Lita Ford with Ozzy Osbourne - Close My Eyes Forever [Single] (1989)

Year: February 1989 (CD 1989)
Label: BMG Music (Austria), PD49409
Style: Glam Metal, Hard Rock
Country: London, England (September 19, 1958)
Time: 13:20
Format: Flac Tracks 16/44,1 kHz
Size: 103 Mb

“Close My Eyes Forever,” the powerful duet between Lita Ford and Ozzy Osbourne released in 1989, gave each artist their first Top 10 song on the Billboard Hot 100 chart. In the wake of Ozzy’s passing on Tuesday (July 22nd), Ford said that the metal icon changed her life.
Ford checked in with SiriusXM’s Trunk Nation With Eddie Trunk the day after Ozzy’s death (as transcribed by Blabbermouth), telling the host, “He changed my life, from the time I was 13 years old going to [a] Black Sabbath concert. That was it. That was the day and the night the light bulb went off over my head, and I just thought, ‘I have to do this. This is what I wanna do…. And so that night I came out of there, and I knew what I was gonna do with my future.”
As for the hit duet, Ford noted, “It’s just really ironic that I got to have a Top 10 hit single with Ozzy. And I have to say it was one of the highlights of my life. And we will all miss him, but his music will live on. And that’s what we have to do, is just focus on the music and all the good things that he’s left everybody.”
She added, “And I’m sure he would’ve probably been gone a long time ago if not for [his wife and manager] Sharon. I mean, Sharon was the best, and she took good care of Ozzy, and so she kept him going and she made him into the superstar that he is today.”
Just weeks prior to his passing, Ozzy had declared that “Close My Eyes Forever” was the best duet he had ever recorded.
At her concert at KK’s Steel Mill in Wolverhampton, England, on Wednesday, Ford dedicated “Close My Eyes Forever” to Ozzy, asking fans to hold their phone lights up in honor of the metal legend.
(consequence.net/2025/07/lita-ford-honors-ozzy-osbourne/)

01. Close My Eyes Forever (Remix) (04:44)
02. Under The Gun (04:50)
03. Blueberry (03:46)

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Dio (Rainbow, Black Sabbath) - Holy Diver [Japanese Ed.] (1983)

Year: May 25, 1983 (CD Dec 21, 1989)
Label: Mercury Records (Japan), PPD-3070
Style: Heavy Metal, Hard Rock
Country: Portsmouth, New Hampshire, U.S. (July 10, 1942 - May 16, 2010)
Time: 41:32
Format: Flac Tracks 16/44,1 kHz
Size: 269 Mb

The first track, 'Stand Up and Shout', is reminiscent of 'Turn Up the Night' from Sabbath's 'Mob Rules'. Fast, hard-hitting and a great introduction. I reall enjoy this one.
Then comes the title track. Listening to it now, properly and with my full attention (and great headphones!), I realise that it's actually a good track. I still don't really feel anything with it, but I certainly enjoy it more than I thought. It still feels like a weak point of the album to me. I imagine hearing it 40 years ago upon release would have had a greater impact.
'Gypsy' - this is more like it. Lovely soaring riffs above heavy, punchy riffs - with some banshee-like vocals from Dio.
Some more fantastic vocals on 'Caught in the Middle', and I love the driving bass throughout. The chorus on this track is a highlight of the album for me. The way the guitars climb, then repeat with Dio giving it his all over the top makes the hairs stand up on my arms.
 'Don't Talk to Strangers' - the intro to this reminded me of Tony Iommi's thinking behind 'Master of Reality'. By putting some quieter songs on the album, it made the heavier tracks feel heavier. I felt that on this song thanks to the intro. Not only that, but it makes for a nice respite between the metal. When the song kicks in, it makes me think of Iron Maiden. (I should mention I'm not into Maiden, I only know their hits. It feels like they've based all their songs off this track!).
'Straight Through the Heart' - monstrous intro! That riff is absolutely killer and the vocals are top-notch.
Another moment of rest during the intro of 'Invisible'. At first this one fools you into thinking a cheesy 80s ballad is coming, but that's not the case. The riffs are back, and stomping their way through the stories Dio sings to us here.
 'Rainbow in the Dark' - I see this is one of Dio's most famous tracks, and I can understand why! The keys on the intro / chorus feel very 80s and that makes me think I've heard it before, but it's such a generic 80s sound it could have been from any song from the decade. I like it though, it's not over-the-top and only dates the song slightly. Riff-wise, I love this and it easily features one of Dios best vocals on the album.
I feel like 'Shame on the Night' works really well as an album-closer. The vocals are ridiculously strong on this one, the instrumental break and breakdown are excellent and the epic backing vocals towards the outro give it a medievel feeling.
(reddit.com/r/LetsTalkMusic/comments/18t8dn1/dios_holy_diver_album_is_fantastic_but/)

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. Stand Up And Shout (03:18)
02. Holy Diver (05:51)
03. Gypsy (03:38)
04. Caught In The Middle (04:17)
05. Don't Talk To Strangers (04:53)
06. Straight Through The Heart (04:34)
07. Invisible (05:25)
08. Rainbow In The Dark (04:14)
09. Shame On The Night (05:19)

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Curved Air - Second Album [Japanese Ed. SHM-CD] (1971)

Year: September 1971 (CD Apr 8, 2015)
Label: Warner Music (Japan), WPCR 16300
Style: Progressive Rock, New Age
Country: London, England
Time: 42:27
Format: Flac Tracks 16/44,1 kHz
Size: 285 Mb

The aptly titled “Second Album” catches Curved Air at the peak of their popularity following the success of the single “Back Street Luv” which remains one of their best known tracks. However in line with the high turnover that was to characterise the band’s line-up, seeds of discord were growing between guitarist Francis Monkman and multi-instrumentalist Darryl Way which led to one side being dedicated to tracks penned by Way and other members of the band while the other saw all the Monkman compositions lumped together.
The second album is always a tricky step for a band who achieve success with their first LP. Usually recorded in the gaps of a busy touring schedule, with little time to come up with new material, it can be a band’s undoing. However “Second Album” is a good effort which opens with not one but two bangs, the excellent “Young Mother” that includes an excellent instrumental break in its midst and the already mentioned “Back Street Luv”. “Jumbo” shows a band stretching its wings with the use of a string section. “You Know” is another good rocker that clearly displays the influences of american band Spirit described by Darryl Way in the liner notes, the excellent hook played in unison by the keyboard and the guitar works a treat.”Puppets” meanders a little and might be the only real filler track here but things pick up instantly with “Everdance” where Curved Air’s trademark violin and an almost chidlike-nursery rhyme lyric make it instantly memorable. Monkman’s inventivity shines through on “Bright Summer’s Day 1968” with its unusual melodies and time signature changes. Closing off the second side is the ambitious “Piece of Mind”, again a track where Monkman’s singular music vision is well displayed. This carefully constructed music suite manages to stay interesting for the whole course of its thirteen minutes.
(louderthanwar.com/curved-air-second-album-album-review/)

01. Young Mother (05:58)
02. Back Street Luv (03:41)
03. Jumbo (04:10)
04. You Know (04:11)
05. Puppets (05:29)
06. Everdance (03:08)
07. Bright Summer's Day '68 (02:54)
08. Piece Of Mind (12:53)

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Camel - The Snow Goose (1975)

Year: May 1975 (CD March 1983)
Label: Deram Records (Germany), 800 080-2
Style: Art Rock, Symphonic Rock, Instrumental
Country: Guildford, Surrey, England
Time: 43:29
Format: Flac Tracks 16/44,1 kHz
Size: 230 Mb

Looking back the history, this album should be read as Camel music inspired by "The Snow Goose". Why? This concept album was composed with a reference to Paul Gallico’s Snow Goose. Right after the success of "Mirage" which stayed at Billboard’s Top 200 for a creditable 13 weeks peaked at 149, the band brainstormed the idea of making an acclaimed literary piece concept album. Peter Bardens voted for Steppen Wolf’s but Ferguson and Latimer proposed Paul Gallico’s. So the band created the music that revolved around The Snow Goose. Unfortunately, their record label failed to sign a deal with Gallico’s publishers in the hope of obtaining official blessing for the project, ideally having the author pen a sleeve note and possibly arrange a tie-in between album and tome. That’s why this tribute to our feathered friends had its title prefaced "Music Inspired By" and remained wholy wordless. [sleeve note].
Nevertheless, the streams of music featured in this album is a good one to enjoy and you may have a rewarding experience throughout some tracks. It starts off with an ambient "The Great Marsh" (2:02) which to me personally sounds like an opener for the whole atmosphere of the album. No one would argue that "Rhayader" (3:01) is an excellent track which has powerful melody combining flute, guitar and organ performed in classical influence music with medium tempo. This song has characterized the seventies music altogether with other common songs from Genesis or Yes or ELP or Pink Floyd. I used to associate this song with "Bouree" by Jethro Tull at that time because both of them are flute-based music. "Rhayader Goes To Town" (5:20) is a logical follow- up to Rhayader as it brings the music into faster tempo with great combination of guitar and organ solo with energetic beats. These two songs must be enjoyed in its entirety.
"Sanctuary" (1:05) and "Fritha" (1:19) are songs that I consider as bridges that connect to title track "The Snow Goose" (3:12) which contains guitar solo augmented with long sustain organ in the vein of Jan Akermann of Focus. Cool guitar-based instrumental. "Friendship" (1:44) is a bit boring exploration of keyboard / organ whicch may have more meaning if we can associate with certain part of the story - say our goose was running away or swimming quickly . things like that. Otherwise, it’s a meaningless bridge. "Migration" (2:01) brings the music into up-beat style followed nicely with a cool quiet passage "Rhayader Alone" (1:50). "Flight Of The Snow Goose" (2:40) explores Bardens’ keyboard virtuosity followed with good guitar fills that bring the melody of the music combined with a bit spacey keyboard work.
"Preparation" (3:58) is to me like a theme song that brings the introduction to the next track "Dunkirk" (5:19) with the use of Hammond organ as basic rhythm section plus some howling guitar work followed with guitar solo. The song is dominated with keyboard work even though guitar fills some parts and serves as melody in some other parts. It’s a good track. "Epitaph" (2:07) and "Fritha Alone" (1:40) are bridges to upbeat music with keyboard solo in "La Princesse Perdue" (4:44). Again, I can smell a similarity with Focus music, especially the guitar part. "The Great Marsh" (1:20) concludes the album with an exploration of nature sounds .
Overall, through this album the band has demonstrated their capability to maintain their creation on par excellent with their previous album "Mirage". The album offers good combined work between organ and guitar performed in various styles. The music is cohesive to support a concept album. I think this album should be "in" any prog collection as it was one of the icons in the seventies that anyone should not miss. Recommended.
(classicrockreview.wordpress.com/category/camel-the-snow-goose/)

01. The Great Marsh (02:02)
02. Rhayader (03:01)
03. Rhayader Goes To Town (05:20)
04. Sanctuary (01:05)
05. Fritha (01:19)
06. The Snow Goose (03:12)
07. Friendship (01:44)
08. Migration (02:01)
09. Rhayader Alone (01:50)
10. Flight Of The Snow Goose (02:40)
11. Preparation (03:58)
12. Dunkirk (05:19)
13. Epitaph (02:07)
14. Fritha Alone (01:40)
15. La Princesse Perdue (04:44)
16. The Great Marsh (01:20)

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Bad Company - Burnin' Sky [Japanese Ed.] (1977)

Year: March 3, 1977 (CD Mar 7, 2007)
Label: Swan Song (Japan), WPCR-12545
Style: Hard Rock, Blues Rock
Country: London, England
Time: 45:08
Format: Flac Tracks 16/44,1 kHz
Size: 296 Mb

Charts: UK #17, AUS #15, CAN #16, NDL #14, NOR #45, NZ #32, SWE #32, US #15. US: Gold.
Before you can even digest or vomit back up Run With The Pack (or "Run With The Night", as lameass North Carolina DJ "Cosmo" so eloquently called it that time I heard him play "Young Blood" - right before he declared it to be a "great song" off of a "great album." Lameass.), the "talentless boys of rock 'n' roll" are back to shove more poorly-written dreck down your listening ear.
I'll give 'em this though: even though all these melodies sound like they were written in about two minutes, most of them are amazingly catchy. The title track, "Morning Sun," "Too Bad," "Everything I Need," "Peace Of Mind" - all disgustingly simple, but not self-parodic like on the last album. It sounds, rather, like a postmodern lo-fi college band imitating Bad Company. It's not bombastic (except for a couple of really crappy numbers); it's just a bunch of poorly-arranged songs. I like 'em! It's actually a pretty good record, though definitely not worthy of classic rock radio play. If you see it in a dollar bin, get it. It's at least an interesting, semi-unpredictable record. A cover of "Valerie, Valerah?" A seven-minute groove jam? Wow. Bad Company stretches out and tries something new. Who knows how far this'll go? Embarrassing. And the cover of "Young Blood" is unlistenable.
(albumoftheyear.org/user/markprindlebot/album/119320-burnin-sky/)

01. Burnin' Sky (05:09)
02. Morning Sun (04:06)
03. Leaving You (03:23)
04. Like Water (04:19)
05. Knapsack (01:20)
06. Everything I Need (03:23)
07. Heartbeat (02:37)
08. Peace Of Mind (03:25)
09. Passing Time (02:30)
10. Too Bad (03:52)
11. Man Needs Woman (03:45)
12. Master Of Ceremony (07:13)

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Benny Andersson (ABBA) - Piano (2017)

Year: 29 September 2017 (CD 2017)
Label: Mono Music (Sweden), 479 8143
Style: Classical, Instrumental, Piano Music
Country: Stockholm, Sweden (16 December 1946)
Time: 76:48
Format: Flac Tracks 16/44,1 kHz
Size: 253 Mb

Provided it’s played by a virtuoso, the Piano is one of the most beautiful acoustic instruments to ever grace humanity. As far as virtuosos go, it’s fair to say that Benny Andersson fits that description for his musical prowess is legendary.
While Andersson is clearly the focus here, Piano delivers a collection of songs that were not only written by Andersson but penned in collaboration with other exceptional tunesmiths. From ABBA to Benny Anderssons Orkester to Chess, Piano is a life’s work, reworked for the piano, and it is nothing short of spectacular.
More often than not, however, music is appreciated in the background to numerous other aspects of our lives, but if you have the opportunity to sit and listen, this album will not only captivate you but will likely bring you to tears.
(full version: subjectivesounds.com/musicblog/benny-andersson-piano-album-review)

01. I Let The Music Speak (03:33)
02. You And I (06:43)
03. Aldrig (04:04)
04. Thank You For The Music (03:43)
05. Stockholm By Night (03:15)
06. Chess (03:57)
07. The Day Before You Came (04:36)
08. Someone Else's Story (03:48)
09. Midnattsdans (03:24)
10. Malarskolan (02:12)
11. I Wonder (Departure) (03:43)
12. Embassy Lament (01:27)
13. Anthem (03:19)
14. My Love, My Life (03:46)
15. Mountain Duet (04:33)
16. Flickornas Rum (02:13)
17. Efter Regnet (02:37)
18. Trostevisa (03:33)
19. En Skrift I Snon (05:14)
20. Happy New Year (03:14)
21. I Gott Bevar (03:45)

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Miller Anderson - Bright City (1971)

Year: 1971 (CD 2004)
Label: Walhalla Records (Europe), WH 90321
Style: Rock, Folk Rock
Country: Houston, Renfrewshire, Scotland (12 April 1945)
Time: 36:07
Format: Flac Tracks 16/44,1 kHz
Size: 224 Mb

Miller Anderson (born 12 April 1945) is a UK-based blues and rock guitarist and singer. He worked extensively with Ian Hunter in the formative years of the 1960s, before either of them achieved significant success. They worked in bands such as the Scenery and At Last The 1958 Rock 'n' Roll Show (later called Charlie Woolfe), and Anderson is referenced in the title track of Hunter's 1976 album All American Alien Boy ("well I remember all the good times me and Miller enjoyed, up and down the M1 in some luminous yo-yo toy"). Anderson would later guest on two Hunter solo albums. Apart from pursuing his solo career, he was a member of the Keef Hartley Band. Other groups Anderson has been associated with are the Spencer Davis Group, Broken Glass, the Dukes, Mountain, Savoy Brown, T.Rex and Chicken Shack. In early 2006, he joined the British Blues Quintet with Maggie Bell, Zoot Money, Colin Hodgkinson and Colin Allen. In the spring of 2016, Anderson returned to the studio and in July 2016 released a new album, Through the Mill.
(en.wikipedia.org/wiki/Miller_Anderson_(musician))

01. Alice Mercy (To Whom It May Concern) (06:47)
02. The Age Of Progress (03:29)
03. Nothing In this World (04:17)
04. Bright City (03:07)
05. Grey Broken Morning (04:28)
06. High Tide, High Water (07:55)
07. Shadows 'Cross My Wall (06:02)

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Suzi Quatro - The Suzi Quatro Story - Golden 20 Hits [Japanese Ed.] (1975)

Year: 1975 (CD Apr 24, 1988)
Label: Tochiba-EMI (Japan), CP28-1030
Style: Rock, Hard Rock, Glam Rock
Country: Detroit, Michigan, U.S. (June 3, 1950)
Time: 71:05
Format: Flac Tracks 16/44,1 kHz
Size: 509 Mb

Susan Kay Quatro (born June 3, 1950) is an American singer, bass guitarist, songwriter, and actress. In the 1970s, she scored a string of singles that found success in Europe and Australia, with both "Can the Can" (1973) and "Devil Gate Drive" (1974) reaching number one in several countries.
Quatro was born and raised in Detroit. Her father, Art, was a semiprofessional musician and worked at General Motors. Her paternal grandfather was an Italian immigrant to the U.S. and her mother, Helen, was Hungarian and she died in 1992. Her family name of "Quattrocchi" ("four eyes", meaning "bespectacled") was shortened to Quatro. Quatro's family was living in Detroit when she was born. She has three sisters, a brother (Michael Quatro), and one older half-sister. Her parents fostered several other children while she was growing up. Quatro grew up to be an "extrovert but solitary," according to Philip Norman of The Sunday Times, and she only became close to her mother after leaving the US for Britain.
(full version: en.wikipedia.org/wiki/Suzi_Quatro)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Rolling Stone (02:47)
02. Can The Can (03:34)
03. Glycerine Queen (03:47)
04. 48 Crash (03:56)
05. Daytona Demon (04:01)
06. Devil Gate Drive (03:49)
07. Too Big (03:11)
08. The Wild One (02:52)
09. Your Mamma Wont't Like Me (03:58)
10. Michael (03:41)
11. I Bit Off More Than I Could Chew (03:22)
12. I May Be Too Young (02:59)
13. Tear Me Apart (02:54)
14. Make Me Smile (03:45)
15. Half As Much As Me (04:16)
16. Roxy Roller (03:08)
17. If You Can't Give Me Love (03:55)
18. The Race Is On (04:00)
19. Stumblin' In (04:00)
20. I've Never Been In Love (03:02)

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Kansas - Leftoverture [Japanese Ed. Blu-Spec CD] (1976)

Year: October 21, 1976 (CD Aug 24, 2011)
Label: Epic Records (Japan), EICP 20074
Style: Progressive Rock, Soft Rock
Country: Topeka, Kansas, U.S.
Time: 58:50
Format: Flac Tracks 16/44,1 kHz
Size: 433 Mb

Steve Walsh began to experience writer's block prior to the recording, and his contribution to the album would ultimately be limited to co-authoring three songs; it fell on Kerry Livgren to fill the void. The new compositions retained much of the classically inspired complexity of Livgren's previous work. As with their previous album, Masque, Kansas recorded Leftoverture at Studio in the Country in Bogalusa, Louisiana. The Studio in the Country was so named because, as Livgren described on In the Studio with Redbeard radio show in the episode spotlighting Leftoverture, "it was in the middle of a swamp. We'd walk out of the studio and there would be gators in front of the studio, mosquitos the size of B-52s and at times armadillos would run into the control room."
Leftoverture opens with the song "Carry On Wayward Son", which Livgren wrote as a sequel to "The Pinnacle", the final song from the previous album Masque (1975). The album's title, Leftoverture, is a portmanteau of leftover and overture.
(en.wikipedia.org/wiki/Leftoverture)

01. Carry On Wayward Son (05:25)
02. The Wall (04:51)
03. What's On My Mind (03:28)
04. Miracles Out Of Nowhere (06:29)
05. Opus Insert (04:28)
06. Questions Of My Childhood (03:40)
07. Cheyenne Anthem (06:55)
08. Magnus Opus (08:35)
09. Carry On Wayward Son (Live) (04:44)
10. Cheyenne Anthem (Live) (06:43)
11. Carry On Wayward Son (Single Version) (03:26)

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

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

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

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

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4 Non Blondes - Bigger, Better, Faster, More! (1992)

Year: October 13, 1992 (CD Oct 13, 1992)
Label: Interscope Records (Germany), 7567-92112-2
Style: Alternative Rock
Country: San Francisco, California, U.S.
Time: 41:06
Format: Flac Tracks 16/44,1 kHz
Size: 299 Mb

Charts: US #13, AUS #4, AUT #1, GER #1, NLD #1, NZ #1, NOR #10, SWE #1, SWI #1, UK #4, Portugal #1б Hungary #1. AUS, SWE, FRA & NLD: Gold; GER: 3x Gold; US, CAN & Spain: Platinum; AUT: 2x Platinum.
The year was 1992; here a band was completing what would become an international success, the first and last work of the 4 Non Blondes. The world was changing at that time; Music was progressively changing. And so, while the great Kurt Cobain was climbing the charts around the world with Smells Like Teen Spirit, a small group of young friends was just debuting in their career, probably unaware of unleashing a quick dart of innovation, a great shake to the international musical scene.
It's an incredible album, almost perfect, that should be listened to in its entirety and immediately, without the external world distracting you from that Masterpiece; it's a shout, this album, and let it shout in peace, you won't regret it. It's also a very varied album, talking about genres: the predominant one is undoubtedly Rock, but you certainly can't say that "Bigger, Better, Faster, More!" is just rock; there's also a strong trace of blues, especially in the first two tracks, like dance, in the latter part... It's a very sweet conjunction (we could also say a very tasty medley!) of genres that, for every song, for every melody and for every note, perfectly and masterfully build the body of the work; the solid voice of Linda Perry leads unchallenged to talk about various subjects: sex, drugs, anger, regret, despair... but beware, don't be too influenced by the words: it's a shout, remember! And you have to take it as such.
(full version: en.debaser.it/4-non-blondes/bigger-better-faster-more/review)

01. Train (03:43)
02. Superfly (04:37)
03. What's Up (04:55)
04. Pleasantly Blue (02:28)
05. Morphine & Chocolate (04:43)
06. Spaceman (03:40)
07. Old Mr. Heffer (02:16)
08. Calling All The People (03:17)
09. Dear Mr. President (04:43)
10. Drifting (03:31)
11. No Place Like Home (03:08)

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Johnny Winter - Johnny Winter And (1970)

Year: September 1970 (CD ????)
Label: Columbia Records (Austria), COL 472769-2
Style: Blues Rock, Hard Rock
Country: Beaumont, Texas, U.S. (February 23, 1944 - July 16, 2014)
Time: 41:42
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

Johnny Winter And... Rick Derringer (vocals, guitar), Randy Jo Hobbs (vocals, bass), Randy Zehringer (drums).

After two late-'60s albums on Columbia, Johnny Winter hit his stride in 1970 working with Rick Derringer and the McCoys, now recruited as his sidemen and collaborators (and proving with just about every note here how far they'd gotten past "Hang on Sloopy"). In place of the bluesy focus on his first two albums, Winter extended himself into more of a rock-oriented mode here, in both his singing and his selection of material. This was hard rock with a blues edge, and had a certain commercial smoothness lacking in his earlier work. Derringer's presence on guitar and as a songwriter saw to it that Winter's blues virtuosity was balanced by perfectly placed guitar hooks, and the two guitarists complemented each other perfectly throughout as well. There wasn't a weak moment anywhere on the record, and if Johnny Winter And wasn't a huge commercial success, it was mostly because of the huge amount of competition at the time from other, equally inspired players, that kept numbers like the Winter originals "Prodigal Son" and "Guess I'll Go Away" as well as Derringer co-authored pieces such as "Look Up" from having the impact they should have had on FM radio.
(allmusic.com/album/johnny-winter-and-mw0000312588)

01. Guess I'll Go Away (03:28)
02. Ain't That A Kindness (03:29)
03. No Time To Live (04:36)
04. Rock And Roll, Hoochie Koo (03:31)
05. Am I Here? (03:24)
06. Look Up (03:34)
07. Prodigal Son (04:18)
08. On The Limb (03:36)
09. Let The Music Play (03:15)
10. Nothing Left (03:30)
11. Funky Music (04:55)

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Kraftwerk - Autobahn [Japanese Ed.] (1974)

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

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

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

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

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

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

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

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