The Electric Prunes - I Had Too Much To Dream (Last Night) (1967)

Year: February 1967 (CD 2000)
Label: Collectors' Choice Music (US), R2 7520, CCM-132-2
Style: Psychedelic Rock, Garage Rock
Country: San Fernando Valley, Los Angeles, California, U.S.
Time: 34:44
Format: Flac Tracks 16/44,1 kHz
Size: 199 Mb

The Electric Prunes, sometimes referred to as I Had Too Much to Dream (Last Night), is the debut album by American garage rock band The Electric Prunes, released in 1967 on Reprise Records. The album’s opening track, "I Had Too Much to Dream (Last Night)", was a hit single and became the band's signature tune. The album also contains another notable psychedelic rock composition, "Get Me to the World on Time". The album was listed in the book 1001 Albums You Must Hear Before You Die.
The success of "I Had Too Much to Dream (Last Night)", which charted at number 11 in the U.S. and at number 49 in the UK, prompted the band to tour more andrecord adverts. The band was featured in publicity photos for the November 1967 issue of Teen Pin-Ups. They also recorded an advert for the Vox wah-wah pedal and promoted use of the equipment in the Vox Teen Beat magazine. Following the band's extensive promotional campaign, a second single, "Get Me to the World on Time", was released and charted at number 27 in the U.S.
With the band having a busy touring schedule, the recording of the album was hurried in an effort to cash in on their recent success. The band was already composing material for what they hoped would be an album of their own design. However, much of the album's content was out of their control, as producer Dave Hassinger brought in the songwriting team of Annette Tucker and Nancie Mantz. They, alone, produced seven of the 12 tracks, much to the frustration of the band. Mark Tulin and James Lowe, the band's main songwriters, were limited to just one track, the song "Luvin'". The band considered some of the tracks to be filler and were disappointed in not having a choice in disclosing them. Tulin stated, "We had nothing resembling freedom, let alone total freedom, in the selection of our songs. Consequently, there are definitely songs that I do believe didn't belong on the album..."
(en.wikipedia.org/wiki/The_Electric_Prunes_(album))

01. I Had Too Much To Dream (Last Night) (02:59)
02. Bangles (02:29)
03. Onie (02:42)
04. Are You Lovin' Me More (But Enjoy It Less) (02:25)
05. Train For Tomorrow (03:02)
06. Sold To The Highest Bidder (02:23)
07. Get Me To The World On Time (02:32)
08. About A Quarter To Nine (02:13)
09. The King Is In The Counting House (02:01)
10. Luvin (02:04)
11. Try Me On For Size (02:22)
12. The Toonerville Trolley (02:34)
13. Ain't It Hard (bonus track) (02:14)
14. Little Oliver (bonus track) (02:40)

UploadyIo     FreedlInk

All my files: KatFile     UploadyIo

Three Man Army - Two [Japanese Ed. SHM-CD] (1974)

Year: June 1974 (CD Oct 20, 2010)
Label: Arcangelo Records (Japan), ARC-8038
Style: Hard Rock
Country: London, UK
Time: 36:39
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

Three Man Army was a forgettable British hard rock band of the early '70s, playing period guitar-slanted music that sounded like warm-up fodder for bigger stadium acts. The constants in the lineup were Adrian Gurvitz and Paul Gurvitz, both of whom had been in Gun. After Gun expired, Adrian went to America to play with Buddy Miles, while Paul formed Parrish & Gurvitz. The pair reunited, however, to record the debut Three Man Army album, A Third of a Lifetime, using several different drummers (including Miles, Carmine Appice from Vanilla Fudge, and Mike Kellie from Spooky Tooth). Tony Newman, formerly of Sounds Incorporated and the Rod Stewart Group, joined for the next (and final) two Three Man Army albums. While there were rehearsals for a fourth LP, it was never started, as Newman left to join David Bowie's band and the Gurvitz brothers teamed up with Ginger Baker to record three albums as the Baker Gurvitz Army.
(allmusic.com/artist/three-man-army-mn0000925947#biography)

01. Polecat Woman (03:52)
02. Today (06:18)
03. Flying (03:08)
04. Space Is the Place (06:20)
05. Irving (04:17)
06. I Can't Make the Blind See (04:03)
07. Burning Angel (03:32)
08. In My Eyes (05:07)

UploadyIo

All my files: KatFile     UploadyIo

Peter Gabriel (ex Genesis) - Peter Gabriel (aka Peter Gabriel 2: Scratch) (1978)

Year: 2 June 1978 (CD 1986)
Label: Virgin Records (UK & Europe), PGCD2
Style: Art Rock, Pop, Progressive Rock
Country: Chobham, England (13 February 1950)
Time: 42:13
Format: Flac Tracks 16/44,1 kHz
Size: 243 Mb

From the beggining i rate this one 4 stars, one of the finest Gabriel albums, in my opinion. Peter Gabriel never was or is my favourite singer and composer but i apreciate his music in my own view. I enjoy the albums made over the years and i reach to conclusion that this one and next one is the best he ever realised. I prefer this one in stad of PG 3 because, is here a track called White Shadow that is worth 4 stars alone, of course the rest is amzing but this one is superb. The music to me is art rock with here and there some popish feeling add to. Worth to have in your colection. 4 stars
(progarchives.com/album.asp?id=3635) Review by b_olariu. May 16, 2007

This second solo album by Peter Gabriel is usually considered to be weaker than his first, and possibly his weakest ever. Like the debut, this album too lacks direction and Gabriel seems unsure of exactly what he wanted to do at the time. But unlike the debut, this album lacks standout tracks like Solsbury Hill or Here Comes The Flood. The song writing is distinctively average throughout and even the best songs are not really memorable even if they are moderately enjoyable. It is therefore the weakest tracks that stand out from the crowd here, and that is obviously never a good thing. However, I would not say that this is bad music. Just a bit uninspired and quite forgettable in the end.
There are some nice touches of synthesizer (some of which are played by Larry Fast who also contributed to Nektar) but these are outweighed by the presence of saxophone that adds to the jazzy Pop-feeling of the worst songs. The best moments are generally the slow ones that feature only piano and/or acoustic guitars and Gabriel's distinctive vocals. Only here are there any remote resemblances to his old band. Speaking of which, the albums released by Genesis around this time (1976-1980) are extremely much better and more interesting than this or anything else Peter Gabriel did during the period (and ever, I would say). Given albums such as the present one, it is rather funny that Gabriel is often praised around there parts, while post-Gabriel Genesis are often criticized.
I'm not a fan of Peter Gabriel's solo output, but he surely has his moments. But sadly none of those moments occur on the present album. If you intend to investigate Gabriel's solo career, this album is not the recommended point of entry. 1 star.
(progarchives.com/album.asp?id=3635) Review by SouthSideoftheSky. July 3, 2010

01. On the Air (05:28)
02. D.I.Y. (02:38)
03. Mother of Violence (03:22)
04. A Wonderful Day in a One-Way World (03:35)
05. White Shadow (05:18)
06. Indigo (03:33)
07. Animal Magic (03:29)
08. Exposure (04:17)
09. Flotsam and Jetsam (02:22)
10. Perspective (03:28)
11. Home Sweet Home (04:39)

UploadyIo

All my files: KatFile     UploadyIo

Van Halen - 5150 (1986)

Year: March 24, 1986 (CD 2020)
Label: Warner Records (US), 25394-2
Style: Hard Rock, Arena Rock
Country: Pasadena, California, U.S.
Time: 43:16
Format: Flac Tracks 16/44,1 kHz
Size: 299 Mb

Charts: US #1, CAN #2, AUS #5, SWI #16, AUT #13, NLD #30, SWE #2, NOR #5, GER #11, NZ #13, UK #16. UK: Silver; GER: Gold; AUS: 2x Platinum; CAN: 3x Platinum; US: 6x Platinum.
Between 1980 & 1982, Van Halen was probably among my top 5 favorite bands, but I had lost interest by the time they released their final album with David Lee Roth, 1984. Many fans consider it the pinnacle of their career, and it was their highest-charting and best-selling record, but I guess my musical tastes changed and I had grown tired of DLR’s shtick. Two years later I was eager to embrace the next chapter in the Van Halen saga when it was announced that Sammy Hagar would take over as lead vocalist. It would be many years later that I discovered the band that put him on the map, Montrose, but I was already a Hagar fan thanks to his excellent 1981 solo album, Standing Hampton, so I knew he could deliver the goods as a singer and guitarist. Song-for-song, 5150 is by far my favorite album of the “Van Hagar” years. The synths & keyboards that had begun to infiltrate their sound on the previous couple of records were prominent on the first single, “Why Can’t This Be Love,” as well as the ballad that blew me away the first time I heard it, “Love Walks In.” All the elements that made me fall in love with Van Halen as a 13-year-old…Eddie Van Halen’s guitar wizardry, Alex Van Halen’s propulsive one-of-a-kind drumming and Michael Anthony’s solid bass playing & inimitable high harmonies…were still on full display throughout the album. With songs like the soaring “Dreams,” the stomping “Best Of Both Worlds” and the super-catchy “Summer Nights,” the “pop” element that had always been a part of their hard rock sound took center stage, but they still maintained their headbanging credentials on tracks like “Good Enough” and “Get Up.” The thin production by Donn Landee and Foreigner’s Mick Jones is probably my only complaint about 5150. It’s not bad but often the songs lack the punch and live-in-the-studio feel that longtime producer Ted Templeman brought to their previous albums.
(kamertunesblog.wordpress.com/2016/01/14/thirty-year-thursday-van-halen-5150/)

01. Good Enough (04:04)
02. Why Can’t This Be Love (03:48)
03. Get Up (04:37)
04. Dreams (04:52)
05. Summer Nights (05:07)
06. Best of Both Worlds (04:49)
07. Love Walks In (05:11)
08. '5150' (05:44)
09. Inside (05:02)

UploadyIo

All my files: KatFile     UploadyIo

Kansas - Masque (1975)

Year: September 1975 (CD ????)
Label: Kirshner Records (US), ZK 33806
Style: Pop Rock, Progressive Rock
Country: Topeka, Kansas, U.S.
Time: 40:49
Format: Flac Tracks 16/44,1 kHz
Size: 227 Mb

If you combined this and their last album, you would have a really good prog-rock elpee… and a really mediocre rock & roll album left over. And that’s the trouble with Kansas so far. They’re capable of writing imaginative, extended prog-rock suites like The Pinnacle and Icarus/Borne on Wings of Steel, but just as capable of writing banal rock songs like It Takes a Woman’s Love or It’s You. So you get the good with the bad, the sublime with the subordinate.
I’m not going to lay the blame at Steve Walsh’s feet this time, since he’s a critical component when the band clicks. But his songwriting does seem to be more rock oriented, playing James Young to Kerry Livgren’s Dennis DeYoung. I guess that’s a uniquely American problem, this desire to be a rock & roll band and write epic fantasy suites. The English didn’t seem to have the same divided interests, or at least were more comfortable living in a fantasy world of their own devising.
Let’s start with Masque’s better half. “The Pinnacle” may, indeed, be their highest achievement so far in terms of musical grandeur. “Icarus/Borne on Wings of Steel” is also highly inventive and Child of Innocence straddles the worlds of rock and prog remarkably well. That’s about twenty minutes of quality prog made in America right there.
Then there’s the other side of Masque. These songs have their moments, but ultimately collapse under their own ambitions (e.g., Mysteries and Mayhem, All the World) or lack thereof (e.g., “It’s You”). There’s a part of me that feels Masque would sound much better with a proper remix/remaster. Bringing Phil Ehart’s drumming up in the mix would be job one, as he really shines on this record. There also needs to be more separation between the light and dark tones on this album, between the voices, between the violin and guitars, etc. The album sounds unnecessarily harsh; maybe Steven Wilson will take up Kansas’ cause one of these days.
Despite the lack of a hit single (again), the band’s third album did eventually sell 500,000 copies in the U.S. and is a logical purchase for anyone working backwards from Leftoverture and Point of Know Return in their catalog. It’s not a compulsory purchase, even for prog fans, but half a good prog album is still worth having in my opinion.
(progrography.com/kansas/review-kansas-masque-1975/)

01. It Takes A Woman's Love (To Make A Man) (03:09)
02. Two Cents Worth (03:10)
03. Icarus - Borne On Wings Of Steel (06:07)
04. All The World (07:13)
05. Child Of Innocence (04:38)
06. It's You (02:35)
07. Mysteries And Mayhem (04:20)
08. The Pinnacle (09:35)

UploadyIo

All my files: KatFile     UploadyIo

Tracy Nelson - Sweet Soul Music (1975)

Year: 1975 (CD Apr 25, 1995)
Label: One Way Records (US), MCAD-22158
Style: Pop Rock, Folk, World, Country
Country: Madison, Wisconsin, U.S. (December 27, 1944)
Time: 36:30
Format: Flac Tracks 16/44,1 kHz
Size: 196 Mb

Tracy Nelson's second post-Mother Earth album is similar to its predecessor, though with a bigger sound than anything she'd utilized before on record. Employing a six-piece band plus the Muscle Shoals Horns and with the Sweet Inspirations on backing vocals, producer Bob Johnston filled Nelson's accompaniment right to the brim across much of the record -- and it did spill over a bit on the original release, with some muddiness in the sound on the vinyl LP. Fortunately, Nelson's vocals are more than up to the task at hand, in both volume and intensity, and they are what count, and come through no matter how busy and lush her musical surroundings ever get. There's a lot of virtuoso playing to go with her performance, to be sure, and sometimes the spotlight seems more on the band than on her. But Nelson holds her own gloriously throughout, starting with the title track opener -- for a high point, look to "Lies" and the soaring "Baby I Found Out," each of which by itself would be worth the price of the album. There are also a few places, such as "Same Old Blues," where the focus leaves her for just a little too long. Still, it is unfair to criticize an album for literally being too much of a good thing, and the CD reissue avoids the modest sonic flaws that were present on the vinyl version. And in any edition, it's a powerful 40 minutes of listening.
(allmusic.com/album/sweet-soul-music-mw0000175792)

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 Soul Music (03:31)
02. Looking For A Sign (02:38)
03. Joabim (03:08)
04. Nothing I Can't Handle (04:57)
05. Baby I Found Out (03:14)
06. Lies (02:49)
07. Same Old Blues (04:40)
08. We Just Can't Make It Anymore (03:35)
09. I'll Be Your Baby Tonight (04:08)
10. Going To Tennessee (03:47)

UploadyIo

All my files: KatFile     UploadyIo

Kiss - Lick It Up [Japanese Ed. SHM-CD] (1983)

Year: September 18, 1983 (CD Jun 25, 2008)
Label: Universal Music (Japan), UICY-93525
Style: Glam Metal, Hard Rock
Country: New York City, U.S.
Time: 41:31
Format: Flac Tracks 16/44,1 kHz
Size: 290 Mb

Charts: US #24, AUS #36, CAN #46, GER #18, NLD #14, NOR #7, SWE #3, UK #7. CAN: Gold; US: Platinum.
As soon as the Creatures of the Night Tour/10th Anniversary Tour wrapped up in June, the band immediately went back into the studio to begin work on their next album, which was recorded over the next two months. Lick It Up built upon the harder sound Kiss had displayed on 1982's Creatures of the Night. While Vinnie Vincent contributed lead guitar to six songs on Creatures of the Night as a session player, by the time Lick It Up was released and for all the public knew, he was officially the guitarist in Kiss and played all the lead guitar on the album. For the first time, Vincent appeared on the cover art for the album, whereas Ace Frehley had appeared on the Creatures of the Night cover, despite having already left the band and not being involved in the recording of the album. The opening track (co-written by Vincent) features a solo from Rick Derringer.
"Lick It Up" and "All Hell's Breakin' Loose" were released as singles from the album. They were accompanied by a pair of similarly themed, tongue-in-cheek videos featuring the band (along with many scantily clad women) in desolate, post-apocalyptic settings. "All Hell's Breakin' Loose" is one of three songs in the history of the band in which all four (current at the time) members share songwriting credit, the others being "Love Theme from Kiss" from their debut album and "Back to the Stone Age" from Monster.
(en.wikipedia.org/wiki/Lick_It_Up)

01. Exciter (04:12)
02. Not For The Innocent (04:23)
03. Lick It Up (03:56)
04. Young And Wasted (04:05)
05. Gimme More (03:44)
06. All Hell's Breakin' Loose (04:34)
07. A Million To One (04:11)
08. Fits Like A Glove (04:04)
09. Dance All Over Your Face (04:16)
10. And On The 8th Day (04:02)

UploadyIo

All my files: KatFile     UploadyIo

Love - Reel To Real [12 bonus tracks] (1974)

Year: December 1974 (CD 2015)
Label: High Moon Records (US), HMRCD-03
Style: Rhythm and Blues, Psychedelic Rock
Country: Los Angeles, California, U.S.
Time: 72:36
Format: Flac Tracks 16/44,1 kHz
Size: 465 Mb

Reel to Real was the first official Love album in four years, following the release of frontman Arthur Lee's solo album Vindicator in 1972 and two different Love albums that had been recorded but unreleased.
Lee recorded the album with studio musicians after dismissing all previous band members. The album featured the same musicians that played on the then-unreleased Black Beauty (2012) and was originally intended as part of a two-album deal with Robert Stigwood's RSO Records. Skip Taylor, a long-time admirer of Lee, approached the label and convinced Stigwood to give the previously commercially unsuccessful Lee the largest advance he would ever receive, followed by the biggest touring opportunity any incarnation of Love would ever embark upon, opening for acts such as Lou Reed and Eric Clapton.
In retrospective reviews, PopDose opined that "A vitally important band - and performer like Arthur Lee - needs to be held in the light for their amazing catalog", and that later albums such as Reel to Real should "not be overlooked". Mark Deming of AllMusic called it "An album with more than its share of great moments." Daniel Sylvester of Exclaim! noted that Lee "comes off sounding nothing short of subdued, toothless and aimless," adding that the record "is lovingly assembled and digitally enhanced, but nonetheless, shouldn't be mistaken for an essential release."
(en.wikipedia.org/wiki/Reel_to_Real_(album))

01. Time Is Like a River (03:08)
02. Stop the Music (03:02)
03. Who Are You? (03:07)
04. Good Old Fashion Dream (02:53)
05. Which Witch Is Which (02:02)
06. With a Little Energy (02:57)
07. Singing Cowboy (03:08)
08. Be Thankful for What You Got (04:33)
09. You Said You Would (03:02)
10. Busted Feet (02:41)
11. Everybody's Gotta Live (03:24)
12. Do It Yourself (outtake) (03:36)
13. I Gotta Remember (outtake) (03:05)
14. Somebody (outtake) (02:43)
15. You Gotta Feel It (outtake) (03:37)
16. With a Little Energy (alternate mix) (03:11)
17. Busted Feed (alternate mix) (04:23)
18. You Said You Would (single mix) (02:26)
19. Stop the Music (alternate take) (03:38)
20. Graveyard Hop (studio rehearsal) (01:50)
21. Singing Cowboy (alternate take) (03:50)
22. Everybody's Gotta Live (electric version) (03:42)
23. Wonder People (I Do Wonder) (studio rehearsal) (02:26)

UploadyIo

All my files: KatFile     UploadyIo

Spirogyra - Bells, Boots And Shambles [Japanese Ed.] (1973)

Year: April 1973 (CD Aug 30, 2005)
Label: Strange Days Records (Japan), WAS-1040
Style: Progressive Rock, British Folk Rock
Country: Canterbury, England
Time: 40:17
Format: Flac Tracks 16/44,1 kHz
Size: 218 Mb

Spirogyra was originally formed as a duo by Martin Cockerham (vocals/guitar) and Mark Francis in Bolton, Lancashire in the summer of 1967. This original incarnation of the band produced no recordings, and ended when Cockerham left to attend the University of Kent at Canterbury.
In December 1969, Cockerham recruited a number of fellow students for a reconceived Spirogyra. This iteration of the group was expansive, including over ten members. Eventually, the band was pared down to four members: Cockerham himself on vocals and guitar, plus Barbara Gaskin (vocals), Steve Borrill (bass guitar), and Julian Cusack (violin). The band was soon spotted by Max Hole, who offered to manage the group, and "used his position as Student Union Entertainment Secretary to set up gigs at universities throughout the country". They recorded demos at the music room of Keynes College, part of the University of Kent, which would be released on the Burn the Bridges compilation in 2000.
Unusually, the group was able to persuade university officials to allow the members, their manager, and a roadie to take a one-year leave of absence from their studies. The group played live frequently, opening for groups such as Traffic and completing two tours of the Netherlands. After nearly being signed to Apple Records, manager Max Hole arranged a three-album recording contract with B&C Records in the U.K. Meanwhile, a deal for European and American distribution with Polydor was announced, but apparently fell through; the albums were instead released in Germany on Brain, and were not available in the United States. On all three albums, Dave Mattacks of Fairport Convention played drums. Although all of the albums sold poorly at the time, they have developed a cult following in the decades since. Original copies of all three albums are rare and expensive today, but have been reissued several times.
(en.wikipedia.org/wiki/Spirogyra_(band))

01. The Further Point (08:19)
02. Old Boot Wine (04:23)
03. Parallel Lines Never Separate (05:05)
04. Spiggly (01:15)
05. An Everyday Consumption Song (04:30)
06. The Sergeant Says (03:41)
07. In The Western World (13:01)

UploadyIo

All my files: KatFile     UploadyIo

Savoy Brown - Boogie Brothers (1974)

Year: 1974 (CD 1991)
Label: Deram Records (Germany), 844 022-2
Style: Blues Rock, Rock
Country: London, England
Time: 38:29
Format: Flac Tracks 16/44,1 kHz
Size: 246 Mb

Although there are a few noticeably weak moments on Side One, this latest Savoy Brown reincarnation is mainly one blistering romp from start to finish. The new line-up features three strong guitarists: mainstay Kim Simmonds, ex-Chicken Shacker Stan Webb, and former Keef Hartley-member Miller Anderson. On this guitar-dominated LP, Simmonds stays surprisingly in the background, leaving most of the songwriting and vocal chores to Anderson. His only major contribution is "Highway Blues," a stunning rocker reminscent of Savoy's Hellbound Train days. He also adds a numbear of highly effective leads, while leaving equal portions for Webb and Anderson, who he only slightly outshines. A fine album, Boogie Brothers admirably lives up to the strong side of Savoy's tradition.
-- Alan Neister, Rolling Stone, 6/20/74.

01. Highway Blues (04:04)
02. Me and the Preacher (03:38)
03. My Lovesґs Lying Down (05:58)
04. You Donґt Love Me (You Donґt Care) (04:56)
05. Always the Same (02:01)
06. Everybody Loves a Drinking Man (03:05)
07. Rock ґnґ Roll Star (07:11)
08. Boogie Brothers (05:19)
09. Threegy Blues (02:13)

UploadyIo     FreedlInk

All my files:      KatFile     UploadyIo

Roxy Music - Flesh and Blood [Japanese Ed. SHM-CD] (1980)

Year: 23 May 1980 (CD Jul 31, 2013)
Label: Virgin Records (Japan), VJCP-98143
Style: Pop Rock, Art Pop
Country: Newcastle upon Tyne, London, England
Time: 42:01
Format: Flac Tracks 16/44,1 kHz
Size: 289 Mb

Charts: UK #1, AUS #10, AUT #15, CAN #12, GER #6, NL #8, NOR #6, NZ #1, SWE #7, US #35. AUS & GER: Gold; UK & NZ: Platinum.
Flesh + Blood is the last Roxy studio album where Andy Mackay (sax) and Phil Manzanera (guitar) were major players if not songwriters (all tracks were written by Ferry apart from the covers, though Manzanera had a hand in ‘Over You’, ‘No Strange Delight’ and ‘Running Wild’). Both add memorable solos and nice ensemble work throughout.
It’s also a classic early-’80s bass album: reliably excellent Alan Spenner and Neil Jason joined new boy Gary Tibbs, fresh from his acting role in Hazel O’Connor’s ‘Breaking Glass’ movie and about to become one of Adam’s Ants.
The great Andy Newmark piled in on drums, having just completed work on Lennon/Ono’s Double Fantasy, alongside fellow NYC sessionman Allan Schwartzberg (who plays a blinder on ‘Same Old Scene’).
Londoner Rhett Davies was on board as co-producer, fresh from groundbreaking work with Brian Eno (both are apparent influences on the psychedelic/ambient outros to ‘My Only Love’ and ‘Eight Miles High’, and atmospheric overdubbing throughout), working with the band at his favourite Basing Street Studios (later Sarm West) in London’s Notting Hill. There were also occasional sessions at Manzanera’s Gallery Studios in Chertsey, Surrey.
Burgeoning star NYC mixing engineer Bob Clearmountain took time off his work with Chic to add some hefty bottom-end and fat drums at the fabled Power Station studios. Bob Ludwig’s ‘definitive’ 1999 CD remaster is one of the loudest, bassiest re-releases of the last few decades (but not a patch on the original cassette!).
But basically Flesh + Blood is very much Ferry’s show, layering Yamaha CP-80 piano (in his trademark ‘no thirds’ style) and synths to great effect, and even adding some amusingly sleazy guitar on the title track. He also sings superbly, delivering a particularly impassioned performance on ‘Running Wild’.
Even when he veers slightly out of tune, as on ‘Rain Rain Rain’, it’s an artful, conscious move (unlike these days...), a la Dylan or Bowie. His lyrics are generally fascinating – dreamlike, elliptical, odes to unrequited love and possibly one or two illicit substances.
Flesh + Blood was a big hit in the UK, reaching #1 on two separate occasions between May and September 1980. But surprisingly it didn’t quite work in the States, just scraping into the top 40, possibly not helped by a stinking review in Rolling Stone (‘...such a shockingly bad Roxy record that it provokes a certain fascination...’!).
But Ferry could see a path ahead, and would repeat the winning formula (drum machine + piano + painstaking overdubs + much-pondered-over lyrics/melody lines) for the rest of the decade. Rhett Davies had his work cut out – he moved on to work with Robert Fripp on the classic King Crimson reunion album Discipline.
(movingtheriver.com/2020/12/16/roxy-music-flesh-blood-40-years-on/)

01. In The Midnight Hour (03:13)
02. Oh Yeah (04:50)
03. Same Old Scene (03:57)
04. Flesh And Blood (03:13)
05. My Only Love (05:19)
06. Over You (03:26)
07. Eight Miles High (04:53)
08. Rain Rain Rain (03:20)
09. No Strange Delight (04:44)
10. Running Wild (05:01)

FreedlInk     UploadyIo

All my files:     KatFile     UploadyIo     FilePv

Robert John Godfrey (ex Barclay James Harvest) - Fall Of Hyperion (1974)

Year: 1974 (CD 2010)
Label: Operation Seraphim (UK), EWCD18
Style: Progressive Rock, Symphonic Rock
Country: Leeds Castle, Kent, England (30 July 1947)
Time: 41:02
Format: Flac Tracks 16/44,1 kHz
Size: 213 Mb

Born on the Leeds Castle estate in Kent, England, Godfrey was privately educated in various prep schools prior to going to Finchden Manor in Tenterden, which was described by its founder George Lyward as a "therapeutic community for adolescents", other alumni of which included Alexis Korner and Tom Robinson. Although he didn't start to play the piano until the age of twelve, Godfrey's talent was prodigious enough to gain him admission to the Royal College of Music, then the Royal Academy of Music. He studied under concert pianist Malcolm Binns, and those around him included Sir Michael Tippett, Benjamin Britten and Hans Werner Henze.
From 1968 to 1971 Godfrey became resident musical director with Barclay James Harvest, making musical contributions to early recordings which established their full, orchestral style of rock music. The relationship fell apart and accounts differ as to why. Godfrey is gay, and claimed this was one reason he was fired from BJH. "It was the band’s girlfriends who forced the issue," he told Classic Rock magazine. "They were from the Lancashire/Yorkshire area and couldn’t handle the idea of a gay man like me with a plummy accent." Years later Godfrey filed a lawsuit alleging he was owed composing credits and corresponding royalties on several of Barclay James Harvest's songs. He established that he had made a significant and original contribution to the creation of the works and must be regarded as a joint author. But as he had waited 14 years before asserting his rights, he was estopped from revoking the implied license granted to Lees for the exploitation of the works.
Before Fall of Hyperion, Godfrey was involved in the embryonic prog rock band Siddhartha who played the university and club circuit before being seen by Tony Stratton Smith (Charisma Records) at the Marquee Club, where they were supporting Mike Patto. The Band consisted of Godfrey on Steinway grand piano, Tony Ball bass guitar, Chris Lewis vocals, Nigel King lead guitar, Colin Green Hammond C3 organ and Nigel Culpepper drums. Various other members drifted in and out but these were the main members. The band fell apart through personal and musical differences before they could produce their first album (although somewhere there exists a three track demo recorded at Joe Browns Studio in Chigwell).
In 1974 the Charisma Records label released his first solo album, Fall of Hyperion. It had abysmal sales and Godfrey himself has since described it as "stupid".
He then went on to form The Enid.
Godfrey was the winner of the Visionary award at the 2014 Progressive Music Awards.
He has been diagnosed with Alzheimer's disease. In 2016, he retired from playing with The Enid due to his illness. His last regular performance with the band took place on 2 April 2016. However, in June 2017, it was announced that Godfrey would be joining The Enid in August of that year to celebrate his 70th birthday with a one-off performance at the Union Chapel in London, that took place on 5 August.
(en.wikipedia.org/wiki/Robert_John_Godfrey)

01. The Raven (08:40)
02. Mountains (06:57)
03. Water Song (05:27)
04. Isault (05:20)
05. The Daemon of the World (14:36)

UploadyIo     FreedlInk

All my files:     KatFile     UploadyIo     FilePv

Peter Gabriel - Peter Gabriel (aka Peter Gabriel 1: Car) (1977)

Year: 25 February 1977 (CD )
Label: Virgin Records (Europe), PGCD1
Style: Art Rock, Pop, Progressive Rock
Country: Chobham, England (13 February 1950)
Time: 41:27
Format: Flac Tracks 16/44,1 kHz
Size: 242 Mb

Charts: UK #7, AUS #25, CAN #30, GER #24, ITA #9, NLD #9, NOR #5, NZ #38, SWE #8, US #38. UK, GER, FRA & US: Gold.
--Moribund The Burgermeister
Odd bubbling and beating sounds mark the beginning of the album, but when the chorus begins it all turns into a solid rock song with lots of pathos. It is the story of a disturbing case of a whole town catching St Vitus’ dance. Not bad as a beginning, and the grotesque qualities leave quite a lasting impression.
--Solsbury Hill
The second song is the most enduring hit of Gabriel’s whole solo career. It begins in an unusual but driving 7/8, almost like a folk song, before it unleashes its power and ends in hunted vocal eruptions. Gabriel addresses feelings of doubt, loneliness and changes in life, topics that are quite likely to have risen in him when he left Genesis.
--Modern Love
The song with the most bang on the album. Lots of power and a good deal of aggression are brought to bear on lyrics rich in innuendo that talk about love without feeling, desire and unfulfillment. Though the song was released as a single it soon dropped from the standard repertoire.
--Excuse Me
Playful, silly, comedic – all this makes up this weird barber shop song. The lyrics are enigmatic rather stream-of-consciousness than narrative. The song creates a peculiar relaxed mood that seems a bit fishy. It is, however, a wonderfully eccentric introduction for Humdrum and its brooding mood.
--Humdrum
The most depressed piece on the album. Gabriel uses fantastic word imagery to describe the eponymous monotony and torpor. It begins with piano sounds that have an unusual stereo distortion. Other means used are Latin-American motives carefully placed wrong, melancholy acoustic guitars and thick blankets of synth strings. This song points ahead to how Gabriel would later combine musical and lyrics expression.
--Slowburn
Back in the days of vinyl this would be the first song on the second, altogether weaker side of the record. The arrangements are just too pretentious and too contrived. Slowburn comes with a whining lead guitar and a strong beat. It is a bizarre love song complete with heartache. Fast changes in the speed, rattling drum fills and glam rock borrowings are meant to intrigue, but all they do is to kill of any interest in the words. There is rarely any link between the content and the music.
--Waiting For The Big One
A blues, and it is celebrated as such from the counting in and loose piano runs to the lofty choir finale. Lots of drama, lots of big opera. In between, with a disturbed voice, is Gabriel’s punning description of the wait for the big one. It illustrates the futility and emptiness, though the musical devices are used to a degree where the become almost comical.
--Down The Dolce Vita
And here is a full Wagner orchestra running over the listener at full speed. It retains the energy and continues as a rock song. The lyrics express a certain enigma and futility again, but do so with a grand gesture. Lots of gimmicks in the arrangements (such as the general pause in the middle part) vie for the listener’s attention. It would take Gabriel more than three decades to be able to create suspense by these means (in his Scratch My Back project – with Bob Ezrin again as a co-producer). Numerous musical turns convey the mood of the lyrics less successfully than Gabriel may have hoped for.
--Here Comes The Flood
Gabriel himself would later call this version of the song overproduced. Unfortunately, the studio team could not think of anything else but to turn the eschatological visions of inner torpor into a catchy anthem by the usual devices of bluesrock (dramatic changes in dynamism, elegiac guitar solos and beating tambourines).
--All in all...
The album is a first attempt for Gabriel try and build a career as a solo artist. He has not quite found his feet yet, but the large potential is evident. If you are keen to discover the music of Peter Gabriel you may find this one of the more difficult entry points.
(genesis-news.com/article/peter-gabriel-i-car-cd-review/) by Thomas Schrage. English by Martin Klinkhardt

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. Moribund The Burgermeister (04:18)
02. Solsbury Hill (04:20)
03. Modern Love (03:38)
04. Excuse Me (03:19)
05. Humdrum (03:24)
06. Slowburn (04:36)
07. Waiting For The Big One (07:13)
08. Down The Dolce Vita (04:42)
09. Here Comes The Flood (05:54)

UploadyIo     KatFile

All my files:     KatFile     UploadyIo     FilePv

Man - Revelation (1969)

Year: 24 January 1969 (CD Jan 24, 2007)
Label: Unofficial Release (Russia), POCE 1095
Style: Psychedelic Rock
Country: Merthyr Tydfil, Wales
Time: 54:21
Format: Flac Tracks 16/44,1 kHz
Size: 267 Mb

A blast from Man's psychedelic past, this debut shows the band making an auspicious debut with Hammond-drenched guitar rock. It's easy to see, between the spacy effects and unearthly vocal choruses of their single "Sudden Life," how Man positioned themselves between the space prog of Nektar and the acid-fried rock of Quicksilver Messenger Service. When "The Future Hides Its Face" melds Apollo mission control transmissions with jamming, it's certainly evocative of time both musically and historically. "And Castles Rise in Children's Eyes" takes a more measured and orchestral approach, while the wonderful "Don't Just Stand There" is the great should-be single of the album, careening as it does between spiraling organ solos and sunny choruses of harmonica and Dylanesque vocals. Not every experiment works on this album, but when Man get it right, they get it very right.
(allmusic.com/album/revelation-mw0000206572)

01. And In The Beginning... (04:22)
02. Sudden Life (04:51)
03. Empty Room (03:33)
04. Puella! Puella! (Woman! Woman!) (03:34)
05. Love (02:52)
06. Erotica (04:11)
07. Blind Man (04:18)
08. And Castles Rise In Children's Eyes (03:21)
09. Don't Just Stand There (Come In Out Of The Rain) (04:25)
10. The Missing Pieces (01:45)
11. The Future Hides It's Face (05:37)
12. Sudden Life (Mono Single Mix) (04:13)
13. Love (Mono Single Mix) (02:55)
14. Erotica (Mono Single Mix) (04:17)

UploadyIo     KatFile

All my files:     KatFile     UploadyIo     FilePv

Kansas - Kansas (1974)

Year: March 8, 1974 (CD ????)
Label: Kirshner Records (US), ZK 32817
Style: Pop Rock, Progressive Rock
Country: Topeka, Kansas, U.S.
Time: 44:50
Format: Flac Tracks 16/44,1 kHz
Size: 270 Mb

Charts: US #174. CAN & US: Gold
Kansas's debut album followed the merging of two Topeka musical camps: Kerry Livgren, from a previous Kansas line-up, and White Clover, which played mainstream rock and blues. The newly formed group signed with Kirshner Records in 1973 and traveled to New York to record their first release.
The material on Kansas, written mostly by guitarist/keyboardist Livgren and vocalist/keyboardist Steve Walsh, had been culled from the repertoire of both groups. Livgren's songs were generally longer and more elaborate than Walsh's and featured mystical lyrics which reflected his intense interest in Eastern religions. "Journey from Mariabronn" was inspired by Hermann Hesse's Narcissus and Goldmund, while "Belexes" and "Apercu" were influenced by the pseudo-Asian sound of Giacomo Puccini's Turandot.
Kansas was promoted by print advertisements which included the tagline "Kansas is Koming." A promotional 7-inch single titled "Man the Stormcellars: Kansas is Koming!" was sent to radio stations and featured Don Kirshner hyping the album. Two 7-inch singles were released: "Can I Tell You" and "Lonely Wind". Both failed to chart, though a live version of "Lonely Wind" (from the double-live album Two for the Show) did reach the Top 100 in early 1979.
(en.wikipedia.org/wiki/Kansas_(Kansas_album))

01. Can I Tell You (03:32)
02. Bringing It Back (03:33)
03. Lonely Wind (04:16)
04. Belexes (04:23)
05. Journey From Mariabronn (07:55)
06. The Pilgrimage (03:42)
07. Apercu (09:43)
08. Death of Mother Nature Suite (07:43)

UploadyIo     KatFile

All my files:     KatFile     UploadyIo     FilePv

Kiss - Creatures Of The Night (1982)

Year: October 28, 1982 (CD 1985)
Label: Mercury Records (US), 824 154-2 M-1
Style: Hard Rock, Heavy Metal
Country: New York City, U.S.
Time: 38:51
Format: Flac Tracks 16/44,1 kHz
Size: 262 Mb

Charts: US #45, AUS #33, GER #42, NLD #34, NOR #31, SWE #22, UK #22. US: Gold
The first album of Kiss with guitarist Vinnie Vincent. By 1982, the original lineup of Kiss was virtually extinct, with Eric Carr joining the band to replace Peter Criss, and subsequently, their most recent addition, Vinnie Vincent, who would collaborate and co-write some of Kiss’s biggest hits. Vincent later sued the band after feeling undervalued a combination of immense talent and a significant ego.
"Creatures Of The Night" was released in October 1982, marking their last album with Casablanca Records and the final one featuring makeup. From a marketing perspective, it was their last album featuring guitarist Ace Frehley, who didn’t play on it but appeared on the cover for promotional purposes.
Kiss’s return to rock and one of their heaviest albums. With their new lineup, they achieved a different sound recognizable from the "blue" on the cover of "Creatures Of The Night." It was the first album in Kiss’s history where each song was exclusively sung by either Gene Simmons or Paul Stanley, with no more mix of voices.
The ’80s are undoubtedly present, with a production that accentuates Eric Carr’s drums, as heard in the intro of "Creatures Of The Night," reminiscent of John Bonham’s style from Led Zeppelin, or the guitar vibratos of Vinnie Vincent’s grand solos. Vincent brought a new level of freshness to the band, introducing a guitar style very different from Ace Frehley’s, leaning closer to the Glam Rock scene of Los Angeles.
"Creatures Of The Night" marks the introduction to Kiss’s unmasked era, featuring Gene Simmons and Paul Stanley at their peak vocal performances, having had to train their voices after straining them on albums like "Rock N’ Roll Over" (1976) or "Hotter Than Hell" (1974).
Part of Vinnie Vincent’s ego, besides being a virtuous guitarist, was that he co-wrote some of Kiss’s big hits on "Creatures Of The Night," such as "I Love It Loud" or "War Machine," two of Gene Simmons’s most iconic songs in their live performances. There’s also the ballad "I Still Love You," sung by Paul Stanley, possibly one of Kiss’s darkest and most romantic songs, with an epic melody radiating pain and melancholy, along with a guitar solo that strikes directly at the heart.
Another song co-written by Vincent is "Killer," sung by Gene Simmons, with a voice that at times tends toward the guttural. In this series of songs, we find more substantial riffs, undoubtedly a change in Kiss’s lead guitar, approaching the virtuosity competition of the ’80s.
"Creatures Of The Night" is, overall, a dark album, a combination of their classic Hard Rock with Heavy Metal touches reminiscent of Black Sabbath, as seen in "War Machine," with a heavy intro later sweetened by Gene Simmons’s voice through a melody that wholly evokes his character.
(therockreview.net/kiss-creatures-of-the-night-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. Creatures Of The Night (04:01)
02. Killer (03:18)
03. Keep Me Comin' (03:56)
04. Rock And Roll Hell (04:12)
05. Danger (03:54)
06. I Love It Loud (04:15)
07. I Still Love You (06:06)
08. Saint And Sinner (04:51)
09. War Machine (04:14)

UploadyIo     KatFile

All my files:     KatFile     UploadyIo     FilePv

Wings (Paul McCartney) - Venus and Mars [3 bonus tracks] (1975)

Year: 27 May 1975 (CD 1987)
Label: EMI Records (UK), CDP 7 46984 2
Style: Rock, Soft Rock, Pop Rock
Country: Liverpool, England (18 June 1942)
Time: 52:57
Format: Flac Tracks 16/44,1 kHz
Size: 332 Mb

Charts: UK #1, AUS #2, BEL #84, GER #11, NLD #5, NOR #1, NZ #1, SWE #2, US #1. CAN, UK & US: Platinum.
First, the nasty business of putting this album in its place. It is worse than Band on the Run, better than Wings at the Speed of Sound, and most like Red Rose Speedway in its surfeit of musical ideas. The opening “Venus And Mars/Rock Show” is another epic cut-and-paste job, tailor-made for the worldwide tour to come. The rest of the record, unfortunately, plays a game of push and pull. The listener is repelled by maudlin love songs (“Love In Song”) and noisy bits from people not named Paul (“Spirits of Ancient Egypt,” “Medicine Jar”), only to be lured back by charming love songs (“You Gave Me The Answer,” “Listen To What The Man Said” and “Call Me Back Again”). It’s an uneven experience, perhaps a reflection of the band’s internal growing pains as they tried to find a workable quintet (original drummer Geoff Britton having quit in mid session).
At the time, I thought it was a wonderful record. Wings at the Speed of Sound only had the two good songs on it (ah, but what songs they were!), while a young boy might champion any number of tunes from Venus And Mars, especially the cartoonish “Magneto And Titanium Man.” The difference between Band and everything else that Paul has done lies in the skipping. On a Paul McCartney record, I invariably skip to the best parts, but on Band I simply let it play through. On most days, I’m inclined to skip past “Love In Song,” “Letting Go,” “Spirits of Ancient Egypt,” “Medicine Jar” and everything after “Listen To What The Man Said.” The other half of Venus And Mars, however, has yielded many hours of pleasure.
If this review is more about me than McCartney, it’s because Venus And Mars is an album I associate with deeply.
(progrography.com/paul-mccartney/wings-venus-and-mars-1975/)

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. Venus And Mars (01:19)
02. Rock Show (05:31)
03. Love In Song (03:03)
04. You Gave Me The Answer (02:14)
05. Magneto And Titanium Man (03:16)
06. Letting Go (04:32)
07. Venus And Mars (Reprise) (02:05)
08. Spirits Of Ancient Egypt (02:58)
09. Medicine Jar (03:37)
10. Call Me Back Again (04:59)
11. Listen To What The Man Said (04:00)
12. Treat Her Gently (Lonely Old People) (04:23)
13. Crossroads Theme (01:01)
14. Zoo Gang (Bonus Track) (02:00)
15. Lunch Box - Odd Sox (Bonus Track) (03:52)
16. My Carnival (Bonus Track) (03:58)

UploadyIo     KatFile

All my files:     KatFile     UploadyIo     FilePv

John Lennon (ex Beatles) - Rock 'n' Roll [Japanese Ed. SHM-CD] (1975)

Year: 17 February 1975 (CD Dec 3, 2014)
Label: Universal Music (Japan), UICY-40106
Style: Rock, Soft Rock, Pop Rock
Country: Liverpool, England (9 October 1940 - 8 December 1980)
Time: 39:50
Format: Flac Tracks 16/44,1 kHz
Size: 248 Mb

Charts: UK #6, AUS #5, CAN #5, FRA #3, GER #37, ITA #12, JPN #15, NOR #9, US #6. US & UK: Gold
John Lennon doesn't sound a note younger than 33 on his oldies cover album Rock 'n' Roll. So it's not youthful energy that drives his vocal performance here, nor is it technical chops: it's love. Lennon's said he listens to rock 'n' roll and "not much else." He harbors a deep love for many, perhaps most, if not all songs here, and this shines through in his easy, affectless vocals. He sounds comfortable, but still full of life.
This is especially incredible given he mostly made Rock 'n' Roll to avoid being sued. His Abbey Road opener "Come Together" is a rip of Chuck Berry's "You Can't Catch Me;" Berry's publishing company caught on and agreed not to sue if he covered three songs they owned. They're all here, including "You Can't Catch Me," which knowingly sounds a lot like "Come Together" but is slinkier, glammier, and more menacing than either that song or Berry's original. Lennon must have leapt at the opportunity to record this thing.
Phil Spector's on the boards. This was an inspired decision for multiple reasons. Firstly, Spector could do most of the work, and he did, running away with the recordings and slathering orchestras on them as usual. Secondly, his productions are the perfect fit for the material. Lennon knew exactly what he would get out of Spector--unlike poor Leonard Cohen, who ended up locked out of the sessions for his Spector collab Death Of A Ladies' Man and came out as disappointed by the results as the critics.
The grandiosity of "Stand By Me" recasts the song as a celebration of both itself and the original's romantic melodrama. Bobby Freeman's "Do You Want To Dance" becomes an odd, reggae-inflected jaunt. Fats Domino's "Ain't That A Shame" and Berry's "Sweet Little Sixteen" stomp forward relentlessly, coming on as strong as something like Bowie's "Heroes" rather than cute little dancefloor ditties. Spector's elaborate clutter isn't the Vegas ritz that bogs down so many aging-rocker cover albums; rather, it's alluringly noisy.
Thus, the core problem of the album is that it's a bit taxing. Rock 'n' Roll runs forty minutes, a tad long for a rock 'n' roll album and longer than all but two core Beatles albums (three if you count Yellow Submarine). But this is a small flaw, and at least it doesn't sound uninspired or disingenuous. The production's on point, the delivery's even better. And the songs here are classics for a reason: most of them are really, really good.
(sputnikmusic.com/review/68604/John-Lennon-Rock-n-Roll/)

01. Be-Bop-A-Lula (02:37)
02. Stand By Me (03:31)
03. Medley: Rip It Up - Ready Teddy (01:34)
04. You Can't Catch Me (04:53)
05. Ain't That A Shame (02:34)
06. Do You Want To Dance? (02:53)
07. Sweet Little Sixteen (03:04)
08. Slippin' And Slidin' (02:17)
09. Peggy Sue (02:05)
10. Medley: Bring It On Home To Me - Send Me Some Lovin' (03:42)
11. Bony Moronie (03:50)
12. Ya Ya (02:18)
13. Just Because (04:27)

UploadyIo     KatFile

All my files:     KatFile     UploadyIo     FilePv

Ringo Starr (ex Beatles) - Ringo's Rotogravure (1976)

Year: 17 September 1976 (CD ????)
Label: WEA Manufacturing Inc. (US), 7 82417-2
Style: Rock, Soft Rock, Pop Rock
Country: Liverpool, England (7 July 1940)
Time: 34:22
Format: Flac Tracks 16/44,1 kHz
Size: 213 Mb

Charts: AUS #19, AUT #10, CAN #35, JPN #18, NL #16, NOR #14, SWE #19, US #28.
Ringo’s last two records sounded like non-stop parties. This time, he invited the right people but they brought all the wrong things.
At first glance, Ringo’s Rotogravure had all the ingredients for another hit album: contributions from John Lennon, Paul McCartney, George Harrison and Eric Clapton, a readymade hit (A Dose of Rock ‘N’ Roll), another golden oldie (the Lennon favorite, Hey Baby) and a little help from a lot of friends including Peter Frampton and the Brecker brothers. On closer inspection, however, Rotogravure was a weak copy of Ringo Starr’s last two records. The trouble rests squarely with Ringo, who hands in a performance so perfunctory it would make Krusty the Clown blush.
In what could be perceived as a vampiric move, Ringo robs Ring o’Records artist Carl Grossman of “A Dose of Rock ‘N’ Roll” and contributes three songs, one of them co-written with his girlfriend at the time (Nancy Andrews), none of them any good. His version of “Hey Baby” is cold-bloodedly bad. And what Ringo did to Harrison’s I’ll Still Love You, a leftover from the fertile All Things Must Pass sessions, is a crime; no wonder George later sued him over it. Then there’s the left-it-unnamed-and-didn’t-even-bother-to-use-good-grammar This Be Called A Song from Clapton, which at least is not (because it could not possibly be) as bad as it sounds. On the brighter side of things, Lennon’s Cookin’ In The Kitchen of Love is a treat and Paul McCartney’s Pure Gold makes for a nice trinket. As the last of the Ringo records to feature The Beatles, Ringo’s Rotogravure will still hold appeal for collectors, although it’s clearly the weakest of the three.
(progrography.com/ringo-starr/ringo-starr-ringos-rotogravure-1976/)

01. A Dose Of Rock 'N' Roll (03:24)
02. Hey Baby (03:11)
03. Pure Gold (03:15)
04. Cryin' (03:17)
05. You Don't Know Me At All (03:16)
06. Cookin' (In The Kitchen Of Love) (03:42)
07. I'll Still Love You (02:58)
08. This Be Called A Song (03:15)
09. Las Brisas (03:34)
10. Lady Gaye (02:59)
11. Spooky Weirdness (01:26)

UploadyIo     KatFile

All my files:     KatFile     UploadyIo     FilePv

George Harrison (ex Beatles) - Extra Texture (1975)

Year: 3 October 1975 (CD 1991)
Label: EMI Records (UK), CDP 7980802
Style: Rock, Soft Rock, Pop Rock
Country: Liverpool, England (25 February 1943 - 29 November 2001)
Time: 41:54
Format: Flac Tracks 16/44,1 kHz
Size: 229 Mb

Charts: UK #16, AUS #36, GER #63, JPN #9, NOR #8, US #8. US: Gold.
It was Harrison's final album under his contract with Apple Records and EMI, and the last studio album issued by Apple. The release came nine months after his troubled 1974 North American tour with Ravi Shankar and the poorly received Dark Horse album.
Among Harrison's post-Beatles solo releases, Extra Texture is the only album on which his lyrics are devoid of any obvious spiritual message. It was recorded mostly in the United States rather than England, while Harrison was working in Los Angeles in his role as head of Dark Horse Records.
Gary Wright, David Foster, Jim Keltner, Jesse Ed Davis, Leon Russell, Tom Scott, Billy Preston and Jim Horn were among the many contributing musicians. The keyboard-heavy arrangements incorporate elements of soul music and the influence of Smokey Robinson, signalling a further departure from the rock and folk-rock sound of Harrison's popular early-1970s work. Contrasting with the musical content, the album's art design conveys an upbeat mood and includes an unusual die-cut cover with a textured surface.
Although critical reception to the album was largely unfavourable, Extra Texture was certified gold by the Recording Industry Association of America within two months of release. It produced a hit single in the Motown-inspired "You", originally recorded in London in 1971 with co-producer Phil Spector. The album also includes "This Guitar (Can't Keep from Crying)", which was both a sequel to Harrison's 1968 composition "While My Guitar Gently Weeps" and a rebuttal to his detractors.
(en.wikipedia.org/wiki/Extra_Texture_(Read_All_About_It))

01. You (03:44)
02. The Answer's at the End (05:33)
03. This Guitar (Can't Keep from Crying) (04:13)
04. Ooh Baby (You Know That I Love You) (04:01)
05. World of Stone (04:42)
06. A Bit More of You (00:44)
07. Can't Stop Thinking About You (04:32)
08. Tired of Midnight Blue (04:53)
09. Grey Cloudy Lies (03:42)
10. His Name Is Legs (Ladies and Gentlemen) (05:46)

UploadyIo     KatFile

All my files:     KatFile     UploadyIo     FilePv

Yes - Drama [Japanese Ed.] (1980)

Year: 22 August 1980 (CD June 20, 2001)
Label: Atlantic Records (Japan), AMCY-6285
Style: Symphonic Rock
Country: London, England
Time: 36:45
Format: Flac Tracks 16/44,1 kHz
Size: 275 Mb

Many Yes fans gave their grudging approval to 1980’s highly consistent Drama, even though the introduction to the lineup of Buggles hitmakers Trevor Horn and Geoff Downes caused consternation in such a tribalistic era. 
"Obviously when we first joined Yes there was a huge outcry from the diehard Yes fans," Downes told us. "The idea of a couple of interlopers from the pop world suddenly stepping into this revered band. But in hindsight, both myself and Trevor were musicians, not pop guys. We were very much into Yes and progressive music. It’s just that our opportunity came to make pop music and we took it."
"It was full of dramas, engineer Hugh Padgam said. "There was so much tension around. I’d done a Buggles session, and it was Trevor Horn who roped me into the Yes camp to help out. Eddy Offord [who produced the album with the band] was mad, but a genius. I got on well with Steve Howe and Alan White. But it was not easy!"
It wasn’t. By the following year Yes had cracked and splintered. Geoff Downes and Steve Howe became founding members of Asia and enjoyed huge success in their own right. Vocalist Trevor Horn was on an upward trajectory as a producer. And that left bassist Chris Squire and drummer Alan White trying to figure out what do do next. They succeeded – and how! – but that’s another story.
(classicrockreview.wordpress.com/2021/08/06/yes-drama-1980/)

01. Machine Messiah (10:24)
02. White Car (01:20)
03. Does It Really Happen? (06:32)
04. Into The Lens (08:30)
05. Run Through The Light (04:41)
06. Tempus Fugit (05:16)

UploadyIo     KatFile

All my files:     KatFile     UploadyIo     FilePv

Spirogyra - Old Boot Wine [Japanese Ed.] (1972)

Year: June 1972 (CD Mar 29, 2005)
Label: Strange Days Records (Japan), WAS-1023
Style: Progressive Rock, British Folk Rock
Country: Canterbury, England
Time: 39:10
Format: Flac Tracks 16/44,1 kHz
Size: 245 Mb

Spirogyra was originally formed as a duo by Martin Cockerham (vocals/guitar) and Mark Francis in Bolton, Lancashire in the summer of 1967. This original incarnation of the band produced no recordings, and ended when Cockerham left to attend the University of Kent at Canterbury.
In December 1969, Cockerham recruited a number of fellow students for a reconceived Spirogyra. This iteration of the group was expansive, including over ten members. Eventually, the band was pared down to four members: Cockerham himself on vocals and guitar, plus Barbara Gaskin (vocals), Steve Borrill (bass guitar), and Julian Cusack (violin). The band was soon spotted by Max Hole, who offered to manage the group, and "used his position as Student Union Entertainment Secretary to set up gigs at universities throughout the country". They recorded demos at the music room of Keynes College, part of the University of Kent, which would be released on the Burn the Bridges compilation in 2000.
Unusually, the group was able to persuade university officials to allow the members, their manager, and a roadie to take a one-year leave of absence from their studies. The group played live frequently, opening for groups such as Traffic and completing two tours of the Netherlands. After nearly being signed to Apple Records, manager Max Hole arranged a three-album recording contract with B&C Records in the U.K. Meanwhile, a deal for European and American distribution with Polydor was announced, but apparently fell through; the albums were instead released in Germany on Brain, and were not available in the United States. On all three albums, Dave Mattacks of Fairport Convention played drums. Although all of the albums sold poorly at the time, they have developed a cult following in the decades since. Original copies of all three albums are rare and expensive today, but have been reissued several times.
(en.wikipedia.org/wiki/Spirogyra_(band))

01. Dangerous Dave (04:18)
02. Van Allen's Belt (02:50)
03. Runaway (04:58)
04. Grandad (03:25)
05. Wings Of Thunder (03:12)
06. World's Eyes (07:36)
07. Don't Let It Get You (04:27)
08. Disaeli's Problem (04:16)
09. A Canterbury Tale (04:04)

UploadyIo     KatFile

All my files:     KatFile     UploadyIo     FilePv

Yes - Tormato [Japanese Ed. SHM-CD. 10 bonus tracks] (1978)

Year: 22 September 1978 (CD Jul 22, 2009)
Label: Warner Music (Japan), WPCR-13523
Style: Symphonic Rock
Country: London, England
Time: 79:48
Format: Flac Tracks 16/44,1 kHz
Size: 534 Mb

Charts: UK #8, AUS #22, CAN #30, GER #36, JPN #41, NLD #17, NOR #9, SWE #18, US #10. Canada and UK: Gold; US: Platinum.
Yes was poised to build on fresh momentum as they reconvened in the studio to record a follow-up to the well-received Going for the One. Unfortunately, things didn't quite go according to plan.
When Tormato, Yes' ninth studio album, arrived on Sept. 20, 1978, it represented both a reversal in commercial fortunes and the start of a particularly turbulent period that would lead to some key departures.
A relatively concise collection of songs, Tormato found Yes largely avoiding the extended instrumental workouts that filled out best-selling records like Tales from Topographic Oceans in favor of shorter songs such as "Onward" (which clocked in at 4:05) and the minor hit single "Don't Kill the Whale" (3:56). The closing track, "On the Wings of Freedom," was the record's longest song at 7:47 – a relative blip in a catalog filled with lengthy compositions.
Unfortunately, those abbreviated running times may have had more to do with a general lack of focus than anything else.
Quarrels between Yes members were nothing new, and members came and went on a regular basis, but things seemed particularly stormy during this period. Singer Jon Anderson and keyboardist Rick Wakeman both exited in the following months. Wakeman's displeasure became particularly evident during an infamous incident when he hurled a tomato at the artwork for the record, which was then titled Yes Tor, after a geological formation in southern England.
"We had paid a fortune for the artwork – which, when we were shown it, we all agreed we had been ripped off," he later recalled. "It was a pile of brown smelly stuff. I picked up a tomato and threw it at it. (The title) was hastily changed to Tormato."
Not that it provided much clarity for the troubled project. Bassist Chris Squire came to see Tormato as "a kind of a hodgepodge of different songs, so it was hard to figure out what was good on it and what wasn't, maybe," he said in 1996.
(Full version: ultimateclassicrock.com/yes-tormato/) Review by Jeff Giles. September 20, 2023

01. Future Times (B) Rejoice (06:46)
02. Don't Kill The Whale (03:58)
03. Madrigal (02:27)
04. Release, Release (05:48)
05. Arriving Ufo (06:08)
06. Circus Of Heaven (04:32)
07. Onward (04:05)
08. On The Silent Wings Of Freedom (07:52)
09. Abilene (04:02)
10. Money (03:14)
11. Picasso (02:12)
12. Some Are Born (05:42)
13. You Can Be Saved (04:20)
14. High (04:30)
15. Days (Demo) (01:00)
16. Countryside (03:11)
17. Everybody's Song (06:48)
18. Onward (Orchestral Version) (03:06)

UploadyIo     KatFile 

All my files:     KatFile     UploadyIo     FilePv

Roxy Music - Manifesto [Japanese Ed. SHM-CD] (1979)

Year: 16 March 1979 (CD Jul 31, 2013)
Label: Virgin Records (Japan), VJCP-98142
Style: Art Rock, Glam Rock, Pop Rock
Country: London, England
Time: 42:42
Format: Flac Tracks 16/44,1 kHz
Size: 300 Mb

Charts: UK #7, AUS #13, AUT #25, CAN #24, GER #37, NL #5, NZ #8, SWE #11, US #23. UK, NL & NZ: Gold.
Following an almost four-year recording hiatus, Manifesto was Roxy Music's first studio album since 1975's Siren. The first single from Manifesto was "Trash", which peaked at number 40 on the UK Singles Chart. The second single, the disco-tinged "Dance Away", was more successful, peaking at number two in the UK on 26 May 1979, beaten to the top spot for three weeks by Blondie's "Sunday Girl". It became one of the band's biggest hits, and was also the ninth best-selling single in the UK in 1979. The song was also released as a 12" extended version (running at six and half minutes), a format that had started to become popular in the late 1970s. The third single from the album was a re-recorded version of "Angel Eyes", which was far more electronic and "disco" in nature than the power-pop album version. An extended 12" mix was also released. The single also made the UK top five, peaking at number four in August. The album itself peaked at number seven on the UK Albums Chart. In the United States, the album peaked at number 23 on the Billboard 200, making it Roxy Music's highest-charting album in the US.
The cover design which featured a variety of mannequins (a concept also used for the covers of the singles from the album), was created by Bryan Ferry with fashion designer Antony Price and American TV actress Hilary Thompson amongst others. The picture disc version of the album featured a version of the design in which the mannequins are unclothed. The cover's typography, as well as the album's title, were inspired by the first edition of Wyndham Lewis's literary magazine Blast.
(en.wikipedia.org/wiki/Manifesto_(Roxy_Music_album))

01. Manifesto (05:29)
02. Trash (02:14)
03. Angel Eyes (03:32)
04. Still Falls The Rain (04:13)
05. Stronger Through The Years (06:16)
06. Ain't That So (05:39)
07. My Little Girl (03:17)
08. Dance Away (03:48)
09. Cry, Cry, Cry (02:55)
10. Spin Me Round (05:15)

UploadyIo     KatFile

All my files:     KatFile     UploadyIo     FilePv

Roxy Music - Viva! Roxy Music [Japanese Ed. Live] (1976)

Year: 16 July 1976 (CD Jul 31, 2013)
Label: Virgin Records (Japan), VJCP-98141
Style: Art Rock, Glam Rock, Pop Rock
Country: London, England
Time: 46:14
Format: Flac Tracks 16/44,1 kHz
Size: 306 Mb

Charts: UK #6, AUS #15, CAN #94, GER #48, NL #2, NOR #10, NZ #20, SWE #9, US #81. UK: Silver.
If Roxy Music’s first five albums showcased the band’s genius for creating sonically crafted musical statements in the studio, then 1976’s ‘Viva! Roxy Music’ proved they were no less masterful in a more visceral and unpredictable live setting. Recorded over three separate dates between 1973 and 1975, ‘Viva!’ acts as a sort of alternative greatest hits of the band’s first era. With live takes of the singles ‘Pyjamarama’ and ‘Both Ends Burning’ next to celebrated album tracks like ‘If There Is Something’ and ‘In Every Dream Home A Heartache’ ‘Viva!’ has, unusually for a live record, become as essential a part of the band’s catalogue as the studio records. For many, these vital live versions even represent the “definitive” versions of its classic songs.
(bryanferry.com/releases/viva/#:~:text=Viva! Roxy Music If Roxy Music's first,a more visceral and unpredictable live setting.)

01. Out Of The Blue (04:45)
02. Pyjamarama (03:36)
03. The Bogus Man (07:05)
04. Chance Meeting (02:58)
05. Both Ends Burning (04:47)
06. If There Is Something (10:38)
07. In Every Dream Home A Heartache (08:22)
08. Do The Strand (04:00)

UploadyIo     KatFile

All my files:     KatFile     UploadyIo     FilePv

Mott The Hoople - The Hoople (1974)

Year: 29 March 1974 (CD 2006)
Label: Legascy Records (Europe), 82796978732
Style: Rock, Glam Rock
Country: Hereford, Herefordshire, England
Time: 69:06
Format: Flac Tracks 16/44,1 kHz
Size: 443 Mb

 

Charts: UK No. 11 / US No. 28 / Can. No. 28

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. The Golden Age Of Rock 'N' Roll (03:25)
02. Marionette (05:08)
03. Alice (05:20)
04. Crash Street Kidds (04:31)
05. Born Late '58 (04:00)
06. Trudi's Song (04:26)
07. Pearl 'N' Roy (England) (04:31)
08. Through The Looking Glass (04:37)
09. Roll Away The Stone (03:10)
10. Where Do You All Come From (Non-LP B-Side Of ''Roll Away The Stone'') (03:26)
11. Rest in Peace (Non-LP B-Side Of ''The Golden Age Of Rock 'N' Roll'') (03:55)
12. Foxy Foxy (Non-LP Single A-Side) (03:31)
13. (Do You Remember) The Saturday Gigs (Non-LP Single A-Side) (04:20)
14. The Saturday Kids (Work In Progress Mixes) (06:03)
15. Lounge Lizzard (Aborted Single B-Side) (04:19)
16. American Pie / The Golden Age Of Rock 'N' Roll (Live From Broadway) (04:15)

UploadyIo     KatFile

All my files:     KatFile     UploadyIo     FilePv