The Bangles - Different Light [Japanese Ed.] (1986)

Year: January 10, 1986 (CD 22 Jul 2009)
Label: Sony Records Int'l (Japan), SICP 2287
Style: Pop Rock, Power Pop
Country: Los Angeles, California, U.S.
Time: 43:25
Format: Flac Tracks 16/44,1 kHz
Size: 312 Mb

Charts: US #2, AUS #2, CAN #8, GER #21, NL #26, NZ #4, SWE #24, SWI #16, UK #3. UK & NZ: Platinum; AUS & CAN: 2x Platinum; US: 3x Platinum.
Different Light is the second studio album by American pop rock band the Bangles. The band recorded the album in 1985 with producer David Kahne. Its Top 40 sound was a departure from the Bangles' earlier 1960s-style rock and roll sound. It is their most successful album, reaching number two on the Billboard 200 and producing five charting singles, including the Billboard Hot 100 top two hits "Manic Monday" and "Walk Like an Egyptian". It is also the first album in which bassist Michael Steele sings lead vocals on some tracks.
The covers of most of the album's cassette pressings and the sheet music songbook only show 12 (out of 16) of the "different" snapshots, eliminating the third column to best fit the rectangular layout of cassette cases and book.
The back cover of European-made CDs replicates the back cover of the vinyl LP edition, with all 16 snapshots and the track index at the top. The back cover of the US version, however, only shows the first column of four snapshots, with the track index list occupying the rest of the space – a rare deviation for Columbia's CD issues during the 1980s.
(en.wikipedia.org/wiki/Different_Light)

01. Manic Monday (03:05)
02. In A Different Light (02:52)
03. Walking Down Your Street (03:04)
04. Walk Like An Egyptian (03:24)
05. Standing In The Hallway (02:56)
06. Return Post (04:22)
07. If She Knew What She Wants (03:49)
08. Let It Go (02:31)
09. September Gurls (02:45)
10. Angels Don't Fall In Love (03:23)
11. Following (03:21)
12. Not Like You (03:08)
13. Manic Monday (extended version) (04:38)

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The Bangles - All Over The Place [Japanese Ed.] (1984)

Year: May 23, 1984 (CD 22 Jul 2009)
Label: Sony Records Int'l (Japan), SICP 2286
Style: Pop Rock, New Wave, Power Pop
Country: Los Angeles, California, U.S.
Time: 31:10
Format: Flac Tracks 16/44,1 kHz
Size: 222 Mb

Charts: US #80, NZ #32, SWE #40, UK #86.
"All Over the Place" is the debut studio album by American pop rock band the Bangles. Album was not a major commercial success – peaking at number 80 on the Billboard 200 albums chart. It sold respectably, mostly through steady airplay on college stations. It also gave the band the chance to perform as an opening act for Cyndi Lauper and Huey Lewis and the News, and brought the group to the attention of Prince, who would write "Manic Monday", their first hit.
Two singles were released from this album: "Hero Takes a Fall", which peaked outside the UK Top 40, and "Going Down to Liverpool", written by Kimberley Rew of Katrina and the Waves. The video for "Going Down to Liverpool" features Leonard Nimoy, who plays the part of the band's chauffeur.
(en.wikipedia.org/wiki/All_Over_the_Place_(The_Bangles_album))

01. Hero Takes A Fall (02:53)
02. Live (02:36)
03. James (02:36)
04. All About You (02:26)
05. Dover Beach (03:48)
06. Tell Me (02:15)
07. Restless (02:41)
08. Going Down To Liverpool (03:41)
09. He's Got A Secret (02:42)
10. Silent Treatment (02:07)
11. More Than Meets The Eye (03:20)

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Savoy Brown - Skin 'N' Bone (1976)

Year: 1976 (CD 1991)
Label: Deram Records (Germany), 844 024-2
Style: Blues Rock, Rock
Country: London, England
Time: 37:19
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

Savoy Brown (originally Savoy Brown Blues Band) were a British blues rock band formed in Battersea, southwest London, in 1965. Part of the late 1960s blues rock movement, Savoy Brown primarily achieved success in the United States, where they promoted their albums with non-stop touring. Founder, guitarist and primary songwriter Kim Simmonds was the sole constant member of the band from its formation in 1965 until his death in 2022. They were one of the bands that UK Decca (US London/Parrot) stuck with through the lean times until they started selling records; it took four or five albums until they started to sell in the US. In the late 1960s and 1970s, the band managed to break into the Billboard Hot 100.
(en.wikipedia.org/wiki/Savoy_Brown)

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

01. Get On Up and Do It (03:15)
02. Part Time Lady (05:02)
03. This Day Is Gonna Be Our Last (05:25)
04. She's The One (03:38)
05. Skin 'N' Bone (07:44)
06. Walkin' And Talkin' (12:12)

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Roxy Music - Avalon [Japanese Ed. SHM-CD] (1982)

Year: 28 May 1982 (CD Jul 31, 2013)
Label: Virgin Records (Japan), VJCP-98144
Style: Pop Rock, Art Pop
Country: Newcastle upon Tyne, London, England
Time: 37:32
Format: Flac Tracks 16/44,1 kHz
Size: 259 Mb

--More Than This opens the album with a dreamy atmosphere that sets the tone for what is to come. Bryan Ferry’s emotive vocals, combined with the rhythm and shimmering synthesiser-driven soundstage arguably date the song, yet it still sounds fresh and is, subsequently, a timeless classic. It’s classic rock at its very best!
--The Space Between flows perfectly from More Than This as the gap between the songs is enough that the style differences don't present as a jolt to the senses. The Space Between adds further musical intrigue to Avalon and while it is an album-only track, it’s one of the best songs Roxy Music ever recorded. Every musical aspect was carefully considered and Andy Mackay’s saxophone playing takes the song to another level entirely and is the real highlight here, that is until you factor in Ferry’s spectacular vocal.
--Avalon is the album’s crown jewel and rightful title track for its sensuous and lush, perfectly blending beauty and sophistication. The backing vocals, performed by Fonzi Thornton and Yanick Etienne (in particular) are simply stunning and a key reason why Avalon continues to be enjoyed to this day. 
--India is another song that flows seamlessly and to be honest, the entire album is so well-sequenced that as much as you may gravitate to the individual songs we all know and love, Avalon is an album experience first and foremost. No truer is that than when listening to India and appreciating how this beautiful musical interlude segues Avalon to While My Heart Is Still Beating.
--While My Heart Is Still Beating is bold and dynamic. It’s a musical journey that is somewhat ethereal as Ferry’s vocals are sung in a manner whereby every lyric is not necessarily well defined, but is present in the mix if you take the time to not only check out the lyrics but listen intently. Songs such as this are a core reason why I consider the human vocal as another instrument in the mix, rather than a storytelling device, for Ferry creates an audible atmosphere that is utterly captivating. 
--The Main Thing has an undeniable 80s pop style with its danceable groove and shimmering synths. In many respects, it’s a shame that The Main Thing was never released as a single for the hook draws you in and is, subsequently, not only a highlight of the album but would have been perfect for radio broadcasting during the era in which the album was released. 
--Take A Chance With Me is a slow burn. The musical introduction is incredible and you’ll likely hear different elements upon each subsequent listen. Hence, Take A Chance With Me only improves the more you listen to the album. That said, it could also be proposed that the introduction to this song is too long, and unnecessary, as it pertains to the song itself, but given the album feels as if it’s a singular musical experience, I wouldn’t want to change a thing. 
--To Turn You On has a pulsating bassline that accompanies this rhythmically engaging song. If there is a low point to be heard on Avalon, however, this is it. Yet, in saying that, To Turn You On does suit the overall style of the album even if it sounds somewhat foreign.  
--True To Life is a hidden gem in every sense of the word. The upbeat tempo is addictively good and every musical aspect was carefully considered and perfectly positioned in the mix. Nothing short of a masterpiece would be the perfect way to describe this tune and while I could highlight every band member’s contribution, for they’re all excellent, it would be best if you just listened for yourself for Roxy Music doesn’t get much better than this.
--Tara closes the album with a beautifully reflective instrumental piece that maintains the album’s overall aura. The result is that Tara compels me to listen to the album again, for Avalon is one album that I can never listen to just once.  
Subsequently, it doesn’t matter how many times I’ve listened to Avalon, throughout the years, for it continues to impress as a masterful piece of art-rock that isn’t limited by the era it was conceived in. Yet, at the same time, nostalgia plays a role in the modern appreciation of this creative endeavour. Each track on Avalon contributes to its overall excellence, and it remains a must-listen for anyone appreciative of the artistry and allure of Roxy Music and the early 80s rock vibe.
(subjectivesounds.com/musicblog/roxy-music-avalon-album-review)

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The Snakes (ex Whitesnake) - Once Bitten... [Japanese Ed.] (1998)

Year: 1998 (CD Aug 19, 1998)
Label: Pony Canyon Inc. (Japan), PCCY-01271
Style: Hard Rock, Blues Rock
Country: Norway / United Kingdom
Time: 52:03
Format: Flac Tracks 16/44,1 kHz
Size: 363 Mb

The Snakes were a British-Norwegian hard rock band, formed by former Whitesnake members Bernie Marsden and Micky Moody in 1997. The line-up consisted of guitarists Marsden and Moody with Norwegian musicians, vocalist Jorn Lande, bassist Sid Ringsby, who later joined the Norwegian band TNT, and drummer Willy Bendiksen. The band released one live album, one studio album and broke up in 1999.
The Snakes were formed by original Whitesnake guitarists Bernie Marsden and Micky Moody, exclusively performing Whitesnake songs. Initially, the project was called 'Saints and Sinners' and briefly featured other former Whitesnake bandmates, including bassist Neil Murray and drummer Cozy Powell and also American vocalist John West but this never materialised. In August 1998, the Once Bitten album was released in Japan on the Pony Canyon label. Former Vagabond vocalist Jorn Lande was hired and TNT guitarist Ronni Le Tekro produced for the band. TNT's touring keyboardist Dag Stokke engineered the album. A live album Live in Europe was released in December 1998, with recordings of live performances of Whitesnake songs.
(en.wikipedia.org/wiki/The_Snakes)

01. Labour Of Love (03:33)
02. Can't Go Back (04:30)
03. What Love Can Do (04:51)
04. Real Faith (04:29)
05. The Dancer (The Liar) (04:23)
06. Gonna Find The Sun (02:55)
07. Little Miss Happiness (03:21)
08. Bring Yo' Good Self Home (04:10)
09. Showdown (03:55)
10. Sacrificial Feelings (03:25)
11. Tough Love (04:09)
12. All Dressed Up (Bonus Track) (04:28)
13. September Tears (Bonus Track) (03:47)

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Kiss - Asylum [Japanese Ed. SHM-CD] (1985)

Year: September 16, 1985 (CD Jun 25, 2008)
Label: Universal Music (Japan), UICY-93527
Style: Hard Rock, Glam Metal
Country: New York City, U.S.
Time: 38:55
Format: Flac Tracks 16/44,1 kHz
Size: 272 Mb

Charts: US #20, AUS #89, CAN #54, GER #43, NLD #34, NOR #11, SWE #3, UK #12. CAN & US: Gold.
Asylum is the first album to feature lead guitarist Bruce Kulick as an official band member. Kulick had replaced former guitarist Mark St. John on two tracks on the previous album Animalize (1984), during the latter's absence due to reactive arthritis. Subsequently, Kulick filled St. John's spot on most segments of the Animalize tour. This new lineup of Paul Stanley, Gene Simmons, Eric Carr, and Kulick would last until Carr's death in November 1991, while Kulick would stay with the band until the reunion of the original lineup in 1996.
The song "Love's a Deadly Weapon" credits Plasmatics members Rod Swenson and Wes Beech as it borrows heavily from their band's song "Party". The title and lyrics are however taken from a 1981 Kiss demo written by Paul Stanley that was officially released on the 40th Anniversary remaster of Creatures of the Night (1982).
Another Plasmatics member Jean Beauvoir is also credited as songwriter and plays bass on at least two songs.
The album cover depicts the four band members with colored lips, mirroring the colors of the 1978 solo releases: red for Simmons, purple for Stanley, blue for Kulick (replacing Ace Frehley) and green for Carr (replacing Peter Criss). The placement of the band’s faces also mirrors 1979’s Dynasty cover: (clockwise from top left) Stanley, Simmons, Carr (replacing Criss), & Kulick (replacing Frehley). The artwork for the back cover is similarly stylised and colourful, depicting Kiss against a white background. The cover art of the remastered 1998 CD release of Asylum featured slightly altered, bolder colours than that of the original release.
(en.wikipedia.org/wiki/Asylum_(Kiss_album))

01. King Of The Mountain (04:20)
02. Any Way You Slice It (04:04)
03. Who Wants To Be Lonely (04:03)
04. Trial By Fire (03:26)
05. I'm Alive (03:47)
06. Love's A Deadly Weapon (03:31)
07. Tears Are Falling (03:53)
08. Secretly Cruel (03:43)
09. Radar For Love (04:02)
10. Uh! All Night (04:02)

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British Lions (Mott the Hoople) - Trouble with Women (1980)

Year: June 6, 1980 (CD ????)
Label: COE Records (Russia, Unofficial Release), COE337
Style: Glam Rock, Rock
Country: Herefordshire, England
Time: 72:57
Format: Flac Tracks 16/44,1 kHz
Size: 476 Mb

British Lions were a short-lived British rock band, together from 1977 to 1979, with former members of Mott and Medicine Head. They toured Britain extensively, as support to Status Quo, whose management they shared, and AC/DC, but were more successful in America. They released two studio albums with little commercial success in the UK. Their second album was rejected by RSO and then by Vertigo, and they disbanded in 1979. The release rights were acquired by Cherry Red, who released it the following year.
(en.wikipedia.org/wiki/British_Lions_(band))

British Lions were in large part a continuation of Mott (the post-Ian Hunter version of Mott the Hoople), retaining keyboardist Morgan Fisher, lead guitarist Ray Major, bassist Overend Watts, and drummer Dale Griffin; ex-Medicine Head singer/guitarist John Fiddler was added on lead vocals. Just as Mott had been a devolution from Mott the Hoople, so did British Lions continue the dilution into journeyman British hard rock. The British Lions concentrated on the American market, feeling the UK scene to be unsympathetic to veteran rockers during the new wave/punk days, and toured the US supporting groups like Blue Oyster Cult and UFO. Their single "Wild in the Streets" made the lower reaches of the Top Hundred, and they did an album for RSO in 1978. The band collapsed after making a second album, which RSO did not release, although it was issued in the early 1980s. Another album (Live and Rare) of live-in-the-US recordings from the 1978 tour, as well as some previously unreleased demos and rehearsals, appeared in 1999.
(allmusic.com/artist/british-lions-mn0000522068/biography)

01. British Lions US Radio Promo (00:30)
02. Trouble With Women (03:32)
03. Any Port In A Storm (04:22)
04. Lady, Don't Fall Backwards (04:22)
05. High Noon (04:24)
06. Lay Down Your Love (04:49)
07. Waves Of Love (04:20)
08. Electric Chair (04:59)
09. (Won't You Give Him) One More Chance? (03:50)
10. British Lions US Radio Promo (00:29)
11. One More Chance To Run [Demo Version] (03:28)
12. But The Night Is Young [Demo Version] (06:02)
13. The Studio Song [Home Recording] (04:22)
14. Eat The Rich [Demo Version] (03:42)
15. British Lions US Radio Promo [K-SJO San Jose] (00:28)
16. Rising Sun [Live] (04:59)
17. Come On [Live] (02:59)
18. My Life's In Your Hands [Live] (05:43)
19. Wild One [Live] (05:29)

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British Lions (Mott the Hoople) - British Lions [8 bonus tracks] (1978)

Year: February 10, 1978 (CD Unofficial Release)
Label: COE Records (Russia), COE336
Style: Glam Rock, Hard Rock
Country: Herefordshire, England
Time: 74:29
Format: Flac Tracks 16/44,1 kHz
Size: 441 Mb

British Lions were a short-lived British rock band, together from 1977 to 1979, with former members of Mott and Medicine Head. They toured Britain extensively, as support to Status Quo, whose management they shared, and AC/DC, but were more successful in America. They released two studio albums with little commercial success in the UK. Their second album was rejected by RSO and then by Vertigo, and they disbanded in 1979. The release rights were acquired by Cherry Red, who released it the following year. Their debut album was reissued in 2023 by Think Like A Key Music.
British Lions is the 1978 debut album by British Lions, the band consisting mainly of members of Mott-Morgan Fisher, Ray Major, Pete Overend Watts and Dale Griffin-alongside singer/guitarist John Fiddler, previously of Medicine Head. It was released on the Vertigo label in the UK and the RSO label in the United States. A single "One More Chance to Run" b/w "Booster" was released by Vertigo in the UK to promote the album. In the US, the track, "Wild in the Streets" went to #87 on the Hot 100.
"One More Chance to Run" was covered by Joe Elliott's Down 'n' Outz on their 2010 album My ReGeneration.
(en.wikipedia.org/wiki/British_Lions_(band))

01. One More Chance to Run (03:36)
02. Wild in the Streets (03:00)
03. Break This Fool (04:20)
04. International Heroes (04:19)
05. Fork Talking Man (05:30)
06. My Life's in Your Hands (05:17)
07. Big Drift Away (08:29)
08. Booster (04:07)
09. Eat the Rich (03:40)
10. One More Chance to Run (John Peel sessions) (03:49)
11. Break This Fool (John Peel sessions) (05:10)
12. Wild in the Streets (John Peel sessions) (03:23)
13. Wild One (live) (06:12)
14. Eat the Rich, the Second Course (demo) (03:52)
15. Can't Get Over You (demo) (03:05)
16. Long Distance Love (demo) (03:30)
17. You Got Everything (demo) (03:00)

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Peter Gabriel (ex Genesis) - Peter Gabriel (aka Peter Gabriel 3: Melt) (1980)

Year: 30 May 1980 (CD 1987)
Label: Virgin Records (UK), PGCD3
Style: Pop, Progressive Pop
Country: Chobham, England (13 February 1950)
Time: 45:31
Format: Flac Tracks 16/44,1 kHz
Size: 239 Mb

Peter Gabriel is the third solo studio album by the English rock musician Peter Gabriel, released on 30 May 1980 by Charisma Records. The album, produced by Steve Lillywhite, has been acclaimed as Gabriel's artistic breakthrough as a solo artist. AllMusic wrote that it established him as "one of rock's most ambitious, innovative musicians".
Building on the experimental sound of his previous self-titled studio album, it saw Gabriel embracing post-punk and new wave with an art rock sensibility. Gabriel also explored more overtly political material with the anti-war song "Games Without Frontiers" (which became a No. 4 hit and remains his joint highest-charting single in the UK) and the anti-apartheid protest song "Biko", which remembered the murdered activist Steve Biko.
The album is also often referred to as Melt, owing to its cover photograph by Hipgnosis. Some music streaming services refer to it as Peter Gabriel 3: Melt.
(en.wikipedia.org/wiki/Peter_Gabriel_(1980_album))

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

01. Intruder (04:53)
02. No Self Control (03:55)
03. Start (01:20)
04. I Don't Remember (04:41)
05. Family Snapshot (04:28)
06. And Through the Wire (05:00)
07. Games Without Frontiers (04:06)
08. Not One of Us (05:21)
09. Lead a Normal Life (04:14)
10. Biko (07:29)

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Uriah Heep - Sweet Freedom [Japanese Ed.] (1973)

Year: September 1973 (CD Nov 21, 1989)
Label: Teichicu Records Co. Ltd. (Japan), TECP-18012
Style: Hard Rock, Hard Pop
Country: London, England
Time: 37:27
Format: Flac Tracks 16/44,1 kHz
Size: 244 Mb

Charts: UK #18, AUS #19, CAN #5, GER #12, AUT #9, NOR #2, SWE #13, US #33, FIN #2, JPN #45. UK: Silver; US: Gold.
You might think they've settled down a bit after giant success of their million seller double live vinyl. No way! Band was heading for another studio release. This time Uriah Heep moved into France for tax purposes. New album called "Sweet Freedom" sounded heavier with colors of and intense shakin' rock'n' roll in songs like Dreamer and R&B oriented Stealin'. "The Magician Birthday" was a pure dreamland, I mean a record where you could fully switch off your conciseness, while entering into world of your dreams. "Sweet Freedom" also contains strong dreamy moments but at the same vein offers more earthly and punchier shapes of rock... and roll than it's predecessor. It strikes very intense right from the start with Dreamer, where David is accompanied with some astonishing guitar lead hooks by Mick with his usual enthusiastic squealing wah wah guitar language. Band did complain a lot over recording conditions in new studio, but with "Sweet Freedom" as band's sixth studio album, Uriah Heep produced the heaviest sound so far.
With passionate band's all time classic Stealin' Urah Heep proved again that composing of smashing hits was always among their strongest trademarks. After short mid tempo rollin' jam One Day, Uriah Heep takes the listener with title track into world of dreams, surely a first atmospheric highlight on a record. Massive chunky Hensley's Hammond dashing and fantastic tender approach of soulful David sourounded with angelic back vocal choir are fantastic counter points which in same vein draw expressive contrasts inside songs and establish many spine-tingling climaxes.
What follows next is fantastic continuing of this high ambinet with If I Had A Time. Well this song was actually written by Hensley back in 1971 and here on this very special re-release it is included among few bonuses as a version performed by Ken on grand piano and lead vocals with a little help from his friends Simon Kirke (Free/ Bad Company) and Paul Kossoff (Free/Back Street Crawler). I was in seventh heaven as a huge Free fan when I found this version included here on this reissue. Funnily enough, but at same time as I bought renewed version of "Sweet Freedom", I also did The Spencer Davies Group re-release of their forth album "Living In A Back Street" where SDG bonus We Can Give It A Try with special guest Gary Thain playing bass guitar is included. A track recorded back in 1974, so in times of Gary's splitting with Uriah Heep.
(full version: firegoat.com/eng/?id=5&d=211)

01. Dreamer (03:43)
02. Stealin' (04:53)
03. One Day (02:47)
04. Sweet Freedom (06:34)
05. If I Had The Time (05:41)
06. Seven Stars (03:51)
07. Circus (02:45)
08. Pilgrim (07:09)

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Gary Moore - Run For Cover (1985)

Year: 2 September 1985 (CD 2003)
Label: Virgin Records (Europe), 7243 5 83577 2 1
Style: Hard Rock, Heavy Metal
Country: Belfast, Northern Ireland (4 April 1952 - 6 February 2011)
Time: 61:25
Format: Flac Tracks 16/44,1 kHz
Size: 420 Mb

Charts: UK #2, AUS #73, FIN #10, GER #27, NZ #23, NOR #7, SWE #6, US #146. UK: Silver; SWE: Gold.
Run for Cover is the fifth solo studio album by Northern Irish guitarist Gary Moore, released on 2 September 1985. It is often considered his breakthrough album.
The album includes the top 5 single "Out in the Fields" and a re-recording of the song "Empty Rooms", originally from Moore's previous album Victims of the Future, which became one of Moore's biggest solo successes, reaching No. 23 on the UK charts.
The album features many of Moore's musical friends, including Deep Purple bassist/vocalist Glenn Hughes, Paul Thompson of Roxy Music and Phil Lynott from Thin Lizzy. Lynott and Moore trade lead vocals on "Out in the Fields", while Lynott sings alone on "Military Man", an old Grand Slam track. "Out in the Fields" is about the turmoil in their native Ireland. Lynott also provided vocals for a re-recording of the Thin Lizzy classic "Still in Love with You", on which Moore originally played guitar; the track was initially issued as a B-side of "Out in the Fields", but is included on later remastered versions of the album.
(en.wikipedia.org/wiki/Run_for_Cover_(Gary_Moore_album))

01. Run For Cover (04:13)
02. Gary  Moore feat. Glenn Hughes / Reach For The Sky (04:45)
03. Gary Moore with Phil Lynott / Military Man (05:40)
04. Empty Rooms (04:18)
05. Gary Moore feat. Glenn Hughes / Out Of My System (04:07)
06. Gary Moore feat. Phil Lynott / Out In The Fields (04:17)
07. Gary Moore feat. Phil Lynott and Glenn Hughes / Nothing To Lose (04:41)
08. Once In A Lifetime (04:18)
09. Gary Moore feat. Glenn Hughes / All Messed Up (04:52)
10. Listen To Your Heartbeat (04:38)
11. Gary Moore with Phil Lynott / Still In Love With You (05:59)
12. Stop Messin' Around (Live) [Bonus Track] (04:08)
13. Murder In The Skies (Live) [Bonus Track] (05:23)

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Uriah Heep - The Magician's Birthday [Japanese Ed.] (1972)

Year: November 1972 (CD Nov 21, 1989)
Label: Teichicu Records Co. Ltd. (Japan), TECP-18009
Style: Hard Rock, Hard Pop
Country: London, England
Time: 37:57
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

The Magician's Birthday received mixed reviews from contemporary critics. Mike Saunders, writing for Creem, called the album "a package full of dreck", finding the first side of the LP "listenable" despite poor production and side two downright "irritating". Village Voice critic Robert Christgau described the songs on the album as "third-hand heavy metal fantasies (...) hooked to some clean, powerful arrangements, and a good melody or two."
Modern reviews are more positive. AllMusic reviewer remarked the album's prog elements and wrote that "The Magician's Birthday never quite hits the consistent heights of Look at Yourself or Demons and Wizards, but remains a solid listen for Uriah Heep fans". Joe Geesein of Record Collector praised the musicians and the good sound of the album's reissue, but wrote that most of the songs "don't stand up quite out so well" in comparison with opener "Sunrise" or the single "Spider Woman". Canadian journalist Martin Popoff called The Magician's Birthday "another colourful, mystical journey", although "somewhat disjointed, less accessible and in total much less metallic" than previous efforts, "culminating in the band's most harrowing, nightmarish epic of them all, the ten minute title track."
(en.wikipedia.org/wiki/The_Magician%27s_Birthday)

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

01. Sunrise (04:06)
02. Spider Woman (02:29)
03. Blind Eye (03:36)
04. Echoes In The Dark (04:53)
05. Rain (04:02)
06. Sweet Lorraine (04:17)
07. Tales (04:10)
08. The Magician's Birthday (10:21)

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Scorpions - Fly To The Rainbow [Japanese Ed.] (1974)

Year: 1 November 1974 (CD Jun 21, 1989)
Label: RCA Records (Japan), B20D-41010
Style: Hard Rock
Country: Hanover, West Germany
Time: 41:01
Format: Flac Tracks 16/44,1 kHz
Size: 273 Mb

In support of the Lonesome Crow album, Scorpions toured as the opening act for the British rock band UFO. At the end of the tour, Scorpions lead guitarist Michael Schenker was asked to fill an open position as UFO's guitarist and accepted the position. Schenker's departure temporarily resulted in the breakup of the band but Rudolf Schenker and Klaus Meine ultimately merged with the band Dawn Road. The new band consisted of guitarist Uli Jon Roth replacing Michael as well as drummer Jurgen Rosenthal, keyboardist Achim Kirschnig and bass guitarist Francis Buchholz. The new lineup assumed the Scorpions name and recorded Fly to the Rainbow. Three songs on Fly to the Rainbow were co-written with departing guitarist Michael Schenker as part of his agreement on leaving the band.
When asked to comment on the cover art for the album, Uli Jon Roth said: "Don't ask me what that cover means...  I disliked it from the beginning. It looked ludicrous to me back then and looks just as bad today. It was done by a firm of designers in Hamburg, who had actually done a good job on the Lonesome Crow album before, but I think that time they failed miserably. As for the meaning, I can only guess, but I'd rather not... "
(en.wikipedia.org/wiki/Fly_to_the_Rainbow)

01. Speedy's Coming (03:38)
02. They Need A Million (04:54)
03. Drifting Sun (07:44)
04. Fly People Fly (05:05)
05. This Is My Song (04:17)
06. Far Away (05:41)
07. Fly To The Rainbow (09:39)

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Gary Moore - Rockin' Every Night - Live In Japan (1983)

Year: 21 May 1983 (CD 2003)
Label: Virgin Records (Europe), 7243 5 83668 2 2
Style: Hard Rock, Heavy Metal
Country: Belfast, Northern Ireland (4 April 1952 - 6 February 2011)
Time: 57:42
Format: Flac Tracks 16/44,1 kHz
Size: 400 Mb

Rockin' Every Night - Live in Japan is a live album recorded by Gary Moore at Tokyo Kosei Nenkin Kaikan in 1983, during the Corridors of Power tour. Despite being released in Japan in 1983, it was not given a European release until 1986. The 2002 CD reissue included three live tracks recorded at the Marquee in London on 26 August 1982, originally from a bonus EP included with the first 25,000 vinyl copies of Moore's earlier album Corridors of Power.
The song "Sunset", which had been a staple of Moore's live setlist since 1980, is dedicated to the late Randy Rhoads, who had died several months prior. It was finally recorded in the studio in 1982, for Cozy Powell's Tilt album. Keyboardist Don Airey had previously recorded and performed with Rhoads in Ozzy Osbourne's backing band during the Diary of a Madman tour.
(en.wikipedia.org/wiki/Rockin%27_Every_Night_%E2%80%93_Live_in_Japan)

01. Rockin' Every Night (03:18)
02. Wishing Well (04:54)
03. I Can't Wait Until Tomorrow (11:55)
04. Nuclear Attack (05:58)
05. White Knuckles (03:48)
06. Rockin' And Rollin' (04:05)
07. Back On The Streets (05:12)
08. Sunset (04:36)
09. Back On The Streets (05:08)
10. Rockin' Every Night (02:54)
11. Parisienne Walkways (05:48)

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Scorpions - The Original Scorpions (Lonesome Crow) [Japan Ed.] (1972)

Year: February 1972 (CD Sep 1, 1986)
Label: Brain / Polystar Records (Japan), P33X-20003
Style: Progressive Rock
Country: Hanover, West Germany
Time: 40:42
Format: Flac Tracks 16/44,1 kHz
Size: 256 Mb

It is the band's only album with lead guitarist Michael Schenker – just 16 at the time of the recording – as a full-time member. He soon left to join UFO and was replaced by Ulrich Roth. Schenker would, however, rejoin briefly during the recording and touring of 1979's Lovedrive.
Klaus Meine: With Lonesome Crow, we were just a young band trying to find our way, trying to shape an artistic style to find the Scorpions DNA. There was a ballad with "In Search of the Peace of Mind", and a psychedelic rocker with the title track, "I’m Goin' Mad", [which] was a great rocker with Michael Schenker playing great solos. We were just a young band with talented guys, with no idea on where to go from here. For the subsequent album, Fly to the Rainbow, we brought in Uli Roth, who had a Hendrix influence, and Rudolf and I became a songwriter team. When Matthias Jabs joined the band, we found our style, fast riffs but great melodies, along with the power ballads.
Michael Schenker in later years has spoken bitterly about not getting his proper writing credit, with a blanket "all songs by Scorpions" when in his mind many of the songs were written by himself and Klaus alone. In particular Michael cites "In Search of the Peace of Mind" remaining, unjustly, in the Scorpions set list for years when it's in reality, his song. Apart from these occasional performances of "In Search of the Peace of Mind" up to 1978 and between 1996 and 2006, Scorpions have played no song from Lonesome Crow since the tour in support of their third album In Trance.
The songs "Action" and "I'm Goin' Mad" are re-recordings of the songs for their unreleased 1970 single on CCA label that were later released on the compilation Psychedelic Gems 2, making them the earliest released Scorpions recordings.
The album had several different sleeves and was re-titled Action for its initial release in Scandinavia, The Scorpions for one 1976 release, and The Original Scorpions, with a different running order, for a Japanese release in 1981 and its first-ever CD issue in 1986. The 1982 German reissue cover art was created by the artist Rodney Matthews.
(en.wikipedia.org/wiki/Lonesome_Crow)

01. Action (03:56)
02. It All Depends (03:27)
03. Lonesome Crow (13:33)
04. I'm Goin' Mad (04:56)
05. Leave Me (05:06)
06. In Search Of The Peace Of Mind (05:01)
07. Inheritance (04:40)

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Ozzy Osbourne - Blizzard Of Ozz (1980)

Year: September 12, 1980 (CD 1995)
Label: Sony Music / Epic Records (Austria), 481674 2
Style: Hard Rock, Heavy Metal
Country: Marston Green, Warwickshire, England (3 December 1948)
Time: 39:33
Format: Flac Tracks 16/44,1 kHz
Size: 277 Mb

Charts: UK #7, CAN #8, NZ #47, US #21. UK & AUS: Gold; CAN: Platinum; US: 5x Platinym.
Much of the album was written by guitarist Randy Rhoads, bassist Bob Daisley, and Ozzy Osbourne while staying at the Monnow Valley Studio near Monmouth, Wales, with a friend of Osbourne's named Barry Scrannage performing as the group's drummer. Scrannage was never considered as a candidate to be the group's permanent drummer and was not involved in the songwriting process at all. The band recorded demos of the songs "I Don't Know" (which became Osbourne's second most-performed song), "Crazy Train" (the most performed one), "Goodbye to Romance", and "You Looking at Me Looking at You" in Birmingham in early 1980 with ex-Lone Star drummer Dixie Lee. They had hoped Lee would be a permanent member but "he wasn't the final piece of the puzzle", bassist Daisley recalls. After auditioning several drummers, ex-Uriah Heep member Lee Kerslake was hired as the permanent drummer. The completed lineup retreated to Clearwell Castle in Gloucestershire for six days to rehearse and give Kerslake an opportunity to learn the new songs. A week later, they travelled to Ridge Farm Studio to commence recording.
The first track written for the album was "Goodbye to Romance". Osbourne has stated that the song was his way of saying goodbye to his former band Black Sabbath, as he had thought his career was over after leaving the band. After performing a show in Birmingham, the band hastily returned to Ridge Farm to remix "Goodbye to Romance" for a single. The next morning they were informed that their label Jet Records instead wanted a brand new song to release as a single. Rhoads, Daisley, and Kerslake quickly put together the song "You Said It All", with drummer Kerslake performing the guide vocal at soundcheck while a drunken Osbourne slept under the drum riser. The song was ultimately never recorded, though a live version was released on Ozzy Osbourne Live EP in 1980.
(full version: en.wikipedia.org/wiki/Blizzard_of_Ozz)

01. I Don't Know (05:17)
02. Crazy Train (04:56)
03. Goodbye To Romance (05:35)
04. Dee (00:49)
05. Suicide Solution (04:19)
06. Mr. Crowley (04:56)
07. No Bone Movies (03:58)
08. Revelation (Mother Earth) (06:09)
09. Steal Away (The Night) (03:30)

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Kiss - Animalize [Japanese Ed. SHM-CD] (1984)

Year: September 13, 1984 (CD Jun 25, 2008)
Label: Universal Music (Japan), UICY-93526
Style: Hard Rock, Glam Metal
Country: New York City, U.S.
Time: 36:09
Format: Flac Tracks 16/44,1 kHz
Size: 260 Mb

Charts: US #19, AUS #40, CAN #41, GER #25, NLD #17, NOR #14, SWE #8, UK #11. FIN: Gold; CAN & US: Platinum.

With two strong albums back to back (Creatures of the Night and Lick It Up), Kiss fans were confident that the band's next album would be just as good. Although 1984's Animalize was a big hit (eventually going double platinum), it was the beginning of the band's second unfocused period. Instead of leading the heavy metal pack with raw hard rock (i.e., their classic albums from the '70s), in the mid- to late '80s, Kiss seemed to be copying other successful pop-metal bands (Bon Jovi, Def Leppard, Mötley Crüe, etc.), both musically and visually. Mark St. John replaced the departed Vinnie Vincent on guitar (guitarist number three in a span of three years) and proved to be a highly technical player, the complete opposite of original member Ace Frehley's straight-ahead style. Still, there were a few strong compositions on Animalize, such as the MTV hit "Heaven's on Fire" and two heavy tracks: the opener, "I've Had Enough (Into the Fire)," and "Under the Gun." But by this point, bassist Gene Simmons was more interested in pursuing an acting career than being an integral member of Kiss, so many of his compositions are either forgettable ("While the City Sleeps") or just plain embarrassing (the Spinal Tap-esque "Burn Bitch Burn"). Although a commercial success, Animalize was not nearly as strong as its two predecessors.
(allmusic.com/album/animalize-mw0000194487)

01. I've Had Enough (Into The Fire) (03:52)
02. Heaven's On Fire (03:21)
03. Burn Bitch Burn (04:43)
04. Get All You Can Take (03:44)
05. Lonely Is The Hunter (04:28)
06. Under The Gun (04:01)
07. Thrills In The Night (04:21)
08. While The City Sleeps (03:41)
09. Murder In High Heels (03:54)

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Gilgamesh - Gilgamesh [Japanese Ed.] (1975)

Year: 1975 (CD Jul 4, 1990)
Label: Virgin Records (Japan), VJCP-2534
Style: Instrumental, Progressive Rock, Jazz Rock
Country: United Kingdom
Time: 37:03
Format: Flac Tracks 16/44,1 kHz
Size: 190 Mb

Gilgamesh's 1975 eponymous debut portrays a fine group that emerged during the waning days of Britain's Canterbury scene. The album by keyboardist Alan Gowen's quartet -- also featuring guitarist Phil Lee, bassist Jeff Clyne, and drummer Mike Travis in this incarnation -- was issued by Virgin Records' budget-line Caroline imprint. By the mid-'70s, Virgin's support for bands of this ilk was approaching its end, with punk and new wave soon ruling the day. Arriving late in the game, Gowen and company sounded most similar to Canterbury supergroup Hatfield and the North, and in fact Hatfields keyboardist Dave Stewart co-produced the album. Gilgamesh had clearly mastered the Hatfields' suites'n'segues approach to Canterbury-style complexity while sidestepping blatant imitation -- for the most part. Certainly from the first notes of opening three-part suite "One End More/Phil's Little Dance/Worlds of Zin," Gilgamesh prove capable of nimble thematic lines and knotty stops and starts, while admirably refraining from pyrotechnics. The suite's kitchen-sink approach makes room for King Crimson-ish Mellotron and grand piano flourishes (recalling Keith Tippett on Lizard) as well as Stevie Wonder-ish funk-lite clavinet, but the uniform production smooths out such quirky juxtapositions. "Lady and Friend" provides a true jolt, with Clyne's lullaby-like bass melody, seasoned by light electric piano/guitar accompaniment, preceded by a brief blast of full-band unison riffing seemingly designed as a rude interruption. Just over a minute and a half long, Gowen's "Arriving Twice" is a wonderful interlude, with acoustic guitar, electric piano, and synth sketching a melody that draws from jazz, folk, and classical but ultimately transcends such labels; it's the perfect segue into "Island of Rhodes," the first portion of the album's next three-part suite, with the track's namesake keyboard floating in nocturnal ambience a la In a Silent Way before the introduction of a dreamily beautiful theme accompanied by the subtlest percussive embellishments from Travis. The suite ultimately offers its own share of unpredictable twists, ending with a driving vamp as guitarist Lee cuts loose, but the production again manages to avoid shattering the prevailing vibe. The album does court Hatfields imitation here and there -- "Jamo and Other Boating Disasters" features Amanda Parsons' soprano vocals in pure Northettes style during an interlude that clearly strives for the drama of The Rotters' Club's "Mumps" coda, while elsewhere Lee employs a decidedly Phil Miller-esque electric guitar tone. But Gowen himself avoids obvious Canterbury devices, eschewing fuzz organ solos during the music's most animated moments in favor of round-toned synth voicings that snake and float through rather than pierce the air. Gilgamesh's studio-based forays may have tamped down the band's woollier aspects, but the keyboardist and his bandmates were charting their own inimitable direction, too briefly explored but holding up admirably in recordings such as this.
(allmusic.com/album/gilgamesh-mw0000743979)

01. (a) One End More; (b) Phil's Little Dance - for Phil Millers trousers; (c) Wo... (10:22)
02. Lady And Friend (03:44)
03. Notwithstanding (04:47)
04. Arriving Twice (01:37)
05. (a) Island Of Rhodes; (b) Paper Boat - for Doris; (c) As If Your Eyes Were Open (06:41)
06. For Absent Friends (01:13)
07. (a) We Are All; (b) Someone Else's Food; (c) Jamo And Other BoatingDisasters ... (07:49)
08. Just C (00:47)

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National Health - D.S. Al Coda (1982)

Year: 1982 (CD 1995)
Label: Voiceprint Records (Austria), BP129CD
Style: Instrumental, Progressive Rock, Jazz Rock
Country: Canterbury, England
Time: 46:20
Format: Flac Tracks 16/44,1 kHz
Size: 299 Mb

D.S. Al Coda is the third and final album by the progressive rock and jazz fusion group National Health. It is a tribute to former member Alan Gowen, who died of leukaemia in May 1981, and consists solely of compositions written by him. Most of these had not been recorded in the studio before, although "TNTFX" and "Arriving Twice" both appeared earlier on albums by Gowen's other band Gilgamesh.
(en.wikipedia.org/wiki/D.S._Al_Coda)
Musically, the album doesn't quite measure up to the previous two National Health releases, but that is largely due to the times and technology and not the songwriting. Although the material is perhaps jazzier than ever before, it is still firmly rooted in the bittersweet Canterbury style.
(expose.org/index.php/articles/display/national-health-d.s.-al-coda-8.html)

01. Portrait Of A Shrinking Man (05:35)
02. T.N.T.F.X. (03:12)
03. Black Hat (04:52)
04. I Feel A Night Coming On (06:37)
05. Arriving Twice (02:22)
06. Shining Water (08:53)
07. Tales Of A Damson Knight (01:56)
08. Flanagan's People (05:18)
09. Toad Of Toad Hall (07:30)

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Ian Hunter (ex Mott The Hoople) - You're Never Alone with A Schizophrenic (1979)

Year: 27 March 1979 (CD ????)
Label: Razor & Tie (US), RE 2011
Style: Rock, Glam Rock
Country: Shropshire, England (June 3, 1939)
Time: 42:02
Format: Flac Tracks 16/44,1 kHz
Size: 259 Mb

You're Never Alone with a Schizophrenic is the fourth solo studio album by Ian Hunter. The album featured members of Bruce Springsteen's E Street Band as the backing band. AllMusic considers the album to be Hunter's best.
Hunter says that the title had been spotted on a toilet wall by co-producer Mick Ronson, who planned to use it for one of his solo albums. Hunter loved the title so much that he offered Ronson co-writing credit on the first single "Just Another Night" in exchange for the use of the title for the album. "Just Another Night" reached the Billboard Hot 100 at No. 68. The album became one of Hunter's biggest sellers at the time.
The song "Cleveland Rocks" (originally recorded as a single for Columbia Records and entitled "England Rocks" around the time of "Overnight Angels") later became a hit when The Presidents of the United States of America re-recorded the song as the theme song to The Drew Carey Show in 1997, raising Hunter's profile. Also, singer Barry Manilow covered the song "Ships" for his album One Voice which became a top-ten hit.
(en.wikipedia.org/wiki/You%27re_Never_Alone_with_a_Schizophrenic)

01. Just Another Night (04:36)
02. Wild East (03:58)
03. Cleveland Rocks (03:48)
04. Ships (04:11)
05. When The Daylight Comes (04:27)
06. Life After Death (03:49)
07. Standin' In My Light (04:35)
08. Bastard (06:37)
09. Outsider (05:57)

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Tchaikovsky - The Seasons - Bruce Liu (2024)

Year: 2024 (CD November 1, 2024)
Label: Deutsche Grammophon GmbH (Germany), 486 6050
Style: Classical, Romantic, Piano Suite
Country: Votkinsk, Russia (7 May 1840 - 6 November 1893)
Time: 54:07
Format: Flac Tracks 16/44,1 kHz
Size: 193 Mb

In 1875, Nikolay Matveyevich Bernard, the editor of the St. Petersburg music magazine Nouvellist, commissioned Tchaikovsky to write 12 short piano pieces, one for each month of the year. Bernard suggested a subtitle for each month's piece. Tchaikovsky accepted the commission and all of Bernard's subtitles, and in the December 1875 edition of the magazine, readers were promised a new Tchaikovsky piece each month throughout 1876. The January and February pieces were written in late 1875 and sent to Bernard in December, with a request for some feedback as to whether they were suitable, and if not, Tchaikovsky would rewrite February and ensure the remainder were in the style Bernard was after. March, April and May appear to have been composed separately; however the remaining seven pieces were all composed at the same time and written in the same copybook, and evidence suggests they were written between 22 April and 27 May. The orchestration of Swan Lake was finished by 22 April, leaving the composer free to focus on other music; and he left for abroad at the end of May. This seems to put the lie to Nikolay Kashkin's published version of events, which was that each month the composer would sit down to write a single piece, but only after being reminded to do so by his valet.
Tchaikovsky did not devote his most serious compositional efforts to these pieces; they were composed to order, and they were a way of supplementing his income. He saw the writing of music to a commission as just as valid as writing music from his own inner inspiration; however, for the former he needed a definite plot or text, a time limit, and the promise of payment at the end. Most of the pieces were in simple ABA form.
(en.wikipedia.org/wiki/The_Seasons_(Tchaikovsky))

01. The Seasons, Op.37bis (37a) - 1. January: At the Fireside (06:37)
02. The Seasons, Op.37bis (37a) - 2. February: Carnival (02:55)
03. The Seasons, Op.37bis (37a) - 3. March: Song of the Lark (02:55)
04. The Seasons, Op.37bis (37a) - 4. April: Snowdrop (02:40)
05. The Seasons, Op.37bis (37a) - 5. May: White Nights (04:39)
06. The Seasons, Op.37bis (37a) - 6. June: Barcarolle (05:29)
07. The Seasons, Op.37bis (37a) - 7. July: The Reaper's Song (01:59)
08. The Seasons, Op.37bis (37a) - 8. August: The Harvest (03:36)
09. The Seasons, Op.37bis (37a) - 9. September: The Hunt (02:58)
10. The Seasons, Op.37bis (37a) - 10. October: Autumn Song (05:46)
11. The Seasons, Op.37bis (37a) - 11. November: Troika (03:22)
12. The Seasons, Op.37bis (37a) - 12. December: Christmas (04:41)
13. Romance in F minor, Op.5 (06:25)

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Antonio Vivaldi - Le Quattro Stagioni (The Four Seasons) [Japanese Ed.] (1972)

Year: 1972 (CD 24 Mar 2004)
Label: Universal Music (Japan), UCCG-9503
Style: Classical, Baroque
Country: Italia (4 March 1678 – 28 July 1741)
Time: 43:05
Format: Flac Tracks 16/44,1 kHz
Size: 216 Mb

The Four Seasons (Italian: Le quattro stagioni) is a group of four violin concerti by Italian composer Antonio Vivaldi, each of which gives musical expression to a season of the year. These were composed around 1718–1723, when Vivaldi was the court chapel master in Mantua. They were published in 1725 in Amsterdam in what was at the time the Dutch Republic, together with eight additional concerti, as Il cimento dell'armonia e dell'inventione (The Contest Between Harmony and Invention).
The Four Seasons is the best known of Vivaldi's works.[1][2] Though three of the concerti are wholly original, the first, "Spring", borrows patterns from a sinfonia in the first act of Vivaldi's contemporaneous opera Il Giustino. The inspiration for the concertos is not the countryside around Mantua, as initially supposed, where Vivaldi was living at the time, since according to Karl Heller[3] they could have been written as early as 1716–1717, while Vivaldi was engaged with the court of Mantua only in 1718.
They were a revolution in musical conception: Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterized), a shepherd and his barking dog, buzzing flies, storms, drunken dancers, hunting parties from both the hunters' and the prey's point of view, frozen landscapes, and warm winter fires.
Unusual for the period, Vivaldi published the concerti with accompanying sonnets (possibly written by the composer himself) that elucidated what it was in the spirit of each season that his music was intended to evoke. The concerti therefore stand as one of the earliest and most detailed examples of what would come to be called program music-in other words, music with a narrative element. Vivaldi took great pains to relate his music to the texts of the poems, translating the poetic lines themselves directly into the music on the page. For example, in the second movement of "Spring", when the goatherd sleeps, his barking dog can be heard in the viola section. The music is elsewhere similarly evocative of other natural sounds. Vivaldi divided each concerto into three movements (fast–slow–fast), and, likewise, each linked sonnet into three movements (fast–slow–fast), and, likewise, each linked sonnet into three sections.
(en.wikipedia.org/wiki/The_Four_Seasons_(Vivaldi))

Conductor – Herbert von Karajan. Orchestra – Berliner Philharmoniker. Violin Soloist - Michel Schwable.

01. La primavera - Allegro: a) Giunta e la Primavera; b) Canto d'uccelli; c) Scorrono i fonti; d) Tuoni; e) Canto d'ucceli (03:26)
02. La primavera - Largo: a) Il capraro che dorme; b) Mormorio di fronde e piante; c) Il cane che grida; d) Caprar col fido can a lato (03:21)
03. La primavera - Allegro: Danza Pastorale (04:35)
04. L'estate - Allegro non molto: a) Languidezza per il caldo. L'estate - Allegro: b) Il cucco; c) La tortorella; d) Il gardellino; e) Zeffiretti dolci; f) Venti diversi; g) Vento Borea; h) Il pianto del villanello (05:47)
05. L'estate - Adagio e piano, presto e forte: Mosche e mosconi (02:17)
06. L'estate - Presto: Tempo impetuoso d'estate (02:53)
07. L'autunno - Allegro: a) Ballo e canto de villanelli; b) L'ubriaco; c) L'ubriaco che dorme (05:27)
08. L'autunno - Adagio molto: Dormienti ubriachi (02:34)
09. L'autunno - Allegro: a) La caccia; b) La fiera che fugge; c) Schioppi e cani; d) La fiera fuggendo muore (03:40)
10. L'inverno - Allegro non molto: a) Orrido vento; b) Correre e battere li piedi per il freddo; c) Venti; d) Battere i denti (03:29)
11. L'inverno - Largo: La pioggia (02:15)
12. L'inverno - Allegro: a) Camminar sopra il ghiaccio; b) Camminar piano et con timore; c) Cader a terra; d) Correr forte; e) Il vento Sirocco; f) Il vento Borea e tutti li venti (03:20)

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Ringo Starr (The Beatles) - Ringo The 4th (1977)

Year: 20 September 1977 (CD ????)
Label: WEA Manufacturing (U.S.), 7 82416-2
Style: Funk, Pop, Rock
Country: Liverpool, England (7 July 1940)
Time: 38:04
Format: Flac Tracks 16/44,1 kHz
Size: 238 Mb

Ringo the 4th is the sixth studio album by English musician Ringo Starr, released on 20 September 1977. Its title is sometimes ascribed to him being the fourth member of the Beatles. Others have suggested that it is his fourth mainstream album, which excludes his Great American Songbook homage, Sentimental Journey, and his country-western foray, Beaucoups of Blues. However, Ringo the 4th is a dance-oriented record, crafted for him by his Atlantic Records producer, Arif Mardin.
After the commercial disappointment of Ringo's Rotogravure (1976), Starr decided to shift from his formula of using his well-known musician friends (notably his fellow ex-Beatles) to write songs and appear on his albums. Instead, he intensified his partnership with Vini Poncia, with whom he wrote several of the songs featured here, while using the input of different musicians. Sessions began on 5 February 1977, at Cherokee Studios in Los Angeles, produced by Arif Mardin.[1] The first songs recorded were two unreleased tracks, "Lover Please" and "Wild Shining Stars".[1] Near the end of the month, Starr recorded "Out on the Streets", "It's No Secret" and "Gypsies in Flight".[1] In June, recording sessions were held at Atlantic Studios in New York.[1] where the tracks that ended up on the album were recorded. In addition, the B-side "Just a Dream", as well as an unreleased track, "By Your Side", were recorded.[1] Starr moved back to Cherokee Studios, where he held more sessions towards the end of the month, where a few more unreleased tracks were recorded: "Birmingham", "This Party", and a different version of "Just a Dream".[1] David Foster played keyboards on a couple of songs, while Melissa Manchester, Luther Vandross, and Bette Midler occasionally appeared on backing vocals.
Nancy Lee Andrews used Rita Wolf as a model in the photo shoot for the album cover. The photo used on the album cover shows Wolf's legs and she is sitting on Starr's shoulders. The back cover is a photo taken from the back of Starr and Wolf showing her bottom in tight pink pants.
(en.wikipedia.org/wiki/Ringo_the_4th)

01. Drowning In The Sea Of Love (05:10)
02. Tango All Night (02:59)
03. Wings (03:27)
04. Gave It All Up (04:42)
05. Out On The Streets (04:30)
06. Can She Do It Like She Dances (03:13)
07. Sneaking Sally Through The Alley (04:17)
08. It's No Secret (03:42)
09. Gypsies In Flight (03:04)
10. Simple Love Song (02:57)

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George Harrison - Thirty Three & 1/3 (1976)

Year: 19 November 1976 (CD 1991)
Label: Warner Bros. Records (US), 9 26612-2
Style: Rock, Classic Rock
Country: Liverpool, England (25 February 1943 - 29 November 2001)
Time: 39:15
Format: Flac Tracks 16/44,1 kHz
Size: 252 Mb

Charts: UK #35, AUS #27, CAN #10, JPN #23, NOR #17, US #11. UK: Silver; US: Gold.
It was Harrison's first album release on his Dark Horse record label, the worldwide distribution for which changed from A&M Records to Warner Bros. as a result of his late delivery of the album's master tapes. Among other misfortunes affecting its creation, Harrison suffered hepatitis midway through recording, and the copyright infringement suit regarding his 1970–71 hit song "My Sweet Lord" was decided in favour of the plaintiff, Bright Tunes Music. The album contains the US top 30 singles "This Song" – Harrison's satire on that lawsuit and the notion of plagiarism in pop music – and "Crackerbox Palace". Despite the problems associated with the album, many music critics recognised Thirty Three & 1/3 as a return to form for Harrison after his poorly received work during 1974–75, and considered it his strongest collection of songs since 1970's acclaimed All Things Must Pass.
Harrison recorded Thirty Three & 1/3 at his Friar Park home studio, with production assistance from Tom Scott. Other musicians on the recording include Billy Preston, Gary Wright, Willie Weeks, David Foster and Alvin Taylor. Harrison undertook extensive promotion for the album, which included producing comedy-themed video clips for three of the songs, two of which were directed by Monty Python member Eric Idle, and making a number of radio and television appearances. Among the latter was a live performance with singer-songwriter Paul Simon on NBC's Saturday Night Live. The album was remastered in 2004 as part of the Dark Horse Years 1976–1992 reissues following Harrison's death in 2001.
(en.wikipedia.org/wiki/Thirty_Three_%26_1/3)

01. Woman Don't You Cry For Me (03:18)
02. Dear One (05:08)
03. Beautiful Girl (03:42)
04. This Song (04:14)
05. See Yourself (02:51)
06. It's What You Value (05:08)
07. True Love (02:44)
08. Pure Smokey (03:55)
09. Crackerbox Palace (03:58)
10. Learning How To Love You (04:13)

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Lennon Plastic Ono Band - Shaved Fish [Japan Ed. Compilation] (1975)

Year: 24 October 1975 (CD Dec 5, 2007)
Label: Apple Records (Japan), TOCP-70398
Style: Rock
Country: Liverpool, England (9 October 1940 - 8 December 1980)
Time: 41:39
Format: Flac Tracks 16/44,1 kHz
Size: 251 Mb

Charts: UK #8, AUs #8, AUT #5, CAN #70, GER #37, JPN #22, NLD #5, NOR #9, SWE #28, US #12. US: Platinum; UK: Gold.
Shaved Fish contains all of the singles that he had issued up to that point in the United States as a solo artist, with the exception of "Stand by Me", which had been released earlier that year. The only compilation of Lennon's non-Beatles recordings released during his lifetime. It was also Lennon's final album released on Apple Records before it was shut down in 1975, to be revived in the 1990s.
Shaved Fish includes many of Lennon's most popular solo recordings in their original 45 rpm single edits. Five of the songs had not been previously issued on an album: "Cold Turkey", "Instant Karma!", "Power to the People", the holiday single "Happy Xmas (War Is Over)" and "Give Peace a Chance". The latter appears in truncated form and opens side one, while an excerpt of a live version of the song closes side two. Eight of these singles made the Top 40 on the Billboard chart, with "Whatever Gets You thru the Night" going to number 1; five made the top ten in the United Kingdom. "Imagine", never previously released as a single in the UK, was issued as such concurrent to the release of this album.
Roy Kohara was the art director of the album, and the illustrations were made by Michael Bryan. The cover is divided into twelve rectangles: one for each of the eleven songs on the LP, and one for the album title, written in Bruce Mikita font (also known as Novel Open). The album title originates from the Japanese food katsuobushi, a kind of dried fish.
(en.wikipedia.org/wiki/Shaved_Fish)

01. Give Peace A Chance (Edited Version) (00:59)
02. Cold Turkey (05:03)
03. Instant Karma! (03:15)
04. Power To The People (03:06)
05. Mother (05:08)
06. Woman Is The Nigger Of The World (04:38)
07. Imagine (03:04)
08. Whatever Gets You Thru The Night (03:06)
09. Mind Games (04:12)
10. #9 Dream (04:48)
11. Happy Xmas (War Is Over) / Give Peace A Chance : Reprise (04:16)

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Paul McCartney and Wings - Wings At The Speed Of Sound [24 Karat Gold] (1976)

Year: 26 March 1976 (CD 1996)
Label: DCC Compact Classics (US), GZS-1096
Style: Soft Rock, Classic Rock
Country: Liverpool, England (18 June 1942)
Time: 57:29
Format: Flac Tracks 16/44,1 kHz
Size: 325 Mb

Charts: UK #2, AUS #2, CAN #1, GER #32, ITA #8, JPN #4, NLD#3, NOR #2, US #1. US, UK & CAN: Platinum.
In his post-Beatles albums, Paul McCartney has proven himself a clever miniaturist whose records resemble collages built around simple musical fragments, each of which is painstakingly produced. While some have dismissed McCartney’s music as insufferably cute, uninspired trivia, all of his albums contain at least some worthwhile music.
At the Speed of Sound doggedly continues in the same vein, but with much less effervescence. Where Venus and Mars was framed by the astrological motif, At the Speed of Sound ostensibly invites the listener to spend a day with McCartney and Wings—a day in which the listener is gently harangued as well as entertained.
"Let 'Em In" begins with door-knocking sound effects, out of which steps a marching band. Like most of the rest, "Let 'Em In" puts a simple musical theme through carefully arranged changes. The melodic idea is small, but quintessentially McCartneyesque in its provincial jollity.
With the electronic soup-slurping sounds that open side two, one notes that it is almost time for lunch on this imaginary visiting day. But first the McCartneys answer those critics who lashed out at Venus and Mars's lovebird verses with a tract in defense of moon, June and spoon, "Silly Love Songs." It’s a clever retort whose point is well taken; the center of the song focuses on the syllables "I love you," which Paul and Linda reiterate with the insistence of phonetics instructors, weaving the phrase through a disarmingly lovely three-part chorus. Homeyness then climaxes with Linda singing "Cook of the House," complete with sizzling pan and running water. A surrealist concept like side one’s first-rate "The Note You Never Wrote," "Cook" is a rockabilly nursery rhyme. Though the instrumentation is excellent, the song fails because of Linda’s colorless, amateurish singing. (Those with feminist sympathies will also detest this celebration of scatterbrained wife-in-kitchen coziness.)
If "Silly Love Songs" is acceptably didactic, the album’s closing number, "Warm and Beautiful," pushes the point too far. The opening chords suggest a parody of Lennon’s infinitely superior "Imagine" and the ultrasimple melody and lyrics suggest a parody of Lennon’s "Love," serving up, with apparent sincerity, the stalest pop ballad clichés ever to emerge from an English music hall. Perhaps McCartney is trying to remind us that these tiresome clichés might well outlast the pop music many critics call art. Or perhaps it is an attempt to transcend cliche by being the biggest cliché. Or perhaps "Warm and Beautiful" is simply one of the worst songs Paul McCartney has ever written.
While there is much to admire on At the Speed of Sound, it is contained in the production more than the material. Ultimately, this album lacks the melodic sparkle of Venus and Mars, which in its turn lacked the energy, passion and structural breadth and unity of Band on the Run, Wings’ finest album. No one rocker on Speed matches the spirit of "Jet" or "Band on the Run" from Band, while no ballad even begins to approach the majesty of "My Love," from Red Rose Speedway. As a whole, At the Speed of Sound seems like a mysterious, somewhat defensive oddity by a great pop producer who used to be a great pop writer. Like all McCartney and Wings records, At the Speed of Sound is spectacularly well arranged and recorded, with McCartney continuing to demonstrate his special affinity for using brass in surprising and witty ways. The playing is laboratory perfect. McCartney, like almost no one else, seems able to play the studio as an instrument. Though it’s a wonderful gift, I hope it doesn’t distract him from songwriting more than it already has. For the best McCartney songs will most certainly outlast all the studios in which they were recorded.
(full version: rollingstone.com/music/music-album-reviews/wings-at-the-speed-of-sound-87638/) Review by Stephen Holden. May 20, 1976

01. Let 'Em In (05:13)
02. The Note You Never Wrote (04:29)
03. She's My Baby (03:07)
04. Beware My Love (06:32)
05. Wino Junko (05:28)
06. Silly Love Songs (05:56)
07. Cook Of The House (02:45)
08. Time To Hide (04:31)
09. Must Do Something About It (03:43)
10. San Ferry Anne (02:09)
11. Warm And Beautiful (03:25)
12. Walking In The Park With Eloise (03:13)
13. Bridge On The River Suite (03:13)
14. Sally G (03:38)

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