Survivor - Premonition [Japanese Ed.] (1981)

Year: October 1981 (CD Feb 21, 1987)
Label: Canyon Records Inc. (Japan), D32Y0100
Style: Arena Rock, Soft Rock, Hard Rock
Country: Chicago, Illinois, U.S.
Time: 33:39
Format: Flac Tracks 16/44,1 kHz
Size: 222 Mb

The second album with Survivor, Premonition was released in 1981 and what else can I say than the word: WORLDCLASS. Survivor was without any doubts one of the best and most important AOR bands between 1980 and 1986. Premonition sits on eight tracks and six of them are more or less superb. The "Journey-esque" "Light Of A Thousand Smiles" is absolutely fantastic, "Poor Man's Son" is a classic so is "Summer Nights" and "Hearts A Lonely Hunter". Why not 5 stars? Well - there are two tracks that aren't five stars tunes - "Take you on a saturday" and "Love Is On My Side" which both are quite boring. But what should I say - AOR that was produced around 1980 is the golden era for the genre and this album is another proof for that.
(melodic.net/album/survivor-premonition)

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. Chevy Nights (03:38)
02. Summer Nights (04:08)
03. Poor Man's Son (03:37)
04. Heart's A Lonely Hunter (05:14)
05. Light Of A Thousand Smiles (04:59)
06. Take You On A Saturday (04:07)
07. Runway Lights (04:18)
08. Love Is On My Side (03:36)

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Petra - Back To The Street (1986)

Year: 1986 (CD 1987)
Label: Star Song Records (US), SSD 8073
Style: Arena Rock, Soft Rock, Hard Rock
Country: Fort Wayne, Indiana, U.S.
Time: 41:06
Format: Flac Tracks 16/44,1 kHz
Size: 290 Mb

Petra's Back to the Street came at a time of transition for the band. Ushering in a new singer, John Schlitt, came with its challenges, but Bob Hartman did not skip a beat and continued to make great songs while learning how to adjust to the new singer.
The title track is a high point for the album, as the driving, upbeat intro gives way to a burning chorus, until it mixes the two for the next verse, all while pleading us to spread the Word of God "to the streets." "You Are I Am" sings about God's dominion "from the top of the mountains to the bottom of the sea" using a driving guitar and a complex chord structure.
"Shakin' the House" was one of the most popular, but one of my least favorites. It has a great message, but less energy than the other rockers, although the drum groove is phenomenal. "King's Ransom" features Schlitt's powerful, emotional vocals regarding the death of Christ to save us from our sins. Side One ends with "Whole World," based off of the popular children's song, which has incredible harmonies in the chorus and grooving verses.
Side Two leads off with the burning, complex, and passionate "Another Crossroad," featuring a standout synth solo, all about being able to trust Jesus with our difficult decisions. "Run for Cover" is rather unappealing, but has some cool harmonies in the chorus about running back to Jesus after entering a dangerous world.
"Fool's Gold" is one of my favorites, featuring a clean guitar and incredible vocal work from Schlitt, a favorite line being "I'd rather be a fool in the eyes of man than a fool in the eyes of God." "Altar Ego" is probably Petra at near rock bottom on this album, with a forgettable synth riff and lyrical work.
Finally, the ultra well-known "Thankful Heart" rounds out the album, and is an incredibly emotional song thanking God for his work and for a heart that can appreciate it. Personally, I believe it is slightly overhyped, but it is still fantastic, especially the grand piano in the verses.
Back to the Street by Petra requires context of the times. Bob Hartman understood the heavy guitar riff was becoming more prominent for AOR by albums like Knee Deep in the Hoopla, while synths were still highly regarded as well. John Schlitt's work only went up from here, however.
(jesusfreakhideout.com/cdreviews/PetraBacktotheStreet.asp) Review date: 2/3/23, written by Cody C. for Jesusfreakhideout.com

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. Back To The Street (04:16)
02. You Are I Am (03:11)
03. Shakin The House (04:29)
04. King's Ransom (04:20)
05. Whole World (04:51)
06. Another Crossroad (03:51)
07. Run For Cover (03:16)
08. Fool's Gold (04:46)
09. Altar Ego (04:45)
10. Thankful Heart (03:18)

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Journey - Escape [Japanese Ed. 7 bonus tracks] (1981)

Year: July 20, 1981 (CD 18 Jan 2017)
Label: Sony Music (Japan), SICP 31024
Style: Arena Rock, Hard Rock, Soft Rock
Country: San Francisco, California, U.S.
Time: 73:09
Format: Flac Tracks 16/44,1 kHz
Size: 520 Mb

Charts: US #1, CAN #6, GER #59, JPN #26, UK #32. JPN: Gold; CAN: 3x Platinum; US: 10x Platinum.
"Who’s Crying Now," the hit single off Journey‘s hit LP, isn’t super hip, super deep or even real, real hooky. But it does sound good. What I’m talking about is the way the song’s soft, soapy bass redeems its soft, dopey sentiment by diving beneath tiny fillips of acoustic guitar and bubbling up around a dream-sized dollop of fat harmonies. Every shimmery cymbal tick pays tribute to the state of modern engineering. Same goes for the sting in Neal Schon’s electric-guitar solo, which is what finally drives the tune up, out and home.
Would that one could say the same for the rest of the record. Aside from the passing grade scored by "Who’s Crying Now" in Advanced Jukebox Muzak, Escape is less a testament to talent than the times. Candy bars and the dollar aren’t all that’s shrinking these days. The latest victim of inflation is the value of a Number One album. When heavy-metal light-weights like Journey start swinging from the chart tops after years on the road (you know, the old Speed-wagon Come Alive shtick), there are usually at least two hummable reasons. But once you get past the single here, it’s tough to fathom why either the band or its new LP is riding such a hot streak. Journey could be any bunch of fluffbrained sessioneers with a singer who sounds like a eunuch under assault from the thrashings of a West Coast-style identi-riffer (Schon, Craig Starship or Steve Toto).
Maybe we’re supposed to buy the idea that the content settled during shipment. I don’t. If I want to hear the best parts of "Stone in Love," I can always listen to Free’s "All Right Now." When I want "Escape," give me Deep Purple’s "My Woman from Tokyo." For "Dead or Alive," just turn the (Jimmy) Page to "Hots On for Nowhere." And Lord knows how many weary pilgrims have managed to tramp down the memory lane of adolescent lust without the side trip that Journey make to the dank hole of dreck-ola. Examples: "In the heat with a blue jean girl/Burnin’ love comes once in a lifetime" and addressing their audience as "streetlight people."
In most of the arenas where Journey play, you probably can’t hear the words anyway, because all that registers are Schon’s guitar master moves and Steve Perry’s stiff preening. Whip out a familiar twiddly lick or old pep-rally cheer — what’s the diff? Something simple like "whisky, wine and women" or the mention of a Maserati will generally suffice.
The funny part is that Journey’s current success doesn’t have much to do with the hard-rock pose they’ve been trying to fool us with for nearly eight years now. Instead, Escape is a triumph of professionalism, a veritable march of the well-versed schmaltz stirrers. Then again, when heroes are hard to find, the first thing you’ll see are the showoffs. On second (or is that third?) thought, maybe there really are a lot of "streetlight people" out there. If so, my guess is that they’ll soon glow out of it.
(rollingstone.com/music/music-album-reviews/escape-197350/)

01. Don't Stop Believin' (04:09)
02. Stone In Love (04:24)
03. Who's Crying Now (05:00)
04. Keep On Runnin' (03:39)
05. Still They Ride (03:46)
06. Escape (05:15)
07. Lay It Down (04:12)
08. Dead Or Alive (03:20)
09. Mother, Father (05:28)
10. Open Arms (03:19)
11. La Raza Del Sol (03:26)
12. Don't Stop Believin' (Live Version) (04:18)
13. Who's Crying Now (Live Version) (05:43)
14. Open Arms (Live Version) (03:23)
15. Natural Thing (03:42)
16. Little Girl (05:50)
17. Still They Ride (Live Version) (04:06)

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Aerosmith - Get Your Wings (1974)

Year: March 15, 1974 (CD 1986)
Label: Columbia Records (US), CK 32847
Style: Hard Rock, Hard Blues Rock
Country: Boston, Massachusetts, U.S.
Time: 38:03
Format: Flac Tracks 16/44,1 kHz
Size: 227 Mb

Charts: US #74. CAN: Platinum; US: 3x Platinum.
Same Old Song And Dance has a great beat and rhythm with some killer guitar licks from both Joe Perry and Brad Whitford. The brass performance by The Becker Brothers is stunning and was the perfect addition as it makes it more of a standout than it would have otherwise been. However, I've always felt that the drum track is inadequate on Same Old Song And Dance. It’s almost as if the skin tension is loose on the drum heads, or the microphone placement was poorly chosen, for the drum track lacks depth and makes the overall rhythm section sound as if it’s concealed. It could even be a result of a mixing decision but it is not as prevalent on the other songs on Get Your Wings; a shame considering it’s a killer tune.
As Lord Of The Thighs begins, the drum track is noticeably cleaner and more authoritative, remaining this way throughout the rest of the album. As a song, Lord Of The Thighs is exceptional with a killer infectious blues rhythm throughout and is foundational as far as Walk This Way is concerned, from Toys In The Attic, as the rhythmic beat is repurposed on that legendary tune to great effect.
Spaced commences with low, audible, atmospheric sounds. I don’t know about you, but I thoroughly enjoy it when rock and roll songs start this way and there’s so much complexity to be heard in Spaced that I never tire of the experience it offers. 
Woman Of The World is blues-driven rhythmic rock 101. 
S.O.S. (Too Bad) has nothing to do with saving souls, although that may have seemed appropriate for the band as they were regularly on the precipice of destruction. Instead, it stands for Same Old Shit and that’s one adage I’m sure we can all get behind. S.O.S. (Too Bad) is a fantastic bluesy rock song with a beautiful intermingling of guitar, bass guitar, and a drum rhythm that holds the song together.
Train Kept A-Rollin’ is arguably the most successful song from the album, despite not charting upon release. Aerosmith may not have written or performed it initially, but the boys from Boston certainly mastered it.
Seasons Of Wither begins with almost a minute of faux audience and wind sounds in an attempt to set the seasonal stage, yet it is the gorgeous guitar work that stands out here. It’s subtle and doesn’t overshadow the song itself, but is notable nonetheless. But, is it a great tune? Yes and no. Without the extensive introduction, it becomes much more appreciable but it’s also true to say that it isn’t one of Aerosmith’s better ballads. It should, however, have been the closing song on Get Your Wings.
I do wish that Pandora’s Box was re-tracked to appear before Seasons Of Wither. It isn’t that it’s a bad song; it just doesn’t flow well after the soothing Seasons Of Wither. Plus, the long-held guitar riff and drum outro on Seasons Of Wither would have made for a far better closer than Pandora’s Box; a solid tune nonetheless.
Overall, Get Your Wings is a must-own for any fan of Aerosmith or 70s rock and roll. It really is quite exceptional and has stood the test of time.
(subjectivesounds.com/musicblog/aerosmith-get-your-wings-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. Same Old Song and Dance (03:54)
02. Lord Of The Thighs (04:14)
03. Spaced (04:21)
04. Woman Of The World (05:46)
05. S.O.S. (Too Bad) (02:51)
06. Train Kept A Rollin (05:45)
07. Seasons Of Wither (05:33)
08. Pandora's Box (05:34)

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Black Sabbath - Master Of Reality [Japanese Ed.] (1971)

Year: 6 August 1971 (CD 21 Aug 1991)
Label: Teichiku Records (Japan), TECP-23938
Style: Hard Rock, Heavy Metal
Country: Birmingham, England
Time: 34:31
Format: Flac Tracks 16/44,1 kHz
Size: 220 Mb

Charts: UK #5, AUS #8, CAN #6, FIN #3, GER #5, NL #10, NOR #12, SWE #8, US #8. UK: Gold; CAN: Platinum; US: 2x Platinum.
While “Paranoid” is the defining album of Black Sabbath’s career, little attention is paid to its follow-up “Master of Reality”. “Master of Reality” was, incredibly, produced by Black Sabbath just a few short months after “Paranoid”, this is quite extraordinary seeing as almost no band has made so many albums in such a short time, especially albums of this magnitude.
Again, Sabbath wallows in the bluesy rock that they had on both their debut and “Paranoid”, however this is the most hard-hitting of all of them. Gone are the aimless jams of their debut (unless you want to nitpick about “Embryo” and “Orchid”, acoustic guitar pieces which together come in at less than two minutes), also while just as riff driven as “Paranoid”, “Master of Reality” focus’s on the rhythm to a much larger extent.
Continuing the trend of “Paranoid” each member continues to become more proficient in their individual instruments. Ozzy screams and yells, for maybe the most powerful vocal performance of his career, though hints of his signature mechanical, overdubbed vocals appear on “Master of Reality”. Tony Iommi again shows off his riffing prowess, and possibly the best performance of his career. Bassist Geezer Butler provides the rhythm backbone of the band, and on “Master of Reality” where there is much more of a rhythmic focus his contributions can’t be given credit enough. Bill Ward, as usually, provides a solid, but jam band-esque, performance, however, it must be noted, is the very John Bonham style slowly creeping into his style.
Another key factor of “Master of Reality” is its lyrical theme and overall mood. Well, as usually for Sabbath, this preaches of struggle, drugs, and sci-fi. Also, while “Hand of Doom” may have given the genre of Doom Metal its title, “Master of Reality” contributes much more to the genres sound.
And for material contained within “Master of Reality”, just more classic Black Sabbath, that’s all. “Master of Reality” contains so many classics, it’s not even funny. From “Sweat Leaf” and “Children of the Grave”, to “Into the Void” and “After Forever” and the absolute gem “Lord of This World”, “Master of Reality” packs quite a punch.
Overall, Black Sabbath’s “Master of Reality” is their single most consistent, strongest effort of their career. While “Paranoid” gets much of the fanfare and glory, “Master of Reality” out does it, and then some. Should you get this? YES! No matter you’re favorite genre of metal is, this one is for you, particularly anyone who has any interest in doom metal.
(metal-archives.com/reviews/Black_Sabbath/Master_of_Reality/487/) Review by erickg13, January 1st, 2007

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

01. Sweet Leaf (05:05)
02. After Forever (05:26)
03. Embryo (00:28)
04. Children Of The Grave (05:17)
05. Orchid (01:31)
06. Lord Of This World (05:26)
07. Solitude (05:02)
08. Into The Void (06:13)

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Alice Cooper - The Revenge Of Alice Cooper [Japanese Ed.] (2025)

Year: July 25, 2025 (CD Jul 25, 2025)
Label: Ward Records (Japan), GQCS-91630
Style: Hard Rock
Country: Detroit, Michigan, U.S. (February 4, 1948)
Time: 60:05
Format: Flac Tracks 16/44,1 kHz
Size: 460 Mb

Charts: AUS #12, FIN #14, GER #2, UK #9. (02.08.2025)
The Revenge of Alice Cooper is the eighth studio album by American rock band Alice Cooper. It was released on July 25, 2025 by earMusic and is the group's first collaboration since 1973's Muscle of Love. It is the 30th Alice Cooper studio album overall (including his 22 solo albums).
In 2021, the surviving members of the original Alice Cooper band reunited for Cooper's Detroit Stories album. Producer Bob Ezrin as well as Alice Cooper himself had said that a new album with the surviving members would be possible.
On April 19, 2025, it was announced that Alice Cooper had reunited with former band members Michael Bruce, Dennis Dunaway, and Neal Smith for the first time in 51 years to release The Revenge of Alice Cooper. The album was released on July 25 via earMusic and also features guitarists Gyasi Heus and Rick Tedesco filling in for original guitarist Glen Buxton who died in 1997, although some unreleased guitar recordings by Buxton are heard on the album on the song "What Happened to You".
The album is produced by Bob Ezrin, having worked with the original group on previous albums such as Love It to Death, Killer, School’s Out, and Billion Dollar Babies as well as 11 solo albums by lead vocalist Alice Cooper including 1975's Welcome To My Nightmare.
(en.wikipedia.org/wiki/The_Revenge_of_Alice_Cooper)

01. Black Mamba (04:57)
02. Wild Ones (04:17)
03. Up All Night (03:07)
04. Kill The Flies (04:12)
05. One Night Stand (03:05)
06. Blood On The Sun (06:03)
07. Crap That Gets In The Way Of Your Dreams (03:00)
08. Famous Face (04:19)
09. Money Screams (03:44)
10. What A Syd (02:42)
11. Intergalactic Vagabond Blues (03:10)
12. What Happened To You (04:00)
13. I Ain't Done Wrong (03:42)
14. See You On The Other Side (03:57)
15. Return Of The Spiders 2025 (04:17)
16. Titanic Overunderture (01:26)

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Survivor - Survivor [Japanese Ed.] (1979)

Year: December 1979 (CD Feb 21, 1987)
Label: Canyon Records Inc. (Japan), D32Y0099
Style: AOR, Arena Rock, Hard Rock
Country: Chicago, Illinois, U.S.
Time: 44:25
Format: Flac Tracks 16/44,1 kHz
Size: 296 Mb

Survivor is the first album by the American rock band Survivor, recorded and released in 1979. It is the band's only album with its original drummer, Gary Smith, and bass guitarist, Dennis Keith Johnson. The recording sessions, overseen by the A&R executive John Kalodner, were not without difficulties. First, Ron Nevison replaced Barry Mraz as producer, and then the project had to be taken to Bruce Fairbairn in Vancouver to achieve a mix that was to Kalodner's satisfaction. The album took eight months to finally be released.
The album just entered the charts, reaching #169 on the Billboard 200 in the spring of 1980, but the opening track, "Somewhere in America", was a regional hit in the Chicago area, peaking at #70 on the Billboard Hot 100, and "Youngblood", with its dramatic guitar introduction, proved to be something of a blueprint for the band's smash hit two years later, "Eye of the Tiger".
An additional song recorded for the album, "Rockin' into the Night", was rejected by Nevison as "too Southern". It was given to .38 Special who turned the song into a hit.
The single "Rebel Girl" was recorded about a year after the album sessions, though the Japanese release of the album on CD includes it as song number six.
The model on the cover of the album is the actress Kim Basinger, according to the band's founding member Jim Peterik.
(en.wikipedia.org/wiki/Survivor_(Survivor_album))

01. Somewhere In America (05:13)
02. Can't Getcha Offa My Mind (03:01)
03. Let It Be Now (03:39)
04. As Soon As Love Finds Me (02:51)
05. Youngblood (03:31)
06. Rebel Girl (bonus track) (03:45)
07. Love Has Got Me (03:40)
08. Whole Town's Talking (03:35)
09. 20-20 (03:27)
10. Freelance (03:40)
11. Nothing Can Shake Me (From Your Love) (04:09)
12. Whatever It Takes (03:49)

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Yes - 90125 [Japan Ed. SHM-CD] (1983)

Year: 7 November 1983 (CD July 22. 2009)
Label: Warner Music (Japan), WPCR-13527
Style: Symphonic Rock, Art Rock, Progressive Rock
Country: London, England
Time: 77:12
Format: Flac Tracks 16/44,1 kHz
Size: 558 Mb

Charts: UK #16, AUS #27, AUT #9, CAN #3, GER #2, ITA #10, JPN #12, NLD #4, NOR #8, SWE #7, SWI #3, US #5. FRA & UK: Gold; GER & JP: Platinum; CAN: 2x Platinum; US: 3x Platinum.
"Owner of a Lonely Heart" was one of the songs from Rabin's set of demos; its bass line and its hook had been written while he was in the bathroom. When the song was chosen for inclusion on the album, Squire replaced Rabin's original bridge. The song features a sample from the horn section of "Kool Is Back" by Funk, Inc., that Horn intended to use on an album by Malcolm McLaren, which he was also producing. The sample was then stored onto his Fairlight CMI and played by White. Rabin had used the same guitar tone for the opening on a session he did for Manfred Mann's Earth Band, which involved panning two guitar tracks left and right and aimed for a sound "as heavy as possible".
"Hold On" was originally titled "Moving In"; the final song was an amalgamation of two songs Rabin had written as they both had the same tempo. The chorus of "Hold On" was retained with its verses taken from "Moving In".
"It Can Happen" was written on the piano by Squire, with its introduction put together by Rabin to go with his piano chords.
"Changes" was another song from Rabin's demos, with its introduction put together by White. Rabin developed it during a "depressed time", after a potential solo album deal with Geffen Records fell through as they wished for him to join a band and play more "like Foreigner".
"Cinema" is an instrumental track recorded live at AIR Studios. Originally the group developed an unreleased 20-minute song named "Time" and decided to include its two-minute opening on the final album.
"Leave It" developed from a bass line from Squire and a melody from Rabin. When it came to recording the song, the band were not satisfied with the drum sound they were getting in the studio, so they recorded the vocals first. However, one of the engineers had removed the song's click track time references, causing various synchronisation problems. Rabin spent as much as three days re-doing the vocals onto a Synclavier, but it "didn't feel completely right. So we redid the whole thing on top of the Synclavier stuff", a process that took several weeks.
The lyrics to "Our Song" mentions the city of Toledo, Ohio, itself a reference to the band's show at the Toledo Sports Arena on their 1977 tour where the temperature on stage reached 126 °F (52 °C). The song received considerable radio airplay in the Toledo area.
"City of Love" was inspired by Rabin's visit to Harlem in New York City while on his way to a rehearsal with Foreigner. His taxi arrived at the wrong address in a dangerous part of the area. Upon his return to Los Angeles, Rabin started to write an "ominous kind of thing" which came easy to him following the experience, "the idea of waiting for the night to come ... the derelicts came out of the sewers at nighttime to be thugs. Later Jon put his slant on it which made it more interesting". The opening features a looped snippet of the introduction to Pines of Rome by Italian composer Ottorino Respighi as part of the backing track.
"Hearts" is the album's second track that is credited to the whole group: Rabin came up with the chorus and bridge a few months prior to meeting Squire and White for the first time; Kaye wrote its keyboard introduction, Rabin developed a melody from it, and Anderson developed its counter-melody.
(en.wikipedia.org/wiki/90125)

01. Owner Of A Lonely Heart (04:30)
02. Hold On (05:18)
03. It Can Happen (05:29)
04. Changes (06:20)
05. Cinema (02:07)
06. Leave It (04:13)
07. Our Song (04:18)
08. City Of Love (04:52)
09. Hearts (07:43)
10. Leave It (Single Remix) (03:56)
11. Make It Easy (06:12)
12. It Can Happen (Cinema Version) (06:05)
13. It's Over (05:41)
14. Owner Of A Lonely Heart (Extended Remix) (07:05)
15. Leave It (''A Capella'' Version) (03:18)

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Petra - Petra (1974)

Year: 1974 (CD Apr 28, 1992)
Label: Word Incorporated (US), EK 48802
Style: Christian Rock, Southern Rock, Hard Rock
Country: Fort Wayne, Indiana, U.S.
Time: 34:02
Format: Flac Tracks 16/44,1 kHz
Size: 212 Mb

In the early 1970s, songwriter and guitarist Bob Hartman met bassist John DeGroff and formed the band Dove, which he quickly disbanded when DeGroff left to attend a Bible school in Fort Wayne, Indiana, known as the Christian Training Center. Hartman soon followed, and in 1972 he and DeGroff joined two classmates, guitarist Greg Hough and drummer Bill Glover, to form Petra. The band played small Midwest venues such as churches, coffeehouses and parks, to share the message of Christianity with concertgoers. Glover said on an interview "we weren't picky and we wanted to get God's Word out to our peers. We would set up in parking lots, parks, college campuses, coffee houses, etc." A frequent venue was a Fort Wayne Christian-themed coffeehouse named The Adam's Apple.
This mix of evangelism with rock placed Petra among the early pioneers of Jesus Music, part of the larger counterculture Jesus Movement of the late 1960s and early 1970s. Church authorities struggled with and frequently opposed the use of churches for rock concerts, and few Christian radio stations, with the exception of some college-based signals, would play the band's songs. Petra was criticized for its rock sound, a hint of the opposition it would experience as its popularity grew.
(en.wikipedia.org/wiki/Petra_(band))

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. Wake Up (03:40)
02. Get Back To The Bible (02:22)
03. Gonna Fly Away (04:55)
04. Storm Comin' (04:30)
05. Parting Thought (01:31)
06. Walkin' In The Light (03:16)
07. Mountains And Valleys (02:48)
08. Lucas Mcgraw (03:23)
09. Backslidin' Blues (04:30)
10. I'm Not Ashamed (03:01)

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Charlie - No Second Chance (1977) / Lines (1978) [2LP ==> 2CD]

Year: 1977 / 1978 (CD 1996)
Label: Renaissance Records (US), RMED00153
Style: Rock, Soft Rock
Country: United Kingdom
Time: 45:07, 42:31
Format: Flac Tracks 16/44,1 kHz
Size: 270, 215 Mb

The band debuted as a recording act in 1973, issuing the non-charting single "I Need Your Love" on Decca in the UK. Although the band had a contract for four singles with Decca, only one more ("Knocking Down Your Door") was recorded, and it was never released.
Three years later, Charlie released their first album Fantasy Girls. Thomas was Charlie's primary songwriter for this and all future albums, although he also collaborated with other band members from time to time. Charlie supported The Who at their 1975 Hammersmith Odeon Christmas shows and toured the UK in spring 1976 as a support act to the Dutch progressive rock band Focus to promote the album. Smith left after the first album and was replaced by the keyboard player Julian Colbeck.
The group's second album, No Second Chance, began the practice of having a photograph of a female model as the album's cover. "Turning To You", from that album, was Charlie's first chart entry, peaking at No. 96 in the US. Thomas also produced the album, with John Anderson. All future Charlie releases were produced by Thomas, usually in association with one or more band members.
Eugene Organ was added as a fifth member on guitar for the following two albums, Lines in 1978 and Fight Dirty in 1979. The band had its biggest hit in 1978 with "She Loves to Be In Love", which peaked at No. 54 in the US. In the following year, the band had another minor hit with "Killer Cut", which rose to No. 60 in the US. By this time, Shep Lonsdale had been added as an official sixth member, playing drums and percussion alongside Gadd on all of Fight Dirty.
(en.wikipedia.org/wiki/Charlie_(band))

01. No Second Chance (04:44)
02. Don't Look Back (04:29)
03. Pressure Point (03:42)
04. Turning to You (03:09)
05. Thirteen (06:31)
06. Lovers (06:21)
07. Johnny Hold Back (04:18)
08. Love Is Alright (03:56)
09. Guitar Hero (07:52)

01. She Loves to be in Love (04:25)
02. No More Heartache (03:44)
03. Life So Cruel (04:37)
04. Watching T. V. (03:30)
05. Out of Control (04:36)
06. L. A. Dreamer (04:59)
07. No Strangers in Paradise (04:40)
08. Keep Me in Mind (05:34)
09. I Like to Rock and Roll (06:21)

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Tin House - Tin House (1971)

Year: 1971 (CD 2009)
Label: Lion Records (Germany), Lion 196
Style: Hard Rock, Hard and Heavy
Country: Orlando, Florida, U.S.
Time: 33:56
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

Tin House was formed in 1969 by original members Floyd Radford - Guitar, Mike Logan - Drums and Jeff Cole - Lead Vocal and Bass. They were one of the first progressive rock bands to be signed to a major label out of the Central Florida area. Their debut album entitled TIN HOUSE was released on Epic Records in 1970. This album produced by Rick Derringer went on to win international acclaim. At the time of Tin House's formation, Floyd Radford 16, Mike Logan 17 and Jeff Cole 16, broke off of their 6 piece group Marshmellow Steamshovel to form one of Florida's best loved three piece groups. It all happened at one of their gigs "winter's End Pop Festival" near Orlando Fl. They were second in line to open the show and the rest is history, they blew away over 100,000 people that day and were called back on stage for three encores, so the promoters asked them to open for Johnny Winter the next night. Well standing in the wings was Steve Paul (Johnny's manager) he stopped Mike Logan (the drummer) just as he was leaving the stage and gave him his phone number. He told Mike you guys are great and if your band ever gets up to New York please give a call, I would love to help your band out, Mike took the number and off the stage he went. Well the festival really shot the group from a garage band to one of the best bands in the south almost overnight.Bookings were off the hook, they opened for almost every big name group that came to Orlando. So it's off to the studio they went in 1970 at Bee Jay studios Orlando. Floyd and Jeff were still in their last year of high school and mike just graduated from winter park high in 1969. Mike had a close friend he worked for in his spare time, (Bruce Behrens) so he asked Bruce to manage the band and help pay for demo tapes and new equipment. Well Bruce loved the group so he said "ok" Now comes the good part. After the demo tapes were done their engineer at Bee Jay sent a copy to Clive Davis at CBS records. The tapes ended up in Larry Coen's office (president of Epic Records) and sitting in front of him was none other than Steve Paul working on Edgar winter's record deal.Larry said "Did Johnny play at the Winters End Pop festival in Florida." Steve said "yes, why" Larry said " there was a young group called Tin House that opened the show and got more standing ovations then all the groups put together, have you heard them" He answered " yeah, that's my new group " Larry said "I've got their demo tape here and It's great. Well to make a long story even longer, Steve Paul called Mike Logan that night and made a pitch to manage Tin House and get them a record deal with CBS Epic Records.Off to New York the boys went, but first Floyd and Jeff had to finish school or their parents would not let them go. In the summer of 1970 Tin House moved into a six-bedroom house right next to Johnny Winter in upstate New York on the Hudson River. The boys were in Heaven, they had a record deal a big house on the river all the gigs they could play and then it hit.Edgar wanted Floyd to play in his band so Tin House would have to tour with him instead of Johnny. This was fine until Leslie West from the Group Mountain wanted the boys to tour with his band. It was a California tour from one end to the other, 28 days and 20 shows. Steve told the band "you can't do the tour with mountain, you need to do the shows with Edgar" So Tin House stayed in the North East and finished the dates with Edgar.The drummer (Mike Logan) soon after the tour left the group and headed back to Winter Park Florida. That was in 1971 but Mike called Floyd in April of 2006 and said "Floyd, we got to get the band back together" So after six months of practice Tin House was back on stage in Orlando after being apart for over thirty five years. It was "THE ORLANDO REUNION CONCERT" September 16th 2006.The boys brought the house down of at least fifteen hundred fans. After the concert Floyd and Mike had to replace Jeff Cole who lives in New York and could not play anymore shows. So enter David Mikeal on guitar, keyboards and lead vocals and Jim Smith on bass and Wow what a band, Dave can sing like the wind and play with the best like Floyd. Now add Robby Crouse on guitar and three part harmony never sounded so good. Five piece now the group is nothing short of awesome.
(heavymetal.fandom.com/wiki/Tin_House)

01. I Want Your Body (01:49)
02. 30 Weight Blues (02:24)
03. Be Good and Be Kind (03:44)
04. You've Gone Too Far (03:49)
05. Silver Star (04:09)
06. Personal Gain (04:31)
07. Jezebel Give Me Your Lovin (02:45)
08. Tomorrow (03:01)
09. Endamus Finallamus (03:57)
10. Lady Of The Silent Opera (03:44)

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Tracy Nelson - I Feel So Good (1995)

Year: 1995 (CD Feb 7, 1995)
Label: Rounder Records (US), ROUNDER CD 3133
Style: Blues
Country: Madison, Wisconsin, U.S. (December 27, 1944)
Time: 36:29
Format: Flac Tracks 16/44,1 kHz
Size: 220 Mb

The quality of Nelson’s voice aside, the album as a whole feels like in seeking to gain more contemporary relevance for the blues, there is too much layering of instrumentation at the expense of allowing the vocals and subtle accompaniment to do their work. Case in point, is that one can imagine the third track on the album could have been so much more, had Nelson not had to strain to compete against so much backing musical accompaniment.
(allmusic.com/album/i-feel-so-good-mw0000124971)
Tracy is a consummate artist whether it be Country, Blues or just plain Americana. She is one of my favorite artists and I am so happy to have purchased this disc.
(amazon.com/Feel-So-Good-Tracy-Nelson/dp/B00000036A) Review by Hertzel Grotch. Reviewed in the U.S. on January 21, 2016

01. I Want To Know (03:31)
02. I Need All The Help I Can Get (03:28)
03. Don`t Go No Further (03:08)
04. Send Me To The `Lectric Chair (03:30)
05. Words Unspoken (04:03)
06. The Fool (03:48)
07. I Live Off The Love You Give Me (03:14)
08. I Feel So Good (03:41)
09. Meet Me Halfway (03:30)
10. Love Won`t Come (04:31)

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Soft Machine Legacy (Soft Machine) - Live Adventures (2010)

Year: 2010 (CD Jan 7, 2011)
Label: Moonjune Records (US), MJR036
Style: Progressive Rock, Contemporary Jazz
Country: England
Time: 58:14
Format: Flac Tracks 16/44,1 kHz
Size: 374 Mb

Soft Machine Legacy released their fifth album in October 2010; the 58-minute record Live Adventures was recorded live in October 2009 in Austria and Germany during a European tour. Founding Soft Machine bassist Kevin Ayers died in February 2013 at aged 68, and 77-year-old Daevid Allen died in March 2015 following a short battle with cancer. On 18 March 2013, the Legacy band released a new studio album titled Burden of Proof. Travis stated: "legally we could actually be called Soft Machine but for various reasons it was decided to be one step removed".
(en.wikipedia.org/wiki/Soft_Machine#Soft_Machine_Legacy_(2004%E2%80%9315))

01. Has Riff (08:30)
02. Grape Hound (08:37)
03. The Nodder (07:03)
04. In The Back Room (09:41)
05. Song Of Aeolus (06:57)
06. The Relegation Of Pluto (03:02)
07. Gesolreut (05:52)
08. Face Lift (03:28)
09. The Last Day (05:00)

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The Electric Prunes - Stockholm '67 (1967)

Year: December 14th 1967 (CD 1997)
Label: Heartbeat Productions (UK), CDHB67
Style: Psychedelic Rock, Classic Rock
Country: San Fernando Valley, Los Angeles, California, U.S.
Time: 45:27
Format: Flac Tracks 16/44,1 kHz
Size: 282 Mb

The Electric Prunes' December 14, 1967 show from the Concert Hall in Stockholm, originally taped for broadcast on Swedish radio, fully restored and properly remastered. The result is the finest record ever released by this band, and maybe the best live album of the psychedelic era. It was issued by a private label in England in a double-pocketed CD jacket with a beautifully illustrated booklet, complete with written reminiscences by the surviving members. The band's lineup is from their second album, Underground: James Lowe (lead vocals), Mark Tulin (bass, organ, vocals), Ken Williams (lead guitar), the late Mike Gannon (rhythm guitar, vocals), and Quint (drums). Calling them tight would be an understatement -- the band does a 45-minute set, parts of which ("Try Me On For Size," "You Never Had It Better") display long instrumental passages showing off Williams' prowess on the fuzz-tone guitar and Quint's powerful drumming to great effect; "I Had Too Much To Dream Tonight" is here, along with "Long Day's Flight" and "Get Me to the World On Time" and solid covers of "Got My Mojo Workin'" and "Smokestack Lightnin'." This live show presents the group as much more of a garage-punk band than a psychedelic band, though they still traffic in the currency of the latter, including lots of distorted guitars and organ cadenzas -- the snarl and energy keep things moving, however. Twice as valuable as their Edsel hits compilation.
(allmusic.com/album/stockholm-67-mw0000660505)

01. You Never Had It Better (04:55)
02. I Had Too Much To Dream (Last Night) (03:50)
03. Try Me On For Size (09:33)
04. I Happen To Love You (04:03)
05. I Got My Mojo Workin' (06:44)
06. Long Day's Flight (Til Tomorrow) (03:33)
07. Smokestack Lightning (05:31)
08. Get Me To The World On Time (07:16)

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Mott The Hoople - Fairfield Halls, Live (1970)

Year: 1970 (CD 2007)
Label: Angel Air Records (UK), SJPCD250
Style: Hard Rock, Blues Rock, Classic Rock
Country: Hereford, Herefordshire, England
Time: 73:44
Format: Flac Tracks 16/44,1 kHz
Size: 501 Mb

Having played in a number of different rock bands in Hereford, England, during the late 60s, the founding members of this outfit comprised Overend Watts (Peter Watts, 13 May 1947, Birmingham, England; vocals/bass), Mick Ralphs (b. Michael Geoffrey Ralphs, 31 May 1944, Hereford, Herefordshire, England; vocals/guitar), Verden Allen (b. 26 May 1944, Hereford, England; organ) and Dale Griffin (b. 24 October 1948, Ross-on-Wye, England; vocals/drums). After dispensing with their lead singer Stan Tippens, they were on the point of dissolving when Ralphs sent a demo tape to Island Records producer Guy Stevens. He responded enthusiastically, and after placing an advertisement in Melody Maker, they auditioned a promising singer named Ian Hunter (b. 3 June 1946, Shrewsbury, Shropshire, England; vocals, keyboards, guitar). In June 1969 Stevens christened the band Mott The Hoople, after the novel by Willard Manus. Their self-titled debut album revealed a very strong Bob Dylan influence, most notably in Hunter's nasal vocal inflexions and visual image. With his corkscrew hair and permanent shades Hunter bore a strong resemblance to vintage 1966 Dylan and retained that style for his entire career.

Their first album, with its M.C. Escher cover illustration, included pleasing interpretations of the Kinks' 'You Really Got Me' and Sonny Bono's 'Laugh At Me', and convinced many that Mott would become a major band. Their next three albums trod water, however, and it was only their popularity and power as a live act that kept them together. Despite teaming up with backing vocalist Steve Marriott on the Shadow Morton -produced 'Midnight Lady', a breakthrough hit remained elusive. On 26 March 1972, following the departure of Allen, they quit in disillusionment. Fairy godfather David Bowie convinced them to carry on, offered his assistance as producer, placed them under the wing of his manager, Tony De Fries, and even presented them with a stylish UK Top 5 hit, 'All The Young Dudes'. The catchy 'Honaloochie Boogie' maintained the momentum but there was one minor setback when Ralphs quit to form Bad Company. With new members Morgan Fisher (b. 1 January 1950, London, England) and Ariel Bender (b. Luther Grosvenor, 23 December 1949, Evesham, Worcestershire, England) the band enjoyed a run of further UK Top 10 hits including 'All The Way From Memphis' and 'Roll Away The Stone'. During their final phase, Bowie's sideman Mick Ronson (b. 26 May 1945, Hull, Yorkshire, England, d. 30 April 1993) joined the band in place of Grosvenor (who had departed to join Widowmaker). Preparations for a European tour in late 1974 were disrupted when Hunter was hospitalized suffering from physical exhaustion, culminating in the cancellation of the entire tour. When rumours circulated that Hunter had signed a recording contract instigating a solo career, with Ronson working alongside him, the upheaval led to an irrevocable rift within the band, resulting in the stormy demise of Mott The Hoople. With the official departure of Hunter and Ronson, the remaining members, Watts, Griffin and Fisher, determined to carry on, working simply as Mott.

(oldies.com/artist-biography/Mott-Hoople.html)

01. Ohio (05:00)
02. No Wheels To Ride (07:45)
03. Rock 'N' Roll Queen (05:18)
04. Thunderbuck Ram (04:56)
05. When My Mind's Gone (06:42)
06. Keep A Knockin' (08:28)
07. You Really Got Me (08:55)
08. Long Red (04:22)
09. The Original Mixed Up Kid (04:37)
10. Walking With A Mountain (07:08)
11. Laugh At Me (05:46)
12. Thunderbuck Ram (04:42)

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Love - The Best Of Love [Expanded Version] (1980)

Year: 1980 (CD January 1, 2003)
Label: Elektra Records (US), R2 73840
Style: Psychedelic Rock, Classic Rock
Country: Los Angeles, California, U.S.
Time: 75:49
Format: Flac Tracks 16/44,1 kHz
Size: 520 Mb

Some of the best-known bands in Los Angeles in the Sixties became brand names for a particular style of rock: jangling folk rock for the Byrds, portentous doom rock for the Doors. Love not only bridged the gap between those two groups, they also tried to summon up every color of psychedelia. The range of their sound meant that they never really progressed past cult-band status, but Love were a cult worth joining and still sound fresh and inventive today. Lead singer Arthur Lee, a black man from Memphis, led this interracial band into uncharted waters, singing about orange skies and snot caked on his pants. This generous twenty-two-track compilation ranges from hard-rock freakouts ("Seven and Seven Is") to wistful pop ("She Comes in Colors") to trippy mariachi ("Maybe the People Would Be the Times, or Between Clark and Hilldale"). It also includes the grooviest up-tempo version of "Hey Joe" you'll ever hear.
(rollingstone.com/music/music-album-reviews/the-best-of-love-245965/) Review by Gavin Edwards. March 25, 2003

01. My Little Red Book (02:33)
02. Can't Explain (02:40)
03. Softly to Me (02:56)
04. No Matter What You Do (02:45)
05. Hey Joe (02:43)
06. Signed D.C. (02:46)
07. Seven & Seven Is (02:19)
08. Stephanie Knows Who (02:32)
09. Orange Skies (02:51)
10. Que Vida! (03:41)
11. She Comes In Colors (02:46)
12. Alone Again Or (03:16)
13. Andmoreagain (03:20)
14. Maybe the People Would Be the Times or Between Clark and Hilldale (03:33)
15. Live and Let Live (05:26)
16. You Set the Scene (06:52)
17. Your Mind and We Belong Together (04:28)
18. Laughing Stock (02:33)
19. Singing Cowboy (04:49)
20. Your Friend And Mine-Neil's Song (03:48)
21. Robert Montgomery (03:39)
22. Always See Your Face (03:23)

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Savoy Brown - City Night (2019)

Year: 2019 (CD Jun 7, 2019)
Label: Quarto Valley Records (US), QVR 0114
Style: Blues Rock, Hard Blues Rock
Country: London, England
Time: 56:34
Format: Flac Tracks 16/44,1 kHz
Size: 370 Mb

Before a single note is heard, City Night defines a vision of urban nightlife as seen through the blues-coated ears of Kim Simmonds. In lieu of sharp angles and precise architecture, the hazy, dripping-with-paint cover suggests an aural onslaught of tones and colors, and the music within lives up to the expectation. Simmonds, Pat DeSalvo (bass) and Garnet Grimm (drums) reload as Savoy Brown in an attempt to reprise 2017s acclaimed Witchy Feelin. The album’s twelve tracks aggressively strip standard blues structures to their core and rebuild them with throbbing rhythm and searing guitar.
“Walking on Hot Stones” cracks open the selection with a symbol crash and a crunchy guitar riff. Simmonds’s tale of a hard-worn life sits behind the sonic deluge that characterizes much of the album. Alternating between gritty and squealy, guitar passages illustrate the song’s message while the rhythm duo provide the pulsing groove. Stepping deeper into this territory, “Don’t Hang Me out to Dry” features the DeSalvo-Grimm tandem leading. Simmonds exploits the freedom they create to lay down choppy and languid musical lines that are both authentic and creative.
“Red Light Mama” continues in this vein. The vocals are direct and worthy, but cannot compete with the fuzz, bluster and fire that emanate from Simmonds. The musical structure is simple, but nonetheless it is the drum signal and ascending bass-lead into a satisfying blues payoff that will encourage repeat listenings. Grimm adds a bit of bongo to muddy-up the already swampy feel of “Conjure Rhythm” and helps to slow down the following “Selfish World.”
Savoy Brown is at its apex when they groove. “Wearing Thin,” the best piece on the album, exemplifies this. The trio burst into the tune’s only disruption and follow with a dark, brooding cadence. Lyrical laments aside, the snaky rhythm is so good that one might think that the tune is a celebration. It is. The tracks that follow are broken up by a mix of punctuated guitar and sneering slide. “Hang in Tough” is a great Bo Diddley send-up. “Ain’t Gonna Worry” closes with serious instrumental breaks.
City Night is not about breaking new musical boundaries, but the songs are strong and the saturated sounds are even better. There are great, genuine moments of blues inspiration peppered throughout the album. Fifty years on, Savoy Brown shows no signs of slowing down, much to the delight of music lovers.
(bluesrockreview.com/2019/08/savoy-brown-city-night-review.html)

01. Walking On Hot Stones (04:32)
02. Don't Hang Me Out To Dry (04:20)
03. Payback Time (04:53)
04. Red Light Mama (04:15)
05. Conjure Rhythm (04:51)
06. Neighborhood Blues (05:10)
07. Selfish World (05:20)
08. Wearing Thin (04:03)
09. City Night (06:13)
10. Hang In Tough (03:37)
11. Superstitious Woman (04:20)
12. Ain't Gonna Worry (04:54)

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Peter Gabriel (ex Genesis) - Peter Gabriel (aka Peter Gabriel 4: Security) (1982)

Year: 10 September 1982 (CD 1984)
Label: Virgin Records (UK), PGCD4
Style: Alternative Rock, Progressive Rock, Pop Rock
Country: Chobham, England (13 February 1950)
Time: 46:05
Format: Flac Tracks 16/44,1 kHz
Size: 202 Mb

Charts: UK #6, AUS #66, CAN #2, GER #84, ITA #10, NLD #14, NOR #15, NZ #18, US #28. UK & US: Gold; CAN: Platinum.
Some say: "the glass is half full". I say: "the glass is half empty".
(from the author of the release)
In the United States and Canada, the album was released by Geffen Records with the title Security. Some music streaming services refer to it as Peter Gabriel 4: Security. A German-language version, entitled Deutsches Album (German Album), was also released. The album saw Gabriel expanding on the post-punk and world music influences from his 1980 self-titled record, and earned him his first US top 40 single with "Shock the Monkey".
Instead of working with Hipgnosis on the cover art as he did for his previous three albums, Gabriel turned to sculptor Malcolm Poynter. The image is of Gabriel's face, based on an experimental videotape recorded by Poynter and heavily distorted through the use of flexible mirrors, Fresnel lenses, and lighting techniques.
(en.wikipedia.org/wiki/Peter_Gabriel_(1982_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. The Rhythm Of The Heat (05:18)
02. San Jacinto (06:29)
03. I Have The Touch (04:36)
04. The Family And The Fishing Net (07:03)
05. Shock The Monkey (05:29)
06. Lay Your Hands On Me (06:12)
07. Wallflower (06:35)
08. Kiss Of Life (04:19)

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Electric Prunes - Just Good Old Rock And Roll (1969)

Year: June 1969 (CD 2006)
Label: Collectors' Choice Music (US), CCM-731
Style: Psychedelic Rock, Rock
Country: San Fernando Valley, Los Angeles, California, U.S.
Time: 37:33
Format: Flac Tracks 16/44,1 kHz
Size: 228 Mb

Album was recorded with a lineup put together by Wilson-Fisher management for David Hassinger, who owned the name, during a period in which the original group was disbanded. This album took the Prunes' music decidedly away from the previous experimentation and underground psychedelia into (as the title suggests) more driving rock music. While there are elements of mild psychedelia present, the group's new direction pointed towards the boogie rock that would be further developed in the 1970s by bands such as The James Gang, Cactus and Foghat.
Just Good Old Rock and Roll was the first Electric Prunes album almost entirely written and performed by the band members. While the record received some critical praise at the time, its sales were middling, and this would be the final Electric Prunes studio album until another lineup (with members from prior versions of the band) released Artifact decades later, in 2001.
The group toured throughout 1969 and 1970 and also released three singles. In early 1971, the Electric Prunes officially disbanded.
Guitarist Ron Morgan died in 1989, and keyboardist John Herron (who was briefly a band member during much of the album recording sessions before leaving) was killed in an automobile accident in the 1990s.
The album cover described the band as the new improved Electric Prunes, an in-joke prompted by a contemporary album recorded by Blue Cheer and the preponderance of 'new and improved' products flooding the consumer market, as well as referring to the new lineup. This has led to confusion with some believing the band's name had been altered; however, the group was officially just The Electric Prunes.
(en.wikipedia.org/wiki/Just_Good_Old_Rock_and_Roll)

01. Sell (03:14)
02. 14 Year Old Funk (03:34)
03. Love Grows (04:09)
04. So Many People To Tell (04:01)
05. Finders Keepers, Losers Weepers (03:33)
06. Giant Sunhorse (04:09)
07. Violent Rose (02:44)
08. Thorjon (03:00)
09. Silver Passion Mine (02:54)
10. Tracks (02:45)
11. Sing To Me (03:25)

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The Bangles - Everything [Japanese Ed.] (1988)

Year: October 18, 1988 (CD 22 Jul 2009)
Label: Sony Records Int'l (Japan), SICP 2288
Style: Pop Rock, Jangle Pop
Country: Los Angeles, California
Time: 52:54
Format: Flac Tracks 16/44,1 kHz
Size: 395 Mb

Charts: US #15, AUS #7, CAN #34, GER #15, NL #4, NZ #15, SWE #20, SWI #10, UK #5. SWI & NZ: Gold; US, AUS, UK & CAN: Platinum.
Just like its predecessor, Everything produced a US Top 5 hit ("In Your Room"), and a number one single, "Eternal Flame", which became a chart-topper in almost every major country around the world.
The 2008 CD reissue on the Wounded Bird label (WOU 4056) adds a bonus track: "In Your Room" (12" Remix).
Despite its chart success, Everything failed to meet sales expectations. It subsequently became the group's last album before their nine-year hiatus from 1989 to 1998.
Rolling Stone critic Jimmy Guterman commented, "Bangle members wrote or co-wrote everything on Everything, and new producer Davitt Sigerson, who helped David and David make their dark visions palatable to the masses, encourages the Bangles to kick hard into their songs ... by taking more chances, the Bangles sound more comfortable than they have since their 1982 EP Bangles ... their harmonies are the clearest and most evocative they've ever been – their voices float, coalesce and soar. The only problem is the lyrics. The Bangles are indeed comfortable on Everything, but the flip side to being comfortable is being complacent. The words of 'Bell Jar,' 'Glitter Years' and several other songs circle around ideas without zeroing in, settling for cliche when they give up on precision. But the lyrics are balanced by the strong music, which is everything the quartet wants it to be."
(en.wikipedia.org/wiki/Everything_(The_Bangles_album))

01. In Your Room (03:30)
02. Complicated Girl (03:40)
03. Bell Jar (03:21)
04. Something To Believe In (04:05)
05. Eternal Flame (03:59)
06. Be With You (03:02)
07. Glitter Years (03:41)
08. I'll Set You Free (04:29)
09. Watching The Sky (04:13)
10. Some Dreams Come True (03:28)
11. Make A Play For Her Now (03:49)
12. Waiting For You (03:38)
13. Crash And Burn (02:40)
14. In Your Room (12' Remix) (05:13)

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Man - 2 Ozs Of Plastic With A Hole In The Middle [3 bonus tracks] (1969)

Year: September 1969 (CD 2009)
Label: Esoteric Recordings (UK), ECLEC 2128
Style: Progressive Rock, Classic Rock
Country: Merthyr Tydfil, Wales
Time: 54:33
Format: Flac Tracks 16/44,1 kHz
Size: 358 Mb

This release sees Man rely less on the Hammond and harmonized vocals, and more on hard-driven guitar. Its compositional ambitions are perhaps a bit greater -- it opens with "Prelude" and "The Storm," an extended jam that became ever longer and even more free form over the years as a concert favorite. "It Is as It Must Be" circles around the monster groove of a two-chord guitar vamp, while "Spunk Rock" struts over a jagged floor of overdriven guitar and yelped vocals. If nothing else, both the song and the album can be said to live up to their names.
(allmusic.com/album/2-ozs-of-plastic-with-a-hole-in-the-middle-mw0000654480)

01. Prelude - The Storm (12:23)
02. It Is As It Must Be (08:30)
03. Spunk Box (05:51)
04. My Name Is Jesus Smith (04:07)
05. Parchment And Candles (01:53)
06. Brother Arnold S Red And White Striped Tent (05:10)
07. My Name Is Jesus Smith (alt.) (05:13)
08. A Sad Song (Grasshopper) (05:16)
09. Walkin The Dogma (Spunk Box Demo) (06:06)

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George Harrison - George Harrison (1979)

Year: 23 February 1979 (CD 1991)
Label: Warner Bros. Records (US), 9 26613-2
Style: Rock, Classic Rock
Country: Liverpool, England (25 February 1943 - 29 November 2001)
Time: 40:00
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

Charts: UK #39, AUS #52, CAN #14, JPN #38, NL #39, NOR #21, US #14. US: Gold.
Album was written and recorded through much of 1978, a period of domestic contentment for Harrison, during which he married Olivia Arias and became a father for the first time, to son Dhani. Harrison wrote several of the songs in Hawaii, while the track "Faster" reflected his year away from music-making, when he and Arias attended many of the races in the 1977 Formula 1 World Championship. The album also includes the hit single "Blow Away" and "Not Guilty", a song that Harrison originally recorded with the Beatles in 1968.
Harrison co-produced the album with Russ Titelman. The contributing musicians include Steve Winwood, Neil Larsen, Willie Weeks and Andy Newmark, with Eric Clapton and Gary Wright making guest appearances. The recording sessions took place at Harrison's FPSHOT studio in Oxfordshire.
Issued on Dark Horse Records, George Harrison was well-received by music critics on release. Commentators regularly cite it among the artist's best works after his 1970 triple album All Things Must Pass.
(en.wikipedia.org/wiki/George_Harrison_(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. Love Comes To Everyone (04:35)
02. Not Guilty (03:34)
03. Here Comes The Moon (04:50)
04. Soft-Hearted Hana (04:04)
05. Blow Away (04:00)
06. Faster (04:48)
07. Dark Sweet Lady (03:22)
08. Your Love Is Forever (03:48)
09. Soft Touch (03:59)
10. If You Believe (02:56)

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Gilgamesh - Another Fine Tune You've Got Me Into (1978)

Year: 1978 (CD 2009)
Label: Esoteric Recordings (Europe), ECLEC2126
Style: Instrumental, Progressive Rock, Jazz Rock
Country: United Kingdom
Time: 37:51
Format: Flac Tracks 16/44,1 kHz
Size: 214 Mb

British bass guitarist Hugh Hopper's recent death in the summer of 2009 throws this reissue into some sad relief. Recorded and originally released some 31 years ago, the fare is fusion of an order made rare by the fact that it's played with a measure of diffidence and an absence of empty technical fireworks. In short the music, all of it written by band members, gets the chance to breathe, yet its airy, listener-friendly surface resounds at deeper, more profound levels.
The relatively quaint sounds of analog synthesizers are here too. On "Bobberty / Theme For Something Else" they are an integral part of proceedings even in solo, which is down as much as anything else to keyboard player Alan Gowen's deft handling of them. Phil Lee's guitar work is shot through with the same quality, and there's an unassuming air about his playing, even in the trickiest of time signatures. There is, as well, a lack of fuss about the group's collective efforts that doesn't disguise how demanding its music is.
Drummer Trevor Tompkins was something of a stalwart on the British jazz scene even then, having served time in the groundbreaking quintet co-headed by reeds player Don Rendell and trumpeter Ian Carr—the latter of whom went on to lead Nucleus, one of the most accomplished British fusion bands—and here he brings his wealth of experience to bear in the most positive way. His solo which opens "Underwater Song" is a model of subtlety and restraint, its power manifesting through deft stick work and acting as the preliminary to the set's most lyrical piece. Color is also applied through subtle use of the venerable mellotron. It's always a treat to hear that keyboard used as something other than a tool for symphonic pretensions. Here its melancholy tones lend the proceedings a profound but beguilingly melancholy air.
Hopper's penchant for quirks and strangeness is manifested here on "Foel'd Again," where he coaxes unlikely sounds from his instrument, with Gowen joining him in the all too brief reverie. The closing "T.N.T.F.X" is happily explosive for all the right reasons, although even when this band cuts loose they do so with a disarming lack of rhetorical gestures. Liberties with time again disrupt the music's linear flow, although these guys know far too much about dynamics to fall foul of the usual traps. In a music purged of empty gestures theirs was all too briefly a persuasive collective identity.
(allaboutjazz.com/another-fine-tune-youve-got-me-into-gilgamesh-esoteric-recordings-review-by-nic-jones)

01. Darker Brighter (05:40)
02. Bobberty - Theme From Something Else (10:41)
03. Waiting (02:25)
04. Play Time (07:14)
05. Underwater Song (07:04)
06. Foel'd Again (01:50)
07. T.N.T.F.X. (02:54)

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Mott (Mott The Hoople) - Drive On [Vinyl Rip] (1975)

Year: September 1975 (LP 1975)
Label: CBS Records (UK), CBS 69154
Style: Glam Rock
Country: Herefordshire, England
Time: 42:25
Format: Flac Tracks 16/44,1 kHz
Size: 273 Mb

Mott was a short lived band from Mott The Hoople, after Ian Hunter left in 1974. Mott was active between 1975/76 consisting of Overend Watts, Dale Griffin, and Morgan Fisher along with lead guitarist Ray Major (formerly of Opal Butterfly, Hackensack, and a brief stint with Andy Fraser and Frankie Miller) and front man Nigel Benjamin. This line-up released two more albums, Drive On (1975) and Shouting and Pointing (1976), both of which sold poorly. After Benjamin quit in 1976, Mott briefly replaced him with Steve Hyams, before joining forces with John Fiddler (formerly of Medicine Head), and became British Lions.
(peel.fandom.com/wiki/Mott)

Few bands have a sadder coda than Mott the Hoople. Rhythm section Overend Watts and Bufin, and latter-day keyboard player Morgan Fisher. Recruiting two unknowns to fill the void (guitarist Mick Ronson departed with Hunter) and abbreviating the band name to its most recognizable syllable, the trio began work on a new album almost immediately -- and one still wonders what was really going on in their minds. Of the five, only Watts had any songwriting experience to call upon; indeed, his "Born Late 58" was one of the highlights of 1974's The Hoople album. But any hopes that he might blossom a la an ex-Beatles George Harrison, or post-Vince Clarke Martin Gore were soon to crumble. The best songs (the first 45, "Monte Carlo," the driving "It Takes One to Know One") have absolutely nothing to do with the Hoopling of old; the worst (pretty much the rest of the record) are those which admit that fact. Mott emerged a dour, dry little record, its contents content to scour the rockiest edges of the old band's charm, but with none of the humor, none of the elan, and certainly none of the temperamental flash which made the original band so special. And to think, this was only their first album.
(allmusic.com/album/drive-on-mw0000736577)

01. A1 By Tonight (03:41)
02. A2 Monte Carlo (04:34)
03. A3 She Does It (03:31)
04. A4 I'll Tell You Something (04:37)
05. A5 Stiff Upper Lip (04:21)
06. B1 Love Now (02:47)
07. B2 Apologies (00:48)
08. B3 The Great White Wail (05:07)
09. B4 Here We Are (05:25)
10. B5 It Takes One To Know One (04:26)
11. B6 I Can Show You How It Is (03:03)

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Tracy Nelson - Homemade Songs / Come See About Me [2LP on 1CD] (1978/1980)

Year: 1978 / 1980 (CD ????)
Label: Flying Fish (US), FF70052
Style: Contemporary Blues, Folk-Blues, Retro-Soul, Soul
Country: Madison, Wisconsin, U.S. (December 27, 1944)
Time: 72:35
Format: Flac Tracks 16/44,1 kHz
Size: 400 Mb

Oh, how wonderful to hear the divine Ms. N again! I was a huge fan of hers back in the mid to late 70s. My best friend at the time had several of her albums and I could sit and listen to her sing for weeks on end and never get tired of her. I had the very distinct pleasure of seeing her live in a small venue in New Orleans. Didn't need a microphone and still blew the room away. We were right in front of ehr and my skin tingled through the entire performance. She has a unique and powerful voice that can blow your hair off your head and you'd be happy to be bald! Amazing voice, wonderful arrangements and just a true overall fantastic listening experience. She still moves me like she did in the mid to late 70s. I've never heard anyone who comes close to this woman and her force of nature voice. Thanks for the memories!
(amazon.com/Homemade-Songs-Come-See-About/dp/B000000ME4) Review by Wolfepaw. August 26, 2015

01. God's Song (04:11)
02. I've Been There Before (02:58)
03. Ice Man (03:17)
04. The Summer Of The Silver Comet (03:18)
05. Tightrope (03:09)
06. You Don't Need To Move A Mountain (03:04)
07. She's Taking My Part (03:28)
08. Friends Of A Kind (03:17)
09. Sounds Of The City (03:56)
10. Suddenly (03:12)
11. Come See About Me (03:07)
12. Done Got Over (03:04)
13. Holiday (03:30)
14. It's Growing (03:25)
15. Walk Away (05:41)
16. Tears (03:36)
17. Hold On I'm Coming (04:04)
18. See Saw (03:47)
19. River's Invitation (04:07)
20. You're My World (04:15)

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