The Alan Parsons Project - Pyramid (1978)

Year: May 1978 (CD 1987)
Label: Arista Records (Germany), 258 983
Style: Progressive Pop, Soft Rock
Country: London, England
Time: 37:48
Format: Flac Tracks 16/44,1 kHz
Size: 216 Mb

Alan PARSON is the king of catchiness and emotions here! No more sophisticated complex patterns. He proves here that complexity is not necessarily required to make an excellent album. All the songs are at least very good, and more: they are all very catchy and thus will retain your attention! That's a tour de force by PARSON! Sincerely, "Pyramid" is among my favorite ones from him. I have miscellaneous kinds of feelings when I listen to the tracks. "Voyager" was the theme of a jeans advertisement on TV; The poignant "What Goes Up" has a mix of romance, nostalgia and melancholy; The Elton JOHN esque "One More River" will give you a kick in the ass; The funny "Pyramania" will make you sing and beat the ground. "Hyper Gamma Spaces" announces a complete mastering of serious modern rythmic & melodic keyboards. You will notice that the lead & backing vocals are really among the main strength of this album.
(progarchives.com/album.asp?id=1093) Review by greenback. August 15, 2004

The material on this album is very lightweight, even in comparison with other works by the Alan Parsons Project. The opening creates an interesting atmosphere, but by the third similarly soft rock song in a row, this album cries out for a rocker. One More River is the first rocker on the album, but it is more of a Rock 'N' Roll number, very much in the vein of Elton John. Even the vocals sound like Elton's!
In The Lap Of The Gods is fairly interesting symphonic prog number, but still rather lightweight. Pyramania is so horrible that it hurts my brain! Skip this one unless you want to go seriously insane! Hyper-Gamma Spaces is an instrumental that could have been a theme song to some cartoon. The last song is a symphonic ballad, decent but rather forgettable.
As always with the Project, this album is very well-produced and overall very well-crafted. But that is not enough to make a good album. Only for fans and collectors this one.
(progarchives.com/album.asp?id=1093) Review by SouthSideoftheSky. December 3, 2008

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

01. Voyager (02:25)
02. What Goes Up... (03:31)
03. The Eagle Will Rise Again (04:22)
04. One More River (04:18)
05. Can.t Take It With You (05:04)
06. In The Lap Of The Gods (05:28)
07. Pyromania (02:44)
08. Hyper-Gamma-Spaces (04:19)
09. Shadow Of A Lonely Man (05:34)

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Thin Lizzy - Johnny The Fox (1976)

Year: October 1976 (CD ????)
Label: Vertigo Records (US), 822 687-2
Style: Hard Rock, Classic Rock
Country: Dublin, Ireland
Time: 35:42
Format: Flac Tracks 16/44,1 kHz
Size: 232 Mb

Lynott and Robertson clashed over musical differences, such as the composition of "Don't Believe a Word". When Lynott first played the song in a slow 12-bar blues format, Robertson claimed it was "shite", and Lynott reacted badly, disappearing for a few days. Robertson then felt that he may have been a little harsh, and he and drummer Brian Downey decided to rework the song. Downey devised a faster shuffle rhythm and Robertson wrote the riff, and Lynott was pleased with the outcome when he returned to the studio. Robertson was annoyed when the song was credited solely to Lynott, as he felt that all three members involved should have been credited. The original bluesy arrangement was subsequently recorded by Lynott and Gary Moore on Moore's Back on the Streets in 1978, and Thin Lizzy versions later appeared on Thin Lizzy's 1983 double live album Life and the deluxe edition of Thunder and Lightning.
Robertson also co-wrote "Borderline" with Lynott, for which he did receive a writing credit. He later revealed that the song was about a girlfriend: "I was really in love, [but] she hated me. I was extremely down when I wrote it." Alcock confirmed that Robertson had significant lyrical input on this track, and that the band's other guitarist Scott Gorham had similar influence on the lyrics for "Sweet Marie".
According to Robertson, Lynott wrote "Rocky" with him in mind. John Alcock has stated that "Massacre" was written in the studio. Its lyrics came after Lynott was visited in hospital by a Protestant clergyman, and Catholic Lynott became defensive. Later he regretted his reaction, and wrote the lyric condemning religious prejudice.
"Fools Gold" was inspired by the Great Famine of Ireland of 1845–52. The lyric imagines Irish people travelling to America to escape the famine and start a new life.
The album included two tracks with the name "Johnny" in their titles as well as the album title itself, a character by that name having appeared in earlier songs such as "Showdown" and "The Boys Are Back in Town". Gorham noted the name's proliferation: "Phil should've been this guy's publicity agent, as he was cropping up everywhere!"
"'Johnny the Fox meets Jimmy the Weed' was really the only song that Lizzy did in a funk style..." noted Scott Gorham. "Phil Lynott was a huge fan of the O'Jays and their song "For the Love of Money". At every soundcheck, he'd be playing that funky riff... Once we'd found that riff, we just went for it. The whole thing really took off when Brian Downey sat down and put his personal funk take on it with the drums... And these characters – Johnny the Fox and Jimmy the Weed – they were real people. They were from the Manchester area, where Phil's mom had her hotel... They were part of a gang of cultured thieves... They weren't drug dealers, like it says in the lyrics for the song... But they were pretty heavy guys, yet they were real funny, so you couldn't help but like them."
(en.wikipedia.org/wiki/Johnny_the_Fox)

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

01. Johnny (04:18)
02. Rocky (03:43)
03. Borderline (04:37)
04. Don't Believe A Word (02:18)
05. Fools Gold (03:53)
06. Johnny The Fox Meets Jimmy The Weed (03:36)
07. Old Flame (03:05)
08. Massacre (03:01)
09. Sweet Marie (04:00)
10. Boogie Woogie Dance (03:06)

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After Tea - After Tea (1969)

Year: 1969 (CD ????)
Label: Fonos Records (Netherlands), LP-4035
Style: Psychedelic Rock
Country: Delft, Holland
Time: 38:00
Format: Flac Tracks 16/44,1 kHz
Size: 228 Mb

After Tea were a pop/rock group out of Delft, Holland. The band came about in mid-1967 when three members of the Tee Set decided to split off and form their own band after a conflict with singer Peter Tetteroo and manager Theo Cuppens. Hans van Eijck (organ, composer), Polle Eduard (bass, vocals) and Ray Fenwick (guitar) soon hired Martin Hage (drums) to round out the lineup. After Tea scored a hit with their first single “Not Just A Flower In Your Hair,” a song very fitting for the “Summer of Love” and flower power craze at the time.
After the release of their debut lp, National Disaster, the band had to deal with a number of personnel changes. Fenwick, originally from England, returned home once his work permit expired and went on to join The Spencer Davis Group. He was replaced by Ferry Lever. Not long after, Eduard was arrested and sentenced to imprisonment for a brief period for possession of drugs. In his absence, he was replaced by two old acquaintances from the Nederbiet scene: singer Frans Krassenburg (who left The Golden Earring in 1967) and bassist Henk Smitskamp who had been kicked out of The Motions.
In 1968 the band made a parody of De Heikrekels, releasing it under the name “de Martino’s,” which was intended to show just how easy it was to score a hit in this genre. In May 1969 they released a collector’s item in the form of a picture disc. Partnering with a large jeweler, whenever an engagement ring was sold, the customer would receive a booklet and a copy of the band’s single “Desiree” / “The Wedding Song.”
After Tea continued to release records, but were never able to find the success they did on their first two releases. In 1969 Eijck returned to the Tee Set. He was replaced by the German Ulli Grun (formerly from The Boots), It was around this time that Ilja Gort joined as the band’s new drummer. With this lineup, After Tea decided to focus more on blues rock and LP oriented music. In 1970 Ferry Lever also switched over to the Tee Set, which has since enjoyed international success with “Ma Belle Amie.” 
Eduard and Grun continued in the group Drama, and Gort went on to have a very successful career composing advertising tunes and later making wine.
(psychedelicized.com/playlist/a/after-tea/)

01. A Perfect Way To Spend A Day (03:20)
02. Sound Of A Backstreet (02:45)
03. We Will Be There After Tea (03:02)
04. Sweet Elaine (03:44)
05. Not Just A Flower In Your Hair (02:28)
06. Peruquine Thomas (02:05)
07. Snowflakes On Amsterdam (02:29)
08. Sunny Side Of Mable Block (03:17)
09. Water And White Marble (04:40)
10. Lily Of The Valley (03:06)
11. Love In Jeopardy (03:09)
12. A Little Bit Today (A Little Bit Tomorrow) (03:49)

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Meat Loaf - Bat Out Of Hell (1977)

Year: October 21, 1977 (CD )
Label: Epic Records (Europe), CDEPC 82419
Style: Hard Rock, Progressive Pop
Country: Dallas, Texas, U.S. (September 27, 1947 - January 20, 2022)
Time: 46:36
Format: Flac Tracks 16/44,1 kHz
Size: 309 Mb

Charts: US #13, AUS #1, GER #11, IRE #1, NL #1, NZ #1, NOR #3, SWE #13, SWI #9, UK #3. CAN: 2x Platinum; UK: 11x Platinum; AUS: 26x Platinum; US: Diamond (14x Platinum).
Bat Out of Hell is the debut studio album by American rock singer Meat Loaf and composer Jim Steinman. The album was developed from the musical Neverland, a futuristic rock version of Peter Pan which Steinman wrote for a workshop in 1974. It was recorded during 1975–1976 at various studios, including Bearsville Studios in Woodstock, New York. The album was produced by Todd Rundgren, and released in October 1977 by Cleveland International/Epic Records. Bat Out of Hell spawned two Meat Loaf sequel albums: Bat Out of Hell II: Back into Hell (1993) and Bat Out of Hell III: The Monster Is Loose (2006).
Bat Out of Hell has sold over 43 million copies worldwide, making it one of the best-selling albums of all time. It is certified 14? platinum by the Recording Industry Association of America (RIAA). It is the best-selling album in Australia, having been certified 26? platinum by the Australian Recording Industry Association (ARIA). As of June 2019, it has spent 522 weeks in the UK Albums Chart, the fourth longest chart run by a studio album. In 2012, Rolling Stone ranked it at number 343 on its list of the 500 Greatest Albums of All Time.
A musical based on Bat Out of Hell, staged by Jay Scheib, opened at the Manchester Opera House on February 17, 2017, before transferring to the London Coliseum and Toronto's Ed Mirvish Theatre in late 2017. Between April 2, 2018 and January 5, 2019, the show was performed at the Dominion Theatre in London, before a short run the same year in the United States.
(en.wikipedia.org/wiki/Bat_Out_of_Hell)

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

01. Bat Out of Hell (09:51)
02. You Took the Words Right Out of My Mouth (Hot Summer Night) (05:05)
03. Heaven Can Wait (04:41)
04. All Revved Up with No Place to Go (04:19)
05. Two Out of Three Ain't Bad (05:25)
06. Paradise by the Dashboard Light (08:28)
07. For Crying Out Loud (08:44)

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Ginger Baker And The DJQ 2O - Coward Of The County (1999)

Year: 1999 (CD 1999)
Label: Atlantic Recording Corp. (Germany), 7567-83168-2
Style: Instrumental, Smooth Jazz, Contemporary Jazz
Country: Canterbury, Kent, England (19 August 1939 - 6 October 2019)
Time: 60:25
Format: Flac Tracks 16/44,1 kHz
Size: 410 Mb

DJQ 2O - Denver Jazz Quintet-to-Octet.

Peter Edward "Ginger" Baker (19 August 1939 – 6 October 2019) was an English drummer. His work in the 1960s and 1970s earned him the reputation of "rock's first superstar drummer", for a style that melded jazz and African rhythms and pioneered both jazz fusion and world music.
Baker gained early fame as a member of Blues Incorporated and the Graham Bond Organisation, both times alongside bassist Jack Bruce, with whom Baker would often clash. In 1966, Baker and Bruce joined guitarist Eric Clapton to form Cream, which achieved worldwide success but lasted only until 1968, in part due to Baker's and Bruce's volatile relationship. After working with Clapton in the short-lived band Blind Faith and leading Ginger Baker's Air Force, Baker spent several years in the 1970s living and recording in Africa, often with Fela Kuti, in pursuit of his long-time interest in African music. Among Baker's other collaborations are his work with Gary Moore, Masters of Reality, Public Image Ltd, Hawkwind, Atomic Rooster, Bill Laswell, jazz bassist Charlie Haden, jazz guitarist Bill Frisell, and Ginger Baker's Energy.
Baker's drumming is regarded for its style, showmanship, and use of two bass drums instead of the conventional single one, after the manner of the jazz drummer Louie Bellson. In his early days, he performed lengthy drum solos, most notably in the Cream song "Toad", one of the earliest recorded examples in rock music. Baker was an inductee of the Rock and Roll Hall of Fame as a member of Cream in 1993, of the Modern Drummer Hall of Fame in 2008, and of the Classic Drummer Hall of Fame in 2016. Baker was noted for his eccentric, often self-destructive lifestyle, and he struggled with heroin addiction for many decades. He was married four times and fathered three children.
(en.wikipedia.org/wiki/Ginger_Baker)

01. Cyril Davies (08:49)
02. Ginger Spice (08:29)
03. Dangle The Carrot (06:04)
04. Megan Showers (07:30)
05. Jesus Loves Me (09:32)
06. Coward Of The County (05:45)
07. Daylight (07:28)
08. Jesus, I Just Want To Go To Sleep (06:44)

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Alexis Korner's Blues Incorporated - At The Cavern [Expanded Ed. 12 bonus tracks] (1964)

Year: 1964 (CD Jul 2006)
Label: Castle Music (Europe), CMRCD1372
Style: Blues, Rhythm and Blues
Country: London, England
Time: 60:58
Format: Flac Tracks 16/44,1 kHz
Size: 185 Mb

Alexis Korner's Blues Incorporated, or simply Blues Incorporated, were an English blues band formed in London in 1961, led by Alexis Korner and including at various times Jack Bruce, Charlie Watts, Terry Cox, Ginger Baker, Art Wood, Long John Baldry, Ronnie Jones, Danny Thompson, Graham Bond, Cyril Davies, and Dick Heckstall-Smith.
Korner (1928–1984) was a member of Chris Barber's Jazz Band in the 1950s, and met up with Cyril Davies (1932–1964) who shared his passion for American Blues. In 1954 they teamed up as a duo, began playing blues in London jazz clubs, and opened their own club, the London Blues and Barrelhouse Club, where they featured visiting bluesmen from America. The club embraced aspiring young musicians, including in its early days Charlie Watts, Long John Baldry, and Jack Bruce.
In 1961 Korner and Davies formed Blues Incorporated, the first amplified R&B band in Britain, and brought in singer Baldry (sometimes replaced by Art Wood), drummer Watts, bassist Bruce, and saxophonist Dick Heckstall-Smith. It was an informal band: its membership was intended to be fluid.
On 17 March 1962, Korner and Davies established a regular "Rhythm and Blues Night" at the Ealing Jazz Club. This brought together many more fans of blues and R&B music including Mick Jagger, Keith Richards, Brian Jones, Eric Clapton, Rod Stewart, Paul Jones, John Mayall, Zoot Money, and Jimmy Page, some of whom would occasionally sit in at Blues Incorporated performances. Watts left the group around this time to join the Rolling Stones and suggested Ginger Baker as his replacement.
From 3 May 1962, Blues Incorporated secured a Thursday-night residency at the Marquee Club, which brought them to the attention of record producer and promoter Jack Good who arranged a recording contract with Decca Records resulting in the LP R&B from the Marquee, released in late 1962. The album was actually recorded in the Decca studio and featured Baldry as lead singer with songs by Muddy Waters, Jimmy Witherspoon and Leroy Carr.
Late in 1962 Davies disagreed with Korner's intention to add a brass section to the band and turn more towards jazz than blues, so left to form his own group, the Cyril Davies All-Stars, and was replaced by Graham Bond. Blues Incorporated found a new residency at the Flamingo club but, shortly afterwards, Bond, Bruce and Baker left to form the Graham Bond Organisation.
Blues Incorporated concentrated on live work rather than recording and the group only released two singles on Parlophone, "I Need Your Loving" / "Please Please Please Please" (1964) and "Little Baby" / "Roberta" (1965). In 1964 they released the LPs At The Cavern and Red Hot From Alex, with American Herbie Goins as lead singer and Danny Thompson, later of Pentangle, on bass. By the time of the group's last album Sky High (credited to Alexis Korner's Blues Incorporated) in 1965, the group included Duffy Power on vocals. Korner dissolved the group in 1966.
(en.wikipedia.org/wiki/Alexis_Korner%27s_Blues_Incorporated#Discography)

01. Overdrive (04:00)
02. Whoa Baby (04:33)
03. Every Day I Have The Blues (04:12)
04. Hoochie Coochie Man (05:35)
05. Herbie's Tune (07:39)
06. Little Bitty Gal Blues (05:32)
07. Well All Right Ok You Win (03:15)
08. Kansas City (04:28)
09. announcement (00:13)
10. Overdrive (02:20)
11. brief interview (01:15)
12. I Need Your Lovin' (02:10)
13. Turn On Your Lovelight (02:25)
14. brief interview (01:07)
15. Please, Please, Please (02:50)
16. announcement (00:05)
17. Roberta (02:20)
18. Every Day I Have The Blues (02:01)
19. I Need Your Lovin' (02:16)
20. Please, Please, Please (02:32)

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The Alan Parsons Project - I Robot (1977)

Year: 8 July 1977 (CD )
Label: Ariola Records (Germany), 259 651
Style: Progressive Pop, Soft Rock
Country: London, England
Time: 41:06
Format: Flac Tracks 16/44,1 kHz
Size: 235 Mb

The album was intended to be based on the I, Robot stories written by Asimov, and Eric Woolfson spoke with Asimov himself, who was enthusiastic about the idea. As the rights already had been granted to a TV/movie company, the album's title was altered slightly by removing the comma in "I," and the theme and lyrics were made to be more generically about robots rather than to be specific to the Asimov universe. The cover inlay reads: "I Robot... The story of the rise of the machine and the decline of man, which paradoxically coincided with his discovery of the wheel... and a warning that his brief dominance of this planet will probably end, because man tried to create robot in his own image." The title of the final track, "Genesis Ch.1 v.32", follows this theme by implying a continuation to the story of Creation, since the first chapter of Genesis only has 31 verses.
According to the band's website, Paul McCartney unintentionally helped to inspire the song "Some Other Time". When Parsons had asked if McCartney could read a line of poetry for the band's first album in exchange for a favor Parsons had previously done him, McCartney replied by saying; "Some other time Alan, some other time". This gave the band an idea for a song title.
By pure coincidence, the album was released shortly after Star Wars came out in the United States. The group acknowledges that part of the album's success came from it being the only album with a robot on the cover during a time when robots were suddenly "all the rage".
The artwork was created by the English art design group Hipgnosis. The album cover photo features Storm Thorgerson's assistants in the escalator tubes of the circular Terminal 1 building of the Charles de Gaulle Airport outside of Paris. The picture was taken without the permission of the airport management. Over this is superimposed a painting of a robot with a stylised atom for a brain. The robot also appears on the label of the record. The original vinyl release has a gatefold-style cover; the inside spread has the lyrics and a monochrome photograph of Parsons. The pose and angle of the photograph echoes that of the robot on the front cover.
(en.wikipedia.org/wiki/I_Robot_(album))

01. I Robot (06:02)
02. I Wouldn't Want to Be Like You (03:23)
03. Some Other Time (04:05)
04. Breakdown (03:52)
05. Don't Let It Show (04:21)
06. The Voice (05:23)
07. Nucleus (03:31)
08. Day After Day (The Show Must Go On) (03:49)
09. Total Eclipse (03:09)
10. Genesis Ch. 1 V. 32 (03:28)

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Rock Generation Volume 6 - The Steampacket (Or The First Supergroup) (1970)

Year: 1965 (CD 1997)
Label: Spalax Music (France), SPALAXCD14555
Style: Rock, British Rhythm & Blues 
Country: London, England
Time: 29:47
Format: Flac Tracks 16/44,1 kHz
Size: 116 Mb

Recorded December 1965, London. Personel: Long John Baldry, Rod Stewart, Julie Driscoll, Brian Auger and more.
Steampacket (sometimes shown as Steam Packet) was a British blues band formed in 1965 by Long John Baldry with Rod Stewart, Julie Driscoll, and organist Brian Auger.
A musical revue rather than a single group, Steampacket was formed in 1965 by Long John Baldry after the break-up of his previous group the Hoochie Coochie Men. It included Rod Stewart who had been with Baldry in the Hoochie Coochie Men, vocalist Julie Driscoll, organist Brian Auger, guitarist Vic Briggs, Richard Brown aka Ricky Fenson on bass guitar and Micky Waller on drums. They were managed by Giorgio Gomelsky, who had previously been involved with the Rolling Stones and the Yardbirds.
Steampacket played at various clubs, theatres and student unions around the country, including supporting the Rolling Stones on their 1965 British tour. Because of contractual difficulties, however, they never formally recorded a studio or live album. Tracks from some demo tapes they recorded at a rehearsal in the Marquee Club were released in 1970 on the French label BYG as Rock Generation: Volume 6 - The Steampacket (Or the First Supergroup). The same material was later re-released under other titles, including First of the Supergroups: Early Days and The First Supergroup: Steampacket Featuring Rod Stewart, to cash in on Stewart's success.
(en.wikipedia.org/wiki/Steampacket)

01. Back At The Chicken Shack (03:51)
02. The In-Crowd (03:42)
03. Baby Take Me (02:12)
04. Can I Get A Witness (03:35)
05. Baby Baby (02:26)
06. Holy Smoke (03:28)
07. Cry Me A River (02:46)
08. Oh Baby,don't You Do It (03:29)
09. Lord Remember Me (04:16)

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Nazareth - Hair Of The Dog [Japanese Ed. 5 bonus tracks] (1975)

Year: 3 April 1975 (CD 2006)
Label: Air Mail Archive (Japan), AIRAC-1205
Style: Hard Rock
Country: Dunfermline, Fife, Scotland
Time: 63:27
Format: Flac Tracks 16/44,1 kHz
Size: 428 Mb

Charts: US #17, CAN #20, AUT #7, GER #27, NOR #5. CAN: Gold; US: Platinum.
01. Hair Of The Dog will immediately grab your attention with its memorable riff and swaggering attitude. Dan McCafferty's raspy vocal perfectly complements the heavy, bluesy instrumentation, that sets the tone for the rest of the album. Plus, who doesn’t love their famous refrain "Now you're messin' with a son of a bitch,” for it’s a masterstroke of lyricism and ensures Hair Of The Dog is a quintessential hard rock anthem.
Guns N’ Roses would cover Hair Of The Dog on their 1993 covers album, The Spaghetti Incident? and as much as I love the original, I’ve got to say that I prefer the slightly more rhythmic presentation that Guns N’ Roses were able to bring to the tune as it further emphasises the undertone of aggression that is present within the song.
02. Miss Misery launches with a killer riff before McCafferty’s soaring vocal enters the mix with the rest of the band launching into an incredibly rhythmic thunderous performance. Filled with passion and intensity, that is highly addictive, Miss Misery is a monster of a song that will have you coming back for more as it’s a flawless hard rock tune.
03. Guilty slows down the pace with its bluesy groove and soulful vocals. Featuring a memorable guitar riff and a laid-back vibe, Guilty will appeal to those of us who appreciate a diverse styling throughout our hard rock albums. Some may dislike it because it is considerably different to the songs that have come before it, but McCafferty's raw and emotive vocal delivery is simply magnificent and the sign of an exceptional hard rock vocalist is often found in slower-styled ballad recordings such as Guilty.
04. Changin' Times sets the pace back to that of a driving rhythm featuring a catchy melody and infectious rhythm. As solid as Changin' Times is, the most notable aspect is McCafferty’s vocal prowess as the man could certainly belt out a tune, with clarity and finesse, like few others within the hard rock and metal genres can.
05-06. Beggars Day/Rose In The Heather is a hard-hitting rocker with a driving rhythm and infectious energy. McCafferty's vocals are, as is the case throughout the entire album, full of attitude and swagger, while the band's tight musicianship keeps the song charging forward with unstoppable momentum.
07. Whiskey Drinkin' Woman is a blues-infused track featuring a gritty vibe. The song's laid-back groove and soulful instrumentation make it a standout on the album, but as you listen to the song you’ll soon come to realise that it would be perfectly played in any drinking establishment, anywhere in the world.
08. Please Don't Judas Me features a stripped-down haunting atmospheric presentation that blends some incredible musicality with McCafferty's emotive vocal presentation. As McCafferty pleads, "Please Don't Judas Me," the song builds to a powerful climax, leaving a lasting impression long after the music fades away. Masterpiece, while often overused, is the only way to describe this sensational song.
09. Love Hurts (Single Edit) is one of my all-time favourite Nazareth tunes and while there will be some that dislike ballads, I love them. This one, in particular, showcases McCafferty's vocal prowess with its poignant lyrics and haunting melody that will strike a chord with music lovers and is a core reason why this version has become a timeless classic.

It is, however, a cover that first appeared on the Everly Brothers’ 1960 release, A Date With The Everly Brothers. Their original is lovely but as with other renditions, I feel that Nazareth took the song, added their unique styling to it, and made it their own. Granted, there isn’t a bad interpretation to be heard, but Love Hurts is an ideal closing tune for the album; even if it wasn’t the closer for the record in all regions.
Hair Of The Dog, subsequently, is a must-have for any hard rock music fan. Its combination of hard-hitting rockers and heartfelt ballads makes it a timeless classic that continues to resonate with audiences decades after its release and Nazareth's signature sound and powerful performances ensure that this album remains a standout in their discography and a cornerstone of 1970s rock music.
(subjectivesounds.com/musicblog/nazareth-hair-of-the-dog-album-review)

01. Hair Of The Dog (04:09)
02. Miss Misery (04:42)
03. Guilty (03:38)
04. Changin' Times (05:59)
05. Beggars Day (03:45)
06. Rose In The Heather (02:44)
07. Whiskey Drinkin' Woman (05:29)
08. Please Don't Judas Me (09:51)
09. Love Hurts (03:53)
10. Down (B-side to 'Love Hurts' single) (03:55)
11. Holy Roller (single A-side) (03:25)
12. Railroad Boy (B-side to 'Holy Roller' single) (04:08)
13. Hair Of The Dog (single edit) (03:22)
14. Holy Roller (extended alternate mix) (04:20)

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Egg - The Civil Surface (1974)

Year: December 1974 (CD 2003)
Label: Sunrise Records (Europe), 30523032
Style: Canterbury Scene, Progressive Rock, Avant-garde, Instrumental
Country: London, England
Time: 40:24
Format: Flac Tracks 16/44,1 kHz
Size: 227 Mb

The Civil Surface is the third and final studio album by the English progressive rock band Egg, originally released in 1974 on Caroline Records. The band had broken up in 1972, leaving some of their favourite stage pieces unrecorded. At organist Dave Stewart's suggestion, the trio re-united solely to record these final numbers. Among the guest musicians on the album are Steve Hillage (guitar), Lindsay Cooper (oboe, bassoon) and vocalists Amanda Parsons, Ann Rosenthal and Barbara Gaskin.
Listeners have complained that the drums are mixed too loud on the album's organ trio pieces. In an article written for the UK fanzine Ptolemaic Terrascope in 1990 (quoted in Mark Powell's liner notes of the Esoteric Recordings CD re-release), Stewart explains that it was the unbending wish of drummer Clive Brooks that his drums be featured prominently in the mix, and that the other members were unable to persuade him otherwise.
In a 2007 review for website All About Jazz, John Kelman wrote, "The Civil Surface reflects widening interests, with Stewart's greater jazz-centricity and wryly melodic Canterbury flavor most notable on the longer tracks "Germ Patrol," "Enneagram" and "Wring Out the Ground (Loosely Now)" ... The complex writing—episodic tracks filled with complex meters, rich harmonies and tight arrangements, as well as some strong solos—bears an unmistakable link to Hatfield but, with Campbell's rigorous classicism an equal part of the equation, it still sounds like Egg."
(en.wikipedia.org/wiki/The_Civil_Surface)

01. Germ Patrol (08:30)
02. Wind Quartet 1 (02:20)
03. Enneagram (09:07)
04. Prelude (04:17)
05. Wring Out the Ground Loosely Now (08:11)
06. Nearch (03:11)
07. Wind Quartet 2 (04:46)

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Chris De Burgh - Far Beyond These Castle Walls [Japanese Ed.] (1974)

Year: 1974 (CD June 21, 1989)
Label: Pony Canyon Inc. (Japan), D18Y4129
Style: Art Pop, Pop Rock
Country: U.S. / U.K. / Santa Fe Province, Argentina (15 October 1948)
Time: 44:23
Format: Flac Tracks 16/44,1 kHz
Size: 247 Mb

Chris de Burgh has never really received proper credit for his lyrics. While his reputation as a musician was cemented early on by such classic tracks as ‘Spanish Train’, ‘Crusader’ and ‘The Traveller’, his equally poignant use of the English language deserves attention.
Let us, however, not speak of ‘Lady in Red’.
If we pretend, for a moment, that each of Chris de Burgh’s albums is instead a collection of poems, the results are startling. Far from being merely a competent guitarist and composer with a talent for soaring and majestic melodies, Chris de Burgh is also a poet.
However, Far Beyond These Castle Walls ... (1974), Chris de Burgh’s first collection of poetry, showcases a poet who, alas, does not yet know it.
(daveydreamnation.com/non-fiction/essays/lyrics-chris-de-burgh-far-beyond-castle-walls/)
On Chris de Burgh's debut album, his gentle, beguiling vocal style is introduced, which instantly trademarks him as a genuine master of the soft ballad. de Burgh's engaging dominance of words and lyrics carries both his love songs and his simple light rock tunes to a higher level, thanks to the attention and care given to each of his pieces. As an inaugural album, the songs hold well as they are delicately cushioned by his voice, but are substantially thin where melody or appealing choruses are concerned. Both "Windy Night" and "Watching the World" draw the most attention, bringing de Burgh's silkiness to the focal point. "Satin Green Shutters" beautifully illustrates his knack for sounding sincere and charismatic within the boundaries of a love song. What is most important about this album is the manner in which it reveals de Burgh as one of the finest mood-invoking artists ever. Even the last song, entitled "Goodnight," ends the album with his lush voice still hovering in the air once the music has finished. While the lyrics and recipe of the songs themselves come across as rather nimble compared to future releases, it is here that he lets his song styling make a name for himself.
(allmusic.com/album/far-beyond-these-castle-walls-mw0000373485)

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Steve Harley & Cockney Rebel - Best Of The 70's (2000)

Year: 2000 (CD 2000)
Label: Disky Communications (Netherlands), SI 990322
Style: Classic Rock, Glam Rock, Progressive Rock
Country: London, England
Time: 72:37
Format: Flac Tracks 16/44,1 kHz
Size: 506 Mb

Singer-songwriter, while not quite managing to elbow David Bowie aside, produced well-crafted hits topped by Make Me Smile (Come Up and See Me).
Steve Harley was many things, but a man held back by modesty was not among them.
In his first big music press interview – before the appearance of Cockney Rebel’s debut album, when all they had released was a solitary single that featured a 40-piece orchestra, which had failed to make the UK charts – he proclaimed his band “a musical force that others will follow” and pitted himself squarely against the biggest names in British pop. Cockney Rebel, he suggested, would kick David Bowie “up the arse”: “he’ll say ‘I’ve got to step on it to stay at the top’.”
When it arrived, Cockney Rebel’s debut album featured a song called Mirror Freak that loudly announced he was going to supplant Marc Bolan – “too cute to be a big rock star” – in the public’s affections: “We can feel a change is on the way … a new man he appears to be winning … you’re the same old thing we’ve always known.”
Harley was given to dismissing any band that had a lead guitarist, a musician noticeably absent from Cockney Rebel’s line-up and on another occasion, he claimed the band were so good that divine intervention had to be involved: “I feel like God’s touched me and said ‘here’s a mission and someone’s gotta do it’.”
This was big talk that perhaps told you something about Harley’s background as a journalist: he may have only worked for local papers, but he knew what made for lively copy. The thing was, that for a moment at least, Harley appeared to have the goods to back up his more extravagant pronouncements.
Cockney Rebel’s first two albums, The Human Menagerie and The Psychomodo, arrived alongside the first signs that glam rock was waning, or at least that its most artful practitioners were moving on – Bowie had killed off Ziggy Stardust, Bolan had announced the genre “dead” and “embarrassing” – and suggested the arrival of a fresh take.
Whatever you made of Harley’s thoughts on electric guitars, their relative, if not complete, absence from Cockney Rebel’s sound gave them a clear point of difference. Driven instead by electric piano and Jean-Paul Crocker’s electric violin, you could definitely make out the influence of Bowie and the kind of 50s rock’n’roll that was a touchstone throughout glam, but their sound also drew on psychedelia, Brecht and Weill cabaret, folk (Harley had done time in Britain’s folk clubs and as an acoustic guitar-toting busker) and, occasionally, classical music.
His voice was a mannered sneer that occasionally sounded a little like The Kinks’ Ray Davies and occasionally seemed to presage the arrival of punk – it was certainly the perfect fit for his lyrics, which were both thick with lurid imagery – “hooked on absinthe and daffodils/telling tales of white gardenia” – and big on withering disdain.
(full version: theguardian.com/music/2024/mar/17/steve-harley-1970s-cockney-rebel-whose-talent-was-almost-as-big-as-his-ego)

01. Make Me Smile - Come Up And See Me (04:03)
02. Love - Compared With You (04:23)
03. Judy Teen (03:43)
04. Mr. Raffles - Man, It Was Mean (04:36)
05. Mr. Soft (03:22)
06. Sebastian (06:58)
07. That's My Life In Your Hands (03:51)
08. Here Comes The Sun (02:59)
09. All Men Are Hungry (04:49)
10. Roll The Dice (03:28)
11. The Best Years Of Our Lives (05:47)
12. Star For A Week - Dino (04:39)
13. Rain In Venice (04:53)
14. The Last Time I Saw You (05:40)
15. Psychomodo (04:06)
16. Irresistable - Remix (05:12)

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AC/DC - Dirty Deeds Done Dirt Cheap [Japanese Ed.] (1976)

Year: 20 September 1976 (CD Dec 19, 2007)
Label: Sony Music (Japan), SICP 1701
Style: Hard Rock
Country: Sydney, Australia
Time: 39:59
Format: Flac Tracks 16/44,1 kHz
Size: 280 Mb

Charts: AUS #5, CAN #95, FRA #15, GER #19, NZ #20, SWE #50, SWI #25, UK #13, US #3. SWI & UK: Gold; GER: Platinum; AUS: 6x Platinum; US: 7x Platinum.
AC/DC began recording Dirty Deeds Done Dirt Cheap in December 1975 at Albert Studios with Harry Vanda and George Young (elder brother of guitarists Malcolm and Angus) producing. In April 1976, the band went on their first tour of the UK, where "It's a Long Way to the Top (If You Wanna Rock 'n' Roll)" was released as a single. According to the book AC/DC: Maximum Rock & Roll, Vanda and Young travelled to the UK to record several songs with the band at Vineland Studios for a scheduled EP, which was eventually scrapped. "Carry Me Home" later appeared in 1977 as a B-side to "Dog Eat Dog", while "Dirty Eyes" remained unreleased and was later reworked into "Whole Lotta Rosie" for 1977's Let There Be Rock. Only "Love at First Feel" was used for Dirty Deeds, but not for the Australian release. A song titled "I'm a Rebel" was recorded at Maschener Studios as well, with music and lyrics written by another elder Young brother, Alex Young. This song was never released by AC/DC, and remains in Albert Productions' vaults. German band Accept later released it as a single, and named their second album after it. High Voltage was released in the United States in 1976. However, hampered by visa problems and a lack of interest from Atlantic Records in the US, the band returned to Australia to finish their third album.
Cover art for the Australian version was assembled by Richard Ford at EMI Studios, Sydney, Australia.
Also according to AC/DC: Maximum Rock & Roll, years later, Stephen King convinced the band to do the soundtrack for his film Maximum Overdrive (the soundtrack released as Who Made Who) by putting "Ain't No Fun" on the record player and singing along to the entire song line-for-line in order to prove how much of a fan he was of their music.
The motel featured on the cover of the international release of the album was the Imperial 400 Motel, located at 6826 Sunset Boulevard, Los Angeles, until being closed down in 1982 and subsequently falling under an assortment of ownerships.
(en.wikipedia.org/wiki/Dirty_Deeds_Done_Dirt_Cheap)

01. Dirty Deeds Done Dirt Cheap (03:51)
02. Love At First Feel (03:12)
03. Big Balls (02:38)
04. Rocker (02:51)
05. Problem Child (05:46)
06. There's Gonna Be Some Rockin' (03:18)
07. Ain't No Fun (Waiting Round To Be A Millionaire) (06:57)
08. Ride On (05:53)
09. Squealer (05:27)

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The Graham Bond Organisation - There's A Bond Between Us [6 bonus tracks] (1965)

Year: 10 December 1965 (CD 2009)
Label: Repertoire Records (Germany), REP 5117
Style: Blues Rock, British Invasion, Jazz Rock
Country: United Kingdom
Time: 59:09
Format: Flac Tracks 16/44,1 kHz
Size: 312 Mb

Jack Bruce (Bass, Vocals), Ginger Baker (Drums, Original Cover Design), Graham Bond (Hammond Organ, Alto Saxophone, Mellotron, Lead Vocals), Dick Heckstall-Smith (Tenor Saxophone), Robert Stigwood (Producer).
Bond's second album stakes out similar territory as his debut in a more polished but slightly less exciting fashion. Some of the covers are a bit routine and hackneyed, and the original material isn't quite as strong (or frequent) as on the first effort. On a few tunes, the group expands from rave-ups to mellower, jazzier ballads that retain an R&B base. Highlights include the early Jack Bruce composition "Hear Me Calling Your Name" (to which he also contributes a fine lead vocal) and the excellent Bond tune "Walkin' in the Park," which holds up to the best early British R&B numbers. The album is also notable for being one of the very first rock LPs to feature the Mellotron, which Bond uses subtly and well.
(allmusic.com/album/theres-a-bond-between-us-mw0000788075)

01. Who's Afraid of Virginia Woolf (02:04)
02. Hear Me Calling Your Name (02:37)
03. The Night Time Is the Right Time (03:00)
04. Walkin' in the Park (03:30)
05. Last Night (02:59)
06. Baby Can It Be True (05:03)
07. What'd I Say (04:15)
08. Dick's Instrumental (02:32)
09. Don't Let Go (02:43)
10. Keep a Drivin' (Stereo) (02:05)
11. Have You Ever Loved a Woman (04:52)
12. Camels and Elephants (04:42)
13. Lease on Love (Stereo) (Single A-Side) [Bonus Track] (02:58)
14. My Heart's in Little Pieces (Stereo) (Single B-Side) [Bonus Track] (03:23)
15. Saint James Infirmary (Single A-Side) [Bonus Track] (03:40)
16. Soul Tango (Single B-Side) [Bonus Track] (03:12)
17. You've Gotta Have Love Babe (Single A-Side) [Bonus Track] (02:32)
18. I Love You (Single B-Side) [Bonus Track] (02:53)

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Savoy Brown - Bring It Home (2021)

Year: 2021 (CD 2021)
Label: Deadline Music (Canada), CLO2365
Style: Blues Rock, Boogie Rock
Country: London, England
Time: 58:37
Format: Flac Tracks 16/44,1 kHz
Size: 389 Mb

Kim Simmonds' 80s albums might have been a bit generic in both playing and songwriting but on this album he returns to old recipes and they are still tasty.
A skilled frontman keeps the tracks more interesting than Mr. Simmonds handling the vocals himself and it gives him more room to concentrate on his guitar playing. At 58 minutes there is some generic blues rock fillers still but the majority of tracks recall the good old boogie days.
(allmusic.com/album/bring-it-home-mw0000183308)
Wow, this is a terrific blues rock album and it sounds like it was made in the early 70's. Mr. Simmonds is a helluva blues guitarist, one of if not the best, and his guitar is allover this raw, sweaty, gritty, visceral hard blues rock album. Actually old friend Lonesome Dave Preverett guest on guitar
If you want to hear a master at work, "Bring It Home" is as good a place to start as any. All hail blues rock and all hail Kim Simmonds and his fantastic guitar work.
(rateyourmusic.com/release/album/savoy-brown-kim-simmonds/bring-it-home/)

01. Mr. Brown's Boogie (04:35)
02. Sweet Loving Thing (03:52)
03. Too Much of A Good Thing (04:16)
04. Misery (05:12)
05. Shake For Me (04:39)
06. Pack It Up (04:05)
07. High On Your Love (03:56)
08. Worried Man (05:29)
09. Little Wheel (07:00)
10. ou're In For A Big Surprise (04:26)
11. Real Fine Woman (03:44)
12. That's What Love Will Do (03:19)
13. Baby Please Change Your Mind (03:58)

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Love - Live In England 1970 (2007)

Year: 2007 (CD Jun 26, 2007)
Label: Hip-O Select (US), B0007827-02
Style: Psychedelic Rock, Garage Rock
Country: Los Angeles, California, U.S.
Time: 56:34
Format: Flac Tracks 16/44,1 kHz
Size: 381 Mb

Arthur Lee seems so embedded in the 1960s that it's hard to imagine him existing outside that decade. Strongly influenced by the baroque folk-pop of the Byrds, his smart, steely psychedelia conveyed a dark vision of hippie America-- a distinct contrast to the good vibrations typically associated with the Summer of Love. That was the same year-- 1967, for those of you who don't read Rolling Stone (which I think might be everybody)-- that Lee and his band Love released its scene-paranoid masterpiece Forever Changes, on which he painted himself as a true L.A. outsider, haunting the scrub-brush hills and looking deep into the dark heart of the city around him. In those songs, he foretells his own doom, and everyone else's: On "The Red Telephone", he sings, "Sitting on the hillside/ Watching all the people die/ I'll feel much better on the other side."
On these two albums (Out Here and False Start), Lee repeatedly refers to other artists and other songs, which doesn't anchor him to the mainstream culture but reiterates his underground detachment. This constant dissociation heightens the lively tension on the live disc, which was recorded at various stops on the band's 1970 tour of England. Like the studio version that closes Out Here, "Gather 'Round" appropriates the melody from Dylan's "The Times They Are A'Changin'", not out of laziness but as a pointed commentary on the death of that generation's idealism. Lee thrives on complication and contradiction: As either a supremely cynical or a playful gesture, he turns the song into an impromptu cover of Wilson Pickett's "Funky Broadway". Similarly, he performs songs from every Love album (including a particularly caustic "Bummer in the Summer" from Forever Changes) as a means of acknowledging his past glories as well as his fraught history. Live, this version of Love sounds like a band mustering the conviction to take on the world one more time. But they never did: Lee disbanded the line-up shortly after the tour. Love would barely see the 70s, except as a series of failed reunions.
(full version: pitchfork.com/reviews/albums/10386-the-blue-thumb-recordings/)

01. Good Times (03:50)
02. August (05:17)
03. My Little Red Book (02:52)
04. Nothing (04:38)
05. Orange Skies (03:59)
06. Andmoreagain (04:00)
07. Gather Round (07:00)
08. Bummer In the Summer (03:26)
09. Singing Cowboy (08:14)
10. Signed D.C. (06:43)
11. Love Is More Than Words Or Better Late Than Never (06:31)

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Black Sabbath - Reunion [Japanese Ed. 2CD Live] (1998)

Year: 19 October 1998 (CD October 28, 1998)
Label: Sony Records (Japan), SRCS 8807-8
Style: Hard Rock, Heavy Metal
Country: Birmingham, England
Time: 54:06, 53:32
Format: Flac Tracks 16/44,1 kHz
Size: 432. 420 Mb

Charts: UK #41, CAN #6, FIN #29, FRA #65, GER #32, SWE #11, SWI #84, US #11. UK: Silver; CAN & US: Platinum.
Reunion is a live album by English heavy metal band Black Sabbath, released on 19 October 1998. As implied by the title, the album features a reunion of the original lineup of vocalist Ozzy Osbourne, guitarist Tony Iommi, bassist Geezer Butler and drummer Bill Ward for the first time since Never Say Die! (1978). "Psycho Man", one of two studio tracks on the album, was the last to feature Ward on drums. Black Sabbath received their first ever Grammy Award in 2000 for the live recording of "Iron Man" taken from Reunion.
Six years after founding member Ozzy Osbourne departed Black Sabbath under less than amicable circumstances, he briefly rejoined his former bandmates for a single performance on 13 July 1985 at the Live Aid benefit concert in Philadelphia, and again in 1992 for the climax of his No More Tours farewell tour. Much to the dismay of fans, neither brief reconciliation had resulted in a full-fledged Black Sabbath reunion resulting in a new album and tour. A serious attempt at a reunion in 1993 proved fruitless as the band members lamented the reappearance of old animus. In 1997, Osbourne, Iommi and Butler reunited for the 1997 Ozzfest shows as Black Sabbath. Ward was absent due to health issues, and he was replaced by Faith No More's Mike Bordin. Ward had made a brief return to Black Sabbath for a short South American tour in 1994, but it was with Tony Martin fronting the band. Anticipation for a full and meaningful reunion of the Osbourne-era version of the band was high.
(en.wikipedia.org/wiki/Reunion_(Black_Sabbath_album))

01. War Pigs (08:27)
02. Behind The Wall Of Sleep (04:06)
03. N.I.B. (06:44)
04. Fairies Wear Boots (06:19)
05. Electric Funeral (05:01)
06. Sweet Leaf (05:07)
07. Spiral Architect (05:39)
08. Into The Void (06:31)
09. Snowblind (06:08)

01. Sabbath Bloody Sabbath (04:36)
02. Orchid - Lord Of This World (07:06)
03. Dirty Women (06:28)
04. Black Sabbath (07:29)
05. Iron Man (08:20)
06. Children Of The Grave (06:30)
07. Paranoid (04:29)
08. Psycho Man (Studio Track) (05:19)
09. Selling My Soul (Studio Track) (03:10)

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Egg - The Polite Force (1971)

Year: February 1971 (CD 2008)
Label: Esoteric Records (UK), ECLEC 2036
Style: Canterbury Scene, Progressive Rock
Country: London, England
Time: 42:57
Format: Flac Tracks 16/44,1 kHz
Size: 255 Mb

It was inevitable that Egg would be compared with Emerson, Lake & Palmer - a trio of bass/keyboards/drums with the bassist also singing, coming along at the very end of the 1960s, incorporating serious classical influences (and directed quotations) into their extended pieces. On their second album, The Polite Force, they try for a higher wattage sound than Emerson, Lake & Palmer, without as high velocity a brand of song. Dave Stewart's organ playing is as aggressive and melodic as Keith Emerson's, and he accomplishes a lot with less in the way of high-speed histrionics. That doesn't mean they aren't given to some electronic excesses. The album is diverting enough in its successful spots to carry the rest of it, but there are some missteps -- including one track dominated by guest horn players - that were enough to keep this album from being a favorite, even among art-rock fanatics. Reissued in Japan in the late '90s as part of the Decca/Deram psychedelic retrospective series.
(allmusic.com/album/the-polite-force-mw0000261107)

01. A Visit To Newport Hospital (08:28)
02. Contrasong (04:25)
03. Boilk (Incl. Bach: 'Durch Adams Fall Ist Ganz Verderbt') (09:22)
04. Long Piece No. 3: Part One (05:08)
05. Long Piece No. 3: Part Two (07:38)
06. Long Piece No. 3: Part Three (05:03)
07. Long Piece No. 3: Part Four (02:51)

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Gong - Angel's Egg: Radio Gnome Invisible Part II [4 bonus tracks] (1973)

Year: 7 December 1973 (CD October 4, 2004)
Label: Virgin Records (Europe), 7243 8 66556 2 2
Style: Canterbury Scene, Progressive Rock
Country: Paris, France
Time: 60:47
Format: Flac Tracks 16/44,1 kHz
Size: 338 Mb

It was recorded using The Manor Mobile studio at Gong's communal home, Pavillon du Hay, Voisines, France, and mixed at The Manor, Oxfordshire, England. The album was produced by "Gong under the direction of Giorgio Gomelsky".
Angel's Egg is the second in Gong's Radio Gnome Invisible trilogy of albums, following Flying Teapot and preceding You. The trilogy forms a central part of the Gong mythology. The original album did not have an apostrophe in the title.
The original vinyl edition came with a booklet containing an extensive explanation of the mythology, including lyrics, a glossary of terms, and profiles of characters in the story and band members. This edition also had a gatefold cover (omitted in later pressings), a plain inky blue inner sleeve to match the gate fold and booklet, and had the original black and white Virgin label which was discontinued after 1973; it was one of the last albums to use the original label. Some copies had a sticker over top of the female nude in the moon on the cover.
The CD version released by Virgin Records, and later reissued on Charly Records contains an extra track: "Ooby-Scooby Doomsday or The D-day DJs Got the D.D.T. Blues", that ends with a male voice choir glissando (questionably regarded by some[by whom?] as a parody on Pink Floyd's "Echoes"), starting with "Ahhhh" and ending with "Chooo", mimicking a sneeze. The track was originally released on the Live Etc. album but was excluded from the CD release (which reissued that double album as one disc), and included on this album instead.
(en.wikipedia.org/wiki/Angel%27s_Egg_(album))

01. Other Side Of The Sky (07:38)
02. Sold To The Highest Buddha (04:28)
03. Castle In The Clouds (01:12)
04. Prostitute Poem (04:53)
05. Givin My Luv To You (00:47)
06. Selene (03:42)
07. Flute Salad (02:09)
08. Oily Way (03:37)
09. Outer Temple (01:08)
10. Inner Temple (02:34)
11. Percolations (00:45)
12. Love Is How Y Make It (03:28)
13. I Never Glid Before (05:37)
14. Eat That Phone Book Coda (03:14)
15. Other Side Of The Sky (Single Version) (04:36)
16. Ooby-Scooby Doomsday Or The D-Day DJ's Got The D.D.T. Blues (05:11)
17. Love Is How Y Make It (1973 Vocal Mix) (02:32)
18. Eat That Phone Book Coda (Early Version) (03:09)

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Brand X (Phil Collins) - Unorthodox Behaviour (1976)

Year: 18 June 1976 (CD 1996)
Label: Virgin Records (UK), CASCD1117
Style: Jazz Rock, Instrumental, Progressive Rock
Country: London, England
Time: 41:05
Format: Flac Tracks 16/44,1 kHz
Size: 221 Mb

The 70’s jazz fusion flavour is audible right away when Nuclear Burn (6:23) begins. You hear and feel that the bass is not played by an ordinary bass player. Percy Jones has his very own sound and he plays quite fast. Guitar and keyboards only accompany him until the chorus (if you can speak of a chorus in an instrumental) when Goodsall (guitar) and Lumley (keyboards) take over the track! Collins’s drum sound is quite different from his Genesis sound. He works the snare and the hi-hat a lot and not so much with the toms. You can hear it here in the opening track what a fantastic and sympathetic drummer he used to be. The track ends in what seems to be a jam, but probably was written like that. You can hear the influence of Pat Metheny and Weather Report. It is jazz, but it is also rock – jazz rock or fusion music.
Euthanasia Waltz (5:42) is much calmer. An acoustic guitar is the dominant instrument before a well-rounded solo on the electric piano comes in and leads the track into a seemingly improvised jam before the track returns to the electric guitar. Phil whirls across the snare and adds highlights on the ride cymbals. The remarkable bass comes in only in the second third of the track and plays a solo. In the end the contemplative initial motive returns on the acoustic guitar.
Born Ugly (8:18) is the second longest track on the album. A very groovy number. It is best described as a session with a structure. The middle part is a bit psychedelic as the band weave a large soundscape with growing intensity. Phil then destroys this calm with his drums. The guitar solo may have been influenced by Indian music; in fact, it even sounds like a sitar in places. The track sounds like a complete improvisation by musicians who already rely blindly on each other on this their first album.
Smacks Of Euphoric Hysteria (4:30) is one of the shorter tracks. It has a slow groove. Phil’s drums are in the front; he plays a number of riffs on the toms. There is an obvious intention to give each musician more or less the same time in the centre spot. The album does not contain any track that is dominated by just one instrument.
The title track is the longest on the record (8:29). It begins quiet and even tentative and builds up a tension that is broken up suddenly by Phil’s drumming. A dialogue develops between the guitar and the keyboards; bass and drums occasionally pop in. Collins and Jones work together marvellously. This is another track that sounds like an improvised jam that all the musicians really enjoy. Some listeners may find the track too long with too many repetitions. The band really let down their hair on this one!
Running On Three is a shorter, fast track in which bass and drums play intriguing roles. The keyboards share the melodic work; a guitar solo rocks the middle bridge. The overall impression is a jazz jam.
The final track of the debut album is called Touch Wood. It begins with some (seemingly) chaotic acoustic guitar over ethereal piano sounds. Half the track passes before something like a structure emerges. A soprano saxophone comes in. The bass is played like a percussive instrument. There are no drums. The only percussion instrument you hear – briefly – is a shaker that oscillates between the left and right speakers. The track fades after 3:04 minutes and leaves the listener with silence.
(Full version: www.genesis-news.com/c-Brand-X-Unorthodox-Behaviour-Album-Review-s742.html)

01. Nuclear Burn (06:23)
02. Euthanasia Waltz (05:42)
03. Born Ugly (08:15)
04. Smacks Of Euphoric Hysteria (04:30)
05. Unorthodox Behaviour (08:29)
06. Running Of Three (04:38)
07. Touch Wood (03:04)

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Ginger Baker's Air Force (ex Cream) - Ginger Baker's Air Force [2LP on 1CD. Live] (1970)

Year: 30 March 1970 (CD 2004)
Label: Lemon Records (UK), CD LEM 22
Style: Jazz Rock, Afro Rock
Country: London, England (19 August 1939 - 6 October 2019)
Time: 78:03
Format: Flac Tracks 16/44,1 kHz
Size: 520 Mb

For a change, the late 1960s yielded up a supergroup that lived up to its hype and then some. Ginger Baker's Air Force was recorded live at Royal Albert Hall in January of 1970 -- in fact, this may be the best-sounding live album ever to come out of that notoriously difficult venue -- at a show that must have been a wonder to watch, as the ten-piece band blazed away in sheets of sound, projected delicate flute parts behind multi-layered African percussion, or built their songs up Bolero-like, out of rhythms from a single instrument into huge jazz-cum-R&B crescendos. Considering that this was only their second gig, the group sounds astonishingly tight, which greatly reduces the level of self-indulgence that one would expect to find on an album where five of the eight tracks run in excess of ten minutes. There aren't too many wasted notes or phrases in the 78 minutes of music included here, and Steve Winwood's organ, Baker, Phil Seamen, and Remi Kabaka's drums, and the sax playing by Chris Wood, Graham Bond (on alto), and Harold McNair, all stand out, especially the sax trio's interwoven playing on "Don't Care." Additionally, Denny Laine plays louder, flashier, more virtuoso-level guitar than he ever got to turn in with the Moody Blues, bending notes in exquisite fashion in the opening of Air Force's rendition of the Cream standard "Toad," crunching away on rhythm elsewhere, and indulging in some more introspective blues for "Man of Constant Sorrow." The original CD reissue, which sounded pretty good, was deleted in the early '90s, but this album has been remastered again and repackaged as part of the Ginger Baker retrospective Do What You Like on Polygram's Chronicles series. It's a must-own for jazz-rock, Afro-fusion, blues-rock, or percussion fans.
(allmusic.com/album/ginger-bakers-air-force-mw0000202606#userReviews)

01. Da Da Man (07:13)
02. Early In The Morning (11:16)
03. Don't Care (12:28)
04. Toad (12:59)
05. Aiko Biaye (13:00)
06. Man Of Constant Sorrow (03:55)
07. Do What You Like (11:39)
08. Doin' It (05:29)

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T. Rex - Futuristic Dragon (1976)

Year: 30 January 1976 (CD 2011)
Label: Fat Possum Records (US), FP1249-2
Style: Glam Rock, Rock
Country: London, England
Time: 40:42
Format: Flac Tracks 16/44,1 kHz
Size: 304 Mb

Futuristic Dragon is the eleventh studio album by English rock band T. Rex. The album was preceded by two successful singles that went into the UK chart, "New York City" and "Dreamy Lady". The album saw Marc Bolan continuing to experiment, blending rock with soul music and disco elements on certain tracks.
The album features some unusually dense production from singer and songwriter Marc Bolan, especially on "Chrome Sitar" and "Calling All Destroyers", which contained unusual musical embellishments such as the sitar and other sonic sound effects.
The album includes a nod to a new genre disco on the track "Dreamy Lady", which was released as a single under the moniker of "T Rex Disco Party". Futuristic Dragon also contains tracks heavily influenced by American soul music, which Bolan had been experimenting with since 1973. "All Alone", "Ride My Wheels", and "Dawn Storm" all feature predominantly soul-based rhythms and instrumentation.
The sleeve illustration was conceived by artist George Underwood, who had first worked with Bolan on the 1968 Tyrannosaurus Rex album My People Were Fair and Had Sky in Their Hair....
(en.wikipedia.org/wiki/Futuristic_Dragon)

01. Futuristic Dragon (01:52)
02. Jupiter Liar (03:42)
03. Chrome Sitar (03:14)
04. All Alone (02:50)
05. New York City (03:58)
06. My Little Baby (03:09)
07. Calling All Destroyers (03:57)
08. Theme for a Dragon (02:00)
09. Sensation Boulevard (03:49)
10. Ride My Wheels (02:28)
11. Dreamy Lady (02:55)
12. Dawn Storm (03:43)
13. Casual Agent (03:00)

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Paul Rodgers (ex Free & Bad Company) - Midnight Rose (2023)

Year: 2023 (CD Sep 22, 2023)
Label: Sun Record Company (US), 5047806720
Style: Rock
Country: Middlesbrough, England (17 December 1949)
Time: 32:15
Format: Flac Tracks 16/44,1 kHz
Size: 247 Mb

Midnight Rose is a studio album by Paul Rodgers, of Free and Bad Company fame. It is his first album of original material since Electric (1999). It was recorded in 2022 and 2023 at Roper Recording in Peachland and Bryan Adams' studio, The Warehouse, in Vancouver.
The song "Take Love" was previously worked on and played live by Rodgers as part of the Queen + Paul Rodgers project, although a studio version ultimately never materialised from the group.
The album has received mixed reviews with Blues Rock Review praising it as "a totally satisfying set of eight rocking songs that demonstrate why Paul Rodgers is considered one of the best singer/songwriter/frontmen of the rock & roll genre." PopMatters awarded it 6/10 with Michael Elliot saying the album, "signals the return of one of rock's greatest voices, which remarkably has not diminished over the decades and remains as expressive and powerful as ever, even if the material doesn't always match those golden vocal cords." In a 3/5 review, Loudersound.com suggests that "there are flashes of brilliance – class acts will always be class acts – but there are also moments when one wonders bemusedly what the hell is going on here."
(en.wikipedia.org/wiki/Midnight_Rose_(album))

01. Coming Home (03:19)
02. Photo Shooter (03:42)
03. Midnight Rose (04:00)
04. Living It Up (03:06)
05. Dancing In The Sun (03:49)
06. Take Love (04:20)
07. Highway Robber (05:05)
08. Melting (04:50)

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Supertramp - Indelibly Stamped (1971)

Year: 25 June 1971 (CD ????)
Label: Polygram Records (Germany), 393 129-2
Style: Progressive Pop, Soft Rock
Country: London, England
Time: 40:23
Format: Flac Tracks 16/44,1 kHz
Size: 251 Mb

Charts: AUS #53, US #158. CAN & FRA: Gold.
Rick Davies and Roger Hodgson more or less pressed the reset button on Indelibly Stamped. The band was re-tooled to include Dave Winthrop (flute/sax), Frank Farrell (bass/keyboards) and Kevin Currie (drums) and the progressive affectations of Supertramp were replaced with English rock/pop that drew from a mix of influences while still managing to sound original. Unfortunately, what the album lacks is a compelling raison d’etre. Maybe that’s what happens when you’re bankrolled by a rich Dutch patron.
For years, I’ve viewed this album as a disappointment. And, in view of what came before and after, it is. But there are some interesting songs that fans will want to salvage: Forever, Rosie Had Everything Planned, Times Have Changed. Stylistically, Indelibly Stamped is all over the place. The Beatles, Procol Harum, Traffic (Aries) and even Frank Zappa (Potter) are equally valid reference points along the way. English pop/rock in 1970/1 was still finding its way in a world without The Beatles, and Indelibly Stamped sometimes feels like that search set to music.
Over their career, it’s easy to see Supertramp‘s second album as a wrong turn or a case of turning the wheel too sharply in a different direction after drifting into deep progressive waters. Yet it’s rarely less than interesting and you have to at least partially admire the band’s ambitions. While you won’t find a pair of lost hits on here (unless you’re looking at the album cover), Indelibly Stamped isn’t the inedible stump that some have made it out to be.
“There was confused testosterone going off in all directions. There is no theme or continuity to the album or its artwork, but there is some interesting stuff on it.” — Roger Hodgson, talking about Indelibly Stamped in a Goldmine interview (March 17, 2006).
(progrography.com/supertramp/supertramp-indelibly-stamped-1971/)

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

01. Your Poppa Don't Mind (03:03)
02. Travelled (04:24)
03. Rosie Had Everything Planned (03:01)
04. Remember (04:12)
05. Forever (05:00)
06. Potter (02:23)
07. Coming Home to See You (04:44)
08. Times Have Changed (03:49)
09. Friend in Need (02:07)
10. Aries (07:36)

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Supertramp - Some Things Never Change (1997)

Year: 24 March 1997 (CD 1997)
Label: EMI Records (UK & Europe), 89989 2
Style: Progressive Pop, Soft Rock
Country: London, England
Time: 70:03
Format: Flac Tracks 16/44,1 kHz
Size: 429 Mb

Charts: UK #74, CAN #44, FRA #2, GER #3, NL #12, NOR #19, SWI #2. FRA: Gold; SWI: Platinum.
Rick Davies, Bob Siebenberg, Mark Hart, and John Helliwell re-formed Supertramp with a number of anonymous studio musicians in 1997 to record and release Some Things Never Change, their first album in ten years. And the title is correct -- nothing much has changed within Supertramp's world; they're simply churning out the same sophisticated jazzy, lite-funk-inflected pop as they did in the mid-'80s. The only thing that is different is that the group can no longer write ingratiatingly catchy melodies as they did when they called it quits in the '80s, but hardcore fans will still find the instrumental interplay a joy to hear.
(allmusic.com/album/some-things-never-change-mw0000020860)

01. It's A Hard World (09:46)
02. You Win, I Lose (04:31)
03. Get Your Act Together (04:47)
04. Live To Love You (05:19)
05. Some Things Never Change (06:26)
06. Listen To Me Please (04:46)
07. Sooner Or Later (06:51)
08. Help Me Down That Road (04:37)
09. And The Light (04:41)
10. Give Me A Chance (04:23)
11. C'est What? (08:17)
12. Where There's A Will (05:35)

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