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

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

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

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

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Delaney & Bonnie & Friends - Motel Shot [Japan Ed.] (1971)

Year: March 1971 (CD Jun 25, 1998)
Label: Atco Records (Japan), AMCY-2765
Style: Blues, Gospel, Funk
Country: U.S.
Time: 45:52
Format: Flac Tracks 16/44,1 kHz
Size: 278 Mb

The magic of the late-night jam session is one of those rock & roll legends that, much like Bigfoot, doesn't have a lot of concrete evidence to support it. But Delaney & Bonnie believed in it strongly enough to try to put one on tape. Released in 1971, Motel Shot was intended to document the sound and vibe of the after-show jams that Mr. and Mrs. Bramlett often took part in while on the road. After an attempt to record one such jam in the living room of recording engineer Bruce Botnick, Delaney & Bonnie and their friends ended up doing it over again in a recording studio. But if Motel Shot doesn't seem as spontaneous as the principals wanted it to be, it does have a loose, playful feel that's honestly winning. The performances are almost entirely acoustic, and the set is dominated by traditional blues, gospel, and country standards that this crew could ease into comfortably and bend to their moods. Given that Delaney & Bonnie's friends for these sessions included Duane Allman, Leon Russell, John Hartford, Dave Mason, Gram Parsons, and Joe Cocker, it's no great surprise that this material is significantly more accomplished that most folks' musical goofing around, even if Jim Keltner is just slapping an empty box instead of playing a drum kit. And Delaney & Bonnie are both in fine voice on Motel Shot, passionate but very much in the moment, while the gospel jam of "Takin' About Jesus" features some powerful vocal interplay between Bonnie and Cocker. You can't plan a moment of spontaneous brilliance, but Delaney & Bonnie were just smart enough to know their muse didn't like to be forced, and Motel Shot is an admirable compromise between a 2 a.m. guitar pull and an acoustic studio session, and it was also their last truly effective album.
(allmusic.com/album/motel-shot-mw0000738488)

01. Where the Soul Never Dies (03:24)
02. Will the Circle be Unbroken (02:42)
03. Rock of Ages (02:17)
04. Long Road Ahead (03:25)
05. Faded Love (04:03)
06. Talkin' About Jesus (06:51)
07. Come on in My Kitchen (02:41)
08. Don't Decieve Me (Please Don't Go) (03:54)
09. Never Ending Song Of Love (03:20)
10. Sing My Way Home (04:02)
11. Going Down the Road Feeling Bad (05:12)
12. Lonesome and a Long Way From Home (03:55)

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AC/DC - For Those About To Rock (We Salute You) [remastered] (1981)

Year: 20 November 1981 (CD 2003)
Label: Epic Records (Europe), EPC 510766 2
Style: Hard Rock
Country: Sydney, New South Wales, Australia
Time: 40:10
Format: Flac Tracks 16/44,1 kHz
Size: 302 Mb

Digitally remastered from  the original master tapes by George Marino at Sterling Sound.
As immensely successful as AC/DC’s 1980 album Back in Black was (it has sold around 50 million copies worldwide), the band didn’t have a No. 1 record until their seventh North American release, For Those About to Rock We Salute You came out on Nov. 23, 1981. The band came out of the gate with a full arsenal – literally. “For Those About to Rock (We Salute You),” now a traditional show-closer, is a mid-paced stormer about the band’s appreciation for its fans, and about three-and-a-half minutes in, the music is punctuated with cannon blasts that continue until the end of the song. It’s such a good song that it makes the other songs on the album, which rock in their own right, sound somewhat anemic by comparison.
Really, AC/DC were in a no-win situation, and after they went supernova with the release of Back in Black in 1980, the group became a victim of its own popularity. There was no way they were going to match the cultural impact of that album, so they tried something different. The problem was, they didn’t know exactly what they wanted and it shows. The band began working on For Those About to Rock We Salute You in July 1981 at EMI Pathe-Marconi Studios in Paris. They hired producer Robert John “Mutt” Lange, who had worked on their previous two albums and right away they ran into problems. Unhappy with the sound they were getting, they relocated to a warehouse on the edge of the city and rented the Mobile One studio.
After they recorded the music, Johnson tracked his vocals at Family Sound Studio and then AC/DC recorded overdubs at HIS Studios. Though they were done in September 1981 they second-guessed themselves all the way and by the time they were finished they didn’t know if they had recorded another hit or committed commercial suicide. Likely due to their unhappy experiences recording the album, For Those About to Rock We Salute You marked the end of AC/DC’s working relationship with Lange. “Christ! It took us forever to make that record and it sounds like it,” the late Malcolm Young told Metal CD in 1992. “It’s full of bits and pieces and it doesn’t flow properly like an AC/DC album should… By the time we’d completed it I don’t think anyone …could tell whether it sounded right or wrong.”
(full version: loudwire.com/acdc-for-those-about-to-rock-we-salute-you-album-anniversary/)

01. For Those About to Rock (We Salute You) (05:44)
02. Put the Finger on You (03:25)
03. Let's Get It Up (03:54)
04. Inject the Venom (03:30)
05. Snowballed (03:23)
06. Evil Walks (04:23)
07. C.O.D. (03:19)
08. Breaking the Rules (04:23)
09. Night of the Long Knives (03:25)
10. Spellbound (04:39)

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Grateful Dead - American Beauty [MFSL-CD] (1970)

Year: November 1970 (CD Nov 17, 2014)
Label: Mobile Fidelity Sound Lab (US), UDSACD 2138
Style: Folk Rock, Country Rock
Country: Palo Alto, California, U.S.
Time: 42:46
Format: Flac Tracks 16/44,1 kHz
Size: 271 Mb

For once a truly beautiful album cover is more than matched by the record inside. The dead just refuse to keep within any normal limits, and I hope that it stays that way for a long time. Workingman’s Dead was a lovely album, lush, full, and thoroughly real in musical and lyrical content. American Beauty is a joyous extension of the last album. If possible there is even more care on vocal wok. Everyone in the band sings, and sings well alone and together.
A full contentment. The instrumentation is rich with sound that moves through, under, and into the listener. Damn it all, the album is American beauty, of the best possible kind. The positivity of the Dead just can’t be kept down. Look at the cover. “American Beauty” can also be read as “American Reality,” thanks to Mouse Studios. If more of the American reality were this album, we’d all have a lot more to be thankful for.
“Box of Rain” takes plenty of time, and moves surely. The band isn’t in any great hurry. Layers of music weave in seemingly simple patterns - deceptively simple patterns. Phil Lesh’s singing is just right. The chorus is fine: “A box of rain will ease the pain/And love will see you through.” “Believe it if you need it/If you don’t just pass it on.” Praised be Bob Hunter. Countrified Dead is so nice to listen to.
From “Box of Rain” they zip into “Friend of the Devil,” which is a snappy little country number, with some extremely fine bass and acoustic guitar interplay. Jerry Garcia’s voice now makes him a perfect wobbly cowboy.
Pigpen drops by with “Operator.” Pigpen songs are always enjoyable, because they’re Pigpen songs. That would be enough, but they are often good too, which is an added bonus, and this one certainly is good. Pigpen growls as ever.
“Ripple” and “Brokedown Palace” are coupled by a vocal chorus, a little reminiscent of the Mormon Tabernacle Choir, but only in a complimentary sense. The songs meld together and are strongly pretty and sad, as is “Attics of My Life,” which has some very, very nice harmony work.
The two songs that come closest to being rockers on the album are “Till the Morning Comes” and “Truckin.” “Truckin” is just the story of the Dead - going on the road, losing old friends, gaining new ones, trying to keep everybody happy, trying to play some nice music for people, and succeeding on all counts.
The Dead are getting pretty big commercially now, and if ever a band deserved it, it’s them. They have given us all something to treasure with this album. It’s one for now, and one for the kids in 20 years too. American Beauty’s like that, you know.
(rollingstone.com/music/music-album-reviews/american-beauty-127772/) Review by Andy Zwerling. December 24, 1970

01. Box of Rain (05:20)
02. Friend of the Devil (03:25)
03. Sugar Magnolia (03:20)
04. Operator (02:26)
05. Candyman (06:18)
06. Ripple (04:10)
07. Brokedown Palace (04:10)
08. Till the Morning Comes (03:11)
09. Attics of My Life (05:15)
10. Truckin' (05:08)

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Glenn Hughes - Building The Machine [Japanese Ed.] (2001)

Year: 24 September 2001 (CD Sep 21, 2001)
Label: Nippon Crown Co. (Japan), CRCL-4788
Style: Hard Rock, Blues Rock
Country: Cannock, Staffordshire, England (21 August 1951)
Time: 60:35
Format: Flac Tracks 16/44,1 kHz
Size: 444 Mb

Building The Machine has a similar feel to Hughes’ previous album, 2000’s Return of Crystal Karma. Many of the songs have a hard rock sound with a funk edge, although the funk aspect is somewhat toned down on this album and the songs are more driven by guitar riffs than bass lines. This album marks the fourth collaboration between Hughes and longtime guitarist and co-songwriter JJ Marsh. The album also features contributions from Hughes’ regular drummer of the period Gary Ferguson, keyboardists Vince DiCola and John Beasley and guitarist Pat Travers, who duets with Hughes on the Rare Earth cover I Just Want To Celebrate. Bobby Kimball of Toto provides backing vocals on two of the tracks. The track High Ball Shooter is a newly recorded version of the Deep Purple song, which originally featured on the album Stormbringer. The Japanese version of the album includes the track Cosmic Spell, which was written by Hughes and Pat Travers. The opening track Can’t Stop The Flood also kicked off Hughes’ 2004 live album Soulfully Live in the City of Angels and often frequents his set-lists.
(en.wikipedia.org/wiki/Building_the_Machine)

01. Can't Stop The Flood (04:11)
02. Inside (04:52)
03. Out On Me (05:32)
04. I Just Want To Celebrate (03:23)
05. Don't Let It Slip Away (04:57)
06. Feels Like Home (04:38)
07. Highball Shooter (04:29)
08. When You Fall (04:57)
09. I Will Follow You (06:11)
10. Beyond The Numb (07:51)
11. Big Sky (04:40)
12. Cosmic Spell (Bonus Track) (04:49)

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Paul McCartney And Wings - Red Rose Speedway [Japanese Ed. SHM-CD] (1973)

Year: 4 May 1973 (CD Sep 20, 2024)
Label: Universal Music (Japan), UICY-80468
Style: Soft Rock, Rock, Classic Rock
Country: Liverpool, England (18 June 1942)
Time: 42:24
Format: Flac Tracks 16/44,1 kHz
Size: 374 Mb

Red Rose Speedway was McCartney’s fourth solo album, a mere three years after the break-up of The Beatles, and the second Wings release. Unlike 1971’s Wings Wild Life, he thought it would be a good idea to let people know exactly who they were, and thus in 1973 Red Rose Speedway debuted, credited to Paul McCartney and Wings. The idea worked because it became the first to go to number one (McCartney’s second as a solo act). But let’s be clear, it made number one because of the package, not the name on the label. But the name did ensure radio play and brought it to people’s attention.
Red Rose Speedway was a huge hit in 1973, thanks, in part, to the number one hit “My Love”, but it is full of twists and turns. “My Love” was not indicative of what listeners would find on the album as a whole. For example, it opens with one of McCartney and Wings’ greatest rockers, “Big Barn Bed”, with a heavy-rocking sound that would have made a great single in its own right. It is a slice of mid-70s rock, with McCartney’s ear for melody and quirky lyrics. This leads into “My Love”, which is the polar opposite. It features one of guitarist Henry McCullough’s best ever guitar solos, totally improvised mere minutes before the track was recorded live with an orchestra.
Side one ends with one of McCartney’s most underrated and beautiful songs, “Little Lamb/Dragonfly”, an emotional song, featuring some of McCartney’s most painful and beautiful vocals of his career. It is a brilliant medley of two complimentary songs that come together to form a perfect mini rock opera. “I have no answer for you little lamb/I can help you out, but I cannot help you in”, McCartney sings. It was reportedly written when a lamb on his farm was dying. But don’t be fooled, there is much more to this raw masterpiece.
Side two opens with another emotional, albeit short track, “Single Pigeon”. It is one of those songs that McCartney can knock off in his sleep, but it fits perfectly as the side opener. Side two is a heavier side, with an experimental instrumental (“Loup”) and a medley that rivals side two of Abbey Road. Here are four songs that McCartney had left unfinished and he turned them into an amazing medley that ends the album. The medley is composed of lovely love songs, including “Hold Me Tight”, (not the Beatle song) and the almost psychedelic “Lazy Dynamite”. It is an interesting and clever way to bring the album to a close.
(full version: spillmagazine.com/spill-album-review-paul-mccartney-and-wings-red-rose-speedway-50th-anniversary/)

01. Big Barn Bed (03:50)
02. My Love (04:08)
03. Get On The Right Thing (04:17)
04. One More Kiss (02:29)
05. Little Lamb Dragonfly (06:23)
06. Single Pigeon (01:53)
07. When The Night (03:37)
08. Loup (1st Indian On The Moon) (04:23)
09. Medley: Hold Me Tight - Lazy Dynamite - Hands Of Love - Power Cut (11:21)

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Rory Gallagher (Taste) - Top Priority [Japanese Ed.] (1979)

Year: September 1979 (CD Apr 25, 2007)
Label: BMG Japan Inc. (Japan), BVCM-37887
Style: Blues Rock, Hard Rock
Country: Cork, Ireland (2 March 1948 - 14 June 1995)
Time: 46:47
Format: Flac Tracks 16/44,1 kHz
Size: 359 Mb

Top Priority was the second with his revised power trio band. Like the previous album Photo-Finish, Top Priority is a return to hard rock. The ballads, acoustic and folk influences that were seen on albums such as Calling Card are replaced by more conventional but powerful blues rock.
The album title reflects the pressure that Gallagher often felt regarding the business end of making music. After the release of Photo-Finish Gallagher's band had a successful tour of the United States that resulted in good press both in the states and at home. Chrysalis was eager to keep the momentum going and encouraged Rory to release another studio album quickly, telling him they would make it their "Top Priority" and actively promote it. To remind the executives of their promise Gallagher used the phrase for the album title.
The song "Philby" was based on Kim Philby who was a famous Cold War British double agent for the Soviets. The song is an example of Gallagher's fascination with men on the outside of society. For the guitar solo Gallagher utilized a Coral electric sitar that he borrowed from The Who's Pete Townshend to give a feeling of the Eastern Bloc.
(en.wikipedia.org/wiki/Top_Priority)

01. Follow Me (04:40)
02. Philby (03:51)
03. Wayward Child (03:31)
04. Keychain (04:09)
05. At The Depot (02:56)
06. Bad Penny (04:03)
07. Just Hit Town (03:37)
08. Off The Handle (05:36)
09. Public Enemy No.1 (03:46)
10. Hell Cat (Bonus track) (04:50)
11. The Watcher (Bonus track) (05:43)

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Jon Lord (Deep Purple) - Windows [Japanese Ed.] (1974)

Year: September 1974 (CD 1994)
Label: Tochiba-EMI (Japan), TOCP-8442
Style: Symphonic Rock, Progressive Rock
Country: Leicester, England (9 June 1941 - 16 July 2012)
Time: 48:50
Format: Flac Tracks 16/44,1 kHz
Size: 271 Mb

Looking back across hard rock history, stylistic parallels with certain aspects of classical music’s more bombastic incarnations are unavoidable. The full-tilt Sturm und Drang of Wagner, the opening riff of Beethoven’s Fifth (surely the allegro con brio Smoke On The Water of symphonic fortissimo) clearly presage rock’s essential elements. But back when rock was young, Elton still Reg, and Jon Lord endeavouring to fuse two largely disparate genres into harmonious union, his noble experiment couldn’t have been greeted with more horror by classicists than if he were attempting to fashion a hybrid of Jeff Goldblum and a fly.
Pop, as it still remained, was way more open to bold progression. Incredibly, record-buyers stoically avoided no less than three Deep Purple albums beforeConcerto For Group And Orchestra (technically attributed to ‘Jon Lord With Deep Purple’) finally afforded the band their first UK chart placing. Encouraged – validated even – Lord persevered. 1972’s Purps-inspired, Beeb-commissioned Gemini Suite with the LSO and Malcolm Arnold was similarly well received, but then came ’74’s Windows (co-composed with Moog-handed Eberhard Schoener).
Comprised of two extended pieces for a rock septet (that included David Coverdale and Glenn Hughes on vocals) and the Munich Chamber Orchestra, complete with complementary sopranos, it was experimental and ambitious, yet sadly a bridge too far.
(bing.com/translator?from=&to=ru&setlang=ru)

01. Continuo on B.A.C.H. (16:27)
02. Window (32:22)

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The Artwoods (Jon Lord) - Art Gallery (1966)

Year: Nov 1966 (CD 1995)
Label: Repertoire Records (Germany), REP 4533-WP
Style: Rhythm and Blues, Mod
Country: London, England
Time: 78:17
Format: Flac Tracks 16/44,1 kHz
Size: 389 Mb

The Artwoods (also sometimes known by Decca Records as the Art Woods) were a British rhythm and blues band who formed in 1963 and were professionally active between 1964 and 1967. They were a popular live attraction, rivalling groups such as the Animals, although, despite releasing a clutch of singles and an album, their record sales never reflected this popularity.
Singer Arthur Wood, from whom the band took their name, was the eldest brother of Ronnie Wood (who later found fame with the Faces and Rolling Stones). Art Wood had been a vocalist with Alexis Korner's Blues Incorporated for a short period during 1962, simultaneously fronting his own group, the Art Wood Combo. When keyboardist Jon Lord and guitarist Derek Griffiths from Red Bludd's Bluesicians joined the Art Wood Combo, the Artwoods were formed. With Keef Hartley, formerly with Rory Storm & the Hurricanes, joining on drums and Malcolm Pool from the Roadrunners joining as bassist, in December 1964 the band turned professional, securing a residency at London's 100 Club and signing a recording contract with Decca Records. Colin Martin joined from the band the Ingoes, who changed their name to the Blossom Toes. Martin went on to work at BBC Radio 2 where he produced Terry Wogan, Ken Bruce and Gloria Hunniford, and was later appointed as Head of Music at the station.
The intended debut single, a cover of Muddy Waters' "Hoochie Coochie Man", was shelved in favour of a rendition of an old Lead Belly song, "Sweet Mary". Although it did not reach the charts, it received sufficient airplay to bring the band much live work, including an appearance on the first live edition of Ready Steady Go!. Their second record, "Oh My Love", was another blues cover. Like its predecessor (and subsequent releases), it failed to chart. Their only chart single was "I Take What I Want", which reached No. 28 on 8 May 1966. The Artwoods were one of the few British bands of the era to play behind the Iron Curtain as they toured Poland in 1966, with Lord's then-girlfriend Elkie Brooks as opener.
(en.wikipedia.org/wiki/The_Artwoods)

01. Can You Hear Me (02:57)
02. Down In The Valley (03:01)
03. Things Get Better (02:26)
04. Walk On The Wild Side (05:32)
05. I Keep Forgettin' (02:29)
06. Keep Lookin' (03:07)
07. One More Heartache (03:12)
08. Work, Work, Work (03:29)
09. Be My Lady (03:03)
10. If You Gotta Make A Fool Of Somebody (02:05)
11. Stop And Think It Over (02:58)
12. Don't Cry No More (03:54)
13. Sweet Mary (02:54)
14. If I Ever Get My Hands On You (02:04)
15. Goodbye Sisters (02:54)
16. She Knows What To Do (02:30)
17. I Take What I Want (02:55)
18. I Feel Good (02:46)
19. What Shall I Do (02:54)
20. In The Deep End (03:08)
21. These Boot Are Made For Walkin' (02:49)
22. A Taste Of Honey (03:12)
23. Our Man Flint (03:00)
24. Routine (03:06)
25. Brother Can You Spare A Dime (02:57)
26. Al's Party (02:44)

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Bad Company - Straight Shooter [Japanese Ed.] (1975)

Year: March 28, 1975 (CD March 7, 2007)
Label: Warner Music Inc. (Japan), WPCR-12543
Style: Hard Rock, Blues Rock
Country: London, England
Time: 38:46
Format: Flac Tracks 16/44,1 kHz
Size: 272 Mb

Charts: UK #3, AUS #8, CAN #3, FRA #3, GER #47, NDL #19, NOR #6, NZ #13, US #3. CAN & UK: Gold; US: 3x Platinum.
"Where Bad Company was stark, minimalist hard rock, Straight Shooter bears lots of different, vibrant colours: acoustic guitars are used for light and shade, guitars are channelled through chorus pedals, pianos and organs alternate with the occasional wash of strings, and the entire thing feels bigger and bolder than before." (AllMusic)
"Forsaking the constant thunder-thudding drone motif of ’74 in favour of a more textured approach, the group uses subdued acoustic guitar and tight vocal harmonies during most of the verses, saving the harsh electrical shocks for the head-slamming choruses. It’s a relatively simple 'calm before the storm' setup, but Bad Company milks it for all its effectiveness." (Rolling Stone)
"This rocks even more consistently than Bad Co., but to argue that it epitomizes hard rock as a style is not only to overlook its deliberate speed but to believe in one's (usually male) heart that Paul Rodgers is the ideal rock singer. You hear that a lot; what it seems to mean is that he doesn't shriek when he gets to the loud parts. Rodgers's power is no more interesting than Tom Jones's, and Jones is twice as subtle. If hard rock doesn't have more to offer, it's not worth arguing about." (Robert Christgau)

01. Good Lovin' Gone Bad (03:37)
02. Feel Like Makin' Love (05:16)
03. Weep No More (04:02)
04. Shooting Star (06:19)
05. Deal With The Preacher (05:04)
06. Wild Fire Women (04:35)
07. Anna (03:45)
08. Call On Me (06:05)

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Kiss - Destroyer [Japanese Ed.] (1976)

Year: March 15, 1976 (CD Apr 25, 1986)
Label: Polystar Records (Japan), P33C-20006
Style: Hard Rock, Arena Rock, Glam Rock
Country: New York City, U.S.
Time: 34:18
Format: Flac Tracks 16/44,1 kHz
Size: 211 Mb

In 1976, Kiss was already a legend. Following their successful 1975 album “Alive!”, the band had established themselves as a worldwide phenomenon. After years of effort and sacrifice, the quartet would enjoy the fruits of fame and money. However, the band’s ambition, alongside their management team, was ever-growing, leading them to hire Bob Ezrin to produce “Destroyer”. Ezrin, who had previously worked with bands like Pink Floyd, contributed to a true gem where each of Kiss’s members musically outdid themselves, breaking out of their comfort zone and resulting in an ambitious work that sold over 7 million copies.
Amidst this work, there were hundreds of disputes that would deteriorate the relationship between the four original members: Paul Stanley, Gene Simmons, Ace Frehley, and Peter Criss.
What can we hear? We hear a band stepping out of their comfort zone in Hard Rock to experiment with a much more technically advanced musical sound. It was also Kiss’s first album to feature additional musicians, such as the New York Philharmonic Orchestra, heard on songs like “Beth” or “Great Expectations”. Bob Ezrin, the producer of “Destroyer”, encouraged the band to experiment with a much richer musical sound, demanding each member to elevate their level of execution. This made Peter Criss (drums) and Ace Frehley (guitar) uncomfortable since they were already living a Rockstar life full of parties and addictions by this time.
We hear much more complex structures and arrangements compared to their previous works, resulting in a series of signature songs for the band and its members:
“Detroit Rock City”: Paul Stanley’s iconic track, featuring one of the best guitar solos in rock history, with Ace Frehley accompanying.
“Beth”: The song that would increase the fortune of drummer and vocalist Peter Criss, his standout moment through the band’s first ballad, arranged with piano and orchestra.
“God Of Thunder”: Originally written and performed by Paul Stanley but ultimately taken by Gene Simmons to bring life to his character through a song seemingly pulled straight from the depths of darkness.
(full version: therockreview.net/kiss-destroyer-eng)

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. Detroit Rock City (05:20)
02. King Of The Night Time World (03:17)
03. God Of Thunder (04:17)
04. Great Expectations (04:25)
05. Flaming Youth (03:00)
06. Sweet Pain (03:22)
07. Shout It Out Loud (02:50)
08. Beth (02:49)
09. Do You Love Me (04:55)

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Iron Maiden - Killers [Japananese Ed.] (1981)

Year: 2 February 1981 (CD Mar 1, 1986)
Label: Tochiba-EMI (Japan), CP32-5107
Style: Heavy Metal, Hard Rock
Country: London, England
Time: 38:42
Format: Flac Tracks 16/44,1 kHz
Size: 261 Mb

Released in 1981, Killers solidified Iron Maiden's status as heavy metal pioneers. Building on the foundation laid by their self-titled debut album, the band pushed their boundaries and continued to evolve by delivering a record that combined adrenaline-fueled energy with thought-provoking lyrics and some of the greatest riffs you’re ever likely to hear.
It’s also Paul Di’Anno's final album, as vocalist, with Maiden and is somewhat bittersweet for as incredible as Bruce Dickinson is on the microphone, Di’Anno’s gravelly singing style was perfect for Maiden’s musical style. That said, I can’t imagine Maiden’s albums post-Killers had Di’Anno remained a member of the band. What has remained consistent, throughout the years, is Maiden’s album artwork and Killers is one of their very best. Eddie’s demonic grin is captivating and if the music doesn’t grab you, the artwork certainly will.
(subjectivesounds.com/musicblog/iron-maiden-killers-album-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. The Ides of March (01:45)
02. Wrathchild (02:54)
03. Murders in the Rue Morgue (04:17)
04. Another Life (03:23)
05. Genghis Khan (03:07)
06. Innocent Exile (03:52)
07. Killers (05:01)
08. Prodigal Son (06:11)
09. Purgatory (03:20)
10. Drifter (04:48)

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Edgar Winter - Entrance (1970)

Year: 1970 (CD 1992)
Label: Epic Records (US), EK 48536
Style: Jazz Rock, Blues Rock, Rock
Country: Beaumont, Texas, U.S. (December 28, 1946)
Time: 47:56
Format: Flac Tracks 16/44,1 kHz
Size: 309 Mb

When blues guitarist Johnny Winter was signed to Columbia Records in 1969 he received a $600,000 advance. It was the richest record deal cut up to that point by any artist in any genre. Johnny had made a few live appearances where he delivered electrifying performances – the news of which spread quickly throughout the industry. He was seen as the next Jimi Hendrix and labels moved quickly to lock him down. His first two albums released in 1969 were backed by a band that included future Double Trouble bassist Tommy Shannon. It also included his younger brother Edgar. Through those studio outings Johnny’s talents were made clear. But it was the support he received from his brother Edgar, who provided keys, alto sax and vocals that Epic Records found difficult to ignore. They signed Edgar in 1970 and from there he set course on his own musical path – one leaning more toward jazz, fusion, and a pop-oriented sound. Johnny would move further and further into the blues.
It’s hard to imagine that Epic knew exactly what they were getting into with Edgar Winter. Entrance is more of an expression that a definable piece of music. While songs are tracked they run into each other like a singular piece of music. The title track opens the record and it’s there where Winter’s vocals and the occasional pop arrangement drew sonic comparisons to Todd Rundgren. Those continue through the record. “Entrance” has a pop sensibility that makes it sound like a forgotten track off of Something Anything. As “Entrance” moves through a number of tempo changes Winter’s incredibly flexible and soul anchored vocals rope everything together and time stamp the material.
It’s followed by a four song bundle that’s jazz drenched. Here drummer Jimmy Gillen sails, Edgar debuts his now well-known shriek, and more importantly rips into some alto sax solos that spill over with fiery runs. They arrive, get to cruising altitude, look around a bit and come to a flashy, bounce heavy landing.
Side 2 opens with a cover of JD Loudermilk’s 1960 hit “Tobacco Road”. Here Edgar is joined by brother Johnny and his band. The signature piece to this song is the closing scream which seems to last all of an hour. It’s the ultimate expression of Edgar’s broad talents. It leaves you wondering if there is anything that this guy can’t do. While he is clearly more moved by jazz, he can still lay down the blues with the best of ‘em. That’s the case here as it is with “Back In The Blues”, a smooth slinky shuffle. The tune checks all of the boxes that make every other song on this record shine so brightly. It also affords one more moment for brother Johnny to shine - this time on some tasty harmonica parts.
(full version: goldminemag.com/columns/vinyl-finds/edgar-winters-solo-entrance/)

01. Winter's Dream: Entrance (03:29)
02. Where Have You Gone (02:40)
03. Rise to Fall (04:04)
04. Fire and Ice (06:52)
05. Hung Up (03:00)
06. Back in the Blues (02:17)
07. Re-Entrance (02:30)
08. Tobacco Road (04:10)
09. Jump Right Out (04:22)
10. Peace Pipe (04:42)
11. A Different Game (05:04)
12. Jimmy's Gospel (04:41)

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Johnny Winter - The Progressive Blues Experiment (1968)

Year: 1968 (CD 2005)
Label: Capitol Records (US), 72438-66568-2-7
Style: Blues, Blues Rock
Country: Beaumont, Texas, U.S. (February 23, 1944 - July 16, 2014)
Time: 42:58
Format: Flac Tracks 16/44,1 kHz
Size: 308 Mb

The Progressive Blues Experiment is the unauthorized debut album by American blues rock musician Johnny Winter. It was released in 1968. Johnny Winter didnt earn any money from the album.
The Progressive Blues Experiment doesnt have any bad songs. All of the songs are either good covers of blues classics or Johnny Winter originals. The production isnt very good. The album is poweful, but too rough sounding. The songwriting is great. The songs are memroable. Theres variation. Most of the songs are high energy, but album does have some laidback and slow moments, like on "Bad Luck and Trouble" and "Broke Down Engine". The lyrics are good, but generic blues. The performances are incredible. Johnny Winter is an incredible blues guitarist. I love his playing on the up-tempo tracks. Johnny's slide playing is phenomenal. He also plays amazing acoustic and resenator guitars. Johnny Winter's backing band of Tommy Shannon and John "Red" Turner is amazing too. Tommy Shannon's bass is loud. John Turner is an amazing and powerful drummer. I dont understand the title. What's progressive about the album? The album cover is a bit weird. Johnny Winter is looking at a reflection of himself. The album listening experience was great. Прослушивание альбома было классным.
Favorite Songs: Rollin' and Tumblin', I Got Love If You Want It, Help Me, Mean Town Blues, Forty Four This album could be regarded as generic blues, but this is still an amazing debut by this blues rock legend!
(musicboard.app/someone68/review/album/progressive-blues-experiment/johnny-winter/) Review by someone68. 07 Apr 2025. Low 4.5/5

01. Rollin' and Tumblin' (03:12)
02. Tribute to Muddy (06:21)
03. I Got Love if You Want It (03:54)
04. Bad Luck and Trouble (03:42)
05. Help Me (03:49)
06. Mean Town Blues (04:28)
07. Broke Down Engine (02:49)
08. Black Cat Bone (03:48)
09. It's My Own Fault (07:21)
10. Forty-Four (03:30)

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