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

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

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

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

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

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

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

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

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

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

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

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

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Nazareth - Greatest Hits (1975)

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

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

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

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

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Grateful Dead - Terrapin Station (1977)

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

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

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

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

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

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

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

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Fleetwood Mac - Penguin (1973)

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

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

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

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Boney M. - Oceans Of Fantasy (1979)

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

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

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

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Def Leppard - Retro Active [Compilation] (1993)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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John Martyn - Solid Air (1973)

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

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

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

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Sparks - Kimono My House (1974)

Year: May 1974 (CD ????)
Label: Island Records (UK), IMCD 198
Style: Art Pop, Art Rock, Glam Rock
Country: Pacific Palisades, California, U.S.
Time: 43:10
Format: Flac Tracks 16/44,1 kHz
Size: 279 Mb

Charts: US #101, AUS #22, CAN #58, NLD #10, UK #4. UK: Gold.
Brothers Ron and Russell Mael or, as they are better known, Sparks, are among the most prolific and original artists to ever arise from the sun-soaked streets of California. Throughout their six-decade career, the band have explored every genre under the sun, from art rock to techno and everything in between. Before they were a global success, with nearly 30 studio albums and an Edgar Wright-directed documentary, there were simply two brothers and Kimono My House.
First released in 1974, Kimono My House had some stiff competition, with the early 1970s rock scene dominated by truly iconic artists such as Roxy Music and David Bowie. Unphased, Sparks successfully managed to create an album unlike any other. Kimono My House is fearlessly individualistic and pioneering, much like the band themselves. Although the record provided Ron and Russell with their breakout success, you get the feeling that this commercial success was not entirely by design. Sparks were fairly content to operate away from the mainstream, playing by their own rules.
From the first bars of the opening track, ‘This Town Ain’t Big Enough For The Both Of Us’, Ron and Russell establish the mood for the vibrant and eclectic album which will follow. Arguably their defining track, the opener is awash with proto-new-wave influences and art rock tendencies, with the undeniable tones of singer Russell acting as a guiding voice through the sonic menagerie. Evoking the gun duels of a Clint Eastwood flick, the song also speaks to the cinematic nature of Sparks, something which they would later develop while writing the soundtrack to the 2021 Leos Carax film Annette.
As the tracklisting of Kimono My House progresses, Sparks repeatedly affirm their endearing eccentricity and seemingly endless ability to craft pieces which are equal parts innovative and pop-centric. With all songs composed by the moustachioed master Ron Mael, Kimono My House is a true masterpiece of songwriting. When taking into account not just the tracks on this album but the rest of Sparks’ extensive discography, it does not seem at all outlandish to list Ron as being among the most profuse and gifted writers in pop history.
Stand-out tracks on the record come in the form of ‘Amateur Hour’ and ‘Talent Is An Asset’, with Russell’s distinctly un-American singing style becoming increasingly captivating as the album progresses. Sparks also establish their unique sense of humour on this record too, through the ‘Bah, humbug’ anthem of ‘Thank God It’s Not Christmas’ and ‘Complaints’. This sense of humour, that has followed Sparks throughout their discography, is one of the things that make the group so special to their legions of fans.
While the brotherhood of Ron and Russell is undoubtedly the driving force behind Sparks, their infallible backing band should certainly not be forgotten. On Kimono My House, for example, the incredible guitar stylings of Adrian Fisher form the basis for many of the album’s stand-out moments, particularly on ‘Hasta Manana Monsieur’ and ‘Here In Heaven’.
With 26 studio albums under their belts and a career spanning over five decades, it is easy to get lost in the excellence of Sparks. However, Kimono My House remains a stand-out project within their discography. With the benefit of hindsight, it is easy to see why it acted as the gateway to their long history of commercial success, but even if that was not the case, Kimono My House is undoubtedly one of the greatest albums to arise from the art rock scene of the 1970s.
(faroutmagazine.co.uk/sparks-kimono-my-house-album-review/)

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Alice Cooper - Easy Action [Japan Ed. SHM-CD] (1970)

Year: March 27, 1970 (CD December 21, 2011)
Label: Warner Bros. Records (Japan), WPCR-14300
Style: Garage Rock, Experimental Rock, Progressive Rock
Country: Phoenix, Arizona, U.S. (February 4, 1948)
Time: 34:48
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

The album appeared in 1970 with a cover on which the band poses turned away from the camera, their uncovered backs exposed except where covered with their long hair. A radio commercial that accompanied the album's release touted the band as "unisex, raw, together, and violent—just like you, fellow American".
The staff of Rolling Stone did not like the album, stating that "there's nothing nearly that interesting" and that "the pretty stuff sounds like something Walt Disney had the good sense to leave in the can". Robert Christgau, in The Village Voice, rated it a C, explaining that it has very few of the "pseudo-decadent and -psychedelic charms" shown on Pretties for You, along with "tuneless singing, tuneless playing, tuneless tunes, and pseudo-musique concrete".
The music showed little of the hard rock the band became famous for; the songs on its first two albums are more reminiscent of the pop-rock and psychedelia of bands such as mid-1960s the Who and Jefferson Airplane. They failed to find an audience and sold poorly. The group moved to the Detroit area (Pontiac, Mich.), and with the next album, Love It to Death, producer Bob Ezrin had them strip down their sound and simplify the songwriting; the album and its first single, "I'm Eighteen", were the first in a string of big successes.
(en.wikipedia.org/wiki/Easy_Action)

01. Mr. & Misdemeanor (03:11)
02. Shoe Salesman (02:38)
03. Still No Air (02:34)
04. Below Your Means (06:54)
05. Return Of The Spiders (04:32)
06. Laughing At Me (02:16)
07. Refrigererator Heaven (02:01)
08. Beautiful Flyaway (03:01)
09. Lay Down And Die, Goodbye (07:37)

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Chicago - Chicago II (1970)

Year: January 26, 1970 (CD July 16, 2002)
Label: Rhino Records (US), R2 76172
Style: Pop
Country: Chicago, Illinois, U.S.
Time: 73:20
Format: Flac Tracks 16/44,1 kHz
Size: 469 Mb

Charts: US #4, AUS #5, CAN #4, FR #13, GER #20, ITA #8, NLD #2, SWE #7, UK #6. US: Platinum; CAN: 3x Platinum.
The Chicago Transit Authority recorded this double-barreled follow-up to their eponymously titled 1969 debut effort. The contents of Chicago II (1970) underscore the solid foundation of complex jazz changes with heavy electric rock & roll that the band so brazenly forged on the first set. The septet also continued its ability to blend the seemingly divergent musical styles into some of the best and most effective pop music of the era. One thing that had changed was the band's name, which was shortened to simply Chicago to avoid any potential litigious situations from the city of Chicago's transportation department -- which claimed the name as proprietary property. Musically, James Pankow (trombone) was about to further cross-pollinate the band's sound with the multifaceted six-song "Ballet for a Girl in Buchannon." The classically inspired suite also garnered the band two of its most beloved hits -- the upbeat pop opener "Make Me Smile" as well as the achingly poignant "Color My World" -- both of which remained at the center of the group's live sets. Chicago had certainly not abandoned its active pursuit of blending high-octane electric rockers such as "25 or 6 to 4" to the progressive jazz inflections heard in the breezy syncopation of "The Road." Adding further depth of field is the darker "Poem for the People" as well as the politically charged five-song set titled "It Better End Soon." These selections feature the band driving home its formidable musicality and uncanny ability to coalesce styles telepathically and at a moment's notice. The contributions of Terry Kath (guitar/vocals) stand out as he unleashes some of his most pungent and sinuous leads, which contrast with the tight brass and woodwind trio of Lee Loughnane (trumpet/vocals), Walter Parazaider (woodwinds/vocals), and the aforementioned Pankow. Peter Cetera (bass/vocals) also marks his songwriting debut -- on the final cut of both the suite and the album -- with "Where Do We Go from Here." It bookends both with at the very least the anticipation and projection of a positive and optimistic future.
(allmusic.com/album/chicago-ii-mw0000649971)

01. Movin' In (04:06)
02. The Road (03:10)
03. Poem For The People (05:35)
04. In The Country (06:35)
05. Wake Up Sunshine (02:32)
06. Ballet For A Girl In Buchannon: Make Me Smile (03:15)
07. Ballet For A Girl In Buchannon: So Much To Say, So Much To Give (01:12)
08. Ballet For A Girl In Buchannon: Anxiety's Moment (01:00)
09. Ballet For A Girl In Buchannon: West Virginia Fantasies (01:33)
10. Ballet For A Girl In Buchannon: Colour My World (03:00)
11. Ballet For A Girl In Buchannon: To Be Free (01:15)
12. Ballet For A Girl In Buchannon: Now More Than Ever (01:25)
13. Fancy Colours (05:09)
14. 25 Or 6 To 4 (04:58)
15. Prelude (01:09)
16. A.M. Mourning (02:05)
17. P.M. Mourning (01:58)
18. Memories Of Love (03:58)
19. It Better End Soon: 1st Movement (02:33)
20. It Better End Soon: 2nd Movement (03:40)
21. It Better End Soon: 3rd Movement (03:18)
22. It Better End Soon: 4th Movement (00:55)
23. It Better End Soon: Where Do We Go From Here (02:53)
24. Make Me Smile (Single Version) * (03:00)
25. 25 Or 6 To 4 (Single Version) * (02:53)

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The Manhattan Transfer - Extensions [MFSL-CD] (1979)

Year: October 31, 1979 (CD 1995)
Label: Mobile Fidelity Sound Lab (US), UDCD 578
Style: Jazz, Pop, Disco, Vocal
Country: New York City, U.S.
Time: 37:17
Format: Flac Tracks 16/44,1 kHz
Size: 212 Mb

Extensions is the fifth studio album by the Manhattan Transfer, released on October 31, 1979, by Atlantic Records.
Marking a new era for the group, the album was the first one with Cheryl Bentyne, who replaced Laurel Masse in early 1979. It was also their first album with Jay Graydon in the producer's chair and their first to contain songs that were hits in both the jazz and pop categories. The song "Twilight Zone/Twilight Tone" reached No. 4 on the Billboard Disco chart and No. 30 on the Hot 100. "Trickle, Trickle" reached No. 73 on the Hot 100. The album reached No. 55 on the Billboard Top LPs chart.
The most widely known song from this album, "Birdland" by Weather Report, won the Grammy Award for Best Jazz Fusion. Best Jazz Fusion Performance in 1981. Jon Hendricks wrote lyrics for the vocalese version on the album and Janis Siegel received a Grammy for her vocal arrangement of "Birdland".
The New York Times wrote that the album "carries their exploration of group harmony to a level of seriousness that finally establishes them as the legitimate heirs of Lambert, Hendricks and Ross and the Hi-Lo's."
(en.wikipedia.org/wiki/Extensions_(The_Manhattan_Transfer_album))

01. Birdland (06:01)
02. Wacky Dust (03:09)
03. Nothin' You Can Do About It (04:27)
04. Coo Coo-U (02:15)
05. Body And Soul (04:28)
06. Twilight Zone/Twilight Tone (06:07)
07. Trickle Trickle (02:21)
08. Shaker Song (04:32)
09. Foreign Affair (03:53)

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Rainbow - Live In Japan [Japan Ed. 2CD] (2015)

Year: 18 November 2015 (CD Nov 18, 2015)
Label: Ward Records (Japan), GQCS 90051-2
Style: Classic Rock, Hard Rock
Country: Hertford, Hertfordshire, England
Time: 65:16, 39:42
Format: Flac Tracks 16/44,1 kHz
Size: 463, 284 Mb

The same line-up as Bent out of Shape, the last album before Ritchie Blackmore broke up the band, and one of the last concerts before the triumphant reunion of Deep Purple. The song Spotlight Kid demonstrates excellent drive, then Miss Mistreated keeps the rhythm, the baton is picked up by I Surrender, one of the undisputed hits of the last period of Rainbow's work. Joe Lynn Turner's vocals are almost as flawless here as in the studio version. The same can be said about his singing throughout the concert, where his vocals become lyrically tender, then driving and harsh. Still, Joe Lynn Turner managed to organically fit into the band and please the picky Blackmore (it was no coincidence that it was the man in black who lobbied for his appearance in Deep Purple a few years later). Catch the Rainbow is again sung perfectly, a wonderful song from the Dio era, very close to the original, but it is not an imitation. At the same time, the guitar part sounds different than in the classic version. An excellent medley with excerpts from the classics precedes the good song Street of Dreams. Once again the musicians will remember the classics during the performance of Difficult to Cure, which, supported by the symphony orchestra, again sounds large-scale and majestic. A very good introduction, a little reminiscent of the famous Stargazer, which we will not hear here, unfortunately, then a little improvisation and here it is, the monumental Beethoven's Ninth, where Blackmore's guitar competes with the orchestra, sometimes coming to the fore, sometimes hiding behind the main melody, then bursting into the main melody again. This is simply musical ecstasy and the apotheosis of the entire concert, when all the musicians in turn show everything they are capable of. The symphony orchestra does not lag behind. I like this version even more than the studio version from the Difficult to Cure album. But still not as much as at the concert Come Hell or High Water, which took place 10 years later and captured Ritchie Blackmore's last performance with Deep Purple. Then there are two wonderful solos on guitar and drums and a wonderful instrumental blues, which is called Blues. These improvisations give Joe Lynn Turner a chance to rest a little, who begins to exploit the microphone with renewed vigor with the song Stranded, whose first chords are consonant with the Deep Purple song Enya. Along the way, he does not forget to rock the audience with his lines and at the same time briefly recalls the old school song, Hey Joe, which was popular in the 60s and got a second wind in the performance of Jimi Hendrix. Very good.
Unfortunately, the overall drive in the first part of the concert is somewhat slowed down by long pauses between songs, when the vocalist communicates with the audience. Of course, interaction with the audience is important, but everything is good in moderation. It is also disappointing that they mainly perform songs from the Joe Lynn Turner era, and such indisputable Deep Purple masterpieces as Women from Tokyo and Lazy are played in fragments. It is good that they played Smoke on the Water in full at the end of the concert.
Conclusion: this concert recording is a good document of the final era of Rainbow's short but bright history (not taking into account the band's short reincarnation in 1995). The selection of songs convincingly demonstrates that Ritchie Blackmore is not very interested in the period of Rainbow's creativity before Joe Lynn Turner's arrival. Therefore, you should not form your impression of Rainbow based on this concert. At the same time, it is a wonderful illustration of the musical evolution of one of the trendsetters of the genre from complex, sophisticated music to simpler musical forms, while maintaining his style and image.
(progarchives.com/Review.asp?id=3085780) Review by VladAlex. 2024-8-26

 01. Intro (01:48)
02. Spotlight Kid (04:47)
03. Miss Mistreated (04:31)
04. I Surrender (06:29)
05. Can't Happen Here (03:57)
06. Catch The Rainbow (06:43)
07. Power (04:00)
08. Keyboard Solo (04:24)
09. Street Of Dreams (04:42)
10. Fool For The Night (03:58)
11. Difficult To Cure (Beethoven's Ninth) (11:17)
12. Guitar Solo (03:38)
13. Drum Solo (04:54)

01. Blues (03:16)
02. Stranded (incl. Hey Joe) (08:01)
03. Death Alley Driver (05:09)
04. Fire Dance (04:48)
05. Maybe Next Time (01:43)
06. All Night Long (incl. Woman From Tokyo) (09:07)
07. Lazy (01:31)
08. Since You've Been Gone (01:20)
09. Smoke On The Water (04:43)

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Eurythmics - Sweet Dreams (Are Made Of This) (1983)

Year: 4 January 1983 (CD 1983)
Label: RCA Records (US), PCD14681
Style: New Wave, Synth-Pop
Country: London, England
Time: 42:36
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

Charts: UK #3, AUS #5, CAN #6, FRA #4, GER #6, NZ #2, SWE #14, US #15. GER & US: Gold; UK: Platinum; CAN: 2x Platinum.
The album was assembled by Eurythmics mainly at two locations: a small project studio in the attic of an old warehouse in the Chalk Farm district of north London, where the duo spent seven months living and working, followed by a small room in the Church Studios in London. The album was largely recorded onto an 8-track tape machine, apart from three songs: "The Walk" was transferred onto a friend's 16-track, and "Somebody Told Me" and "Wrap It Up" were both recorded onto 24-track (using only half the tracks) while the Church studio was being built. Equipment-wise, the band had a recording setup consisting of a Tascam 80-8 8-track, a Soundcraft Series 2 mixer, two Beyerdynamic M201 TG microphones, a Roland Space Echo, a Furman compressor, a B.E.L. Electronics noise reduction unit, and a Klark Teknik DN50 spring reverb unit. The instruments they used were mainly a Roland SH-09 synthesizer (later said to be an SH-101 instead), a CSQ-100 sequencer, a Gretsch slide guitar, a Movement drum computer, a Roland Juno-6, and a borrowed Oberheim synthesizer (later described as the OB-X model by Stewart). Overall, the record cost around ?5,000 to make, due to equipment costs.
(en.wikipedia.org/wiki/Sweet_Dreams_(Are_Made_of_This)_(album))

01. Love Is A Stranger (03:44)
02. I've Got An Angel (02:44)
03. Wrap It Up (03:34)
04. I Could Give You (A Mirror) (03:51)
05. The Walk (04:43)
06. Sweet Dreams (Are Made Of This) (03:37)
07. Jennifer (05:08)
08. This Is The House (05:00)
09. Somebody Told Me (03:30)
10. This City Never Sleeps (06:40)

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Slade - Wall Of Hits [Compilation] (1991)

Year: 11 November 1991 (CD 1991)
Label: Polydor Records (Germany), 511 612-2
Style: Hard Rock, Glam Rock
Country: Wolverhampton, Staffordshire, England
Time: 76:36
Format: Flac Tracks 16/44,1 kHz
Size: 452 Mb

Wall of Hits is a compilation album by the British rock band Slade. It was released on 11 November 1991 and reached No. 34 in the UK Albums Chart. The album was issued by Polydor and included the last two singles to be recorded by the band: "Radio Wall of Sound" and "Universe".
After the commercial failure of the band's 1987 album You Boyz Make Big Noize, and the end of their contract with RCA, Slade decided to take an eighteen-month break. Although the band announced their intentions to record a new album, these plans did not materialise and band activity remained limited. Later in 1991, the band's former 1970s label Polydor Records approached the band with the idea of recording two new singles to promote a new compilation album Wall of Hits. The two singles, "Radio Wall of Sound" and "Universe", were soon completed, with Polydor offering the option of a new studio album if both singles were successful. "Radio Wall of Sound" was released in October 1991 and reached No. 21 in the UK, earning the band their twenty-fourth Top 40 single and their first Top 40 hit since 1984.
Wall of Hits was then released in November and peaked at No. 34. It was certified UK Silver by BPI that month. A VHS of the same name was also released, featuring numerous music videos and filmed performances of the band's singles over their career. "Universe" was released in December to attract the Christmas market and further promote the compilation over the festive period. It failed to reach the top 75 and replicate the success of "Radio Wall of Sound", stalling at number 76. Polydor withdrew their option for a new studio album and the band split up in 1992.
The album contained twenty tracks covering the band's career from 1971 to 1991. However, some critics were quick to notice the omissions of a number of charting singles, including "In for a Penny, "We'll Bring the House Down", "All Join Hands" and "Myzsterious Mizster Jones". In a 1992 fan club interview, Holder spoke of the track selection on the compilation: "Something had to go to enable the inclusion of the two new tracks and the two RCA tracks which made it a good overall package, although we are not likely to get a volume two deal if the first volume doesn't do that well."
(en.wikipedia.org/wiki/Wall_of_Hits)

01. Get Down And Get With It (03:50)
02. Coz I Luv You (03:32)
03. Look Wot You Dun (02:50)
04. Take Me Bak 'Ome (03:13)
05. Mama Weer All Crazee Now (03:43)
06. Gudbuy T'jane (03:31)
07. Cum On Feel The Noize (04:27)
08. Skweeze Me Pleeze Me (04:28)
09. My Friend Stan (02:41)
10. Everyday (03:10)
11. Bangin' Man (04:08)
12. Far Far Away (03:36)
13. How Does It Feel (05:55)
14. Thanks For The Memory (Wham Bam Thank You Mam) (04:34)
15. Let's Call It Quits (03:32)
16. My Oh My (04:11)
17. Run Run Away (03:42)
18. Radio Wall Of Sound (03:47)
19. Universe (04:12)
20. Merry Xmas Everybody (03:25)

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Electric Light Orchestra - On The Third Day [Japan Ed. 5 bonus tracks] (1973)

Year: November 1973 (CD September 20, 2006)
Label: Epic Records (Japan), MHCP 1094
Style: Progressive Pop, Pop Rock
Country: Birmingham, England
Time: 57:34
Format: Flac Tracks 16/44,1 kHz
Size: 362 Mb

On the Third Day is the third studio album by Electric Light Orchestra (ELO), and the first to be recorded without input from Roy Wood. From this album on, the word The was dropped from the band's name (other than The Night the Light Went On in Long Beach which was one of their live albums). The album was reissued on 12 September 2006.
On the Third Day was released in 1973 and failed to enter the UK charts at the time, although it did reach the US charts at number 52. Side two of the album was recorded during or shortly after the sessions for ELO's second album ELO 2. On The Third Day contains shorter tracks than its predecessor, but the four songs on side one of the album were linked into a continuous suite. Violinist Mik Kaminski made his debut on side one of this album, replacing Wilfred Gibson, although Gibson plays on side two (plus the bonus tracks). Also, cellist Colin Walker left the line up around the same time, leaving Mike Edwards as lone cellist.
"Showdown" was originally intended to be released only as a single, and, because it was on a different label (Harvest) than the UK album, "Showdown" did not appear on the Warner Bros. Records issue. It was, however, included on the U.S. version of the album, because the band remained on United Artists Records in the U.S. Some copies of On the Third Day from this period had "Showdown" as the last track on side one. Although he didn't record on the album, Hugh McDowell did appear on this front cover of the U.S. album seen at right, which was an unusual photograph taken by photographer Richard Avedon that had ELO displaying their navels.
(en.wikipedia.org/wiki/On_the_Third_Day)

01. Ocean Breakup/King Of The Universe (04:07)
02. Bluebird Is Dead (04:42)
03. Oh No Not Susan (03:07)
04. New World Rising/Ocean Breakup [Reprise] (04:05)
05. Showdown (04:09)
06. Daybreaker (03:51)
07. Ma-Ma-Ma Belle (03:56)
08. Dreaming Of 4000 (05:04)
09. In The Hall Of The Mountain King (06:37)
10. Auntie (Ma-Ma-Ma Belle) [Take 1] (01:19)
11. Auntie (Ma-Ma-Ma Belle) [Take 2] (04:05)
12. Mambo (Dreaming Of 4000) (Alternate Mix) (05:05)
13. Everyone's Born To Die (03:43)
14. Interludes (03:40)

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