars and organ get continuously heavier and faster as the
number progresses. There is an absolute monster of a guitar solo, which
is very typical of the style of the great guitarists of the decade
except played at breakneck pace. The song just keeps getting faster
before breaking into some weird percussion insanity.
There is ballad
like tendencies on the track "July Morning" but this mammoth composition
eventually turns into a cacophony of music and reference must be made
to the unearthly moog synthesiser solos towards the end well
complimented by the organ/guitar structures beneath it.
"Shadows of
Grief" is a very dark piece of music. At almost nine minutes in length
it takes you on a rollercoaster ride of emotions at the despair of lost
relationships and female treachery. Ken Hensley's hauntingly brilliant
organ work is shadowed by a guitar riff disturbingly doom laden. The
interplay between these two instruments as they duel for supremacy is
quite enchanting and epitomises the whole album. The song drifts between
morbid organ solos to up-beat anger and everywhere in-between.
They
show their influences on "What Should be Done" which is a masterpiece of
blues/jazz/funk crossover executed with such precision like only a
progressive British band of the era could have done.
Their first
album lacked maturity and was fairly mediocre and their second was an
experimentation of epic proportions but "Look at Yourself" was a coming
of age release for Uriah Heep. They developed their sound to such a
degree that they stood heads and tails above their peers. I've never
understood why this band weren't recognised or lauded as much as some of
these very same peers in the early 70's hard rock scene. Their
influence has always been underrated and they have never been very
popular in the mainstream music press but the music definitely speaks
for itself.
(metalstorm.net/pub/review.php?review_id=5404)
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. Look At Yourself (05:11)
02. I wanna Be Free (04:00)
03. July Morning (10:34)
04. Tears In My Eyes (05:01)
05. Shadows Of Grief (08:41)
06. What Should Be Done (04:14)
07. Love Machine (03:38)















