Jethro Tull - Too Old To Rock 'N' Roll: Too Young To Die! (1976)

Year: 23 April 1976 (CD 1987)
Label: Chrysalis Records (Germany), 252 663
Style: Progressive Rock, Gothic Rock, Folk Rock
Country: Blackpool, Lancashire, England
Time: 42:15
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

Ian Anderson should stick to music, because he most definitely is not a storyteller. This is the muddled story of one Ray Lomas, “the last of the old rockers,” whose long hair and tight jeans mark him as a person whom time has passed by. After a series of events remarkable only for their lack of humor and originality, we leave the “hero” as he is about to become a pop star in his own right.
So what? We can take comfort, though, in knowing that Anderson’s technical prowess as a composer remains undiminished. The album abounds in breathtaking musical passages. The title cut, for one, is a textbook example of the use of dynamics and nuance in a rock song: instruments subtly creep in during the verses, with the slightest of musical nods to let us know they’re there. The music builds with a tension that heightens a desperate theme, then erupts in the chorus. “Quizz Kid” features, in addition to numerous startling changes in texture, several brief but pungent solos by guitarist Martin Barre, whose playing is exemplary throughout.
(rollingstone.com/music/music-album-reviews/too-old-to-rock-n-roll-too-young-to-die-204560/)

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. Quizz Kid (05:07)
02. Crazed Institution (04:47)
03. Salamander (02:51)
04. Taxi Grab (03:55)
05. From A Dead Beat To An Old Greaser (04:08)
06. Bad-Eyed and Loveless (02:14)
07. Big Dipper (03:37)
08. Too Old To Rock 'N' Roll: Too Young To Die (05:41)
09. Pied Piper (04:32)
10. The Chequered Flag (Dead or Alive) (05:23)

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Camel - Moonmadness [Japanese Ed. 2CD] (1976)

Year: April 1976 (CD 2009)
Label: Universal Music (Japan), UICY-94134/5
Style: Art Rock, Symphonic Rock, Canterbury Scene
Country: Guildford, Surrey, England
Time: 54:41, 73:52
Format: Flac Tracks 16/44,1 kHz
Size: 347, 437 Mb

CD1: Moonmadness - original album + 3 bonus tracks. CD2: The London Hammersmith Odeon Concert - 14th April 1976.
Moonmadness is the fourth studio album by English progressive rock band Camel. It was released in April 1976 on Decca and Gama Records and is their last album recorded by the group's original line-up of Andrew Latimer, Peter Bardens, Doug Ferguson, and Andy Ward. After reaching success with their previous album, the all-instrumental The Snow Goose, the band started on a follow-up and incorporated vocals and lyrics to the new music. Moonmadness has a loose concept with one track based on the personality of each band member: "Air Born" for Andrew Latimer, "Chord Change" for Peter Bardens, "Another Night" for Doug Ferguson, and "Lunar Sea" for Andy Ward.
Camel's popularity grew in 1975 with their critically acclaimed instrumental album The Snow Goose, which was followed by the group being voted Britain's Brightest Hope by readers of the nationwide music publication Melody Maker. In late 1975, the band spent three weeks writing new music for a follow-up album, and recorded Moonmadness in January and February 1976. At the time of release, Latimer said he was very pleased with the album despite the need to rush to finish it.
The last track, "Lunar Sea", ends with a minute-long wind-blowing effect. On some LP pressings, the record arm would skip during the end of this part and naturally return to the beginning of the effect, playing it endlessly (the "terminal groove" effect).
In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album came number 23 in its list of "40 Cosmic Rock Albums".
It was voted no. 58 in the Top 100 Prog albums of All Time by readers of 'Prog' magazine in 2014 and is ranked 16th greatest prog album on progarchives.com (as of 23-07-2025).
(en.wikipedia.org/wiki/Moonmadness)

01. Aristillus (01:57)
02. Song Within a Song (07:14)
03. Chord Change (06:43)
04. Spirit of the Water (02:07)
05. Another Night (06:54)
06. Airborn (05:02)
07. Lunar Sea (09:12)
08. Another Night (single) (03:24)
09. Spirit of the Water (demo version) (02:14)
10. Lunar Sea (live) (09:50)

01. Song Within a Song (07:38)
02. Excerpts From the Snow Goose (11:03)
03. Air Born (05:12)
04. Chord Change (06:58)
05. The White Rider (09:10)
06. Preparation / Dunkirk (10:17)
07. Another Night (07:25)
08. Lady Fantasy (16:05)

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Dio (Rainbow, Black Sabbath) - The Last In Line [Japanese Ed.] (1984)

Year: July 2, 1984 (CD Apr 25, 1991)
Label: Nippon Phonogram Co. Ltd. (Japan), PHCR-2084
Style: Hard Rock, Heavy Metal
Country: Portsmouth, New Hampshire, U.S. (July 10, 1942 - May 16, 2010)
Time: 41:11
Format: Flac Tracks 16/44,1 kHz
Size: 256 Mb

It is the first Dio album to feature former Rough Cutt keyboardist Claude Schnell. It became the band's highest-charting album in both the UK and the U.S., reaching number 4 and number 23, respectively (Sacred Heart would later reach number 4 in the UK as well).
It was certified gold (500,000 units sold) by the RIAA on September 12, 1984, and was the first Dio album to be certified platinum, achieving the feat on February 3, 1987. In the UK, it attained Silver certification (60,000 units sold) by the British Phonographic Industry, achieving this in January 1986, at the same time as Holy Diver. To date, these are the only two Dio albums to be certified at least platinum.
(en.wikipedia.org/wiki/The_Last_in_Line)

01. We Rock (04:35)
02. The Last In Line (05:42)
03. Breathless (04:02)
04. I Speed At Night (03:22)
05. One Night In The City (05:15)
06. Evil Eyes (03:38)
07. Mystery (03:46)
08. Eat Your Heart Out (03:50)
09. Egypt (The Chains Are On) (06:57)

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Darryl Way's Wolf (Curved Air) - Saturation Point [Japanese Ed. SHM-CD] (1973)

Year: 1973 (CD Nov 26, 2008)
Label: Universal Music (Japan), UICY-93827
Style: Progressive Rock, Symphonic Rock, Instrumental
Country: Taunton, Somerset, England
Time: 47:30
Format: Flac Tracks 16/44,1 kHz
Size: 335 Mb

WOW! When a progressive rock band has violin and guitars in his music, usually they are not played at the same time. In fact, they are simultaneously played here, and this really contributes to give Wolf a very personal trademark. This not very well known prog band gives us here a wonderful album, full of impressive violin, electric + acoustic guitars and dynamic & punchy bass! No one else than Ian Mosley himself(Marillion)plays the drums here: they are very well played and quite complex. Everything is very well synchronized, like Gentle Giant. It sounds a bit like Curved air, Caravan, Happy the man, Gentle Giant and Frank Zappa, but this album has really its own sound, and this makes the band very interesting. The record is mainly instrumental, and the keyboards are surprisingly rare, simple and discreet: they mainly consist in electric piano. This record is heavier and more symphonic and straightforward than "Canis Lupus": there are some very seriously loaded parts, very progressive, and the violin is more omnipresent.
(rateyourmusic.com/music-review/greenback/darryl-ways-wolf/saturation-point/216103)

01. The Ache (04:51)
02. Two Sisters (04:21)
03. Slow Rag (05:18)
04. Market Overture (03:38)
05. Game Of X (05:48)
06. Saturation Point (06:46)
07. Toy Symphony (07:14)
08. A Bunch Of Fives (03:30)
09. Five In The Morning (02:40)
10. Two Sisters (Single Version) (03:19)

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War - War (1971)

Year: 1971 (CD 1992)
Label: Avenue Records, ARG Records (Europe), 74321 30737 2
Style: Rock, Rhythm and Blues, Funk
Country: Long Beach, California, U.S.
Time: 40:38
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

War (originally called Eric Burdon and War) is an American funk/soul/rock band from Long Beach, California, formed in 1969.
The band is known for several hit songs in the 1970s (including "Spill the Wine", "The World Is a Ghetto", "The Cisco Kid", "Why Can't We Be Friends?", "Low Rider", and "Summer"). A musical crossover band, War became known for its eclectic blend of different musical styles, an amalgam of the sounds and styles the band members heard living in the racially diverse ghettos of Los Angeles.
Their album The World Is a Ghetto was Billboard's best-selling album of 1973. The band transcended racial and cultural barriers with a multi-ethnic lineup. War was subject to many lineup changes over the course of its existence, leaving member Leroy "Lonnie" Jordan as the only original member in the current lineup; four other members created a new group called the Lowrider Band.
(en.wikipedia.org/wiki/War_(band)#Discography)

01. Sun Oh Son (05:59)
02. Lonely Feelin' (04:36)
03. Back Home (06:46)
04. War Drums (03:53)
05. Vibeka (08:04)
06. Fidel's Fantasy (11:17)

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Eric Burdon & War - The Black Man's Burdon [2CD] (1970)

Year: December 1970 (CD 1986)
Label: Far Out Productions, Inc. (Germany), 827 736-2
Style: Psychedelic Rock, Funk
Country: Long Beach, California, U.S.
Time: 44:43, 45:59
Format: Flac Tracks 16/44,1 kHz
Size: 262, 262 Mb

The Black-Man's Burdon is the second studio album and first double album by American band Eric Burdon and War, released in December 1970 on MGM Records. It was the last album by the group before Burdon left and the remaining band continued as War.
The title is a pun on The Black Man's Burden, an expression which refers to black slavery, used as the title of a book by E. D. Morel (1920) in response to the poem, "The White Man's Burden" (1899) by Rudyard Kipling, which refers to (and champions) western imperialism (including its history of slavery).
The album includes two suites based on songs by other artists: "Paint It Black" by the Rolling Stones, and "Nights in White Satin" by the Moody Blues, augmented by additional sections composed by the group. (Two similar suites appeared on the group's first album.) The extra material is mostly instrumental, except for "P.C. 3" (P.C. referring to Police Constable, a common abbreviation used in the United Kingdom), a risque poem recited (and probably written) by Burdon over the music. Two other songs include a gospel-style chorus credited as Sharon Scott and the Beautiful New Born Children of Southern California. Richie Unterberger of Allmusic says the album is "Composed mostly of sprawling psychedelic funk jams" and "it does find War mapping out much of the jazz/Latin/soul grooves...".
The front cover shows a black man in silhouette, while the back cover shows Burdon and a woman posed together: the woman sitting on a wall with her legs spread far apart, and Burdon (shirtless) resting the back of his head against her pelvis and gripping her ankles. The gatefold photo is somewhat risque, consisting of the group (mostly shirtless) in a field with two nude women lying in the grass.
The album also came with a numbered 7–inch by 3–inch "war bond" entitling the bearer to $1 off the admission of any War concert.
(en.wikipedia.org/wiki/The_Black-Man%27s_Burdon)

01. Black On Black On Black (02:04)
02. Paint It Black (02:04)
03. Laurel & Hardy (01:21)
04. Paint It Black II (01:10)
05. P.C. 3 (01:33)
06. Black Bird (02:13)
07. Paint It Black III (03:02)
08. Spirit (08:34)
09. Beautiful Newborn Child (05:09)
10. Nights In White Satin I (04:28)
11. Birds & The Squirel (02:45)
12. Nuts Seeds & Life (04:01)
13. Out Of Nowhere (03:21)
14. Night In White Satin II (02:52)

01. Sun - Moon (10:07)
02. Pretty Colours (06:47)
03. Gun (05:50)
04. Jimbo (04:54)
05. Bare Back Ride (07:12)
06. Home Cookin' (04:15)
07. They Can't Take Away Our Music (06:51)

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Jon Lord (Deep Purple) - Sarabande (1976)

Year: October 1976 (CD 1987)
Label: Line Records (Germany), LICD 9.00124 O
Style: Modern Classical, Progressive Rock
Country: Leicester, England (9 June 1941 - 16 July 2012)
Time: 50:06
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

Typically, when an artist branches out from their current band for a solo outing, it is to “prove” something. Wishing to be seen as more than just “one of the guys in the band,” they want to take an excursion into the studio, hoping to demonstrate to the loyal legion of fans that they have something different to offer. This is especially true when they are not the main songwriter in said group. Jon Lord, a founding member and former member of Deep Purple, successfully found a way of sounding relevant with Sarabande, his second solo outing, without losing the respect of Purple’s fan base.
Anyone expecting a Deep Purple-sounding album will be disappointed. In this case, that may be a good thing. If you have an appreciation for majestic, brain-jarring compositions of pure musicianship, Sarabande may be the album for you. With the Hungarian Philharmonic as his accompaniment, in addition to an array of other studio musicians, including a pre-Police guitarist Andy Summers, Lord offers up eight songs of pure musical, majestic bliss. To some, it may appear Lord is just being pretentious; but to those with open ears, he is merely demonstrating that his talents reach beyond his years with Deep Purple.
In a way, Sarabande almost resembles the soundtrack, to one of Hollywood’s old-time classics, ala Lawrence of Arabia or Ben-Hur. That’s what I love about it. It is truly grand on all levels. With the musicianship and the swooping, epic-like execution of each track, there is not a moment on this mesmerizing album where the listener will fail to be impressed. Combining classical music with jazz, blues, and straight forward rock, it is an ambitious piece of work that, for the most part, succeeds, thanks to the genius of Lord’s capabilities.
(full version: https://vintagerock.com/jon-lord-sarabande/)

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. Fantasia (03:32)
02. Sarabande (07:25)
03. Aria (03:48)
04. Gigue (11:10)
05. Bouree (11:07)
06. Pavane (07:45)
07. Caprice (03:13)
08. Finale (02:04)

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Eric Burdon (The Animals) - Survivor (1978)

Year: 1978 (CD ????)
Label: Polydor Records (????), 2310 577
Style: Rhythm and Blues, Rock and Roll, Classic Rock
Country: Walker, Newcastle upon Tyne, England (11 May 1941)
Time: 40:52
Format: Flac Tracks 16/44,1 kHz
Size: 282 Mb

With 8 out 10 numbers credited to Zoot Money (17 July 1942 – 8 September 2024) & Eric Burdon what you have here is a good time Rock n Roll recording with a hoard of artists. With the exception of Hollywood woman, Eric's voice is in fine form, backed by many including Maggie Bell, coming out strong on woman of the rings. Many good time rock n roll guitarists all over this release including Alexs Korner, whom together with Eric revisit their roots and perform a stand out track, Brownie Mcghee's I was born to live the blues, the only non RnR number on this release. This album is definitely up there with rock n roll releases of the Seventies.
(allmusic.com/album/survivor-mw0000847661)

01. Rocky (04:02)
02. Woman Of Rings (04:16)
03. The Kid (03:12)
04. Tomb Of The Unknown Singer (04:29)
05. Famous Flames (04:19)
06. Hollywood Woman (03:53)
07. Hook Of Holland (04:32)
08. I Was Born To Live The Blues (03:55)
09. Highway Dealer (03:28)
10. P. O. Box 500 (04:41)

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Johnny Winter - Saint And Sinners (1974) Johnny Dawson Winter III [2LP on 1CD] (1974)

Year: 1974 (CD 2007)
Label: BGO Records (UK), BGOCD766
Style: Blues Rock, Rock
Country: Beaumont, Texas, U.S. (February 23, 1944 - July 16, 2014)
Time: 79:55
Format: Flac Tracks 16/44,1 kHz
Size: 545 Mb

Saints & Sinners is the sixth studio album by Johnny Winter, released in 1974. It follows Winter's pattern of mixing original songs with cover versions. After covering two Jagger-Richards songs on his previous album and previously issuing a live version of "Jumpin' Jack Flash," he covers a further one in "Stray Cat Blues" on this release.
John Dawson Winter III is the seventh studio album by Johnny Winter, released in 1974. It again follows Winter's pattern of mixing original songs with cover versions, including covering an Allen Toussaint song for the second album running.
(en.wikipedia.org/wiki/Johnny_Winter#Discography)

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).

Saint And Sinners (1974):
01. Stone County (03:36)
02. Blinded By Love (04:29)
03. Thirty Days (03:02)
04. Stray Cat Blues (04:18)
05. Bad Luck Situation (02:50)
06. Rollin' Cross The Country (04:34)
07. Riot In Cell Block #9 (03:11)
08. Hurtin' So Bad (04:40)
09. Bony Moroney (02:38)
10. Feedback On Highway 101 (04:24)
11. Dirty (bonus track) (04:02)

Johnny Dawson Winter III (1974):
12. Rock & Roll People (02:46)
13. Golden Olden Days Of Rock & Roll (03:02)
14. Self-Destructive Blues (03:29)
15. Raised On Rock (04:42)
16. Stranger (03:55)
17. Mind Over Matter (04:14)
18. Roll With Me (03:05)
19. Love Song To Me (02:06)
20. Pick Up On My Mojo (03:23)
21. Lay Down Your Sorrows (04:08)
22. Sweet Papa John (03:10)

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Trapeze (Glenn Hughes) - Trapeze (1970)

Year: May 1970 (CD 1994)
Label: Polygram Records (US), 820 954-2
Style: Progressive Rock, Pop Rock
Country: Cannock, England
Time: 40:37
Format: Flac Tracks 16/44,1 kHz
Size: 197 Mb

Trapeze is the debut studio album by British rock band Trapeze. Recorded in 1969 at Morgan Studios and Decca Studios, it was produced by the Moody Blues bassist John Lodge and released in May 1970 as the second album on Threshold Records, a record label founded by Lodge's band. Trapeze is the band's only album to feature founding member John Jones (vocals, trumpet); both he and Terry Rowley (organ, piano, flute) left shortly after its release. (Rowley rejoined in 1974.)
Unlike the band's later material, which was primarily categorised as blues and hard rock, Trapeze has been described by commentators as a progressive or psychedelic rock album, owing partly to the presence of brass instruments and keyboards on the album. Songwriting was typically led by Jones, Galley and Hughes, with Rowley also co-writing two tracks. "Send Me No More Letters" was released as the only single from the album in 1969, backed with fellow album track "Another Day".
(en.wikipedia.org/wiki/Trapeze_(1970_album))

01. It's Only A Dream (00:44)
02. The Giant's Dead Hoorah! (03:33)
03. Over (03:38)
04. Nancy Gray (02:47)
05. Fairytale - Verily Verily - Fairytale (07:41)
06. It's My Life (02:50)
07. Ami (03:08)
08. Suicide (04:51)
09. Wings (03:30)
10. Another Day (02:37)
11. Send Me No More Letters (04:35)
12. It's Only A Dream - Reprise (00:40)

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Foghat - Foghat (Rock 'n' Roll) (1973)

Year: March 1973 (CD 2005)
Label: Rhino Records (US), R2 70890
Style: Hard Rock, Blues Rock
Country: London, England
Time: 38:28
Format: Flac Tracks 16/44,1 kHz
Size: 267 Mb

Foghat is the second album, and the second self-titled album, by the English rock band Foghat, released in March 1973. It is generally known by fans as Rock 'n' Roll, because of its cover picture depicting a rock and bread roll.
Formed in 1971 when Lonesome Dave Peverett & Roger Earl left the British blues-rock band, Savoy Brown, Foghat has earned eight Gold records, one Platinum record and one Double-Platinum record.  And they continue to release new music every few years. They have never stopped touring and recording although there have been several ups and downs and changes over the years.  They sadly lost Lonesome Dave Peverett in 2000 and Rod Price in 2005, but Roger Earl kept banging & kicking to keep Foghat's musical legacy going.
According to a recent review "The '70s called...but there is no way in hell we are giving Foghat back to them. The iconic band from the past is rocking just as hard as they did decades ago, if not more! Foghat's thunderous blend of blues, boogie and butt-kickin' rock 'n' roll are shaking walls and fans everywhere. There is so much talent in this band it is ridiculous.  Lead vocalist/lead guitarist Scott Holt played with Buddy Guy for over 10 years, and lead/slide guitarist Bryan Bassett played with Wild Cherry and Molly Hatchet."  Bass player Craig Macgregor who had been with the band since the '70s, unfortunately became ill in 2015 and was unable to play, and we sadly lost him in February of 2018.  Craig had recommended the very talented & personable Rodney O'Quinn as a 'fill-in' who came to Foghat via the Pat Travers band where he proved he knew how to lay down a solid groove. O'Quinn viewed MacGregor as a mentor and is a great permanent addition to the band.  And on drums, of course, is the man we must thank for keeping Foghat going...founding member Roger Earl, who's positive attitude and solid drumming style and pure joy of playing has been an inspiration to all."
If Foghat had only given us 'Slow Ride', the band's place in rock history would be secure.  But the band is so much more than that. As stated by Roger Earl, "we are still a 'work in progress', writing and recording and plan to be until the day we depart this earth".
**We sadly lost our brother, friend and Foghat member Craig MacGregor, who passed away on February 9th, 2018. RIP Mac. We miss you, brother.**
(foghat.com/band/band-bio/)

01. Ride, Ride, Ride (04:24)
02. Feel So Bad (05:08)
03. Long Way to Go (05:07)
04. It's Too Late (05:43)
05. What a Shame (03:52)
06. Helping Hand (04:41)
07. Road Fever (04:22)
08. She's Gone (03:12)
09. Couldn't Make Her Stay (01:57)

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Bill Ward (Black Sabbath) - Ward One: Along The Way (1990)

Year: 10 January 1990 (CD 1990)
Label: Chameleon Records (US), D2-74816
Style: Hard Rock, Heavy Metal
Country: Aston, Birmingham, England (5 May 1948)
Time: 49:13
Format: Flac Tracks 16/44,1 kHz
Size: 324 Mb

Musicians: Ozzy Osbourne (vocals 3,7); Zakk Wylde (guitar 4); Bob Daisley (bass 3,7); Jack Bruce (bass & vocals 5,10); Eric Singer (drums 1,4).
Билл сам записал партии ударных, вокал и фортепиано, но не на всех треках. To date, since leaving Black Sabbath (the first time) in 1980, Bill Ward has released precisely two full solo albums (plus the single “Straws”).   This is especially unfortunate, since both solo albums are particularly fine pieces of work.  The finest and most noteworthy was his first, Ward One: Along the Way, released a decade after his Sabbath departure.  A long time in the making doesn’t begin to sum it up.
Aside from some production issues (this album could use a nice, clear remix) this is among the best solo products issued by any ex-member of Black Sabbath, including Dio and Ozzy.  It has its Sabbathesque moments (a few crushing guitar chords, pounding drums, peacenik lyrics) but it truly is an animal of its own.   Bill Ward received a co-writing credit on every original Black Sabbath song, and it’s clear why.  The man has a vivid imagination, creating swirling soundscapes of music.  There is nothing here that is outright commercial, nothing straightforward, everything is just slightly fucked up.  I think most likely it was Bill that gave Black Sabbath its oddball experimental edge in the early days.  An edge they have lost now that they have given him the boot.
The obvious standout track is “Bombers (Can Open Bomb Bays)”, the thunderous single featuring none other than Ozzy himself on lead vocals.  But even that is strange and offputting, as the pitch of Ozzy’s voice is manipulated in the mix, giving him an otherworldly sound at times.
(full version: mikeladano.com/2012/11/26/review-bill-ward-ward-one-along-the-way-1990/)

01. (Mobile) Shooting Gallery (05:11)
02. Short Stories (01:06)
03. Bombers (Can Open Bomb Bays) (04:23)
04. Pink Clouds An Island (03:15)
05. Light Up The Candles (Let There Be Peace Tonight) (03:35)
06. Snakes And Ladders (06:35)
07. Jack's Land (04:41)
08. Living Naked (06:03)
09. Music For A Raw Nerve Ending (02:05)
10. Tall Stories (05:04)
11. Sweep (04:00)
12. Along The Way (03:09)

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Groundhogs - Split [Remastered] (1971)

Year: March 1971 (CD 2003)
Label: Liberty (UK & Europe), 07243 584819 2 1
Style: Rock, Blues Rock
Country: England
Time: 64:39
Format: Flac Tracks 16/44,1 kHz
Size: 400 Mb

Unlike other contemporary bands, economy of notes was not part of the Groundhogs agenda. On Split, more than any other Groundhogs album, they played in a shamanic whirling that shattered and scattered the beat around in several directions at once. The frenzied drumming of Ken Pustelnik reduced the kit to the role of moronic streetgang defenseless against one lone Kung Fu hero. Stun-guitars wah-wah’d and ricochet’d at random against concrete walls, leaving passers by mortally wounded but deliriously happy. Even Pete Cruickshank’s bass, that one remaining anchor, was no anchor at all, but a freebass undermining the entire structure. As McPhee explained in a Zigzag interview of the time: “[Ken] just wallops everything in sight and sometimes I lose him completely. Like I often come back in during a solo and can’t work out where he is — so I just have to play a note and let it feed back until I can find my way back in. And Pete doesn’t help either, because he’s all over the place and he follows me rather than Ken … so when we fall apart, we really fall apart.”
The brutal honesty of this quote showcases Tony McPhee’s determination to follow his muse to the end. His singing is confused and compassionate, dazed and un-macho at a time of hoot‘n’holler chest beating. And despite the wonder-fuelled strengths of Split’s first side, each song is reduced to the anonymity of mere numbers: “Split 1”, “Split 2”, “Split 3” and “Split 4”. Yet each is complete and each is anything but anonymous. The furious “Split 1” careers through its description of McPhee’s “suicidal derangement” as he termed it with murderous bass and wah guitar interplaying. “Split 2” de-tunes itself into awesome/awful life with a chasm guitar riff that snare shatters into a tearing riff account of McPhee leaping out of bed in black hole terror, before the floor of the room gives way and he ends: “I must get help before I go insane”.
(full version: headheritage.co.uk/unsung/album-of-the-month/groundhogs-split)

01. Split [Part One] (04:29)
02. Split [Part Two] (05:14)
03. Split [Part Three] (04:30)
04. Split [Part Four] (05:43)
05. Cherry Red (05:43)
06. A Year In The Life (03:15)
07. Junkman (05:02)
08. Groundhog (05:53)
09. Split [Part One] [Bonus Track, Live] (09:46)
10. Split [Part Two] [Bonus Track, Live] (06:17)
11. Split [Part Four] [Bonus Track, Live] (04:31)
12. Cherry Red [Bonus Track, Live] (04:10)

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Depeche Mode - The Best Of, Volume 1 [Japanese Ed. SHM-CD] (2006)

Year: 13 November 2006 (CD Nov 8, 2006)
Label: Tochiba-EMI (Japan), TOCP-66627
Style: Synth-Pop, Electronic, New Wave
Country: Basildon, Essex, England
Time: 74:46
Format: Flac Tracks 16/44,1 kHz
Size: 553 Mb

According to the band, there are no plans to release succeeding volumes in a “Best Of” series, making the “Volume 1” in the title somewhat of a joke. The debate with hits collections, as always, is over song selection. While no one can argue the inclusion of hits like “Strangelove” and “Just Can’t Get Enough,” there are plenty of other songs whose exclusion some will take issue with. On this particular “Best Of,” the most notable absence is any song from Black Celebration. Maybe it’s just that songs from Black Celebration work better as a complete thematic whole, “Stripped” following “A Question of Time” and “But Not Tonight” succeeding “New Dress.” I don’t know, but I’m still trying to fathom a “Best of Depeche Mode” without “Fly on the Windscreen.” All in all, the eighteen tracks selected for this collection are a fairly representative and fair look at a spectacular and legendary pop band that probably still isn’t given the due it deserves.
As far as the real “Best Of,” the one bearing the misleading `Volume 1" tag, at its best it is a worthy representation of 25 years of pop mastery. At its worst, it is a reminder that, given any 18 songs from this legendary band, whether your favorites or not, Depeche Mode will always be relevant. From “New Life” to “Suffer Well,” there are no bad songs on this record, only great song after great song.
(full version: treblezine.com/depeche-mode-the-best-of-vol-1/)

01. Personal Jesus (03:47)
02. Just Can't Get Enough (03:43)
03. Everything Counts (04:01)
04. Enjoy the Silence (04:14)
05. Shake the Disease (04:51)
06. See You (03:57)
07. It's No Good (05:58)
08. Strangelove (03:46)
09. Suffer Well (03:52)
10. Dream On (03:41)
11. People Are People (03:46)
12. Martyr (03:25)
13. Walking in My Shoes (05:00)
14. I Feel You (04:35)
15. Precious (04:09)
16. Master and Servant (03:49)
17. New Life (03:46)
18. Never Let Me Down Again (04:18)

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Paul McCartney - Flaming Pie [Japanese Ed.] (1997)

♪ Year: 5 May 1997 (CD Jul 25, 2025)
♪ Label: Universal Music (Japan), UICY-80482
♪ Style: Rock, Soft Rock, Pop Rock
♪ Country: Liverpool, England (18 June 1942)
♪ Time: 53:46
♪ Format: Flac Tracks 16/44,1 kHz
♪ Size: 376 Mb

His first studio album in over four years, it was mostly recorded after McCartney's involvement in the highly successful Beatles Anthology project. The album was recorded in several locations over two years, between 1995 and 1997, featuring two songs dating from 1992.
The album featured several of McCartney's family members and friends, most notably McCartney's son, James McCartney featured on electric guitar. In Flaming Pie's liner notes, McCartney said: "[The Beatles Anthology] reminded me of the Beatles' standards and the standards that we reached with the songs. So in a way it was a refresher course that set the framework for this album."
Flaming Pie peaked at number two in both the UK and the US and was certified gold. The album, which was well received by critics, also reached the top 20 in many other countries. From its release up to mid-2007, the album sold over 1.5 million copies. The album was reissued on 31 July 2020 as a part of the Paul McCartney Archive Collection with bonus tracks, outtakes and demos.
The album is ranked number 988 in the third edition of Colin Larkin's book All-Time Top 1000 Albums (2000).
(en.wikipedia.org/wiki/Flaming_Pie)

01. The Song We Were Singing (03:55)
02. The World Tonight (04:05)
03. If You Wanna (04:37)
04. Somedays (04:15)
05. Young Boy (03:54)
06. Calico Skies (02:32)
07. Flaming Pie (02:30)
08. Heaven On A Sunday (04:26)
09. Used To Be Bad (04:12)
10. Souvenir (03:41)
11. Little Willow (02:58)
12. Really Love You (05:18)
13. Beautiful Night (05:08)
14. Great Day (02:09)

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