Friday, 15 August 2025

Deep Purple - Scandinavian Nights [Japanese Ed. K2HD. 2CD. Live] (1970)

Year: November 12, 1970 (CD December 14, 2011)
Label: Victor Records (Japan), VICP-75025-6
Style: Hard Rock, Classic Rock
Country: London, England
Time: 66:53, 47:23
Format: Flac Tracks 16/44,1 kHz
Size: 521, 350 Mb

K2HD: It is possible to expand digital data from low-grade formats (32kHz) up to high-grade formats with a maximum of 192kHz/24 bits with K2HD processing. For example, when a CD master is produced from an analog master tape, everything above 20kHz is cut during CD formatting. K2HD processing reproduces the lost high-frequency components almost the same as the analog master.

Scandinavian Nights (Live in Stockholm 1970) is a double live-album by the English hard rock band Deep Purple. It was recorded in the Stockholm Konserthuset on 12 November 1970. It was originally released in 1988.
 

Ritchie Blackmore: guitar
Ian Gillan: vocals, percussion
Roger Glover: bass
Jon Lord: organ, keyboards
Ian Paice: drums, percussion

01. Speed King (11:19)
02. Into The Fire (05:12)
03. Child In Time (19:32)
04. Wring That Neck (30:48)

01. Paint It Black (10:02)
02. Mandrake Root (29:44)
03. Black Night (07:36)

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Thursday, 14 August 2025

Black Sabbath - The Best Of Black Sabbath 1970-1987 [Japanese Ed.] (1996)

Year: November 21st, 1996 (CD Nov 21, 1996)
Label: Teichiku Records (Japan), TECW-25352
Style: Heavy Metal, Hard Rock
Country: Birmingham, England
Time: 74:36
Format: Flac Tracks 16/44,1 kHz
Size: 513 Mb

Geezer Butler - Bass (tracks 1-12)
Dave Spitz - Bass (track 13)
Bob Daisley - Bass (track 14)
Bill Ward - Drums (tracks 1-9, 11, 12)
Vinny Appice - Drums (track 10)
Eric Singer - Drums (tracks 13, 14)
Tony Iommi - Guitars
Ozzy Osbourne (R.I.P. 2025) - Vocals (tracks 1-8)
Ronnie James Dio (R.I.P. 2010) - Vocals (tracks 9-11)
Ian Gillan    Vocals - (track 12)
Glenn Hughes - Vocals (track 13)
Tony Martin - Vocals (track 14)


01. The Wizard (04:22)
02. Planet Caravan (04:28)
03. Children Of The Grave (05:16)
04. Changes (04:42)
05. Sabbath Bloody Sabbath (05:44)
06. Symptom Of The Universe (06:30)
07. You Won't Change Me (06:35)
08. Shock Wave (05:14)
09. Die Young (04:37)
10. Voodoo (04:33)
11. Neon Knights (04:36)
12. Born Again (06:36)
13. Seventh Star (05:19)
14. The Shining (05:58)

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Iron Maiden - Somewhere Back In Time - The Best Of 1980-1989 [Japanese Ed.] (2008)

Year: 12 May 2008 (CD May 14, 2008)
Label: EMI Records (Japan), TOCP-66795
Style: Heavy Metal, Hard Rock
Country: London, England
Time: 70:59
Format: Flac Tracks 16/44,1 kHz
Size: 542 Mb

Charts: UK #14, AUS #81, AUT #26, BEL #19, FIN #3, GER #84, NLD #74, NZ #24, SWE #2, US #58. FIN, NZ & SWE: Gold; UK: Platinum.
Somewhere Back in Time - The Best of: 1980 - 1989 is a best of release by the English heavy metal band Iron Maiden, containing a selection of songs originally recorded for their first eight albums (including Live After Death).
The album was released in conjunction with the band's Somewhere Back In Time World Tour to allow new fans to listen to a selection of the band's material that was played on the tour. The cover artwork by Derek Riggs features the Pharaoh Eddie monument from Powerslave and Cyborg Eddie from Somewhere in Time.
A number of tracks were taken from the band's 1985 live album, Live After Death, because the band preferred to use recordings which featured current Iron Maiden vocalist Bruce Dickinson rather than Paul Di'Anno, who sang on their first two studio releases.
(en.wikipedia.org/wiki/Somewhere_Back_in_Time)

01. Churchill's Speech (00:49)
02. Aces High (04:38)
03. 2 Minutes To Midnight (06:01)
04. The Trooper (04:12)
05. Wasted Years (05:06)
06. Children On The Damned (04:36)
07. The Number Of The Beast (04:52)
08. Run To The Hills (03:54)
09. Phantom Of The Opera (07:10)
10. The Evil That Men Do (04:35)
11. Wrathchild (03:05)
12. Can I Play With Madness (03:32)
13. Powerslave (06:49)
14. Hallowed Be Thy Name (07:13)
15. Iron Maiden (04:21)

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Slade - Feel The Noize - Greatest Hits (1997)

Year: February 1997 (CD ????)
Label: Polydor Records (Germany), 537 105-2
Style: Classic Rock, Glam Rock, Hard Rock
Country: Wolverhampton, Staffordshire, England
Time: 79:22
Format: Flac Tracks 16/44,1 kHz
Size: 553 Mb

Feel The Noize - Greatest Hits is a compilation album by the British rock band Slade. It was released in January 1997 and reached No. 19 in the UK charts, remaining in the charts for six weeks. The success of the compilation encouraged other bands of the Glam Rock era to release their own 'Greatest Hits' packages. At the time, a resurgence in Seventies music was happening, due to the constant mentions from Blur's Damon Albarn and Oasis's Noel Gallagher.
All tracks are written by Noddy Holder and Jim Lea except "Get Down and Get with It" by Bobby Marchan, "Look Wot You Dun" by Holder, Lea and Don Powell, and "Radio Wall of Sound" by Lea.
(en.wikipedia.org/wiki/Feel_the_Noize_%E2%80%93_Greatest_Hits)

01. Get Down And Get With It (03:50)
02. Coz I Luv You (03:24)
03. Look Wot You Dun (02:54)
04. Take Me Bak 'Ome (03:13)
05. Mama Weer All Crazee Now (03:44)
06. Gudbuy T'Jane (03:31)
07. Cum On Feel The Noize (04:31)
08. Skweeze Me, Pleeze Me (04:29)
09. My Friend Stan (02:41)
10. Everyday (03:10)
11. Bangin' Man (04:10)
12. Far Far Away (03:36)
13. How Does It Feel (05:54)
14. In For A Penny (03:35)
15. We'll Bring The House Down (03:33)
16. Lock Up Your Daughters (03:32)
17. My Oh My (04:12)
18. Run Run Away (03:44)
19. All Join Hands (04:16)
20. Radio Wall Of Sound (03:47)
21. Merry Xmas Everybody (03:26)

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Wednesday, 13 August 2025

Ian Hunter (ex Mott The Hoople) - All-American Alien Boy [Expanded Ed. 6 bonus tracks] (1976)

Year: January 1976 (CD 2006)
Label: Clumbia Records (Europe), 82876 814072
Style: Rock, Glam Rock
Country: Oswestry, Shropshire, England (3 June 1939)
Time: 79:04
Format: Flac Tracks 16/44,1 kHz
Size: 423 Mb

He could have taken the easy route and trotted out facsimiles of his brilliant eponymous solo debut, but Ian Hunter is a smarter cookie than that. He knew that if he was going to really establish himself as a solo artist, he’d have to distance himself from preconceptions of him that had developed when he was frontman of Mott the Hoople. He had to grow. He had to evolve.
In this sense, All American Alien Boy, is probably not what Mott the Hoople fans expected of Ian Hunter. Jazz-flecked soft rock must have been a bit of curve-ball for a lot of them, but he makes a decent go of it – the title in particular is a highlight of Hunter’s solo output, complete with a fancy bass solo and Hunter performing some sort of proto-rap mid-way through.
Album highlight, “Irene Wilde”, is a classic heartbroken Hunter piano ballad in the grand tradition of “Waterlow” and “Sea Diver”. The piano playing in this case is courtesy of former Grease Band lynch pin Chris Stainton, who is a key element of the sound of All American Alien Boy and throughout the album guitar duties are handled primarily by Gerry Weems, who gets a nice chunky riff to sink his teeth into on “Restless Youth”, the album’s sole rocker. Hunter also manages to pull off a significant coup by getting three quarters of Mott’s old support act to provide backing vocals. The name of that support act? Queen, who make their unmistakable presence felt on “You Nearly Did Me In”, one of the albums most rousing moments.
All American Alien Boy was irrefutable proof that Ian Hunter wasn’t going to be satisfied by leaning too heavily on his status as the former frontman of one of British rock music’s finest rock bands and was purposefully distancing himself from the commercial pop tunes that he had penned in that band’s later years. This is the sound of Ian Hunter proving that he was prepared to challenge those who thought that thought he was going to take a predictable career path.
Sure, Hunter would have enjoyed continued commercial success if he had stuck to the same template of his solo debut, but he’d have been much less interesting if he had done and chances are his career would have burned out some time ago. As it is All American Alien Boy was the sound of Ian Hunter spreading his creative wings and taking flight. All these decades later he’s still flying.
(backseatmafia.com/not-forgotten-ian-hunter-all-american-alien-boy/)

01. Letter to Brittania from the Union Jack (03:49)
02. All American Alien Boy (07:07)
03. Irene Wilde (03:43)
04. Restless Youth (06:17)
05. Rape (04:04)
06. You Nearly Did Me In (05:46)
07. Apathy 83 (04:43)
08. God (Take I) (05:40)
09. To Rule Britannia from Union Jack (aka Letter to Brittania from the Union Jack) (Session Outtake) (04:05)
10. All American Alien Boy (Single Version) (04:01)
11. Irene Wilde (Take 1 - Session Outtake) (03:50)
12. Weary Anger (aka You Nearly Did Me In) (Session Outtake) (05:42)
13. Apathy (Session Outtake) (04:39)
14. (God) Advice to a Friend (Session Outtake) (05:31)

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Caravan - The Show Of Our Lives - Live At The BBC 1968-1975 [2CD] (1998)

Year: 1998 (CD 2007)
Label: Decca Records (Europe), 5301443
Style: Canterbury Scene, Art Rock, Progressive Rock
Country: Canterbury, Kent, England
Time: 71:36, 73:20
Format: Flac Tracks 16/44,1 kHz
Size: 358, 430 Mb

Caravan were formed in 1968, during the reign of the Canterbury sound – a sudden waft of enthusiasm for avant-garde progressive rock. By the mid-seventies, the band had become synonymous with the scene. They found themselves saddled with a titanic irony: having effectively scripted for the rulebook for a scene borne from a desire to defy all musical rules and conventions.
Throughout the eighties and nineties, the band faded quietly into the background. But, in recent years, shows like BBC 6 Music’s Freak Zone have acted like a life support machine for the band, with Stuart Maconie regularly dusting off their records, and generating intrigue in their quirky, jazz-riddled rock.
The Show Of Our Lives – the closest thing to a Caravan release for four years – is a collection of BBC archive recordings, charting the band’s youth from 1968 to 1975. It’s a rich resource, bringing together well-polished recordings of some of the band’s best known and most respected work.
It’s a release which will appeal exclusively to fans of Caravan. Of course, this’ll come as no surprise to the Caravan boys: after forty years of skirting the fringes of obscurity, they’ll be well aware that their indulgent organ solos and hysterical song structures aren’t to everyone’s tastes.
Like any album forged together from the archives, it does feel rather disjointed. For those unfamiliar with the Canterbury sound’s proudest survivors, The Show Of Our Lives will be a pretty slapdash and substandard introduction. But if you’re already well acquainted with their idiosyncratic sound, then it should be a different story.
(bbc.co.uk/music/reviews/vmf9/)

01. Place Of My Own (04:13)
02. Hide (04:18)
03. If I Could Do It All Over Again, I'd Do It All Over You (02:47)
04. Hello Hello (03:13)
05. As I Feel I Die (06:25)
06. Love To Love You (03:13)
07. Love Song Without Flute (03:34)
08. In The Land Of Grey And Pink (03:46)
09. Nine Feet Underground (14:28)
10. Feelin', Reelin', Squeelin' (09:31)
11. A Hunting We Shall Go (09:16)
12. Waffle Part One: Be Alright & Chance Of A Lifetime (06:46)

01. Memory Lain Hugh (05:04)
02. Headloss (04:29)
03. The Love In Your Eye (13:55)
04. Mirror For The Day (04:17)
05. Virgin On The Ridiculous (07:02)
06. For Richard (15:06)
07. The Dabsong Conshirtoe (15:13)
08. Stuck In A Hole (03:16)
09. The Show Of Our Lives (04:54)

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Monday, 11 August 2025

Soft Machine - Live In Paris May 2nd, 1972 [2CD] (1972)

Year: 1995 (CD May 4, 2004)
Label: Cuneiform Records (US), Rune 195/196
Style: Jazz Rock, Progressive Rock, Canterbury Scene
Country: Canterbury, England
Time: 47:05, 58:00
Format: Flac Tracks 16/44,1 kHz
Size: 311, 361 Mb

Recorded at Paris's Olympia theatre (as part of a one week festival including Magma, Grateful Dead, East Of Eden and The (Morrison-less) Doors, this is yet another very interesting live recording the incredible Cuneiform labels pulls from the cardboards. One of the shortest SM incarnations (that had only managed to record half of 5 album prior to the release of theses tapes, as Phil Howard had been ejected (he was pulling the Machine into a full improv band, much to Ratledge and Hopper's dislike) and John Marshall (originally sensed to be at the drum stool but not available when Wyatt had left) was brought in, but Dean was to leave soon, peeved at Howard's firing. All of the material is from Third and 5 and strangely nothing from 4, maybe as an anti-Howard reaction from the two masters on board. But ultimately Dean's departure (due to the sacking of Howard) will provoke a series of changes where a bunch of Nucleus members will fill the shoes of departing members and changing the jazz-rock Machine into a full fusion butterfly of Bundles and Softs albums. But for this particular release, three of the four tracks from third are present on that night's set-list, but there are tracks that are nowhere to be seen on studio records or even on their official historical releases of that era. Again the sound quality of this Cuneiform is extraordinarily good especially considering Elton Dean was plagued with bad mikes, but it does not affect the sound. Worthy of note, Dean was also playing electric piano that night (this was not usual as far as I know) and his replacement, Karl Jenkins, will also double on Kbs and reeds.
Maybe not essential unless you are a total SM fan, this record is once again the proof that the Machine was a well-oiled one capable of mesmerising concerts.
(progarchives.com/album.asp?id=3257) Review by  Sean Trane. October 12, 2005

01. Plain Tiffs (03:30)
02. All White (06:23)
03. Slightly All The Time (13:07)
04. Drop (07:42)
05. M.C. (02:59)
06. Out-Bloody-Rageous (13:22)

01. Facelift (17:50)
02. And Sevens (08:54)
03. As If (08:27)
04. Lbo (06:07)
05. Pigling Bland (06:04)
06. At Sixes (10:34)

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Sunday, 10 August 2025

Bernie Marsden (ex Whitesnake) - Look At Me Now [3 bonus tracks] (1981)

Year: 1981 (CD 2014)
Label: Provogue Records (EU), PRD 7418 2
Style: Hard Rock, Pop Rock
Country: Buckingham, Buckinghamshire, England (7 May 1951)
Time: 49:45
Format: Flac Tracks 16/44,1 kHz
Size: 355 Mb

EARLY CAREER:
After playing with a Buckinghamshire band called Skinny Cat, Marsden got his first professional gig with UFO. He next played with Glenn Cornick's Wild Turkey in 1974, before he joined Babe Ruth in 1975, and played on two releases, Stealin' Home (1975) and Kid's Stuff (1976), before moving on to Paice Ashton Lord in 1977, with Tony Ashton and ex-Deep Purple members, Ian Paice and Jon Lord.

WHITESNAKE:
After Paice Ashton Lord folded, in 1978, Marsden joined the hard rock band, Whitesnake, playing on eight albums, from Snakebite (1978) to Saints and Sinners (1983). He reportedly turned down the possibility of playing with his boyhood hero, Paul McCartney, in Wings, to join Whitesnake.

ALASKA:
Following his departure from Whitesnake, Marsden formed a new band, initially called Bernie Marsden's SOS, which featured Marsden (guitar), Tommy Jackson (vocals), Brian Badham (bass), Richard Bailey (keyboards) and John Marter (drums). Shortly after, Jackson was replaced by Rob Hawthorn and the band was renamed Bernie Marsden's Alaska. They released two melodic rock albums, Heart of the Storm (1984) and The Pack (1985), before splitting.

(peoplepill.com/people/bernie-marsden)

01. Look At me Now (03:58)
02. So far Away (03:39)
03. Who's Fooling Who (03:54)
04. Shakey Ground (04:04)
05. Behind your Dark Eyes (04:42)
06. Bylbos Shack Pt 1 & 2 (04:04)
07. Thunder & Lightning (04:21)
08. Can You Do It ? (Rock City Blues) (04:18)
09. After All the Madness (04:04)
10. Always Love You So (b-side) (03:41)
11. Look At Me Now (live) (04:21)
12. Bylbos Shack (live) (04:35)

Musicians:

Bernie Marsden - guitar, vocals, Organ, Piano
Ian Paice - drums
Jon Lord - Piano, Synthesizer
Michael Schenker - Handclaps
Cozy Powell - drums
Neil Murray - bass
Doreen Chanter - Lead Vocals (track 3)
Irene And Doreen Chanter - Backing Vocals, Handclaps

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Blue Cheer - OutsideInside (1968)

Year: 1968
Label: Mercury Records (US), 314 514 683-2
Style: Hard Rock, Psychedelic Rock
Country: San Francisco, California, U.S. (1966-2009)
Time: 33:07
Format: Flac Tracks 16/44,1 kHz
Size: 197 Mb

Cult Heroes: Blue Cheer - the band who invented heavy metal. (By Ken McIntyre (Classic Rock) November 04, 2016)
LSD, rehab, whiskey, fights. And in their spare time they invented heavy metal. Blue Cheer leaders Peterson, McDonald and Whaley tell their twisted tale.
They were the bellowing Gods Of Fuck. There were no big ugly noises in rock’n’roll before Blue Cheer. They created sonic brutality, coiling their teenage angst into an angry fist of sludge and feedback and hurling it at stunned, stoned hippies like a wave of mutilation. Everything about them was badass. They had a Hell’s Angel for a manager, they were despised by the other bands in their scene, and they played so loud that people ran from them in fear. Proto-punk, proto-metal and proto-rehab, Blue Cheer took acid, wore tight pants, cranked their walls of Marshall stacks and proved, once and for all, that when it came to all things rock, excess was always best.
Formed by singer/bass player/mad visionary Dickie Peterson in San Francisco in 1966, Blue Cheer – named after the band’s favourite brand of LSD – was at first a gangly, six-piece blues revue with much teenage enthusiasm and little direction. After seeing Jimi Hendrix perform for the first time, the band’s prime movers – Peterson, drummer Paul Whaley and guitarist Leigh Stephens – thinned the line-up and discovered their sound, a wall-shaking throb of low- end beastliness that sounded exactly like the world ending.
Anchored by a sweat-soaked, hell-for-leather cover of Eddie Cochran’s teenage lament Summertime Blues, Blue Cheer’s definitive sonic manifesto Vincebus Eruptum arrived in 1968. It was the blues defined by acid-fried biker goons, and it changed the world. Two years later, the band was effectively over, its members shell-shocked, disillusioned, ripped-off and super-freaked. And it would take 40 years for them to put all the pieces back together.
Blue Cheer’s original and present drummer, Paul Whaley, speaks in a ragged whisper that suggests life done the hard way. Much like his perpetual partner- in-crime, band leader Dickie Peterson, Paul now lives in Germany, far from the psychedelic madness of the US west coast that spawned them.
"He met a girl, I met a girl," he explains, simply. "I’m much happier here. That American style of life, it just makes me nervous." Between long and thoughtful pauses, Paul recalls how the Blue Cheer story began.
"Dickie and his brother showed up in Davis, California, in 1966," he says. "They just showed upon the streets of this small town, these two trolls. These two long-haired freaks."
Paul and Dickie became acquainted, and when Dickie moved to San Francisco to soak up the free-love-and-cheap-drugs atmosphere and form a band, he gave Paul a call. "I was doing nothing at the time, so I agreed, and I moved down there to this commune he was living in. I joined the band he was in and it eventually became Blue Cheer.
It was a 60s blues band. We went to the Monterey Pop Festival and saw Hendrix there, and decided we wanted to be a three-piece. It all happened really fast. Within six months we were signed to Mercury Records and playing loud, aggressive music. The three of us got together and wrote Doctor Please and Auto Focus for the first album, and it sold millions. That Vincebus Eruptum album has brought us to this point."
As with any revolutionary concept, Blue Cheer had its detractors. Summertime Blues climbed the charts, and Blue Cheer were the toast of the town. Unless, of course, you asked the bands they actually had to play with.
(Complete version: www.loudersound.com/features/cult-heroes-blue-cheer-the-band-who-invented-heavy-metal)

01. Feathers From Your Tree (03:31)
02. Sun Cycle (04:14)
03. Just A Little Bit (03:27)
04. Gypsy Ball (02:59)
05. Come And Get It (03:17)
06. Satisfaction (05:10)
07. The Hunter (04:31)
08. Magnolia Caboose Babyfinger (01:32)
09. Babylon (04:22)

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Dickie Peterson (ex Blue Cheer) - Child Of The Darkness [Japanese Ed.] (1997)


Year: 1997
Label: Captain Trip Records (Japan), CTCD-077
Style: Hard Rock, Blues Rock
Country: North Dakota, U.S. (12.09.1946-12.10.2009)
Time: 43:52
Format: Flac Tracks 16/44,1 kHz
Size: 302 Mb

Dickie Peterson, whose screaming vocals and pounding bass lines helped push the psychedelic blues-rock trio Blue Cheer into the musical territory that would later be called heavy metal, died Monday in Erkelenz, Germany. He was 63 and lived in Erkelenz and Cologne.
The cause was liver cancer, said Ron Rainey, his manager.
Blue Cheer, a San Francisco group formed in late 1966, took its name from a street brand of LSD but never exuded the peace and love vibe of groups like Jefferson Airplane or the Grateful Dead. It stood for raw, animalistic power, on full display in the raucous, hard-driving “Summertime Blues,” the group’s biggest hit.
Pitted against Paul Whaley’s savagely thrashing drums and Leigh Stephens’s screeching guitar, Mr. Peterson, the group’s lead singer, adopted the only possible vocal strategy: he opened his mouth wide and emitted primal sounds at top volume.
“People keep trying to say that we’re heavy metal or grunge or punk, or we’re this or that,” Mr. Peterson told the Web site Stoner Rock in 2005. “The reality is, we’re just a power trio, and we play ultra blues, and it’s rock ‘n roll. It’s really simple what we do.”
Richard Allan Peterson was born on Sept. 12, 1946, and grew up in Grand Forks, N.D. He started playing bass guitar at 13, influenced by his brother, Jerre, who played guitar in an early, six-member version of Blue Cheer.
Mr. Peterson moved to San Francisco in the mid-1960s and, with his brother, began playing with Group B. He was thrown out of the band for insisting on a hard-rock style, which he indulged to the fullest with Blue Cheer.
Blue Cheer’s six-member configuration was quickly reduced to three to achieve a heavier sound, Mr. Peterson told Rocktober Magazine in 2007. In 1968, the group released the album “Vincebus Eruptum,” generally regarded as its best. It included the band’s cover version of the Eddie Cochran hit “Summertime Blues,” which reached No. 14 on the Billboard charts. The album rose to No. 11.
 The group released several more albums in quick succession, notably “Outsideinside” (1968), “New! Improved! Blue Cheer” (1969) and “Blue Cheer” (1969), before breaking up in 1972.
Mr. Peterson’s first marriage ended in divorce. He is survived by his second wife, Ilka, of Erkelenz; a daughter, Corrina Peterson Kaltenrieder of Fort Worth, Tex.; and a grandson.
In various configurations, but always with Mr. Peterson, new versions of Blue Cheer recorded many studio and live albums over the years. Mr. Peterson recorded two solo albums in the 1990s, “Child of the Darkness” and “Tramp,” and toured frequently with Blue Cheer in the United States and Europe.
(archive.nytimes.com/www.nytimes.com)

01. Brainkiller (03:24)
02. Spoonfull (03:51)
03. Dogs of War (02:53)
04. Dragon Song (07:20)
05. Who Do you Love (05:32)
06. Dirty Girls (02:22)
07. Back on the Streets (02:28)
08. Reptile (04:57)
09. Child of the Darkness (06:18)
10. Little Red Rooster (04:42)

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Ozzy Osbourne - No Rest For The Wicked [Japanese Ed.] (1988)

Year: October 1988 (CD Nov 2, 1988)
Label: CBS/Sony Records (Japan), 49DP 5210
Style: Heavy Metal, Hard Rock
Country: Marston Green, Warwickshire, England (December 3, 1948)
Time: 47:36
Format: Flac Tracks 16/44,1 kHz
Size: 320 Mb

Charts: UK #23, AUS #40, FIN #7, GER #29, NOR #12, SWE #18, SWI #26, US #13. UK: Silver; AUS: Gold; CAN: Platinum; US: 2x Platinum.
No Rest for the Wicked is the recording debut of lead guitarist Zakk Wylde. After firing lead guitarist Jake E. Lee in 1987, Osbourne received a demo tape from Wylde and later hired him after an audition.
Bassist/lyricist Bob Daisley made his return to Osbourne's band after the two had a falling out in 1985. Once the album's recording was complete, Daisley was once again out, replaced by Osbourne's former Black Sabbath bandmate Geezer Butler for subsequent promotional tours.
"Miracle Man", "Crazy Babies", and "Breakin' All the Rules" were released as singles with accompanying music videos. The song "Hero" was an unlisted hidden bonus track on the original 1988 CD and cassette releases. The song "Miracle Man" was a pointed barb aimed at televangelist Jimmy Swaggart. Swaggart had long been critical of Osbourne's music and live performances, before he himself was involved in a 1988 prostitution scandal. The song "Bloodbath in Paradise" references Charles Manson and the Manson Family murders.
Creative Director John Carver was hired by Osbourne's management to conceptualize and direct the album sleeve for "No Rest For the Wicked". Carver's concept was to portray Osbourne as Jesus Christ, with photographer Bob Carlos Clarke taking the cover photo.
(en.wikipedia.org/wiki/No_Rest_for_the_Wicked_(Ozzy_Osbourne_album))

01. Miracle Man (03:44)
02. Devil's Daughter (05:15)
03. Crazy Babies (04:14)
04. Breaking All The Rules (05:14)
05. Bloodbath In Paradise (05:03)
06. Fire In The Sky (06:24)
07. Tattooed Dancer (03:53)
08. Demon Alcohol (04:27)
09. The Liar (04:29)
10. Hero (04:48)

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Saturday, 9 August 2025

ABBA - ABBA GOLD - Greatest Hits [1973-1981. Japanese Ed. SHM CD. 2CD] (1992)

Year: December 1973 – October 1981 (CD 2008)
Label: Universal Music (Japan), UICY-91318
Style: Pop, Disco, Pop Rock
Country: Stockholm, Sweden
Time: 79:07, 78:55
Format: Flac Tracks 16/44,1 kHz
Size: 611, 611 Mb

ABBA Gold: Greatest Hits is a compilation album by the Swedish pop group ABBA. It was released on 21 September 1992 through PolyGram, making it the first compilation to be released after the company had acquired Polar Music, and thus the rights to the ABBA back catalogue.
With sales of 30 million, Gold: Greatest Hits is the best-selling ABBA album, as well one of the best-selling albums worldwide. Since 1992, it has been re-released several times, most notably in 1999 as the first remastered reissue to mark the group's 25th anniversary of winning the Eurovision Song Contest 1974, in 2008 to coincide with the release of the film Mamma Mia!, in 2014 to mark the group's 40th anniversary of winning the Eurovision Song Contest, and most recently in 2022 to commemorate the album's 30th anniversary.
(en.wikipedia.org/wiki/ABBA_Gold)

01. Dancing Queen (03:53)
02. Knowing Me, Knowing You (04:03)
03. Take A Chance On Me (04:08)
04. Mamma Mia (03:32)
05. Lay All Your Love On Me (04:34)
06. Super Trouper (04:13)
07. I Have A Dream (04:45)
08. The Winner Takes It All (04:57)
09. Money, Money, Money (03:08)
10. Sos (03:23)
11. Chiquitita (05:27)
12. Fernando (04:14)
13. Voulez-Vous (05:08)
14. Gimme! Gimme! Gimme! (A Man After Midnight) (04:51)
15. Does Your Mother Know (03:15)
16. One Of Us (03:56)
17. The Name Of The Game (04:54)
18. Thank You For The Music (03:50)
19. Waterloo (02:45)

01. Summer Night City (03:36)
02. Angeleyes (04:22)
03. The Day Before You Came (05:51)
04. Eagle (04:24)
05. I Do, I Do, I Do, I Do, I Do (03:17)
06. So Long (03:10)
07. Honey, Honey (02:58)
08. The Visitors (05:46)
09. Our Last Summer (04:21)
10. On And On And On (03:44)
11. Ring Ring (03:06)
12. I Wonder (Departure) (04:33)
13. Lovelight (03:49)
14. Head Over Heels (03:50)
15. When I Kissed The Teacher (03:02)
16. I Am The City (04:02)
17. Cassandra (04:54)
18. Under Attack (03:49)
19. When All Is Said And Done (03:18)
20. The Way Old Friends Do (02:54)

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Black Sabbath (Ozzy Osbourne) - 13 [Japanese 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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Aerosmith - Toys In The Attic [Japanese Ed.] (1975)

Year: April 8, 1975 (CD Nov 21, 1996)
Label: Sony Records (Japan), SRCS 9047
Style: Hard Rock, Blues Rock
Country: Boston, Massachusetts, U.S.
Time: 37:12
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

Charts: US #11, AUS #79, CAN #7. CAN: Platinum; US: 9x Platinum.
For any fan of classic rock, Aerosmith’s Toys in the Attic is a masterpiece that defines the genre. As a blind listener, music becomes my world, and this album is an immersive experience where every note, riff, and lyric paints a vivid picture through sound. Released in 1975, Toys in the Attic is a timeless classic, featuring iconic tracks like “Walk This Way” and “Sweet Emotion.”
The band’s sound is electric, with Steven Tyler’s powerful vocals and Joe Perry’s sharp guitar riffs creating a raw, captivating energy. Each track has layers that come alive in every listen. “Sweet Emotion” grips you with its hypnotic bassline, while “Walk This Way” is an adrenaline rush, with its punchy guitar and fast tempo that define Aerosmith’s style. These songs are essential listening for anyone who loves hard rock and wants to experience Aerosmith at their best.
For me, Toys in the Attic isn’t just an album—it’s an audio journey. The layered, gritty sounds, tight drumming, and vocal intensity make it an album that stands the test of time, keeping Aerosmith’s place as a pillar of rock music. As a blind listener, I appreciate how the music builds a world of its own, giving me everything I need to feel the full impact of each track.
Whether you’re rediscovering Toys in the Attic or experiencing it for the first time, this record will pull you in. It’s rock ‘n’ roll in its purest form—bold, wild, and unforgettable. Highly recommended for fans of classic rock, hard rock, and anyone who wants to feel the pulse of a true rock classic.
(embrace-your-storm.com/classic-rock-album-reviewtoys-in-the-attic-by-aerosmith/)

01. Toys In The Attic (03:07)
02. Uncle Salty (04:09)
03. Adams Apple (04:33)
04. Walk This Way (03:41)
05. Big Ten Inch Record (02:16)
06. Sweet Emotion (04:34)
07. No More No More (04:34)
08. Round And Round (05:03)
09. You See Me Crying (05:12)

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Friday, 8 August 2025

Black Sabbath - Never Say Die! [Japanese Ed.] (1978)

Year: 29 September 1978 (CD December 5, 1990)
Label: Nippon Phonogram Co., LTD. (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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