Various Artists - Hits Of The 70's [Box Set. 3CD] (1996)

Year: 1996 (CD 1996)
Label: Castle Communications (UK), EUK BX 302/1
Style: Rock, Pop
Country: Various
Time: 74:00, 70:28, 68:39
Format: Flac Tracks 16/44,1 kHz
Size: 467, 451, 420 Mb

Nazareth, Bonnie Tyler, Status Quo, The Kinks, Marmelade, Mungo Jerry, Mud, Emerson Lake & Palmer, Osibisa, Family, The Tremeloes, Lulu, Sally Oldfield, Melanie ...

 

 

01. Nazareth - This Flight Tonight (03:25)
02. Bonnie Tyler - Lost In France (03:56)
03. Status Quo - Mean Girl (03:55)
04. The Kinks - Lola (04:09)
05. Jigsaw - Sky High (02:54)
06. Marmelade - Radancer (03:58)
07. Jimmy James & The Vagabonds - I'll Go Where Your Music Takes Me (03:29)
08. Johnny Wakelin - In Zaire (03:21)
09. Gladys Knight & The Pips - Midnight Train to Georgia (04:40)
10. The Real Thing - You To Me Are Everything (03:21)
11. Sweet Sensation - Sad Sweet Dreamer (03:24)
12. The Moments - Jack In The Box (04:14)
13. Andrea True Connection - More, More, More (03:14)
14. Mungo Jerry - Lady Rose (03:09)
15. New York City - I'm Doin' Fine Now (02:32)
16. John Travolta - Sandy (02:34)
17. Dollar - Who Were You With In The Moonlight (04:06)
18. Mud - Lean On Me (04:56)
19. Lindisfarne - Run For Home (Live) (05:36)
20. Emerson Lake & Palmer - Fanfare For The Common Man (02:57)

01. Mungo Jerry - In The Summertime (03:31)
02. Jim Gilsrap - Swing Your Daddy (Part1) (02:52)
03. Moments - Girls (03:09)
04. First Class - Beach Boy (04:51)
05. Jimmy James And The Vagabounds - Now Is The Time (03:36)
06. Carl Douglas - Kung Fu Fighting (03:14)
07. Stretch - Why Did You Do It? (03:33)
08. Nazareth - Bad, Bad, Boy (03:57)
09. Family - In My Own Time (03:35)
10. The Tremeloes - Me And My Life (03:13)
11. Lulu - The Man Who Sold The World (03:50)
12. The Real Thing - Can't Get By Without You (03:20)
13. Stephanie De Skyes - Born With A Smile On My Face (03:16)
14. Dollar - I Wanna Hold Your HAnd (03:03)
15. John Travolta - Greased Lightnin' (03:17)
16. Jonathan Richman & The Modern Lovers - Roadrunner (Once) (04:05)
17. Sally Oldfield - Mirrors (03:32)
18. Gladys Knight 6 The Pips - So Sad The Song (03:52)
19. Jim Croce - I'll Have To Say I Love You In The Song (02:32)
20. Simon May - The Summer Of My Life (04:02)

01. Bonnie Tyler - It's A Heartache (03:31)
02. Osibisa - Sunshine Day (05:01)
03. Gladys Knight & The Pips - Best Thing That Happened To Me (03:47)
04. David Parton - Isn't She Lovely (04:09)
05. Sweet Sensation - Purely By Coincidence (02:55)
06. Barry Blue  - On A Saturday Night (03:12)
07. Melba Moore - This Is It (03:32)
08. Prelude - After The Goldrush (02:09)
09. Goldie - Making Up Again (03:32)
10. Dollar - Love's Gotta Hold On Me (03:31)
11. The Kinks  - Apeman (03:52)
12. Status Quo - Down The Dustpipe (02:05)
13. Nazareth - Broken Down Angel (03:39)
14. Don Fardon - Indian Reservation (03:23)
15. Mud - Show Me You're A Woman (04:01)
16. Dee Clark - Ride A Wild Horse (02:50)
17. Melanie - Ruby Tuesday (04:37)
18. Candlewick Green - Who Do You Think You Are (03:06)
19. Pickettywitch - That Same Old Feeling (03:03)
20. Egyptian Reggae (02:36)

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The Rolling Stones - Live Licks [2CD. Live] (2004)

Year: 1 November 2004 (CD 2009)
Label: Rolling Stones Records (US), B0013587-02
Style: Rhythm & Blues
Country: London, England
Time: 49:16, 60:02
Format: Flac Tracks 16/44,1 kHz
Size: 371, 440 Mb

Charts: UK #38, US #50, FRA #38, GER #9, JPN #19, NLD #19, NOR #38, SWE #16. UK & US: Gold.
Live Licks is a 2004 double CD by the Rolling Stones, their ninth official live album. Coming six years after No Security, it features performances from the 2002-2003 Licks Tour in support of the career-spanning, fortieth anniversary retrospective Forty Licks. The album includes "an entire side of songs never before recorded live", and features only one song recorded after 1981's Tattoo You ("You Don't Have to Mean It" from Bridges to Babylon).
The first CD contains "the familiar classics" while the second features "some covers, b-sides and album tracks from the more obscure end of their back catalogue".
Sheryl Crow appears on "Honky Tonk Women", while Solomon Burke sings on his own "Everybody Needs Somebody to Love", which the Rolling Stones originally covered on The Rolling Stones No. 2 in 1965.
The Rolling Stones released two subtly different versions of cover art for Live Licks. While both feature a woman astride the Rolling Stones logo's tongue, in the British version she has no bikini top.
Unlike all their previous live albums, Live Licks features virtually none of the band's recent compositions, and includes only one track which was released in the preceding two decades. In all there are nine songs from the 1960s, eight from the 1970s, three from the 1980s (all from Tattoo You), one from the 1997 release Bridges to Babylon, and two previously unreleased covers.
(en.wikipedia.org/wiki/Live_Licks)

01. Brown Sugar (03:50)
02. Street Fighting Man (03:43)
03. Paint It, Black (03:44)
04. You Can't Always Get What You Want (06:45)
05. Start Me Up (04:02)
06. It's Only Rock N' Roll (04:54)
07. Angie (03:29)
08. Honky Tonk Women (03:24)
09. Happy (03:37)
10. Gimme Shelter (06:50)
11. (I Can't Get No) Satisfaction (04:54)

01. Neighbours (03:40)
02. Monkey Man (03:41)
03. Rocks Off (03:41)
04. Can't You Hear Me Knocking (10:02)
05. That's How Strong My Love Is (04:44)
06. The Nearness Of You (04:34)
07. Beast Of Burden (04:08)
08. When The Whip Comes Down (04:28)
09. Rock Me, Baby (03:50)
10. You Don't Have To Mean It (04:34)
11. Worried About You (06:00)
12. Everybody Needs Somebody To Love (06:34)

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The Troggs - Hip Hip Hooray [original: Mixed Bag. 9 bonus tracks] (1968)

Year: April 1968 (CD 2004)
Label: Repertoire Records (Europe), REPUK 1062
Style: Garage Rock, Psychedelic Rock
Country: Andover, Hampshire, England
Time: 65:31
Format: Flac Tracks 16/44,1 kHz
Size: 330 Mb

The title of Mixed Bag was an appropriate description of this rather scrapheap Troggs assembly, as it wasn't really a regular album. Instead, it was a budget-priced compilation matching eight songs that appeared on British and American singles in 1968 with four others that made their first appearance on the LP. Although all but one of the tracks was a Troggs original ("Hip Hip Hooray" being the lone exception), and although there were a few solid cuts, overall it was disappointing due to the weakness and surprisingly low energy of many of the songs. "Hip Hip Hooray" was somewhat puerile bubblegum, and "Little Girl," a small British hit, was a lame attempt by Reg Presley to keep milking the pop ballad style he'd used the much better effect in earlier hits like "Love Is All Around." In brighter news, the old salacious Troggs sound surfaced to good effect in "Say Darlin'"; "You Can Cry if You Want To" was one of Presley's better soft numbers; and both "Purple Shades" and "Maybe the Madman" were two of the band's best ventures into psychedelia, albeit of the rather tongue-in-cheek sort. All of the best numbers, however, were the ones most likely to show up on later best-of compilations, making it only of interest to collectors and completists. If you're among the fans who do want it, however, you should seek out the 2005 Repertoire CD Hip Hip Hooray, which contains everything on Mixed Bag and adds 11 songs from rare 1970 and 1973 singles (including three tracks from Reg Presley solo singles of the era) as bonus cuts.
(allmusic.com/album/mixed-bag-mw0000840883)

01. Hip Hip Hooray (02:19)
02. You Can Cry If You Want To (02:50)
03. Say Darlin' (02:45)
04. Marbles And Some Gum (02:05)
05. Purple Shades (02:24)
06. Heads Or Tails (03:43)
07. Surprise Surprise (02:47)
08. Little Girl (02:57)
09. Maybe The Madman (02:13)
10. Off The Record (03:43)
11. We Waited For Someone (02:51)
12. There's Something About You (02:42)
13. Lazy Weekend (03:24)
14. Let's Pull Together (02:48)
15. Young And Beautiful (02:54)
16. Everything's Funny (02:12)
17. Feels Like A Woman (03:31)
18. Listen To The Man (03:17)
19. Queen Of Sorrow (02:41)
20. Strange Movies (02:56)
21. I'm On Fire (02:13)
22. 'S Down To You Marianne (03:12)
23. Hey Little Girl (02:53)

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Soft Machine - Third [Japan Ed. 2LP on 1CD] (1970)

Year: June 1970 (CD Mar 2, 2005)
Label: Sony Records Int'l (Japan), MHCP 613
Style: Jazz Rock, Progressive Rock, Canterbury Scene
Country: Canterbury, England
Time: 75:23
Format: Flac Tracks 16/44,1 kHz
Size: 450 Mb

Third is a live and studio album by the English rock band Soft Machine, released as their third overall in June 1970 by CBS Records. It is a double album with a single composition on each of the four sides, and was the first of two albums recorded with a four-piece line-up of keyboardist Mike Ratledge, drummer and vocalist Robert Wyatt, saxophonist Elton Dean, and bass guitarist Hugh Hopper. Third marks a shift in the group's sound from their psychedelic origins towards jazz rock and electronic music.
"Facelift" is a live recording by the previous line-up of the band, a five-piece with Lyn Dobson on saxophone and flute alongside Ratledge, Wyatt, Hopper and Dean. The remaining tracks are studio recordings by the four-piece line-up, augmented by a few session musicians. Jimmy Hastings (brother of Pye Hastings from Caravan) makes substantial contributions on flute and clarinet on "Slightly All the Time", free-jazz violinist Rab Spall (then a bandmate of Wyatt's in the part-time ensemble Amazing Band) is heard on the coda to "Moon in June", and Nick Evans (who had been a member of Soft Machine during late 1969 when they spent a short time as a seven-piece band) makes brief appearances on trombone in "Slightly All the Time" and "Out-Bloody-Rageous".
(en.wikipedia.org/wiki/Third_(Soft_Machine_album))

01. Facelift (18:46)
02. Slightly All The Time (18:13)
03. Moon In June (19:09)
04. Out-Bloody-Rageous (19:14)

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Slade - Sladest [compilation] (1973)

Year: 28 September 1973 (CD 1993)
Label: Polydor Records (Germany), 837 103-2
Style: Hard Rock, Glam Rock
Country: Wolverhampton, Staffordshire, England
Time: 45:49
Format: Flac Tracks 16/44,1 kHz
Size: 290 Mb

Charts: UK #1, AUS #3, AUT #10, CAN #75, FIN #1, GER #3, NOR #4, SWE #12, US #129. UK: Gold.
In 1973, Slade were one of the most popular bands in Britain, having achieved two number one singles – "Cum On Feel the Noize" and "Skweeze Me, Pleeze Me" – in three months. Both had entered the charts straight at number one, which was a rare feat at the time and had not been achieved since the Beatles with "Get Back" in 1969. However, soon after the release of "Skweeze Me, Pleeze Me", drummer Don Powell was involved in a near fatal car crash in July 1973. The accident threw the band's future into doubt and despite his critical condition, Powell was able to make a recovery.
While recording their next studio album, Old New Borrowed and Blue, Slade decided to release a compilation album to maintain the band's momentum. Sladest was released in September 1973, on the same day as the band's new single "My Friend Stan". Sladest topped the UK charts and was a success in Europe and beyond too. In its first week of release, it was awarded a UK Silver Disc and in November, it received a UK Gold Disc and was set to surpass 200,000 sales at the time. Having remained at No. 1 for its first three weeks of release, Sladest later returned to the top spot in mid-January 1974, following the success of "Merry Xmas Everybody".
(en.wikipedia.org/wiki/Sladest)

01. Cum On Feel The Noize (04:30)
02. Look Wot You Dun (02:57)
03. Gudbuy T' Jane (03:32)
04. One Way Hotel (02:40)
05. Skweeze Me, Pleeze Me (04:35)
06. Pouk Hill (02:24)
07. The Shape Of Things To Come (02:17)
08. Take Me Bak 'Ome (03:13)
09. Coz I Luv You (03:24)
10. Wild Winds Are Blowin' (02:38)
11. Know Who You Are (02:54)
12. Get Down And Get With It (03:49)
13. Look At Last Nite (03:06)
14. Mama Weer All Crazee Now (03:44)

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Rainbow - Rainbow On Stage [Japan Ed. 1st press] (1977)

Year: 15 July 1977 (CD Sep 1, 1986)
Label: Polydor Records (Japan), P40P 25017
Style: Classic Rock, Hard Rock
Country: Hertford, Hertfordshire, England
Time: 63:56
Format: Flac Tracks 16/44,1 kHz
Size: 362 Mb

Charts: UK #7, AUS #22, FIN #21, GER #28, JPN #6, NOR #17, NLD #29, SWE #25, US #65. UK: Silver; JPN: Gold.
On Stage is a double live album originally released by the British hard rock band Rainbow in 1977. It was recorded live over several German and Japanese dates in late 1976 during the Rising world tour. The album was released first in the US on 7 July 1977, before being released a week later on 15 July in the UK.
The recording features the customary introduction to a Rainbow show – the classic quote from The Wizard of Oz, "Toto: I have a feeling we're not in Kansas anymore. We must be over the rainbow!" with the last word repeated as an echo, then the actual band plays a musical phrase from the song "Over the Rainbow" before breaking into "Kill the King".
A few of the tracks were edited by producer Martin Birch. Mistreated has the guitar/vocal duel removed, the "Lazy" introduction to "Man on the Silver Mountain", the drum solo has been omitted from "Still I'm Sad", and the running order was changed to more easily fit four sides of vinyl.
(en.wikipedia.org/wiki/On_Stage_(Rainbow_album))

01. Intro - Over The Rainbow/Kill The King (05:29)
02. Man On The Silver Mountain (04:15)
03. Blues (04:02)
04. Starstruck (02:57)
05. Catch The Rainbow (15:34)
06. Mistreated (13:01)
07. Sixteenth Century Greensleeves (07:35)
08. Still I'm Sad (11:00)

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Julie Driscoll, Brian Auger & The Trinity - Streetnoise [Japan Ed.] (1969)

Year: July 1969 (CD Aug 1, 1988)
Label: Polydor Records (Japan), P30P 25072
Style: Progressive Rock, Art Rock
Country: United Kingdom
Time: 74:51
Format: Flac Tracks 16/44,1 kHz
Size: 455 Mb

The final collaboration between singer Julie Driscoll (by that time dubbed as "The Face" by the British music weeklies) and Brian Auger's Trinity was 1969's Streetnoise -- it was an association that had begun in 1966 with Steampacket, a band that also featured Rod Stewart and Long John Baldry. As a parting of the ways, however, it was Trinity's finest moment. A double album featuring 16 tracks, more than half with vocals by Driscoll, the rest absolutely burning instrumentals by Trinity. (Auger on keyboards and vocals, Driscoll on acoustic guitar, Clive Thacker on drums, and Dave Ambrose on bass and guitars.) "Tropic of Capricorn," an instrumental Auger original, kicks off in high gear. It's a knotty prog rock number that contains elements of Memphis R&B. it sounds better than it reads; it twists and turns around a minor key figure that explodes into solid, funky grit with Thacker double timing the band. Driscoll enters next with "Czechoslovakia," a wide-open modal tune that hints at the kinds of music she would explore in the very near future on her debut 1969 and later, with future husband Keith Tippett. Broken melody lines and drones are the framework for Driscoll to climb over and soar above, and she does without faltering before she slides into the traditional gospel tune, "Take Me to the Water." And this is how this record moves, from roiling progressive rock instrumentals and art songs, done rock style, to inspired readings of the hits of the day such as "Light My Fire," "Flesh Failures (Let the Sunshine In)" from Hair, and one of most stirring readings ever of Laura Nyro's "Save the Country" that closes the album. "Indian Rope Man," is a burning, organ-driven churner that fuses Stax/Volt R&B funkiness with psychedelic rock and jazz syncopation. Driscoll's vocal is over the top; she's deep into the body of the tune and wrings from it every ounce of emotion from it. Auger's organ solo is a barnburner; reeling in the high register, he finds the turnarounds and offers his own counterpoint in the middle and lower one with fat chords. The rhythm section keeps the groove, funking it up one side and moving it out to the ledge until the coda. Another steaming rocker is "Ellis Island," with it's dueling Fender Rhodes and organ lines. it may be the finest instrumental on the album. "Looking in the Eye of the World" features Driscoll in rare form, singing in her voice's lower register accompanied only by Auger's piano on a blues moan worthy of Nina Simone. Streetnoise was a record that may have been informed by its era, but it certainly isn't stuck there, especially in the 21st century. The music sounds as fresh and exciting as the day it was recorded. This is a must-have package for anyone interested in the development of Auger's music that was to change immediately with the invention of the Oblivion Express, and also for those interested in Driscoll's brave, innovative, and fascinating career as an improviser, who discovered entirely new ways of using the human voice. Streetnoise is brilliant.
(allmusic.com/album/streetnoise-mw0000654691#review)

01. Tropic Of Capricorn (05:33)
02. Czechoslovakia (06:27)
03. Take Me To The Water (04:20)
04. A Word About Colour (01:41)
05. Light My Fire (04:24)
06. Indian Rope Man (03:25)
07. When I Was Young (07:05)
08. Flesh Failures (Let The Sunshine In) (03:08)
09. Ellis Island (04:11)
10. In Search Of The Sun (04:25)
11. Finally Found You Out (04:15)
12. Looking In The Eye Of The World (05:05)
13. Vauxhall To Lambeth Bridge (06:35)
14. All Blues (05:45)
15. I've Got Life (04:30)
16. Save The Country (03:56)

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Rebecca Pidgeon - The Raven [Audiophile Gold CD] (1994)

Year: 1994 (CD 1994)
Label: Chesky Records (US), JD115
Style: Folk Rock, Contemporary Jazz
Country: Cambridge, Massachusetts, U.S. (October 10, 1965)
Time: 46:06
Format: Flac Tracks 16/44,1 kHz
Size: 253 Mb

Rebecca Pidgeon (born October 10, 1965) is an American-British actress who has appeared on stage and in feature films. She is also a singer, songwriter and recording artist.
Pidgeon was born to English parents in Cambridge, Massachusetts, while her father, Carl R. Pidgeon, was a visiting professor at MIT. Her mother, Elaine, is a yoga teacher. Her paternal grandmother, Monica Pidgeon, the editor of Architectural Design, was the sister of artist Olga Lehmann and academic Andrew George Lehmann.
Pidgeon moved to Edinburgh, Scotland in 1970 with her parents. She graduated from the Royal Academy of Dramatic Art in London with classmates Clive Owen and Liza Tarbuck.
From 1986 to 1990, Pidgeon was the lead singer of the British folk/pop band Ruby Blue. She left the group shortly after they signed to a major record label. She released the album The Raven in 1994, followed by The New York Girls' Club (1996), and The Four Marys (1998), a collection of traditional Celtic folk songs. Tough on Crime (2005) featured Walter Becker on guitar and Billy Preston on keyboards. Behind the Velvet Curtain (2008) included a cover version of the Beach Boys song "Wouldn't It Be Nice". Slingshot was released in 2012.
She appeared in her first feature film, The Dawning, in 1988, then starred in David Mamet's plays and films, beginning with the movie Homicide and the play Oleanna, a part Mamet wrote for her. She composed the music for the film version, which starred Debra Eisenstadt in her role.
Pidgeon has had roles in additional Mamet films, including The Spanish Prisoner (1997), The Winslow Boy (1999), State and Main (2000), Heist (2001) and Redbelt (2008). She had a supporting role in Red (2010). In the 2013 television movie Phil Spector, she played a supporting role and also sang "Spanish Harlem" over the closing credits. She appeared in the U.S. television series The Unit as Charlotte Ryan, and in the 2007 television film Jesse Stone: Sea Change as Leeann Lewis, a murder/bank robbery suspect.
Pidgeon is married to American writer and director David Mamet, whom she met while appearing in his play Speed-the-Plow at the National Theatre, London. Pidgeon and Mamet have two children, actress Clara and Noah, in addition to Mamet's two older children, Willa and Zosia.
Pidgeon, who was born to a non-practising Christian family, is a student of yoga as taught by B.K.S. Iyengar. She holds dual American/British citizenship.
(en.wikipedia.org/wiki/Rebecca_Pidgeon)

01. Kalerka (03:02)
02. The Witch (02:47)
03. The Raven (02:51)
04. You Need Me There (03:40)
05. Grandmother (06:34)
06. You Got Me (03:01)
07. Heart And Mind (03:16)
08. Her Man Leaves Town (03:32)
09. Seven Hours (04:00)
10. Wendy's Style Shop (03:29)
11. The Height Of Land (03:43)
12. Spanish Harlem (03:35)
13. Remember Me (02:31)

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Jethro Tull - Living In The Past [US version] (1972)

Year: 23 June 1972 (CD 1992)
Label: Chrysalis Records (US), F2 21035, DIDX 001437
Style: Gothic Rock, Folk Rock
Country: Blackpool, Lancashire, England
Time: 76:04
Format: Flac Tracks 16/44,1 kHz
Size: 431 Mb

Charts: UK #8, AUS #2, GER #8, NOR #5, SWE #12, US #3. UK: Silver; US: Gold.
The US vinyl version has "Alive and Well and Living In" and "Hymn 43" in place of "Inside" and "Locomotive Breath".
Living in the Past is a double LP compilation album by Jethro Tull, released in 1972. It collects album tracks, outtakes and several standalone singles spanning the band's career up to that point. Also included are the 1971 "Life Is a Long Song" EP and two live recordings taken from a performance at New York City's Carnegie Hall in November 1970.
(en.wikipedia.org/wiki/Living_in_the_Past_(album))

01. Song For Jeffrey (03:24)
02. Love Story (03:07)
03. Christmas Song (03:09)
04. Living in the Past (03:23)
05. Driving Song (02:43)
06. Sweet Dream (04:06)
07. Singing All Day (03:07)
08. Witches Promise (03:49)
09. Inside (03:45)
10. Alive and Well and Living In (02:47)
11. Just Trying To Be (01:36)
12. By Kind Permission Of (10:10)
13. Dharma For One (09:57)
14. Wond'ring Again (04:16)
15. Hymn 43 (03:18)
16. Life Is a Long Song (03:21)
17. Up the 'Pool (03:15)
18. Dr. Bogenbroom (03:01)
19. For Later (02:08)
20. Nursie (01:35)

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Ian Gillan (Deep Purple) - One Eye To Morocco (2009)

Year: 6 March 2009 (CD 2009)
Label: Ear Music (US), ER 20156-2
Style: Rock, Hard Rock
Country: Chiswick, Middlesex, England (19 August 1945)
Time: 43:26
Format: Flac Tracks 16/44,1 kHz
Size: 305 Mb

One Eye to Morocco is the fifth solo studio album by English Deep Purple vocalist Ian Gillan. The album material was written during the gap of Deep Purple's 2008 world tour, in the US.
As Gillan himself tells, he was in the Jewish-quarter of Krakow listening to the related stories of Oskar Schindler when the voice faded – and then returned and somebody told him: 'Ah, Ian you have one eye to Morocco.' – It was Tomasz Dziubinski. Ian didn't understand the meaning of this Polish idiom, until he was told the whole idiom: "To have one eye to Morocco and another to Caucasus". The idiom describes a cross-eyed, or wandering eye person. This idiom inspired Gillan to make another solo album, and the title for the album was set to "One Eye to Morocco."
n spring 2008 there was a gap between Purple's World Tour, as bassist Roger Glover's mother had died, so Gillan returned to Buffalo to do something new. In a short period of time, with his former bandmate Steve Morris, Ian wrote more than thirty songs. The recording of the album took place in Metalworks Studios, Mississauga, Ontario. Twelve songs were chosen for the album and all of them were recorded in just three days. Recording was mixed and engineered by Nick Blagona, who has previously worked with Deep Purple and mixed Purple's reunion album Perfect Strangers, as well as The House of Blue Light and Slaves & Masters. Also guitarist Michael Lee Jackson contributed to the album.
(en.wikipedia.org/wiki/One_Eye_to_Morocco)

01. One Eye To Morocco (04:05)
02. No Lotion For That (03:11)
03. Don't Stop (02:35)
04. Change My Ways (03:26)
05. Girl Goes To Show (03:59)
06. Better Days (04:07)
07. Deal With It (03:44)
08. Ultimate Groove (03:48)
09. The Sky Is Falling Down (04:09)
10. Texas State Of Mind (03:49)
11. It Would Be Nice (03:10)
12. Always The Travellers (03:17)

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Ozzy Osbourne - Blizzard Of Ozz [Japan Ed. Expanded Ed.] (1980)

Year: 12 September 1980 (CD Jun 1, 2011)
Label: Epic Records (Japan), EICP 1454
Style: Heavy Metal, Hard Rock
Country: Marston Green, Warwickshire, England (3 December 1948)
Time: 50:46
Format: Flac Tracks 16/44,1 kHz
Size: 359 Mb

There are few artists that have come about that can make a huge portion cringe at just the mention of their name. Ozzy Osbourne, after his departure from the great Black Sabbath, wandered for a year looking for exceptional musicians to work with and make a solo album. Ozzy had met the then unknown Randy Rhoads, a local guitarist that was in the band Quiet Riot, who had released a few albums in Japan, and were rather popular there. A man in Randy Rhoads who was just born to play the guitar. Osbourne had chosen him only after Rhoads tuned up and played some riffs and scales. From then, metal history was made. Blizzard of Ozz is Ozzy Osbourne's debut solo album, and remains a favorite of the metal community to this day, spawning popular songs like Crazy Train and Mr. Crowley, that even people who don't listen to metal or Ozzy's music could recognize after a few measures.
The sound on Blizzard of Ozz is mainly based around Ozzy's rather nasal voice, and Randy Rhoads ultra heavy guitar tone. The bass sound usually seems rather hollow, and the drums provide solid beats without too much flair, and seem to be rather danceable (i.e. Crazy Train's drum beat during the verses). Randy also provides a lot of classical influence, especially in his solos. Although there have been some guitarists to hint at classical in the past, Randy was fixated on classical playing. The solos and fills add great amounts of melody to the songs. A great example of his classical playing is the solo acoustic performance Dee, and fantastic ballad Goodbye to Romance.
Throughout the album, though, Ozzy also hints at themes that were ever-present on Black Sabbath albums. Suicide Solution is a warning of how alcoholism can ruin your life, and can even be a method of suicide. There is a part that people have claimed as subliminal, where it sounds as if he's saying "shoot" or "do it," but it was ruled out of court as a combination of sounds that formed to make those sounds. Yep, that's right, idiots brought this song and band to court! The song itself is vicious in its approach, with a very simple drum beat. It contains no real solo, though. There is also the song Mr. Crowley, which hints at themes of Aleister Crowley, famed satanist amongst other things.. The song also starts off with a very memorable, yet haunting organ part, and contains several mind blowing solos. It is one of the highlights of the album.
Blizzard of Ozz, though, isn't a perfect album at all. Ozzy's voice is extremely nasal at some points, and on Crazy Train, it sounds as if there's a roomful of lambs bleating out constantly. The guitar tone, also, can sometimes be annoying. "No Bone Movies" is an absolutely dreadful song, whether it is about pornography or horrible horror movies. The guitar playing is absolutely boring, with cliched pseudo-blues riffs, except for the great slide solo of course. Over all of that, Ozzy does his "lamb bleating" thing, and it is extremely annoying. Steal Away (The Night) is another bad song, although I can't really put my finger on it. To me, it sounds like a ripoff of Van Halen's Running With the Devil, and the song just sounds too "poppy" and out of place on the album.
Overall, this is a rather great metal album. It is a milestone of 1980, and kickstarted that particular decade with a bang. It contains some of Ozzy's best songs, and some of Randy's best guitar work. It isn't without it's flaws, though, however at the end of the day it should be bought post haste.
(metal-archives.com/reviews/Ozzy_Osbourne/Blizzard_of_Ozz/810/)

01. I Don't Know (05:16)
02. Crazy Train (04:56)
03. Goodbye to Romance (05:35)
04. Dee (00:49)
05. Suicide Solution (04:18)
06. Mr. Crowley (05:02)
07. No Bone Movies (03:52)
08. Revelation (Mother Earth) (06:09)
09. Steal Away (The Night) (03:28)
10. You Lookin' at Me, Lookin' at You (Non-LP B-Side) (04:14)
11. Goodbye to Romance (2010 Guitar & Vocal Mix) (05:47)
12. RR (Outtake Guitar Solo) (01:13)

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Nazareth - Greatest Hits (1975)

Year: 21 November 1975 (CD 1990)
Label: BR Music (Netherlands), BR 139-2
Style: Hard Rock
Country: Dunfermline, Fife, Scotland
Time: 63:04
Format: Flac Tracks 16/44,1 kHz
Size: 391 Mb

Greatest Hits is a compilation album by the Scottish hard rock band Nazareth, released in 1975. By this time Nazareth had experienced considerable success with albums and singles. This compilation showcased tracks from the band's third album Razamanaz through their sixth album Hair of the Dog, as well as some non-album singles.
As part of the remastering of Nazareth's back-catalogue by Castle Communications in the mid-1990s, the original album was expanded in 1996 to encompass the self-titled first album through to the ninth studio offering, Expect No Mercy, whilst retaining the original running-order of the vinyl release.
(en.wikipedia.org/wiki/Greatest_Hits_(Nazareth_album))

01. Love Hurts (03:54)
02. I Dont Want To Go On Without You (03:38)
03. Holiday (03:36)
04. Broken Down Angel (03:36)
05. Bad Bad Boy (03:59)
06. Shanghai'd In Shanghai (03:44)
07. Gone Dead Train (03:45)
08. Star (04:56)
09. Place In Your Heart (03:00)
10. This Flight Tonight (03:24)
11. My White Bicycle (03:25)
12. Holy Roller (03:24)
13. May The Sunshine (04:46)
14. Dream On (03:26)
15. Turn On Your Receiver (03:20)
16. Morning Dew (07:03)

Tracklist original 1975 album:
01.    Razamanaz (3:53)
02.    Holy Roller (3:25)
03.    Shanghai'd in Shanghai (3:45)
04.    Love Hurts (The Everly Brothers cover) Boudleaux Bryant (3:54)
05.    Turn On Your Receiver (3:21)
06.    Bad Bad Boy (3:58)
07.    This Flight Tonight (Joni Mitchell cover) Joni Mitchell (3:25)
08.    Broken Down Angel (3:46)
09.    Hair of the Dog (3:17)
10.    Sunshine (3:45)
11.    My White Bicycle (Tomorrow cover) Keith Hopkins, Ken Burgess (3:28)
12.    Woke Up This Morning (3:45)

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Grateful Dead - Terrapin Station (1977)

Year: July 27, 1977 (CD 1988)
Label: Arista Records (US), ARCD 8065
Style: Pop
Country: Palo Alto, California, U.S.
Time: 35:39
Format: Flac Tracks 16/44,1 kHz
Size: 197 Mb

Terrapin Station was produced by Keith Olsen and recorded at Sound City Studios in Southern California. Olsen made a concerted effort to deliver a song cycle which could break through commercially. This included some post-production overdubs of strings, horns, saxophone and and choral vocals which caused some differing opinions among group members with the end results.
The album begins with one of its most indelible tracks, "Estimated Prophet", written and sung by guitarist Bob Weir with lyrics by poet John Perry Barlow. This track is filled with great melodies, overt sonic riffs, jazzy leads and lyrics which seem to scorn the faithful optimist. Drummer Bill Kreutzmann forged a beat in the 14/8 time signature while session man Tom Scott added lyricon and saxophone to jazz up the song’s arrangement.
The remainder of side one features eclectic song styles intended to be more radio-friendly material. "Dancin’ in the Streets" is a full fledged, funk/disco cover of the Martha and the Vandellas hit but almost sounds like it belongs in some corny school play rendition in comparison. "Passenger" was written by bassist Phil Lesh and features harmonized lead vocals by Weir and Donna Jean Godchaux in an upbeat pop/funk song which was released as a single. "Samson & Delilah" is a traditional song arranged by Weir and it starts with some fine, oddly timed drums before settling into a signature Dead groove with guitars and bass. The first side concludes with "Sunrise", a folk ballad by Donna Godchaux with some added orchestrations behind.
The entirety of side two is dedicated to the sixteen and a half minute, seven part "Terrapin Station" suite. It was written by Jerry Garcia and lyricist Robert Hunter and is a musical breath of fresh air in contrast to the somewhat disjointed first side of the album. The first part, "Lady with a Fan", was based on a traditional English folk song known as "The Lady of Carlisle", and features a theme of seduction and foolish bravery with a fantastic, harmonized guitar lead in between the Garcia-led verses. The next three "Terrapin" parts are more upbeat and climatic while remaining very pleasant and melodic. During "Terrapin Transit" the jam breaks into a slight psychedelic motif with synths, bass and much percussion by Mickey Hart, while "Terrapin Flyer" features richer production over the percussion motifs. "Refrain" includes an opera-like chorus as the final act of the adventure. This suite was actually Part 1 of a two part composition, the second of which was never recorded or performed by the Grateful Dead.
(classicrockreview.com/2017/07/1977-grateful-dead-terrapin-station/)

01. Estimated Prophet (05:38)
02. Dancin' In The Streets (03:18)
03. Passenger (02:48)
04. Samson & Delilah (03:28)
05. Sunrise (04:04)
06. Terrapin Station Part 1 - Lady With A Fan (04:21)
07. Terrapin Station Part 1 - Terrapin Station (02:15)
08. Terrapin Station Part 1 - Terrapin (02:08)
09. Terrapin Station Part 1 - Terrapin Transit (00:35)
10. Terrapin Station Part 1 - At A Siding (01:44)
11. Terrapin Station Part 1 - Terrapin Flyer (02:54)
12. Terrapin Station Part 1 - Refrain (02:21)

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Deep Purple - The Book Of Taliesyn [Japan Ed. 1st press] (1968)

Year: October 1968 (US), June 1969 (UK) (CD Feb 10, 1989)
Label: Warner Bros. Records (Japan), 20P2-2602
Style: Hard Rock, Classic Rock
Country: London, England
Time: 44:04
Format: Flac Tracks 16/44,1 kHz
Size: 266 Mb

MK I is unknow territory for casual Deep Purple listeners (and some fans). But The Book of Taliesyn is the record that deserve the "the album where all had started" advertising campaign.
1968/1969. The world was conquered by the brits and their psychedelic and prog rock. The Beatles were at their peek, delivering some huge tunes. Everyone were amazed by Hendrix, Cream, The Who and other class acts. Some guys named Pink Floyd had their wheels on motion. Yet, there were this guys, Blackmore, Lord, Pace, Simper and Evans who were trying to hit harder.
Their debut, Shades of Deep Purple went unnoticed in UK while in overseas they made it big time, thanks to US?s smash hit "Hush". Tetragrammaton, their US label, urged them to go back to Studio and record a second album right away in order to strenghten the live set. So they did The Book of Taliesyn. Is it any good?
While "Shades" was basically the band trying to find their sound, their second effort showed inmense improvement. Oh yes, they are still trying to find it, but this record sounds a lot more cohesive, even if they are still experimenting different styles. We still have covers, brit pop tunes, psychedelic interludes and progresive rock feeling all around, but there is also one element found here for the first time: hardness.
Again, comparing this work to Purple?s debut, where we had glimpses of their future signature sound (An The Adress, Mandrake Root), in The Book of Taliesyn they discovered their thing: Hard Rock, hard guitar driven rock, fueled by call and answer duels between Blackmore and Lord. As you probably know by now, i?m writing about Wring that Neck (Hard Road), the standout track. This is the track you casual Deep Purple listeners can relate to, because it sounds like the band we all know. In fact, the harder sound can be tasted from the very begining, listening to the opening track Listen, Learn, Read On.
Kentucky Woman, the lead single, is a great Neil Diamonds cover. It shows Lord/Blackmore skills with great solos and a great band performance overall. Too bad it didn?t went well in the charts back then.
Another highlight of the record is The Shield, a direct progresive track. Evans best performance so far, grooved by Simper/Pace infectious rhythm and brushes of great guitar and keyboards work.
Like the previous effort, The Book is filled with different styles. There is prog and almost psychedelic rock in "we can work it out" interlude and cover River Deep, Mountain High, and pop rock with a twist of classic music (Anthem, a great song).
As for the members of the band, like mentioned before, this is the record where Blackmore began to show his "guitar hero" potential, while Lord (then the musical leader) also had great moments himself. Simper proves to be a good progresive bass player, filling the sound with melodic bass lines (not so suitable for hard rock direction though, that?s why he got fired later), Evans improved a great deal and Pace, the only musician who shined on the first record, showed absolutely great skills and earned his place, not just in the band, but in every drummers list.
Good album? More than good. Recommendable? I think so. Not near one of their great works, but very enjoyable for both Deeper fans and casual listeners. This one is the breaking point between 60?s wannabe band and hard rock pioneers.
(sputnikmusic.com/review/63539/Deep-Purple-The-Book-Of-Taliesyn/)

01. Listen, Learn, Read On (04:06)
02. Hard Road (05:16)
03. Kentucky Woman (04:47)
04. (a) Exposition/(b) We Can Work It Out (07:03)
05. The Shield (06:07)
06. Anthem (06:32)
07. River Deep, Mountain High (10:10)

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Fleetwood Mac - Penguin (1973)

Year: March 1973 (CD March 27б 1990)
Label: Reprise Records (US), 2138-2
Style: Pop Rock, Soft Rock
Country: London, England
Time: 36:39
Format: Flac Tracks 16/44,1 kHz
Size: 235 Mb

After Kirwan was fired following an altercation with the other band members during the Bare Trees tour, the band added guitarist Bob Weston and vocalist Dave Walker (formerly of Savoy Brown and The Idle Race) in September 1972. Weston was well known for playing slide guitar and had known the band from his touring period with Long John Baldry. Fleetwood Mac also hired Savoy Brown's road manager, John Courage. Rather than record Penguin in a London studio, they hired the Rolling Stones Mobile Studio and brought it to Hampshire in order to record their next album within the domestic atmosphere of Benifold, their communal house. The album was subsequently mixed at AIR Studios in London.
The album's artwork was painted by Chris Moore and the gatefold photo was shot on location at Ludshott Common and Waggoners Wells in Hampshire, according to Dave Walker in an online Q&A interview. For the first time on a Fleetwood Mac album, Mick Fleetwood was credited in the album's liner notes with playing both drums and percussion, even though he did both on previous albums, although uncredited.
The subsequent tour seemed to go well, and Penguin was the highest charting Fleetwood Mac album in the US at the time, clawing its way into the Top 50. However, during the recording of their next album, Mystery to Me, it was mutually agreed upon that Walker's vocal style and attitude "did not fit in" with Fleetwood Mac and by June 1973 he had left. If anything was ever recorded by Walker for Mystery to Me it was not used.
Walker was featured on only two tracks on Penguin in the end, namely his own composition "The Derelict" and a cover of Junior Walker's hit "(I'm a) Road Runner" on which he also played harmonica solos.
(en.wikipedia.org/wiki/Penguin_(album))

01. Remember Me (02:45)
02. Bright Fire (04:33)
03. Dissatisfied (03:44)
04. (I'm A) Road Runner (04:55)
05. The Derelict (02:49)
06. Revelation (05:00)
07. Did You Ever Love Me (03:44)
08. Night Watch (06:17)
09. Caught In The Rain (02:48)

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Boney M. - Oceans Of Fantasy (1979)

Year: September 1979 (CD July 4, 1994)
Label: MCI Records (Germany), 74321 21268 2
Style: Pop, Disco
Country: West Germany
Time: 52:03
Format: Flac Tracks 16/44,1 kHz
Size: 335 Mb

Charts: GER #1, AUS #21, AUT #1, CAN #44, NLD #3, NOR #1, NZ #5, SWE #5, UK #1. GER, NLD & UK: Platinum.
Oceans of Fantasy became the second Boney M. album to top the UK charts and features the hits "El Lute / Gotta Go Home" and "I'm Born Again / Bahama Mama".
The album had been preceded in the spring of 1979 by the single "Hooray! Hooray! It's a Holi-Holiday" (based on the American folksong "Polly Wolly Doodle"), one of the band's biggest hits. This was not included on Oceans of Fantasy but the B-side, "Ribbons of Blue" was, albeit in a heavily edited form. The original length of the track is 4:02, and songs like "Gotta Go Home" and "Bahama Mama" were also longer on 7" than on the actual album.
As with the group's previous album, Nightflight to Venus, the original Hansa Records pressings of the album also included a range of different edits of certain tracks.
The 1994 CD version used same master with East German version of the album. (Same with fourth pressing, but "Ribbons of Blue" is longer like the other pressings, 2:01 min.) unlike the common West German pressings with different edits of certain songs. On 2007 reissue, two bonus tracks added to the album.
Several pressings also contained the wrong running order on cover and labels, incorrectly listing "El Lute" as the opening track on side two, followed by "No More Chain Gang" and "Oceans of Fantasy" like only the first pressing.
The first pressing also features "Let It All Be Music" and "Gotta Go Home" segued together. So the later pressings feature the songs separately.
Oceans of Fantasy also features a guest appearance by Eruption's lead singer Precious Wilson on "Let It All Be Music" and the cover of Sam & Dave's "Hold On I'm Coming", which was also issued as Wilson's first solo single. The Argentinian pressing omitted "El Lute" in favour of "Hooray! Hooray! It's a Holi-Holiday".
(en.wikipedia.org/wiki/Oceans_of_Fantasy)

01. Let It All Be Music (04:55)
02. Gotta Go Home (03:46)
03. Bye Bye Bluebird (04:50)
04. Bahama Mama (03:17)
05. Hold On, I'm Coming (03:37)
06. Two Of Us (03:16)
07. Ribbons Of Blue (02:00)
08. Oceans Of Fantasy (05:07)
09. El Lute (05:57)
10. No More Chain Gang (05:24)
11. I'm Born Again (04:09)
12. No Time To Lose (02:56)
13. Calendar Song (January, February, March ...) (02:41)

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Def Leppard - Retro Active [Compilation] (1993)

Year: 5 October 1993 (CD 1993)
Label: Bludgeon Riffola Ltd. (Germany), 518 305-2
Style: Hard Rock, Arena Rock
Country: Sheffield, England
Time: 60:35
Format: Flac Tracks 16/44,1 kHz
Size: 430 Mb

Charts: UK #6, AUS #33, CAN #7, GER #36, SWE #12, SWI #7, US #9. SWI: Gold; CAN & US: Platinum.
After releasing only five albums over the course of a twelve-year period, Def Leppard used Retro Active to break that habit, provide a treat for diehard fans, and close the door on the "Steve Clark" era of the band. Many of the tracks had previously been released as single B-sides.
According to singer Joe Elliott, the concept behind the album was envisioned after the success of the "Two Steps Behind" single. The song had originally been demoed solely by Elliott as an electric version in 1989, and was subsequently recorded by the band as an acoustic ballad at the suggestion of guitarist Phil Collen. When the producers of the film Last Action Hero contacted the band in 1993 to provide a new song for the soundtrack, the band were unable to record new material due to touring schedules and instead sent over the multitrack tape of the acoustic version of "Two Steps Behind", which was given strings by conductor Michael Kamen in April 1993 and included onto the film soundtrack. It would become the band's last Top 20 single in the US, reaching No. 12, and inspired the band to put the album together and re-record the electric version of the song.
"She's Too Tough" and the electric version of "Miss You in a Heartbeat" were both B-sides included as bonus tracks on Japanese pressings of Adrenalize. Written in 1985, "She's Too Tough" first appeared on the Helix album Wild in the Streets in 1987. "Miss You in a Heartbeat", meanwhile, was first written and demoed by guitarist Collen in 1991 and was originally recorded by the Law, a band featuring Paul Rodgers and the Who drummer Kenney Jones, for their self-titled album in 1991. Def Leppard later recorded their own version in April the following year, which they released as a B-side on the "Make Love Like a Man" single. After the band had recorded the new vocal, bass and drum parts for the electric version of the song, Collen overheard Elliott experimenting with the song on a piano. This led Elliott to record a piano and vocal version of the song, after which Collen, bassist Rick Savage and drummer Rick Allen added acoustic and electric guitars, bass guitar and drum parts in June 1993, creating the acoustic version that would be released as a single.
(en.wikipedia.org/wiki/Retro_Active)

01. Desert Song (05:19)
02. Fractured Love (05:07)
03. Action (03:40)
04. Two Steps Behind [Acoustic Version] (04:16)
05. She's Too Tough (03:40)
06. Miss You in a Heartbeat (04:04)
07. Only After Dark (03:52)
08. Ride Into the Sun (03:11)
09. From the Inside (04:16)
10. Ring of Fire (04:41)
11. I Wanna Be Your Hero (04:29)
12. Miss You in a Heartbeat [Electric Version] (04:56)
13. Two Steps Behind [Electric Version] (08:59)

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Thin Lizzy - Shades Of A Blue Orphanage [9 bonus tracks] (1972)

Year: 10 March 1972 (CD 2010)
Label: Decca Records (Germany), 984 448-2
Style: Rock, Garage Rock
Country: Dublin, Ireland
Time: 77:55
Format: Flac Tracks 16/44,1 kHz
Size: 450 Mb

The album starts off with The Friendly Ranger at Clontarf Castle, which has an almost psychedelic intro, then going into a more traditional early Thin Lizzy song. The Boys Are Back in Town this is not however. Phil Lynott’s vocals seem to do more driving the song than the instrumentals until the solos and actual instrumental parts. Most of this song, for instance, is made of a fairly simple bass line and a drum beat. There isn’t a lot of guitar until the singing actually ends. Honesty is No Excuse is mostly an acoustic guitar playing a handful of chords, another simple bass line, and the drums again. Although the music never strays far from how it starts, the song is still rather fun and interesting due to Lynott’s lyrics and singing.
For the most part, this is how a lot of the album sounds; acoustic songs, with some electric solos and parts, some good drumming and some decent enough but simple bass. But all the songs are given life by Lynott’s lyrics and vocals. Despite the fact Phil was never considered any kind of amazing stand out vocalist, his voice fits Thin Lizzy’s music great. Other high points of the album for me include Look What the Wind Blew In and the closer Remembering, Pt. 1.
The album is far from perfect though. Ray-Gun starts off with some almost Hendrix-like guitar riff, but aside from the interesting riff, was never a standout track for me. I don’t know why, I like the riff but it just can’t hold my attention well enough. Also, despite the fact I’m often a sucker for slow ballad-like tracks, I tend to just find Eire uninteresting, however it’s only about 2 minutes long, so it’s rather forgivable.
Any other songs not mentioned are generally decent. Not amazing nor are they terrible. All together this is a decent rock debut album. Not as good as their work to come, but if you’re a fan of Lynott’s voice or 70’s rock, it’s worth checking out. However, I can easily see this not being a favorite of people who people who want a more metal-styled Thin Lizzy. Which leaves me with a question on whether I should rate this a metal album, which it’s clearly not, or as a rock album, despite the fact it’s on a metal site. I think even though I enjoy this album as a hard rock album, I’m going to have to lower the score due to the fact that I can see a lot of metalheads not enjoying this particular Thin Lizzy album. I’d normally probably give it a 76-77%, due to it being a decent hard rock debut with a few weak tracks, but lowering it to about a 70% seems fair, all things considered.
(metal-archives.com/reviews/Thin_Lizzy/Thin_Lizzy_-_Shades_of_a_Blue_Orphanage/567193/) Review by Evil_Carrot. June 4th, 2010

01. The Rise And Dear Demise Of The Funky Nomadic Tribes (07:11)
02. Buffalo Gal (05:33)
03. I Dont Want To Forget How To Jive (01:56)
04. Sarah (02:52)
05. Brought Down (04:22)
06. Baby Face (03:29)
07. Chatting Today (04:21)
08. Call The Police (03:40)
09. Shades Of A Blue Orphanage (07:13)
10. Whiskey In The Jar (Full Length Version) (05:47)
11. Black Boys On The Corner (03:25)
12. Buffalo Gal (1977 Overdubbed and Remixed Version) (05:11)
13. Sarah (1977 Overdubbed and Remixed Version) (02:48)
14. Brought Down (1977 Overdubbed and Remixed Version) (03:08)
15. Suicide (BBC Radio 1 John Peel Session) (04:05)
16. Black Boys On The Corner (BBC Radio 1 John Peel Session) (03:09)
17. Saga Of The Ageing Orphan (BBC Radio 1 John Peel Session) (03:41)
18. Whiskey In The Jar (BBC Radio 1 John Peel Session) (05:54)

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Deep Purple - Shades Of Deep Purple [Japan Ed. 1st press] (1968)

Year: 17 July 1968 (US), September 1968 (UK) (CD Feb 10, 1989)
Label: Warner Bros. Records (Japan), 20P2-2601
Style: Hard Rock, Classic Rock
Country: London, England
Time: 43:17
Format: Flac Tracks 16/44,1 kHz
Size: 276 Mb

Every band has its roots, and veteran rockers Deep Purple have theirs in Hertfordshire, United Kingdom. Founded in ‘68, disbanded once in ’76 and still alive today in 2009, the band went through a great many line-up changes, and drummer Ian Pace remains the only founding member still in the group. Purple’s first line-up would never become well-known, soon to be massively overshadowed by the wildly talented Mark II. To be-famous virtuosos Ritchie Blackmore and Jon Lord brought the original formation together, recruiting Nick Simper on bass, Ian Pace on drums and Rod Evans on vocals. Their debut Shades of Deep Purple, which appeared in ’68, featured a great deal of cover material, but earned the boys some success with covering Joe South’s Hush.
Created in the wake of the pop/psychedelic movement pioneered by The Beatles, Deep Purple’s first steps were uncertain ones. Shades is the sound of a band that has been inspired by numerous famous artists from the period, but doesn’t know quite where its own niche can be found. This is not the hard rockin’ band that the name Deep Purple is normally associated with. Instead, it could be best described as a hybrid between pop and psychedelic rock.
With only half of the album (4 out of 8 tracks) being original material, Shades’ greatest flaw is a lack of identity. Of course, we can distinguish the greats Blackmore and Lord, most notably in the typically psychedelic/blues jam session that is Mandrake Root. Just don’t expect any virtuosic escapades to the likes of Child in Time. The work is solid but unfortunately aged. Evans doesn’t really contribute to the creativity either. Though he sounds like a typical 60’s pop/rock singer, which suits the sound of the album, his lack of charisma can be an annoying factor.
Although Hush may be catchy up to a certain extent, the four covers (the others being I’m So Glad by Cream, Help! by The Beatles and Hey Joe by Billy Roberts) remain too close to their originals, resulting in a rather uninteresting listen. One More Rainy Day and Love Help Me are unfortunately downright generic 60’s pop songs. The only original material that manages be attractive is the opening instrumental And the Address and the aforementioned jam session in Mandrake Root, both of which are the strongest indication of Purple’s future sound, and unsurprisingly therefore also the strongest material on the album.
Shades of Deep Purple is perhaps exactly what the title might suggest. It is only a shade, a flash of what Deep Purple would later be capable of. Especially Mark II would reach tremendous heights, but only after Mark I released two more albums. Deep Purple’s first album is unfortunately not innovative, not charismatic and just boring at moments. Its two great tracks cannot make up for the other material, and that leaves us with a painfully average album that hasn’t aged well.
(sputnikmusic.com/review/32690/Deep-Purple-Shades-of-Deep-Purple/) Review by Nagrarok. October 1st, 2009

01. And The Address (04:37)
02. Hush (04:22)
03. One More Rainy Day (03:39)
04. a. Prelude: Happiness b. I'm So Glad (07:18)
05. Mandrake Root (06:07)
06. Help (05:58)
07. Love Help Me (03:47)
08. Hey Joe (07:27)

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Greenslade - Bedside Manners Are Extra [Japan Ed.] (1973)

Year: November 1973 (CD Apr 25, 1992)
Label: Warner Bros. Records (Japan), WPCP-4795
Style: Progressive Rock
Country: London, England
Time: 39:17
Format: Flac Tracks 16/44,1 kHz
Size: 216 Mb

Bedside Manners Are Extra is the second studio album by English progressive rock band Greenslade, released in November 1973 by Warner Bros. Records. The cover artwork was designed by artist Roger Dean, who had previously collaborated with the band on their debut album.
The band members recalled the Bedside Manners Are Extra recordings as a very positive time for Greenslade. Their debut album had received strong reviews and solid enough sales to ensure their continued career, and the band members were getting along well both musically and personally. The Dave Greenslade-Dave Lawson songwriting partnership was flourishing, the two having settled into a routine where Greenslade would compose a chord sequence and tune and Lawson would then add on melody and lyrics.
As with their debut album, none of the songs had been played live before entering the studio, and the band instead prepared by extensively rehearsing the songs in a church hall near where Dave Greenslade lived at the time, in Middlesex. As a result of their preparation, the album was recorded in just nine days, starting on 23 July and ending on 31 July. It was a "live" style recording, with minimal overdubs and no editing together of different takes.
(en.wikipedia.org/wiki/Bedside_Manners_Are_Extra)

01. Bedside Manners Are Extra (06:24)
02. Pilgrims Progress (07:05)
03. Time To Dream (04:51)
04. Drum Folk (08:53)
05. Sunkissed You're Not (06:36)
06. Chalkhill (05:27)

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Iommi with Glenn Hughes - The 1996 Dep Sessions [Japan Ed.] (2004)

Year: 28 September 2004 (CD Jan 21, 2005)
Label: Victor Records (Japan), VICP-62961
Style: Hard Rock, Heavy Metal
Country: England (19 February 1948), England (21 August 1951)
Time: 37:44
Format: Flac Tracks 16/44,1 kHz
Size: 297 Mb

The 1996 DEP Sessions is a collaborative studio album by British musicians Tony Iommi and Glenn Hughes, released through Sanctuary and Mayan Records in 2004.
Material for The 1996 DEP Sessions was originally recorded in 1996, and was circulated among fans as a bootleg recording dubbed Eighth Star: on this recording, two of the final tracks were missing, while a cover of Jethro Tull's To Cry You A Song (mistitled "Shaking My Wings") was included (which did not feature Tony Iommi). The album title reflects the fact that the tracks were recorded in the DEP International Studios in Digbeth, Birmingham.
The album's drum tracks were originally performed by Dave Holland, formerly of Judas Priest and one-time bandmate of Glenn Hughes in Trapeze. After Holland was convicted of attempted rape in 2003, Iommi had the drum tracks re-recorded by Jimmy Copley prior to release to prevent the album from having any association with a sex offender.
(en.wikipedia.org/wiki/The_1996_DEP_Sessions)

01. Gone (04:29)
02. From Another World (05:55)
03. Don't You Tell Me (04:14)
04. Don't Drag The River (04:33)
05. Fine (05:05)
06. Time Is The Healer (04:16)
07. I'm Not The Same Man (04:21)
08. It Falls Through Me (04:47)

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Iommi (Black Sabbath) - Fused [Japan Ed.] (2005)

Year: 11 July 2005 (CD Jul 21, 2005)
Label: Victor Records (Japan), VICP-63102
Style: Hard Rock, Heavy Metal
Country: Birmingham, England (19 February 1948)
Time: 54:02
Format: Flac Tracks 16/44,1 kHz
Size: 411 Mb

Charts: US #34, GER #92.
Fused is the second solo album by Black Sabbath guitarist Tony Iommi, released in 2005. The album also features vocalist/bassist Glenn Hughes (who briefly fronted Black Sabbath in the mid-1980s, assuming vocal duties on the album Seventh Star - an album that was originally intended to be Iommi's first solo album) and drummer Kenny Aronoff.
The album was recorded in Monnow Valley Studios, Wales in December 2004 and BHM's studio in Warwickshire, England, and was produced, engineered and mixed by Bob Marlette (who also contributed keyboards and bass on the album), with additional production by Tony Iommi. Fused reached number 34 on Billboard's Top Heatseekers chart.
Vinyl 2?LP was released in 2024.
(en.wikipedia.org/wiki/Fused_(album))

01. Dopamine (04:09)
02. Wasted Again (03:56)
03. Saviour Of The Real (04:07)
04. Resolution Song (04:56)
05. Grace (05:13)
06. Deep Inside A Shell (03:42)
07. What You're Living For (04:37)
08. Face Your Fear (04:36)
09. The Spell (04:57)
10. I Go Insane (09:14)
11. Let It Down Easy (04:30)

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John Martyn - Solid Air (1973)

Year: February 1973 (CD 2000)
Label: Island Records (UK), IMCD 274, 548 147-2
Style: Folk Rock, Folk Jazz
Country: Surrey, England (11 September 1948)
Time: 41:13
Format: Flac Tracks 16/44,1 kHz
Size: 222 Mb

The album was recorded over eight days and features instrumental contributions by bassist Danny Thompson and members of Fairport Convention.
"Solid Air", the title track, was dedicated to a friend of Martyn's, Nick Drake, who would die of an antidepressant overdose 18 months after the album was released. Martyn said of the track "It was done for a friend of mine, and it was done right with very clear motives, and I'm very pleased with it, for varying reasons. It has got a very simple message, but you'll have to work that one out for yourself."
The album features an avant-garde cover of Skip James' "Devil Got My Woman", here retitled "I'd Rather Be the Devil" and performed with heavy use of Martyn's Echoplex tape delay effect.
"May You Never" became something of a signature song for Martyn, becoming a staple of his live performances. Released in November 1971 as a single in an early form, the song was re-recorded during the Solid Air sessions. Eric Clapton covered "May You Never" on his 1977 album Slowhand.
(en.wikipedia.org/wiki/Solid_Air)

01. Solid Air (05:46)
02. Over The Hill (02:54)
03. Don't Want To Know (03:04)
04. I'd Rather Be The Devil (06:19)
05. Go Down Easy (03:37)
06. Dreams By The Sea (03:19)
07. May You Never (03:42)
08. The Man In The Station (02:53)
09. The Easy Blues (03:23)
10. I'd Rather Be The Devil (Live) (06:11)

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