Savoy Brown - Ain't Done Yet (2020)

Year: August 28, 2020 (CD 2020)
Label: Quatro Valley Records (UK & Europe), QVR 0129
Style: Blues Rock, Rock
Country: London, England
Time: 47:06
Format: Flac Tracks 16/44,1 kHz
Size: 318 Mb

I love the relentless bassy drive and guitar wail of opener 'It's All Gone Wrong' which if I'm honest is the first ever song I can remember listening to by Savoy Brown, a band who ironically I've always loved the name of - imagining it as a kid perhaps being a wonderfully rich colour or an exotic variety of vegetable or animal (it's not of course, but Wikipedia gives you the real story).
I am being a little disingenuous though: for a band that has been around since 1965 and released 41 albums over the decades - this is I think their 42nd album, I have of course heard them before though I must admit it was in the early 80's when as a kid I didn't understand or appreciate Blues Rock.  Kim Simmonds has been with them from day one and it's his guitar and vision that has driven the band through the decades and seen off scores of members  along the way and listening to 'Ain't Done Yet' it really is Kim's guitar that speaks to you on every song.
The quality on show here in 2020 amidst coronavirus leaves me with a rather weighty 42 album problem to revisit because I can't imagine any fans of guitar driven Blues Rock not finding something to love here so I see some back-catalogue delving ahead!
Take the six minute six second drive down 'Devil's Highway' which follows that cracking opener - it's a languid lonely drive that has a little Cris Rea, a little Dire Straits in the mix, and it's a surprisingly smooth ride but it's that lead guitar that shines above the horizon driving you on.
And there are eight other great songs here that come at you from all angles like the Folkier, slide-infused 'River on the Rise'; the stuttering barroom blues of 'Borrowed Time' and the traditional swing and groove of the title track 'Ain't Done Yet'.
When you add the variety that comes with the likes of the stripped back acoustic shuffle of 'Rockin' in Louisiana' versus say the darker, fuzzier Hendrix-touched 'Soho Girl' you not only get a nice rocking ride but you end up with an album that reinforces the axiom - Savoy Brown clearly 'Ain't Done Yet'.
(therockpit.net/2020/album-review-savoy-brown-aint-done-yet/)

01. All Gone Wrong (04:14)
02. Devil's Highway (06:09)
03. River On The Rise (05:02)
04. Borrowed Time (04:14)
05. Ain't Done Yet (03:57)
06. Feel Like a Gypsy (06:04)
07. Jaguar Car (04:22)
08. Rockin' In Louisiana (04:03)
09. Soho Girl (04:21)
10. Crying Guitar (04:36)

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The Beatles - Abbey Road (1969)

Year: 26 September 1969 (CD )
Label: EMI Records (Europe), 0946 3 82468 2 4
Style: Rock, Classic Rock
Country: Liverpool, England
Time: 47:29
Format: Flac Tracks 16/44,1 kHz
Size: 315 Mb

Charts: UK #1, AUS #1, CAN #1, FRA #1, GER #1, NOR #1, US #1. FRA & GER: Platinum; AUS: 3x Platinum; UK: 8x Platinum; CAN & US: Diamond.
After the recording sessions for the proposed Get Back album, Paul McCartney suggested to producer George Martin that the group get together and make an album "the way we used to do it", free of the conflict that had begun during sessions for The Beatles (also known as the "White Album"). Martin agreed, but on the strict condition that all the group—particularly John Lennon—allow him to produce the record in the same manner as earlier albums and that discipline would be adhered to. No one was sure that the work would be the group's last, though George Harrison later recalled that "it felt as if we were reaching the end of the line".
(en.wikipedia.org/wiki/Abbey_Road)

01. Come Together (04:19)
02. Something (03:02)
03. Maxwell’s Silver Hammer (03:27)
04. Oh! Darling (03:27)
05. Octopus’s Garden (02:50)
06. I Want You (She’s So Heavy) (07:47)
07. Here Comes the Sun (03:05)
08. Because (02:45)
09. You Never Give Me Your Money (04:02)
10. Sun King (02:26)
11. Mean Mr. Mustard (01:06)
12. Polythene Pam (01:12)
13. She Came In Through the Bathroom Window (01:58)
14. Golden Slumbers (01:31)
15. Carry That Weight (01:36)
16. The End (02:21)
17. Her Majesty (00:25)

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Love - Comes In Colours [Compilation] (1992)

Year: 1992 (CD 1992)
Label: Raven Records (Australia), RVCD-29
Style: Psychedelic Rock, Garage Rock
Country: Los Angeles, California, U.S.
Time: 74:53
Format: Flac Tracks 16/44,1 kHz
Size: 438 Mb

Love is an American rock band formed in Los Angeles in 1965. Led by Arthur Lee, the band's primary songwriter, they were one of the first racially diverse American rock bands. Their sound incorporated an eclectic range of styles including garage, folk rock, and psychedelia. While finding only modest success on the music charts, peaking in 1966 with their US No. 33 hit "7 and 7 Is," Love would come to be praised by critics as their third album, Forever Changes (1967), became generally regarded as one of the best albums of the 1960s.
The band's classic lineup is considered to consist of Lee, the guitarist and singer Bryan MacLean, the bassist Ken Forssi, the guitarist Johnny Echols and the drummer Donnie Conca, who was replaced by Alban "Snoopy" Pfisterer. By 1968, only Lee remained and he continued recording as Love with varied members through the 1970s. MacLean and Forssi died in 1998. Lee died in 2006. Forever Changes was added to the Library of Congress's National Recording Registry in 2011. In recent years, original member Johnny Echols has toured under the title of the Love Band or Love Revisited.
(en.wikipedia.org/wiki/Love_(band))

01. My Little Red Book (02:30)
02. Can't Explain (02:39)
03. A Message To Pretty (03:11)
04. Softly To Me (02:53)
05. Hey Joe (02:41)
06. Signed D. C. (02:46)
07. And More (02:58)
08. Seven And Seven (02:15)
09. No. 14 (01:42)
10. Stephanie Knows Who (02:27)
11. Orange Skies (02:50)
12. Que Vida! (03:40)
13. The Castle (03:00)
14. She Comes In Colours (02:45)
15. Alone Again (03:15)
16. And More Again (03:20)
17. Old Man (02:58)
18. A House Is Not A Motel (03:28)
19. The Daily Planet (03:30)
20. Live And Let Live (05:27)
21. Laughing Stock (02:33)
22. Your Mind And We Belong Together (04:21)
23. August (05:05)
24. Arthur Lee Interview-Love Origins (02:26)

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Black Sabbath - Black Sabbath [3" CD Single] (1988)

Year: 1988 (CD 1988)
Label: Castle Communications (France), CD3-5
Style: Hard Rock, Heavy Metal
Country: Birmingham, England
Time: 16:37
Format: Flac Tracks 16/44,1 kHz
Size: 106 Mb

3-inch compact disc single. Limited Edition 5000. Special Edition. This 3" compact disc single is suitable for any compact disc player using the special adaptor as supplied.
(Description on the back cover.)

 

 

01. Paranoid (02:48)
02. Iron Man (05:55)
03. War Pigs (07:52)

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The Electric Prunes - Mass In F Minor (1968)

Year: January 1968 (CD 2000)
Label: Rhino Records (Europe), R2 7519, CCM-134-2
Style: Psychedelic Rock, Progressive Rock
Country: San Fernando Valley, Los Angeles, California, U.S.
Time: 32:24
Format: Flac Tracks 16/44,1 kHz
Size: 205 Mb

Album consists of a musical setting of the mass sung in Latin and Greek and arranged in the psychedelic style of the band, and was written and arranged by David Axelrod.
Following the limited commercial success of the Electric Prunes' previous album, Underground, the band's manager Lenny Poncher and their producer Dave Hassinger, whose company owned the rights to the band name, agreed with Reprise Records that their third album would be written and arranged by David Axelrod, a classically trained musician. The album was planned to combine religious and classical elements with psychedelic rock, in a religious-based rock-opera concept album.[2] Axelrod was given carte blanche by Hassinger to do what he wanted with the Electric Prunes.
When the existing band – singer James Lowe, guitarists Ken Williams and Mike Gannon, bassist Mark Tulin, and drummer Michael "Quint" Weakley – came to record the album, it became apparent that the complex arrangements largely outstripped the band's ability to perform them to the standards expected by Axelrod, or within the time set aside for recording. Although Lowe, Tulin (the only band member who could read music) and Weakley appeared on all the tracks, and Williams and Gannon also appeared on the first three tracks ("Kyrie Eleison", "Gloria" and "Credo"), the album was finished by studio musicians working with engineer Richie Podolor on guitar, and a Canadian group, the Collectors.[2] The choral-style vocals were by Lowe, double-tracked.[5] Hassinger was credited with producing the album.
(en.wikipedia.org/wiki/Mass_in_F_Minor)

01. Kyrie Eleison (03:21)
02. Gloria (05:45)
03. Credo (05:02)
04. Sanctus (02:57)
05. Benedictus (04:52)
06. Agnus Dei (04:29)
07. Hey Mr President (bonus) (02:49)
08. Flowing Smoothly (bonus) (03:06)

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Nazareth - Rampant [8 bonus tracks] (1974)

Year: May 1974 (CD 2010)
Label: Salvo Records (Europe), SALVOCD034
Style: Hard Rock, Classic Rock
Country: Dunfermline, Fife, Scotland
Time: 79:54
Format: Flac Tracks 16/44,1 kHz
Size: 557 Mb

Charts: CAN #80, US #157, AUT #1, GER #11, NOR #3, UK #13. CAN: Gold.
Rampant is the fifth studio album by the Scottish hard rock band Nazareth, released in 1974. It was their third album to be produced by Roger Glover, and proved to be the last time they would work with him. The track "Loved and Lost" was sampled by DJ Shadow on "Enemy Lines" from his 2011 album The Less You Know, The Better.
It was recorded in 1974 on the shores of Lake Geneva in Montreux, Switzerland, with the help of the Rolling Stones Mobile Studio and produced by former Deep Purple's bassist Roger Glover, whose last collaboration was with the group.
With this album, Nazareth make a slight musical change incorporating Southern rock intonations into some of their songs ("Glad When You're Gone", "Jet Lag" or the title that opens the "Silver Dollar Forger"). AllMusic critic Donald A. Guarisco compares the sound of the album as a cross between the sound of early AC/DC albums and Lynyrd Skynyrd's most "Hard rock" titles.
(en.wikipedia.org/wiki/Rampant_(album))

01. Silver Dollar Forger (05:37)
02. Glad when you're gone (04:17)
03. Loved and lost (05:12)
04. Shanghai'd in Shanghai (03:44)
05. Jet lag (06:42)
06. Light my way (04:09)
07. Sunshine (04:15)
08. (A) Shapes of things (B) Space safari (06:18)
09. Down (B-Side of Love hurts) (03:54)
10. Razamanaz (BBC live recording) (04:32)
11. Night woman (BBC live recording) (04:00)
12. Alcatraz (BBC live recording) (04:22)
13. Vigilante man (BBC live recording) (05:43)
14. Morning dew (BBC live recording) (07:38)
15. Broken down angel (BBC live recording) (04:26)
16. Woke up this morning (BBC live recording) (04:58)

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Emerson, Lake & Palmer - In The Hot Seat (1994)

Year: 26 September 1994 (CD 1994)
Label: Victory Records (UK), 828 554-2
Style: Progressive rock, Symphonic Rock
Country: London, England
Time: 71:33
Format: Flac Tracks 16/44,1 kHz
Size: 433 Mb

The making of the album was complicated by health issues encountered by both keyboard player Keith Emerson and drummer Carl Palmer. Emerson had trouble with the ulnar nerve, which made it difficult for him to control his right hand. As the prognosis for recovery after the surgical treatment was not promising, he had to overdub the right-hand parts with his left hand. Palmer suffered problems with carpal tunnel syndrome, which led to numbness in his fingers. He underwent surgery to correct the issue.
"Daddy" was written by Lake in memory of missing child Sara Anne Wood and was used to raise awareness of missing and abducted children. The royalties from the song initially brought in $5,000 and were donated to the Sara Anne Wood Rescue Center, a national non-profit foundation established by Wood's father.
"Street War" originated in summer 1988 sessions by Lake with Geoff Downes under the project name Ride the Tiger, but was reworked for this album by adding and rewriting lyrics and composing new music. Ride the Tiger was finally released in 2015.
(en.wikipedia.org/wiki/In_the_Hot_Seat)

01. Hand Of Truth (05:22)
02. Daddy (04:42)
03. One By One (05:07)
04. Heart On Ice (04:19)
05. Thin Line (04:45)
06. Man In The Long Black Coat (04:12)
07. Change (04:43)
08. Give Me A Reason To Stay (04:14)
09. Gone Too Soon (04:11)
10. Street War (04:24)
11. Pictures At An Exhibition a. Promenade (01:45)
12. Pictures At An Exhibition b. The Gnome (02:07)
13. Pictures At An Exhibition c. Promenade (01:45)
14. Pictures At An Exhibition d. The Sage (03:10)
15. Pictures At An Exhibition e. The Hut Of Baba Yaga (01:16)
16. Pictures At An Exhibition f. The Great Gates Of Kiev (05:24)

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Cockney Rebel - The Psychomodo [Japanese Ed.] (1974)

Year: 2 June 1974 (CD July 26б 1991)
Label: Tochiba-EMI (Japan), TOCP-6791
Style: Rock, Glam Rock, Progressive Rock
Country: London, England
Time: 50:15
Format: Flac Tracks 16/44,1 kHz
Size: 315 Mb

Cockney Rebel recorded The Psychomodo in February and March 1974 at Morgan Studios, Nova Sound Studios and Air Studios in London. It was mastered at Abbey Road Studios. The album saw Harley receive his first production credit, as he produced the album alongside producer Alan Parsons. In similarity to "Sebastian" and "Death Trip" from The Human Menagerie, a large symphony orchestra and choir was used on "Tumbling Down", with orchestral arrangements conducted by Andrew Powell.
In 2012, Harley recalled of his experience recording the album, "The Psychomodo was a record whose time we laughed through. Alan Parsons came in as co-producer and his own willingness to accept many offbeat ideas made life easy enough. More strings and horns, and again we had Andrew Powell, with his brilliant classical-rock thinking, to orchestrate."
In a 1974 interview with Music Scene, violinist Jean-Paul Crocker expressed his opinion that The Psychomodo was a much stronger album than The Human Menagerie. He commented, "I think it's more of a development than could ever have been expected. It's a completely different album and the basic difference is in the way we're playing on it. We wanted the first album to be heavier than it was, but it turned out quite weak, and we sounded like a bleedin' folk group most of the time."
(en.wikipedia.org/wiki/The_Psychomodo)

01. Sweet Dreams (02:06)
02. Psychomodo (04:04)
03. Mr. Soft (03:17)
04. Singular Band (03:01)
05. Ritz (07:15)
06. Cavaliers (08:35)
07. Bed In The Corner (03:31)
08. Sling It! (02:43)
09. Tumbling Down (05:55)
10. Big Big Deal (04:36)
11. Such A Dream (05:06)

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AC/DC - High Voltage [Japanese Ed.] (1975)

Year: 17 February 1975 (CD Dec 19, 2007)
Label: Sony Music (Japan), SICP 1700
Style: Hard Rock
Country: Sydney, Australia
Time: 44:20
Format: Flac Tracks 16/44,1 kHz
Size: 314 Mb

Charts: AUS #14. AUS: 5x Platinum.
In November 1973, guitarists Malcolm Young and Angus Young formed AC/DC and recruited bassist Larry Van Kriedt, vocalist Dave Evans, and Colin Burgess, ex-Masters Apprentices drummer. Soon the Young brothers decided that Evans was not a suitable frontman for the group; they felt he was more of a glam rocker like Gary Glitter. The band had recorded only one single with Evans, "Can I Sit Next To You Girl", with "Rockin' in the Parlour" as the B-side. In September 1974, Ronald Belford "Bon" Scott, an experienced vocalist and friend of producer George Young, replaced Dave Evans after friend Vince Lovegrove recommended him. The addition of Scott redefined the band; like the Young brothers, Scott had been born in Scotland before emigrating to Australia in his childhood, and loved rock and roll, especially Little Richard. Scott had played in the Valentines, the Spektors and Fraternity. In a 2010 interview with Mojo's Sylvie Simmons, Angus Young recalled that Scott "moulded the character of AC/DC... Everything became more down to earth and straight ahead. That's when we became a band."
(en.wikipedia.org/wiki/High_Voltage_(1975_album))

01. It's A Long Way To The Top (If You Wanna Rock 'N' Roll) (05:01)
02. Rock 'N' Roll Singer (05:03)
03. The Jack (05:52)
04. Live Wire (05:49)
05. T.N.T. (03:34)
06. Can I Sit Next To You Girl (04:12)
07. Little Lover (05:39)
08. She's Got Balls (04:51)
09. High Voltage (04:14)

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Thin Lizzy - Jailbreak (1976)

Year: 26 March 1976 (CD April 20, 1990)
Label: Vertigo Records (US), 822 785-2
Style: Hard Rock, Classic Rock
Country: Dublin, Ireland
Time: 36:18
Format: Flac Tracks 16/44,1 kHz
Size: 215 Mb

Charts: AUS #51, UK #10, US #18, CAN #5, SWE #21. CAN, UK & US: Gold.
Considering my latest Dadrock fixations include the best of Def Leppard and Thin Lizzy, another highly inspirational old school record from days gone which deserves contemporary praise is the latter's wildly incongruous but infinitely tutorial Jailbreak from 1976. In short, I've been rocking this once-owned-on-vinyl gem's ballsiest songs for a spell, and have finally acclimated myself to its poppy fare, as their guitar play is still cool, albeit decidedly mellow and soft compared to smoking slew of adrenaline charged classics we've grown to love. That said, even if you're not the most ardent Lizzy (non Borden) fan, there's no denying a good part of this slab is pure rock n' roll magic, enhanced by the twin-riffed and soloed dynamo's Irish heritage. Much like Budgie's Impeckable, if you can get past its wacky pacing, there's a lot to learn from sadly departed Phil Lynott and the boys (to point where his spirit hovers ever gayly, in the original sense of the word).
As far as kick-ass openers go, it's hard to surpass the simple but hooking title track - alongside riffs to Black Sabbath's definitive "Paranoid" and Deep Purple's guitar shop infuriating "Smoke On The Water", it's crunchy, swaying beat is impossible to resist. This amazingly fun tune also displays the long active trooper's penchant for wickedly poised and muffled staccato shuffles, taken to their most mesmerizing level on "Warriors", which these fledgling fingers are taking to like a duck to water, with its wah-wah'd, Ace Frehley style blues (metal) solo. Its numerous little guitar fills procure climatic feelings of sunglasses shaded wingman-ery. If anything, "Jailbreak" is as great as AC/DC's equally vintage version. Okay, I understand how the next three tracks might ruffle leather and spike wrist metal merchants, but taken at face value - as in, out of context, on their own - they're quite good. For instance , "Angel From The Coast" is a slippery canoodler with a Hawaiian type boogie!
I've no trouble wigging out to saxophoned waltzer "Running Back" either, but admittedly, the whimsy gets old by the time "Romeo And The Lonely Girl" strut on by. Thankfully, the sizzling duo of Scott Gorham and Brian Robertson pulls through with one of their classic, powerfully charged tango leads. Much like Wishbone Ash and UFO (or lone wolf Jimi Hendrix), it's easy to see how Iron Maiden was influenced by their twin guitar tag-team. This is no more evident than on "Warriors", with its laid back yet auspicious intro riff and bass line culminating into one of the gang's toughest and slickest riffs, enhanced of course by that tricky muffle-shuffle...propelled into outer space once its closing dirge seals the deal. I also dig the Sabbathian chord interlude in its stead. Of note, drummer Brian Downey's loosely break-beat-ish time keeping tactics make me think of a less inebriated and dishevelled, but just as groovy Bill Ward. Side A is masterfully bookended; the same applies to slightly shorter Side B.
First, the fluff: both "Fight Or Fall" and "Cowboy Song" mildly dilute Jailbreak's awesomeness. This is where I put my foot down and exclaim: "Why?". However, they're not total losses, as the random Wild West tribute shines due to Phil's solemn crooning, again proving himself as a well-rounded and talented front man and bassist taken from us far too soon. Musically, it's amusing, but its bland predecessor yields to the skip button. Closer "Emerald" is real banger; along with mega commercial radio star "The Boys Are Back In Town", it features the band's iconic ease with folksy Irish type melodies, riffed to oblivion and back, especially the former's killer pre-solo which translates into more wickedly phrased leads. As for the seminal staple, I was delighted to find out, as with Judas Priest's ultimate driving hit, "You've Got Another Thing Coming", it tucks within its happy-go-lucky confines more than meets the ear, particularly rhythm wise.
(https://www.metal-archives.com/reviews/Thin_Lizzy/Jailbreak/4446/) Review by CHAIRTHROWER. March 17th, 2025

01. Jailbreak (04:04)
02. Angel From The Coast (03:06)
03. Running Back (03:16)
04. Romeo And The Lonely Girl (03:58)
05. Warriors (04:12)
06. The Boys Are Back In Town (04:30)
07. Fight Or Fall (03:48)
08. Cowboy Song (05:18)
09. Emerald (04:04)

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Survivor - Eye Of The Tiger [Japanese Ed.] (1982)

Year: June 1982 (CD September 5, 1985)
Label: Canyon Records (Japan), D32Y0039
Style: Arena Rock, Soft Rock, Hard Rock
Country: Chicago, Illinois, U.S.
Time: 38:08
Format: Flac Tracks 16/44,1 kHz
Size: 277 Mb

Charts: US #2, AUS #26, CAN #4, GER #31, NLD #29, NOR #3, JPN #17, SWE #13, UK #12. US, AUS & CAN: Platinum.
Every great band needs a little luck. And for Survivor it came in 1981 when Sylvester Stallone commissioned them to write the theme song for the third movie in his blockbuster Rocky franchise. Stallone loved the Chicago rockers’ minor hit Poor Man’s Son, and wanted an anthem in a similar vein. “Something with a pulse!” he said.
Jim Peterik, Survivor’s keyboard player and principal songwriter, knew instinctively what was needed. “I saw the punches in my mind,” he said. “Bam! Bam, bam, bam!” And from that thumping staccato riff, an all-American rock classic was born.
Eye Of The Tiger topped the US and UK singles charts in July 1982. The parent album, full of brilliant songs including American Heartbeat, another hit, and gritty power ballad Ever Since The World Began – would seal Survivor’s status as one of the great AOR bands of all time.
Formed in Chicago in 1977 around the nucleus of keyboard player Jim Peterik, guitarist Frankie Sullivan and original singer Dave Bickler, Survivor shot to fame in 1982 with Eye Of The Tiger. Written for the blockbuster Rocky III – at the personal request of the movie’s star Sylvester Stallone – Eye Of The Tiger topped the charts in eight countries.
Bickler was a charismatic figure, with his powerful voice and signature Che Guevara-style beret, worn to hide his premature baldness. But after the phenomenal success of Eye Of The Tiger, he developed nodes on his vocal cords and was forced to leave the band. As Peterik said: “Very few bands can survive a lead singer transplant.”
(full version: loudersound.com/reviews/survivor-eye-of-the-tiger-album-of-the-week-club-review)

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

01. Eye Of The Tiger (04:06)
02. Feels Like Love (04:10)
03. Hesitation Dance (03:53)
04. The One That Really Matters (03:33)
05. I'm Not That Man Anymore (04:49)
06. Children Of The Night (04:45)
07. Ever Since The World Began (03:44)
08. American Heartbeat (04:12)
09. Silver Girl (04:53)

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Black Sabbath - Live At Last [Live] (1973)

Year: Recorded 11-16 March 1973 (CD October 21, 1996)
Label: Teichiku Records (Japan), TECW-25319
Style: Hard Rock, Heavy Metal
Country: Birmingham, England
Time: 57:33
Format: Flac Tracks 16/44,1 kHz
Size: 392 Mb

Live at Last is a 1980 live album by English heavy metal band Black Sabbath. Despite its wide distribution and success (it peaked at No. 5 on the UK Albums Chart), the album was released without the permission or knowledge of the band, and is equivalent to an unofficial bootleg live album. The album was, however, released legally by the band's former manager Patrick Meehan who owned the rights to the recording. The nature of the album's initial release as being without the band's approval is demonstrated by a notoriously embarrassing goof in the original version, which falsely credited the singer as "Ossie Osbourne".
The release of Live at Last, combined with the 1982 release of Ozzy Osbourne's Speak of the Devil live album consisting entirely of Black Sabbath songs, prompted Black Sabbath to release their first official live album, 1982's Live Evil.
During the band's Volume 4 tour, the concerts held on 11 March 1973 at the Hardrock Concert Theatre in Manchester, and 16 March 1973 at the Rainbow Theatre in London, were recorded for use in a planned live album release, but the project was ultimately scrapped despite its plans being already promoted in UK newspaper articles. Despite the liner notes of a 1996 reissue of Live at Last stating the Manchester concert was held at the Free Trade Hall, this is easily proven incorrect when referencing historical documentation such as tour listings and ticket stubs.
The album has received a mixed to negative review from AllMusic, with critic Alex Henderson stating that he found the band "in decent form" but criticizing the shortness of the release and the absence of some of Black Sabbath's best known material such as "Iron Man" and their title track "Black Sabbath".
(en.wikipedia.org/wiki/Live_at_Last_(Black_Sabbath_album))

Year: Recorded 11-16 March 1973 (CD October 21, 1996)
Label: Teichiku Records (Japan), TECW-25319
Style: Hard Rock, Heavy Metal
Country: Birmingham, England
Time: 57:33
Format: Flac Tracks 16/44,1 kHz
Size: 392 Mb

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Egg - Egg [3 bonus tracks] (1970)

Year: 13 March 1970 (CD 2008)
Label: Esoteric Records (UK), ECLEC 2035
Style: Canterbury Scene, Progressive Rock
Country: London, England
Time: 50:15
Format: Flac Tracks 16/44,1 kHz
Size: 267 Mb

Egg were an English progressive rock band formed in July 1968. Remembered for their strange, experimental sound, the band produced three studio albums before disbanding in 1974.
The album was re-issued on CD in February 2004 by Eclectic Discs. Remastered from the original tapes, the re-issue has three bonus tracks, including both sides of the band's first and only single ("Seven Is a Jolly Good Time/You Are All Princes") and "Movement 3" from "Symphony No. 2", which was omitted from the original LP days after release due to copyright difficulties, because its tune bears a similarity to part of Igor Stravinsky's ballet The Rite of Spring. There are also similarities to the final Neptune movement of Gustav Holst's orchestral suite The Planets.
(en.wikipedia.org/wiki/Egg_(album))

01. Bulb (00:09)
02. While Growing My Hair (04:02)
03. I Will Be Absorbed (05:11)
04. Fugue In D Minor (02:49)
05. They Laughed When I Sat Down At The Piano... (01:21)
06. The Song Of McGillicudie The Pusillanimous (or Don't Worry James, Your Socks Are Hanging In The Coal Cellar With Thomas) (05:09)
07. Boilk (01:02)
08. Symphony No. 2 - First Movement (05:46)
09. Symphony No. 2 - Second Movement (06:17)
10. Symphony No. 2 - Blane (05:27)
11. Symphony No. 2 - Third Movement (03:10)
12. Symphony No. 2 - Fourth Movement (bonus track) (03:13)
13. Seven Is A Jolly Good Time (bonus track) (02:47)
14. You Are All Princes (bonus track) (03:45)

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Gong - Magick Brother (1970)

Year: March 1970 (CD 2004)
Label: Charly Records (UK), SNAP 199
Style: Canterbury Scene, Progressive Rock, Psychedelic Rock
Country: Paris, France
Time: 43:53
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

Gong are a rock band associated with the Canterbury scene. They incorporate elements of psychedelic rock, jazz and space rock into their musical style. The group was formed in Paris in 1967 by Australian musician Daevid Allen and English vocalist Gilli Smyth.
Gong's 1970 debut album, Magick Brother, featured a psychedelic rock sound. By the following year, the second album, Camembert Electrique, featured the more psychedelic rock/space rock sound with which they would be most associated.
The band's recently recruited bass player Christian Tritsch was not ready in time to play on the album, and so singer/songwriter/guitarist Daevid Allen played the bass guitar himself; a photo of Allen recording bass tracks for the album is featured on the cover artwork. They also made use of jazz contrabass (double bass) players Earl Freeman and Barre Phillips, who were recording for the label at the same time, on three tracks. Occasional early Gong collaborator Dieter Gewissler, who normally played violin, also contributed some "free" bowed contrabass to two tracks. The LP sleeves were printed before the final track order and titles had been decided and so the songs "Rational Anthem" (AKA "Change the World") and "Glad To Sad To Say" were listed the wrong way round.
Shortly afterwards, the band played its debut gig at the BYG Actuel Festival in the small town of Amougies, Belgium, on 27 October 1969, introduced to the stage by bemused compere Frank Zappa.
(en.wikipedia.org/wiki/Gong_(band)) and (en.wikipedia.org/wiki/Magick_Brother)

01. Mystic Sister - Magick Brother (05:56)
02. Glad To Sad To Say (04:09)
03. Rational Anthem (03:44)
04. Chainstore Chant - Pretty Miss Titty (04:47)
05. Fable Of A Fredfish - Hope You Feel Ok (04:27)
06. Ego (03:59)
07. Gong Song (04:13)
08. Princess Dreaming (02:53)
09. 5 and 20 Schoolgirls (04:36)
10. Cos You Got Green Hair (05:04)

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Man - Do You Like It Here Now, Are You Settling In (1971)

Year: November 1971 (CD 2007)
Label: Esoteric Records (Europe), ECLEC 2013
Style: Rock, Progressive Rock
Country: Merthyr Tydfil, Wales
Time: 73:30
Format: Flac Tracks 16/44,1 kHz
Size: 425 Mb

The album was recorded in August at Rockfield Studios in Monmouthshire, Wales. Sessions took place soon after the band's 'All Good Clean Fun' tour of Switzerland, although a brief break in their German tour schedule during the late spring had resulted in two tracks being written at a studio in Swansea. The album title is apparently a Swansea saying, usually directed at pub landlords of exceptionally long standing.
(en.wikipedia.org/wiki/Do_You_Like_It_Here_Now,_Are_You_Settling_In%3F)
Long a fan favorite, Man's fourth studio album was recorded in 1971 during a harried one-week studio session that found the group having to write nearly the entire album, barring the tight and rocking "Angel Easy" and the group's multi-part masterwork "Many Are Called but Few Get Up." Frankly, the album sounds like a record that was largely jammed in the studio; the eight-minute-plus jams that close each side, "We're Only Children" and "Love Your Life," are particularly tiresome, good instrumental and lyrical ideas stretched well past their breaking points. However, besides the superior "Angel Easy" and "Many Are Called but Few Get Up," the album does include the rather wonderful "All Good Clean Fun," a showcase for pianist Clive John and lead guitarist Deke Leonard that has a delightful prog pop playfulness akin to some of Genesis' more lighthearted early moments or the daffiness of the later band Hatfield & the North. The album may be only half good, but that half is among Man's very best work.
(allmusic.com/album/do-you-like-it-here-are-you-settling-in-mw0000752809)

01. Angel Easy (05:02)
02. All Good Clean Fun (04:34)
03. We're Only Children (08:31)
04. Many Are Called, But Few Get Up (07:29)
05. Manillo (05:17)
06. Love Your Life (09:05)
07. Bonus Track - Many Are Called, But Few Get Up (Live at Gugenhalle, Essen, Germany) (09:31)
08. Bonus Track - Angel Easy (Live at Gugenhalle, Essen, Germany) (05:26)
09. Bonus Track - Romain (Live at Gugenhalle, Essen, Germany) (18:32)

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Robert Wyatt (ex Soft Machine) - Rock Bottom (1974)

Year: 26 July 1974 (CD 1989)
Label: Virgin Records (UK), CDV 2017, 0777 7 87712 2 7
Style: Art Rock, Canterbury Scene, Progressive Rock
Country: Lydden, Kent, England (28 January 1945)
Time: 39:34
Format: Flac Tracks 16/44,1 kHz
Size: 210 Mb

Rock Bottom is the second solo album by English musician Robert Wyatt. It was released on 26 July 1974 by Virgin Records. The album was produced by Pink Floyd's drummer Nick Mason, and was recorded following a 1973 accident which left Wyatt a paraplegic. He enlisted musicians including Ivor Cutler, Hugh Hopper, Richard Sinclair, Laurie Allan, Mike Oldfield and Fred Frith in the recording.
The band Matching Mole disbanded soon after the release of Little Red Record in 1972, and Wyatt began composing the material that later appeared on Rock Bottom. The album's preparation was interrupted by an accident on the night of 1 June 1973. During a raucous party, at Vale Court, Hall Road, Maida Vale in London, an inebriated Wyatt fell from a fourth-floor bathroom window and was paralysed from the waist down. Wyatt has used a wheelchair ever since. He later called the event the beginning of his maturity and in hospital he continued to work on the songs that would appear on Rock Bottom "in a trance". "I was just relieved that I could do something from a wheelchair," he said. "If anything, being a paraplegic helped me with the music because being in hospital left me free to dream, and to really think through the music."
Within six months he was back at work in the recording studio and appeared on stage at London's Rainbow Theatre with Pink Floyd and Soft Machine, who lent financial support by playing a benefit concert for him. Although the music itself is intense and often harrowing, and the lyrics to the songs are dense and obviously deeply personal, Wyatt has denied that the material was a direct result of the accident and the long period of recuperation. Indeed, much of the album had been written while in Venice in early 1973 prior to Wyatt's accident, where his partner and future wife (the poet Alfreda Benge) was working as an assistant editor on Nicolas Roeg's film Don't Look Now.
(en.wikipedia.org/wiki/Rock_Bottom_(album))

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. Sea Song (06:31)
02. A Last Straw (05:46)
03. Little Red Riding Hood Hit the Road (07:40)
04. Alifib (06:55)
05. Alife (06:31)
06. Little Red Robin Hood Hit the Road (06:08)

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Supertramp - Supertramp (1970)

Year: August 1970 (CD 1987)
Label: A&M Records (Germany), 393 149-2
Style: Progressive Pop, Progressive Rock, Soft Rock
Country: London, England
Time: 47:50
Format: Flac Tracks 16/44,1 kHz
Size: 267 Mb

Charts: CAN & FRA: Gold.
It was not released in the United States until late 1977.
All the album's lyrics were written by Richard Palmer, since none of the other members of Supertramp were willing to write any. Palmer himself later said that he considered writing lyrics "like having to do school work" at the time. The music to the songs were all composed jointly by Rick Davies and Roger Hodgson.
The album was recorded entirely at Morgan Studios in night sessions running from 12 midnight to 6 am, due to a superstition on the part of the band members (fuelled by their having heard that Traffic and Spooky Tooth recorded at late hours) that there was some "magic" to recording at night. Hodgson later recalled "Invariably our engineer, Robin Black, would fall asleep on us in the middle of the sessions, which were pretty intense as it was, because we fought a lot with Richard Palmer." He was fond of the resulting album, however, and commented over a decade later that "It was very naive, but it has a good mood to it."
To promote the album, the band played at the Isle of Wight Festival 1970, held a few weeks after release.
Songs from this album, including "Words Unspoken" and "I Am Not Like Other Birds of Prey", were used as part of the soundtrack for the UK film Extremes (1971), along with music from other groups.
(en.wikipedia.org/wiki/Supertramp_(album))

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. Surely (00:31)
02. It's a Long Road (05:34)
03. Aubade and I Am Not Like Other Birds of Prey (05:17)
04. Words Unspoken (03:59)
05. Maybe I'm a Beggar (06:43)
06. Home Again (01:14)
07. Nothing to Show (04:53)
08. Shadow Song (04:24)
09. Try Again (12:02)
10. Surely (2) (03:09)

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Supertramp - Slow Motion (2002)

Year: 23 April 2002 (CD 2002)
Label: EMI Music (France), 7243 5 38624 2 8
Style: Progressive Pop, Progressive Rock, Soft Rock
Country: London, England
Time: 50:10
Format: Flac Tracks 16/44,1 kHz
Size: 330 Mb

Charts: FRA #8, GER #17, NL #83, SWI #6. FRA & SWI: Gold.
Even the term slow motion implies some infinitesimal amount of progress. But you won’t find any on this second limp-noodle release from the partially reconstituted Supertramp.
Like 1997’s Some Things Never Change, the nine-song Slow Motion is just more of the same sorta-funky, sorta-jazzy, sorta-poppy glop these faded ’70s icons can (and have) churn out like butter for decades. With one notable difference: None of these tastefully executed but artistically lifeless songs can hold a snuffed-out candle to classics like School, Dreamer, Bloody Well Right and The Logical Song. That’s because of the other notable difference here: Roger Hodgson, who co-wrote all those hits, isn’t in the band anymore. Without him, Slow Motion is more like No Motion.
(tinnitist.com/2022/09/06/classic-album-review-supertramp-slow-motion/)

01. Slow Motion (03:50)
02. Little By Little (04:30)
03. Broken Hearted (04:28)
04. Over You (05:06)
05. Tenth Avenue Breakdown (08:57)
06. A Sting In The Tail (05:17)
07. Bee In Your Bonnet (06:27)
08. Goldrush (03:06)
09. Dead Man's Blues (08:26)

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Cheap Trick - Cheap Trick [6 bonus tracks] (1977)

Year: February 3, 1977 (CD 1998)
Label: Epic Records (US), EK 65572
Style: Hard Rock, Power Pop
Country: Rockford, Illinois, U.S.
Time: 57:13
Format: Flac Tracks 16/44,1 kHz
Size: 395 Mb

Loud, raw, noisy, messy: those are the adjectives that spring to mind when hearing Cheap Trick's debut. Too bad the melodies are hit and miss, and the noise kind of buries the hooks ocassionally. Other than those problems, though, this is one exciting platter; it rocks crazier and harder than they ever would again, veering close to anarchy in a few spots. I'm glad that their producer reined them in for a concentrated attack on their next two discs, but the chaotic mess here is fun in its own right - it sounds like what Nirvana were shooting for on Nevermind, but were a little too glossy to get right. Hell, Steve Albini even covered "He's A Whore" in his Big Black days. For once me and Albini meet at the same taste - that song rocks! It's probably the catchiest number on here, with Zander screaming "I'll do anything for money!", sentiments which he would unfortunately live up to during Trick's asslicking '80s tenure. Oh, but there's "Taxman, Mr. Thief", which pushes its Beatles homage far beyond any reasonable call for obviousness, but only in the title and lyrics - the Fabs would never have played music this heavy and sinister, though they would have written the melodic chorus. "The Ballad Of TV Violence" is sung from serial killer Richard Speck's point of view, as Zander keeps screaming over and over, "I'm not the only boy!". "Elo Kiddies" is a warped kind of Garry Glitter style chant that advises youngsters to ditch school for crime 'cause it's all that matters and everybody steals it anyway; for some reason the song starts off with the sound of alarm bells. The whole shebang kicks off with the driving lust ditty "Hot Love", which ends with a barely audible (put your head next to the speakers and turn it up really loud) Nielsen cackling "Hello there I'm Steven Tyler of Aerosmith" and something more that's unintelligible (they were on the same label). The album ends with "Oh Candy", an elegy for a depressed friend's suicide, and one of the great lost singles from the mid-'70s MidWest. There are some other songs on here, too, but they're not as good.
(starlingdb.org/music/temp/cheaptrick.html)

01. Elo Kiddies (03:41)
02. Daddy Should Have Stayed In High School (04:44)
03. Taxman, Mr. Thief (04:15)
04. Cry, Cry (04:22)
05. Oh, Candy (03:06)
06. Hot Love (02:30)
07. Speak Now Or Forever Hold Your Peace (04:34)
08. He's A Whore (02:42)
09. Mandocello (04:46)
10. The Ballad Of TV Violence (I'm Not The Only Boy) (05:25)
11. Lovin' Money (Outtake) (Bonus track) (04:09)
12. I Want You To Want Me (Early version) (Bonus track) (02:44)
13. Lookout (Previously unreleased studio version) (Bonus track) (03:30)
14. You're All Talk (Previously unreleased studio version) (Bonus track) (03:31)
15. I Dig Go-Go Girls (Previously unreleased) (Bonus track) (03:06)

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Lita Ford - The Best Of Lita Ford [1984–1991] (1992)

Year: July 28, 1992 (CD )
Label: Dreamland Records (Germany), 07863 66037 2
Style: Hard Rock, Glam Metal
Country: Long Beach, California, U.S. (September 19, 1958)
Time: 47:48
Format: Flac Tracks 16/44,1 kHz
Size: 340 Mb

The Best of Lita Ford is a compilation album from Lita Ford. Released on July 28, 1992, it includes the hit singles "Kiss Me Deadly" and the duet with Ozzy Osbourne, "Close My Eyes Forever", as well as several other minor hits from Ford's solo career.
(en.wikipedia.org/wiki/The_Best_of_Lita_Ford)
Despite the fact that her success was brief, Lita Ford continues to be one of the more memorable icons of the hair metal scene. Most will argue that this is because of her gender rather than her music; the fact that she was female indeed made her a unique novelty in a genre dominated by men. True, Lita Ford's shelf life was short-lived, and her music itself is far less original than, say, her ex-bandmate Joan Jett. Not to say that what's on the Best of Lita Ford disc is bad -- like many of her peers, Ford sure knew how to produce a few catchy guilty pleasures. Her most well-known singles, "Kiss Me Deadly" and "Close My Eyes Forever," are included, along with a handful of unknowns that are certainly worth hearing, such as "Larger Than Life," "What Do You Know About Love," "Gotta Let Go," and a cover of Alice Cooper's "Only Women Bleed." There are numerous Lita Ford compilations out there, but this original best-of collection remains the most ideal buy.
(allmusic.com/album/the-best-of-lita-ford-mw0000081311)

01. What Do Ya Know About Love (03:53)
02. Kiss Me Deadly (04:01)
03. Shot Of Poison (03:31)
04. Hungry (04:54)
05. Gotta Let Go (03:55)
06. Close My Eyes Forever (with Ozzy Osbourne) (04:42)
07. Larger Than Life (03:53)
08. Only Women Bleed (06:01)
09. Playin’ With Fire (04:07)
10. Back To The Cave (04:02)
11. Lisa (04:44)

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Emerson, Lake & Palmer - Black Moon (1992)

Year: 18 May 1992 (CD June 27, 1992)
Label: Victory Music (US), 383 480 003-2
Style: Symphonic Rock, Art Rock
Country: London, England
Time: 48:55
Format: Flac Tracks 16/44,1 kHz
Size: 302 Mb

Charts: CAV #66, GER #45, NED #77, SWI #23, JP #16, US #78.
The band had broken up in 1979, and recorded Black Moon to kick off their 1990s revival. Black Moon received mixed reviews. Jim Allen of AllMusic wrote in a retrospective review that the performers "stripped down their sound and amped up their attack." In his book The Music's All that Matters: A History of Progressive Rock, Paul Stump compared it favorably to its contemporary Union (by fellow progressive rock giants Yes). He explained that Black Moon "did at least aspire to interest and excite the listener, and it would be a churlish mind that overlooked a vigour in the playing which had formerly been notable by its absence. The material, though, suffered from the Yes malaise: cynicism and over-exposure to the wallet-fattening blandishments of easy-out FM mores, intervals and development procedures had blunted edges and dulled nerve-endings both of players and listeners."
Half of the album's songs were played at the band's 1992-1993 concerts. Greg Lake included the songs "Paper Blood", "Farewell to Arms" and "Footprints in the Snow" in the setlist of his 2005 solo tour. "Farewell to Arms" was played at the group's final concert, at the High Voltage Festival in July 2010.
(en.wikipedia.org/wiki/Black_Moon_(album))

01. Black Moon (06:59)
02. Paper Blood (04:28)
03. Affairs Of The Heart (03:47)
04. Romeo And Juliet (03:42)
05. Farewell To Arms (05:10)
06. Changing States (06:02)
07. Burning Bridges (04:45)
08. Close To Home (04:29)
09. Better Days (05:36)
10. Footprints In The Snow (03:52)

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Yes - Open Your Eyes [Japanese Ed.] (1997)

Year: November 24, 1997 (CD December 17, 1997)
Label: Victor Records (Japan), VICP-60215
Style: Art Rock, Symphonic Rock, Progressive Rock
Country: London, England
Time: 78:19
Format: Flac Tracks 16/44,1 kHz
Size: 540 Mb

Following the 1996 revival of the 1970s "classic" line-up of Yes, the band's relationship with management had broken down and keyboardist Rick Wakeman had once again left the band. While various other members dispersed, guitarist, keyboardist, and producer Billy Sherwood (a long-time Yes associate and contributor) began developing new songs with band bassist and de facto leader Chris Squire to prevent the band from losing momentum and fully splitting. Yes' new management company suggested adding a couple of songs originally written for Squire and Sherwood's other band Conspiracy to help build up material for a new Yes studio album. With the writing and production sessions dominated by Squire and Sherwood, and with singer Jon Anderson, guitarist Steve Howe and drummer Alan White only involved later in the process, the writing and creative input of the latter three members was limited.
Open Your Eyes received mixed reviews from music critics and became one of the band's lowest selling albums, reaching number 151 on the US Billboard 200 and failing to enter the UK Albums Chart. Its lead single, "Open Your Eyes", reached number 33 on the Billboard Hot Mainstream Rock Tracks chart which was followed by a second, "New State of Mind". A limited edition with a surround sound mix was also released. Yes supported the album with a 12-month world tour from October 1997 that coincided with their thirtieth anniversary. The band were joined by Russian keyboardist Igor Khoroshev, who had played on the album as a guest musician and who became a full-time member at the tour's conclusion.
(en.wikipedia.org/wiki/Open_Your_Eyes_(Yes_album))

01. New State Of Mind (06:00)
02. Open Your Eyes (05:13)
03. Universal Garden (06:16)
04. No Way We Can Lose (04:56)
05. Fortune Seller (05:01)
06. Man In The Moon (04:40)
07. Wonderlove (06:07)
08. From The Balcony (02:42)
09. Love Shine (04:38)
10. Somehow.....Someday (04:46)
11. Open Your Eyes (Radio Edit) (Bonus) (04:10)
12. The Solution (23:46)

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Arthur Lee [ex Love] - Vindicator [5 bonus tracks] (1972)

Year: August 1972 (CD 2007)
Label: BGO Records (UK), BGOCD783
Style: Hard Rock, Blues Rock, Psychedelic Rock
Country: Memphis, Tennessee, U.S. (March 7, 1945 - August 3, 2006)
Time: 51:41
Format: Flac Tracks 16/44,1 kHz
Size: 360 Mb

Vindicator is the first solo album by Arthur Lee, formerly of the rock band Love, released in 1972. The backing musicians are credited as Band-Aid. A cover of the track "Everybody's Gotta Live" was recorded by American rapper and singer Mac Miller, and released on his posthumous album Circles in 2020.
(en.wikipedia.org/wiki/Vindicator_(album))
Love's 1967 masterpiece Forever Changes was an album so beautiful and timeless that it tends to dwarf everything else in the group's repertoire, and its gentle balance of grace and dread has made a lot of people forget just how hard Love could rock when Arthur Lee and his bandmates were of a mind. While Love's debut album pushed folk-rock into an overdrive that resembled punk, Lee's first solo set, 1972's Vindicator, was a muscular set of guitar-fueled hard rock laced with blues, showing the clear influence of Lee's late friend Jimi Hendrix. With Charles Karp's powerful guitar leads dominating the arrangements and Lee's vocals strutting with maximum rock star swagger on tunes like "Love Jumped Through My Window" and "Sad Song," Vindicator boogies with a cocky confidence that belies the fact Lee's career was in need of a clear direction at the time, and while there are no signs of the delicacy of Forever Changes, three decades on this sounds like mid-'70s guitar rock at its best. Lee was able to bring a soulful edge to songs like "Everybody's Gotta Live" and "He Knows a Lot of Good Women," and he connects with a sly blues shuffle on "He Said She Said," but it's when Lee and Karp crank up their guitars and the rhythm section of Don Poncher and David Hull turn up the heat that Vindicator really takes off, inviting the spirit with the kiss-the-sky spirit of "You Want Change for Our Re-Run" and laying out some thick Marshall-stack crunch on "Every Time I Look Up I'm Down." And anyone wanting a dose of Lee's well-documented eccentricity won't be at all disappointed with the brief spoken word fragment "You Can Save Up to 50% But You're Still a Long Ways from Home" and the anti-fast food tirade "Hamburger Breath Stinkfinger," both of which confirm Lee didn't turn away his muse when he cut these sessions. While Arthur Lee could create music of simple and fragile beauty, that doesn't change the fact he was a rocker at heart, and he rarely rocked harder or with more passion than he did on Vindicator.
(allmusic.com/album/vindicator-mw0000751489)

01. Sad Song (02:20)
02. You Can Save Up To 50% But You're Still A Long Ways From Home (00:17)
03. Love Jumped Through My Window (02:57)
04. Find Somebody (03:47)
05. He Said She Said (02:18)
06. Every Time I Look Up I'm Down Or White Dog (I Don't Know What That Means!) (03:57)
07. Everybody's Gotta Live (03:31)
08. You Want Change For Your Re-run (04:17)
09. He Knows A Lot Of Good Women (Or Scotty's Song) (03:14)
10. Hamburger Breath Stinkfinger (02:44)
11. Ol' Morgue Mouth (00:53)
12. Busted Feet (04:54)
13. Everybody's Gotta Live (bonus) (03:33)
14. He Knows A Lot Of Good Women (bonus) (03:15)
15. Pencil In Hand (bonus) (02:19)
16. E-Z Rider (bonus) (02:59)
17. Looking Glass Looking At Me (bonus) (04:18)

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Thin Lizzy - Fighting (1975)

Year: 12 September 1975 (CD 1990)
Label: Vertigo Records (US), 842 433-2
Style: Hard Rock, Classic Rock
Country: Dublin, Ireland
Time: 38:26
Format: Flac Tracks 16/44,1 kHz
Size: 238 Mb

Now to continue my one man quest to get you to put down your Viking metal albums and other silly things from Scandinavia and get you to listen to some Thin Lizzy! This is for your own good! Anyway, yes no reviews for this one either but than can be expected as ‘Fighting’ is one of the lesser known Lizzy albums which always struck me as odd as it’s a fucking corker.
‘Fighting’ is perhaps most significant as it’s the album where Brian ‘Robbo’ Robertson and Scott ‘Joni Mitchell’ Gorham discovered their signature twin guitar sound, meaning guitar harmonies a plenty. Also ‘Fighting’ can be considered the first truly focused and more importantly hard rocking Lizzy album, as previous albums weren’t really too consistent and showed a band trying and often failing to find their own identity.
Song wise Fighting shows a band truly hitting their stride, of course most will have you believe that ‘Jailbreak’ was the bands turning point, commercially this is true but ‘Fighting’ is a excellent collection of melodic hard rock songs that I must stress shouldn’t be overlooked. Bob Seger’s ‘Rosalie’ kicks things off and it’s a nice little rocking number, however when compared with the ‘Live and Dangerous’ version it sounds a tad weedy, but that minor gripe aside (‘Live and Dangerous’ absolutely destroys! Listen to it now!) it’s a still a classic fat slice of Thin Lizzy (Alan Partridge? Answers on a postcard). ‘For Those Who Love to Live’ is an overlooked masterpiece, and dedicated to another dead Irish legend George ‘Pist’ Best (an alcoholic football player, to those of you who don’t know), this is the first Lizzy song to display the twin guitar harmony sound that would prove so influential. ‘Suicide’ is the hardest rocking song on this album and well flat out rocks, Robbo’s guitar solo is one of my favourites especially the lick where he plays a double stop and then slides it up an octave, simply magic! ‘Wild One’ is simply one of the finest ballads the band, or anyone else for that matter has ever done. It’s steeped in Irish history and is sentimental and romantic without being sappy, something very few could pull off, but Phillip Lynott being god, of course could. Also take note guitar fans, the harmonised lead is absolutely magnificent it sends shivers down my spine, see I told you this was better than Viking metal! ‘Fighting My Way Back’ is another overlooked yet masterful Thin Lizzy track, upbeat and hard rocking. ‘King’s Vengeance’ yet again is exceptionally good, yet no ones heard the thing! Please, rock fans give this album a listen. ‘Spirit Slips Away’ is strangely ominous and during the songs recording Scott and Robbo supposedly discovered their guitar harmony sound but its one of the albums weaker moments. ‘Silver Dollar’ is just a bit of filler really, nothing too offensive but it doesn’t really warrant repeated listens. ‘Freedom Song’, sentimental and overtly romanticised but Phil and the boys pull it off in style, some lovely guitar harmonies and a story of a man being hung and shouting freedom (sounds like a Mel Gibson film!). ‘Ballad of a Hard Man’ is a funky hard rocker, but Lizzy could do funky quite well as Phil was black, however this rule doesn’t always work, for instance I don’t think Entombed could do funk…….but I digress.
This is without doubt the classic Thin Lizzy line up, the whole band shine and not a single note is out of place. Phil Lynott is not only the consummate songwriter but also a impossibly tight bassist with an instantly recognisable fat bass sound. Brian Downey, is one of the most underrated drummers in rock, hard hitting, neat and tight with a distinctive style. Now, at this point I must stress that Brian Robertson was actually better on guitar than Scott Gorham, but still Scott is still excellent although his playing is not quite as jaw dropping as on say ‘Bad Reputation’ or ‘Black Rose’. So Brian Robertson was the best guitar player in Thin Lizzy at this point, I can put this down to the fact that his playing is more balls out, than Scott’s, but then he was a whiskey drinking Scottish mentalist whereas Scott just looked like Joni Mitchell, so there you go.
Well if you want an excellent 70’s Rock ‘n’ Roll album look no further. ‘Fighting’ has it all great songs, exceptional playing and even a touch of romance, well what more could you possibly want?
(metal-archives.com/reviews/Thin_Lizzy/Fighting/4445/)

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. Rosalie (03:15)
02. For Those Who Love to Live (03:11)
03. Suicide (05:16)
04. Wild One (04:21)
05. Fighting My Way Back (03:15)
06. King's Vengeance (04:08)
07. Spirit Slips Away (04:39)
08. Silver Dollar (03:28)
09. Freedom Song (03:35)
10. Ballad of a Hard Man (03:13)

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