The Animals - Inside Looking Out - The 1965-1966 Sessions (1990)

Year: 1965-1966 (CD 1990)
Label: Sequel Records (UK), NEX CD 153
Style: Rock, British Rhythm & Blues
Country: Newcastle upon Tyne, England
Time: 69:28
Format: Flac Tracks 16/44,1 kHz
Size: 355 Mb

Common wisdom suggests the (original) Animals started hitting the skids after they dumped Alan Price and producer Mickie Most. Certainly both men had a hand in the recording of the Geordies' unforgettable string of 1964-65 smashes ("House of the Rising Sun," "Don't Let Me Be Misunderstood", "We Gotta Get Out of This Place" etc.), but frankly, the Animals improved after ditching the pair. This compilation---drawn largely from the 1966 "Animalization" LP---covers the material the band recorded with new keyboardist Dave Rowberry and ex-Dylan producer Tom Wilson. Simply put, it's Animals at their peak, combining fierce performances with a new facility in the studio. Moreover, it makes a strong case for Eric Burdon as the most powerful and incindiary R&B singer to ever come out of Europe, let alone the British Invasion. Burdon never sounded so committed, soulful and inspired than on the strutting "See See Rider," the ferocious "Inside Looking Out" and the agonizing "Ginhouse Blues" (about as accurate and chilling a portrait of alcoholism as there is---largely due to E.B.'s incredible vocal). Yet Burdon's gut-busting never overwhelms the other Animals (as would be the case with their "Sky Pilot" era successors), whose excellent ensemble playing keeps Eric's occasional hysteria in check without sacrificing emotion. Highlights include Hilton Valentine's ragged-but-right fuzz-tone excursions through "Don't Bring Me Down" and "That's All I Am To You"; a pair of gems from Burdon's big-band solo LP "Eric Is Here" (the Tom Jones-ish "Help Me Girl"; a playful "Mama Told Me Not to Come" that annihilates Three Dog Night's version); and several demos from the group's pre-Most period (including a staggeringly assured version of "I Just Wanna Make Love to You" that makes the Rolling Stones' take sound gauche and awkward). The boys even toss in a few decent originals, like the Burdon-Rowberry weeper "You're On My Mind" and "Cheating," a Burdon-Chandler jeremiad that sounds like thinly-veiled jab at manager Mike Jeffery. All dynamite stuff, perhaps a wee more Stax sounding (and guitar-heavy) than their earlier, Ray Charles-influenced records, but still spine-tingling. Most of this material is available on the "Animalisms" reissue (along with obligatory bonus tracks), but sentimentality pushed me to sing this CD's praises anyway. Now if only someone will get off their butt and reissue the American "Animalism" so we Animalites can dig the Newcastle Roughhousers takes on "Shake," "All Night Long", "Smokestack Lightning" and "Hey Gyp," among other treasures.
(https://www.amazon.com - Reviewed in the United States on December 10, 2002)

01. Inside Looking Out (03:48)
02. Outcast (03:05)
03. Don't Bring Me Down (03:17)
04. Cheating (02:26)
05. Help Me Girl (02:35)
06. See See Rider (04:01)
07. One Monkey Don't Stop No Show (03:21)
08. Maudie (04:04)
09. Sweet Little Sixteen (03:08)
10. You're On My Mind (02:55)
11. Clapping (01:22)
12. Gin House Blues (04:39)
13. Squeeze Her, Tease Her (03:00)
14. What Am I Living For (03:15)
15. I Put A Spell On You (02:57)
16. That's All I Am To You (02:25)
17. She'll Return It (02:43)
18. Mama Told Me Not To Come (02:16)
19. I Just Want To Make Love To You (03:47)
20. Boom Boom (03:51)
21. Big Boss Man (03:46)
22. Pretty Thing (02:37)

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Humble Pie - The Scrubbers Sessions (1997)

Year: May 5, 1997 (CD 1999)
Label: Eagle Records (Europe), EAGCD114
Style: Blues Rock, Rock
Country: Moreton, Essex, England
Time: 63:23
Format: Flac Tracks 16/44,1 kHz
Size: 387 Mb

The Scrubbers Session is a collection of unreleased material that Humble Pie and Steve Marriott recorded in the mid-'70s, as the group reached the end of the line. The music on the disc was initially planned as another Humble Pie album, yet it metamorphosized into a Marriott solo project over the course of recording. As a result, the record is substantially more interesting than many latter-day Humble Pie records, which were hampered by formulaic writing, yet the material is a little too unfocused to appeal to anyone but hardcore fans. Still, for those fans, The Scrubbers Sessions is essential, since it showcases Marriott breaking free from the limitations of Humble Pie and revitalizing himself artistically.
(allmusic.com/album/the-scrubbers-session-mw0000022322)

01. The Shake (02:48)
02. I Need A Star In My Life (02:47)
03. Lend Us A Quid (03:57)
04. Send Me Some Lovin' (03:17)
05. She Moves Me Man (04:17)
06. Street Rat (02:47)
07. Captain Goatcabin Balancing Stallions (03:00)
08. High And Happy (02:41)
09. Be My Baby (02:39)
10. It's All Over (03:31)
11. Bluegrass Interval (03:26)
12. Don't Take But A Fews Minutes (03:44)
13. Lousianne Blues (03:46)
14. You're A Heartbreaker (01:48)
15. Mona (02:41)
16. Cocaine (03:45)
17. I'll Find You (03:29)
18. Lord Let Me Hold Out (03:26)
19. Hambone (02:47)
20. Signed Sealed (02:37)

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Andrew Lloyd Webber - Jesus Christ Superstar (1970)

Year: 16 October 1970 (CD 2012)
Label: Decca Broadway (Germany), 5339271
Style: Rock Opera
Country: London, England (22 March 1948)
Time: 43:53, 43:17
Format: Flac Tracks 16/44,1 kHz
Size: 312, 306 Mb

Webber and Rice had earlier success with Joseph and the Amazing Technicolor Dreamcoat. Then, according to Webber, the Dean of St Paul's, Martin Sullivan, suggested they do the story of Jesus next. "Tim and I rather resisted it," Webber said, "but then Tim came up with this interesting angle. What if we told the story from Judas Iscariot's perspective?"
Lyrics in the 1964 Bob Dylan song "With God on Our Side" resonated with Rice: "You'll have to decide / Whether Judas Iscariot had God on his side." Another inspiration was an advertisement showing Tom Jones dressed in white with the word 'SUPERSTAR' emblazoned across him.
Rice and Webber wrote the title song, Superstar, first, in July 1969. Webber explained, “It was agreed that we would first sort of ‘send up a flag' to see whether the public would accept our approach to the subject." They spent the next four months producing the single. They wrote the rest of the songs from November 1969 to March 1970.
The album's story is based in large part on the Bible and Fulton J. Sheen's Life of Christ. Rice said, "I used the King James and Catholic versions - whichever was handier - interchangeably. My biggest aid was Fulton Sheen's Life of Christ, in which Bishop Sheen calibrates and compares the Gospels." However, greater emphasis is placed on the interpersonal relationships of the major characters, in particular, Jesus, Judas and Mary Magdalene, relationships that are not described in depth in the Gospels.
"Herod's Song" is a lyrical rewrite of "Try It and See", previously written by Lloyd Webber and Rice as a proposed British entry into the Eurovision Song Contest 1969 to be sung by Lulu, then recorded and released as a single by Rita Pavone. The writers had also included it (as "Those Saladin Days") in an aborted show about Richard the Lionheart called Come Back Richard Your Country Needs You.
The melody of "I Don't Know How to Love Him" also predates Jesus Christ Superstar; it was rewritten from a 1968 Lloyd Webber/Rice collaboration titled "Kansas Morning".
(en.wikipedia.org/wiki/Jesus_Christ_Superstar_(album))

01. Overture (03:59)
02. Heaven On Their Minds (04:22)
03. What's The Buzz - Strange Thing Mystifying (04:13)
04. Everythings All Right (05:14)
05. This Jesus Must Die (03:34)
06. Hosanna (02:09)
07. Simon Zealotes - Poor Jerusalem (04:47)
08. Pilate's Dream (01:28)
09. The Temple (04:43)
10. Everything's Alright (00:29)
11. I Don't Know How To Love Him (03:40)
12. Damned For All Time - Blood Money (05:10)

01. The Last Supper (07:08)
02. Gethsemane (I Only Want To Say) (05:35)
03. The Arrest (03:18)
04. Peter's Denial (01:28)
05. Pilate And Christ (02:44)
06. King Herod's Song (Try It And See) (03:02)
07. Judas' Death (04:15)
08. Trial Before Pilate (Including The 39 Lashes) (05:13)
09. Superstar (04:15)
10. Crucifixion (04:06)
11. John Nineteen Forty-One (02:07)

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Alice Cooper - Brutal Planet (2000)

Year: June 6, 2000 (CD 2000)
Label: Eagle Records (Australia), 8573839032
Style: Heavy Metal, Industrial Metal, Hard Rock
Country: Detroit, Michigan, U.S. (February 4, 1948)
Time: 52:12
Format: Flac Tracks 16/44,1 kHz
Size: 400 Mb

Brutal Planet is the fourteenth solo studio album by American rock musician Alice Cooper, released in 2000. Musically, it sees Cooper tackling a much darker and heavier approach than on previous albums, with many songs approaching a somewhat modern-sounding, industrial/metal sound.
Lyrically, Brutal Planet deals with themes of dark "social fiction", including domestic violence ("Take It Like a Woman"), prejudice ("Blow Me a Kiss"), psychopathic behavior ("It's the Little Things"), war ("Pick Up the Bones"), depression, suicide ("Sanctuary"), Neo-Nazism and school shootings ("Wicked Young Man"). The album was followed by a sequel, titled Dragontown (2001).
Doug Van Pelt, editor of the alternative Christian music-oriented HM Magazine, found that the lyrics communicated biblical morals "in a very powerful way". Van Pelt stated further that the final argument is provided in the title track, which condemns the systems of judgment that the world uses. Moreover, "Blow Me a Kiss" urges the listener to think deeper about spiritual matters.
(en.wikipedia.org/wiki/Brutal_Planet)

01. Brutal Planet (04:40)
02. Wicked Young Man (03:50)
03. Sanctuary (04:00)
04. Blow Me A Kiss (03:18)
05. Eat Some More (04:36)
06. Pick Up The Bones (05:14)
07. Pessi-mystic (04:56)
08. Gimme (04:46)
09. It's The Little Things (04:11)
10. Take It Like A Woman (04:12)
11. Cold Machines (04:14)
12. Can't Sleep, Clowns Will Eat Me (04:09)

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ZZ Top - ZZ Top's First Album (1971)

Year: January 16, 1971 (CD ????)
Label: Warner Bros. Records (Germany), 7599-27379-2
Style: Southern Rock, Pop Rock, Blues Rock
Country: Houston, Texas, U.S.
Time: 34:14
Format: Flac Tracks 16/44,1 kHz
Size: 212 Mb

ZZ Top's First Album may not be perfectly polished, but it does establish their sound, attitude, and quirks. Simply put, it's a dirty little blues-rock record, filled with fuzzy guitars, barrelhouse rhythms, dirty jokes, and Texan slang. They have a good, ballsy sound that hits at gut level, and if the record's not entirely satisfying, it's because they're still learning how to craft records - which means that they're still learning pacing as much as they're learning how to assemble a set of indelible material. Too much of this record glides by on its sound, without offering any true substance, but the tracks that really work - "(Somebody Else Been) Shaking Your Tree," "Backdoor Love Affair," "Brown Sugar," and "Goin' Down to Mexico," among them - show that from their very first record on, ZZ Top was that lil' ol' blues band from Texas.
(allmusic.com/album/zz-tops-first-album-mw0000193394)

01. (Somebody Else Been) Shaking Your Tree (02:29)
02. Brown Sugar (05:22)
03. Squank (02:49)
04. Goin' Down To Mexico (03:23)
05. Old Man (03:32)
06. Neighbor, Neighbor (02:19)
07. Certified Blues (03:28)
08. Bedroom Thang (03:53)
09. Just Got Back From Baby's (04:14)
10. Backdoor Love Affair (02:42)

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Journey - Infinity (1978)

Year: January 30, 1978 (CD 1994)
Label: MasterSound Records (US), CK 57207
Style: Hard Rock, Pop Rock
Country: San Francisco, California, U.S.
Time: 36:29
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

Charts: US #21, CAN #22, JPN #238, SWE #37. CAN^ Gold; US: 3x Platinum.
Looking for a stronger lead vocalist, Journey briefly enlisted Robert Fleischman and even recorded a few tracks with him, one of which, "For You", later appeared on the Time3 compilation album and Fleischman's solo album Perfect Stranger. Fleischman was soon replaced by Steve Perry, due to musical and management differences. Fleischman would later resurface as the first singer of the glam metal band Vinnie Vincent Invasion.
In "Feeling That Way", Perry dueted with keyboardist Gregg Rolie, who sings lead vocals on "Anytime".
"Patiently" was the first song Perry and Neal Schon wrote together. Perry wrote the lyrics, in which he expresses the sadness of being on the road and away from home, while also expressing admiration for the band's fans, and Schon wrote the music for the song. Other popular singles included "Lights" and "Wheel in the Sky". The latter was co-written with temporary frontman Fleischman.
Journey's manager, Herbie Herbert, enlisted English producer Roy Thomas Baker to produce Infinity. Baker produced a layered sound approach, similar to his work with Queen, as demonstrated on tracks such as "Winds of March" (with help from engineer Geoff Workman). In addition, Baker's method of stacked harmonies, notable on several other albums he produced, became trademarks of Journey's sound. He achieved this by having each vocalist (usually Perry and Rolie, sometimes joined by Valory and/or Schon) sing each harmony part in unison. This had the effect of making three or four voices sound like more, and is notable on the songs "Feeling that Way" and "Anytime", which are often played in tandem consecutively on radio stations as presented on the album.
The addition of Perry gave the band a more mainstream sound, and helped Journey attain their highest chart success to date.
(en.wikipedia.org/wiki/Infinity_(Journey_album))

01. Lights (03:10)
02. Feeling That Way (03:27)
03. Anytime (03:28)
04. La Do Da (03:01)
05. Patiently (03:20)
06. Wheel In The Sky (04:12)
07. Somethin' To Hide (03:27)
08. Winds Of March (05:04)
09. Can Do (02:39)
10. Opened The Door (04:37)

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Dave Cousins (ex Strawbs) - Two Weeks Last Summer (1972)

Year: October 1972 (CD 2004)
Label: Witchwood Media (UK), WMCD 2010
Style: Folk Rock, Progressive Rock
Country: Hounslow, Middlesex, England (7 January 1945)
Time: 38:32
Format: Flac Tracks 16/44,1 kHz
Size: 232 Mb

Dave Cousins' 1972 solo album was very much like a Strawbs record of the period, albeit one in which his songwriting and vocals dominated even more than they did on other Strawbs releases from the era. The Strawbs connection is enhanced by the presence of soon-to-be Strawb Dave Lambert on guitar and backing vocals, and just-ex-Strawb Rick Wakeman on keyboards. A couple of other moonlighters from star bands (bassist Roger Glover of Deep Purple and drummer Jon Hiseman of Colosseum) are onboard too, as are, on a couple tracks, the wind septet of Robert Kirby, most known for his contributions to Nick Drake recordings. Like the Strawbs albums from the time, it shows a move toward a folk-rock/harder rock blend as compared to Cousins' folkier beginnings, though a few cuts mostly or wholly feature only Cousins accompanying himself on piano. Too, some of these songs -- such as "Two Weeks Last Summer," "October to May," and "We'll Meet Again Sometime" -- had actually been recorded with the Strawbs prior to inclusion on this release, even if the Strawbs versions didn't find their way into wide release until the CD era. It's not as good as the best Strawbs stuff, however, in part because it lacks as much of a group dynamic, in part because it doesn't have Cousins' most outstanding songs. All that noted, fans of Cousins and the Strawbs are pretty solidly guaranteed to find something to appreciate here, as the songs are very much in his tradition of haunting melodies and involved lyrics, sometimes with a story-spinning, remembrance-of-things-past bent. Lingering echoes of psychedelia are felt in the distorted vocals, foggy organ, backward washes of sound, and tinkling bells of the title track; the three-part "Blue Angel" is indicative of his taste for song-epics; and "The Actor" is an above-average hard rocker, Cousins' electronically treated singing sounding as if it's rising from a boiling pot. Long unavailable on CD, it was finally issued in that format on SDR Records in 2003.
(allmusic.com/album/two-weeks-last-summer-mw0000741189)

01. Two Weeks Last Summer (03:07)
02. October To May (02:27)
03. Blue Angel (09:48)
04. The World (01:45)
05. That's The Way It Ends (01:15)
06. The Actor (04:28)
07. When You Were A Child (03:02)
08. Ways And Means (04:22)
09. We'll Meet Again Sometime (04:48)
10. Going Home (03:24)

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Susana Baca - Espiritu Vivo (2002)

Year: 2002 (CD 2002)
Label: Luaka Bop Records (Europe), VVR1030042
Style: Folk, World, Jazz
Country: Chorrillos, Lima Province, Peru (24 May 1944)
Time: 56:35
Format: Flac Tracks 16/44,1 kHz
Size: 322 Mb

Recorded in New York just after the trauma of 9/11, Espiritu Vivo marries Susana Baca's wonderfully airy vocals and her usual Peruvian backing band with the downtown N.Y.C. sounds of John Medeski and guitarist Marc Ribot -- and it proves to be a wonderful union indeed. Recorded before a small invited audience, this has the immediacy of a live album, with the benefits of the studio, a superb balance of instruments. As usual, most of the material comes from the Afro-Peruvian canon that's Baca's hallmark, but she does draw upon outsiders for three interesting covers: Mongo Santamaria's "Afro Blue," Caetano Veloso's "13 de Mayo," and most surprisingly of all, "Anchor Song" from Bjork. But she integrates them perfectly into her style, taking them all to a place they'd never imagined, where her voice can be dreamlike over a simple backing, as on the gorgeous "Si Me Quitaran Totalamente Todo" and "Les Feuilles Mortes," or more rhythmically lively, which she finds on "Caracunde" and "Se Me Van los Pies." Medeski and Ribot work well with the combo, Ribot especially, offering unusual atmospheric licks throughout, while Medeski's Hammond organ offers a warm bed a sound for Baca's voice. Given the time and place of recording, there's an astonishingly transcendental quality to the record, as if Baca is giving every iota of herself to the music, and the players are following her lead. Her best album to date, which is quite a claim.
(allmusic.com/album/esp%C3%ADritu-vivo-mw0000217477)

01. La Noche Y El Dia (04:41)
02. Si Me Quitaran Totalmente Todo (03:31)
03. Caracunde (04:09)
04. El Fusil (05:32)
05. Se Me Van Los Pies (05:34)
06. 13 De Mayo (04:19)
07. Toro Mata (06:40)
08. Aparacion (05:05)
09. Afro-Blue/Zum Zum (05:19)
10. Les Feuilles Mortes (05:52)
11. Anchor Song (05:48)

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The Allman Brothers Band - Idlewild South [MFSL-CD] (1970)

Year: September 1970 (CD 2007)
Label: Mobile Fidelity Sound Lab (US), UDCD 769
Style: Blues Rock
Country: Jacksonville, Florida, U.S.
Time: 30:53
Format: Flac Tracks 16/44,1 kHz
Size: 202 Mb

The Allman Brothers Band formed in March 1969, and began writing music and touring together. By that August, the group had recorded its self-titled debut, The Allman Brothers Band, which was released that November on Capricorn Records, a division of Atlantic Records. The record received a poor commercial response, selling less than 35,000 copies upon initial release. Executives suggested to the band's manager and Capricorn president, Phil Walden, that he relocate the band to New York or Los Angeles to increase their exposure. "They wanted us to act "like a rock band" and we just told them to "fuck themselves," remembered Trucks. For their part, the members of the band remained optimistic, electing to stay in the South. "Everyone told us we'd fall by the wayside down there," said Gregg Allman, but the collaboration between the band and Capricorn Records "transformed Macon from this sleepy little town into a very hip, wild, and crazy place filled with bikers and rockers." In March 1970, Oakley's wife rented a large Victorian home on 2321 Vineville Avenue in Macon, which they dubbed "the Big House".
Idlewild South was the band's first effort with Tom Dowd, known for his work with Cream and John Coltrane. Dowd first heard the band rehearsing while visiting Capricorn Sound Studios in Macon, asking their name and remarking to Walden, "Get them the hell out of there and give them to me in the studio. They don't need to rehearse; they're ready to record". Dowd was initially scheduled to work with the band on their debut album but was called away at the last minute. Initially, the band had asked friend and colleague Johnny Sandlin to produce their second album, but as recording inched closer, it became obvious they wanted him to co-produce with Dowd. In one of their first sessions, Sandlin was giving suggestions and acting as a co-producer, though no one had informed Dowd; Sandlin was embarrassed and did not return to the studio.
(en.wikipedia.org/wiki/Idlewild_South)

01. Revival (04:05)
02. Don't Keep Me Wonderin' (03:29)
03. Midnight Rider (02:59)
04. In Memory Of Elizabeth Reed (06:56)
05. Hoochie Coochie Man (04:59)
06. Please Call Home (04:04)
07. Leave My Blues At Home (04:19)

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The Albion Dance Band - I Got New Shoes (1987)

Year: 1987 (CD 1988)
Label: Making Waves Records (UK), SPIN CD 132
Style: Rock, Folk Rock
Country: England
Time: 37:25
Format: Flac Tracks 16/44,1 kHz
Size: 214 Mb

The Albion Band, also known as The Albion Country Band, The Albion Dance Band, and The Albion Christmas Band, is a British folk rock band, originally brought together and led by musician Ashley Hutchings. An important grouping in the genre, it has contained or been associated with a large proportion of major English folk performers in its long and fluid history.
The one constant in the band's history has been the band leader Ashley Hutchings, founding member of two other English folk rock groupings Fairport Convention and Steeleye Span, and it has been the home for most of the projects of his long career, though in the 2011 incarnation of the band he has handed over the reins to his son Blair Dunlop. This version continued until 2014.
Hutchings continues to perform in a separate Christmas-themed incarnation (occasionally featuring Dunlop) The Albion Christmas Band that was first established in 2005.
Initially Hutchings formed the band in April 1971 to accompany his then wife the singer Shirley Collins on her No Roses album. Dave Mattacks, Richard Thompson and Simon Nicol (from Fairport Convention), Lal and Mike Waterson (of The Watersons) and Maddy Prior, were among twenty five credited backing musicians. On a short tour, core members were joined by Richard Thompson and his then wife Linda Thompson. Several members contributed with Hutchings to the project Morris On (1972), including John Kirkpatrick, Richard Thompson and Dave Mattacks, and cumbersomely all their names appeared on the album cover.
(en.wikipedia.org/wiki/The_Albion_Band)

01. I Got New Shoes (02:51)
02. Bell Tower Polka, Seneca Two Step (03:50)
03. Hopping Down In Gwent, Welsh Girls (04:17)
04. I Only Wanna Dance With You (03:14)
05. The Leaving Of Wessex (04:04)
06. Loose Hornpipe, Dancing Till Monday Comes Around (03:37)
07. The Three Toed Tumbler (03:01)
08. Trip To Bath (02:43)
09. You Ain't Natalie Wood & I Ain't James Dean (03:03)
10. The Gloucestershire Almain (04:01)
11. Young Love On The Dance Floor (02:40)

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Suzi Quatro - Suzi Quatro [8 bonus tracks] (1973)

Year: October 1973 (CD 2011)
Label: 7T's Records (Europe), GLAM CD 118
Style: Rock, Hard Rock, Glam Rock
Country: Detroit, Michigan, U.S. (Susan Kay Quatro)
Time: 73:59
Format: Flac Tracks 16/44,1 kHz
Size: 511 Mb

Charts: US #142, AUS #5, AUT #5, CAN #71, GER #4, JPN #25, NOR #6, UK #32.
Suzi Quatro is the debut solo studio album by the American singer-songwriter and bass guitarist of the same name. It was titled Can the Can in Australia.
The album was a critical and commercial success, achieving international popularity upon its release, reaching the top 50 in the charts in several territories, peaking at number 32 in the UK Albums Chart, number 4 in Germany, number 5 in the Netherlands, and number 2 in Australia. The LP also achieved minor success in the United States, entering the top 150 in the charts there. The single "Can the Can", which was included on the album in most countries, became Quatro's most successful hit, reaching number one in the charts in several European countries and Australia, and had modest success in the US, peaking at 56 in the charts in 1976 when it was re-released in that country a few years later. The album also spawned her second single "48 Crash" which also achieved commercial success, reaching the top ten in several countries, including the UK where it went to number 3.
The Elvis Presley cover "All Shook Up" was given a limited release as a single in the United States, peaking at number 85 on the Billboard Hot 100. Quatro would later claim that Presley himself contacted her and told her that her cover of his song was "the best since [his] own".
Bravo is the largest magazine for teenagers in German-speaking Europe. Each year, the readers of this magazine select the Bravo Otto award winners.
Quatro has won the following Bravo Otto awards:
1973 Gold for female singer
1974 Gold for female singer
1975 Bronze for female singer
1978 Bronze for female singer
1979 Bronze for female singer
1980 Silver for female singer
(en.wikipedia.org/wiki/Suzi_Quatro_(album))

01. 48 Crash (03:55)
02. Glycerine Queen (03:49)
03. Shine My Machine (03:50)
04. Official Suburbian Superman (03:07)
05. I Wanna Be Your Man (03:20)
06. Primitive Love (04:14)
07. All Shook Up (03:50)
08. Sticks and Stones (03:41)
09. Skin Tight Skin (04:22)
10. Get Back Mama (05:57)
11. Rockin' Moonbeam (02:54)
12. Shakin' All Over (03:34)
13. Rolling Stone (02:46)
14. Brain Confusion (For All the Lonely People) (03:11)
15. Can the Can (03:36)
16. Ain't Ya Somethin' Honey (04:07)
17. Little Bitch Blue (03:27)
18. Daytona Demon (04:02)
19. Roman Fingers (03:48)
20. Ain't Got No Home (02:19)

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Tabula Rasa - Tabula Rasa (1975)

Year: 1975 (CD ????)
Label: Love Records (Finland), LRCD 135
Style: Symphonic Rock, Progressive Rock
Country: Kangasala, Finland
Time: 39:48
Format: Flac Tracks 16/44,1 kHz
Size: 230 Mb

Tabula Rasa was a major progressive rock group from Finland founded in 1972, however the band split up in 1977.
The original members were Heikki Silvennoinen, Asko Pakkanen, and Tapio Suominen. British rock band Cream might have been their biggest source of inspiration though they followed contemporary trends of prog-rock. Jethro Tull and King Crimson were direct progressive rock influences from the United Kingdom.
In 1975, under the record label Love Records, they published their first album "Tabula Rasa" as well as single "Prinssi/Lahto".
The debut album has been pretty well regarded though Mikko Alatalo's political lyrics have been somewhat controversial. The band was closely associated to this rock singer who wrote lyrics for them and for whom they also worked as backing musicians (Alatalo's gigs brought them more money than playing their own music). Silvennoinen composed most of songs.
They made their second and last album "Ekkedien Tanssi" in 1976.
The band disbanded in 1977. Heikki Silvennoinen and drummer Jukka Aronen left the group due to the fading popularity of prog-rock. Some members also had become religious which decreased their interest in the band.
(en.wikipedia.org/wiki/Tabula_Rasa_(Finnish_band))

01. Lahto (03:56)
02. Miks' ette vastaa vanhat puut (03:10)
03. Tuho (06:22)
04. Gryf (06:37)
05. Tyhja on taulu (04:11)
06. Nyt maalaan elamaa... (04:06)
07. Vuorellaistuja (08:15)
08. Prinssi (03:09)

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Styx - Styx II [Japan Ed. SHM-CD] (1973)

Year: July 1973 (CD Jul 27, 2016)
Label: Universal Music (Japan), UICY-77820
Style: Rock, Pop Rock
Country: Chicago, Illinois, U.S.
Time: 37:40
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

Charts: US #20. US: Gold.
After releasing their debut album, which consisted mostly of cover songs, the band intended to write some strong original new material; Dennis DeYoung was particularly in favor of this. DeYoung had written a song by himself on an electric piano in the band's garage, and had originally intended for it to be on the first album. He later decided to play it on an acoustic piano. However, Bill Traut wanted to save it for the second album. The result was "Lady", written about DeYoung's wife Suzanne.
"Lady" failed to be a hit when it was first released in 1973; however, after the band released their fourth album Man of Miracles in 1974, they went to WLS, the most powerful Chicago radio station at the time, and convinced the program director (Jim Smith) to replay this song. It wound up being played frequently on the air in Chicago. In May 1975, the song broke out nationally, eventually peaking at no. 6 on the Billboard charts.
Besides "Lady," the album contained some upbeat and prog rock songs, such as the rockers "You Need Love" and "I'm Gonna Make You Feel It," which were written by DeYoung and sung by James "JY" Young.
This is also the first album on which John Curulewski wrote and sang on two songs: the proggish, jazzy "A Day," which has an unusual sound for the band, and the boogie humor song "You Better Ask," whose outro features a snippet of "Strangers in the Night" on calliope organ and an evil laugh.
Side 2 opens with a DeYoung rendition of "Little Fugue in G" by Bach, played on pipe organ at a Chicago Cathedral, and segues into the mellow prog rocker "Father O.S.A."
The rocker "Earl of Roseland" was written by DeYoung based on early memories from when he grew up in Chicago's Roseland neighborhood, where he had formed the band with the Panozzo brothers.
(en.wikipedia.org/wiki/Styx_II)

01. You Need Love (03:45)
02. Lady (03:00)
03. A Day (08:24)
04. You Better Ask (03:56)
05. Little Fugue In 'G' (01:17)
06. Father O.S.A. (07:07)
07. Earl Of Roseland (04:41)
08. I'm Gonna Make You Feel It (02:27)
09. Unfinished Song / Bonus Track (02:59)

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Supertramp - The Autobiography Of Supertramp (1986)

Year: 10 October 1986 (CD 1986)
Label: A&M Records (West Germany), A&M 393904-2
Style: Rock, Pop
Country: London, England
Time: 67:19
Format: Flac Tracks 16/44,1 kHz
Size: 392 Mb

Charts: UK #9, BEL #15, CAN #12, GER #45, NL #61. SWI: Gold; NZ & UK: Platinum.
The Autobiography of Supertramp is the first compilation album by the English rock band Supertramp, released in 1986.
The collection features the most popular songs from the albums Crime of the Century, Even in the Quietest Moments, Breakfast in America, ...Famous Last Words..., and Brother Where You Bound. The CD version adds three tracks, including a song from Crisis? What Crisis?.
The cover art shows a suit-wearing, faceless man seated in a train carriage reading a book with his own face on the cover. The view from the train window shows the platform with stylised versions of the cover art from three of Supertramp's albums.
The album was also released in the US as Classics, Volume 9, part of A&M's 25th Anniversary series (1987).
(en.wikipedia.org/wiki/The_Autobiography_of_Supertramp)

01. Goodbye Stranger (04:29)
02. The Logical Song (03:48)
03. Bloody Well Right (04:17)
04. Breakfast In America (02:39)
05. Rudy (07:19)
06. Take The Long Way Home (04:06)
07. Crime Of The Century (05:33)
08. Dreamer (03:33)
09. Ain't Nobody But Me (05:07)
10. Hide In Your Shell (06:48)
11. From Now On (06:11)
12. Give A Little Bit (04:08)
13. It's Raining Again (04:23)
14. Cannonball (04:51)

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Status Quo - Piledriver (1972)

Year: 15 December 1972 (CD ????)
Label: Repertoire Records (Germany), REP 4119-WP
Style: Pop Rock, Rock, Hard Rock
Country: London, England
Time: 48:08
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

Charts: UK #5, AUS #15, Fin #13, GER #31, NOR #23. FRA, SWE & UK: Gold; AUS: Platinum.
The album was the first the group recorded after they had switched labels from Pye to Vertigo. When recording for Pye, the studio staff had complained about the volume as it would overload the input levels on the recording desk and distort, but for Piledriver, they could bring their touring gear into IBC Studios and record live at stage levels, giving them a much stronger sound.
The opening song, "Don't Waste My Time" was written by Francis Rossi and Bob Young in the soon-to-be trademark shuffle style the group would become famous for. The lyrics complain about a girl not being serious about a relationship and messing around. The song became a live favourite, and frequently got audiences bouncing around at gigs.
"Paper Plane" was written by Rossi and Young; the lyrics included a reference to the Mercedes-Benz 600 used by the band, which they called a "three grand Deutsche car". It was the album's only single, with the B-side "Softer Ride" (written by Rick Parfitt and Alan Lancaster), which was to become the first in a sequence of thirty-three Top 40 hits on the UK Singles Chart when it peaked at #8 after its release in November 1972. The B-side would later be incorporated into the band's following album, Hello!, released the following year.
The group heard the Doors' "Roadhouse Blues" while touring Bielefeld, Germany, in 1970, and enjoyed its 12-bar shuffle, using it as a template for other songs. The group's arrangement was longer than the original, featuring another verse and three-part harmony vocals.
(en.wikipedia.org/wiki/Piledriver_(album))

01. Donґt Waste My Time (04:23)
02. O Baby (04:41)
03. A Year (05:51)
04. Unspoken Words (05:12)
05. Big Fat Mama (05:57)
06. Paper Plane (03:02)
07. All The Reasons (03:42)
08. Roadhouse Blues (07:33)
09. Joanne (b-side of 'Caroline') (04:10)
10. Lonely Night (b-side of 'Break The Rules') (03:32)

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Strawbs - Grave New World [Japan Ed.] (1972)

Year: February 1972 (CD Apr 21, 1989)
Label: A&M Records (Japan), D18Y4118
Style: Progressive Rock, Folk Rock
Country: England
Time: 36:46
Format: Flac Tracks 16/44,1 kHz
Size: 198 Mb

Strawbs are an English rock band founded in 1964. Led throughout by talented musician Dave Cousins, they are best-known for their folk-rock and progressive rock albums of the 1970s and for including Sandy Denny as an early member of the band (before she joined Fairport Convention) and Rick Wakeman for two albums (before he moved on to Yes).
Strawbs were originally known as the Strawberry Hill Boys. Their long-time leader and most active songwriter is guitarist and singer Dave Cousins (guitar, dulcimer, banjo, vocals) (born David Joseph Hindson, 7 January, 1945, in Hounslow, Middlesex). In the early days Strawbs played with Sandy Denny (later lead singer of Fairport Convention and Fotheringay).
Although they started out in the sixties as a bluegrass band, the Strawberry Hill Boys' repertoire soon shifted to favour their own (mainly Cousins') material. They were the first UK signing to Herb Alpert's A&M Records and recorded their first single "Oh How She Changed" b/w "Or Am I Dreaming" in 1968, which was produced and arranged by two highly influential seventies’ producers, Gus Dudgeon and Tony Visconti, who also worked on their critically acclaimed first album, Strawbs, which was released in 1969. (Note: Although that first single was issued in the U.S. on A&M, neither of their first two A&M LP's were issued in the US until around 1975.)
(full version: last.fm/music/Strawbs/+wiki)

01. Benedictus (04:24)
02. Hey, Little Man ... Thursday's Child (01:05)
03. Queen Of Dreams (05:34)
04. Heavy Disguise (02:54)
05. New World (04:14)
06. Hey, Little Man ... Wednesday's Child (01:08)
07. The Flower And The Young Man (04:20)
08. Tomorrow (04:51)
09. On Growing Older (01:57)
10. Ah Me, Ah My (01:25)
11. Is It Today, Lord? (03:07)
12. The Journey's End (01:43)

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Steve Forbert - Alive On Arrival (1978)

Year: 1978 (CD 1987)
Label: Nemperor Records (US), ZK 35538
Style: Folk, Americana, Pop Rock
Country: Meridian, Mississippi, U.S. (December 13, 1954)
Time: 37:28
Format: Flac Tracks 16/44,1 kHz
Size: 223 Mb

American singer/songwriter Steve Forbert rose to popularity in 1979 thanks to his breakout hit "Romeo's Tune," a tuneful slice of Americana-driven rock with a memorable piano melody and a poetic sense of introspection that became one of his hallmarks. When his next two albums failed to make as big a commercial impact, he left New York and set up shop in Nashville, mounting a comeback with 1988's Streets of This Town, which he followed with a string of albums throughout the '90s. His 2002 tribute to Jimmie Rodgers, Any Old Time, earned a Grammy nomination, and Keith Urban's 2007 cover of "Romeo's Tune" helped revive interest in Forbert's biggest hit. Heading into the 2010s, he continued to release quality folk-rock albums, offering a pair of late-career highlights in 2012's Over with You and 2018's The Magic Tree. He remained consistently prolific heading into the next decade, first with a covers album, followed by the winsome Moving Through America in 2022.
Forbert was born in Meridian, Mississippi, in 1954. After learning guitar at age 11, he spent his high school years playing in a variety of local bands before quitting his job as a truck driver and moving to New York City at the age of 21. There, he performed for spare change in Grand Central Station and worked his way up to the Manhattan club circuit. After signing to CBS imprint Nemperor, Forbert debuted in 1978 with Alive on Arrival, which earned critical acclaim for its taut, poetic lyrics. The follow-up, 1979's Jackrabbit Slim, was his most successful outing, reaching the Top 20 on the strength of the hit single "Romeo's Tune." Earning comparisons to Bruce Springsteen and Bob Dylan, Forbert recorded two more albums for Nemperor in 1980's Little Stevie Orbit and a 1982 self-titled effort, which in spite of their quality, failed to produce another hit along the lines of his breakout.
After parting with Nemperor and New York, Forbert spent much of the decade in Nashville, where he continued honing his songwriting skills and performed regularly throughout the South. In 1988, he signed to Geffen, where the E Street Band's Garry Tallent produced his comeback album, Streets of This Town. Pete Anderson took over the production reins for 1992's The American in Me, but Forbert's continued lack of chart success prompted the label to cut him loose. A deal with the Warner Bros.-affiliated Giant label resulted in two more studio albums, 1995's Mission of the Crossroad Palms and 1996's Rocking Horse Head, but in 1998 Forbert moved into independent territory for the rollicking live set Here's Your Pizza. He signed with Koch Records for his next studio LP, 2000's Evergreen Boy, where he also released 2002's Any Old Time, a tribute to country music legend and fellow Mississippian Jimmie Rodgers, which earned him a Grammy nomination. Another album of his own material, Just Like There's Nothin' to It, appeared in 2004.
During this period, Forbert also released two compilations of rare and unreleased material -- Young, Guitar Days and More Young, Guitar Days -- as well as several live recordings. On Stage at World Cafe Live appeared in 2007 from Decca Vision as well as a new studio set, Strange Names and New Sensations, from 429 Records that same year. The Place and the Time arrived in 2009. The Chris Goldsmith-produced Over with You, a sparse song cycle that showed Forbert's fine songwriting skills, appeared in 2012. Compromised, a thoughtful and easygoing set including contributions from Joey Spampinato of NRBQ, songwriter and trumpeter Kami Lyle, and veteran producer John Simon, arrived in 2015, while 2017 saw the release of Flying at Night, his 17th studio long-player.
Coinciding with the publication of his 2018 memoir, Big City Cat: My Life in Folk-Rock, Forbert released his next album, The Magic Tree. A winsome set of songs cobbled out of several previously recorded acoustic demos, the record benefitted from a loose, free-flowing charm that paired well with the reflective tone of his memoir. 2020's covers set Early Morning Rain also saw Forbert looking back, albeit through the lens of songs he's loved throughout his life, putting his stamp on classics by Leonard Cohen, Gordon Lightfoot, Elton John, and others. 2022's Moving Through America played like an earthy, wayfaring road album with highlights like the playful "Fried Oysters."
(allmusic.com/artist/steve-forbert-mn0000752673)

01. Goin' Down To Laurel (05:00)
02. Steve Forbert's Midsummer Night's Toast (02:48)
03. Thinkin' (03:27)
04. What Kinda Guy? (02:35)
05. It Isn't Gonna Be That Way (04:56)
06. Big City Cat (02:51)
07. Grand Central Station, March 18, 1977 (04:14)
08. Tonight I Feel So Far Away From Home (03:13)
09. Settle Down (03:47)
10. You Cannot Win If You Do Not Play (04:32)

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Thom Yorke (ex Radiohead) - The Eraser (2006)

Year: 10 July 2006 (CD Jul 10, 2006)
Label: XL Recordings (Europe), XLCD200
Style: Experimental Rock, Indie Electronic
Country: Wellingborough, Northamptonshire, England (7 October 1968)
Time: 41:00
Format: Flac Tracks 16/44,1 kHz
Size: 268 Mb

Charts: UK #3, AUS #2, BEL(FL) #3, BEL(WA) #5, CAN #2, DEN #6, FRA #6, IT #5, NOR #10, US #2. UK & CAN: Gold.
According to the Guardian, The Eraser features "skittery" and "pattery" beats and "minimal post-rockisms". The Los Angeles Times wrote that it combined Yorke's laptop electronica with "soulful" political songs. Pitchfork described it as "glitchy, sour, feminine, brooding". Citing inspiration from the 1997 Bjork album Homogenic, Yorke said The Eraser was designed to be heard in an "isolated space – on headphones, or stuck in traffic". In 2019, Uproxx said it was Yorke's "most straightforward" solo album, "the frontman of a famous rock band essentially presenting his latest tunes in the guise of a singer-songwriter record".
David Fricke of Rolling Stone felt the lyrics had an "emotional and pictorial directness" that was rare for Yorke. "And It Rained All Night" and "Cymbal Rush" address climate change and cataclysmic floods. The lines "No more going to the dark side with your flying saucer eyes / No more falling down a wormhole that I have to pull you out", from "Atoms for Peace", were inspired by an "admonition" from Yorke's partner, Rachel Owen. The song title references a 1953 speech by the American president Dwight D. Eisenhower.
According to The Globe and Mail, "The Clock", influenced by Arabic music, is a "gliding, droning song about losing control while pretending 'that you are still in charge'". "Analyse" was inspired by a power outage in Yorke's hometown of Oxford: "The houses were all dark, with candlelight in the windows, which is obviously how it would have been when they were built. It was beautiful." He said the album title addresses the "elephants in the room" that "people are desperately trying to erase ... from public consciousness".
Yorke wrote "Harrowdown Hill" about David Kelly, a whistleblower who died after telling a reporter that the British government had falsely identified weapons of mass destruction in Iraq. Kelly's body was found in the Harrowdown Hill woods near Yorke's former school in Oxfordshire. According to The Globe and Mail, the song resembles a love song with a sense of "menace" and "grim political showdown". Yorke was uncomfortable about the subject matter and conscious of Kelly's grieving family, but felt that "not to write it would perhaps have been worse". He described it as the angriest song he had ever written.
(en.wikipedia.org/wiki/The_Eraser)

01. The Eraser (04:55)
02. Analyse (04:02)
03. The Clock (04:13)
04. Black Swan (04:49)
05. Skip Divided (03:35)
06. Atoms For Peace (05:13)
07. And It Rained All Night (04:15)
08. Harrowdown Hill (04:38)
09. Cymbal Rush (05:14)

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Status Quo - Spare Parts (1969)

Year: 26 September 1969 (CD 2000)
Label: Castle Music (USA), CMAR619
Style: Pop Rock, Rock
Country: London, England
Time: 59:20
Format: Flac Tracks 16/44,1 kHz
Size: 365 Mb

Spare Parts is the second studio album by the English rock band Status Quo, and their final one in the psychedelic vein. It is the first album to feature songwriting contributions from the band's road manager Bob Young. Released in September 1969, it was not a commercial success.
The only single released from the album was the Anthony King–written song "Are You Growing Tired of My Love", backed with the Alan Lancaster composition "So Ends Another Life". Released in April 1969, it reached no. 46 on the UK singles charts.
At the same time as the album's release in September 1969, the band released a non-album single – the Everly Brothers' "The Price of Love" with the album track "Little Miss Nothing", written by Francis Rossi and Rick Parfitt, as the B-side.
(en.wikipedia.org/wiki/Spare_Parts_(album))

01. Face Without A Soul (03:08)
02. You're Just What I Was Looking For Today (03:49)
03. Are You Growing Tired Of My Love (03:37)
04. Antique Angelica (03:23)
05. So Ends Another Life (03:12)
06. Poor Old Man (03:39)
07. Mr Mind Detector (04:02)
08. The Clown (03:24)
09. Velvet Curtains (02:59)
10. Little Miss Nothing (03:02)
11. When I Awake (03:52)
12. Nothing At All (03:58)
13. The Price Of Love [bonus track] (03:41)
14. Josie [out-take] [bonus track] (03:37)
15. Do You Live In Fire [out-take] [bonus track] (02:16)
16. Hey Little Woman [previously unreleased version] [bonus track] (03:55)
17. Are You Growing Tired Of My Love [original mono version] [bonus track] (03:38)

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Ike and Tina Turner - 36 Shakin Soul Standards [2CD] (2000)

Year: 1960s - 1970s (CD Dec 13, 2000)
Label: Excellence De Luxe (Holland), EXCEL208
Style: R&B, Soul, Pop
Country: St. Louis, Missouri, U.S.
Time: 59:19, 55:11
Format: Flac Tracks 16/44,1 kHz
Size: 343, 309 Mb

Things really began to change for Turner in 1956, when he met a teenager named Anna Mae Bullock. The young singer joined the band, and Ike helped transform her into Tina Turner by changing her name. They were soon performing as the Ike & Tina Turner Revue, and Ike wrote their first major hit “A Fool In Love,” released 1960. Others followed, including “I Idolize You,” “Poor Fool,” and “It’s Going to Work Out Fine,” which earned them their first Grammy nomination.
Offstage, they developed a romantic relationship and had a son, Ronnie. Ike and Tina then married in 1962 in Tijuana, Mexico. Although Ronnie was their only son together, they shared three others-Ike Jr. and Michael from a previous relationship of Ike’s, as well as Craig from Tina’s previous relationship-by adoption.
Ike and Tina were invited to open for the Rolling Stones in the late 1960s, which introduced their bold style of soul-infused rock music to a new audience. They found crossover success with a cover of Creedence Clearwater Revival’s “Proud Mary,” which made it on Billboard’s pop and R&B charts. This song also earned them their first and only Grammy Award together, in 1971, for Best R&B Vocal Performance by a Group.
Their last hit together was “Nutbush City Limits,” written by Tina and released in 1973. One of their final albums together, The Gospel According To Ike and Tina earned them their final Grammy nod for Best Soul Gospel Performance.
Although they had been a successful stage act for years, Ike and Tina had a very different life behind the scenes. Ike had developed a cocaine addiction, and Tina finally left him in 1976 after enduring years of physical abuse and Ike’s infidelity. After 16 years of marriage, their divorce was finalized in 1978, with Ike retaining most of their assets.
(full version: biography.com/musicians/ike-turner)

01. River Deep Mountain High (03:58)
02. Come Together (03:28)
03. Nutbush City Limits (02:57)
04. I Idolize You (04:02)
05. I Want To Take You Higher (04:30)
06. Ain't Nobody's Business (02:05)
07. I Know (03:26)
08. It Sho' Ain't Me (03:06)
09. Keep On Using Me (02:44)
10. Baby Get It On (03:12)
11. Too Hot To Hold (02:07)
12. We Need Understanding (02:36)
13. Stand By Me (03:45)
14. A Fool For You (05:06)
15. Country Girl City Man (02:48)
16. I Can't Stop Loving You (03:31)
17. It's All Over (02:49)
18. Oooh Pooh Pah Doo (03:03)

01. Something (04:11)
02. I Can't Believe What You Say (03:32)
03. My Babe (03:44)
04. Poor Fool (02:36)
05. Rock Me Baby (02:43)
06. Livin' For The City (02:13)
07. I Smell Trouble (03:47)
08. You Got What YOu Wanted (02:25)
09. Philadelphia Freedom (04:07)
10. Beauty Is Hust Skin Deep (02:15)
11. Crazy 'Bout You Baby (03:26)
12. Honey Child I'm Over You (02:16)
13. I Gotta Man (04:59)
14. Ain't That A Shame (02:30)
15. Please Love Me (02:13)
16. If You Can Hully Gully (I Can Hully Too) (03:15)
17. Betcha Can't Kiss Me (02:49)
18. I'm Blue (02:03)

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Hatfield And The North - The Rotters' Club (1975)

Year: March 1975 (CD 2009)
Label: Esoteric Recordings (UK), ECLEC2140
Style: Art Rock, Progressive Rock, Jazz-Rock, Canterbury Scene
Country: Canterbury, England
Time: 62:21
Format: Flac Tracks 16/44,1 kHz
Size: 390 Mb

Displaying some of the most stunning musicianship ever associated with England's Canterbury scene, Hatfield and the North's second LP features, like their eponymous debut, Dave Stewart on keyboards, Phil Miller on guitar, Richard Sinclair on bass and vocals, and Pip Pyle on drums (supplemented by a few guest instrumentalists and the ever-ethereal Northettes with their "la la" backing vocals). The participants show an admirable sense of restraint and, like their Canterbury peers, are careful to avoid the pomposity and bombast of better-known prog rockers of the era, such as Emerson, Lake & Palmer and Yes. The Hatfields' convoluted instrumental passages segue into the occasional Sinclair vocal vehicle, in which the exemplary bassist sings in a polite and mellow croon that utterly avoids melismatic displays, histrionics, or over-emoting; in other words, his style -- closer to, say, Bing Crosby than, say, Joe Cocker -- would likely cause many 21st century pop music listeners to scratch their heads with bemusement. And the songs' rather whimsical lyrical content, while perhaps another conscious attempt to steer clear of the pretentiousness of the typically overbearing prog rock song style, certainly reflects a '60s/'70s mindset more than a 21st century one, so today's jaded listeners should realign their expectations. Things get off to a strong start with "Share It," a catchy little number with Sinclair expressing some idealistic and hard-to-criticize Brit hippie sentiments. Elsewhere, the "songs" are few and far between, but crop up in odd spots nevertheless; the Hatfields were masters of the segue and the most accomplished demonstrations of instrumental technique wind up bleeding into ditties that might seem out of place to some. But Stewart, Miller, Sinclair, and Pyle all make wonderful instrumental statements. Particularly noteworthy are Miller's two short jazzy numbers, "Lounging There Trying" and "Underdub," which, with their sparkling electric piano work from Stewart, have a light and airy improvisational feel despite rather thorough scoring; Pyle's propulsive "Yes No Interlude" with its furious melding of Stewart's keyboards and the sax of guest Jimmy Hastings; and Stewart's 20-minute opus "Mumps." The latter is particularly impressive, with everything anyone would want from an extended-form Canterbury-style workout. The piece ebbs and flows through nimbly executed thematic passages and variations, featuring one of Stewart's most compelling themes and also one of the best fuzz organ solos that he (or Mike Ratledge or David Sinclair for that matter) ever recorded. Smack dab in the middle of it all, another Sinclair-sung tune arrives, this time making punning use of letters of the alphabet. But the suite gets back on track with a dramatic instrumental coda, melding spacy effects, more great organ playing from Stewart, and spectacularly executed unison lines from Miller and Hastings in crescendo before the final fade.
(allmusic.com/album/the-rotters-club-mw0000651029#trackListing)

01. Share It (03:03)
02. Lounging There Trying (03:15)
03. (Big) John Wayne Socks Psychology On The Jaw (00:43)
04. Chaos At The Greasy Spoon (00:30)
05. The Yes - No Interlude (07:01)
06. Fitter Stoke Has A Bath (07:33)
07. Didn't Matter Anyway (03:30)
08. Underdub (03:54)
09. Mumps (20:29)
10. Halfway Between Heaven And Earth (live) (06:20)
11. Oh, Len's Nature! (live) (02:00)
12. Lything And Gracing (live) (03:58)

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Brainticket - Cottonwoodhill (1971) Psychonaut (1972) [2LP-1CD]

Year: 1971, 1972 (CD ????)
Label: Red Fox Records (France), RF 618
Style: Art Rock, Progressive Rock
Country: Switzerland
Time: 67:06
Format: Flac Tracks 16/44,1 kHz
Size: 419 Mb

Cottonwoodhill:
Cottonwoodhill is one of the trippiest records ever made, capturing the intensity of the peak LSD experience far more successfully than any Timothy Leary recording, and even today, when many such documents from that era can sound silly and dated, Brainticket's fascinating debut still holds hallucinogenic potency. The record has only two proper songs, "Black Sand" and "Places of Light," with a side and a half of the album taken up by the three-part "Brainticket." "Black Sand" opens the disc with a driving funk beat and powerful organ and guitar interplay, adding in vocals distorted beyond coherency. "Places of Light" begins in a slightly lighter vein as a flute leads the proceedings, a looser jazzier piece that throws in some of Dawn Muir's odd spoken word vocals. Before one realizes what has happened, the piece has faded out and there is suddenly a crashing sound, car horns, and engines starting up. "Brainticket" is a bizarre roller coaster ride through weird sound effects and electronics, an endless organ riff, and Muir's acid-rush ramblings from hushed whisper to urgent screams, as any coherency she had earlier becomes lost to mind-expanding visions. Rather than the laid-back mellow groove of some psychedelic music from this era, Cottonwoodhill has a hyper energy in the frenetic organ riff and Muir's voice, like an acid trip out of control, while at times the various sound effects take over completely.
Psychonaut:
Psychonaut is more relaxed and has far less electronic elements than either Brainticket's first record, Cottonwoodhill, or the album that followed, Celestial Ocean. Though the record is more straightforward and song-oriented, it still has progressive and experimental elements that keep it from sounding too much like anything else. If anything, the group is not quite focused on any one style on this record, throwing in everything from the ethnic-influenced folk of "Radagacuca" and "One Morning" to the more traditional strummy folk of "Feel the Wind Blow" to the percussion-heavy avant-funk instrumental "Coco Mary" to the quirky rock assaults of "Watchin' You" and "Like a Place in the Sun." "Like a Place in the Sun" is particularly effective, with dark spoken word vocals alternating in contrast with the sung chorus of its title. Effects and electronics are used much more subtly (especially compared to the earlier record), but are still quite evident. Psychonaut may not be as cohesive as the other early Brainticket albums, but it is also not as chaotic either, and as such may be the group's most accessible record without sacrificing originality.
(allmusic.com/album/)

01. Black Sand (04:04)
02. Places of Light (04:04)
03. Brainticket (08:20)
04. Brainticket (Part One Conclusion) (04:34)
05. Brainticket (Part Two) (13:14)
06. Radagacuca (07:25)
07. One Morning (03:52)
08. Watchin' You (05:15)
09. Like a Place in the Sun (06:29)
10. Feel the Wind Blow (03:33)
11. Coc'o Mary (06:09)

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Ozzy Osbourne - The Ultimate Sin (1986)

Year: 24 January 1986 (CD Jul 1986)
Label: Epic Records (Europe), CDEPC 26404
Style: Heavy Metal, Hard Rock
Country: Marston Green, Warwickshire, England (December 3, 1948)
Time: 41:17
Format: Flac Tracks 16/44,1 kHz
Size: 296 Mb

Charts: UK #8, AUS #36, CAN #19, FIN #3, GER #31, NOR #6, NZ #21, SWE #4, US #6. UK: Silver; AUS: Gold; CAN: PLatinum; US: 2x Platinum.
Another 30th year anniversary of a classic album is upon us although as it would turn out, I am late by a few minutes. This time, it’s none other than Ozzy Osbourne‘s The Ultimate Sin, which was the iconic frontman’s second album with the now well renowned guitarist Jake E. Lee. Osbourne was unable to escape the glam metal craze of that period and he returned with an awful glam look and one of his most commercially accessible albums. The good news is that a “commercially accessible” album from Osbourne is not a complete sell-out such as Motley Crue with its 1985 album Theatre Of Pain.
The Ultimate Sin is actually a rocking album from start to finish with some great hooks and melodies while still maintaining a heavier edge that was sometimes sorely lacking with a good portion of heavy metal bands adopting more keyboard friendly sounds around this time period such as Judas Priest with Turbo and Quiet Riot with The Wild And The Young. The great thing about The Ultimate Sin is that all the songs were quite good and hold up to this  day. “Tracks such as “Secret Loser” and “Never Know Why” are just as good as “Shot in The Dark” and the title track as far as I am concerned. Lee‘s guitar playing on The Ultimate Sin is phenomenal with some great riffs and soaring solos such as on “Never Know Why.” The rhythm section of bassist Phil Soussan and now deceased drummer Randy Castillo is rock solid letting Lee shine throughout. Osbourne also sounds really good on The Ultimate Sin. Choosing the best tracks on The Ultimate Sin is actually quite difficult because all of the songs are so strong. I suppose I’ll give the nod to “Shot In The Dark” simply because it’s the catchiest song on the record but tracks such as “Killer Of The Giants” continue the fine tradition of Osbourne delivering a killer ballad per album and “Never” is an under appreciated rocking gem.
While Osbourne‘s subsequent albums No Rest For The Wicked and the immensely popular No More Tears which featured Zakk Wylde on guitar were no slouches by any means, I wonder what could have been if Osbourne and Lee had continued together because both would come up with some of their best albums within five years of The Ultimate Sin — Osbourne with No More Tears and Lee with Badlands‘ self-titled debut album. What could both of them together have come up with after The Ultimate Sin? We’ll never know but it’s fun to speculate on what could have been...
(sleazeroxx.com/reviews/ozzy-osbourne-the-ultimate-sin/)

01. The Ultimate Sin (03:44)
02. Secret Loser (04:09)
03. Never Know Why (04:28)
04. Thank God For The Bomb (03:53)
05. Never (04:18)
06. Lightning Strikes (05:13)
07. Killer Of Giants (05:42)
08. Fool Like You (05:19)
09. Shot In The Dark (04:27)

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Styx - Styx [Japan Ed. SHM-CD] (1972)

Year: August 31, 1972 (CD Jul 27, 2016)
Label: Universal Music (Japan), UICY-77819
Style: Hard Rock, Pop Rock
Country: Chicago, Illinois, U.S.
Time: 33:02
Format: Flac Tracks 16/44,1 kHz
Size: 231 Mb

Styx is the debut album by American rock band Styx.
The band started as a cover band that played weddings and birthday parties. They called themselves The Tradewinds in 1961, when the band was composed of 12-year-old fraternal twins Chuck and John Panozzo, who played bass guitar and drums, respectively, and their neighbor, 14-year-old Dennis DeYoung on keyboards, accordion, and vocals. They later named themselves TW4, after adding their college friend John Curulewski in 1968, and the South Side hard rocker James "J.Y." Young in 1970, as guitarists, songwriters, and singers.
Their debut album showcased them as a progressive-art rock/'60s garage rock act. It contained the 13-minute opus "Movement for the Common Man," and J.Y. rocker "Children of the Land." It also features John Panozzo's percussion solo, the street interviews from Chicago "Street Collage," their symphonic rocker rendition of "Fanfare for the Common Man," and the prog-folk piece "Mother Nature's Matinee," sung by DeYoung and co-written by Young & DeYoung. The upbeat pop rocker "Best Thing" was co-written by DeYoung and Young, released as a single in late '72, and peaked at No. 82 on the charts.
The remaining songs on the album were cover versions that the record label suggested. The band members, including DeYoung, said that they had never heard of them before.
(en.wikipedia.org/wiki/Styx_(album))

01. Movement For The Common Man (13:14)
02. Right Away (03:41)
03. What Has Come Between Us (04:57)
04. Best Thing (03:15)
05. Quick Is The Beat Of My Heart (03:51)
06. After You Leave Me (04:02)

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