The Rolling Stones - More Hot Rocks (Big Hits & Fazed Cookies) [2CD] (1972)

Year: 18 December 1972, Recorded    May 1963 – October 1969 (CD 1986)
Label: Abkco Records (US), 62672
Style: Rock, Rhythm and Blues
Country: London, England
Time: 38:39, 42:34
Format: Flac Tracks 16/44,1 kHz
Size: 208, 253 Mb

More Hot Rocks (Big Hits & Fazed Cookies) is a compilation album by the Rolling Stones released in December 1972 on London Records. The album was a follow-up to the successful Hot Rocks 1964-1971.
When Hot Rocks proved to be a big seller, there was never any doubt that a successor would follow. However, initially—with Andrew Loog Oldham getting involved—the project was to feature previously unreleased (or more accurately, discarded) material and be titled Necrophilia. Artwork was prepared and the album made it as far as the mastering phase when it was recalled and something a little more practical was compiled (ABKCO would revisit this concept with 1975's Metamorphosis). The result was More Hot Rocks (Big Hits & Fazed Cookies).
This was the second "post-contract" compilation released under the aegis of London/ABKCO Records after the termination of the Stones relationship with ABKCO and Decca Records. Because of the nature of the contract, the Rolling Stones lost all control over their pre-1971 recordings and this album was released without their input or consent. ABKCO and Decca would continue to release such un-authorized albums over the next several decades.
Featuring the hits that could not be shoehorned onto its predecessor, as well as first-time release of many previously UK-only releases, the double album was quickly pressed and distributed into North American shops in December 1972, reaching No. 9 in the US and going gold. Like Hot Rocks 1964-1971, More Hot Rocks (Big Hits & Fazed Cookies) would not see an official UK release until 21 May 1990.
AllMusic's Richie Unterberger writes in his review "More Hot Rocks goes for the somewhat smaller hits, some of the better album tracks, and a whole LP side's worth of rarities that hadn't yet been available in the United States when this compilation was released in 1972."
"Despite the unfathomable choices, random LP tracks, peculiar chronology ('64 through to '69, then back to '63/'64 again) and the feeling that the real stormers are elsewhere (on 'Vol 1', that is), it's an irresistible listen," wrote Select's Andrew Perry of the 1990 CD release, concluding, "A weird arrangement of quality goods."
(en.wikipedia.org/wiki/More_Hot_Rocks_(Big_Hits_%26_Fazed_Cookies))

01. Tell Me (03:51)
02. Not Fade Away (01:51)
03. The Last Time (03:43)
04. It's All Over Now (03:31)
05. Good Times Bad Times (02:35)
06. I'm Free (02:28)
07. Out Of Time (03:46)
08. Lady Jane (03:12)
09. Sittin' On A Fence (03:06)
10. Have You Seen Your Mother Baby, Standing In The Shadow? (02:36)
11. Dandelion (03:35)
12. We Love You (04:21)

01. She's A Rainbow (04:37)
02. 2000 Light Years From Home (04:48)
03. Child Of The Moon (03:08)
04. No Expectations (04:03)
05. Let It Bleed (05:31)
06. What To Do (02:31)
07. Money (02:34)
08. Come On (01:51)
09. Fortune Teller (02:10)
10. Poison Ivy (02:36)
11. Bye Bye Johnnie (02:11)
12. I Can't Be Satisfied (03:28)
13. Long Long While (02:59)

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Fleetwood Mac - Bare Trees (Japan Ed.) (1972)

Year: March 1972 (CD August 25, 1988)
Label: Reprise Records (Japan), 20P2-2094
Style: Pop Rock, Soft Rock
Country: London, England
Time: 37:17
Format: Flac Tracks 16/44,1 kHz
Size: 204 Mb

Charts: US #70, AUS #37. US: Platinum.
"Child of Mine" alludes to Kirwan's biological father not having been part of his life (Kirwan was his stepfather's surname). "The Ghost" was later re-recorded by Bob Welch for His Fleetwood Mac Years and Beyond, Vol. 2 in 2006, but this version was only available on the digital edition. The flute noises on "The Ghost" were triggered from a mellotron played by Christine McVie. "Homeward Bound" alludes to Christine McVie's road weariness and desire "for a proper night's rest in her own bed", according to Fleetwood. "Sunny Side of Heaven" is an instrumental, which was later performed with Lindsey Buckingham on guitar for some shows in the mid-1970s.
"Bare Trees" shares a theme with both the album's cover photography by John McVie and the closing poem "Thoughts On a Grey Day." "Sentimental Lady" was released as a single, and was later re-recorded by Welch (with Mick Fleetwood, Christine McVie, and Buckingham backing him) for his solo album French Kiss. Welch recorded the song again for His Fleetwood Mac Years & Beyond in 2003. "Danny's Chant" features the use of wah-wah guitars. The track is largely an instrumental, although it does feature rhythmic, wordless vocals from Kirwan.
"Spare Me a Little of Your Love" became a staple of the band's live act from 1972 to 1977. It was also covered by Johnny Rivers on his studio album New Lovers and Old Friends in 1975. Jackie DeShannon recorded a version for her 1972 album Jackie although this did not make the final cut and was not released on her All the Love: The Lost Atlantic Recordings album. The lyrics for "Dust" were taken from the first two verses of a poem of the same title, written by Rupert Brooke in 1910. Unlike W. H. Davies, who received a credit for the words to "Dragonfly", Brooke was not credited.
The final track on the album, "Thoughts on a Grey Day", is not a Fleetwood Mac song, but a monaural recorded poem written and read by an elderly woman, Mrs. Scarrott, who lived near the band's communal home, 'Benifold', in southern England. Bob Welch, however, said in a Penguin Q&A in 1999, "The spoken thing Mick does about 'Trees so bare' was written, I think, by this sweet old lady that lived near Benifold ... Mick did an affectionate 'schtick' on her to close the album."
Five of the ten tracks, comprising the majority of the music featured on the album, were written by Kirwan. "Trinity", another Kirwan song recorded at the sessions, was subsequently released in 1992 on the 25 Years - The Chain box set in stereo. The 2020 remastered edition of Bare Trees from the 1969 to 1974 CD box set features the track in an alternate mono mix, alongside the US single mix of "Sentimental Lady", and a live recording of "Homeward Bound".
(en.wikipedia.org/wiki/Bare_Trees)

01. Child Of Mine (05:28)
02. The Ghost (04:02)
03. Homeward Bound (03:24)
04. Sunny Side Of Heaven (03:10)
05. Bare Trees (05:04)
06. Sentimental Lady (04:35)
07. Danny's Chant (03:18)
08. Spare Me A Little Of Your Love (03:47)
09. Dust (02:41)
10. Thoughts On A Grey Day (01:43)

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Ozzy Osbourne (Black Sabbath) - Down To Earth [Japan Ed.] (2001)

Year: 16 October 2001 (CD Oct 11, 2001)
Label: Sony Records International Inc. (Japan), SICP 3
Style: Hard Rock
Country: Birmingham, England
Time: 52:05
Format: Flac Tracks 16/44,1 kHz
Size: 374 Mb

Charts: UK #19, AUS #46, CAN #2, FIN #9, GER #15, NOR #12, NZ #41, SWE #1, SWI #47, US #4. UK: Silver, Canada & USA: Platinum.
One of the most noticable things about this album is that Ozzy has tried to modernise his sound. The guitar riffs are definitely 90s inspired, theres a few industrial "alt" touches here and there and the songs are quite simple and straight forward. Where as No More Tears was a firm heavy metal record, this is more like a modern alt-metal record.
However, the modern sound turns out to be quite good in places. Facing Hell starts out with an industrial-ish intro before going into a 1919 Eternal-era sounding riff which sounds very fitting. However there is definitely something lacking about this album. The riff structures are incredibly bland in places and it's quite obvious that Zakk Wylde didn't write anything on this album. It's a shame really cause the last time Zakk and Ozzy actually sat down and wrote together with no other main contributers, they came out with the masterpiece No More Tears. This album is a far cry from those days.
The guitars have a distinct "Zakk" style to them still, the tone is heavy, the pinch harmonics are scattered throughout and the guitar solos are something only Zakk could play to it's full effect. Ozzy's voice sounds good, and generally the band plays well together. The piano driven Dreamer is something which you'd expect a guy half way into his 50s to be playing and the rest of the music is quite an interesting blend of modern metal sound with old metal ethics.
Despite this not being as good as it could/should have been, it's still a solid effort and worthy of a place in Ozzy's back catalogue. I doubt we'll be getting another No More Tears any time soon, but at least this is an improvement on Ozzmosis.
(metal-archives.com/reviews/Ozzy_Osbourne/Down_to_Earth/1006/) Review by SufferingOverdue. May 24th, 2003

01. Gets Me Through (05:04)
02. Facing Hell (04:26)
03. Dreamer (04:44)
04. No Easy Way Out (05:06)
05. That I Never Had (04:23)
06. You Know... (Part1) (01:06)
07. Junkie (04:28)
08. Running Out Of Time (05:05)
09. Black Illusion (04:21)
10. Alive (04:53)
11. Can You Hear Them? (05:00)
12. No Place For Angels (03:23)

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Phil Manzanera (ex Roxy Music) - The Manzanera Collection [2CD] (1995)

Year: 1995 (CD 1995)
Label: Virgin Records (UK), CDVDM9033 7243 8 40462 2 4
Style: Pop Rock, New Age
Country: London, England (January 31, 1951)
Time: 71:46, 72:08
Format: Flac Tracks 16/44,1 kHz
Size: 432, 469 Mb

Spanning two CDs, The Manzanera Collection sacrifices accessibility for the sake of comprehensiveness. Drawing from all stages of the eclectic guitarist's career, from Roxy Music through 801 to his solo career, the set works as a sampler, yet it doesn't do justice to his work -- there are only five Roxy Music tracks included. Instead of selecting the highlights, the collection dabbles in each phase of his career, resulting in a hodgepodge that isn't as entertaining or cohesive as any of his individual albums, even if it does give some sense of his eclecticism.
(allmusic.com/album/manzanera-collection-mw0000174589)

01. Tomorrow Never Knows-801 Live (06:44)
02. Over You-Roxy Music (03:23)
03. Out Of The Blue-Roxy Music (04:39)
04. Fat Lady Of Limbourg-801 Live (06:03)
05. Impossible Guitars-Roxy Music (03:40)
06. Charlie-Tim Finn (04:28)
07. Take A Chance With Me-Roxy Music (04:56)
08. Frontera-with Robert Wyatt (04:04)
09. Diamond Head-801 Live (06:19)
10. Needle In A Camel's Eye-Eno (03:06)
11. Miss Shapiro-801 Live (06:20)
12. The End-Nico (09:30)
13. Gun-John Cale (04:48)
14. Europe 70-1 -Phil Manzanera (03:40)

01. Leyenda-Guitar Legends '91 (01:35)
02. Frontera '91-Guitar Legends '91 (04:34)
03. Southern Cross-Guitar Legends '91 (03:38)
04. Sphinx-Guitar Legends '91 (03:19)
05. Amazona-Roxy Music (04:13)
06. A Million Reasons Why-Phil Manzanera (03:56)
07. Fifth Wheel-Tim Finn (04:14)
08. It's Just Love-Wetton/Manzanera (03:15)
09. Talk To Me-Wetton/Manzanera (04:01)
10. Suzanne-Wetton/Manzanera (03:22)
11. Black Gang Chine-MacKay/Manzanera (04:40)
12. Lorelei-The Explorers (03:58)
13. Criollo-Phil Manzanera (05:12)
14. Mama Hue-Mancada/Manzanera (04:50)
15. Corazon Corazon-Mancada/Manzanera (07:38)
16. Flor De Azalea-Tania Libertad (03:15)
17. Espiritu-Sergio Dias/Manzanera (06:20)

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Matching Mole (Robert Wyatt) - On The Radio - A BBC Recording (2006)

Year: 1971-1972 (CD Jan 30, 2007)
Label: Hux Records (UK), HUX 083
Style: Canterbury Scene, Jazz Rock, Progressive Rock
Country: Canterbury, England
Time: 77:53
Format: Flac Tracks 16/44,1 kHz
Size: 437 Mb

Matching Mole may have lasted just under a year when it surfaced 35 years ago, but public interest in drummer/vocalist Robert Wyatt's first post-Soft Machine project continues to be strong. On the Radio isn't the first archival live release, and nearly three-quarters of the material was previously available, but only for a short time. This remastered reissue of five BBC Radio studio and live dates features significantly improved sound, but what sets it apart from the earlier Windsong BBC release is the previously unavailable twenty-minute medley that opens this 78-minute disc.
Matching Mole began as a solo project for Wyatt. But the chemistry that emerged with pianist David MacRae, guitarist Phil Miller, bassist Bill MacCormick and organist Dave Sinclair (who left after the first album and appears on only two dates here) quickly turned it into a group effort.
Matching Mole and Little Red Record, both released by Columbia in 1972, may have been good, but this band was best experienced live. While only a third of these radio recordings were recorded in concert in front of an audience, the studio sessions were "live off the floor, with the same energy and excitement that's missing on the group's studio albums.
Wyatt left Soft Machine because of the band's shift from song form towards a mix of detailed composition and open-ended improvisation. While it sounds nothing like Soft Machine, Matching Mole did place a similar emphasis on improvisation. No two versions of a tune ever sounded the same, making any duplication here revealing, rather than superfluous. Even the way the group would segue from one song to the next varied from night to night.
Despite the group's loose approach to interpretation, there's a stronger sense of melody-lyricism, even-compared to the Soft Machine of the same period. Miller was already a distinctive player, with a keen ear for finding unexpected ways to weave through the material. Like Miller, MacRae was consistently intriguing yet never self-indulgent. Wyatt-whose career behind the kit would be cut short not long after he dissolved the group when an accident left him paralyzed from the waist down-may have gravitated to song form, but he was a loose and subtly responsive drummer. The biggest surprise about MacCormick is that he'd only been playing bass for eighteen months before joining the group.
The sound quality varies, despite Hux's fine remastering job. The opening twenty minutes are the best sonically, but even the lower-fidelity tracks are clear and easy on the ears. There's not a single track on this record that hasn't appeared elsewhere in a different form. But On the Radio is the best album to date from this short-lived but influential group, a band that ranged from elegant understatement to sheer power.
(allaboutjazz.com/on-the-radio-matching-mole-hux-records-review-by-john-kelman)

01. Instant Pussy / Smoke Signal (20:33)
02. Part Of The Dance (07:56)
03. No 'alf Measures (06:49)
04. Lithing And Gracing (07:18)
05. Immediate Kitten (09:59)
06. Instant Pussy (05:47)
07. Lithing And Gracing (04:49)
08. Marchides (06:49)
09. Part Of The Dance (06:32)
10. Brandy As In Benj (01:16)

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W.A.S.P. - W.A.S.P. [Japan Ed.] (1984)

Year: August 17, 1984 (CD Jan 01, 1998)
Label: Victor Records (Japan), VICP 60149
Style: Heavy Metal, Glam Metal[
Country: Los Angeles, California, U.S.
Time: 48:43
Format: Flac Tracks 16/44,1 kHz
Size: 357 Mb

Charts: US #74, CAN #56, FIN #8, SWE #15, UK #51. CAN & US: Gold.
The album has been known under three different names; the spine of the original European vinyl release had Winged Assassins printed on it, while early cassette releases of the album had the name of the album's first track, "I Wanna Be Somebody", printed in bold letters on the cover. The album is officially entitled simply W.A.S.P., which it is typically referred to as.
Prior to its original release, the controversial track "Animal (Fuck Like a Beast)" was deleted from the album. The Parents Music Resource Center had labeled the song as one of its "Filthy 15", songs that the group determined to be morally objectionable. Capitol Records subsequently bowed to pressure and pulled the song. The band released it as a single in the UK in 1984 on the indie label Music for Nations, and the single subsequently became a highly sought after item in North America as an import. The 1998 reissue features the originally intended track list with the song reinstated.
The song "I Wanna Be Somebody", released as the album's second single with accompanying music video, was so popular that VH1 later placed it in their list of the "Top 100 Hard Rock Songs" of all time. "L.O.V.E. Machine" dates back to Lawless' pre-W.A.S.P. band Circus Circus, who frequently played the song live but never recorded it.
Several of the album's songs have been covered by other bands. "Sleeping (In the Fire)" has been covered by Tiamat and Anders Manga, "Hellion" by Children of Bodom and In Aeternum, "L.O.V.E. Machine" by Fallen Man, Lullacry, Fozzy and Alghazanth, "I Wanna Be Somebody" by Sentenced, Catamenia, Witchery, Avulsed and Gates of Ishtar, and "The Torture Never Stops" by the death metal group Torture Division.
The song "Tormentor" was heard in the films The Dungeonmaster (1984) and TerrorVision (1986).
(en.wikipedia.org/wiki/W.A.S.P._(album))

01. Animal (Fuck Like A Beast) (03:07)
02. I Wanna Be Somebody (03:43)
03. L.O.V.E. Machine (03:52)
04. The Flame (03:41)
05. B.A.D. (03:56)
06. School Daze (03:35)
07. Hellion (03:39)
08. Sleeping (In The Fire) (03:55)
09. On Your Knees (03:49)
10. Tormentor (04:10)
11. The Torture Never Stops (03:56)
12. Show No Mercy (03:48)
13. Paint It Black (03:27)

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Khan (Steve Hillage) - Space Shanty [Japan Ed. SHM-CD] (1972)

Year: 2 June 1972 (CD Nov 26, 2008)
Label: Deram Records (Japan), UICY-93833
Style: Canterbury Scene, Progressive Rock
Country: England
Time: 53:58
Format: Flac Tracks 16/44,1 kHz
Size: 361 Mb

Khan were an English progressive rock band of the Canterbury Scene during 1971-1972.
Formed by Steve Hillage from Uriel, the initial line-up was Steve Hillage (guitar), Nick Greenwood (bass guitar, from The Crazy World of Arthur Brown), Dick Heninghem (organ) and Pip Pyle (percussion). Pyle quickly moved on to Gong and by the time the band played its first gig in June 1971 he had been replaced by Eric Peachey. In October 1971, Dick Heninghem left as well, replaced by Dave Stewart for the duration of the album sessions.
The album Space Shanty was released in June 1972, followed by a UK tour supporting Caravan, for which Canadian organist Val Stevens joined. Songs like "Stranded" and "Driving To Amsterdam" attempt atmospheres reminiscent of Uriah Heep's epic ballads (something not often done in a direct and dedicated way in the Canterbury scene - while Kevin Ayers may be comparable, a key difference is that Hillage's lyrics and compositions aren't detached or ironic).
In the summer of 1972, Hillage put together a new version of the band, retaining Peachey but adding Dave Stewart on keyboards and Nigel Griggs on bass. New material was written and rehearsed, and a few live performances took place in September–October 1972, but Decca's refusal to commit to the release of a second album led Hillage to break up the band and join Kevin Ayers's band, then Gong. Some material on Steve Hillage's first solo album, Fish Rising, was originally planned for Khan's aborted second album.
(en.wikipedia.org/wiki/Khan_(band))

01. Space Shanty (09:00)
02. Stranded (06:35)
03. Mixed Up Man of the Mountains (07:15)
04. Driving To Amsterdam (09:22)
05. Stargazers (05:33)
06. Hollow Stone (08:20)
07. Break The Chains (Bonus Track) (03:25)
08. Mixed Up Man of the Mountains (First Version) (Bonus Track) (04:25)

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Roxy Music - Roxy Music [Japan Ed. SHM-CD] (1972)

Year: 16 June 1972 (CD Jul 31, 2013)
Label: Virgin Records (Japan), VJCP-98136
Style: Art Rock, Glam Rock, Pop Rock
Country: London, England
Time: 45:42
Format: Flac Tracks 16/44,1 kHz
Size: 299 Mb

Charts: UK #10, AUS #49, NL #89, NOR #23. UK: Gold.
The opening track, "Re-Make/Re-Model", has been labelled a postmodernist pastiche, featuring solos by each member of the band echoing various touchstones of Western music, including The Beatles' "Day Tripper", Duane Eddy's version of "Peter Gunn", and Wagner's "Ride of the Valkyries"; the esoteric "CPL 593H" was supposedly the licence number of a car spotted by Bryan Ferry that was driven by a beautiful woman. Brian Eno produced some self-styled "lunacy" when Ferry asked him for a sound "like the moon" for the track "Ladytron". "If There Is Something" was covered by David Bowie's Tin Machine, and was later featured quite extensively, almost as a central figure, in the British film Flashbacks of a Fool.
Several of the album's songs were thematically linked to films. "2HB", with its punning title, was Ferry's tribute to Humphrey Bogart and quoted the line "Here's looking at you, kid" made famous by the 1942 film Casablanca; "Chance Meeting" was inspired by David Lean's Brief Encounter (1945). "The Bob" took its title from Battle of Britain (1968) and included a passage simulating the sound of gunfire.
Discussing the music, Andy Mackay later said "we certainly didn't invent eclecticism but we did say and prove that rock 'n' roll could accommodate – well, anything really".
Склонность группы к гламуру была продемонстрирована как в текстах песен, так и в обложке альбома в стиле 1950-х годов. Фотограф Карл Стокер снял обложку с моделью Кари-Энн Моллер, которая позже вышла замуж за Криса Джаггера, брата Мика Джаггера (стилизованный портрет Кари-Энн Моллер также украшает обложку альбома Mott the Hoople 1974 года The Hoople). После Brexit, когда Моллер была остановлена ??иммиграционными властями во время поездки по норвежскому паспорту, Джаггер загрузил обложку Roxy Music в поддержку заявления своей жены о том, чтобы остаться в Великобритании.
(en.wikipedia.org/wiki/Roxy_Music_(album))

01. Re-Make / Re-Model (05:14)
02. Ladytron (04:26)
03. If There Is Something (06:34)
04. Virginia Plain (02:58)
05. 2 H.B. (04:30)
06. The Bob (Medley) (05:48)
07. Chance Meeting (03:08)
08. Would You Believe (03:53)
09. Sea Breezes (07:03)
10. Bitters End (02:03)

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Raspberries - Side 3 [Japan Ed.] (1973)

Year: September 10, 1973 (CD Oct 24, 2007)
Label: Capitol Records (Japan), TOCP-70208
Style: Power Pop, Pop Rock
Country: Cleveland, Ohio, U.S.
Time: 35:56
Format: Flac Tracks 16/44,1 kHz
Size: 274 Mb

The album cover is diecut like a basket of Raspberries, with the group's name placed at the top of the LP sleeve. Three singles were released from the album: "Tonight" / "Hard to Get Over a Heartbreak", which reached number 69 on the US Billboard Hot 100 and number 37 on the Cash Box chart; "I'm a Rocker", which reached number 94 on Billboard and number 75 on Cash Box; and "Ecstasy", which did not chart on Billboard but reached number 116 on Cash Box. The album itself reached number 138 on the US albums chart.
Record World called "I'm a Rocker" a "rollicking rocker that should put [the Raspberries] back in the top ten where they belong" and "another powerhouse Jimmy Ienner production." Cash Box said "Hard, steady rocker with top flight Eric Carmen vocals and driving music makes this one a dance natural." Billboard recommended the single. Lead vocalist Eric Carmen described it as "a kind of Little Richard, old-time 1950s rock and roll rave up." Classic Rock History critic Brian Kachejian said of it that "When Eric Carmen wanted to let loose, he had the pipes to stand with any great rock lead vocalists" and noted that the song "starts out heavy but finds its way leaning towards more of the pop side of the band when the verse meets the chorus." Anderson Daily Bulletin critic Randall L. Rohn said it has "an updated 50s sound" and that "Carmen's screaming falsetto sounds so much like Paul McCartney that comparison is inevitable." Music critic Robert Christgau said it was "atypically guitar-tough."
Ultimate Classic Rock critic Dave Swanson rated four songs from Side 3 among the Raspberries' 10 best: "Ecstasy", "Tonight", "On the Beach" and "Last Dance". Kachejian rated "I'm a Rocker" and "Tonight" as being among the Raspberries' Top 10.
"Tonight" was later recorded by glam metal band Motley Crue for their 1981 album Too Fast for Love, but the track was left off the initial release (it appeared on the 1999 reissue and later versions).
(en.wikipedia.org/wiki/Side_3_(Raspberries_album))

01. Tonight (03:41)
02. Last Dance (03:38)
03. Making It Easy (03:11)
04. On the Beach (04:22)
05. Hard to Get Over a Heartbreak (04:14)
06. I'm a Rocker (05:10)
07. Should I Wait (03:55)
08. Ecstasy (03:37)
09. Money Down (04:04)

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Boney M. - The Best Of 10 Years - 32 Superhits (1986)

Year: January 1986 (CD 1986)
Label: Hansa Records (Germany), 610 550
Style: Pop, Disco
Country: West Germany
Time: 48:06
Format: Flac Tracks 16/44,1 kHz
Size: 317 Mb

The Best of 10 Years – 32 Superhits also known as 32 Superhits - Non-Stop Digital Remix is a remix album by Boney M. released in 1986.
In 1981 producer Frank Farian created a thirteen-minute medley in the style of Stars on 45 called "6 Years of Boney M. Hits (Boney M. on 45)" which was issued as both A- and B-side singles in certain territories - in the UK the medley was the B-side of Boonoonoonoos 12" single "We Kill The World (Don't Kill The World)", in Germany the edited 7" version appeared as the B-side of Christmas Album single "Little Drummer Boy" and the longer version as a separate A-side 12" release in early 1982.
Five years later, shortly after the unsuccessful Eye Dance project, when Boney M. were celebrating their first decade as a group - although it in reality was dissolved at the time - Farian took the non-stop medley idea one step further and extended the medley to a thirty-two track, forty-six minutes full-length album of Boney M's greatest hits with additional percussive and synthesized overdubs.
The Best of 10 Years - 32 Superhits reached #3 on the German albums chart.
(en.wikipedia.org/wiki/The_Best_of_10_Years_%E2%80%93_32_Superhits)

01. Daddy Cool (01:43)
02. Sunny (01:37)
03. Ma Baker (01:53)
04. Belfast (01:14)
05. Rasputin (01:34)
06. Painter Man (01:40)
07. Children Of Paradise (01:36)
08. Gotta Go Home (01:45)
09. Dreadlock Holiday (01:22)
10. Felicidad (01:41)
11. Barbarella Fortuneteller (01:40)
12. Gadda Da Vida (01:43)
13. Got Cha Loco (01:25)
14. Todos Buenos (01:50)
15. No Woman No Cry (01:43)
16. Brown Girl In The Ring (01:42)
17. B.M. A GoGo (Medley) (05:53)
18. Rivers Of Babylon (01:45)
19. El Lute (01:46)
20. The Calendar Song (January, February, March) (01:50)
21. Bang Bang Lulu (01:32)
22. Hooray! Hooray! It's A Holi-Holiday (01:00)
23. Kalimba De Luna (01:39)
24. My Cherie Amour (01:33)
25. I Feel Good (01:22)
26. Young, Free And Single (01:41)
27. Happy Song (01:48)

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Aerosmith - Aerosmith (1973)

Year: January 5, 1973 (CD ????)
Label: Columbia Records (US), CK 32005
Style: Hard Rock
Country: Boston, Massachusetts, U.S.
Time: 35:39
Format: Flac Tracks 16/44,1 kHz
Size: 215 Mb

Charts: US #21, CAN #58. CAN: Platinum; US: 2x Platinum.
The album's songs were largely written by Tyler, in contrast to later albums where other band members also contributed songs. The album's songs represent an early success in songwriting, a skill he had recently developed. He explains in a 1998 interview:
"The other guys really weren't into writing. Joe and I had written "Movin' Out," and I remember, the other guys lived in the living room, and I would wake them up in the morning and start playing the piano, because I had this thought from the night before. I wrote "One Way Street," "Make It," then "Write Me A Letter" and "Mama Kin." And I brought a song called "Dream On," which I had written three or four years before that. So, at the end of this album, I realized that something that I was trying to do for years and was not successful at I finally could do, which was write songs."
"Make It" leads off the album and also served as the band's opening song during their first tours. Tyler wrote the song on the back of a Kleenex box in the back seat of the car as the group drove down from New Hampshire to Boston to move in together to start the band. Tyler was inspired both by the sudden view of the city through the windshield and the possibilities that starting the new band presented.[8] He explains to biographer Stephen Davis, "I wrote 'Make It' in a car driving from New Hampshire to Boston. There's that hill you come to and see the skyline of Boston, and I was sitting in the backseat thinking, What would be the greatest thing to sing for an audience if we were opening up for the ... Stones? What would the lyrics say?"[9] Drummer Kramer elaborates on the song's sentiment in a 1998 interview: "You could search the ends of the earth, and I don't think you could find five more different guys. The one thing that we all had in common was that we all wanted to make it. And making it back then had nothing to do with being rich and famous. It had to do with being recognized, by your peers and people, for being a great band and being able to play concerts where a lot of people would come."
(full version: en.wikipedia.org/wiki/Aerosmith_(album))

01. Make It (03:39)
02. Somebody (03:45)
03. Dream On (04:25)
04. One Way Street (07:00)
05. Mama Kin (04:25)
06. Write Me A Letter (04:10)
07. Movin' Out (05:01)
08. Walkin' The Dog (03:11)

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Judas Priest - Rocka Rolla (1974)

Year: 6 September 1974 (CD 1993)
Label: Repertoire Records (Germany), REP 4305-WY
Style: Hard Rock
Country: Birmingham, England
Time: 42:10
Format: Flac Tracks 16/44,1 kHz
Size: 253 Mb

According to the band, the entire album was played live in the studio rather than having individual musicians record alone.
According to the band there were technical problems in the studio, resulting in poor sound quality and a hiss through the album. Guitarist Glenn Tipton had just joined when recording of Rocka Rolla began; his only songwriting contributions accepted by producer Rodger Bain were on the title track and "Run of the Mill". He did come up with the songs "Tyrant", "Epitaph", and "Ripper", but Bain considered them not commercial enough and rejected them. Bain also rejected the concert staple "Whiskey Woman" which later, with contributions from Tipton, morphed into "Victim of Changes". These songs were eventually all included on their next album, Sad Wings of Destiny. In addition, "Winter", "Deep Freeze" and "Winter Retreat" form a suite, but are listed as separate tracks and divided as such on some versions of the CD release.
Several of the songs on the album feature contributions from the band's previous frontman Al Atkins and had been regular parts of their live performances in Manchester, where the band had achieved a cult following during the previous few years. The track "Caviar and Meths" was originally a 14-minute effort penned by Atkins, Downing, and Hill but due to time constraints, only the intro was recorded for the album. A longer 7-minute version of the song appears on Atkins's 1998 album Victim of Changes. That album also contains covers of "Winter" and "Never Satisfied".
(full version: en.wikipedia.org/wiki/Rocka_Rolla)

01. One For The Road (04:38)
02. Rocka Rolla (03:06)
03. Winter (01:41)
04. Deep Freeze (01:20)
05. Winter Retreat (03:27)
06. Cheater (02:58)
07. Never Satisfied (04:50)
08. Run Of The Mill (08:32)
09. Dying To Meet You (06:18)
10. Caviar And Meths (02:02)
11. Diamonds And Rust (Joan Baez cover - Bonus Track) (03:14)

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Deep Purple - In Rock [Japan Ed. SHM-CD] (1970)

Year: 5 June 1970 (CD September 17, 2008)
Label: Warner Bros. Records (Japan), WPCR-13110
Style: Hard Rock, Classic Rock
Country: London, England
Time: 42:13
Format: Flac Tracks 16/44,1 kHz
Size: 286 Mb

Charts: UK #4, AUS #1, AUT #1, FIN #9, GER #1, NOR #1, SWE #5, US #143. UK, ITA, US & FRA: Gold.
Deep Purple in Rock is the fourth studio album by English rock band Deep Purple, released on 5 June 1970. It was the first studio album recorded by the Mark II line-up of Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord and Ian Paice.
Work on In Rock began shortly after Gillan and Glover joined the band in June 1969, with rehearsals at Hanwell Community Centre. The music was intended to be loud and heavy, and accurately represent the group's live show. Recording took place at various studios around London in between extensive touring, during which time songs and arrangements were honed into shape.
In Rock was the band's breakthrough album in Europe and peaked at No. 4 in the UK, remaining in the charts for over a year. By contrast, it underperformed in the US, where the band's Mark I albums had been more successful. An accompanying single, "Black Night" reached No. 2 in the UK, becoming their highest charting single there. The album has continued to attract critical praise as a key early example of the hard rock and heavy metal genres.
(en.wikipedia.org/wiki/Deep_Purple_in_Rock)

01. Speed King (04:23)
02. Bloodsucker (04:15)
03. Child In Time (10:21)
04. Flight Of The Rat (07:57)
05. Into The Fire (03:30)
06. Living Wreck (04:32)
07. Hard Lovin' Man (07:12)

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Various Artists - The Broken Law - A Tribute To Judas Priest (2012)

Year: 2012 (CD 2012)
Label: Redline Records (UK), REDLINE47
Style: Heavy Metal, Hard Rock
Country: UK, U.S., Brazilia
Time: 56:14
Format: Flac Tracks 16/44,1 kHz
Size: 418 Mb

There is nothing more (or less) interesting than a tribute album. I mean, this is the type of record you like or you hate ... the kind of CD bought by die-hard fans only. As for me, I consider tribute albums as slot-machines - you always lose money at the end. Will it be different for this one?
Judas Priest ... f*cking heavy metal Judas Priest... is reviewed by heavy, true, thrash, black and death metal bands. In other words, a classic tribute. Judas Priest being undeniably one of the greatest heavy metal bands on this planet - someone shout "the best"? - with a long and successful history, this tribute must be a strong one.
Annihilator plays the starter with Hell Bent For Leather : perfect execution and this classic sound/touch of the Canadian thrash band, a real nice cover. It continues with Primal Fear, where Ralph perfectly sings Metal Gods ... but I suppose you're not really astonished. Skid Row is lucky enough to have recorded a live version of Delivering The Gods with nobody else than .... Rob Halford on the stage : in other words, a wonderful live song.
Witchery, with its typical heavy/black sound, has chosen Riding On The Wind and they also deliver a perfect heavy/black Judas Priest lesson. Iced Earth follows with Screaming For Vengeance : Matthew Barlow is one of the best heavy metal voice around and he proves it once again on this cover. Siebenburger is credited for the first "strange" cover (Jawbreaker), where the "toad" vocals of the singer almost kill one of the best Judas Priest classic song. Hammerfall, with Oscar singing Breaking The Law, is another risky choice, but for those of you who have seen the Swedish true metal band on tour, you know that Oscar really loves this song.
Benediction arrives with a death metal Electric Eye, but the fantastic Death metal lesson is delivered by Chuck Schuldiner on Painkiller. Silent Force and DC Cooper attack with All Guns Blazing (what a voice !) while Steel Prophet once again proves their talent for cover songs (Dreamer, Deceiver). Armored Saint (Never Satisfied), Therion (Green Manalishi) and Thunderstone (Diamonds And Rust) close this 14 tracks tribute album, with a special mention to Thunderstone.
The production and the sound from one song to another is definitely not linear - sometimes being poor for bands like Iced Earth or Primal Fear - but the overall is really good. A must for the die-hard Judas Priest's fans out there ... as usual for tribute albums.
(metalreviews.com/reviews/album/1181)

01. Motorhead - Breaking The Law (02:37)
02. L.A. Guns -Living After Midnight (03:54)
03. Vince Neil - Desert Plains (04:16)
04. Broken Teeth - Devil's Child (04:23)
05. Fozzy - Metal Gods (03:59)
06. Great White - Diamonds And Rust (03:32)
07. Jani Lane - Electric Eye (03:38)
08. Angel City Outlaws -Heading Out To The Highway (03:58)
09. Sin City All-Stars - Turbo Lover (04:55)
10. Warrant - Hell Bent For Leather (02:56)
11. Firehouse - You've Got Another Thing Coming (05:19)
12. Ripper Owens - Exciter (05:57)
13. Icarus Witch - The Ripper (03:03)
14. Sepultura -Screaming For Vengeance (03:39)

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Organisation (Kraftwerk) - Tone Float (1970)

Year: June 1970 (CD 1996)
Label: Crown Records (Italy), CR 0426-2
Style: Krautrock, Avant-Garde
Country: Germany
Time: 52:15
Format: Flac Tracks 16/44,1 kHz
Size: 233 Mb

Tone Float is the only album by the German band Organisation zur Verwirklichung gemeinsamer Musikkonzepte (Organisation). Organisation is best remembered for having the two founders of Kraftwerk as members, Ralf Hutter and Florian Schneider-Esleben, which they did after the album's release and band's disbandment.
The album was produced by Konrad "Conny" Plank. Of the album's recording, Hutter would later say:
The studio was in the middle of an oil refinery. When we came out of the door we could hear the sound of those big flames burning off the fumes – all kinds of industrial noises.
Sales were poor and RCA opted to drop the band, which then dissolved following the departure of Hutter and Schneider-Esleben to Kraftwerk.
The album has never been officially reissued, although bootleg CDs, LPs and cassettes appeared since the 1990s. These often included a bonus audio-track, erroneously titled Vor dem blauen Bock, which in fact is an instrumental track named Rucksto? Gondoliere, from a 22 May 1971 performance by Kraftwerk on the Bremen Beat-Club TV show. This song features the short-lived line-up of Florian Schneider, Michael Rother and Klaus Dinger (Ralf Hutter had left the group during this period to study architecture). Rother and Dinger left Kraftwerk shortly afterwards to form Neu!.
In 2021, the album was unofficially rereleased on digital services under the name Tone Float Beat-Club 1971, along with a new album cover by record label Media Champ. This release additionally includes, and correctly names, RuckstoB Gondoliere.
(en.wikipedia.org/wiki/Tone_Float)

01. Tone Float (20:37)
02. Milk Rock (05:17)
03. Silver Forest (03:15)
04. Rhythm Salad (04:05)
05. Noitasinagro (07:42)
06. RuckstoB Gondoliere (22 May 1971 Bremen Beat-Club TV show) (11:17)

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Alice Cooper - Pretties For You [Japan Ed. SHM-CD] (1969)

Year: une 25, 1969 (CD December 21б 2011)
Label: Warner Bros. Records (Japan), WPCR-14299
Style: Garage Rock, Experimental Rock, Progressive Rock
Country: Phoenix, Arizona, U.S. (February 4, 1948)
Time: 38:08
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

Pretties for You is the debut studio album by American rock band Alice Cooper, released on June 25, 1969, by Straight Records. "Alice Cooper" referred to the band and not its lead singer Vincent Furnier. The album has a psychedelic style to it and the group had yet to develop the more concise hard rock sound that they would become famous for.
Most of the tracks feature unusual time signatures and arrangements, jarring syncopation, expressive dynamics, sound effects, and an eclectic range of music influences. A few songs, such as "Levity Ball", show the influence of Syd Barrett-era Pink Floyd, with whom the band hung out during the British group's U.S. tour. Alice Cooper guitarist Glen Buxton stated he could listen to Barrett's guitar playing for hours on end.
The artwork for this album is a painting by Edward Beardsley. It was originally hanging on the wall of the living room in Frank Zappa's house, and his wife Gail Zappa stated that it was later stolen from them.
Pretties for You was a critical and commercial failure, briefly appearing on the Billboard Top 200, and none of its songs have ever been played live by Cooper since the release of the band's breakthrough album Love It to Death. The song "Reflected", Alice Cooper's first single, was later rewritten as "Elected", which features on their 1973 album Billion Dollar Babies.
(en.wikipedia.org/wiki/Pretties_for_You)

01. Titanic Overture (01:12)
02. 10 Minutes Before The Worm (01:39)
03. Sing Low, Sweet Cheerio (05:42)
04. Today Mueller (01:48)
05. Living (03:12)
06. Fields Of Regret (05:45)
07. No Longer Umpire (02:02)
08. Levity Ball (Live At The Cheetah) (04:39)
09. B.B. On Mars (01:17)
10. Reflected (03:17)
11. Apple Bush (03:08)
12. Earwigs To Eternity (01:19)
13. Changing Arranging (03:03)

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Greenslade - Greenslade [Japan Ed.] (1973)

Year: February 1973 (CD Apr 25, 1992)
Label: Warner Bros. Records (Japan), WPCP-4794
Style: Progressive Rock
Country: London, England
Time: 40:36
Format: Flac Tracks 16/44,1 kHz
Size: 256 Mb

Greenslade is an eponymous studio album by British progressive rock band Greenslade, released on the Warner Bros. label in 1973, and their first album. The artwork for the album cover is by Roger Dean. The album has seven tracks comprising six songs and one instrumental with a vocal track.
The song "Feathered Friends" was issued as a promotional single, with "An English Western" and "Temple Song" on the B-side. A second single, on general release was issued in May 1973 with "Temple Song" on the A-side and "An English Western" on the B-side.
Reviewing the album, planetmellotron.com said, "The album is pretty laid-back, with big themes rather than particularly strong melodies, but they made a good noise, and really didn't sound much like anyone else."
(en.wikipedia.org/wiki/Greenslade_(album))

01. Feathered Friends (06:46)
02. An English Western (03:27)
03. Drowning Man (05:50)
04. Temple Song (03:34)
05. Melange (07:29)
06. What Are You Doin' To Me? (04:44)
07. Sundance (08:43)

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The Troggs - From Nowhere (1966)

Year: July 1966 (CD 1989)
Label: DJM Records (Europe), 832 957-2
Style: Garage Rock, Beat, Pop Rock
Country: Andover, Hampshire, England
Time: 42:02
Format: Flac Tracks 16/44,1 kHz
Size: 238 Mb

Charts: UK #6, GER #4, US #52.
Another demonstration of the fact that there was very little actual trash among the uninventive poppy bands of the mid-Sixties - basically, the Troggs' debut was pretty obsolete for the standards of 1966 if one approaches it from a purely musical perspective, but it's still groovy fun despite all the lightweightness, if only because the music is so fresh, exciting, and catchy. The bad news, of course, is that the Troggs, at this point at least, played their instruments with about the same level of perfection as John Lennon and Paul McCartney played theirs in the good old days of the Quarrymen, but the good news is that the Troggs don't actually need to play their instruments in a fine way; arguably, they were the first band to make it big that didn't give a fuck about the professional approach.
Who needs professional approach anyway when the first track on here is 'Wild Thing'? That might be the simplest song ever written - the classic three chords, plus a staggeringy slow tempo, and above all, an ultra-stupid recorder solo (or is it octorina? whatever, I'm not that familiar with exotic instruments) that probably took whoever was playing it about three minutes of mastering. And, of course, proto-Ramones lyrics - even if the song itself was written by Chip Taylor and not by the strut-master Reg Presley. It's little wonder Hendrix made 'Wild Thing' the blistering conclusion of his show at Monterey, as the primal sexual energy of the song seems to have appeared specially so that Jimi would have no choice but pick it up. Of course, the Troggs' version is tamer and quieter, but what do you want from 'em? It was only 1966. It was HARD for the epoch.
(full version: starlingdb.org/music/troggs.htm)

01. Wild Thing (02:35)
02. The Kitty Cat Song (02:14)
03. Ride Your Pony (02:27)
04. Hi Hi Hazel (02:46)
05. I Just Sing (02:10)
06. Evil (03:16)
07. The Yella in Me (02:40)
08. With a Girl Like You (02:08)
09. Our Love Will Still Be There (03:12)
10. Louie Louie (03:03)
11. Jingle Jangle (02:29)
12. When I'm with You (02:25)
13. From Home (02:19)
14. Jaguar and Thunderbird (02:02)
15. I Can't Control Myself (03:05)
16. Night of the Long Grass (03:05)

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The Electric Light Orchestra - ELO 2 [Japan Ed.] (1973)

Year: January 1973 (CD September 20, 2006)
Label: EMI Records (Japan), TOCP-70063
Style: Progressive Pop, Pop Rock
Country: Birmingham, England
Time: 74:39
Format: Flac Tracks 16/44,1 kHz
Size: 469 Mb

The album was originally to be titled The Lost Planet, but that concept was quietly dropped. During the initial recording sessions, Roy Wood left the band and formed Wizzard in June 1972, taking Bill Hunt and touring cellist Hugh McDowell with him. Although uncredited at the time, Wood performed on two tracks, playing cello and bass on "In Old England Town" and "From the Sun to the World". Classically trained cellist Colin Walker replaced Wood, and Wilfred Gibson played violin. Richard Tandy made his ELO studio debut on this album, playing keyboards; he had earlier performed live with the original lineup alongside Wood, Gibson, co-frontman Jeff Lynne, drummer Bev Bevan and cellist Mike Edwards, playing bass (and in TV appearances with the Move playing guitar). Bassist and vocalist Mike de Albuquerque also made his ELO studio debut on the album. All five pieces are longer than standard rock songs, and feature multi-layered orchestral instruments that create a dense, complex sound.
ELO 2 received mixed reviews from critics. AllMusic`s Bruce Eder says "the album holds up well, and it and the single did go a long way toward getting them the beginnings of an audience in America." The Daily Vault says "After hearing ELO II, not only would some of these rock fans take another look at ELO's music in another sense, they just might do the same for Classical Music as well."
(en.wikipedia.org/wiki/ELO_2)

01. In Old England Town (Boogie No. 2) - (2003 Remaster) (06:57)
02. Momma - (2003 Remaster) (06:59)
03. Roll Over Beethoven - (2003 Remaster) (07:03)
04. From The Sun To The World (Boogie No. 1) - (2003 Remaster) (08:18)
05. Kuiama - (2003 Remaster) (11:21)
06. Showdown - (Single A-Side 7'') (04:11)
07. In Old England Town (Instrumental) - (Single B-Side To 'Showdown') (02:43)
08. Baby I Apologise - (Session Outtake, 1 June 1973) (03:42)
09. Auntie (Ma-Ma-Ma Belle Take 1) - (The Elizabeth Lister Observatory Sessions) (01:19)
10. Auntie (Ma-Ma-Ma Belle Take 2) - (The Elizabeth Lister Observatory Sessions) (04:03)
11. Mambo (Dreaming Of 4000 Take 1) - (The Elizabeth Lister Observatory Sessions) (05:02)
12. Everyone's Born To Die - (The Elizabeth Lister Observatory Sessions) (04:40)
13. Roll Over Beethoven (Take 1 - Session Master - 08. Sept. 1972) (08:16)

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Ekseption - Ekseption Plays Bach (1989)

Year: 1989 (CD 19??)
Label: Philips Records (Europe), 812 924-2
Style: Progressive Rock, Instrumental
Country: Haarlem, Netherlands
Time: 43:17
Format: Flac Tracks 16/44,1 kHz
Size: 269 Mb

I don`t know if Rick van der Linden`s (Ekseption`s main composer and main arranger) favourite Baroque Music composer was J.S. Bach, but in my opinion van Leer`s and Ekseption`s adaptations and arrangements of Bach`s works are the best they did for their albums. They sound really inspired, particularly during the band member`s solos in "Air" (a great spinet solo by van Leer), "Siciliano in G" (a very good arrangement, with a great trumpet solo by Rein van der Broek), "Ave Maria" (with two wind instruments playing two different melodies which complement each other very well), "Italian Concerto" and "The Lamplighter" (with some Jazz improvisations), "Peace Planet" (with very good fast rhythms and organ melody), "Toccata" and "Partita" (both played with Pipe Organ and augmented by some Jazz improvisations). These tracks still sound with some Pop Rock commercial influences but still sound to me very good, and I still think that the material included in this album is a very good example of the very good arrangements and adaptations that this band did for Classical Music composers` works.
(progarchives.com/album.asp?id=6531) Review by Guillermo.  January 27, 2008

01. Italian Concerto (04:59)
02. Toccata (05:15)
03. Vivace (02:50)
04. The Lamplighter (03:02)
05. Siciliano (03:17)
06. Ave maria (02:35)
07. Bouree (03:17)
08. Have Mercy On Me (05:44)
09. Partita No.2 in C-minor (05:45)
10. Peace Planet (03:33)
11. Air (02:55)

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Wishbone Ash - There's The Rub [Japan Ed.] (1974)

Year: November 1974 (CD September 21, 2002)
Label: MCA Records (Japan), UICY-2386
Style: Art Rock, Progressive Rock, Rock
Country: Torquay, Devon, England
Time: 39:02
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

Charts: US #88, UK #16, GE #43, AUS #67, CAN #100. UK: Silver.
There's the Rub is the fifth studio album by rock band Wishbone Ash. It is the first album to feature guitarist-vocalist Laurie Wisefield, who would be a major part of the band's creative direction for the next 11 years. It also marked a change in sound. It was the band's first album to be recorded in America and was produced by producer Bill Szymczyk. Although the trademark twin guitars were still evident, the album had a more "American" feel with a smoother production sound. Nevertheless, after the disappointing critical response to the previous studio album, Wishbone Four, reviews for There's The Rub were much more positive.
The title is taken from Shakespeare's Hamlet; "To sleep—perchance to dream: ay, there's the rub."
The track "F.U.B.B." caused controversy upon the album's release because of the acronym's meaning ("Fucked Up Beyond Belief"). Moreover, the haunting ballad "Persephone" would go on to become one of the band's most popular live songs. The lyric of "Lady Jay" is based on the Dartmoor folk legend about Kitty Jay.
The cover art designed by Hipgnosis shows a cricketer rubbing (in effect, polishing) a cricket ball on his trousers, leaving a mark - a common practice by fast bowlers who do so to make one side of the leather ball shinier than the other. This helps the ball to swing as it travels through the air after being bowled, so making it harder for the batsman to play it.
(en.wikipedia.org/wiki/There%27s_the_Rub)

01. Silver Shoes (06:39)
02. Don't Come Back (05:10)
03. Persephone (06:58)
04. Hometown (04:48)
05. Lady Jay (05:56)
06. F.U.B.B. (09:28)

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Colosseum - Valentyne Suite [Deluxe Expanded Edition 2CD] (1969)

Year: November 1969 (CD 2004)
Label: Sanctuary Midline (UK), SMEDD097
Style: Jazz Rock, Progressive Rock, Psychedelic Rock
Country: England
Time: 50:30, 38:59
Format: Flac Tracks 16/44,1 kHz
Size: 321, 255 Mb

Though the song "The Kettle" is officially listed as having been written by Dick Heckstall-Smith and Jon Hiseman, a credit which is confirmed by Hiseman's liner notes for the album, bassist and producer Tony Reeves later claimed that it was written by guitarist and vocalist James Litherland. The song's riff was later interpolated in three songs, notably "Ya Mama" by Fatboy Slim.
AllMusic derided the first three tracks, referring to "The Kettle" and "Butty's Blues" as, "tarted-up 12-bar blues", and claiming that "Elegy" was beyond James Litherland's abilities as a vocalist. They were more approving of the rest of the album, and described Dave Greenslade's solo on "The Valentyne Suite" as, "something to offer a challenge to vintage Keith Emerson, but with swing." They were critical of Litherland and Reeves's playing on the song, however, and concluded, "In retrospect this might not quite the classic it seemed at the time, but it remains listenable..."
(en.wikipedia.org/wiki/Valentyne_Suite)

01. The Kettle (04:29)
02. Elegy (03:14)
03. Butty's Blues (06:47)
04. The Machine Demands A Sacrifice (03:54)
05. The Valentine Suite: January's Search - February's Valentine - The Grass Is Always Greener (16:55)
06. Arthur's Moustache (Top Gear Broadcast) (06:31)
07. Lost Angeles (Top Gear Broadcast) (08:37)

01. Jumping Off The Sun (03:38)
02. Lost Angeles (05:34)
03. Elegy (03:14)
04. Butty's Blues (06:46)
05. Rope Ladder To The Moon (03:45)
06. Bolero (05:30)
07. The Machine Demands A Sacrifice (02:53)
08. The Grass Is Greener (07:35)

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Steely Dan - Can't Buy A Thrill [Japan Ed.] (1972)

Year: November 1972 (CD Jun 25, 2008)
Label: Geffen Records (Japan), UICY-93515
Style: Jazz Rock, Pop Rock, Soft Rock
Country: New York, U.S.
Time: 41:02
Format: Flac Tracks 16/44,1 kHz
Size: 270 Mb

Charts: US #17, AUS #46, CAN #4, GER #84, UK #38. UK: Gold; US: Platinum.
Steely Dan recorded the album in August 1972 at the Village Recorder in Los Angeles. Two songs recorded during the Can't Buy a Thrill sessions were left off the album and released as a single: "Dallas" b/w "Sail the Waterway". This is the only Steely Dan album to include David Palmer as a lead vocalist, having been recruited after Donald Fagen expressed concerns over singing live. Drummer Jim Hodder contributes lead vocals on one song, "Midnite Cruiser" (sometimes spelled "Midnight Cruiser"); he also sang "Dallas". By the time recording of the next album began, the band and producer Gary Katz had convinced Fagen to assume the full lead vocalist role.
According to writers Marjorie Galen and Gordon Matthews, Can't Buy a Thrill features an upbeat soft rock style. Music journalist Paul Lester said it incorporates mambo, swing, jazz, and Latin musical elements. Music critic Stephen Thomas Erlewine noted that "there are very few of the jazz flourishes that came to distinguish their [later] albums", but added that the first single from the album, "Do It Again", incorporates a tight Latin jazz beat, while the second single, "Reelin' In the Years", features jazzy guitar solos and harmonies. Robert Christgau described "Do It Again" as a toned-down mambo song with "tragic" lyrics about a "compulsive" loser.
"Fire in the Hole", which features "angry, strident piano" by Fagen, takes its title from a phrase used by American soldiers in Vietnam, and alludes to the many students who evaded the draft in the late 1960s and early 1970s (Becker and Fagen included).
(en.wikipedia.org/wiki/Can%27t_Buy_a_Thrill)

01. Do It Again (05:57)
02. Dirty Work (03:08)
03. Kings (03:45)
04. Midnite Cruiser (04:08)
05. Only A Fool Would Say That (02:57)
06. Reelin' In The Years (04:37)
07. Fire In The Hole (03:28)
08. Brooklyn (Owes The Charmer Under Me) (04:21)
09. Change Of The Guard (03:39)
10. Turn That Hearbeat Over Again (04:58)

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David Bowie - Tin Machine [Japan Ed.] (1989)

Year: 22 May 1989 (CD December 23, 2009)
Label: EMI Records (Japan), TOCP-95057
Style: Glam Rock, Rock, Pop Rock
Country: London, England (8 January 1947 - 10 January 2016)
Time: 56:47
Format: Flac Tracks 16/44,1 kHz
Size: 394 Mb

Tin Machine is the debut studio album by the Anglo-American hard rock band Tin Machine, released on 22 May 1989 through EMI America Records. The band consisted of the English singer-songwriter David Bowie, the American guitarist Reeves Gabrels and brothers Tony Fox and Hunt Sales on bass and drums, respectively, while Englishman Kevin Armstrong acted as an additional guitarist. The project was spearheaded by Bowie, who felt disconnected in his career by 1987 and looked to reinvent himself. After meeting Gabrels through his Glass Spider Tour, the two agreed to work together and would collaborate frequently for the next decade. Bowie hired the Sales brothers, neither of whom he had worked with since the 1970s, after a meeting in Los Angeles, while English producer Tim Palmer was hired to co-produce.
The album was recorded in August 1988 at Mountain Studios in Montreux, Switzerland, and later at Compass Point Studios in Nassau, Bahamas in the spring of 1989. The sessions were productive despite personality clashes among the members. The tracks were mostly recorded live in few takes, with Bowie improvising lyrics while standing at the microphone, resulting in a predominantly hard rock sound and lyrics discussing world issues and love. Tin Machine named themselves and the album after one of the tracks. Unlike Bowie's previous backing bands, Tin Machine acted as a democratic unit, which was reflected in promotional interviews.
Upon release, the album peaked at number three on the UK Albums Chart, although sales declined quickly. It was accompanied by three singles and a 13-minute long music video containing performances of the tracks. Like its supporting concert tour, Tin Machine received mixed reviews and continues to receive similar assessments from Bowie's biographers, who mainly criticise the lyrics and lack of melodies. Nevertheless, some reviewers noted that the band were exploring grunge and alternative rock styles before those styles became popular. Tin Machine began recording a follow-up album in late 1989 before Bowie embarked on the solo Sound+Vision Tour. Bowie later rerecorded "I Can't Read" during the sessions for his 1997 album Earthling.
(en.wikipedia.org/wiki/Tin_Machine_(album))

01. Heaven's In Here (06:05)
02. Tin Machine (03:36)
03. Prisoner Of Love (04:51)
04. Crack City (04:36)
05. I Can't Read (04:53)
06. Under The God (04:07)
07. Amazing (03:06)
08. Working Class Hero (04:42)
09. Bus Stop (01:43)
10. Pretty Thing (04:39)
11. Video Crimes (03:54)
12. Run (03:20)
13. Sacrifice Yourself (02:10)
14. Baby Can Dance (04:57)

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The Rolling Stones - Stripped (1995)

Year: 13 November 1995 (CD 2009)
Label: Polydor Records (Germany), 0602527164298
Style: Rock & Roll, Pop Rock, Classic Rock, Blues Rock
Country: London, England
Time: 59:34
Format: Flac Tracks 16/44,1 kHz
Size: 402 Mb

Charts: UK #9, US #9, AUS #7, FRA #4, GER #3, JPN #12, NLD #2, NOR #1, SWE #15. UK, AUS, GER, NLD & JPN: Gold; NOR & US: Platinum.
Stripped contains six live tracks and eight studio recordings. The live tracks were taken from four 1995 performances, at three small venues, and include a cover of Bob Dylan's "Like a Rolling Stone", which was the first single from the album. The remaining eight tracks were acoustic studio re-recordings of songs from the Stones' previous catalogue, the exception being a cover of Willie Dixon's "Little Baby". The studio performances were recorded "live," i.e., without overdubs.
The two studio sessions took place from 3–5 March 1995 at Toshiba-EMI Studios in Tokyo, Japan and 23–26 July 1995 at Estudios Valentim De Carvalho in Lisbon, Portugal, while the live recordings are from 26 and 27 May, 3 July, and 19 July 1995 performances at three small concert venues: Paradiso, L'Olympia, and Brixton Academy, respectively.
Stripped was well-received and reached No. 9 in the UK and the US, where it went platinum. The lead single, a cover of Dylan's "Like a Rolling Stone", reached No. 12 in the UK, and became a rock radio hit in the US. It was followed by "Wild Horses" in early 1996.
Stripped was the Rolling Stones' second album with Virgin Records.
(en.wikipedia.org/wiki/Stripped_(Rolling_Stones_album))

01. Street Fighting Man (03:40)
02. Like A Rolling Stone (05:38)
03. Not Fade Away (03:06)
04. Shine A Light (04:38)
05. The Spider And The Fly (03:28)
06. I'm Free (03:12)
07. Wild Horses (05:09)
08. Let It Bleed (04:15)
09. Dead Flowers (04:12)
10. Slipping Away (04:55)
11. Angie (03:28)
12. Love In Vain (05:31)
13. Sweet Virginia (04:15)
14. Little Baby (04:00)

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