Black Sabbath (Ozzy Osbourne) - 13 [Japan Ed. Deluxe Ed. 2CD] (2013)

Year: 10 June 2013 (CD Jun 19, 2013)
Label: Universal Music (Japan), UICN-1034/5
Style: Heavy Metal, Hard Rock
Country: Birmingham, England
Time: 57:20, 15:13
Format: Flac Tracks 16/44,1 kHz
Size: 433, 136 Mb

Charts: UK #1, AUS #4, CAN #1, FIN #2, GER #1, NL #10, NOR #1, SWE #1, SWI #1, US #1. UK: Gold; CAN & GER: Platinum.
Cast your fears, doubts and worries aside. The godfathers are back and not to disappoint. The mood of this album is classic Sabbath, the feel of this album is classic Sabbath, I had initial worries due to the lack of Bill Ward and the release of 'God Is Dead?' as a single (which I thought was a good song but nothing exceptional), but those original worries have been blown away by an icy cold breeze from the lords of doom.
The album crawls to life with 'End of the Beginning', which takes a while to come to life and gets you initially worried, you begin to wonder if this whole album is going to just ooze along like a slug in treacle and take you nowhere special. Then Iommi bursts to life with a solo and the song picks up - a faint hope. Out of the dark left behind by 'End of the Beginning' is the single 'God is Dead', a song yet again displaying the dark sabbathy gloom we have grown to love and expect, with ocassional glimpses of what these 60 year olds are still very much capable of.
Loner is the next track and much more of a 'hard rocker' with surprisingly blunt lyrics and a catchy riff telling the sad story of a 'loner' ending with the lyrics ''The secrets of his past live deep inside his head, I wonder if he will be happy when he's dead''. The mention of a riff brings me nicely onto my next point. Tony Iommi. He leads the way in this album combining catchy blues with heavy down-tuned riffs that would turn any party into a funeral march. Then just when you think you're going to be sucked into a black hole the spacey 'Zeitgeist' is there to take you aboard it's spaceship and carry you away. Zeitgeist is one that grows on you with every single listen and has a very 'stoner' element to it, much like the classic 'Planet Caravan'. It can make 4 minutes feel like a lifetime, and a lifetime feel like 4 minutes at the same time.
The next four tracks are 'Age of Reason', 'Live Forever', 'Damaged Soul' and finally 'Dear Father'. Now I don't want to dwell too long on 'Damaged Soul' and 'Age of Reason' not because they're bad, but due to just how good 'Live Forever' and the exceptional 'Dear Father' are. 'Age of Reason' is an excellent track that brings the album back down to earth talking of a 'shattered world that's gonna die', and features more classic yet refreshing Iommi riffs and another vocally strong performance from Ozzy. 'Damaged Soul' is very doomy-bluesy track that lulls you ever closer to your inevitable death bed mainly thanks once again to Iommi.
Wedged between 'Age of Reason' and 'Damaged Soul' is 'Live Forever'. This bursts to life in flames of catchy, rifftastic, heavy as hell and strangely epic combinations of everything metal. With simplistic lyrics of 'Well I don't want to live forever, but I don't want to die' you'll be dragged into the torn world of Ozzy - and you won't want to leave. Finally the album ends with 'Dear Father', a dark twisted story that will have you cowering in fear and feeling a very expressable disgust at very obvious figure head. This song is a mixture of faster paced versus' and guitar work by iommi followed by a slower harrowing chorus as if sung by the devil himself at the offenders. There are inexpressable by text changes in pace, mood and power in this song that I cannot match with mere words. Simply listen and enjoy...and enjoy the last 30 seconds.
Also going to include a notable mention to the bonus tracks, all of which could hold up in an album from any other band, especially 'Methademic' which could arguably earn a place as a main track on this album. After all it wouldn't be Sabbath wihout a track dedicated to a drug, would it? Fast paced, creepy and drug inspired - great song. Don't miss out on the catchy 'Peace of Mind' and lyrically astute 'Pariah' either!...Yet to hear 'Naivete in Black' but I'm sure it won't disappoint.
To summarise: It's Black Sabbath showing the rest how it's done, now bow to their feet. 95%.
Highlights: Toni Iommi's creativity straight from the abyss. 'Zeitgeist', 'Live Forever', 'Dear Father', 'Damaged Soul'...the whole bloody thing!
(metal-archives.com/reviews/Black_Sabbath/13/635941/) Review by DoomMetal13. June 12th, 2013

01. End Of The Beginning (08:06)
02. God Is Dead? (08:52)
03. Loner (04:59)
04. Zeitgeist (04:37)
05. Age Of Reason (07:01)
06. Live Forever (04:46)
07. Damaged Soul (07:51)
08. Dear Father (07:14)
09. Naivete In Black (Bonus Track) (03:50)

01. Methademic (05:58)
02. Peace of Mind (03:40)
03. Pariah (05:34)

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Black Sabbath (Tony Martin) - The Eternal Idol [Japan Ed.] (1987)

Year: November 1987 (CD October 21, 1993)
Label: Vertigo Records (Japan), PHCR-4117
Style: Heavy Metal, Hard Rock
Country: Birmingham, England
Time: 43:26
Format: Flac Tracks 16/44,1 kHz
Size: 288 Mb

For their 13th album Black Sabbath (Tony Iommy) recruit ex- Alliance vocalist Tony Martin, whose sound is more in common with Ronnie James Dio more than anyone else. So in this release we see Sabbath heading more for a power metal direction in the vein of Heaven & Hell, except that this is even more epic with good focus on atmosphere. The songs are short and to the point and the song writing is terrific.
As usual Iommy is the main star of the album. His some of the heaviest riff work in years is displayed here. His leads are also superb and melodic at the same time. Tony Martin is a great vocalist and his vocals are great in the album. He has a great range and has a perfect voice for power metal. He also displays great mid range in many songs especially the title track. His ability to bring emotion into every song is just awesome.Keys which play a small role in the album of adding the epic atmosphere, are played by Geoff Nicholls. The drum work is OK not that great. The production is nice heavy and superb and gives every instrument it's proper, required balance.
The songs themselves are short and catchy. The riff work is great. Highlights include the opener ‘The Shining’ which has a catchy and epic chorus and a tremendous vocal performance by Martin. The next song ‘Ancient Warrior’ is slower, but has even more epic chorus than the opener. The atmosphere in both of these songs is just excellent. They carry a strange aura about them beaten only by Awaken the Guardian. ‘Glory Ride’ is another good song, not as good as the first 2 songs though. Somewhere around 2nd minute, it breaks into an excellent epic acoustic part, which sounds cool. ‘Scarlet Pimpernel’ is an acoustic instrumental. Once again great use of the ‘Children of the Sea’ like atmosphere. ‘Lost Forever’ is total speed metal, another essential highlight.The title track is totally amazing and is the best song in the album. It is slow, crushing doom metal, a stark contrast to the light, epic nature of the rest of the album. It destroys everything dark and wicked put out so far, by Sabbath. Martin makes use of his mid range here and man does it send a chill down your spine? Yes it does!The whole song does just that. The riff work by Iommy is nice, heavy and crushing. The ending is just apocalypse crushing, down everything in its path.
Among the weaker songs, ‘Hard Life to Love’ and ‘Born to Lose’ feature more life on the fast lane lyrics, which are at odds with the remaining epic tracks. Yet, they are catchy and enjoyable, having good pace, excellent riffs and again good vocal performance. ‘Nightmare’ is the worst song off the album. The riffs are, a bit less inspired compared to the others. Also it doesn't have a good pace nor good atmosphere, but still is quite a passable track, which just pales compared to the other tracks.
Contrary to popular belief, this actually is one of the better albums put out by Sabbath. They would go on to achieve much better results with the indisputable Tyr with such style. But the songwriting and the ability to create an epic atmosphere is very high and it is that which makes this album so enjoyable. So concluding, this is a fine album and is recommended to all without any hesitation.
(metal-archives.com/reviews/Black_Sabbath/The_Eternal_Idol/521/extremesymphony/227704) Review by extremesymphony. April 5th, 2011

01. The Shining (06:01)
02. Ancient Warrior (05:35)
03. Hard Life To Love (05:00)
04. Glory Ride (04:50)
05. Born To Lose (03:44)
06. Nightmare (05:21)
07. Scarlet Pimpernel (02:07)
08. Lost Forever (04:08)
09. Eternal Idol (06:35)

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Black Sabbath (Glenn Hughes) - Seventh Star [Japan Ed.] (1986)

Year: 28 January 1986 (CD Dec 5, 1990)
Label: Vertigo Records (Japan), PHCR-2055
Style: Heavy Metal, Hard Rock
Country: Birmingham, England
Time: 35:01
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

The mighty Sabbath found themselves in the middle of the 80’s with not much to offer to the growing competition. Ronnie James Dio (R.I.P.) left after two albums and a live performance, and the stunt with Ian Gillan wasn’t exactly the rebirth the guys were envisaging. Little by little the Sabbath ship was abandoned by everyone save for Tony Iommi, of course. To put an insult to injury, the Ozzy solo career nearly hit the stratosphere after “The Ultimate Sin”, leaving his old comrades far behind…
Not an enviable situation at all to the point that even Iommi started thinking about embarking on a solo career rather than riding a half-dead horse in a humiliating semi-gallop through the very competitive 80’s. Easier done than said, and the man found himself one day surrounded by luminaries like the singer Glenn Hughes, another Deep Purple representative, the Kiss drummer Eric Singer, and the relatively unknown at the time Dave Spitz, the brother of Anthrax’s Dan Spitz. The material was ready just waiting for someone to hit the “Play” button… with one small difference, though: Warner Bros., the label in charge, didn’t want to release the album under the Iommi moniker. They wanted to capitalize on Black Sabbath’s fame, whatever was left of it at the time, so this had to become another Sabbath album…
I guess Iommi didn’t have much of a choice, except for the cover art probably, and the album reviewed here has been a part of his main band’s discography for over 30 years now. It’s a public secret that it doesn’t possess the trademark dark doomy vibe of the older works, and as such hasn’t been very warmly accepted by the band fans. However, as a work of pure classic heavy metal done right this album can match any other opus from the decade all the way to “Blackout”, “Defenders of the Faith”, and “Balls to the Wall”. There’s literally nothing wrong with it from the first to the last note… except that it doesn’t sound like Black Sabbath. Besides, it presents Iommi as a fine axeman finally; with the abrasive ship-sinking reverberations gone, the man sounds way warmer, more flexible and more proficient… and less doomy.
“In for the Kill” is a mighty galloper the guys riding the winds of power metal with Hughes’ outstanding vocals the best possible companion to the impetuous riff-fest. A great beginning on all counts which also has its lyrical side in the face of “No Stranger to Love”, already released as a single a few months prior, a supreme heart-rending ballad with warm bluesy overtones, a perennial hit that has appeared in numerous “best ballads” compilations through the years. “Turn to Stone” presses the pedal down again, a wayward proto-speedster which brings the energy level up again. Not for long as the title-track is a high-octane doomster, the only reminder of the earlier Sabbath catalogue, a brilliant epic with the stomping riffs and the memorable chorus. Time for some smattering old school heavy/power metal with “Danger Zone”, the definitive hymn with Iommi and Hughes in a highly inspired form the former unleashing all his guitar grandeur, something which wasn’t quite possible within the restrictive doom-laden context of the earlier efforts. “Heart Like a Wheel” is an overlong bluesy ballad which slows the album down, but at least Iommi has plenty of chances to show-off with stylish, quasi-doomy licks. The latter vibe stays around for “Angry Heart” which can’t be labelled as anything else but blues metal; still, its soulful relaxed rhythms are a wonder to listen to, especially if you’re in a retrospective mood for which a great help would also be “In Memory”, a superb short ballad which is way more than just an epitaph with Hughes’ hypnotic emotional croon hovering above the heavy, pensive riffage, particularly on the several higher notes; a vocal talent second to none who would grace another strong showing (Yngwie Malmsteen’s “Odyssey”) two years later.
Iommi had done a great job acquitting himself in the most admirable manner imaginable, putting his signature underneath this recording which revealed him as an individualistic musician, perfectly capable of operating outside the shadow of Black Sabbath, on full throttle at that. Either for commercial reasons or because of the old “Old love gathers no rust” proverb (which can’t be any truer, mind you), the man subjected his solo strives for the greater good, and voted to carry on with the Sabbath moniker which produced marvellous results before long, putting the band name back on the very front of the metal arena. The band still stand strong despite the numerous turmoils, conflicts, backward stabbings and what not, and even ended up with Ozzy in the line-up again… it’s a picturesque world out there, one that would always secure a vacant lane for an ever-rolling Sabbath stone.
(https://www.metal-archives.com/reviews/Black_Sabbath/Seventh_Star/520/) Review by bayern. May 16th, 2017

01. In For The Kill (03:43)
02. No Stranger To Love (04:29)
03. Turn To Stone (03:30)
04. Sphinx (01:11)
05. Seventh Star (05:21)
06. Danger Zone (04:25)
07. Heart Like A Wheel (06:38)
08. Angry Heart (03:07)
09. In Memory (02:35)

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Black Sabbath (Ian Gillan) - Born Again [Japan Ed.] (1983)

Year: 9 September 1983 (CD Dec 5, 1990)
Label: Vertigo Records (Japan), PHCR-2054
Style: Heavy Metal, Hard Rock
Country: Birmingham, England
Time: 41:41
Format: Flac Tracks 16/44,1 kHz
Size: 267 Mb

The 3 "big" Sabbath albums to many people are Sabbath Bloody Sabbath, Master of Reality and Paranoid. Personally, I think if you're gonna own 3 Black Sabbath albums only, get this, Volume 4 and Sabbath Bloody Sabbath. These three are absolute essentials, and this album is a fucking monster.
People who don't like Ozzy-era Sabbath should seriously still check this out, Ian Gillan is an awesome singer, the music is very good chunky heavy metal, great lead work too. The album has it's doomier moments like Disturbing the Priest and Zero The Hero which have really huge guitar riffs and a "big" sound, then there's catchy heavy metal with a bouncy tempo like Digital Bitch and Hot Line. One of my fave Sabbath ballads, Born Again, is on here too, and it's excellent.
The lead work is actually quite similar to Ritchie Blackmore's in places. Tony seems to throw in his whammy bar and a few licks Blackmore could have used. As well as Ian's yelling in places, there's a distinct Deep Purple vibe. But the rest of the music is just great heavy metal done the Sabbath way. Awesome guitar riffs.
So yeah, anyone who gave up on Sabbath after Ozzy or anyone who thinks all Black Sabbath albums sound like the ones with Ozzy need to give this a listen, because it's a fantastic album. The album cover is a little, well, shit but the music is absolutely amazing.
(metal-archives.com/reviews/Black_Sabbath/Born_Again/517/)

01. Trashed (04:20)
02. Stonehenge (01:58)
03. Disturbing The Priest (05:56)
04. The Dark (00:44)
05. Zero The Hero (07:39)
06. Digital Bitch (03:44)
07. Born Again (06:40)
08. Hot Line (04:57)
09. Keep It Warm (05:38)

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Black Sabbath (Dio) - Heaven And Hell [Japan Ed.] (1980)

Year: 18 April 1980 (CD March 5, 1989)
Label: Vertigo Records (Japan), 23PD-123
Style: Heavy Metal, Hard Rock
Country: Birmingham, England
Time: 40:01
Format: Flac Tracks 16/44,1 kHz
Size: 260 Mb

After about 4 years of meandering about musically, odd experimentation resulting in dead ends, and a rather lackluster pair of albums in "Technical Ecstacy" and "Never Say Die", Sabbath emerged with a new singer and the recaptured spirit that originally made them great. The new singer, Ronnie Dio (who has since become a household name with his own solo band) delivers the performance of his life on this fine gem.
Many of today's Traditional, Power and Progressive Metal acts site "Heaven and Hell" as a pivotal influence in their work. Axel Rudi Pell is probably the most blatant of this albums enthusiasts, as underscored by his equally long hommage "Disciples of Hell" off of his 2004 album Kings and Queens. Furthere back in the mix, Iron Maiden's 1988 album "Seventh Son of a Seventh Son" also can not escape sounding similar to this album on many tracks. In addition, Queensryche's 1984 release "Warning" has several similar elements, particularly on the closing track "Road to Madness". Other more recent Power Metal bands sounding similar to this release at times include Gamma Ray, Iron Savior, Gaia Epicus, and Iron Fire. Meanwhile, Progressive and Symphonic acts such as Symphony X and Rhapsody take more influence from the lyrics.
The sheer amount of variety in the songs is reminiscent of Dio's work with Rainbow before he signed on with Sabbath, in addition to some spooky lyrics that fit well with the original theme of the band. Such fantasy driven songs as "Neon Knights", "Wishing Well", and the poetic "Heaven and Hell represent the new injection of Rainbow's rather progressive rock/metal. Meanwhile, slower tunes such as "Lady Evil", "Lonely is the Word", and "Walk Away" are a bit more bluesy and reminiscent of classic Ozzy era Sabbath (though with very different vocals).
The production of this album, especially considering the year, is quite stellar. The guitars in particular have the right amount of crunch to them to stand out from the more traditional rock acts of the time such as AC/DC and Deep Purple. The bass is highly present and always active, something that has always been the exception and not the rule with older metal acts such as Judas Priest and Riot. The drums are probably the least raunchy sounding of the bunch, though Bill Ward does make a decent racket on "Heaven and Hell" and "Children of the Sea". But the true strength of this album are the vocal tracks, which are perfectly clean, and blend together perfectly during the harmony sections.
Tony Iommi's soloing on this album is nothing short of amazing. He delivers a killer thrill ride with the solo to "Die Young". His long-winded improvisation on "Lonely is the Word" rivals the insanity heard on such extended Jam sessions as Free Bird and some of Jimi Hendrix's live material. There are strong elements of story telling found in his solo work on "Children of the Sea", "Heaven and Hell", and "Wishing Well". And the leads he provides on "Lady Evil" take me back to the glory days of such tracks as "Fairies Wear Boots".
In conclusion, there are no weak links on this album, there are no avenues that are left unexplored. This album functions not only as an early pioneer effort that injected more power into the NWOBHM, but as a manifesto by which today's current Metal faithful continue to wage their war for the greatness of the genre.
(metal-archives.com/reviews/Black_Sabbath/Heaven_and_Hell/504/) Review byhells_unicorn. September 5th, 2006

01. Neon Knights (03:53)
02. Children Of The Sea (05:34)
03. Lady Evil (04:25)
04. Heaven And Hell (06:58)
05. Wishing Well (04:06)
06. Die Young (04:45)
07. Walk Away (04:25)
08. Lonely Is The Word (05:51)

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Black Sabbath (Ozzy Osbourne) - Never Say Die! [Japan Ed.] (1978)

Year: 29 September 1978 (CD December 5, 1990)
Label: Vertigo Records (Japan), PHCR-2053
Style: Heavy Metal, Hard Rock
Country: Birmingham, England
Time: 45:53
Format: Flac Tracks 16/44,1 kHz
Size: 311 Mb

I can't believe this album is rated lower than Technical Ecstasy! Surely. I thought, people have more brains than to slough off this album as further evidence of Ozzy's decline and Sabbath's as well. I find this album to not only redeem the grotesque mistep of Technical Ecstasy but offers a view into a Sabbath that almost was. The band all play in top form, in ways they never had before, the album sounds livelier and fuller than its predecessor and it's still relegated to metal history's dustbin of record prejudice.
Sabbath doesn't get a lot of credit for being a progressive band. Indeed, held up against the legions of bands that invoke the famous Sabbath sound (the doom/stoner, downtuned guitar style so ubiquitous today) and without radioplay, Black Sabbath's true masterpieces go largely unnoticed. Songs like Fluff and Laguna Sunrise are the polar opposites of doom-and-gloom works like Into The Void or Electric Funeral and show that they were more than just a metal band or "The Godfathers of Doom". Black Sabbath albums progressed from lengthy blues-inspired jams to the infamous doom-sound until we reach Volume 4 and the creative lid is blown open. Here, they reached their peak sound, sort of like Opeth from MAYH through Blackwater Park. These albums saw more orchestration, an increased presence of keyboards and a very much matured sense of songcraft. The right combinations of life experience and drugs, basically.
After Sabotage, came the aforementioned crapfest known as Technical Ecstasy which coupled with the We Sold Out Souls best of, seemed to signal the downfall of the mighty. Ozzy was in and out of reality and Sabbath a lot these days and as the drama surrounding these times is well known, I think Never Say Die gets a bum rap. At first listen, it's a noticably different Sabbath that eschews its trademark stoner/doom sound for a lot of jazz, a little latin and some late 70s hard rock. There is a common theme of buildup and payoff in these songs with good riffs often giving way to great riffs like the breakdown in Johnny Blade or the money riff in Shock Wave. Never Say Die is a nonstop swinging rock song whilst A Hard Road is a blues paced rollicking sing-a-long.
Sabbath came full circle on this album as Never Say Die sports the most jazz influence since the self titled debut. Junior's Eyes' bass and drum fade in sound culled from some live jam, like something you'd here between songs. An earlier version of this song (performed with Dave Walker of Fleetwood Mac on vocals during on of Ozzy's breaks) goes straight into the heavy riffing and features a much more pronounced blues-rock influence. Air Dance is IMO Sabbath's most progressive song since Who Are You but in even more extremity. The first part of the song has a Santana vibe with the only distortion being Tony's latin-jazz inspired licks. The second half, after a quiet interlude breaks into a solo section you'd expect to hear from a fusion group like Return to Forever or Weather Report. Over To You features lush, cascading pianos, both underlying and accenting key sections. Breakout is bold and with the brass arrangement calls to my mind an extended G.E. Smith & the SNL Band jam during commercials.
The only weak moment on the album is Swinging the Chain. Its a good song, yet unremarkable and coupled with the lack of Ozzy, no small wonder it's the last song. Leaving out on a blues-rock jam we say goodbye to one of the greatest bands in music's history. Had they kept it together, there's no telling what Sabbath could have done, expanding on the template they set up on Never Say Die. Instead, we got Randy Rhoads and the long reign of King Ozzy (79-95), while Sabbath shined briefly with Dio and sank into the mire. I love the s/t and I feel that Sabbath, Bloody Sabbath is their masterpiece but this is probably the album I listen to the most.
(metal-archives.com/reviews/Black_Sabbath/Never_Say_Die%21/503/) Review by mudbog. April 24th, 2009

01. Never Say Die (03:50)
02. Johnny Blade (06:29)
03. Junior's Eyes (06:43)
04. A Hard Road (06:03)
05. Shock Wave (05:15)
06. Air Dance (05:17)
07. Over To You (05:23)
08. Breakout (02:35)
09. Swinging The Chain (04:15)

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The Rolling Stones - Flashpoint [Japan Ed. Live] (1991)

Year: 8 April 1991 (CD June 30, 1999)
Label: Virgin Records (Japan), TOCP-53025
Style: Rock, Rhythm And Blues, Pop Rock
Country: London, England
Time: 76:11
Format: Flac Tracks 16/44,1 kHz
Size: 526 Mb

Charts: UK #6, US #16, AUS #12, FRA #4, GER #5, JPN #4, NLD #5, NOR #11, SWE #15. UK, GER, CAN, US & JPN: Gold; NLD: Platinum.
Recorded across North America, Europe and Japan, Flashpoint is also the first Rolling Stones release of the 1990s and, unlike previous live sets, includes two new studio tracks. "Highwire" had been released as a single earlier in 1991 and was a comment on the Gulf War. "Sex Drive" was described by Chris Jagger - Mick's brother - as "basically a dance-track", and got a release in July of that year as the third and last single from the album.
Although the live selections are mostly familiar hits mixed in with new tracks from Steel Wheels, Flashpoint also includes lesser-known songs like "Factory Girl" from 1968's Beggars Banquet and "Little Red Rooster", originally a No. 1 UK hit single in 1964, featured here with special guest Eric Clapton on guitar. According to Chris Jagger, some of the backing vocals were re-recorded and Ron Wood added guitar to three tracks afterwards.
Flashpoint was recorded using binaural recording. This gives the effect that the concert audience is behind the home listener when heard on headphones.
A snippet was taken from the band's 1970 live album Get Yer Ya-Ya's Out!, where a fan shouts: "'Paint It Black', 'Paint It Black', you devil". It is audible between "Ruby Tuesday" and "You Can't Always Get What You Want".
(en.wikipedia.org/wiki/Flashpoint_(album))

01. (Intro) Continental Drift (00:27)
02. Start Me Up (03:54)
03. Sad Sad Sad (03:33)
04. Miss You (05:55)
05. Rock And A Hard Place (04:51)
06. Ruby Tuesday (03:33)
07. You Can't Always Get What You Want (07:25)
08. Factory Girl (02:47)
09. Can't Be Seen (04:17)
10. Little Red Rooster (05:15)
11. Paint It Black (04:02)
12. Sympathy For The Devil (05:34)
13. Brown Sugar (04:10)
14. Jumpin' Jack Flash (04:59)
15. (I Can't Get No) Satisfaction (06:08)
16. Highwire (04:46)
17. Sex Drive (04:27)

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Tom Waits - Franks Wild Years (1987)

Year: August 17, 1987 (CD 1989)
Label: Island Records (Germany), IMCD 50, 842 357-2
Style: Experimental, Rock, Jazz
Country: Pomona, California, U.S. (December 7, 1949)
Time: 56:46
Format: Flac Tracks 16/44,1 kHz
Size: 292 Mb

Charts: US #115, AUS #83, AUT #24, GER #49, NLD #21, NOR #13, SWE #17, UK #20. Canada: Gold.
It is the third in a loose trilogy that began with Swordfishtrombones. Subtitled "Un Operachi Romantico in Two Acts", the album contains songs written by Waits and collaborators (mainly his wife, Kathleen Brennan) for a play of the same name. The play had its world premiere at the Briar St. Theatre in Chicago, Illinois, on June 22, 1986, performed by the Steppenwolf Theatre Company. "If I Have to Go" was used in the play, but released only in 2006 on Orphans: Brawlers, Bawlers & Bastards. The theme from "If I Have to Go" was used under the title "Rat's Theme" in the documentary Streetwise as early as 1984. The title is derived from "Frank's Wild Years", a track from Swordfishtrombones.
"This rags-to-rags tale completes the trilogy that began with 1983's Swordfishtrombones (featuring the song 'Frank's Wild Years,' in which the protagonist torches his suburban SoCal house and heads north on the Hollywood Freeway). Then came 1985's Rain Dogs, which mixed Brecht-Weill drama with Captain Beefheart bizarreness for an effect that conjured up a Saturday-night fish fry in the freak show of a decrepit circus... The story basically follows Frank on a hazy, ill-fated Orphic journey 'Straight to the Top (Vegas)' (as one song is titled) through 'Temptation,' 'Way Down in the Hole' and, finally, out on the 'Cold Cold Ground.' At the road's end lies 'Innocent When You Dream (78),' a moral that is told to Frank early on but doesn't hit home until the end, when it is heard in a lovely, tinnily nostalgic rendition.
(en.wikipedia.org/wiki/Franks_Wild_Years)

01. Hang On St Christopher (02:46)
02. Straight To The Top (Rhumba) (02:30)
03. Blow Wind Blow (03:35)
04. Temptation (03:53)
05. Innocent When You Dream (Barroom) (04:16)
06. I'll Be Gone (03:12)
07. Yesterday Is Here (02:31)
08. Please Wake Me Up (03:35)
09. Frank's Theme (01:49)
10. More Than Rain (03:52)
11. Way Down In The Hole (03:30)
12. Straight To The Top (Vegas) (03:26)
13. I'll Take New York (03:58)
14. Telephone Call From Istanbul (03:11)
15. Cold Call Ground (04:07)
16. Train Song (03:20)
17. Innocent When You Dream (78) (03:10)

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Styx - The Serpent Is Rising [Japan Ed. SHM-CD] (1973)

Year: October 1973 (CD Jul 27, 2016)
Label: Universal Music (Japan), UICY-77821
Style: Rock, Pop Rock
Country: Chicago, Illinois, U.S.
Time: 39:27
Format: Flac Tracks 16/44,1 kHz
Size: 277 Mb

Described as a loose concept album, The Serpent Is Rising contains a number of sexual innuendos. The baroque prog "The Grove of Eglantine" (written by DeYoung) was about a woman's vagina. It has some harpsichord and accordion, to give a British/European sound.
The proggish title track was written by John Curulewski, is about the serpent beginning to rise. Musically, it has some King Crimson influence especially on their debut album.
The screaming spoken word "Krakatoa" by Curulewski was named for the volcano event of the same name in 1883. It features an ending glissando which was taken from a Beaver and Krause track called "Spaced" in 1970, for which they were credited on the album.
The acoustic bluesy track "As Bad as This" by Curulewski has a hidden track called "Don't Sit Down on the Plexiglas Toilet" which is a calypso humor about a boy who is sitting on a Plexiglas toilet and having problems. The track features only Curulewski and the Panozzo brothers. The song was played on the Dr. Demento radio show and "Weird Al" Yankovic supposedly loved it.
The album also includes James Young rockers "Witch Wolf" and "Young Man", the upbeat "Winner Take All" (written by DeYoung and sung by Young) and the boogie-woogie track "22 Years" (written by Curulewski but sung as a duet by DeYoung and Young); the outro for that track features the producer and president of Wooden Nickel records Bill Traut on saxophone.
The prog rocker "Jonas Psalter" was written by DeYoung and sung by Young. Lyrically, it was about pirates. Musically, it has elements of the contemporary sound of Yes, and also featured a Moog synthesizer.
The album finished with Handel's Hallelujah classical piece, features all the band members singing and DeYoung played a pipe organ on cathedral in Chicago.
Styx considers The Serpent Is Rising to be their worst recording. Dennis DeYoung is indirectly quoted as saying it was "one of the worst recorded and produced in the history of music."
(en.wikipedia.org/wiki/The_Serpent_Is_Rising)

01. Witch Wolf (04:00)
02. The Grove Of Eglantine (05:01)
03. Young Man (04:47)
04. As Bad As This (06:09)
05. Winner Take All (03:06)
06. 22 Years (03:41)
07. Jonas Psalter (04:42)
08. The Serpent Is Rising (04:52)
09. Krakatoa (01:35)
10. Hallelujah Chorus (01:31)

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Ashton, Gardner & Dyke - Ashton, Gardner & Dyke [4 bonus tracks] (1969)

Year: 1969 (CD 1995)
Label: Repertoire Records (Germany), REP 4565-WY
Style: Rock, Jazz Rock, Blues Rock
Country: London, England
Time: 60:02
Format: Flac Tracks 16/44,1 kHz
Size: 303 Mb

Founding band member Tony Ashton first met the drummer Roy Dyke when playing with various Blackpool-based groups.
Ashton was invited to join the Liverpool beat group The Remo Four as organist/vocalist, whilst Roy Dyke became the group's drummer, having joined them in 1963. Their best work came in 1966 when they released their album Smile!. Before their breakup in 1968, they backed George Harrison on his album Wonderwall Music. Harrison later played guitar on their song "I'm Your Spiritual Breadman".
Ashton and Dyke then joined forces in 1968 with the bassist Kim Gardner, who had previously played in minor British groups The Birds and The Creation. The three simply called themselves Ashton, Gardner and Dyke. Mick Liber, formerly of Python Lee Jackson, played lead guitar with the group.
They released their first single "Maiden Voyage"/"See The Sun In My Eyes" on Polydor Records in 1969, but it flopped. However, their next single, "Resurrection Shuffle" on Capitol Records, made them household names. The brass section included Lyle Jenkins (saxophone) and Dave Caswell (trumpet) of the Birmingham band Galliard. The song entered the UK Singles Chart on 16 January 1971, had a chart life of 14 weeks, and peaked at Number 3. The song reached number 40 in the U.S. Billboard Hot 100 chart. The song was their only hit record, earning them the designation of one-hit wonders. They performed the song on BBC's Top of the Pops, on 27 December 1971, with Ashton singing live and remembering most of the words. The song has since been covered by a number of artists, including Tom Jones and Clarence Clemons.
Their follow-up single "Can You Get It" lacked the general boisterous appeal of "Resurrection Shuffle", and failed to chart. Nevertheless, Ashton Gardner and Dyke persevered and recorded three albums. The trio also backed Irish singer Jonathan Kelly on his 1970 debut album and the following year, they appeared together with other British jazz and rock musicians on Leigh Stephens' Cast of Thousands (1971).
Also in the band for a period of time and on the cover of their "Best Of" cd was ex-Bee Gees guitarist Vince Melouney.
Their last recording together was a collaboration with Jon Lord on the soundtrack for a B movie, The Last Rebel, starring former gridiron star, Joe Namath. Ashton also appeared on Lord's first solo album Gemini Suite in 1972. The trio finally split the same year.
(en.wikipedia.org/wiki/Ashton,_Gardner_and_Dyke)

01. Rolling Home (03:34)
02. Why Did You Go (03:00)
03. The Falling Song (03:33)
04. Young Man (04:07)
05. Billy And His Piano Without (04:02)
06. Maiden Voyage (03:58)
07. New York Mining Disaster (05:06)
08. Picture Sliding Down The Wall (04:43)
09. Billy And His Piano With (03:55)
10. Vaggsang (01:42)
11. As It Was In The First Place (06:32)
12. Maiden Voyage, Long Version (05:25)
13. See The Sun In My Eyes (03:29)
14. Resurrection Shuffle (03:18)
15. Can You Get It (03:32)

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Shocking Blue - Dream On Dreamer (1973) Good Times [2LP on 1CD] (1974)

Year: 1973 / 30 October 1974 (CD 1997)
Label: Repertoire Records (Germany), REP 4619-WP
Style: Psychedelic Rock, Pop Rock
Country: The Hague, Netherlands
Time: 78:37
Format: Flac Tracks 16/44,1 kHz
Size: 534 Mb

Although glibly labelled by many as one-hit wonders - albeit international ones, due to the US chart-topping success of 'Venus' - Shocking Blue have recently had their music rediscovered and reassessed by critics and public alike.
Though the band reached the peak of their commercial success at the start of the Seventies, their origins lay further back in the diverse, exciting and woefully ignored Dutch scene of the mid-Sixties.
The Dutch beat boom started when Johnny Kendall and the Heralds' version of 'St James' Infirmary' charted in late 1964. Prior to that, most of the home- grown acts to find success had either been wholesome teen stars or guitar instrumental acts in the style of the Shadows.
Many of the leading lights of the beat boom got their start in these guitar groups. In several instances, the groups themselves evolved and changed styles: ZZ and the Maskers dropped the leader's name for several singles and backed Chubby Checker when he was based in the country (after marrying the Netherlands' representative in a Miss World contest!)
While major cities like Amsterdam and Rotterdam all had bands of note, the Hague was undoubtedly the Netherlands' musical hotbed. Almost everything was covered, from cultural outlaws such as Q65, through beat groups such as The Hunters (Focus star Jan Akkerman's first major act) through many pop acts the Sandy Coast and Golden Earring (who at this time could be compared with the Hollies). But one band alone captured the style and energy of British Mod acts like the Small Faces and the Action: that was the Motions.
Robbie van Leeuwen, guitarist, songwriter and effectively leader of Shocking Blue, had previously held a similar position in the Motions in their early hit making phase. Those hits included 'It's Gone', 'Wasted Words' (a paean to Dr. Martin Luther King), 'Every Step I Take' and 'Everything That's Mine' the latter one of the finest slices of Mod/Art Pop produced anywhere in the world.
The Shocking Blue story effectively started when Van Leeuwen left the Motions in 1967 due to conflicts with lead singer Rudy Bennett. He recruited members from other Hague bands for his new group: the line-up for the first Shocking Blue singles, up to and including the first hit, 'Lucy Brown Is Back In Town', was Van Leeuwen (guitar), Fred de Wilde (vocals), Klaasje van de Waal (bass) and Cor van Beek (drums). The single charted well, things were about to change.
About the same time as Lucy Brown's release, fellow Hague band Golden Earring had hit the jackpot with the pure bubblegum of 'Dong Dong Di Ki Di Gi Dong'. A band was hired to play at the party they held to celebrate their first Number 1; named the Bumble Bees, they were fronted by a strong and striking female vocalist. Shocking Blue's manager and publisher both attended the party, and both felt certain this singer would be ideal for their band. The woman in question was Mariska Veres.
The new line-ups' first single, 'Send Me A Postcard', was a runaway success in the Netherlands, while the follow-up 'Long Lonesome Road', also made the domestic Top 20. But it was the third single with Veres that would seal the band's fate. 'Venus' made Number 3 in Holland, but significantly topped the charts in several countries, including Belgium, France, Italy, Spain and Germany.
The record came to the attention of a newly formed American record label, Colossus. The label's head Jerry Ross signed Shocking Blue for the States and was rewarded when 'Venus' hit the top there in February 1970. Ross also signed two other Dutch acts, the Tee Set (formed by former After Tea singer Peter Tetteroo) and the George Baker Selection: the Tee Set's 'Ma Belle Amie' also rose high in the US charts to Number 5, while Baker's biggest hit for Colossus, 'Little Green Bag', was later used on the soundtrack of the 90s film "Reservoir Dogs".
Shocking Blue's follow-up to 'Venus', 'Mighty Joe', made Number 1 in Holland and charted almost everywhere its predecessor had. But the international success 'Venus' had appeared to herald failed to materialise. Although the band was still releasing excellent and often innovative singles and still charting in Europe, Van Leeuwen was dissatisfied and increasingly frustrated by the limits of Shocking Blue's chart success. When mainland European bands once again returned in vogue on the back of ABBA's Eurovision victory, the band failed to capitalise and eventually split.
Mariska Veres continued as a solo singer, Van Leeuwen producing her on songs like 'Too Young' and 'Loving You' (both included as bonus tracks on this compilation), he also enjoyed local success in the mid-Seventies with a group, Galaxy Lin.
(full version: alexgitlin.com/shocking.htm)

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Atomic Rooster - Atomic Roooster (1970)

Year: February 1970 (CD 1991)
Label: Repertoire Records (Germany), RR 4135-WZ
Style: Art Rock, Progressive Rock
Country: United Kingdom
Time: 45:23
Format: Flac Tracks 16/44,1 kHz
Size: 279 Mb

This, Atomic Rooster's debut album, is a totally classic adventure into the 'progressive hard- rock' realm of music's development. Loaded with sinister lyrics (read between the lines...), but with some fantastic music to go with it all ; I've got to say that Carl Palmer is sounding great here, and no wonder why Emerson and Lake poached him from this band ; Greg (Lake) approached Carl and, quote, "It was Lake's unabashed enthusiasm and intensity that won Palmer over - "If you don't join this band, you're not only damaging yourself, but damaging me as well " says Lake, end quote. Vincent Crane is incredible as usual on the Hammond Organ, and their bassist/vocalist at this stage, Nick Graham, who eventually ended up in the great band, 'SKIN ALLEY", provides some appropriate Bass guitar, and a little lead guitar and vocals to the proceedings. I do not wish to ramble on for ages about each track on this record - all songs are strong, and I've not heard such a focused release produced with as much passion as this one, so I can only say that any prog-head MUST OWN this release. 5 star without question, even if a bit 'underground'.
(progarchives.com/album.asp?id=6318) Review by Tom Ozric. December 2, 2006
Atomic Rooster?s debut album is a hard rock album in the vein of Deep Purple, which means hard rock with lots of hammond organ and an accomplished lead singer.
The music is well played and Carl Palmer ( Later of ELP) gets to show of his incredible drum skills in the two instrumentals Before Tomorrrow and Decline and Fall. The other two musicians also shine in these songs. Overall there is no flaws in the playing. The flaws show when you look at the composition though. This is pretty imature hard rock. The lyrics are really silly and simplistic ( try also to listen to the lyrics in the song S.L.Y). Allthough the album is mostly blues based hard rock, there are an almost Joe Cocker like soulful song in Broken Wings ( This song is not to my taste) the aforementioned instrumentals which show prog tendencies and the most prog song on the album the exciting Winter.
This is only for the fans. I wouldn?t recommend this to anyone else really. A few good songs and lots of boasting crap. I should give one more star for the laugh I got when I heard And so to Bed but a 2 star rating will do.
(progarchives.com/album.asp?id=6318) Review by UMUR. December 23, 2007

01. Friday the Thirteenth (03:31)
02. And So to Bed (04:11)
03. Broken Wings (05:46)
04. Before Tomorrow (05:50)
05. Banstead (03:33)
06. S.L.Y. (04:56)
07. Winter (06:59)
08. Decline and Fall (05:48)
09. Play the Game (B-side to Tomorrow Night 1971 bonus track) (04:45)

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The Royal Philharmonic Orchestra. David 'Dee' Palmer - A Symphonic Tribute To Queen (1996)

Year: 1996 (CD 2006)
Label: SONY BMG Music Entertainment (Germany), 88697000802
Style: Pop Classical, Pop Rock
Country: Hendon, North West, London, England (2 July 1937)
Time: 58:41
Format: Flac Tracks 16/44,1 kHz
Size: 296 Mb

Dee Palmer (born David Victor Palmer, 2 July 1937, in Hendon, North West, London) is an English arranger and keyboardist best known for having been a member of the rock group Jethro Tull. Palmer is a transsexual woman who was known as David Palmer for many years, including her stint with Jethro Tull. She is very open about her transsexuality and plans on releasing a solo album in the future.
Palmer learned to play clarinet during a stint in the Royal Horse Guards cavalry regiment to which she was sent. There, she studied at Kneller Hall, the Royal Military School of Music. Palmer later studied music at the Royal Military School of Music and at the Royal Academy of Music, majoring in composition and winning the Eric Coates Prize.
Going about her early career as a jobbing arranger and conductor of recording sessions, Palmer recorded her first album project, Nicola, in 1967 with Bert Jansch. She was then referred to Terry Ellis, then manager of the early Jethro Tull, which was making its first album at Sound Techniques Studio in Chelsea, London. At short notice, Palmer came up with arrangements for the horns and strings on the Mick Abrahams composition, "Move on Alone" from the This Was album. This work and professional performance endeared her to the band and she was soon to visit them again, with a string quartet arrangement to "A Christmas Song". Palmer arranged string, brass, and woodwind parts for Jethro Tull songs in the late 1960s and early 1970s, before formally joining the group in 1976 and primarily playing electronic keyboard instruments. In 1980, leader Ian Anderson intended to release the album A with other musicians as a solo project (under the name 'Ian Anderson') but was persuaded by his record label to release it instead under the 'Jethro Tull' name. This resulted in every member of the group, including Palmer, leaving except guitarist Martin Barre and Anderson himself. Palmer formed a new group, Tallis, with former Jethro Tull pianist and organist John Evan. The new group was not commercially successful, and Palmer returned to film scoring and sessions. Beginning in the 1980s, Palmer produced several albums of orchestral arrangements of the music of various rock groups, including Jethro Tull, Pink Floyd, Genesis, Yes, the Beatles and Queen.
(last.fm/music/David+Palmer/+wiki)

01. Prelude - Fanfare - Tie Your Mother Down (04:55)
02. Bicycle Race (03:20)
03. Somebody To Love (04:32)
04. Killer Queen (04:06)
05. Who Wants To Live Forever (06:41)
06. Interlude - Death On Two Legs (03:03)
07. Now I'm Here (04:20)
08. Innuendo (08:01)
09. Love Of My Life (04:18)
10. Keep Passing The Open Windows (05:22)
11. We Are The Champions (05:08)
12. Postlude - In Memoriam Fm-Mp (04:50)

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

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

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

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

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Humble Pie - The Scrubbers Sessions (1997)

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

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

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

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Andrew Lloyd Webber - Jesus Christ Superstar (1970)

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

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

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

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

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Alice Cooper - Brutal Planet (2000)

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

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

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

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

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

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

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

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Journey - Infinity (1978)

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

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

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

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

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

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

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

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Susana Baca - Espiritu Vivo (2002)

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

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

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

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