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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Lita Ford with Ozzy Osbourne - Close My Eyes Forever [Single] (1989)

Year: February 1989 (CD 1989)
Label: BMG Music (Austria), PD49409
Style: Glam Metal, Hard Rock
Country: London, England (September 19, 1958)
Time: 13:20
Format: Flac Tracks 16/44,1 kHz
Size: 103 Mb

“Close My Eyes Forever,” the powerful duet between Lita Ford and Ozzy Osbourne released in 1989, gave each artist their first Top 10 song on the Billboard Hot 100 chart. In the wake of Ozzy’s passing on Tuesday (July 22nd), Ford said that the metal icon changed her life.
Ford checked in with SiriusXM’s Trunk Nation With Eddie Trunk the day after Ozzy’s death (as transcribed by Blabbermouth), telling the host, “He changed my life, from the time I was 13 years old going to [a] Black Sabbath concert. That was it. That was the day and the night the light bulb went off over my head, and I just thought, ‘I have to do this. This is what I wanna do…. And so that night I came out of there, and I knew what I was gonna do with my future.”
As for the hit duet, Ford noted, “It’s just really ironic that I got to have a Top 10 hit single with Ozzy. And I have to say it was one of the highlights of my life. And we will all miss him, but his music will live on. And that’s what we have to do, is just focus on the music and all the good things that he’s left everybody.”
She added, “And I’m sure he would’ve probably been gone a long time ago if not for [his wife and manager] Sharon. I mean, Sharon was the best, and she took good care of Ozzy, and so she kept him going and she made him into the superstar that he is today.”
Just weeks prior to his passing, Ozzy had declared that “Close My Eyes Forever” was the best duet he had ever recorded.
At her concert at KK’s Steel Mill in Wolverhampton, England, on Wednesday, Ford dedicated “Close My Eyes Forever” to Ozzy, asking fans to hold their phone lights up in honor of the metal legend.
(consequence.net/2025/07/lita-ford-honors-ozzy-osbourne/)

01. Close My Eyes Forever (Remix) (04:44)
02. Under The Gun (04:50)
03. Blueberry (03:46)

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Dio (Rainbow, Black Sabbath) - Holy Diver [Japanese Ed.] (1983)

Year: May 25, 1983 (CD Dec 21, 1989)
Label: Mercury Records (Japan), PPD-3070
Style: Heavy Metal, Hard Rock
Country: Portsmouth, New Hampshire, U.S. (July 10, 1942 - May 16, 2010)
Time: 41:32
Format: Flac Tracks 16/44,1 kHz
Size: 269 Mb

The first track, 'Stand Up and Shout', is reminiscent of 'Turn Up the Night' from Sabbath's 'Mob Rules'. Fast, hard-hitting and a great introduction. I reall enjoy this one.
Then comes the title track. Listening to it now, properly and with my full attention (and great headphones!), I realise that it's actually a good track. I still don't really feel anything with it, but I certainly enjoy it more than I thought. It still feels like a weak point of the album to me. I imagine hearing it 40 years ago upon release would have had a greater impact.
'Gypsy' - this is more like it. Lovely soaring riffs above heavy, punchy riffs - with some banshee-like vocals from Dio.
Some more fantastic vocals on 'Caught in the Middle', and I love the driving bass throughout. The chorus on this track is a highlight of the album for me. The way the guitars climb, then repeat with Dio giving it his all over the top makes the hairs stand up on my arms.
 'Don't Talk to Strangers' - the intro to this reminded me of Tony Iommi's thinking behind 'Master of Reality'. By putting some quieter songs on the album, it made the heavier tracks feel heavier. I felt that on this song thanks to the intro. Not only that, but it makes for a nice respite between the metal. When the song kicks in, it makes me think of Iron Maiden. (I should mention I'm not into Maiden, I only know their hits. It feels like they've based all their songs off this track!).
'Straight Through the Heart' - monstrous intro! That riff is absolutely killer and the vocals are top-notch.
Another moment of rest during the intro of 'Invisible'. At first this one fools you into thinking a cheesy 80s ballad is coming, but that's not the case. The riffs are back, and stomping their way through the stories Dio sings to us here.
 'Rainbow in the Dark' - I see this is one of Dio's most famous tracks, and I can understand why! The keys on the intro / chorus feel very 80s and that makes me think I've heard it before, but it's such a generic 80s sound it could have been from any song from the decade. I like it though, it's not over-the-top and only dates the song slightly. Riff-wise, I love this and it easily features one of Dios best vocals on the album.
I feel like 'Shame on the Night' works really well as an album-closer. The vocals are ridiculously strong on this one, the instrumental break and breakdown are excellent and the epic backing vocals towards the outro give it a medievel feeling.
(reddit.com/r/LetsTalkMusic/comments/18t8dn1/dios_holy_diver_album_is_fantastic_but/)

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. Stand Up And Shout (03:18)
02. Holy Diver (05:51)
03. Gypsy (03:38)
04. Caught In The Middle (04:17)
05. Don't Talk To Strangers (04:53)
06. Straight Through The Heart (04:34)
07. Invisible (05:25)
08. Rainbow In The Dark (04:14)
09. Shame On The Night (05:19)

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Curved Air - Second Album [Japanese Ed. SHM-CD] (1971)

Year: September 1971 (CD Apr 8, 2015)
Label: Warner Music (Japan), WPCR 16300
Style: Progressive Rock, New Age
Country: London, England
Time: 42:27
Format: Flac Tracks 16/44,1 kHz
Size: 285 Mb

The aptly titled “Second Album” catches Curved Air at the peak of their popularity following the success of the single “Back Street Luv” which remains one of their best known tracks. However in line with the high turnover that was to characterise the band’s line-up, seeds of discord were growing between guitarist Francis Monkman and multi-instrumentalist Darryl Way which led to one side being dedicated to tracks penned by Way and other members of the band while the other saw all the Monkman compositions lumped together.
The second album is always a tricky step for a band who achieve success with their first LP. Usually recorded in the gaps of a busy touring schedule, with little time to come up with new material, it can be a band’s undoing. However “Second Album” is a good effort which opens with not one but two bangs, the excellent “Young Mother” that includes an excellent instrumental break in its midst and the already mentioned “Back Street Luv”. “Jumbo” shows a band stretching its wings with the use of a string section. “You Know” is another good rocker that clearly displays the influences of american band Spirit described by Darryl Way in the liner notes, the excellent hook played in unison by the keyboard and the guitar works a treat.”Puppets” meanders a little and might be the only real filler track here but things pick up instantly with “Everdance” where Curved Air’s trademark violin and an almost chidlike-nursery rhyme lyric make it instantly memorable. Monkman’s inventivity shines through on “Bright Summer’s Day 1968” with its unusual melodies and time signature changes. Closing off the second side is the ambitious “Piece of Mind”, again a track where Monkman’s singular music vision is well displayed. This carefully constructed music suite manages to stay interesting for the whole course of its thirteen minutes.
(louderthanwar.com/curved-air-second-album-album-review/)

01. Young Mother (05:58)
02. Back Street Luv (03:41)
03. Jumbo (04:10)
04. You Know (04:11)
05. Puppets (05:29)
06. Everdance (03:08)
07. Bright Summer's Day '68 (02:54)
08. Piece Of Mind (12:53)

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Camel - The Snow Goose (1975)

Year: May 1975 (CD March 1983)
Label: Deram Records (Germany), 800 080-2
Style: Art Rock, Symphonic Rock, Instrumental
Country: Guildford, Surrey, England
Time: 43:29
Format: Flac Tracks 16/44,1 kHz
Size: 230 Mb

Looking back the history, this album should be read as Camel music inspired by "The Snow Goose". Why? This concept album was composed with a reference to Paul Gallico’s Snow Goose. Right after the success of "Mirage" which stayed at Billboard’s Top 200 for a creditable 13 weeks peaked at 149, the band brainstormed the idea of making an acclaimed literary piece concept album. Peter Bardens voted for Steppen Wolf’s but Ferguson and Latimer proposed Paul Gallico’s. So the band created the music that revolved around The Snow Goose. Unfortunately, their record label failed to sign a deal with Gallico’s publishers in the hope of obtaining official blessing for the project, ideally having the author pen a sleeve note and possibly arrange a tie-in between album and tome. That’s why this tribute to our feathered friends had its title prefaced "Music Inspired By" and remained wholy wordless. [sleeve note].
Nevertheless, the streams of music featured in this album is a good one to enjoy and you may have a rewarding experience throughout some tracks. It starts off with an ambient "The Great Marsh" (2:02) which to me personally sounds like an opener for the whole atmosphere of the album. No one would argue that "Rhayader" (3:01) is an excellent track which has powerful melody combining flute, guitar and organ performed in classical influence music with medium tempo. This song has characterized the seventies music altogether with other common songs from Genesis or Yes or ELP or Pink Floyd. I used to associate this song with "Bouree" by Jethro Tull at that time because both of them are flute-based music. "Rhayader Goes To Town" (5:20) is a logical follow- up to Rhayader as it brings the music into faster tempo with great combination of guitar and organ solo with energetic beats. These two songs must be enjoyed in its entirety.
"Sanctuary" (1:05) and "Fritha" (1:19) are songs that I consider as bridges that connect to title track "The Snow Goose" (3:12) which contains guitar solo augmented with long sustain organ in the vein of Jan Akermann of Focus. Cool guitar-based instrumental. "Friendship" (1:44) is a bit boring exploration of keyboard / organ whicch may have more meaning if we can associate with certain part of the story - say our goose was running away or swimming quickly . things like that. Otherwise, it’s a meaningless bridge. "Migration" (2:01) brings the music into up-beat style followed nicely with a cool quiet passage "Rhayader Alone" (1:50). "Flight Of The Snow Goose" (2:40) explores Bardens’ keyboard virtuosity followed with good guitar fills that bring the melody of the music combined with a bit spacey keyboard work.
"Preparation" (3:58) is to me like a theme song that brings the introduction to the next track "Dunkirk" (5:19) with the use of Hammond organ as basic rhythm section plus some howling guitar work followed with guitar solo. The song is dominated with keyboard work even though guitar fills some parts and serves as melody in some other parts. It’s a good track. "Epitaph" (2:07) and "Fritha Alone" (1:40) are bridges to upbeat music with keyboard solo in "La Princesse Perdue" (4:44). Again, I can smell a similarity with Focus music, especially the guitar part. "The Great Marsh" (1:20) concludes the album with an exploration of nature sounds .
Overall, through this album the band has demonstrated their capability to maintain their creation on par excellent with their previous album "Mirage". The album offers good combined work between organ and guitar performed in various styles. The music is cohesive to support a concept album. I think this album should be "in" any prog collection as it was one of the icons in the seventies that anyone should not miss. Recommended.
(classicrockreview.wordpress.com/category/camel-the-snow-goose/)

01. The Great Marsh (02:02)
02. Rhayader (03:01)
03. Rhayader Goes To Town (05:20)
04. Sanctuary (01:05)
05. Fritha (01:19)
06. The Snow Goose (03:12)
07. Friendship (01:44)
08. Migration (02:01)
09. Rhayader Alone (01:50)
10. Flight Of The Snow Goose (02:40)
11. Preparation (03:58)
12. Dunkirk (05:19)
13. Epitaph (02:07)
14. Fritha Alone (01:40)
15. La Princesse Perdue (04:44)
16. The Great Marsh (01:20)

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Bad Company - Burnin' Sky [Japanese Ed.] (1977)

Year: March 3, 1977 (CD Mar 7, 2007)
Label: Swan Song (Japan), WPCR-12545
Style: Hard Rock, Blues Rock
Country: London, England
Time: 45:08
Format: Flac Tracks 16/44,1 kHz
Size: 296 Mb

Charts: UK #17, AUS #15, CAN #16, NDL #14, NOR #45, NZ #32, SWE #32, US #15. US: Gold.
Before you can even digest or vomit back up Run With The Pack (or "Run With The Night", as lameass North Carolina DJ "Cosmo" so eloquently called it that time I heard him play "Young Blood" - right before he declared it to be a "great song" off of a "great album." Lameass.), the "talentless boys of rock 'n' roll" are back to shove more poorly-written dreck down your listening ear.
I'll give 'em this though: even though all these melodies sound like they were written in about two minutes, most of them are amazingly catchy. The title track, "Morning Sun," "Too Bad," "Everything I Need," "Peace Of Mind" - all disgustingly simple, but not self-parodic like on the last album. It sounds, rather, like a postmodern lo-fi college band imitating Bad Company. It's not bombastic (except for a couple of really crappy numbers); it's just a bunch of poorly-arranged songs. I like 'em! It's actually a pretty good record, though definitely not worthy of classic rock radio play. If you see it in a dollar bin, get it. It's at least an interesting, semi-unpredictable record. A cover of "Valerie, Valerah?" A seven-minute groove jam? Wow. Bad Company stretches out and tries something new. Who knows how far this'll go? Embarrassing. And the cover of "Young Blood" is unlistenable.
(albumoftheyear.org/user/markprindlebot/album/119320-burnin-sky/)

01. Burnin' Sky (05:09)
02. Morning Sun (04:06)
03. Leaving You (03:23)
04. Like Water (04:19)
05. Knapsack (01:20)
06. Everything I Need (03:23)
07. Heartbeat (02:37)
08. Peace Of Mind (03:25)
09. Passing Time (02:30)
10. Too Bad (03:52)
11. Man Needs Woman (03:45)
12. Master Of Ceremony (07:13)

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Benny Andersson (ABBA) - Piano (2017)

Year: 29 September 2017 (CD 2017)
Label: Mono Music (Sweden), 479 8143
Style: Classical, Instrumental, Piano Music
Country: Stockholm, Sweden (16 December 1946)
Time: 76:48
Format: Flac Tracks 16/44,1 kHz
Size: 253 Mb

Provided it’s played by a virtuoso, the Piano is one of the most beautiful acoustic instruments to ever grace humanity. As far as virtuosos go, it’s fair to say that Benny Andersson fits that description for his musical prowess is legendary.
While Andersson is clearly the focus here, Piano delivers a collection of songs that were not only written by Andersson but penned in collaboration with other exceptional tunesmiths. From ABBA to Benny Anderssons Orkester to Chess, Piano is a life’s work, reworked for the piano, and it is nothing short of spectacular.
More often than not, however, music is appreciated in the background to numerous other aspects of our lives, but if you have the opportunity to sit and listen, this album will not only captivate you but will likely bring you to tears.
(full version: subjectivesounds.com/musicblog/benny-andersson-piano-album-review)

01. I Let The Music Speak (03:33)
02. You And I (06:43)
03. Aldrig (04:04)
04. Thank You For The Music (03:43)
05. Stockholm By Night (03:15)
06. Chess (03:57)
07. The Day Before You Came (04:36)
08. Someone Else's Story (03:48)
09. Midnattsdans (03:24)
10. Malarskolan (02:12)
11. I Wonder (Departure) (03:43)
12. Embassy Lament (01:27)
13. Anthem (03:19)
14. My Love, My Life (03:46)
15. Mountain Duet (04:33)
16. Flickornas Rum (02:13)
17. Efter Regnet (02:37)
18. Trostevisa (03:33)
19. En Skrift I Snon (05:14)
20. Happy New Year (03:14)
21. I Gott Bevar (03:45)

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Miller Anderson - Bright City (1971)

Year: 1971 (CD 2004)
Label: Walhalla Records (Europe), WH 90321
Style: Rock, Folk Rock
Country: Houston, Renfrewshire, Scotland (12 April 1945)
Time: 36:07
Format: Flac Tracks 16/44,1 kHz
Size: 224 Mb

Miller Anderson (born 12 April 1945) is a UK-based blues and rock guitarist and singer. He worked extensively with Ian Hunter in the formative years of the 1960s, before either of them achieved significant success. They worked in bands such as the Scenery and At Last The 1958 Rock 'n' Roll Show (later called Charlie Woolfe), and Anderson is referenced in the title track of Hunter's 1976 album All American Alien Boy ("well I remember all the good times me and Miller enjoyed, up and down the M1 in some luminous yo-yo toy"). Anderson would later guest on two Hunter solo albums. Apart from pursuing his solo career, he was a member of the Keef Hartley Band. Other groups Anderson has been associated with are the Spencer Davis Group, Broken Glass, the Dukes, Mountain, Savoy Brown, T.Rex and Chicken Shack. In early 2006, he joined the British Blues Quintet with Maggie Bell, Zoot Money, Colin Hodgkinson and Colin Allen. In the spring of 2016, Anderson returned to the studio and in July 2016 released a new album, Through the Mill.
(en.wikipedia.org/wiki/Miller_Anderson_(musician))

01. Alice Mercy (To Whom It May Concern) (06:47)
02. The Age Of Progress (03:29)
03. Nothing In this World (04:17)
04. Bright City (03:07)
05. Grey Broken Morning (04:28)
06. High Tide, High Water (07:55)
07. Shadows 'Cross My Wall (06:02)

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Suzi Quatro - The Suzi Quatro Story - Golden 20 Hits [Japanese Ed.] (1975)

Year: 1975 (CD Apr 24, 1988)
Label: Tochiba-EMI (Japan), CP28-1030
Style: Rock, Hard Rock, Glam Rock
Country: Detroit, Michigan, U.S. (June 3, 1950)
Time: 71:05
Format: Flac Tracks 16/44,1 kHz
Size: 509 Mb

Susan Kay Quatro (born June 3, 1950) is an American singer, bass guitarist, songwriter, and actress. In the 1970s, she scored a string of singles that found success in Europe and Australia, with both "Can the Can" (1973) and "Devil Gate Drive" (1974) reaching number one in several countries.
Quatro was born and raised in Detroit. Her father, Art, was a semiprofessional musician and worked at General Motors. Her paternal grandfather was an Italian immigrant to the U.S. and her mother, Helen, was Hungarian and she died in 1992. Her family name of "Quattrocchi" ("four eyes", meaning "bespectacled") was shortened to Quatro. Quatro's family was living in Detroit when she was born. She has three sisters, a brother (Michael Quatro), and one older half-sister. Her parents fostered several other children while she was growing up. Quatro grew up to be an "extrovert but solitary," according to Philip Norman of The Sunday Times, and she only became close to her mother after leaving the US for Britain.
(full version: en.wikipedia.org/wiki/Suzi_Quatro)

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. Rolling Stone (02:47)
02. Can The Can (03:34)
03. Glycerine Queen (03:47)
04. 48 Crash (03:56)
05. Daytona Demon (04:01)
06. Devil Gate Drive (03:49)
07. Too Big (03:11)
08. The Wild One (02:52)
09. Your Mamma Wont't Like Me (03:58)
10. Michael (03:41)
11. I Bit Off More Than I Could Chew (03:22)
12. I May Be Too Young (02:59)
13. Tear Me Apart (02:54)
14. Make Me Smile (03:45)
15. Half As Much As Me (04:16)
16. Roxy Roller (03:08)
17. If You Can't Give Me Love (03:55)
18. The Race Is On (04:00)
19. Stumblin' In (04:00)
20. I've Never Been In Love (03:02)

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Kansas - Leftoverture [Japanese Ed. Blu-Spec CD] (1976)

Year: October 21, 1976 (CD Aug 24, 2011)
Label: Epic Records (Japan), EICP 20074
Style: Progressive Rock, Soft Rock
Country: Topeka, Kansas, U.S.
Time: 58:50
Format: Flac Tracks 16/44,1 kHz
Size: 433 Mb

Steve Walsh began to experience writer's block prior to the recording, and his contribution to the album would ultimately be limited to co-authoring three songs; it fell on Kerry Livgren to fill the void. The new compositions retained much of the classically inspired complexity of Livgren's previous work. As with their previous album, Masque, Kansas recorded Leftoverture at Studio in the Country in Bogalusa, Louisiana. The Studio in the Country was so named because, as Livgren described on In the Studio with Redbeard radio show in the episode spotlighting Leftoverture, "it was in the middle of a swamp. We'd walk out of the studio and there would be gators in front of the studio, mosquitos the size of B-52s and at times armadillos would run into the control room."
Leftoverture opens with the song "Carry On Wayward Son", which Livgren wrote as a sequel to "The Pinnacle", the final song from the previous album Masque (1975). The album's title, Leftoverture, is a portmanteau of leftover and overture.
(en.wikipedia.org/wiki/Leftoverture)

01. Carry On Wayward Son (05:25)
02. The Wall (04:51)
03. What's On My Mind (03:28)
04. Miracles Out Of Nowhere (06:29)
05. Opus Insert (04:28)
06. Questions Of My Childhood (03:40)
07. Cheyenne Anthem (06:55)
08. Magnus Opus (08:35)
09. Carry On Wayward Son (Live) (04:44)
10. Cheyenne Anthem (Live) (06:43)
11. Carry On Wayward Son (Single Version) (03:26)

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