Judas Priest - Priest In The East (Unleashed In The East) [Live] [Japan] (1979)

Year: 17 September 1979 (CD Mar 21, 1991)
Label: Epic / Sony Records (Japan), ESCA 5253
Style: Heavy Metal, Hard Rock
Country: Birmingham, England
Time: 61:23
Format: Flac Tracks 16/44,1 kHz
Size: 419 Mb

Unleashed in the East is the first live album by the English heavy metal band Judas Priest, released in September 1979 on Columbia Records. It was recorded live over two nights in Tokyo during their Hell Bent for Leather Tour in February 1979. Upon release Unleashed became the band's best-selling album up to that point, reaching the US Top 100 and the UK Top Ten, eventually the album became one of the five Judas Priest albums to gain a RIAA platinum certification. It is the first Priest album to be produced by Tom Allom who would remain at the helm for the next decade for the band, and the last release to feature drummer Les Binks.
To what extent the album was really live remains a matter of contention, with the album sometimes being called Unleashed in the Studio. Years later, after he had left Priest, Rob Halford noted in various interviews that the music was indeed live, but that his vocals had been ruined in the original recording and were later dubbed in a concert-like studio setting.
The 2001 CD reissue featured four "bonus tracks", "Rock Forever," "Delivering the Goods," "Hell Bent for Leather" and "Starbreaker", which had been issued on the 7-inch bonus disc that came with the original 1979 Japanese vinyl release. Three of these were from their then-current album Killing Machine (released in the US as Hell Bent for Leather), which was not well represented on the original release. "Delivering the Goods" and "Starbreaker" had been exclusive to the Japanese release, although the former would be one of the B-side tracks to the "Living After Midnight" 12-inch, released in March 1980.
These four tracks were previously available on the Japanese pressing of the album (titled Priest in the East and having the same track-list as the remaster), and were recorded at the same time as the original nine tracks. Additionally, two more songs were recorded from the same concerts but were only available as B-sides on various singles:
"Evil Fantasies" was on the "Living After Midnight" 12-inch, along with "Delivering the Goods." This live version of "Evil Fantasies" had an official CD release on Single Cuts (2011), albeit with a 6-second edit to the start, which trims Halford's chat slightly.
(en.wikipedia.org/wiki/Unleashed_in_the_East)

01. Exciter (05:37)
02. Running Wild (02:52)
03. Sinner (07:32)
04. The Ripper (02:41)
05. Green Manalishi (03:29)
06. Diamonds And Rust (03:33)
07. Victim Of Changes (07:11)
08. Genocide (07:21)
09. Tyrant (04:41)
10. Rock Forever (03:27)
11. Delivering The Goods (04:14)
12. Hell Bent For Leather (02:40)
13. Starbreaker (05:59)

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It's A Beautiful Day - At Carnegie Hall [Live] (1972)

Year: 1972 (CD Aug 14, 1995)
Label: Rewind Records (Europe), 480970 2
Style: Psychedelic Rock, Folk Rock
Country: San Francisco, California, U.S.
Time: 47:32
Format: Flac Tracks 16/44,1 kHz
Size: 318 Mb

It's a Beautiful Day is an American band formed in San Francisco, California, in 1967, featuring vocalist Pattie Santos along with violinist David LaFlamme and his wife, Linda LaFlamme, on keyboards.
David LaFlamme, who as a youth had once performed as a soloist with the Utah Symphony Orchestra, had previously been in the group Orkustra playing five-string violin. The other members of It's a Beautiful Day in its early years were Val Fuentes (drums), Mitchell Holman (bass) and Hal Wagenet (guitar). Although they were one of the notable San Francisco bands to emerge from 1967's Summer of Love, the band never achieved the success of contemporaries such as the Grateful Dead, Jefferson Airplane, and Santana, with whom they had connections. The band created a unique blend of rock, jazz, folk, classical, and world-beat styles.
(en.wikipedia.org/wiki/It%27s_a_Beautiful_Day)

01. Give Your Woman What She Wants (03:56)
02. A Hot Summer Day (08:46)
03. Angels And Animals (04:13)
04. Bombay Calling (08:10)
05. Going To Another Party (04:26)
06. Good Lovin' (05:12)
07. The Grand Camel Suite (02:52)
08. White Bird (09:54)

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Ringo Starr (The Beatles) - Ringo The 4th (1977)

Year: 20 September 1977 (CD ????)
Label: WEA Manufacturing (U.S.), 7 82416-2
Style: Funk, Pop, Rock
Country: Liverpool, England (7 July 1940)
Time: 38:04
Format: Flac Tracks 16/44,1 kHz
Size: 238 Mb

Ringo the 4th is the sixth studio album by English musician Ringo Starr, released on 20 September 1977. Its title is sometimes ascribed to him being the fourth member of the Beatles. Others have suggested that it is his fourth mainstream album, which excludes his Great American Songbook homage, Sentimental Journey, and his country-western foray, Beaucoups of Blues. However, Ringo the 4th is a dance-oriented record, crafted for him by his Atlantic Records producer, Arif Mardin.
After the commercial disappointment of Ringo's Rotogravure (1976), Starr decided to shift from his formula of using his well-known musician friends (notably his fellow ex-Beatles) to write songs and appear on his albums. Instead, he intensified his partnership with Vini Poncia, with whom he wrote several of the songs featured here, while using the input of different musicians. Sessions began on 5 February 1977, at Cherokee Studios in Los Angeles, produced by Arif Mardin.[1] The first songs recorded were two unreleased tracks, "Lover Please" and "Wild Shining Stars".[1] Near the end of the month, Starr recorded "Out on the Streets", "It's No Secret" and "Gypsies in Flight".[1] In June, recording sessions were held at Atlantic Studios in New York.[1] where the tracks that ended up on the album were recorded. In addition, the B-side "Just a Dream", as well as an unreleased track, "By Your Side", were recorded.[1] Starr moved back to Cherokee Studios, where he held more sessions towards the end of the month, where a few more unreleased tracks were recorded: "Birmingham", "This Party", and a different version of "Just a Dream".[1] David Foster played keyboards on a couple of songs, while Melissa Manchester, Luther Vandross, and Bette Midler occasionally appeared on backing vocals.
Nancy Lee Andrews used Rita Wolf as a model in the photo shoot for the album cover. The photo used on the album cover shows Wolf's legs and she is sitting on Starr's shoulders. The back cover is a photo taken from the back of Starr and Wolf showing her bottom in tight pink pants.
(en.wikipedia.org/wiki/Ringo_the_4th)

01. Drowning In The Sea Of Love (05:10)
02. Tango All Night (02:59)
03. Wings (03:27)
04. Gave It All Up (04:42)
05. Out On The Streets (04:30)
06. Can She Do It Like She Dances (03:13)
07. Sneaking Sally Through The Alley (04:17)
08. It's No Secret (03:42)
09. Gypsies In Flight (03:04)
10. Simple Love Song (02:57)

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Kate Bush - King Of The Mountain (single) (2005)

Year: 24 October 2005 (CD 2005)
Label: EMI Records (Europe), LC0542. CDEM 674/0946 343524 2 0.
Style: Progressive Rock, Art Rock, Art Pop
Country: Kent, England (30 July 1958)
Time: 10:51
Format: Flac Tracks 16/44,1 kHz
Size: 60 Mb

Charts: AUT #71, CAN #5, Eurochart Hot 100 #12, FIN #3, GER #42, Greece #31, IRE #13, ITA #24, NLD #13, Scotland #4, Switzerland #47, UK #4.
"King of the Mountain" is a song by British singer-songwriter Kate Bush. Taken from her eighth album, Aerial (2005), it was released on 24 October 2005 as the album's only single and became her biggest hit in over a decade, peaking at number four in the United Kingdom and reaching the top 20 in several other European countries and Canada.
"King of the Mountain" was released as a single by EMI Records on 24 October 2005,[2] Bush's first single since "And So Is Love", which had been released 11 years before. It was first played on BBC Radio 2 on 21 September 2005. Written about ten years before most of the songs on Aerial,[1] the lyrics enquire whether Elvis Presley might still be alive someplace, "...looking like a happy man..." and playing with "Rosebud", Kane's childhood's sled, and comment on the pressures of extreme fame and wealth. In a November 2005 interview with BBC Four's Front Row Bush said, "I don't think human beings are really built to withstand that kind of fame."[1] Sung in a slightly slurred Elvis-type manner,[1] the track was produced by Bush; the recording was engineered by Del Palmer and mastered by James Guthrie. The cover art is a drawing by her son Bertie.
The B-side of the UK single is a cover version of Marvin Gaye's "Sexual Healing", which features Irish musician Davy Spillane on uilleann pipes, originally recorded for his 1994 A Place Among the Stones album. The track was left off the Spillane album as it didn't fit with the sound of the rest of the record and before the 2005 release, Bush's version of "Sexual Healing" had only been heard publicly once, at the 1994 Kate Bush fan club convention in the Hippodrome, London.
(en.wikipedia.org/wiki/King_of_the_Mountain_(Kate_Bush_song))

01. King Of The Mountain (04:53)
02. Sexual Healing (05:58)

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Kate Bush - This Woman's Work. Vol. 1 & 2 [Compilation 2xCD] (1990)

Year: 22 October 1990 (CD 1990)
Label: EMI Records (Canada), E2 0777 7 95238 2
Style: Art Rock, Art Pop
Country: Kent, England (30 July 1958)
Time: 46:07, 66:14
Format: Flac Tracks 16/44,1 kHz
Size: 253, 394 Mb

Singles and EP collections. The two rarities discs are entitled This Woman's Work: Volume One and This Woman's Work: Volume Two (in the vinyl edition the twenty-nine tracks are spread over three LP's), and have never been released as albums separately from the box set.
(en.wikipedia.org/wiki/This_Woman%27s_Work:_Anthology_1978%E2%80%931990)

 

 

01. The Empty Bullring (02:16)
02. Ran Tan Waltz (02:41)
03. Passing Through Air (02:05)
04. December Will Be Magic Again (04:51)
05. Warm And Soothing (02:43)
06. Lord Of The Reedy River (02:42)
07. Ne T'En Fui Pas (02:33)
08. Un Baiser D'Enfant (03:02)
09. Under The Ivy (02:10)
10. Burning Bridge (04:42)
11. My Lagan Love (02:30)
12. The Handsome Cabin Boy (03:12)
13. Not This Time (03:40)
14. Walk Straight Down The Middle (03:50)
15. Be Kind To My Mistakes (03:03)

01. I'm Still Waiting (04:28)
02. Ken (03:49)
03. One Last Look Around The House Before We Go... (01:04)
04. Wuthering Heights (New Vocal) (04:58)
05. Experiment IV (04:22)
06. Them Heavy People (04:08)
07. Don't Push Your Foot On The Heartbrake (03:39)
08. James And The Cold Gun (06:25)
09. L'Amour Looks Something Like You (02:44)
10. Running Up That Hill (05:46)
11. Cloudbusting (The Organon Mix) (06:33)
12. Hounds Of Love (Alternative) (03:48)
13. The Big Sky (Meteorological Mix) (07:45)
14. Experiment IV (12' Mix) (06:37)

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Mudcrutch (Tom Petty) - Mudcrutch 2 (2016)

Year: May 20, 2016 (CD 2016)
Label: Reprise Records (Europe), 9362-49208-1
Style: Classic Rock, Rock
Country: Gainesville, Florida, U.S. (October 20, 1950 - October 2, 2017)
Time: 43:15
Format: Flac Tracks 16/44,1 kHz
Size: 307 Mb

"We thought The Epics was too corny a name," Tom Petty once said in an interview, speaking of his garage band in Gainesville, Fla., in the late '60s. "So we picked this really terrible one." That terrible name was Mudcrutch. From 1970 to '75, the group tried its best to make it big, even going so far as to relocate to Los Angeles. There, Petty was urged to go solo, which he did in 1976, taking two Mudcrutch members (guitarist Mike Campbell and keyboardist Benmont Tench) along with him. The new band picked a more pleasing name, The Heartbreakers, and the rest is history. Mudcrutch faded to a footnote. That is, until 2008, when the reformed Mudcrutch released its self-titled, long-overdue debut album — a rollicking, rough-hewn batch of Southern-rock nuggets that became a surprise hit.
After another, slightly less lengthy break, Mudcrutch is back. The band's new album, 2, has a title as utilitarian as its music. As with Mudcrutch, there's nothing flashy or extraneous here — just down-home, steady-as-she-goes rock songs with hints of swampy twang and folksy grit. As before, Petty plays bass instead of his weapon of choice in The Heartbreakers, the guitar. Tom Leadon, brother of Eagles co-founder Bernie Leadon, is on guitar alongside Campbell, while Randall Marsh resumes his spot behind the drums. A sense of "I can't believe this is actually happening" permeates Mudcrutch; on 2, it's more a sense of "We've got this." Rather than incorporating a smattering of cover songs from the band's original early-'70s repertoire — like Mudcrutch did with The Byrds' "Lover Of The Bayou" and the Appalachian folk standard "Shady Grove" — the new album consists entirely of originals. Petty wrote the lion's share, but everyone pitches in with a song.
That said, 2 has less of a hootenanny feel than its predecessor. "Trailer," "Dreams Of Flying" and "Save Your Water" hew closest to The Heartbreakers' lean, concentrated roots-rock, which is a welcome thing; those songs anchor the album's more free-wheeling forays. "Hope" pounds out some organ-driven, retro-'60s psychedelia. "Victim Of Circumstance" is an upbeat country-rock scorcher. "The Other Side Of The Mountain" adds banjo to its Byrds-esque, bluegrass-inflected harmonies. From the barrel-house boogie of Tench's "Welcome To Hell" to Petty's simmering delivery in the album's epic-length closer "Hungry No More," 2 is both looser and more cohesive than its predecessor — a cleansing wash of classic rock with just the right touch of sweet-natured sentimentality.
"We used to dance to Lynyrd Skynyrd," Petty sings with a tremor of nostalgia in "Trailer." Mudcrutch did more than that; it used to open for Skynyrd in the early '70s. In a way, the story of Mudcrutch is an alternate history of Southern rock, and 2 continues the tale of what might have been had things gone differently for a young, hungry band of small-town boys hunting down their dreams in L.A. The group that once carried Petty to stardom is now taking a victory lap, sifting through its past and basking in belated grace. "Take my horse down to the water, let him graze a while," Petty sings in the tender, acoustic "I Forgive It All." In a sense, that's exactly what he's done with Mudcrutch. On 2, the grazing's good.
(npr.org/2016/05/12/476793671/first-listen-mudcrutch-2)

01. Trailer (03:17)
02. Dreams Of Flying (03:58)
03. Beautiful Blue (06:36)
04. Beautiful World (03:08)
05. I Forgive It All (04:13)
06. The Other Side Of The Mountain (03:16)
07. Hope (03:10)
08. Welcome To Hell (03:31)
09. Save Your Water (03:11)
10. Victim Of Circumstance (02:37)
11. Hungry No More (06:13)

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Electric Light Orchestra - A New World Record (1976)

Year: October 1976 (CD ????)
Label: Epic / Legacy Records (U.S.), 69699 85422 2
Style: Classic Rock, Pop Rock, Symphonic Rock
Country: Birmingham, England
Time: 59:15
Format: Flac Tracks 16/44,1 kHz
Size: 382 Mb

The sixth overall album for Electric Light Orchestra (E.L.O.), A New World Record would become the band’s breakthrough worldwide. Lead singer, chief songwriter, and producer Jeff Lynne later said he considered this album to be the band’s pinnacle (and he may be right). The album combines the better elements of ELO’s of previous works – great pop sensibility and melody with deeper orchestral arrangements and polished production. It is also a transitional album where the sound of the band becomes less progressive and more radio-friendly, with no less than four "hit" songs charting from A New World Record, helping the band to finally break through in their native England.
A New World Record was recorded at Musicland Studios in Munich, Germany, the same location where ELO recorded their previous album Face the Music the year before (it is also the same location where our most recent review Presence by Led Zeppelin was recorded). This studio in the basement of a majestic hotel along with its famed engineer Reinhold Mack.
Many have describe the band’s sound as The Beatles advanced about a half decade later, and there is definitely audio evidence to back that assertion, but there is much more here. Although on one level completely unique, the sound that Jeff Lynne and the band forged through the mid-to-late seventies was the perfect soundtrack for the colorful, bright, and "Star Wars" motif of the era. Further, while many sentiments migrated to the polar extremes of disco and punk when abandoning the over-indulgent virtuosity of progressive rock, E.L.O. chose a more mainstream, roots-rock core just as the generation which grew up in the 1950s were feeling nostalgic for this music. This same core was never truly abandoned by the Beatles, through all their late sixties innovation, so there may be the true comparison.
A New World Record begins with "Tightrope", which comes in with a deep and doomy synth that gives way to strings and orchestral vocals before finally kicking in fully at around 1:15 with the thumping rhythm of drummer Bev Bevan and bassist Kelly Groucutt. An excellent rock song interspersed with the "edge" of orchestral strings and choral vocals, this song sets the pace for the rest of the album allthe way through its concluding "Shangri-La". This last song seems to be a play on to the theme song to the band’s 1974 album El Dorado, both mythical places where the music of E.L.O. tries to take us.
The beautiful and serene "Telephone Line" is a more traditional love song with a definite late-era-Beatles "Golden Slumbers" vibe, especially during the verse. Vocally, the song is superb with Lynn’s voice starting at extreme mid-range for the "telephone" effect before slowly morphing towards normalcy and the chorus "do wap" section adds an undeniable hook. In contrast "Rockaria", while still very poppy and entertaining, could not be any less conventional. Perhaps the best song on the album, it literally adds opera to a true rock song, in a way as smooth (if not smoother) than Queen did on A Night At the Opera a year earlier. "Rockaria" constantly fluctuates between an aria and an old time, thumping rock song, all very seamless and sweet, yet truly unique.
The first side ends with "Mission", a quasi-thematic piece with heavy strings throughout with nice sprinklings of Lynne’s guitars and Richard Tandy’s clavichord. The second side kicks off with "So Fine", a funky song with some modern, almost synthesized sounds complementing that show the band was trying to fit into the disco world as well.
A signature orchestral riff is carried over from "So Fine" to the hit song "Livin’ Thing", driven by an excellent acoustic rhythm, some majestic lead vocals, and a couple of violin interludes by Mike Kaminski, This would one of the most popular songs ever by the band. "Above the Clouds" follows as an odd but interesting, McCartney-esque song with thumping piano and a subtle Theremin whining in the background through two verses before breaking down with a slow string-led ending. "Do Ya" is pop/rock at its finest, perfect for the era as a radio hit as well as a nice counter-balace to the more serious material on the album. The song is a simple rocker yet impossible to ignore and puts the album well over the top as a commercial success.
(classicrockreview.com/2011/11/1976-elo-new-world-record/)

01. Tightrope (05:06)
02. Telephone Line (04:40)
03. Rockaria (03:12)
04. Mission (A World Record) (04:25)
05. So Fine (03:55)
06. Livin' Thing (03:32)
07. Above The Clouds (02:17)
08. Do Ya (03:45)
09. Shangri-La (05:35)
10. Telephone Line (Different Vocal) (04:44)
11. Surrender (Bonus Track) (02:36)
12. Tightrope (Instrumental Early Rough Mix) (04:55)
13. Above the Clouds (Instrumental Rough Mix) (01:14)
14. So Fine (Instrumental Early Rough Mix) (04:16)
15. Telephone Line (Instrumental) (04:57)

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Robin Trower - A Tale Untold. The Chrysalis Years 1973 - 1976 (3xCD) (2010)

Year: 1973 - 1976 (CD 2010)
Label: EMI Records (Europe), 50999 642154 2 6
Style: Rock, Rhythm And Blues
Country: Catford, London, England (9 March 1945)
Time: 62:10, 78:18, 64:39
Format: Flac Tracks 16/44,1 kHz
Size: 375, 502, 439 Mb

Only half the name to this 2011 collection rings true. The words "A Tale Untold," also a Robin Trower song title, imply that this is a set of rare or unreleased music, when actually this is a tale often told. These five albums -- arguably Trower's finest and certainly his most commercially popular -- have remained the nucleus of his fame despite a hefty catalog that has stayed mostly the province of his devoted cult fan base. Following a similarly styled Ten Years After collection, EMI UK has remastered these '70s rock classics and squeezed them onto three CDs, adding a few single edits, one hard to find B side, and even a surprisingly striking unreleased track from 1976's Long Misty Days sessions that really should have been included on that album. Still, like the TYA package, this is a missed opportunity. There are virtually no liner notes, graphics that border on amateurish, and plenty of room for more material. That's especially frustrating because 2007's reissue of Bridge of Sighs features eight bonus tracks recorded live from BBC sessions, none of which appear here. While Trower's official live 1976 release is present, there are no extra performances from that tour, which would have made a logical addition. Otherwise, this is terrific bang for the buck, with the best remastering yet (by acclaimed Abbey Road sound veteran Pete Mew) of this material and a bargain price. Musically, Trower had nailed his blues-based, spacy Hendrix-influenced sound on his astonishingly mature debut and pretty much stayed within those boundaries for the next three years. In singer James Dewar he found a vocalist every bit the equal of Paul Rodgers in terms of soul, dynamics, personality, and sheer lung power. He was equally adept as a convincing blues and soul singer, two aspects of Trower's approach that were as seminal to these songs as the flashy (yet never overly ostentatious), flowing, psychedelic, heavily reverbed guitar work. Hearing the albums together, it's remarkable how solid and consistent the material is over this short yet productive period. The more R&B slant of 1976's underappreciated Long Misty Days with "Caledonia" and "Some Rain Falls" is the equal of anything in the rest of his catalog, and the lovely ballad "I Can't Live Without You" from that set remains a lost R&B gem. This is the cream of Trower's output, and although there were plenty of other quality albums that followed throughout his long and, as of 2011, still active career, these stand as his most impressive and often moving musical statements.
(allmusic.com/album/a-tale-untold-the-chrysalis-years-1973-1976-mw0002027481)

01. I Can't Wait Much Longer (05:25)
02. Daydream (06:27)
03. Hanna (05:29)
04. Man Of The World (02:43)
05. I Can't Stand It (03:42)
06. Rock Me Baby (04:20)
07. Twice Removed From Yesterday (03:58)
08. Sinner's Song (05:24)
09. Ballerina (03:47)
10. Take A Fast Train (03:16)
11. Day Of The Eagle (05:01)
12. Bridge Of Sighs (05:01)
13. In This Place (04:29)
14. The Fool And Me (03:55)

01. Too Rolling Stoned (07:33)
02. About To Begin (03:44)
03. Lady Love (03:20)
04. Little Bit Of Sympathy (04:18)
05. Day Of The Eagle (02:52)
06. Shame The Devil (03:26)
07. It's Only Money (05:30)
08. Confession' Midnight (05:53)
09. Fine Day (03:35)
10. Aletha (03:05)
11. A Tale Unhold (05:27)
12. Gonna Be More Suspicious (03:05)
13. For Earth Below (06:06)
14. Too Rolling Stoned (06:40)
15. Daydream (08:00)
16. Rock Me Baby (05:57)

01. Lady Love (03:12)
02. I Can't Wait Much Longer (06:57)
03. Alethea (04:10)
04. Little Bit Of Sympathy (05:54)
05. Same Rain Falls (03:14)
06. Long Misty Days (05:43)
07. Hold Me (03:35)
08. Caledonia (03:41)
09. Pride (03:09)
10. Sailing (03:45)
11. S.M.O. (03:44)
12. I Can't Live Without You (04:25)
13. Messin'The Blues (03:57)
14. Long Misty Days (04:45)
15. Let Me Be The One (unreleased) (04:32)

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Peggy Lee - Blues Cross Country (1962)

Year: 1962 (CD 1999)
Label: Capitol Jazz (U.S.), 7243 5 20088 2 7
Style: Jazz, Vocal Jazz
Country: Jamestown, North Dakota, U.S. (May 26, 1920 - January 21, 2002)
Time: 36:31
Format: Flac Tracks 16/44,1 kHz
Size: 232 Mb

Blues Cross Country is a 1962 studio album by Peggy Lee, principally arranged by Quincy Jones, with some arrangements by Benny Carter. The album can be described as a concept album, consisting of a musical journey across the United States through swinging blues songs, many of which were written by Lee with other contributors.

Blues Cross Country was the second of Lee's two albums featuring arrangements by Jones. He had also arranged her previous studio album, If You Go (1961).

Blues Cross Country received good reviews at the time of its release from both Billboard magazine in March 1962, and Time magazine in May 1962. Billboard wrote that "Peggy's back, and this time in a blues mood - with sad blues, happy blues and swinging blues. She sings them in her own delightful style aided muchly by the fine arrangements of ork [sic] leader Quincy Jones. .. The album's a gas".

The Allmusic review by William Ruhlmann awarded the album four stars and commented that "Though Jones' arrangements are often a touch brassier than the blues standards can handle, Lee contributes just the right blend of vigor and feeling to the songs".

(en.wikipedia.org/wiki/Blues_Cross_Country)

01. Kansas City (02:29)
02. Basin Street Blues (03:04)
03. Los Angeles Blues (02:38)
04. I Left My Sugar (In Salt Lake City) (02:53)
05. The Grain Belt Blues (01:52)
06. New York City Blues (03:21)
07. Goin' To Chicago Blues (02:37)
08. San Francisco Blues (02:37)
09. Fisherman's Wharf (03:11)
10. Boston Beans (02:05)
11. The Train Blues (02:42)
12. St. Louis Blues (02:15)
13. Hey! Look Me Over (01:55)
14. The Shining Sea (02:45)

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Ozzy Osbourne (Black Sabbath) - Blizzard Of Ozz [Vinyl Rip] (1980)

Year: 12 September 1980 (UK), 27 March 1981 (US) (LP 1980)
Label: Epic Records, Jet Records (UK), 450453 1
Style: Hard Rock, Heavy Metal
Country: Warwickshire, England (3 December 1948)
Time: 39:42
Format: Flac Tracks 16/44,1 kHz
Size: 272 Mb

I never thaw it coming: Ozzy Osbourne emerging from his pixilated winter to unleash one of the most awesome metal albums of all time. Sure, he lucked into an incredible guitarist, manager, et cetera. The man has more luck than a rabbit and more lives than a cat. But there comes a point at which a reasonable mind has to admit that no one can be that lucky, and Blizzard of Ozz was that point for me. Every song on here, minus maybe “No Bone Movies,” is absolutely classic.
It begins with a powerful refutation of power, “I Don’t Know,” then careens into “Crazy Train” and by the time the romantic “Goodbye To Romance” rolls around, your thumb and index finger will be stained in butane. Ozzy’s opus uno also includes the infamous “Suicide Solution” and “Mr. Crowley,” the latter one of the best gothic metal songs, period. And on the closing pair of “Revelation” and “Steal Away,” Ozzy becomes metal-prog Oggy for ten minutes of bliss.
For a time, all Rhoads led to Randy as the real wizard of Ozz, and he certainly does surpass anything in the canon on “Crazy Train,” but the fact that Ozzy still manages to outshine his hired golden boy says all you need to know about the true Blizzard king. Of course, credit also goes to Bob Daisley and Lee Kerslake, or did until Ozzy and Sharon stripped the pair from the past in 2002 with a remixed version that featured the then-current rhythm section of Robert Trujillo and Mike Bordin playing their parts. They even removed Daisley from the back cover album artwork, so deep was their disenchantment with the pair’s lawsuit against the Osbournes for royalty recognition.
(progrography.com/ozzy-osbourne/review-ozzy-osbourne-blizzard-of-ozz-1980/)

01. A1 I Don't Know (05:17)
02. A2 Crazy Train (04:55)
03. A3 Goodbye To Romance (05:37)
04. A4 Dee (00:51)
05. A5 Suicide Solution (04:19)
06. B1 Mr. Crowley (05:02)
07. B2 No Bone Movies (03:57)
08. B3 Revelation (Mother Earth) (06:12)
09. B4 Steal Away (The Night) (03:28)

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Pink Floyd - The Dark Side Of The Moon [Vinyl Rip] (1973)

Year: 1 March 1973 (LP 1973, 6th Press)
Label: EMI Harvest Records (UK), SHVL 804
Style: Classic Rock
Country: London, England
Time: 42:52
Format: Flac Tracks 16/44,1 kHz
Size: 255 Mb

One of Britain’s most successful and long lived avant-garde rock bands, Pink Floyd emerged relatively unsullied from the mire of mid-Sixties British psychedelic music as early experimenters with outer space concepts. Although that phase of the band’s development was of short duration, Pink Floyd have from that time been the pop scene’s preeminent techno-rockers: four musicians with a command of electronic instruments who wield an arsenal of sound effects with authority and finesse. While Pink Floyd’s albums were hardly hot tickets in the shops, they began to attract an enormous following through their US tours. They have more recently developed a musical style capable of sustaining their dazzling and potentially overwhelming sonic wizardry.
The Dark Side of the Moon is Pink Floyd’s ninth album and is a single extended piece rather than, a collection of songs. It seems to deal primarily with the fleetingness and depravity of human life, hardly the commonplace subject matter of rock. “Time” (“The time is gone the song is over”), “Money” (“Share it fairly but don’t take a slice of my pie”). And “Us And Them” (“Forward he cried from the rear”) might be viewed as the keys to understanding the meaning (if indeed there is any definite meaning) of The Dark Side of the Moon.
Even though this is a concept album, a number of the cuts can stand on their own. “Time” is a fine country-tinged rocker with a powerful guitar solo by David Gilmour and “Money” is broadly and satirically played with appropriately raunchy sax playing by Dick Parry, who also contributes a wonderfully-stated, breathy solo to “Us And Them.” The non-vocal “On The Run” is a standout with footsteps racing from side to side successfully eluding any number of odd malevolent rumbles and explosions only to be killed off by the clock’s ticking that leads into “Time.” Throughout the album the band lays down a solid framework which they embellish with synthesizers, sound effects and spoken voice tapes. The sound is lush and multi-layered while remaining clear and well-structured.
There are a few weak spots. David Gilmour’s vocals are sometimes weak and lackluster and “The Great Gig in the Sky” (which closes the first side) probably could have been shortened or dispensed with, but these are really minor quibbles. The Dark Side of the Moon is a fine album with a textural and conceptual richness that not only invites, but demands involvement. There is a certain grandeur here that exceeds mere musical melodramatics and is rarely attempted in rock. The Dark Side of the Moon has flash-the true flash that comes from the excellence of a superb performance.
(https://www.rollingstone.com/music/music-album-reviews/dark-side-of-the-moon-255381/) Review by Lloyd Grossman. May 24, 1973

01. A1 Speak To Me (01:08)
02. A2 Breathe (03:01)
03. A3 On The Run (03:40)
04. A4 Time (06:46)
05. A5 The Great Gig In The Sky (04:35)
06. B1 Money (06:27)
07. B2 Us And Them (07:52)
08. B3 Any Colour You Like (03:26)
09. B4 Brain Damage (03:07)
10. B5 Eclipse (02:46)

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The Doors - Morrison Hotel [Vinyl Rip] (1970)

Year: February 9, 1970 (LP 1973)
Label: Elektra Records (Germany), 42080 (EKS 75007)
Style: Classic Rock
Country: Los Angeles, California, U.S.
Time: 37:25
Format: Flac Tracks 16/44,1 kHz
Size: 225 Mb

Morrison Hotel opens with a powerful blast of raw funk called “Roadhouse Blues.” It features jagged barrelhouse piano, fierce guitar, and one of the most convincing raunchy vocals Jim Morrison has ever recorded. This angry hard rock is that at which the Doors have always excelled, and given us so seldom, and this track is one of their very best ever, with brooding lyrics that ring chillingly, true: “I woke up this morning and I got myself a beer/The future’s uncertain and the end is always near.”
From there on out, though, the road runs mainly downhill. It’s really a shame, too, because somehow one held high expectations for this album and wanted so badly to believe it would be good that one was afraid to listen to it when it was finally released. The music bogs down in the kind of love mush and mechanical, stereotyped rock arrangements that have marred so much of the Doors’ past music. “Blue Sunday” and “Indian Summer” are two more insipidly “lyrical” pieces crooned in Morrison’s most saccharine Hoagy Carmichael style. “Maggie M’Gill” is a monotonous progression in the vein of (but not nearly as interesting as) “Not to Touch the Earth,” and “You Make Me Real” is a thyroid burst of manufactured energy worthy of a thousand mediocre groups.
Admittedly, these are the worst tracks, and the rest ranges from the merely listenable to the harsh brilliance of “Roadhouse Blues” or the buoyant catchiness of “Land Ho!”, a chanty that sets you rocking and swaying on first listen and never fails to bring a smile every time it’s repeated.
This could have been a fine album; but the unavoidable truth — and this seems to be an insurmountable problem for the Doors — is that so much of it is out of the same extremely worn cloth as the songs on all their other albums. It’s impossible to judge it outside the context of the rest of their work. Robbie Kreiger’s slithery guitar, and Manzarek’s carnival-calliope organ work and whorehouse piano are the perfect complement to Morrison’s rococo visions. But we’ve all been there before, not a few times, and their well of resources has proven a standing lake which is slowly drying up. Perhaps if they recombined into a different group the brilliant promise of the Doors’ first album and sporadic songs since might begin to be fulfilled, but for now they can only be truly recommended to those with a personal interest.
(rollingstone.com/music/music-album-reviews/morrison-hotel-123765/) Review by Lester Bangs. April 30, 1970

01. A1 Roadhouse Blues (04:05)
02. A2 Waiting For The Sun (03:59)
03. A3 You Make Me Real (02:53)
04. A4 Peace Frog (02:55)
05. A5 Blue Sunday (02:06)
06. A6 Ship Of Fools (03:05)
07. B1 Land Ho (04:11)
08. B2 The Spy (04:17)
09. B3 Queen Of The Highway (02:48)
10. B4 Indian Summer (02:34)
11. B5 Maggie M'Gill (04:25)

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