Egg - Egg [3 bonus tracks] (1970)

Year: 13 March 1970 (CD 2008)
Label: Esoteric Records (UK), ECLEC 2035
Style: Canterbury Scene, Progressive Rock
Country: London, England
Time: 50:15
Format: Flac Tracks 16/44,1 kHz
Size: 267 Mb

Egg were an English progressive rock band formed in July 1968. Remembered for their strange, experimental sound, the band produced three studio albums before disbanding in 1974.
The album was re-issued on CD in February 2004 by Eclectic Discs. Remastered from the original tapes, the re-issue has three bonus tracks, including both sides of the band's first and only single ("Seven Is a Jolly Good Time/You Are All Princes") and "Movement 3" from "Symphony No. 2", which was omitted from the original LP days after release due to copyright difficulties, because its tune bears a similarity to part of Igor Stravinsky's ballet The Rite of Spring. There are also similarities to the final Neptune movement of Gustav Holst's orchestral suite The Planets.
(en.wikipedia.org/wiki/Egg_(album))

01. Bulb (00:09)
02. While Growing My Hair (04:02)
03. I Will Be Absorbed (05:11)
04. Fugue In D Minor (02:49)
05. They Laughed When I Sat Down At The Piano... (01:21)
06. The Song Of McGillicudie The Pusillanimous (or Don't Worry James, Your Socks Are Hanging In The Coal Cellar With Thomas) (05:09)
07. Boilk (01:02)
08. Symphony No. 2 - First Movement (05:46)
09. Symphony No. 2 - Second Movement (06:17)
10. Symphony No. 2 - Blane (05:27)
11. Symphony No. 2 - Third Movement (03:10)
12. Symphony No. 2 - Fourth Movement (bonus track) (03:13)
13. Seven Is A Jolly Good Time (bonus track) (02:47)
14. You Are All Princes (bonus track) (03:45)

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Gong - Magick Brother (1970)

Year: March 1970 (CD 2004)
Label: Charly Records (UK), SNAP 199
Style: Canterbury Scene, Progressive Rock, Psychedelic Rock
Country: Paris, France
Time: 43:53
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

Gong are a rock band associated with the Canterbury scene. They incorporate elements of psychedelic rock, jazz and space rock into their musical style. The group was formed in Paris in 1967 by Australian musician Daevid Allen and English vocalist Gilli Smyth.
Gong's 1970 debut album, Magick Brother, featured a psychedelic rock sound. By the following year, the second album, Camembert Electrique, featured the more psychedelic rock/space rock sound with which they would be most associated.
The band's recently recruited bass player Christian Tritsch was not ready in time to play on the album, and so singer/songwriter/guitarist Daevid Allen played the bass guitar himself; a photo of Allen recording bass tracks for the album is featured on the cover artwork. They also made use of jazz contrabass (double bass) players Earl Freeman and Barre Phillips, who were recording for the label at the same time, on three tracks. Occasional early Gong collaborator Dieter Gewissler, who normally played violin, also contributed some "free" bowed contrabass to two tracks. The LP sleeves were printed before the final track order and titles had been decided and so the songs "Rational Anthem" (AKA "Change the World") and "Glad To Sad To Say" were listed the wrong way round.
Shortly afterwards, the band played its debut gig at the BYG Actuel Festival in the small town of Amougies, Belgium, on 27 October 1969, introduced to the stage by bemused compere Frank Zappa.
(en.wikipedia.org/wiki/Gong_(band)) and (en.wikipedia.org/wiki/Magick_Brother)

01. Mystic Sister - Magick Brother (05:56)
02. Glad To Sad To Say (04:09)
03. Rational Anthem (03:44)
04. Chainstore Chant - Pretty Miss Titty (04:47)
05. Fable Of A Fredfish - Hope You Feel Ok (04:27)
06. Ego (03:59)
07. Gong Song (04:13)
08. Princess Dreaming (02:53)
09. 5 and 20 Schoolgirls (04:36)
10. Cos You Got Green Hair (05:04)

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Man - Do You Like It Here Now, Are You Settling In (1971)

Year: November 1971 (CD 2007)
Label: Esoteric Records (Europe), ECLEC 2013
Style: Rock, Progressive Rock
Country: Merthyr Tydfil, Wales
Time: 73:30
Format: Flac Tracks 16/44,1 kHz
Size: 425 Mb

The album was recorded in August at Rockfield Studios in Monmouthshire, Wales. Sessions took place soon after the band's 'All Good Clean Fun' tour of Switzerland, although a brief break in their German tour schedule during the late spring had resulted in two tracks being written at a studio in Swansea. The album title is apparently a Swansea saying, usually directed at pub landlords of exceptionally long standing.
(en.wikipedia.org/wiki/Do_You_Like_It_Here_Now,_Are_You_Settling_In%3F)
Long a fan favorite, Man's fourth studio album was recorded in 1971 during a harried one-week studio session that found the group having to write nearly the entire album, barring the tight and rocking "Angel Easy" and the group's multi-part masterwork "Many Are Called but Few Get Up." Frankly, the album sounds like a record that was largely jammed in the studio; the eight-minute-plus jams that close each side, "We're Only Children" and "Love Your Life," are particularly tiresome, good instrumental and lyrical ideas stretched well past their breaking points. However, besides the superior "Angel Easy" and "Many Are Called but Few Get Up," the album does include the rather wonderful "All Good Clean Fun," a showcase for pianist Clive John and lead guitarist Deke Leonard that has a delightful prog pop playfulness akin to some of Genesis' more lighthearted early moments or the daffiness of the later band Hatfield & the North. The album may be only half good, but that half is among Man's very best work.
(allmusic.com/album/do-you-like-it-here-are-you-settling-in-mw0000752809)

01. Angel Easy (05:02)
02. All Good Clean Fun (04:34)
03. We're Only Children (08:31)
04. Many Are Called, But Few Get Up (07:29)
05. Manillo (05:17)
06. Love Your Life (09:05)
07. Bonus Track - Many Are Called, But Few Get Up (Live at Gugenhalle, Essen, Germany) (09:31)
08. Bonus Track - Angel Easy (Live at Gugenhalle, Essen, Germany) (05:26)
09. Bonus Track - Romain (Live at Gugenhalle, Essen, Germany) (18:32)

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Robert Wyatt (ex Soft Machine) - Rock Bottom (1974)

Year: 26 July 1974 (CD 1989)
Label: Virgin Records (UK), CDV 2017, 0777 7 87712 2 7
Style: Art Rock, Canterbury Scene, Progressive Rock
Country: Lydden, Kent, England (28 January 1945)
Time: 39:34
Format: Flac Tracks 16/44,1 kHz
Size: 210 Mb

Rock Bottom is the second solo album by English musician Robert Wyatt. It was released on 26 July 1974 by Virgin Records. The album was produced by Pink Floyd's drummer Nick Mason, and was recorded following a 1973 accident which left Wyatt a paraplegic. He enlisted musicians including Ivor Cutler, Hugh Hopper, Richard Sinclair, Laurie Allan, Mike Oldfield and Fred Frith in the recording.
The band Matching Mole disbanded soon after the release of Little Red Record in 1972, and Wyatt began composing the material that later appeared on Rock Bottom. The album's preparation was interrupted by an accident on the night of 1 June 1973. During a raucous party, at Vale Court, Hall Road, Maida Vale in London, an inebriated Wyatt fell from a fourth-floor bathroom window and was paralysed from the waist down. Wyatt has used a wheelchair ever since. He later called the event the beginning of his maturity and in hospital he continued to work on the songs that would appear on Rock Bottom "in a trance". "I was just relieved that I could do something from a wheelchair," he said. "If anything, being a paraplegic helped me with the music because being in hospital left me free to dream, and to really think through the music."
Within six months he was back at work in the recording studio and appeared on stage at London's Rainbow Theatre with Pink Floyd and Soft Machine, who lent financial support by playing a benefit concert for him. Although the music itself is intense and often harrowing, and the lyrics to the songs are dense and obviously deeply personal, Wyatt has denied that the material was a direct result of the accident and the long period of recuperation. Indeed, much of the album had been written while in Venice in early 1973 prior to Wyatt's accident, where his partner and future wife (the poet Alfreda Benge) was working as an assistant editor on Nicolas Roeg's film Don't Look Now.
(en.wikipedia.org/wiki/Rock_Bottom_(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. Sea Song (06:31)
02. A Last Straw (05:46)
03. Little Red Riding Hood Hit the Road (07:40)
04. Alifib (06:55)
05. Alife (06:31)
06. Little Red Robin Hood Hit the Road (06:08)

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Supertramp - Supertramp (1970)

Year: August 1970 (CD 1987)
Label: A&M Records (Germany), 393 149-2
Style: Progressive Pop, Progressive Rock, Soft Rock
Country: London, England
Time: 47:50
Format: Flac Tracks 16/44,1 kHz
Size: 267 Mb

Charts: CAN & FRA: Gold.
It was not released in the United States until late 1977.
All the album's lyrics were written by Richard Palmer, since none of the other members of Supertramp were willing to write any. Palmer himself later said that he considered writing lyrics "like having to do school work" at the time. The music to the songs were all composed jointly by Rick Davies and Roger Hodgson.
The album was recorded entirely at Morgan Studios in night sessions running from 12 midnight to 6 am, due to a superstition on the part of the band members (fuelled by their having heard that Traffic and Spooky Tooth recorded at late hours) that there was some "magic" to recording at night. Hodgson later recalled "Invariably our engineer, Robin Black, would fall asleep on us in the middle of the sessions, which were pretty intense as it was, because we fought a lot with Richard Palmer." He was fond of the resulting album, however, and commented over a decade later that "It was very naive, but it has a good mood to it."
To promote the album, the band played at the Isle of Wight Festival 1970, held a few weeks after release.
Songs from this album, including "Words Unspoken" and "I Am Not Like Other Birds of Prey", were used as part of the soundtrack for the UK film Extremes (1971), along with music from other groups.
(en.wikipedia.org/wiki/Supertramp_(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. Surely (00:31)
02. It's a Long Road (05:34)
03. Aubade and I Am Not Like Other Birds of Prey (05:17)
04. Words Unspoken (03:59)
05. Maybe I'm a Beggar (06:43)
06. Home Again (01:14)
07. Nothing to Show (04:53)
08. Shadow Song (04:24)
09. Try Again (12:02)
10. Surely (2) (03:09)

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Supertramp - Slow Motion (2002)

Year: 23 April 2002 (CD 2002)
Label: EMI Music (France), 7243 5 38624 2 8
Style: Progressive Pop, Progressive Rock, Soft Rock
Country: London, England
Time: 50:10
Format: Flac Tracks 16/44,1 kHz
Size: 330 Mb

Charts: FRA #8, GER #17, NL #83, SWI #6. FRA & SWI: Gold.
Even the term slow motion implies some infinitesimal amount of progress. But you won’t find any on this second limp-noodle release from the partially reconstituted Supertramp.
Like 1997’s Some Things Never Change, the nine-song Slow Motion is just more of the same sorta-funky, sorta-jazzy, sorta-poppy glop these faded ’70s icons can (and have) churn out like butter for decades. With one notable difference: None of these tastefully executed but artistically lifeless songs can hold a snuffed-out candle to classics like School, Dreamer, Bloody Well Right and The Logical Song. That’s because of the other notable difference here: Roger Hodgson, who co-wrote all those hits, isn’t in the band anymore. Without him, Slow Motion is more like No Motion.
(tinnitist.com/2022/09/06/classic-album-review-supertramp-slow-motion/)

01. Slow Motion (03:50)
02. Little By Little (04:30)
03. Broken Hearted (04:28)
04. Over You (05:06)
05. Tenth Avenue Breakdown (08:57)
06. A Sting In The Tail (05:17)
07. Bee In Your Bonnet (06:27)
08. Goldrush (03:06)
09. Dead Man's Blues (08:26)

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Cheap Trick - Cheap Trick [6 bonus tracks] (1977)

Year: February 3, 1977 (CD 1998)
Label: Epic Records (US), EK 65572
Style: Hard Rock, Power Pop
Country: Rockford, Illinois, U.S.
Time: 57:13
Format: Flac Tracks 16/44,1 kHz
Size: 395 Mb

Loud, raw, noisy, messy: those are the adjectives that spring to mind when hearing Cheap Trick's debut. Too bad the melodies are hit and miss, and the noise kind of buries the hooks ocassionally. Other than those problems, though, this is one exciting platter; it rocks crazier and harder than they ever would again, veering close to anarchy in a few spots. I'm glad that their producer reined them in for a concentrated attack on their next two discs, but the chaotic mess here is fun in its own right - it sounds like what Nirvana were shooting for on Nevermind, but were a little too glossy to get right. Hell, Steve Albini even covered "He's A Whore" in his Big Black days. For once me and Albini meet at the same taste - that song rocks! It's probably the catchiest number on here, with Zander screaming "I'll do anything for money!", sentiments which he would unfortunately live up to during Trick's asslicking '80s tenure. Oh, but there's "Taxman, Mr. Thief", which pushes its Beatles homage far beyond any reasonable call for obviousness, but only in the title and lyrics - the Fabs would never have played music this heavy and sinister, though they would have written the melodic chorus. "The Ballad Of TV Violence" is sung from serial killer Richard Speck's point of view, as Zander keeps screaming over and over, "I'm not the only boy!". "Elo Kiddies" is a warped kind of Garry Glitter style chant that advises youngsters to ditch school for crime 'cause it's all that matters and everybody steals it anyway; for some reason the song starts off with the sound of alarm bells. The whole shebang kicks off with the driving lust ditty "Hot Love", which ends with a barely audible (put your head next to the speakers and turn it up really loud) Nielsen cackling "Hello there I'm Steven Tyler of Aerosmith" and something more that's unintelligible (they were on the same label). The album ends with "Oh Candy", an elegy for a depressed friend's suicide, and one of the great lost singles from the mid-'70s MidWest. There are some other songs on here, too, but they're not as good.
(starlingdb.org/music/temp/cheaptrick.html)

01. Elo Kiddies (03:41)
02. Daddy Should Have Stayed In High School (04:44)
03. Taxman, Mr. Thief (04:15)
04. Cry, Cry (04:22)
05. Oh, Candy (03:06)
06. Hot Love (02:30)
07. Speak Now Or Forever Hold Your Peace (04:34)
08. He's A Whore (02:42)
09. Mandocello (04:46)
10. The Ballad Of TV Violence (I'm Not The Only Boy) (05:25)
11. Lovin' Money (Outtake) (Bonus track) (04:09)
12. I Want You To Want Me (Early version) (Bonus track) (02:44)
13. Lookout (Previously unreleased studio version) (Bonus track) (03:30)
14. You're All Talk (Previously unreleased studio version) (Bonus track) (03:31)
15. I Dig Go-Go Girls (Previously unreleased) (Bonus track) (03:06)

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Lita Ford - The Best Of Lita Ford [1984–1991] (1992)

Year: July 28, 1992 (CD )
Label: Dreamland Records (Germany), 07863 66037 2
Style: Hard Rock, Glam Metal
Country: Long Beach, California, U.S. (September 19, 1958)
Time: 47:48
Format: Flac Tracks 16/44,1 kHz
Size: 340 Mb

The Best of Lita Ford is a compilation album from Lita Ford. Released on July 28, 1992, it includes the hit singles "Kiss Me Deadly" and the duet with Ozzy Osbourne, "Close My Eyes Forever", as well as several other minor hits from Ford's solo career.
(en.wikipedia.org/wiki/The_Best_of_Lita_Ford)
Despite the fact that her success was brief, Lita Ford continues to be one of the more memorable icons of the hair metal scene. Most will argue that this is because of her gender rather than her music; the fact that she was female indeed made her a unique novelty in a genre dominated by men. True, Lita Ford's shelf life was short-lived, and her music itself is far less original than, say, her ex-bandmate Joan Jett. Not to say that what's on the Best of Lita Ford disc is bad -- like many of her peers, Ford sure knew how to produce a few catchy guilty pleasures. Her most well-known singles, "Kiss Me Deadly" and "Close My Eyes Forever," are included, along with a handful of unknowns that are certainly worth hearing, such as "Larger Than Life," "What Do You Know About Love," "Gotta Let Go," and a cover of Alice Cooper's "Only Women Bleed." There are numerous Lita Ford compilations out there, but this original best-of collection remains the most ideal buy.
(allmusic.com/album/the-best-of-lita-ford-mw0000081311)

01. What Do Ya Know About Love (03:53)
02. Kiss Me Deadly (04:01)
03. Shot Of Poison (03:31)
04. Hungry (04:54)
05. Gotta Let Go (03:55)
06. Close My Eyes Forever (with Ozzy Osbourne) (04:42)
07. Larger Than Life (03:53)
08. Only Women Bleed (06:01)
09. Playin’ With Fire (04:07)
10. Back To The Cave (04:02)
11. Lisa (04:44)

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Emerson, Lake & Palmer - Black Moon (1992)

Year: 18 May 1992 (CD June 27, 1992)
Label: Victory Music (US), 383 480 003-2
Style: Symphonic Rock, Art Rock
Country: London, England
Time: 48:55
Format: Flac Tracks 16/44,1 kHz
Size: 302 Mb

Charts: CAV #66, GER #45, NED #77, SWI #23, JP #16, US #78.
The band had broken up in 1979, and recorded Black Moon to kick off their 1990s revival. Black Moon received mixed reviews. Jim Allen of AllMusic wrote in a retrospective review that the performers "stripped down their sound and amped up their attack." In his book The Music's All that Matters: A History of Progressive Rock, Paul Stump compared it favorably to its contemporary Union (by fellow progressive rock giants Yes). He explained that Black Moon "did at least aspire to interest and excite the listener, and it would be a churlish mind that overlooked a vigour in the playing which had formerly been notable by its absence. The material, though, suffered from the Yes malaise: cynicism and over-exposure to the wallet-fattening blandishments of easy-out FM mores, intervals and development procedures had blunted edges and dulled nerve-endings both of players and listeners."
Half of the album's songs were played at the band's 1992-1993 concerts. Greg Lake included the songs "Paper Blood", "Farewell to Arms" and "Footprints in the Snow" in the setlist of his 2005 solo tour. "Farewell to Arms" was played at the group's final concert, at the High Voltage Festival in July 2010.
(en.wikipedia.org/wiki/Black_Moon_(album))

01. Black Moon (06:59)
02. Paper Blood (04:28)
03. Affairs Of The Heart (03:47)
04. Romeo And Juliet (03:42)
05. Farewell To Arms (05:10)
06. Changing States (06:02)
07. Burning Bridges (04:45)
08. Close To Home (04:29)
09. Better Days (05:36)
10. Footprints In The Snow (03:52)

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Yes - Open Your Eyes [Japanese Ed.] (1997)

Year: November 24, 1997 (CD December 17, 1997)
Label: Victor Records (Japan), VICP-60215
Style: Art Rock, Symphonic Rock, Progressive Rock
Country: London, England
Time: 78:19
Format: Flac Tracks 16/44,1 kHz
Size: 540 Mb

Following the 1996 revival of the 1970s "classic" line-up of Yes, the band's relationship with management had broken down and keyboardist Rick Wakeman had once again left the band. While various other members dispersed, guitarist, keyboardist, and producer Billy Sherwood (a long-time Yes associate and contributor) began developing new songs with band bassist and de facto leader Chris Squire to prevent the band from losing momentum and fully splitting. Yes' new management company suggested adding a couple of songs originally written for Squire and Sherwood's other band Conspiracy to help build up material for a new Yes studio album. With the writing and production sessions dominated by Squire and Sherwood, and with singer Jon Anderson, guitarist Steve Howe and drummer Alan White only involved later in the process, the writing and creative input of the latter three members was limited.
Open Your Eyes received mixed reviews from music critics and became one of the band's lowest selling albums, reaching number 151 on the US Billboard 200 and failing to enter the UK Albums Chart. Its lead single, "Open Your Eyes", reached number 33 on the Billboard Hot Mainstream Rock Tracks chart which was followed by a second, "New State of Mind". A limited edition with a surround sound mix was also released. Yes supported the album with a 12-month world tour from October 1997 that coincided with their thirtieth anniversary. The band were joined by Russian keyboardist Igor Khoroshev, who had played on the album as a guest musician and who became a full-time member at the tour's conclusion.
(en.wikipedia.org/wiki/Open_Your_Eyes_(Yes_album))

01. New State Of Mind (06:00)
02. Open Your Eyes (05:13)
03. Universal Garden (06:16)
04. No Way We Can Lose (04:56)
05. Fortune Seller (05:01)
06. Man In The Moon (04:40)
07. Wonderlove (06:07)
08. From The Balcony (02:42)
09. Love Shine (04:38)
10. Somehow.....Someday (04:46)
11. Open Your Eyes (Radio Edit) (Bonus) (04:10)
12. The Solution (23:46)

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Arthur Lee [ex Love] - Vindicator [5 bonus tracks] (1972)

Year: August 1972 (CD 2007)
Label: BGO Records (UK), BGOCD783
Style: Hard Rock, Blues Rock, Psychedelic Rock
Country: Memphis, Tennessee, U.S. (March 7, 1945 - August 3, 2006)
Time: 51:41
Format: Flac Tracks 16/44,1 kHz
Size: 360 Mb

Vindicator is the first solo album by Arthur Lee, formerly of the rock band Love, released in 1972. The backing musicians are credited as Band-Aid. A cover of the track "Everybody's Gotta Live" was recorded by American rapper and singer Mac Miller, and released on his posthumous album Circles in 2020.
(en.wikipedia.org/wiki/Vindicator_(album))
Love's 1967 masterpiece Forever Changes was an album so beautiful and timeless that it tends to dwarf everything else in the group's repertoire, and its gentle balance of grace and dread has made a lot of people forget just how hard Love could rock when Arthur Lee and his bandmates were of a mind. While Love's debut album pushed folk-rock into an overdrive that resembled punk, Lee's first solo set, 1972's Vindicator, was a muscular set of guitar-fueled hard rock laced with blues, showing the clear influence of Lee's late friend Jimi Hendrix. With Charles Karp's powerful guitar leads dominating the arrangements and Lee's vocals strutting with maximum rock star swagger on tunes like "Love Jumped Through My Window" and "Sad Song," Vindicator boogies with a cocky confidence that belies the fact Lee's career was in need of a clear direction at the time, and while there are no signs of the delicacy of Forever Changes, three decades on this sounds like mid-'70s guitar rock at its best. Lee was able to bring a soulful edge to songs like "Everybody's Gotta Live" and "He Knows a Lot of Good Women," and he connects with a sly blues shuffle on "He Said She Said," but it's when Lee and Karp crank up their guitars and the rhythm section of Don Poncher and David Hull turn up the heat that Vindicator really takes off, inviting the spirit with the kiss-the-sky spirit of "You Want Change for Our Re-Run" and laying out some thick Marshall-stack crunch on "Every Time I Look Up I'm Down." And anyone wanting a dose of Lee's well-documented eccentricity won't be at all disappointed with the brief spoken word fragment "You Can Save Up to 50% But You're Still a Long Ways from Home" and the anti-fast food tirade "Hamburger Breath Stinkfinger," both of which confirm Lee didn't turn away his muse when he cut these sessions. While Arthur Lee could create music of simple and fragile beauty, that doesn't change the fact he was a rocker at heart, and he rarely rocked harder or with more passion than he did on Vindicator.
(allmusic.com/album/vindicator-mw0000751489)

01. Sad Song (02:20)
02. You Can Save Up To 50% But You're Still A Long Ways From Home (00:17)
03. Love Jumped Through My Window (02:57)
04. Find Somebody (03:47)
05. He Said She Said (02:18)
06. Every Time I Look Up I'm Down Or White Dog (I Don't Know What That Means!) (03:57)
07. Everybody's Gotta Live (03:31)
08. You Want Change For Your Re-run (04:17)
09. He Knows A Lot Of Good Women (Or Scotty's Song) (03:14)
10. Hamburger Breath Stinkfinger (02:44)
11. Ol' Morgue Mouth (00:53)
12. Busted Feet (04:54)
13. Everybody's Gotta Live (bonus) (03:33)
14. He Knows A Lot Of Good Women (bonus) (03:15)
15. Pencil In Hand (bonus) (02:19)
16. E-Z Rider (bonus) (02:59)
17. Looking Glass Looking At Me (bonus) (04:18)

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Thin Lizzy - Fighting (1975)

Year: 12 September 1975 (CD 1990)
Label: Vertigo Records (US), 842 433-2
Style: Hard Rock, Classic Rock
Country: Dublin, Ireland
Time: 38:26
Format: Flac Tracks 16/44,1 kHz
Size: 238 Mb

Now to continue my one man quest to get you to put down your Viking metal albums and other silly things from Scandinavia and get you to listen to some Thin Lizzy! This is for your own good! Anyway, yes no reviews for this one either but than can be expected as ‘Fighting’ is one of the lesser known Lizzy albums which always struck me as odd as it’s a fucking corker.
‘Fighting’ is perhaps most significant as it’s the album where Brian ‘Robbo’ Robertson and Scott ‘Joni Mitchell’ Gorham discovered their signature twin guitar sound, meaning guitar harmonies a plenty. Also ‘Fighting’ can be considered the first truly focused and more importantly hard rocking Lizzy album, as previous albums weren’t really too consistent and showed a band trying and often failing to find their own identity.
Song wise Fighting shows a band truly hitting their stride, of course most will have you believe that ‘Jailbreak’ was the bands turning point, commercially this is true but ‘Fighting’ is a excellent collection of melodic hard rock songs that I must stress shouldn’t be overlooked. Bob Seger’s ‘Rosalie’ kicks things off and it’s a nice little rocking number, however when compared with the ‘Live and Dangerous’ version it sounds a tad weedy, but that minor gripe aside (‘Live and Dangerous’ absolutely destroys! Listen to it now!) it’s a still a classic fat slice of Thin Lizzy (Alan Partridge? Answers on a postcard). ‘For Those Who Love to Live’ is an overlooked masterpiece, and dedicated to another dead Irish legend George ‘Pist’ Best (an alcoholic football player, to those of you who don’t know), this is the first Lizzy song to display the twin guitar harmony sound that would prove so influential. ‘Suicide’ is the hardest rocking song on this album and well flat out rocks, Robbo’s guitar solo is one of my favourites especially the lick where he plays a double stop and then slides it up an octave, simply magic! ‘Wild One’ is simply one of the finest ballads the band, or anyone else for that matter has ever done. It’s steeped in Irish history and is sentimental and romantic without being sappy, something very few could pull off, but Phillip Lynott being god, of course could. Also take note guitar fans, the harmonised lead is absolutely magnificent it sends shivers down my spine, see I told you this was better than Viking metal! ‘Fighting My Way Back’ is another overlooked yet masterful Thin Lizzy track, upbeat and hard rocking. ‘King’s Vengeance’ yet again is exceptionally good, yet no ones heard the thing! Please, rock fans give this album a listen. ‘Spirit Slips Away’ is strangely ominous and during the songs recording Scott and Robbo supposedly discovered their guitar harmony sound but its one of the albums weaker moments. ‘Silver Dollar’ is just a bit of filler really, nothing too offensive but it doesn’t really warrant repeated listens. ‘Freedom Song’, sentimental and overtly romanticised but Phil and the boys pull it off in style, some lovely guitar harmonies and a story of a man being hung and shouting freedom (sounds like a Mel Gibson film!). ‘Ballad of a Hard Man’ is a funky hard rocker, but Lizzy could do funky quite well as Phil was black, however this rule doesn’t always work, for instance I don’t think Entombed could do funk…….but I digress.
This is without doubt the classic Thin Lizzy line up, the whole band shine and not a single note is out of place. Phil Lynott is not only the consummate songwriter but also a impossibly tight bassist with an instantly recognisable fat bass sound. Brian Downey, is one of the most underrated drummers in rock, hard hitting, neat and tight with a distinctive style. Now, at this point I must stress that Brian Robertson was actually better on guitar than Scott Gorham, but still Scott is still excellent although his playing is not quite as jaw dropping as on say ‘Bad Reputation’ or ‘Black Rose’. So Brian Robertson was the best guitar player in Thin Lizzy at this point, I can put this down to the fact that his playing is more balls out, than Scott’s, but then he was a whiskey drinking Scottish mentalist whereas Scott just looked like Joni Mitchell, so there you go.
Well if you want an excellent 70’s Rock ‘n’ Roll album look no further. ‘Fighting’ has it all great songs, exceptional playing and even a touch of romance, well what more could you possibly want?
(metal-archives.com/reviews/Thin_Lizzy/Fighting/4445/)

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. Rosalie (03:15)
02. For Those Who Love to Live (03:11)
03. Suicide (05:16)
04. Wild One (04:21)
05. Fighting My Way Back (03:15)
06. King's Vengeance (04:08)
07. Spirit Slips Away (04:39)
08. Silver Dollar (03:28)
09. Freedom Song (03:35)
10. Ballad of a Hard Man (03:13)

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Tracy Nelson - Move On (1996)

Year: 1996 (CD 1996)
Label: Rounder Records (US), CD 3143
Style: Blues
Country: Madison, Wisconsin, U.S. (December 27, 1944)
Time: 45:56
Format: Flac Tracks 16/44,1 kHz
Size: 288 Mb

The third album in Tracy Nelson's '90s comeback, Move On finds her sharing the microphone with the likes of Delbert McClinton, Phoebe Snow, Bonnie Raitt, and Maria Muldaur (the last three on "Ladies' Man"), singers with whom she shares a taste in bluesy rock with a country tinge. She is in typically fine voice on a set of songs more notable for the tasty playing on them than for their distinctiveness. The best among them is Nelson's own "Playin' It Safe" (one of her four compositions) which has a gospel feel to support the lyric's sage advice. Blues fans who caught up with Nelson on 1993's In the Here and Now or 1995's I Feel So Good may find this album, with its pop, rock, and R&B elements, a bit eclectic for their taste, but fans of Bonnie Raitt who long for her earlier, grittier music may find a new heroine.
(allmusic.com/album/move-on-mw0000648750)

01. Livin' On Love (04:03)
02. Got Me Goin' (04:09)
03. (I Was) Good To You Baby (04:23)
04. Playing It Safe (03:50)
05. Tonight I'll Dream (04:25)
06. Drowning In Memories (04:11)
07. Ladies' Man (04:11)
08. Move On (04:43)
09. You Never Broke My Heart (04:11)
10. Somebody Loves You (03:41)
11. Playing It Safe (04:04)

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Yes - Union [Japanese Ed.] (1991)

Year: April 30, 1991 (CD Jul 21, 1991)
Label: Arista Records (Japan), BVCA-116
Style: Symphonic Rock
Country: London, England
Time: 69:55
Format: Flac Tracks 16/44,1 kHz
Size: 512 Mb

Charts: CAN #15, US #15, JPN #11, GER #15, NLD #17, SWE #32, SWI #16, UK #7. US: Gold.
While Tony Kaye, Trevor Rabin, Chris Squire and Alan White was working on a follow-up to Big Generator, Jon Anderson, Bill Bruford, Rick Wakeman and Steve Howe was working on a follow-up to their latest album (that was released under the name ‘Anderson Bruford Wakeman Howe’, since the Squire/White/Rabin camp owned the rights to the name ‘Yes’ at the time).
The idea that came about was that of a Union between these two versions of Yes. And what a great idea it was! It features eight people! The material is a mix between the two camps and this seems to have spurred them all to write better songs. Great rock songs like Shock To The System, Lift Me Up and Miracle Of Life, great pop melodies like I Would Have Waited Forever and Saving My Heart, instrumentals like the beautiful Steve Howe solo piece Masquerade.
The most surprising for me are the Trevor Rabin songs. I did not like those Yes albums that Rabin worked on before very much, but here even Rabin’s songs are great. Especially Lift Me Up, which rocks harder than anything from 90125 or Big Generator. Rabin also does a lot of vocals which gives the album more strengh and diversity than usual.
The tracks Angkor Wat, Dangerous (Look In The Light Of What You’re Searching For), Holding On, Evensong and Take The Water To The Mountain are perhaps not too interesting in their own right. But since the running time is so long it is ok. The closing track Give & Take, on the other hand, is again a great song, tying the album together in a nice way.
It is really strange that so many tend to dislike this album so much. I agree that it has some weak moments and it probably could have been better if they recorded it more as a unit instead of sending tapes to each other around the globe. However, Union is a very good and very underrated album (much, much better than 90125 and Big Generator and almost as good as the Anderson Bruford Wakeman Howe album) and a must for all serious Yes fans!
(classicrockreview.wordpress.com/2021/08/25/yes-union-1991-2/) Review by SouthSideoftheSky.

01. I Would Have Waited Forever (06:33)
02. Shock To The System (05:09)
03. Masquerade (02:17)
04. Lift Me Up (06:30)
05. Without Hope You Cannot Start The Day (05:18)
06. Saving My Heart (04:41)
07. Miracle Of Life (07:30)
08. Silent Talking (04:01)
09. The More We Live - Let Go (04:53)
10. Angkor Wat (05:23)
11. Dangerous (Look In The Light Of What You're Searching For) (03:38)
12. Holding On (05:24)
13. Evensong (00:51)
14. Take The Water To The Mountain (03:12)
15. Give And Take (04:28)

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Jon (Yes) and Vangelis (Aphrodite's Child) - Short Stories (1980)

Year: January 1980 (CD 1983)
Label: PolyGram Records (Germany), 800 027-2
Style: Electronic, Art Rock
Country: Greece / United Kingdom
Time: 45:14
Format: Flac Tracks 16/44,1 kHz
Size: 211 Mb

Charts: UK #4, AUS #65, AUT #18, GER #30, NL #1, US #125, FRA #13, NOR #31. Netherlands: Gold, United Kingdom: Gold.
Review Summary: This is a very beautiful and magical album that came just in the right time. It shows the musical world of both musicians almost in a perfect way.
Jon & Vangelis was a musical project formed by the lead singer of Yes Jon Anderson and the famous Greek electronic pioneer musician Vangelis, in the 80’s. This wasn’t the first time the two had worked together. The first meeting between them took place in London, in the 70’s. Vangelis was to be the natural replacement for Rick Wakeman on the keyboards, in Yes, when he left the band after the release of their sixth studio album “Tales From Topographic Oceans”. It would never happen especially due to personal reasons of Vangelis. Meanwhile, the role went to the second choice, the Swiss keyboardist Patrick Moraz. Still, Jon Anderson has participated already, in the role of vocalist, on albums of Vangelis like “Heaven And Hell”, “See You Latter”, and played harp on the album “Opera Sauvage”, too.
So, “Short Stories” is the debut studio album of Jon Anderson and Vangelis Papathanassiou and was released in 1980. Jon Anderson was the author of the lyrics and performed all the vocals and the music was all composed by Vangelis Papathanassiou which also performed all the instruments, keyboards, synthesizers, piano and electronics. Beyond them, the album had also the participation of Raphael Preston on acoustic guitars, with some small contributions.
(Full version: sputnikmusic.com/review/78687/Jon-and-Vangelis-Short-Stories/)

01. Curious Electric (06:42)
02. Each And Everyday + Bird Son (05:08)
03. I Hear You Now (05:13)
04. The Road (04:31)
05. Far Away In Baagad (08:03)
06. Love Is + One More Time (06:18)
07. Thunder (02:14)
08. A Play Within A Play (07:02)

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David Bowie - Let's Dance [USA/Japan Ed.] (1983)

Year: 14 April 1983 (CD January 1984)
Label: EMI America (USA-Japan), CDP 7 46002 2
Style: Pop, Pop Rock
Country: New York City, U.S. (8 January 1947 - 10 January 2016)
Time: 39:48
Format: Flac Tracks 16/44,1 kHz
Size: 254 Mb

Charts: UK #1, AUS #1, AUT #2, GER #2, NL #1, NOR #1, NZ #1, SWE #1, SWI #17, US #4. UK, NL & US: Platinum; CAN: 5x Platinum.

14 April 1983: At first hearing it may seem a little commercial but with continued listening the quality of the arrangements and singing make it sound more and more like a classic.
David Bowie’s Let’s Dance should prove to be the most commercial album he’s made yet, and justify the undisclosed, allegedly enormous sum that EMI, his new record company, paid for him. There must be considerable depression over at RCA, his former company.
Bowie told me that RCA had been unhappy with his last three, impressively experimental albums, Lodger, Low and even Scary Monsters, and that the company had offered to get him a flat in Philadelphia in the hope that he’d record another album like Young Americans. Instead, he’s made an even more fashion-conscious move: not back to a black Philly sound but to a contemporary black New York funk style, with help from his co-producer, Chic’s Nile Rodgers.
The album is highly impressive, yet mildly disappointing. This is partly because he is now working within an instantly recognisable, accessible field, as opposed to experimenting with Fripp or Eno, and partly because his brilliant single, Let’s Dance/Cat People, contributes the best two tracks on the album.
At first hearing it may seem like Bowie is playing a little commercial and safe (even if this is a new musical direction for him), but with continued listening the sheer quality of the playing, the arrangements, and – most of all – his skill as a singer, make it sound more and more like a classic.
Many of the songs mix a sparse, attacking, cool New York dance backing with melodies that have catchy, poppish hook lines. Modern Love, the plinky-plonk China Girl (a new treatment of the song he wrote with Iggy Pop) and Criminal World could all be good but common-place in lesser hands.
Bowie is in magnificent, confident voice and can transform the potentially trivial to the epic. One moment cool and rhythmic, then the growling grand balladeer and crooner, he emerges as a vocalist to last. That Christmas song he recorded with Bing Crosby was perhaps more important than it seemed at the time.
(theguardian.com/music/2023/apr/14/david-bowie-lets-dance-reviewed-1983)

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. Modern Love (04:47)
02. China Girl (05:33)
03. Let's Dance (07:36)
04. Without You (03:09)
05. Ricochet (05:13)
06. Criminal World (04:24)
07. Cat People (Putting Out Fire) (05:10)
08. Shake It (03:51)

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The Hunt - The Hunt (1977)

Year: 1977 (CD ????)
Label: Unidisc Records (Canada), AGEK-2151
Style: Hard Rock, Classic Rock
Country: Toronto, Ontario, Canada
Time: 38:51
Format: Flac Tracks 16/44,1 kHz
Size: 268 Mb

The Hunt was a Canadian rock band, mostly made up of musicians who had been members of another Canadian rock band, Dillinger.
In 1977, after Dillinger broke up, guitarist Paul Cockburn, drummer and percussionist Paul Kersey (ex Max Webster), keyboard player Jacques Harrison, keyboard player and bass guitarist Gerry Mosby, and guitarist and bass guitarist Brian Gagnon performed together as The Hunt. Most members also sang.
The band released a self-titled album that year through GRT Records in Canada. Like other Toronto bands Moxy, and Garfield The Hunt gained some traction in San Antonio thanks to local DJ Joe Anthony. However, after the debut album the band's popularity waned. Mosby left to play bass guitar for the band Rheingold(with future star Gowan). By 1978, both Harrison and Cockburn had also left. Guitarist Paul Dickinson was added to the lineup, and the group (now a trio of Dickinson, Gagnon and Kersey) issued a second album, Back on the Hunt. The album consisted of mainly heavy rock tracks, and was not well received, particularly in the United States.
Carl Calvert played bass guitar on the album Thrill of the Kill in place of Brian Gagnon. This left drummer Kersey as the only remaining original member.
The song "Little Miss Perfection", from 1977's The Hunt album, received the most radio airplay, primarily in Canada's largest local radio markets, and San Antonio.
After having some success in Canada but not much in the U.S. beside that one Texas city, the group disbanded in 1984.
(en.wikipedia.org/wiki/The_Hunt_(band))

01. I Was Only Dreaming (04:27)
02. A Song For New Day (06:01)
03. Little Miss Perfection (03:11)
04. I Want To Be King (04:57)
05. Faces (04:30)
06. Billy (03:41)
07. Sent Me Away (04:10)
08. On Revient (Tout Le Temps) (03:35)
09. Sad Song (04:15)

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