Tracy Nelson - Tracy Nelson (1974)

Year: 1974 (CD 2004)
Label: DBK Works (US), dbk507
Style: Pop Rock, Folk, World, Country
Country: Madison, Wisconsin, U.S. (December 27, 1944)
Time: 39:28
Format: Flac Tracks 16/44,1 kHz
Size: 230 Mb

It's amazing how many good singers from the early '70s have recorded several worthy albums only to disappear from the scene forever. Tracy Nelson, from the photo on her self-titled album, gives the appearance of just a slip of a girl, but her voice defies one's eyes. From the first notes of the album, Nelson brings her deep, resonant vocals to bear on ten songs, nine of which were gleaned from her songwriting peers. She's joined in the studio by the cream of Nashville studio cats, a sparkling group of players who lay down a heavy R&B backdrop perfectly suited for her powerful set of pipes. It doesn't hurt that Bob Johnston (of Bob Dylan fame) is sitting in the production chair, nor that he lent Nelson the sexy number "Rock Me in Your Cradle." The good songs on Tracy Nelson run deep, so one needs to stick around long enough to hear the funkiest, coolest version of Bob Dylan's "It Takes a Lot to Laugh, It Takes a Train to Cry" ever to grace vinyl. If you can imagine Aretha Franklin recording with Little Feat, then you've got the idea. There's also a stone-country version of "After the Fire Is Gone" (which charted at the time) with Willie Nelson in tow. All this is to say that Tracy Nelson is a solid, soulful album.
(allmusic.com/album/tracy-nelson-mw0000268559)

01. Slow Fall (03:22)
02. Love Has No Pride (03:37)
03. Hold An Old Friend`s Hand (04:21)
04. Rock Me In Your Cradle (04:02)
05. It Takes A Lot To Laugh, It Takes A Train To Cry (03:44)
06. After The Fire Is Gone (03:06)
07. Lean On Me (03:22)
08. I Wish Someone Would Care (05:45)
09. Lay Me Down Easy (03:14)
10. Down So Low (04:51)

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Yes - Going For The One [Japanese Ed. 1992] (1977)

Year: July 15, 1977 (CD 1992)
Label: Atlantic Records (Japan), AMCY-370
Style: Symphonic Rock
Country: London, England
Time: 38:39
Format: Flac Tracks 16/44,1 kHz
Size: 250 Mb

Charts: CAN #8, US #8, JPN #20, AUS #16, NZ #11, FRA #10, GER #6, NLD #9, NOR #7, SWE #10, UK #1. CAN, FRA, UK, & US: Gold.
Going for the One is perhaps the most overlooked item in the Yes catalog. It marked Rick Wakeman's return to the band after a three-year absence, and also a return to shorter song forms after the experimentalism of Close to the Edge, Tales from Topographic Oceans, and Relayer. In many ways, this disc could be seen as the follow-up to Fragile. Its five tracks still retain mystical, abstract lyrical images, and the music is grand and melodic, the vocal harmonies perfectly balanced by the stinging guitar work of Steve Howe, Wakeman's keyboards, and the solid rhythms of Alan White and Chris Squire. The title track features Howe on steel guitar (he's the only prog rocker who bothers with the instrument). "Turn of the Century" and the album's single, "Wonderous Stories," are lovely ballads the way only Yes can do them. "Parallels" is the album's big, pompous song, so well done that in later years the band opened concerts with it. Wakeman's stately church organ, recorded at St. Martin's Church, Vevey, Switzerland, sets the tone for this "Roundabout"-ish track. The concluding "Awaken" is the album's nod to the extended suite. Again, the lyrics are spacy in the extreme, but Jon Anderson and Squire are dead-on vocally, and the addition of Anderson's harp and White's tuned percussion round out this evocative track.
(allmusic.com/album/going-for-the-one-mw0000195614)

01. Going For The One (05:32)
02. Turn Of The Century (07:36)
03. Parallels (06:12)
04. Wonderous Stories (03:49)
05. Awaken (15:28)

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Savoy Brown - Lion's Share (1972)

Year: 1972 (CD 1991)
Label: Deram Records (Germany), 844 020-2
Style: Rock, Blues Rock
Country: London, England
Time: 39:28
Format: Flac Tracks 16/44,1 kHz
Size: 233 Mb

"Shot in the Head," the slide guitar showcase that opens this solid set, became a staple of this veteran English band's live act. In his only full-time stint as singer for demanding bandleader Kim Simmonds, Dave Walker proves a serviceable, if unremarkable, successor to Chris Youlden. Besides their own tunes, the lads cover Howlin' Wolf and Little Walter.
(allmusic.com/album/lions-share-mw0000276272)

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. Shot In The Head (04:46)
02. Second Try (04:18)
03. The Saddest Feeling (04:21)
04. I Can't Find You (03:34)
05. Howling For My Darling (03:37)
06. So Tired (04:16)
07. Denim Demon (04:25)
08. Love Me Please (05:45)
09. I Hate To See You Go (04:22)

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Savoy Brown - Hellbound Train (1972)

Year: February 1972 (UK) / March 1972 (US/Canada) (CD 1991)
Label: Deram Records (Germany), 844 019-2
Style: Rock, Blues Rock
Country: London, England
Time: 33:40
Format: Flac Tracks 16/44,1 kHz
Size: 222 Mb

Comprising the same lineup as Street Corner Talking, Savoy Brown released Hellbound Train a year later. For this effort, Kim Simmonds' guitar theatrics are toned down a bit and the rest of the band seems to be a little less vivid and passionate with their music. The songs are still draped with Savoy Brown's sleek, bluesy feel, but the deep-rooted blues essence that so easily emerged from their last album doesn't rise as high throughout Hellbound Train's tracks. The title cut is most definitely the strongest, with Dave Walker, Simmonds, and Paul Raymond sounding tighter than on any other song, and from a wider perspective, Andy Silvester's bass playing is easily Hellbound's most complimenting asset. On tracks like "Lost and Lonely Child," "Doin' Fine," and "If I Could See an End," the lifeblood of the band doesn't quite surge into the music as it did before, and the tracks become only average-sounding blues efforts. Because of Savoy Brown's depth of talent, this rather nonchalant approach doesn't make Hellbound Train a "bad" album by any means -- it just fails to equal the potency of its predecessor. But there is a noticeable difference in the albums that followed this one, as the band and especially Simmonds himself was beginning to show signs of fatigue, and a significant decline in the group's overall sound was rapidly becoming apparent.
(allmusic.com/album/hellbound-train-mw0001993572)

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. Doin' Fine (02:50)
02. Lost and Lonely Child (06:01)
03. I'll make Everything Alright (03:22)
04. Troubled by These Days and Times (05:46)
05. If I Could See an End (02:59)
06. It'll Make You Happy (03:29)
07. Hellbound Train (09:11)

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Ian Hunter (ex Mott The Hoople) & Mick Ronson - Y U I Orta (1989)

Year: 1989 (CD Oct 9, 2003)
Label: Lemon Recordings (UK), CD LEM 6
Style: Rock, Hard Rock, Classic Rock
Country: Shropshire, England / Yorkshire, England
Time: 71:18
Format: Flac Tracks 16/44,1 kHz
Size: 507 Mb

YUI Orta was released as a joint album by Hunter and Ronson in 1990, and the pair performed alongside David Bowie and Queen at The Freddie Mercury Tribute Concert in April 1992. Ronson died of liver cancer a year later, and Hunter gave his memorial speech. Hunter wrote and recorded "Michael Picasso", a tribute to Ronson that was included on Hunter's 1996 album The Artful Dodger, the follow-up to Dirty Laundry (1995). Hunter appeared on Ronson's posthumously-released solo album, Heaven and Hull (1994), and performed at the first Mick Ronson Memorial Concert in April 1994.
(en.wikipedia.org/wiki/Ian_Hunter_(singer)#Discography)
YUI Orta is the seventh solo studio album by English singer Ian Hunter. The title is a play on the phrase "Why you, I ought to...". Hunter reunites again with longtime collaborator Mick Ronson, as The Hunter Ronson Band.
It was intended as a sort of comeback for both men, but the record company did little promotion and eventually they were dropped from the label. There were plans for a follow-up, but these were put on hold when Ronson was diagnosed with liver cancer. In "Big Time", Hunter borrows the riff from his own song "Once Bitten Twice Shy". In "Tell It Like It Is" Ronson borrows the riff from "Get It On".
(en.wikipedia.org/wiki/YUI_Orta)

01. American Music (04:13)
02. The Loner (04:48)
03. Women's Intuition (06:31)
04. Tell It Like It Is (04:22)
05. Livin' In A Heart (04:35)
06. Big Time (04:04)
07. Cool (04:30)
08. Beg A Little Love (06:26)
09. Following In Your Footsteps (05:03)
10. Son's N' Lovers (04:56)
11. Pain (04:44)
12. How Much More Can I Take (03:49)
13. Sweet Dreamer (06:30)
14. 4th Hour Of My Sleep_Mick Ronson (03:08)
15. Power Of Darkness_Mick Ronson (03:32)

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Various Artists - Psychedelia At Abbey Road 1965-1969 (1998)

Year: August 25, 1998 (CD 1998)
Label: EMI Records (UK & Europe), 7243 496912 2 3
Style: Psychedelic Rock, Pop Rock
Country: England
Time: 77:18
Format: Flac Tracks 16/44,1 kHz
Size: 413 Mb

A 22-track single CD seems a bit paltry given the scope of the title - except, of course, that the 1969 cutoff date here puts the material from Harvest (a label started late that year and containing the lion's share of EMI psychedelia) out of reach. Of course, there are no Beatles tracks and, likewise, no Pink Floyd here, but we do get cuts by the Hollies, Donovan, Tomorrow, the Fingers, Focus 3, the Tales of Justine, Simon Dupree & the Big Sound, the Pretty Things, the Aquarian Age, the Koobas, the Nocturnes, Locomotive, the Gods, Mandrake Paddlesteamer, Mark Wirtz, and Syd Barrett. Most of this stuff, apart from "Sunshine Superman," "My White Bicycle," and "King Midas in Reverse," isn't exactly routine material, and two tracks - "Delighted to See You" by the N'Betweens and "Why" by Tomorrow - are previously unissued. The latter, a cover of the Byrds' song, features a tour de force guitar break by future Yes member Steve Howe. Just as revelatory is "Monday Morning," a 1967 single by the largely forgotten the Tales of Justine, featuring David Daltrey, with arrangement and production by Tim Rice and Andrew Lloyd Webber, respectively. Everything on the album has been remastered in 24-bit digital sound, and the long version of Donovan's "Sunshine Superman" has been remixed, bringing out extraordinary detail in the percussion section, from the choppy rhythm guitars and harpsichord down to the exceptionally busy drumming. The annotation by Brian Hogg is detailed without going overboard on trivia, and the entire collection turns out to be great fun.
(allmusic.com/album/psychedelia-at-abbey-road-1965-1969-mw0000464459)

01. Sunshine Superman (Full Version) (Donovan) (04:41)
02. My White Bicycle (Tomorrow) (03:20)
03. Delighted To See You (The N' Betweens) (02:18)
04. Sunny South Kensington (Donovan) (04:00)
05. Circus With A Female Clown (The Fingers) (02:30)
06. Why (Tomorrow) (04:01)
07. King Midas In Reverse (The Hollies) (03:12)
08. 10,000 Years Behind My Mind (Focus 3) (02:21)
09. Monday Morning (Tales Of Justine) (03:25)
10. Maker (The Hollies) (02:55)
11. Kites (Simon Dupree And The Big Sound) (03:47)
12. Talkin' About The Good Times (Pretty Things) (03:44)
13. Walking Through My Dreams (Pretty Things) (03:42)
14. (He's Our Dear Old) Weatherman (Mark Wirtz Orchestra) (04:03)
15. 10,000 Words In A Cardboard Box (Aquarian Age) (03:32)
16. Carpet Man (The Nocturnes) (02:43)
17. Barricades (The Koobas) (05:06)
18. We Are The Moles (Part 1) (The Moles) (04:37)
19. Mr. Armageddon (Locomotive) (04:42)
20. Hey Bulldog (The Gods) (03:17)
21. Strange Walking Man (The Mandrake Paddle Steamer) (03:16)
22. Golden Hair (Syd Barrett) (01:56)

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Jeff Beck (ex Yardbirs) - Truth (1968)

Year: 29 July 1968 (CD Jul 4, 2000)
Label: Epic Records (US), EK 66085
Style: Blues Rock, Hard Rock, Classic Rock
Country: Surrey, England (24 June 1944 - 10 January 2023)
Time: 40:30
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

Charts: CAN #37, US #15. US : Gold.
After leaving the Yardbirds in late 1966, Jeff Beck had released three commercial singles, two in 1967 featuring himself on lead vocals, and one without vocals in 1968. All had been hits on the British singles chart, and all were characterized by songs aimed at the pop chart on the A-side at the behest of producer Mickie Most. Harder rock and blues-based numbers were featured on the B-sides, and for music on the album, Beck opted to pursue the latter course.
Recording sessions for the album took place over four days, 14–15 May and 25–26 May 1968. Nine eclectic tracks were taken from these sessions, including covers of "Ol' Man River" by Jerome Kern, the Tudor period melody "Greensleeves", and Bonnie Dobson's "Morning Dew", a 1966 hit single for Tim Rose. Beck acknowledged two giants of Chicago blues in songs by Willie Dixon – Muddy Waters' "You Shook Me" and Howlin' Wolf's "I Ain't Superstitious".
The album starts with "Shapes of Things", a song from Beck's old band. Three originals were credited to "Jeffrey Rod", a pseudonym for Beck and Stewart, all reworkings of existing blues songs: "Let Me Love You" by Buddy Guy; "Rock My Plimsoul" and "Blues Deluxe" which respectively derive from "Rock Me Baby" and "Gambler's Blues" by B.B. King. For "Blues Deluxe", Beck overdubbed audience reactions from a sound effects record to create a live atmosphere, a choice he later regretted.
"Plimsoul" had already been recorded for the B-side to the 1967 single "Tallyman", and the tenth track, an instrumental featuring Jimmy Page, John Paul Jones, Keith Moon, and future Beck group pianist Nicky Hopkins, "Beck's Bolero", had been edited and remixed for stereo from the earlier B-side to "Hi Ho Silver Lining". Due to contractual conflicts, Moon had been credited on the original album as "You Know Who".
The cover art is a double exposure photograph of model Celia Hammond, who was dating Beck at the time, by photographer Stephen Goldblatt.
(en.wikipedia.org/wiki/Truth_(Jeff_Beck_album))

01. Shapes of Things (03:19)
02. Let Me Love You (04:43)
03. Morning Dew (04:41)
04. You Shook Me (02:29)
05. Ol' Man River (03:57)
06. Greensleeves (01:49)
07. Rock My Plimsoul (04:13)
08. Beck's Bolero (02:53)
09. Blues Deluxe (07:32)
10. I Ain't Superstitious (04:51)

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The Edgar Winter Group - They Only Come Out At Night [MFSL-CD] (1972)

Year: November 1972 (CD 2005)
Label: Mobile Fidelity Sound Lab (US), UDSACD 2011
Style: Southern Rock, Boogie Rock, Hard Rock
Country: Beaumont, Texas, U.S. (December 28, 1946)
Time: 35:05
Format: Flac Tracks 16/44,1 kHz
Size: 236 Mb

Charts: US #3, AUS #28, CAN #4. US & CAN: 2x Platinum.
While this album will forever be remembered for spawning the huge hit singles "Frankenstein" and "Free Ride," there's plenty more to appreciate on this stellar release. From "the other single," "Hangin' Around," to the pretty melodies of "Round & Around" and "Autumn," the set collects ten outstanding cuts, played with fervor by Edgar Winter, Chuck Ruff, Dan Hartman, Randy Jo Hobbs, and Ronnie Montrose, along with guest artist/producer Rick Derringer. The "party" feel of "We All Had a Real Good Time" and the singalong "Alta Mira" only add to this already red-hot mix, making They Only Come Out at Night the album Winter will always be remembered for.
(allmusic.com/album/they-only-come-out-at-night-mw0000650986)

01. Hangin' Around (03:04)
02. When It Comes (03:17)
03. Alta Mira (03:20)
04. Free Ride (03:08)
05. Undercover Man (03:51)
06. Round & Round (04:00)
07. Rock 'n' Roll Boogie Woogie Blues (03:26)
08. Autumn (03:00)
09. We All Had a Real Good Time (03:07)
10. Frankenstein (04:47)

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Sly And The Family Stone - A Whole New Thing [5 bonus tracks] (1967)

Year: October 1967 (CD Apr 24, 2007)
Label: Legacy Records (US), 82796 90277 2
Style: Psychedelic Funk, Psychedelic Soul
Country: San Francisco, California, U.S.
Time: 56:36
Format: Flac Tracks 16/44,1 kHz
Size: 322 Mb

A Whole New Thing is the debut album by funk/soul band Sly and the Family Stone, released in 1967 on Epic/CBS Records. The album was released to mixed criticism and failed to make an impact from a commercial standpoint and did not chart. CBS Records executive Clive Davis prevailed upon band leader Sly Stone to create a more commercial album; the result was the album Dance to the Music. Unlike later Sly and the Family Stone albums, A Whole New Thing was recorded live in the studio instead of being overdubbed and featured less of a pop feel than later releases such as Dance to the Music and Stand!. The lead vocals are shared between Sly Stone, Freddie Stone, and Larry Graham; Rose Stone would not join the band until they began work on Dance to the Music.
(en.wikipedia.org/wiki/A_Whole_New_Thing_(Sly_and_the_Family_Stone_album))

01. Underdog (03:59)
02. If This Room Could Talk (03:14)
03. Run, Run, Run (03:07)
04. Turn Me Loose (01:57)
05. Let Me Hear It From You (03:36)
06. Advice (02:23)
07. I Cannot Make It (03:21)
08. Trip To Your Heart (03:44)
09. I Hate To Love Her (03:33)
10. Bad Risk (03:06)
11. That Kind Of Person (04:28)
12. Dog (03:07)
13. Underdog (03:06)
14. Let Me Hear It From You (03:30)
15. Only One Way Out Of This Mess (03:53)
16. What Would I Do (04:07)
17. You Better Help Yourself (02:19)

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Phil Collins (ex Genesis) - ...Hits (1998)

Year: 5 October 1998 (CD 1998)
Label: Face Value Records (Canada), WTVD 83139
Style: Pop Rock, Soft Rock
Country: London, England (30 January 1951)
Time: 74:09
Format: Flac Tracks 16/44,1 kHz
Size: 491 Mb

Charts: UK #1, AUS #2, AUT #2, CAN #1, GER #2, NLD #1, NZ #1, SWE #1, SWI #2, US #6. GER: 3x Gold; AUT, SWI & NLD: Platinum; US: 3x Platinum; CAN: 4x Platinum; UK & AUS: 6x Platinum.
Hits (stylised as ...Hits) is the first greatest hits album by English drummer and singer-songwriter Phil Collins. The collection included fourteen top 40 hits, including seven American number one songs, spanning from the albums Face Value (1981) through Dance into the Light (1996). One new Collins recording, a cover of Cyndi Lauper's "True Colors", also appeared on the collection and was a popular song on adult contemporary stations. Hits was also the first Phil Collins album to include four songs originally recorded for motion pictures (all of them US number-one hits) as well as his popular duet with Philip Bailey, "Easy Lover" (a UK number-one hit).
In 1998, the album reached number one in the United Kingdom and number 18 in the United States. It was reissued in 2008, following the usage of "In the Air Tonight" in a successful Cadbury advertisement campaign. On 4 August 2008, it became the number one album on the New Zealand RIANZ album chart. In July 2012, the album re-entered the US charts, reaching number six on the Billboard 200 when the album price was deeply discounted very briefly by Amazon. It has sold 3,429,000 in the US as of July 2012.
The compilation's cover features stylised versions of the cover art for Collins' first six albums, the collection's primary sources of songs.
(en.wikipedia.org/wiki/Hits_(Phil_Collins_album))

01. Another Day In Paradise (05:22)
02. True Colors (04:34)
03. Easy Lover (05:02)
04. You Can't Hurry Love (02:52)
05. Two Hearts (03:24)
06. I Wish It Would Rain Down (05:28)
07. Against All Odds (03:25)
08. Something Happened On The Way To Heaven (04:51)
09. Separate Lives (04:06)
10. Both Sides Of The Story (06:37)
11. One More Night (04:46)
12. Sussudio (04:21)
13. Dance Into The Light (04:22)
14. A Groovy Kind Of Love (03:29)
15. In The Air Tonight (05:30)
16. Take Me Home (05:52)

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George Harrison (The Beatles) - Electronic Sound (1969)

Year: 9 May 1969 (UK) (CD 1996)
Label: Apple Records (UK), 7243 8 55239 2 2
Style: Avantgarde, Electronic, Experimental
Country: Liverpool, England (25 February 1943 - 29 November 2001)
Time: 43:50
Format: Flac Tracks 16/44,1 kHz
Size: 221 Mb

Although a guitarist and, from 1966, an aspiring sitarist under Indian musician Ravi Shankar, George Harrison turned to keyboard instruments as a tool for songwriting in 1967. These instruments included Hammond organ on some of his songs with the Beatles, and Mellotron on several of the Western selections on his debut solo album, the Wonderwall Music film soundtrack. Described by producer George Martin as the most dedicated of the Beatles in finding and creating new sounds for the band's studio recordings, Harrison became intrigued by the potential of the Moog synthesizer while in Los Angeles in late 1968. He was introduced to the instrument by Bernie Krause, who, along with his Beaver & Krause partner Paul Beaver, was the Moog company's sales representative for the US West Coast.
An off-shoot of the Beatles' Apple record label, Zapple Records was intended as an outlet for avant-garde musical works and spoken-word albums. The music on Electronic Sound, consisting of two extended instrumental pieces – "Under the Mersey Wall" and "No Time or Space" – was performed on a Moog 3 modular system. Harrison bought the system from the Moog company through Krause, and later had it set up at EMI Studios in London for the Beatles to use on their recordings.
In author Alan Clayson's view, the album was Harrison's "gesture of artistic solidarity" towards John Lennon and Yoko Ono, whose experimental collaborations, having first appeared on the Beatles' 1968 track "Revolution 9", made up Zapple's other inaugural album, Life with the Lions. In a 1987 interview, Harrison said that Electronic Sound, like the Lennon–Ono album, was an example of Zapple's ethos of "let[ting] serendipity take hold" rather than a formal creative work.
(en.wikipedia.org/wiki/Electronic_Sound)

01. Under The Mersey Wall (18:43)
02. No Time Or Space (25:06)

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George Harrison (The Beatles) - Wonderwall Music (1968)

Year: 1 November 1968 (UK) (CD 1992)
Label: Apple Records (UK & Europe), CDP 7 98706 2
Style: Indian Classical, Avantgarde, Experimental
Country: Liverpool, England (25 February 1943 - 29 November 2001)
Time: 45:43
Format: Flac Tracks 16/44,1 kHz
Size: 271 Mb

George Harrison first met Joe Massot while the Beatles were filming Help! in early 1965. He agreed to write the musical score for Massot's film Wonderwall in October 1967, after the Bee Gees had become unavailable. It was Harrison's first formal music project outside the Beatles and coincided with his continued immersion in Indian classical music. Since 1966, this association with India had given Harrison a distinct musical identity beside the band's primary songwriters, John Lennon and Paul McCartney. While he had minimal interest in the Beatles' main projects during 1967 - the album Sgt. Pepper's Lonely Hearts Club Band and their television film Magical Mystery Tour - Harrison led the group in terms of their shared philosophical direction, as his bandmates followed him in embracing Transcendental Meditation under the guidance of Maharishi Mahesh Yogi.
Harrison viewed Wonderwall at Twickenham Film Studios with Massot and was intrigued by the storyline. The film's premise concerns a lonely professor (played by Irish actor Jack MacGowran) and his increasing obsession with his female neighbour, a fashion model named Penny Lane (played by Jane Birkin), whom he spies on via a hole in the wall separating their apartments. In the context of 1960s Swinging London, the contrast between their existences symbolised the division between traditional norms and the younger generation's progressive thinking. In his soundtrack for the film, Harrison conveyed this contrast further in terms of the duality between psychedelia and his Hindu-aligned spiritual convictions. According to author Simon Leng: "The lack of dialogue left acres of room for music to speak, and a soupcon of cosmic apotheosis also helped ... Wonderwall touched on themes that would come to preoccupy George Harrison - critically, the objectification of celebrities and the shallowness of fame."
(en.wikipedia.org/wiki/Wonderwall_Music)

01. Microbes (03:44)
02. Red Alady Too (01:57)
03. Tabla and Pakavaj (01:05)
04. In the Park (04:10)
05. Drilling a Home (03:07)
06. Guru Vandana (01:07)
07. Greasy Legs (01:27)
08. Ski-Ing (01:50)
09. Gat Kirwani (01:15)
10. Dream Scene (05:30)
11. Party Seacombe (04:35)
12. Love Scene (04:17)
13. Crying (01:19)
14. Cowboy Music (01:30)
15. Fantasy Sequins (01:51)
16. On the Bed (02:23)
17. Glass Box (01:07)
18. Wonderwall to Be Here (01:27)
19. Singing Om (01:54)

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Rainbow - Down To Earth [Japanese Ed. 1986] (1979)

Year: 3 August 1979 (CD August 1, 1986)
Label: Polydor Records (Japan), P33P-25018
Style: Hard Rock
Country: London, England
Time: 36:52
Format: Flac Tracks 16/44,1 kHz
Size: 251 Mb

Charts: UK #6, AUS #27, FIN #26, GER #19, JPN #15, SWE #17, US #66. UK: Gold.
The writing of Down to Earth began at Ritchie Blackmore's house in Connecticut in January 1979. By that time, he had dismissed both bassist Bob Daisley and keyboardist David Stone before singer Ronnie James Dio quit the band. Blackmore had already recruited his old Deep Purple bandmate Roger Glover as producer and started auditioning musicians for the vacant slots in the band, while songwriting progressed with Blackmore, Cozy Powell and session bassist Clive Chaman. The songs were largely written by Blackmore and Glover. "It was a great opportunity for me, and why should I bear a grudge? (about being dismissed from Purple in 1973) " recalled Glover. "I'm a huge Ritchie fan. Some of my biggest influences have come from him."
By early 1979, Blackmore had recruited keyboardist Don Airey - a suggestion from Powell - and considered Peter Goalby of Trapeze, as well as another old Deep Purple bandmate Ian Gillan, to replace Dio. In April 1979, Jack Green of The Pretty Things was hired as new bass player for the recording sessions at Chateau Pelly de Cornfeld, in the countryside of Southern France, but he did not stay for long. Producer Glover ended up playing bass on the album and provided lyrics for all songs. While auditions for the new singer proceeded, Glover tracked down ex-Marbles singer Graham Bonnet, who auditioned in France and was immediately hired.
During song composition, Bonnet composed his vocal melodies although his contributions remained uncredited. His vocals were not recorded with the other tracks in France, but later at Kingdom Sound Studios in Long Island, when all other recording sessions were completed. Down to Earth is the only Rainbow album to feature Bonnet, though he was still part of the band when writing for Difficult to Cure began.
Also recorded for the proposed next single, but unreleased due to Bonnet's departure, was "Will You Love Me Tomorrow". Bonnet had previously recorded this song for his first, eponymously titled, solo album in 1977. Rainbow's version was recorded in the studio in May 1980, during rehearsals for the Japanese leg of the Down to Earth tour. It was subsequently played live throughout that tour.
(en.wikipedia.org/wiki/Down_to_Earth_(Rainbow_album))

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

01. All Night Long (03:54)
02. Eyes Of The World (06:46)
03. No Time To Lose (03:46)
04. Makin' Love (04:40)
05. Since You Been Gone (03:21)
06. Love's No Friend (04:55)
07. Danger Zone (04:33)
08. Lost In Hollywood (04:53)

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Rainbow - Long Live Rock 'N' Roll [Japanese Ed. 1986] (1978)

Year: 14 April 1978 (CD September 1, 1986)
Label: Polydor Records (Japan), P33P-25020
Style: Hard Rock, Classic Rock
Country: London, England
Time: 39:02
Format: Flac Tracks 16/44,1 kHz
Size: 248 Mb

Charts: UK #7, AUS #43, CAN #94, FIN #14, GER #26, JPN #9, NOR #12, NLD #11, SWE #18, US #89. UK: Silver.
Recording of the album commenced in April 1977, at a studio in Chateau d'Herouville, France, featuring Ritchie Blackmore, Ronnie James Dio and Cozy Powell. Keyboards were initially played on a session basis by former Rainbow keyboardist Tony Carey, while bass guitar was initially played by Mark Clarke. Clarke was soon dismissed, however, and the bass guitar was recorded by Blackmore himself. By July 1977 seven tracks that ended on the album were in demo form. Recording was suspended, while the band recruited bassist Bob Daisley and keyboardist David Stone and thereafter commenced extensive touring of Europe in the summer and autumn of 1977. A return to the Chateau d'Herouville studio in December saw the band finish the album and also yielded a final track, "Gates of Babylon".
Although Daisley and Stone are listed on the album credits for their contributions, they joined the band partway through the recording sessions and only appear on three and four songs, respectively. Stone wrote parts of "Gates of Babylon", the middle 8 section during the guitar solo. He was paid for the work, but not credited on the album.
(en.wikipedia.org/wiki/Long_Live_Rock_%27n%27_Roll)

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. Long Live Rock 'n' Roll (04:16)
02. Lady Of The Lake (03:40)
03. L.A. Connection (04:52)
04. Gates Of Babylon (06:48)
05. Kill The King (04:30)
06. The Shed (04:48)
07. Sensitive To Light (03:03)
08. Rainbow Eyes (07:02)

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Soft Machine Legacy (Soft Machine) - Steam (2007)

Year: February 2007 (CD 2008)
Label: Moonjune Records (US), MJR016
Style: Progressive Rock, Contemporary Jazz
Country: England
Time: 65:34
Format: Flac Tracks 16/44,1 kHz
Size: 413 Mb

This is the final Soft Machine project to feature bassist Hugh Hopper prior to his death in June 2009. He was replaced by Roy Babbington, Soft Machine member from 1973 to 1976. Babbington has previously replaced Hopper in Soft Machine-proper. Steam also marks the first appearance of Theo Travis in the group replacing Elton Dean who died in February 2006 at age 60.
In October 2004, the members of Soft Works, with John Etheridge permanently replacing Holdsworth, took the name "Soft Machine Legacy" and performed two festival shows; one on 9 October in Turkey and the other on 15 October in the Czech Republic. Liam Genockey temporarily replaced John Marshall who had ligament problems. The new band's line-up was Elton Dean, John Etheridge, Hugh Hopper and Liam Genockey. Soft Machine Legacy released three albums: Live in Zaandam (2205), the studio album Soft Machine Legacy (2006), which was recorded in September 2005 and features fresh material, and Live at the New Morning (2006). After Elton Dean died in February 2006, the band continued with the British saxophonist and flautist Theo Travis, formerly of Gong and The Tangent.
In December 2006, the new Legacy line-up recorded the album Steam in Jon Hiseman's studio. Steam was released in August 2007 by Moonjune Records before a European tour. Hopper left the band in 2008 because he was suffering from leukaemia, so for live performances Fred Thelonious Baker deputising for Hopper. Following Hopper's death in 2009, the band announced they would continue with Roy Babbington again replacing Hopper on bass.
Soft Machine Legacy released their fifth album in October 2010; the 58-minute record Live Adventures was recorded live in October 2009 in Austria and Germany during a European tour. Founding Soft Machine bassist Kevin Ayers died in February 2013 at aged 68, and 77-year-old Daevid Allen died in March 2015 following a short battle with cancer. On 18 March 2013, the Legacy band released a new studio album titled Burden of Proof. Travis stated: "legally we could actually be called Soft Machine but for various reasons it was decided to be one step removed".
(en.wikipedia.org/wiki/Soft_Machine)

01. Footloose (08:47)
02. The Steamer (04:38)
03. The Big Man (05:10)
04. Chloe & The Pirates (07:27)
05. In The Back Room (07:11)
06. The Last Day (05:20)
07. Firefly (06:42)
08. So English (08:30)
09. Dave Acto (06:26)
10. Anything To Anywhere (05:18)

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Mike Oldfield - Tubular Bells III [Japanese Ed.] (1998)

Year: 31 August 1998 (CD October 5, 1998)
Label: WEA Music (Japan), WPCR-2161
Style: Electronic, New Age
Country: Reading, Berkshire, England (15 May 1953)
Time: 46:38
Format: Flac Tracks 16/44,1 kHz
Size: 311 Mb

Charts: UK #4, AUS #96, AUT #4, GER #9, NL #46, SPA #1, SWE #31, SWI #26. UK: Gold; SPA: 4x Platinum.
Unlike Tubular Bells II, Tubular Bells III does not follow the pattern of the two pieces from the original album, but instead references Tubular Bells musically. For example, "The Source of Secrets" takes up music from the "Introduction" section of the original album, while "Far Above the Clouds" references the "Finale" section of "Tubular Bells (Part One)".
An early version of "The Source of Secrets" appears on Oldfield's compilation album XXV: The Essential (1997).
"Man in the Rain" is a pop song with lead vocals by Irish folk singer Cara Dillon and additional vocal takes by Heather Burnett. In the liner notes, Dillon is credited as "Cara from Polar Star", which references the short-lived name for a musical project she was involved in at the time. Oldfield wrote the song about ten years prior to recording and wrote the lyrics, which were influenced by his separation from his third wife. The drums on the song are sampled from Oldfield's 1983 song "Moonlight Shadow" from Crises (1983), originally performed by drummer Simon Phillips.
The tracks "The Source of Secrets", "Jewel in the Crown", and "Secrets" feature Amar as a vocalist. Oldfield can be heard on "Outcast". "The Inner Child" features Luar Na Lubre vocalist Rosa Cedron. The live version of "Man in the Rain" was mostly sung by Helen Pepsi DeMacque, notably at the London Premiere of Tubular Bells III (1998). "Far Above the Clouds" features Clodagh Simonds performing the main vocals while the child's vocals are performed by Francesca Robertson.
Some of the instruments which appear on the album are a Roland D-550, JD-990, JV1080, Clavia Nord Lead, and Korg Trinity synthesisers. The Roland VG8 Guitar synthesiser is used on tracks such as "Man in the Rain".
Oldfield also used sampled drums from his Crises and Ommadawn album on certain tracks. "Man in the Rain" features sampled drums from "Moonlight Shadow", "Outcast" features sampled drums from "Shadow on the Wall" and "Far Above the Clouds" features sampled drums from the end of "Ommadawn part 1". "Far Above the Clouds" also features a sampled guitar rhythm from the "Finale" section of "Tubular Bells (Part 1)", though in this instance it is fairly low in the mix and at a much faster tempo.
(en.wikipedia.org/wiki/Tubular_Bells_III)

01. The Source Of Secrets (Feat. Amar) (05:34)
02. The Watchful Eye (02:09)
03. Jewel In The Crown (Feat. Amar) (05:45)
04. Outcast (03:49)
05. Serpent Dream (02:53)
06. The Inner Child (Feat. Rosa Cedron) (04:41)
07. Man In The Rain (Vocals - Cara, Heather Burnett) (04:03)
08. The Top Of The Morning (04:26)
09. Moonwatch (04:25)
10. Secrets  (Feat. Amar) (03:20)
11. Far Above The Clouds (Feat. Clodagh Symonds, Francesca Robertson) (05:30)

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Ian Hunter (ex Mott The Hoople) - Shrunken Heads [2CD] (2007)

Year: 15 May 2007 (CD 2007)
Label: Mercury Records (Norway), 0602517335974
Style: Rock, Classic Rock
Country: Oswestry, Shropshire, England (3 June 1939)
Time: 50:35, 12:35
Format: Flac Tracks 16/44,1 kHz
Size: 361, 91 Mb

Shrunken Heads is the eleventh solo album of British singer-songwriter Ian Hunter and his first since 2001's critically acclaimed Rant. A bonus CD containing an additional three tracks was included with preorders placed on Ian's web site.
Ian Hunter Patterson (born 3 June 1939)[nb 1] is an English singer, songwriter and musician. He is best known as the lead vocalist of the rock band Mott the Hoople, from its inception in 1969 to its dissolution in 1974, and at the time of its 2009, 2013, and 2019 reunions. Hunter was a musician and songwriter before joining Mott the Hoople, and continued in this vein after he left the band. He embarked on a solo career despite ill health and disillusionment with commercial success, and often worked in collaboration with Mick Ronson, David Bowie's sideman and arranger from The Rise and Fall of Ziggy Stardust and the Spiders from Mars period.
Mott the Hoople achieved some commercial success, and attracted a small but devoted fan base. As a solo artist, Hunter charted with lesser-known but more wide-ranging works outside the rock mainstream. His best-known solo songs are "Once Bitten, Twice Shy", later covered by Great White, and "England Rocks", which was modified to "Cleveland Rocks" and then covered by The Presidents of the United States of America, and became one of the theme songs used for the American TV series The Drew Carey Show.
(en.wikipedia.org/wiki/Ian_Hunter_(singer))

01. Words (Big Mouth) (05:03)
02. Fuss About Nothing (03:44)
03. When The World Was Round (04:50)
04. Brainwashed (03:40)
05. Shrunken Heads (07:45)
06. Soul Of America (04:43)
07. How's Your House (04:18)
08. Guiding Light (04:09)
09. Stretch (04:12)
10. I Am What I Hated When I Was Young (03:05)
11. Read 'Em And Weep (05:02)

01. Your Eyes (03:49)
02. Wasted (05:05)
03. Real or Imaginary (03:39)

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Mott The Hoople - The Ballad Of Mott: A Retrospective [2CD] (1993)

Year: 1972, 1973, 1974, 1976, 1993 (CD Jun 1993)
Label: Columbia / Legacy (U.S.), C2K 46973
Style: Glam Rock, Classic Rock, Rock
Country: Hereford, Herefordshire, England
Time: 73:43, 76:01
Format: Flac Tracks 16/44,1 kHz
Size: 453, 395 Mb

Although it was subsequently rendered academic by the release of the All the Young Dudes box set, Ballad of Mott would stand proud as the finest Mott the Hoople collection on the market for close to five years -- and, in many ways, it remains so. The emphasis is on the band's years at the top, the 1972-74 period when they machine gunned out hit singles, at the same time as operating a virtual revolving door for guitarists. Mick Ralphs, Ariel Bender, and Mick Ronson all filed through the band during that period, and all three left some startling classics behind them -- the tasteful effervescence of "All the Young Dudes," "Violence," and "Whizz Kid" (Ralphs); the playful flash of "Roll Away the Stone," "Crash Street Kids," and "Golden Age of Rock'n'Roll" (Bender); the majestic sobriety of "Saturday Gigs" and "Lounge Lizard" -- both present here in previously unreleased form (Ronson). Of course all the hit singles are aboard, together with four well-chosen cuts from the band's years with Island/Atlantic in the days before fame came knocking. There's also some meaty rarities above and beyond the aforementioned -- the jokey "Henry & the H Bombs," recorded during the Dudes sessions with producer David Bowie, a version of The Hoople's masterful "Through the Looking Glass," which dissolves midway through into an utterly unexpected barrage of invective; and the opening verse of Don McLean's "American Pie," with which Mott introduced their 1974 era tours. Add a clutch of U.K. B-sides (nothing spectacular, but nice to have), and a generous dose of primo album cuts and, while The Ballad of Mott did draw some criticism from a Mott fanbase which was hoping for even more vault-exhuming lovelies, in terms of truly telling the story, it's a peerless collection. Yes, even more so than the box set.
(allmusic.com/album/the-ballad-of-mott-a-retrospective-mw0000100029)

01. Rock And Roll Queen (05:08)
02. Walkin' With A Mountain (03:51)
03. Waterlow (03:01)
04. Sweet Angeline (04:52)
05. All The Young Dudes (03:33)
06. Momma's Little Jewel (04:26)
07. One Of The Boys (06:46)
08. Sucker (05:01)
09. Sweet Jane (04:22)
10. Sea Diver (02:55)
11. Ready For Love / After Lights (06:47)
12. Ballad Of Mott The Hoople (March 26, 1972 - Zurich) (05:24)
13. Drivin' Sister (03:52)
14. Violence (04:49)
15. Rose (03:57)
16. I Wish I Was Your Mother (04:51)

01. Honaloochie Boogie (02:44)
02. All The Way From Memphis (04:59)
03. Whizz Kid (03:26)
04. Hymn For The Dudes (05:24)
05. The Golden Age Of Rock 'N' Roll (03:26)
06. Rest In Peace (03:55)
07. Marionette (05:04)
08. Crash Street Kidds (04:31)
09. Born Late '58 (03:59)
10. Roll Away The Stone (03:09)
11. Where Do You All Come From (03:27)
12. Henry & The H-Bomb * (03:30)
13. Foxy Foxy (03:31)
14. Saturday Gigs (04:28)
15. Lounge Lizard * (04:19)
16. Through The Looking Glass (04:38)
17. American Pie (Excerpt) * (01:23)

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Mike Oldfield - Voyager [Japanese Ed.] (1996)

Year: 26 August 1996 (CD September 25, 1996)
Label: WEA Music (Japan), WPCR-807
Style: Celtic, Instrumental, New Age
Country: Reading, Berkshire, England (15 May 1953)
Time: 58:30
Format: Flac Tracks 16/44,1 kHz
Size: 354 Mb

The music on this album is the most overtly Celtic music Mike Oldfield has produced. The album was originally recorded using only acoustic hand-played instruments. After the daughter of a Warner Music exec said it sounded boring, Oldfield added synthesizers and more instruments to the album.
"The Song of the Sun" is song composed by Bieito Romero of the Galician Celtic band Luar na Lubre whose original title is "O son do ar" ("The sound of the air")."The Hero" is a Scottish piece originally written by James Scott Skinner in 1903, as "Hector the Hero". "She Moves Through the Fair" is a traditional Irish song, the melody of which had been used by Simple Minds for "Belfast Child" in 1989. "Women of Ireland", although credited as a traditional song, is not: the main theme is a melody written by Irish composer Sean O Riada as a musical setting of the poem "Mna na hEireann", written by Peadar O Doirnin; Oldfield's rendition also includes an interpolation of the fourth movement (Sarabande) of George Frideric Handel's Keyboard suite in D minor, popularised by its use by Stanley Kubrick in his 1975 film Barry Lyndon, where O Riada's tune also appears (Oldfield's "Women of Ireland" was reportedly inspired by the coupling of both pieces in the film). "Dark Island" is a Scottish instrumental and song; the original music was written by Iain Maclachlan as Dr. Mackay's Farewell to Creagorry in 1958. Later used as the theme to a 1962 BBC TV series and re-titled for the series. A set of words were later written by David Silver in 1963. Another well known set of words were also set to a variation of the tune in 1963, by Stewart Ross. "Flowers of the Forest" is a traditional Scottish song, a lament for the defeat at Flodden in 1513.
"Mont Saint-Michel", a piece on the album composed by Oldfield, refers to a tidal island in France.
(en.wikipedia.org/wiki/Voyager_(Mike_Oldfield_album))

01. The Song Of The Sun (04:32)
02. Celtic Rain (04:41)
03. The Hero (05:03)
04. Woman Of Ireland (06:29)
05. The Voyager (04:26)
06. She Moves Through The Fair (04:06)
07. Dark Island (05:43)
08. Wild Goose Flaps Its Wings (05:04)
09. Flowers Of The Forest (06:03)
10. Mont St Michel (12:17)

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Queen - Greatest Hits II [1981-1991 Japanese Ed.] (1991)

Year: 28 October 1991 (CD March 20, 2019)
Label: Universal Music (Japan), UICY-40264
Style: Pop Rock, Arena Rock
Country: London, England
Time: 79:49
Format: Flac Tracks 16/44,1 kHz
Size: 569 Mb

The album consisted of Queen's biggest hits between 1981 and 1991, from the UK chart-topper "Under Pressure" to "The Show Must Go On".
The compilation Greatest Hits II reached number one on the UK Albums Chart, and is the tenth best-selling album in the UK with sales of 3.9 million copies as of 2014. It is the seventh best-selling album in Germany, the thirteenth best-selling album in France, and the best-selling album by a foreign artist in Finland. Accumulated sales (Greatest Hits II and Classic Queen for the US and Canada combined) are in excess of 25 million worldwide.
Freddie Mercury designed the crest on the album cover, using the astrological signs of the four members: two Leos (Roger Taylor and John Deacon), one Cancer (Brian May) and one Virgo (Mercury).
(en.wikipedia.org/wiki/Greatest_Hits_II_(Queen_album))

01. A Kind Of Magic (04:21)
02. Under Pressure (03:56)
03. Radio Ga Ga (05:43)
04. I Want It All (04:01)
05. I Want To Break Free (04:18)
06. Innuendo (06:28)
07. It's A Hard Life (04:08)
08. Breakthru (04:08)
09. Who Wants To Live Forever (04:56)
10. Headlong (04:31)
11. The Miracle (04:53)
12. I'm Going Slightly Mad (04:08)
13. The Invisible Man (03:39)
14. Hammer To Fall (03:39)
15. Friends Will Be Friends (04:08)
16. The Show Must Go On (04:23)
17. One Vision (04:00)
18. I Was Born To Love You (Bonus Track) (04:21)

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Savoy Brown - A Step Further [Japanese Ed. SHM-CD] (1969)

Year: September 1969 (US/Canada), October 1969 (UK) (CD 27 Sep, 2017)
Label: Universal Music (Japan), UICY-78487
Style: Blues Rock, Hard Rock, Classic Rock
Country: London, England
Time: 40:16
Format: Flac Tracks 16/44,1 kHz
Size: 251 Mb

A Step Further is the fourth album by the band Savoy Brown. It was released by Decca in the United Kingdom and by Parrot in the United States in the fall of 1969. It is the last of the band's albums on which their long-time pianist Bob Hall played. The album track "Made Up My Mind" had first appeared as the B-side of the U.S. single release on Parrot Records 45-40039 (released June 1969), fronted by "Train to Nowhere", from their album Blue Matter. The track "Waiting in the Bamboo Grove" would later be released as the B-side of the U.K. single release on Decca F 13019 (released May 1970), of "A Hard Way To Go" from their album Raw Sienna.
Side two was recorded live at Cooks Ferry Inn, Edmonton, London, on Monday 12 May 1969.
(en.wikipedia.org/wiki/A_Step_Further)

I really expected more from this group - they sound like they have potential, and had been around a while. But as a blues band - not a bad thing in itself - they rely way too much on the same song format.
Only frontman Chris Youlden brings something interesting to the table - the other band members lack any distinct sound. This is probably why most of the first side is masked with dated-sounding orchestral accompaniment, and is pretty derivative.
The real problem is the second side though, a live boogie montage that starts out as a good time then quickly deflates. I mean, 22 minutes of the same beat in the same key (A) is going to get tiring. Along the way they manage to disgrace not only "Purple Haze" but also "Hernando's Hideaway".
I don't really want to rate A Step Further because listening to the second side puts me to sleep every time.
(alltime-records.com/01-albums-0004/0004349.php)

01. Made Up My Mind (02:56)
02. Waiting In The Bamboo Grove (03:38)
03. Life's One Act Play (06:30)
04. I'm Tired-Where Am I (05:05)
05. Savoy Brown Boogie - Feel So Good - Whole Lotta Shakin' Go (22:06)

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Alice Cooper - From The Inside [Japanese Ed. SHM-CD] (1978)

Year: November 17, 1978 (CD Jan 18, 2012)
Label: Warner Bros. Records (Japan), WPCR-14310
Style: Hard Rock, Glam Rock
Country: Detroit, Michigan, U.S. (February 4, 1948)
Time: 39:02
Format: Flac Tracks 16/44,1 kHz
Size: 284 Mb

From the Inside is the fourth solo and overall eleventh studio album by American rock singer Alice Cooper, released on November 17, 1978. It is a concept album about Cooper's stay in a New York asylum due to his alcoholism. Each of the characters in the songs were based on actual people Cooper met in the asylum. Among other collaborators, the album features three longtime Elton John associates: lyricist Bernie Taupin, guitarist Davey Johnstone and bassist Dee Murray.
The lead single from the album was the power ballad "How You Gonna See Me Now", which peaked at No. 12 in the US Hot 100 chart. A music video was also created for it. The 'Madhouse Rocks Tour' in support of From the Inside lasted from February to April 1979 and saw all songs from the album as regular parts of the setlist except "Millie and Billie", "For Veronica’s Sake" and "Jackknife Johnny". Since 1979, however, songs from From the Inside have rarely been performed live, with the only cases being "Serious" on the 2003 'Bare Bones' tour and his 2018 One Night with Alice Cooper tour. "Wish I Were Born in Beverly Hills" on the 2005–2006 Dirty Diamonds Tour, "Nurse Rozetta" on the 'Descent into Dragontown' and 'Theatre of Death' tours, and "From the Inside" between 1997 and 1999 and on the late 2000s 'Theatre of Death' tour.
The album was adapted into a comic book, Marvel Premiere #50.
(en.wikipedia.org/wiki/From_the_Inside_(Alice_Cooper_album))

01. From The Inside (03:54)
02. Wish I Were Born In Beverly Hills (03:37)
03. The Quiet Room (03:52)
04. Nurse Rozetta (04:14)
05. Millie And Billie (04:12)
06. Serious (02:44)
07. How You Gonna See Me Now (03:57)
08. For Veronica's Sake (03:37)
09. Jackknife Johnny (03:45)
10. Inmates (We're All Crazy) (05:05)

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Alice Cooper - The Alice Cooper Show [Japanese Ed. SHM-CD. Live] (1977)

Year: 1977 (CD Jan 18, 2012)
Label: Warner Bros. Records (Japan), WPCR-14309
Style: Hard Rock, Pop Rock
Country: Detroit, Michigan, U.S. (February 4, 1948)
Time: 40:43
Format: Flac Tracks 16/44,1 kHz
Size: 288 Mb

The Alice Cooper Show is a live album by Alice Cooper, released by Warner Bros. in December 1977.
It was recorded live in Las Vegas at the Aladdin Hotel on August 19 and 20, 1977, during Cooper's "King of the Silver Screen" United States tour. Before doing the gig that would become this album, Alice Cooper was exhausted from constant touring, recording and drinking. Contractual obligations resulted in him being heavily pressured into doing it. Alice states "Whenever a fan comes to me with this album to sign, I tell them I hate this album". The TV special Alice Cooper and Friends featured live footage from that tour.
(en.wikipedia.org/wiki/The_Alice_Cooper_Show)

01. Under My Wheels (02:35)
02. Eighteen (04:58)
03. Only Women Bleed (05:55)
04. Sick Things (00:59)
05. Is It My Body (02:35)
06. I Never Cry (02:48)
07. Billion Dollar Babies (03:17)
08. Devil's Food / The Black Widow (05:50)
09. You And Me (02:25)
10. I Love The Dead - Go To Hell - Wish You Were Here (06:36)
11. School's Out (02:39)

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The Remo Four - The Early Days - The Pye Singles [1963-1964] (1991)

Year: 1963-1964 (CD 1991)
Label: Repertoire Records (Germany), REP 4186-WZ
Style: British Invasion, Merseybeat, Beat, Rock
Country: Liverpool, England
Time: 51:44
Format: Flac Tracks 16/44,1 kHz
Size: 176 Mb

An obscure Merseybeat band that went through several stylistic changes over the course of their nearly decade-long life, the Remo Four were very popular for a time in Liverpool around the time the Beatles were still playing in the Cavern, and were even signed by Brian Epstein, but never had anything approaching a hit single. In the early '60s they were known both for Shadows-type instruments and harmony vocals with a country & western flavor. Their versatility made them suitable to act as a backing group for other singers, and they recorded in this capacity with obscure solo vocalists Tommy Quickly, Johnny Sandon, and Gregory Phillips; they turned down an opportunity to become Billy J. Kramer's backing group, and may have worked with Cilla Black had not her boyfriend, Bobby Willis, objected. The Remo Four also recorded a couple of average pop/rock singles on their own in the mid-'60s, the best of these being their fairly tough instrumental version of Henry Mancini's "Peter Gunn."
By 1966, the Remo Four were spending most of their time in Hamburg, Germany, where they played the Star Club. Their personnel also altered around this time, and with the incorporation of organist Tony Ashton, their sound took on far more of a soul-jazz flavor. They did a couple of singles and an album, Smile!, for the Star Club's label in 1966 and 1967, and these show quite a bit of artistic growth from their Merseybeat days. The Remo Four were now a sophisticated soul-jazz-rock group with prominent organ, in the mold of other British artists of the era like Graham Bond, Georgie Fame, Zoot Money, and Brian Auger, although they were not explicitly derivative of any of the aforementioned figures, with hints of the straighter rock approach of the Animals and the Spencer Davis Group. Although they wrote little original material, their arrangements and interpretations were forceful and imaginative, though by 1967 the approach was getting outdated.
After returning to England, they backed a fading Billy J. Kramer for a while before breaking up. In the late '90s, however, a surprising find was unearthed of the Remo Four doing a psychedelic pop track, "In the First Place," that was produced by George Harrison during the sessions for the Wonderwall soundtrack in 1967. These were not released in 1967, however; two different mixes of the song were released by Pilar in 1999. After the Remo Four split, Tony Ashton and drummer Roy Dyke joined guitarist Kim Gardner (formerly of the Birds and the Creation) to form Ashton, Gardner and Dyke, who had an international hit in the early '70s with "Resurrection Shuffle."
(allmusic.com/artist/remo-4-mn0001174297)

01. Tip Of My Tongue (02:08)
02. Heaven Only Knows (02:19)
03. Lies (02:07)
04. On The Horizon (02:22)
05. Yes (02:34)
06. Magic Potion (02:17)
07. Kiss Me Now (01:54)
08. No Other Love (Could Ever Be The Same) (01:59)
09. Prove It (02:30)
10. Haven't You Notified (01:58)
11. I Wish I Could Shimmy As My Sister Kate (02:14)
12. Peter Gunn (03:14)
13. You Might As Well Forget Him (02:40)
14. It's Simple As That (01:56)
15. Sally Go Round The Roses (02:22)
16. I Know A Girl (02:28)
17. The Wild Side Of Life (02:12)
18. Forget The Other Guy (02:15)
19. Humpty Dumpty (03:10)
20. I Go Crazy (02:08)
21. Everybody Knows (02:53)
22. Closer To Me (01:55)

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Ozzy Osbourne - Blizzard Of Ozz [Japanese Ed. 1988] (1980)

Year: September 12, 1980 (CD Sep 30, 1988)
Label: CBS Records / Sony Records (Japan), 25DP 5220
Style: Heavy Metal, Hard Rock
Country: Marston Green, Warwickshire, England (3 December 1948)
Time: 39:33
Format: Flac Tracks 16/44,1 kHz
Size: 273 Mb

Much of the album was written by guitarist Randy Rhoads, bassist Bob Daisley, and Ozzy Osbourne while staying at the Monnow Valley Studio near Monmouth, Wales, with a friend of Osbourne's named Barry Scrannage performing as the group's drummer. Scrannage was never considered as a candidate to be the group's permanent drummer and was not involved in the songwriting process at all. The band recorded demos of the songs "I Don't Know" (which became Osbourne's second most-performed song), "Crazy Train" (the most performed one), "Goodbye to Romance", and "You Looking at Me Looking at You" in Birmingham in early 1980 with ex-Lone Star drummer Dixie Lee. They had hoped Lee would be a permanent member but "he wasn't the final piece of the puzzle", bassist Daisley recalls. After auditioning several drummers, ex-Uriah Heep member Lee Kerslake was hired as the permanent drummer. The completed lineup retreated to Clearwell Castle in Gloucestershire for six days to rehearse and give Kerslake an opportunity to learn the new songs. A week later, they travelled to Ridge Farm Studio to commence recording.
The first track written for the album was "Goodbye to Romance". Osbourne has stated that the song was his way of saying goodbye to his former band Black Sabbath, as he had thought his career was over after leaving the band. After performing a show in Birmingham, the band hastily returned to Ridge Farm to remix "Goodbye to Romance" for a single. The next morning they were informed that their label Jet Records instead wanted a brand new song to release as a single. Rhoads, Daisley, and Kerslake quickly put together the song "You Said It All", with drummer Kerslake performing the guide vocal at soundcheck while a drunken Osbourne slept under the drum riser. The song was ultimately never recorded, though a live version was released on Ozzy Osbourne Live EP in 1980.
(full version: en.wikipedia.org/wiki/Blizzard_of_Ozz)

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. I Don't Know (05:16)
02. Crazy Train (04:56)
03. Goodbye To Romance (05:36)
04. Dee (00:50)
05. Suicide Solution (04:20)
06. Mr. Crowley (05:02)
07. No Bone Movies (03:53)
08. Revelation (Mother Earth) (06:09)
09. Steal Away (The Night) (03:29)

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Soft Machine Legacy (Soft Machine) - Soft Machine Legacy (2006)

Year: 2006 (CD 2006)
Label: Moonjune Records (US), MJR008
Style: Progressive Rock, Contemporary Jazz
Country: England
Time: 57:30
Format: Flac Tracks 16/44,1 kHz
Size: 344 Mb

In October 2004, the members of Soft Works, with John Etheridge permanently replacing Holdsworth, took the name "Soft Machine Legacy" and performed two festival shows; one on 9 October in Turkey and the other on 15 October in the Czech Republic. Liam Genockey temporarily replaced John Marshall who had ligament problems. The new band's line-up was Elton Dean, John Etheridge, Hugh Hopper and Liam Genockey. Soft Machine Legacy released three albums: Live in Zaandam (2205), the studio album Soft Machine Legacy (2006), which was recorded in September 2005 and features fresh material, and Live at the New Morning (2006). After Elton Dean died in February 2006, the band continued with the British saxophonist and flautist Theo Travis, formerly of Gong and The Tangent.
In December 2006, the new Legacy line-up recorded the album Steam in Jon Hiseman's studio. Steam was released in August 2007 by Moonjune Records before a European tour. Hopper left the band in 2008 because he was suffering from leukaemia, so for live performances Fred Thelonious Baker deputising for Hopper. Following Hopper's death in 2009, the band announced they would continue with Roy Babbington again replacing Hopper on bass.
Soft Machine Legacy released their fifth album in October 2010; the 58-minute record Live Adventures was recorded live in October 2009 in Austria and Germany during a European tour. Founding Soft Machine bassist Kevin Ayers died in February 2013 at aged 68, and 77-year-old Daevid Allen died in March 2015 following a short battle with cancer. On 18 March 2013, the Legacy band released a new studio album titled Burden of Proof. Travis stated: "legally we could actually be called Soft Machine but for various reasons it was decided to be one step removed".
(en.wikipedia.org/wiki/Soft_Machine)

 
Recorded in September of 2005 at East Cote Studios, London (UK) by Philip Bagenal.
A powerful, rock-edged collaboration from the four legendary members of the seminal pioneers of jazz-rock, Soft Machine. The lineup features: the late, great free-jazzer Elton Dean on saxophones and Fender Rhodes; innovative, rock-solid bassist Hugh Hopper; virtuosic, pioneering guitarist John Etheridge, and; the intuitive, forceful drummer John Marshall.Soft Machine Legacy's first studio album rocks as hard as any of the original group's efforts ever did, but there is still an ever-present magical chemistry at play with this band. Full of fire, energy, great chops and imagination, this "instant classic" self-titled studio debut proves itself to be well worth the wait.Following on the heels of 2005's Live In Zaandam (SML's debut effort, and initial release for MoonJune Records), this smoking session combines new writing and spirited improvs with a fresh take on some classic Softs material. Soft Machine Legacy demonstrates that "spirit, not a style" is truly Soft Machine's greatest legacy. This is a hard-hitting effort that will not only appeal to fans of the original band, but to anyone who likes their fusion wide open, their jams loose and totally spontaneous, and their jazz combined with potent grooves and fiery energy.
(softmachine-moonjune.bandcamp.com/album/soft-machine-legacy)

01. Kite Runner (06:57)
02. Ratlift (07:55)
03. Twelve Twelve (10:20)
04. F & I (02:08)
05. Fresh Brew (06:24)
06. New Day (03:47)
07. Fur Edge (02:49)
08. Theta Meter (03:44)
09. Grape Hound (06:56)
10. Strange Comfort (06:26)

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The Alan Parsons Project - The Instrumental Works [compilation] (1988)

Year: November 1988 (CD 1988)
Label: Arista Records (Germany), 259 237
Style: Progressive Pop, Electronic, Soft Rock
Country: London, England
Time: 44:01
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

Instrumental Works collects ten of The Alan Parsons Project's best musical pieces and acts as a wonderful journey through some of this group's most innovative material. Although famous for his concepts, Alan Parsons is equally renowned for his illustrious mood-invoking instrumentals that helped create atmosphere on all of his albums. These movements can easily be taken away from their master albums without losing their grandeur and charm, unlike his vocal works that act as pieces in a thematic puzzle and are better left within their conceptual domain. Both intricacy and subtlety are depicted here, with selections such as "I Robot," "Paseo de Gracia," and "Hawkeye." The all-encompassing "Mammagamma" from Eye in the Sky is wisely included as well, as is the peculiar "Urbania," one of the best tracks from Stereotomy. Noticeably missed, on the other hand, are two of their finest instrumentals in "Lucifer" and the short but stunning "Sirius." Even without these pieces, Instrumental Works spotlights Parsons' fine employment of musical diversity through his keyboard and guitar manipulation, while at the same time the music's simplicity is admirably felt. These selections are an entertaining jaunt across Parsons' non-vocal material.
(allmusic.com/album/the-instrumental-works-mw0000196611)

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. Pipeline (Ammonia Avenue) (03:58)
02. Where's The Walrus (Stereotomy) (07:25)
03. I Robot (I Robot) (06:02)
04. Mammagamma (Eye In The Sky) (03:34)
05. Hawkeye (Vulture Culture) (03:49)
06. Voyager (Pyramid) (02:16)
07. Paseo De Gracia (Gaudi) (03:45)
08. Urbania (Stereotomy) (04:59)
09. The Gold Bug (The Turn of a Friendly / Card) (04:29)
10. Genesis Ch. 1 V. 32 (I Robot) (03:39)

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