Sting (The Police ) - ...Nothing Like The Sun (1987)

Year: 16 October 1987 (CD 1987)
Label: A&M Records (US), CD 6402/DIDY 2163
Style: Pop, Soft Rock, Jazz Rock, Reggae
Country: Wallsend, England (2 October 1951)
Time: 55:10
Format: Flac Tracks 16/44,1 kHz
Size: 327 Mb

Charts: UK #1, AUS #3, AUT #3, FRA #3, GER #4, NED #3, NOR #2, SWE #7, SWI #3, US #9. UK & GER: Platinum; FRA, NLD, SWI, US: 2x Platinum.
The title comes from Shakespeare's Sonnet No. 130 ("My mistress' eyes are nothing like the sun"), which Sting used in the song "Sister Moon". He added that his inspiration for this was a close encounter with a drunk, in which Sting quoted the sonnet in response to the drunk's importunate query, "How beautiful is the moon?"
... Nothing Like the Sun is the second solo studio album by English musician Sting. The album was originally released on 16 October 1987 on A&M (worldwide) as a double LP and single CD. The album explores the genres of pop rock, soft rock, jazz, reggae, world, acoustic rock, dance-rock, and funk rock. The songs were recorded in March–August 1987 during sessions that took place at AIR Studios, in Montserrat, assisted by record producers Hugh Padgham, Bryan Loren, and Neil Dorfsman. It features a number of high-profile guest guitarists, including former Police member Andy Summers, Eric Clapton, Mark Knopfler, and Hiram Bullock, and is generally regarded as the culmination of the smoother, more adult-oriented sound of Sting's early work.
On release, the album was received favorably by the majority of music critics and in 1989, the album was ranked No. 90 on Rolling Stone magazine's list of the "100 Best Albums of the Eighties". "We'll Be Together", "Be Still My Beating Heart", "Englishman in New York", "Fragile", and "They Dance Alone" were all released as singles.
It won Best British Album at the 1988 Brit Awards. In 1989 the album received three Grammy nominations including Album of the Year while the album's second single ("Be Still My Beating Heart") was nominated for Song of the Year and Best Male Pop Vocal Performance.
(en.wikipedia.org/wiki/...Nothing_Like_the_Sun)

01. The Lazarus Heart (04:36)
02. Be Still My Beating Heart (05:34)
03. Englishman In New York (04:27)
04. History Will Teach Us Nothing (04:59)
05. They Dance Alone (Cuecu Solo) (07:15)
06. Fragile (03:56)
07. We'll Be Together (04:55)
08. Straight to My Heart (03:54)
09. Rock Steady (04:28)
10. Sister Moon (03:46)
11. Little Wing (05:11)
12. The Secret Marriage (02:03)

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Scorpions - Taken By Force [Japan Ed.] (1977)

Year: December 1977 (CD Jun 21, 1989)
Label: BMG Victor Inc. (Japan), B20D-41013
Style: Hard Rock
Country: Hanover, West Germany
Time: 39:20
Format: Flac Tracks 16/44,1 kHz
Size: 256 Mb

Review Summary: Taken By Force is yet another solid effort, with Uli Roth shining brighter than ever before. But still, despite all the positives, there are some minor flaws deteriorating the whole experience.
During the mid 70’s and after recording 4 studio albums, Scorpions had to be regarded as an entirely different band compared to the first line up incarnation that wrote Lonesome Crow. With each release the germans got meliorated, sweeping off any possible imperfection the previous recordings might had. With Virgin Killer, Scorpions displayed a natural growth in wisdom and stature and their future in the music industry at that point looked prosperous, purely, in terms of musical evolution and progress. But the same could not be said for their financial revenues. Since the band couldn’t get any serious attention outside of Europe, every release failed to meet with the expectetions of each member. That alone explains why Scorpions changed so much after this album.
Musically speaking, the album carries on from where it’s predecessor left us. Virgin killer had almost the same direction with In Trance, but in that album we hear for the very first time the results of Uli Roth’s extended practicing, as he incorporated in his playing style far more advanced compositional elements. As a result, Virgin killer had an exotic, middle eastern vibe combined with the melancholic and sorrowful tone of In Trance. When the time was right, and the band decided to write the successor of Virgin killer, as they set in motion the writing procedures, they took a bold decision, to drag the compositions a step further and experiment a little bit more. Inevitably,the weight of the writing process fell in the shoulders of Uli Roth. Roth’s contribution here is huge. He takes full credit for writing four songs out of the total eight, as also, writing along with Monika Dannemann the lyrics of the epic ballad We’ll Burn The Sky.
Due to it's unconventional nature, Taken By Force, might be perceived by the audience as being somehow less brutal than the two previous albums. Although that point of view is veritable, the presented material is still provided with a vigorous thrust. Scorpions at that time seemed to have almost completely forsaken any effort of writing anything that would sound usual, straightforward or accessible to the wider audience, something which can only be confusing since all of their previous records were a financial failure. But Scorpions insisted. And they were vindicated, as the album provides us with some of the most beautiful songs in the band’s catalog. Streamrock Fever is the album’s opener and as with the previous album-opening songs, Scorpions continue the same trend: Bursting out of the gate with brute force, playing fiercely but without ever crossing the lines of unconventional experimentantion.
(full version: sputnikmusic.com/review/56707/Scorpions-Taken-by-Force/)

01. Steamrock Fever (03:41)
02. We'll Burn The Sky (06:31)
03. I've Got To Be Free (04:03)
04. The Riot Of Your Time (04:13)
05. The Sails Of Charon (05:15)
06. Your Light (04:34)
07. He's A Woman-She's A Man (03:17)
08. Born To Touch Your Feeling (07:41)

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Dewan Motihar Trio, Irene Schweizer Trio, Manfred Schoof, Barney Wilen - Jazz Meets India (1967)

Year: 1967 (CD Mar 26, 2010)
Label: Promising Music (Germany), 441142 CD
Style: Free Jazz, Modal, Indian Classical
Country: India, Switzerland, Germany, France
Time: 37:38
Format: Flac Tracks 16/44,1 kHz
Size: 219 Mb

"Jazz Meets India" only has three songs, and is a fairly short record, not quite reaching the 40-minute mark. Although not lengthy, this record is very dense with sound and feeling, saying a tremendous amount in its brief time.
A valid concern some may have is that, in records featuring creative fusion like this, the elements are likely heavily watered down so they can be mixed easier. This album does no such thing. It enables the Indian elements and the Free Jazz elements to naturally combine with each other, lacking any force. They are also allowed proper time to shine, giving you a better appreciation for the individual musicians and their performance. The players perform together as if they have known each other for numerous years, playing off of each other's ideas and working to create one full unit of sound.
Though this record does contain a lot of musicians, each one is very important in their own way. By combining the Dewan Mothiar Trio with the Irene Schweizer Trio, and adding the guests Manfred Schoof and Barney Wilen, these eight musicians came together to create one of the most fascinating and memorable free jazz records ever.
The first track, "Sun Love," is likely my favorite. It features a beautiful build-up that starts with captivating foundational work from Dewan Mothiar's Trio, then slowly adds the drums, piano, and bass from Irene Schweizer's Trio. This build-up lasts for about half of the song and is very immersive, mainly focusing on building an atmosphere. Eventually, Schoof's trumpet joins and quickly begins blaring as the bass and drums return. This is one of my favorite moments in all of jazz. Such an impressive group of musicians coming together for one shared idea, and it is truly wonderful. This track is like an underground rollercoaster, rising up and down constantly, without ever knowing what to expect next. A must-hear for anyone interested in free jazz.
(full version: albumoftheyear.org/user/tristan/album/266185-jazz-meets-india/)

01. Sun Love (17:45)
02. Yaad (05:20)
03. Brigach and Ganges (14:32)

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Santana - The Woodstock Experience [2CD] (2009)

Year: June 30, 2009 (CD 2009)
Label: Sony Music / Legacy Records (Europe), 88697 48242 2-1
Style: Psychedelic Rock, Blues Rock, Soul
Country: Autlan de Navarro, Mexico (July 20, 1947)
Time: 37:10, 45:39
Format: Flac Tracks 16/44,1 kHz
Size: 236, 294 Mb

CD1: "Santana", Santana's debut studio album. CD2: Recorded Live At The Woodstock Music & Art Fair, Saturday, August 16, 1969.
Sony BMG's Legacy imprint decided to commemorate the 40th anniversary of Woodstock by issuing a slew of double-disc deluxe packages by catalog artists who played the festival. Each slipcase contains the featured artist's entire performance at Woodstock and, as a bonus, an LP sleeve reproduction of a classic album issued near the time the festival occurred, as well as fine, individually designed 16" by 24" double-sided posters. Admittedly, in the 21st century, it is difficult to hear Santana's performance at the 1969 Woodstock festival and separate it from the history of the band and of its namesake, Carlos Santana, and experience the sense of wonder and perhaps awe the audience felt -- but not for the usual reasons. Unlike virtually every other artist in this series, Santana were the only act that didn't have a record out on Columbia, RCA, or one of its subsidiaries. The band's debut (which is included in the package) would be issued shortly thereafter. Indeed, the only reason they were on the bill at all was because of promoter Bill Graham's shrewd business sense. He managed them and they were one of the house bands at the Fillmore West in San Francisco. Therefore, the vast majority of the crowd was encountering them at Woodstock for the first time. This volume captures that performance in its entirety. Also unlike the other volumes in this series, this disc contains only one previously unissued track -- ironically, it's "Evil Ways." The band performs the majority of its debut LP in almost the same order, leaving out "Shades of Time" and "Treat." Replacing them is another jam, "Fried Neck Bones and Some Home Fries," which was performed after the shattering and now ubiquitous "Soul Sacrifice" that appeared on the original Woodstock album. The latter tune was long thought to be the band's conclusion of its festival performance, and while not nearly as long as "Soul Sacrifice," "Fried Neck Bones and Some Home Fries" does match it in terms of its jam intensity. The meld of Latin, hard rock, and blues still holds up despite some of Santana's understandable self-consciousness in the early part of the set. What the listener can grasp now that this performance has been assembled properly here is the sound of a band coming into an awareness of its musical power in front of an initially indifferent audience. It happens during "Savor," when Carlos says either to the band or the audience (it's not clear), "Back to the Latin." The rhythm sections kicks it off and Gregg Rolie offers one of the most killer organ solos of his career. From there on out the realization is experienced and the band just walks to the edge of the cliff. This is all killer, no filler.
(allmusic.com/album/the-woodstock-experience-mw0000820334)

01. Waiting (04:07)
02. Evil Ways (04:00)
03. Shades Of Time (03:14)
04. Savor (02:47)
05. Jin-Go-Lo-Ba (04:23)
06. Persuasion (02:36)
07. Treat (04:46)
08. You Just Don't Care (04:37)
09. Soul Sacrifice (06:37)

01. Waiting (04:49)
02. Evil Ways (04:00)
03. You Just Don't Care (04:46)
04. Savor (05:23)
05. Jingo (05:31)
06. Persuasion (02:52)
07. Soul Sacrifice (11:35)
08. Fried Neck Bones And Some Home Fries (06:41)

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Sly And The Family Stone - There's A Riot Goin' On (1971)

Year: November 1971 (CD Apr 24, 2007)
Label: Epic / Legacy Records (US), 82876 75911 2
Style: Pop, Funk, Soul
Country: San Francisco, California, U.S.
Time: 65:32
Format: Flac Tracks 16/44,1 kHz
Size: 352 Mb

Charts: US #1, US R&B #1, CAN #4, JPN #59, UK #31. US: Platinum; UK: Silver.
PP Arnold:
I heard about Sly when I was in the Ikettes, touring with Ike and Tina Turner. He was a DJ playing the Beatles and the Stones alongside Ray Charles, soul and R&B. The Family Stone were into fusion, and it felt very connected to unity, peace and racial equality. They were the first band to have a multiracial lineup of men and women. When Sister Rose [Stone, vocals] joined for Dance to the Music and did those great gospel harmonies with [the girl group] Little Sister, it changed the whole sound. They had hippy psychedelic pop, soul and rock. Every album got funkier and they changed the scene. They sang about the truth of what was going on.
Towards the end of the 60s, civil rights, the Martin Luther King assassination and Vietnam affected everybody, and the drugs came in and changed things. You’d hear about death-threat rumours, gangsters, rip-offs. Sly had fallen out with the original band, and on songs like Just Like a Baby you can hear his vulnerability. (You Caught Me) Smilin’ is sad even though he’s smiling, because he’s lost. The drugs changed Sly’s voice, so on There’s a Riot Goin’ On there’s a gravelly, haunted vibe. It’s urban blues, but the love, innocence, fun and harmony is still in there.
Greg Errico, drums, Sly and the Family Stone:
All the stories about the Riot sessions are true. It was a tumultuous time. The group was splintering and there was huge pressure on Sly to make another record just as we were breaking up. We had cut Family Affair and Thank You For Talkin’ to Me Africa with the original band the year before. Then Sly wanted to do it all himself, maybe realised it wasn’t such fun but couldn’t back down.
It went from a traditional studio to the attic of his house - with all the chemicals. He’d knock on my door at 3 or 4am and say: “Come on, I’ve got this part. Get up, let’s start recording!” Other times he’d call the sessions off. Eventually I stopped going, which got him into using the drum machine. It was the kind of thing the guy in the lounge of the Holiday Inn would use to make lame music, but Sly used it very creatively. Starting the machine’s rhythm on an off beat turned the beat inside out and gave a unique sound.
The music was darker because times were darker. When I first heard the finished album, I had a little attitude - “He should have stuck with us” - but gradually I realised it was really creative and lyrically he was talking about what was going on. I started listening with a smile on my face.
Steve Vai:
When I was nine or 10, Sly and the Family Stone’s Greatest Hits felt like an awakening, but even at that age it was obvious to me that there was a profound shift in the music for There’s a Riot Goin’ On. Later in life, I saw how that record was a perfect storm. It was driven by the political protest and social transition at the time, but also his inner demons and vast departures in the production technique.
Sly was on a paranoid downer and started surrounding himself with thugs and marching to the beat of his own drum, alienating the band and bringing in Ike Turner, Bobby Womack and Billy Preston. Often, when a band or artist undergoes a big transformation, they can be a little bit more raw and honest. It can be both quasi-disastrous and have great merit, and that’s how I see Riot. His brilliance snuck through the debris.
(full version: theguardian.com/music/2021/dec/02/a-nations-fabric-unravelling-stars-on-sly-stones-theres-a-riot-goin-on-at-50)

01. Luv N' Haight (04:04)
02. Just Like A Baby (05:13)
03. Poet (03:02)
04. Family Affair (03:08)
05. Africa Talks To You ('The Asphalt Jungle') (08:45)
06. There's A Riot Goin' On (00:04)
07. Brave & Strong (03:32)
08. (You Caught Me) Smilin' (02:56)
09. Time (03:05)
10. Spaced Cowboy (03:59)
11. Runnin' Away (02:57)
12. Thank You For Talkin' To Me, Africa (07:18)
13. Runnin' Away (Single Version In Mono) (02:44)
14. My Gorilla Is My Butler (Instrumental) (03:11)
15. Do You Know What? (Instrumental In Mono) (07:16)
16. That's Pretty Clean (Instrumental In Mono) (04:12)

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Paul McCartney - Return To Pepperland. The Unreleased 1987 Album [Japan Ed. Bootleg] 2000

Year: Recorded 1981–1989 (CD 2000)
Label: Sergeant M Records (Japan), SM000-1
Style: Rock
Country: Liverpool, England (18 June 1942)
Time: 73:42
Format: Flac Tracks 16/44,1 kHz
Size: 455 Mb

Return to Pepperland is the name given to an unfinished recording project by English musician Paul McCartney with American record producer Phil Ramone. The songs recorded during these sessions have been the basis of bootleg albums usually titled Return to Pepperland.
While promoting the release of Press To Play in New York City in August 1986, McCartney hooked up with Billy Joel's producer Phil Ramone, who had first worked with him the previous year on the title song of the movie soundtrack for Spies Like Us. Using Joel's backing band players, they recorded two songs, "Beautiful Night" and "Loveliest Thing". Further songs were recorded at McCartney's Hog Hill Studios which included: "Atlantic Ocean", "Big Day", "This One" and "Love Come Tumbling Down". During these sessions, the song "Return To Pepperland" was produced as a tribute to the 20th anniversary of The Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band as well as the mash-up of Lennon–McCartney-written songs "Love Me Do" and "P.S. I Love You".
In the end, only two songs from the sessions; "Once Upon a Long Ago" and "Back On My Feet" were released at the time. "Once Upon a Long Ago" and "Beautiful Night" were originally submitted to director Rob Reiner for the 1987 film The Princess Bride, but were rejected for being 'too sentimental'. In January 1988, McCartney took the remaining songs from the Ramone sessions and compiled a cassette, along with other songs he had been working on since the early 80s; this was the source of many of the bootlegs associated with the Phil Ramone sessions. McCartney continued to work with other producers, the results of which would eventually become the 1989 album Flowers In The Dirt. "Beautiful Night" would be re-recorded and released on the 1997 album Flaming Pie. Other songs from his work with Ramone would be released as B-sides and included on his Archive Collection releases in the following years.
(en.wikipedia.org/wiki/Return_to_Pepperland)

01. Lindiana (05:50)
02. I Love This House (03:46)
03. We Got Married (05:12)
04. Beautiful Night (06:15)
05. Loveliest Thing (04:00)
06. Squid (06:27)
07. Big Day (05:38)
08. This One (03:28)
09. Love Come Tumbling Down (04:24)
10. Christian Pop (02:23)
11. Atlantic Ocean (06:51)
12. Love Mix (03:03)
13. Return To Pepperland (04:55)
14. P.S. Love Me Do (03:45)
15. Same Love (03:57)
16. Don't Break The Promises (03:42)

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Ekseption - 3 Originals [3LP on 2CD 1969-1970] (2004)

Year: 1969, 1970, 1970 (CD 2004)
Label: Universal Music (Germany), 981 492-2
Style: Instrumental, Progressive Rock, Classical Crossover
Country: Haarlem, Netherlands
Time: 67:18, 73:18
Format: Flac Tracks 16/44,1 kHz
Size: 415, 439 Mb

CD1: "Ekseption" (1969) & "Beggar Julia's Time Trip" (1970). CD2: "Ekseption 3" (1970).
Ekseption was a Dutch rock band active from 1967 to 1989, playing mostly-instrumental progressive rock and classical rock. The central character in the changing roster, and the only band member present on every album, was conservatory-trained trumpeter Rein van den Broek (10 September 1945 - 11 May 2015). The band saw some commercial success in the 1970s, having Dutch top ten hit singles with their adaptations of Beethoven's "Fifth" and Bach's "Air". The second album, Beggar Julia's Time Trip (1969), won the Dutch Edison Award for album of the year, and the first five albums all went gold.
Ekseption grew out of the high-school band The Jokers, which van den Broek formed in 1958. They changed their name to The Incrowd (after the Ramsey Lewis song) before discovering that name was already taken. Finally they settled on the name Ekseption in 1967. The group played jazz, pop and R&B covers, but in 1969, shortly after keyboardist Rick van der Linden joined, they were impressed by a gig of The Nice, and van der Linden decided to concentrate on producing classical rock, modern re-interpretations of classical works for rock band. Most of their subsequent albums contain both original songs and re-interpreted classical pieces.
It quickly became evident that van der Linden had assumed leadership of the group, and in a 1972 press release interview accompanying advance copies of the album Ekseption 5 he openly said so. After 1973's Trinity album he was asked to leave the group by his bandmates, and in the fall of that year he formed a new group Trace, during which time he was replaced by Dutch keyboardist Hans Jansen. Jansen took Ekseption in a jazzier direction, with two LPs of original compositions, but lackluster sales caused the band to break up in 1976. An offshoot band, named Spin, formed later that year and released two more albums, but success also eluded them. In 1978 Trace and Spin merged to become Ekseption once again. Periodic reunions (with new members) appeared until van der Linden's death in 2006.
(en.wikipedia.org/wiki/Ekseption)

01. Peace Planet (03:33)
02. B 612 (04:10)
03. Morning Rose (03:06)
04. Piece for symphonic and rock group in A minor: a) part one: Passacaglia b) pa... (05:54)
05. The Lamplighter (03:02)
06. Bottle mind (02:47)
07. On Sunday they will kill the world (03:26)
08. Another history (04:36)
09. Rondo (Concerto no. 3 in c-minor) (05:27)
10. Ave Maria (02:36)
11. Body Party (03:33)
12. Monlope (04:58)
13. Monkey dance (02:42)
14. Choral (04:05)
15. Partita no. 2 in c-minor (05:46)
16. Piccadilly sweet (13:27)

01. Ekseption 1 - The 5th (03:25)
02. Dharma (03:28)
03. Little x plus (03:31)
04. Sabre dance (03:47)
05. Air (02:53)
06. Ritual fire dance (02:15)
07. Rhapsody in blue (04:02)
08. This here (04:12)
09. Dance macabre op. 40 (02:23)
10. Canvas (02:30)
11. Beggar Julia's time trip - Ouverture (03:22)
12. Prologue (02:21)
13. Julia (02:21)
14. Flying power (00:31)
15. Adagio (03:45)
16. Space I (00:43)
17. Italian Concerto (05:02)
18. Concerto (03:53)
19. Space II (00:25)
20. Pop giant (03:54)
21. Space III (00:21)
22. Feelings (03:07)
23. Epilogue (00:56)
24. Finale - Music for mind - Theme Julia (03:59)

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Mountain - Flowers Of Evil (1971)

Year: November 1971 (CD 1996)
Label: Columbia Records (US), CK 52749
Style: Hard Rock
Country: Long Island, New York, U.S.
Time: 50:48
Format: Flac Tracks 16/44,1 kHz
Size: 268 Mb

Charts: US #31, CAN #23, AUS #39, GER #39, NOR 17.
Mountain in the studio is not the same group as Mountain live.
Nothing supports that statement more than Flowers of Evil, their newest album, one side of which was recorded at the Fillmore East before it’s demise, the other in the studio. This juxtaposition makes it all the easier to distinguish the difference.
Side one (studio) opens with the title cut. Reeking of Black Sabbath, Mountain has taken a simple chord change structure and repeated it over and over while Lester West moans a set of lyrics straight from the Grand Funk school of relevance. Oh can you tell me/ how the joy passed from his childhood./ That’s not my boy./ We never dreamed when he was leavin’/ that he would taste the flowers of evil.
The next two songs, "Crossroader" and "One Last Cold Kiss" are of the same feel with little variation in guitar work. The lyrics rival even the title cut for triteness (triteness?). By now it is quite evident that the lyrics are not the most dazzling feature Mountain has to offer, yet, surprisingly enough, the arrangements are built around the lyrics rather than the usual opposite. Verses are piled on top of each other leaving no room for the band to actually work. Not until the final cut of Side One do the inane lyrics magically part for a disappointing solo by West.
Side Two was recorded at the Fillmore East. Leslie West’s dormant studio guitar is finally awakened for a ballsy 25-minute ""Dream Sequence." Included in the medley are "Roll Over Beethoven," "Dreams of Milk and Honey," and "Swan Theme." All are intertwined with fine guitar work.
After the live Mountain material on the Woodstock album, their new stage presence is a welcomed change. The live Mountain is excellent in all aspects, whether just jamming along or really rocking. Their encore is "Mississippi Queen," probably their most famous tune. This version outdoes the much played AM version by a large margin.
The album as a whole, however, fails to produce any definitive style for the group. Mountain’s brand of rock is not unique, it is shared by thousands of other groups. The only reason that they have grown mildly popular is that they are a bit more accomplished musicians than the hoards of others. Obviously the group can’t record live material for the remainder of their existence, something must be done to remedy their sorry studio work. Perhaps if they made their music a little more uncommon, they would achieve real success.
As for Flowers of Evil, it would have been better off as a live album.
(theuncool.com/journalism/mountain-flowers-of-evil-review/)

01. Flowers Of Evil (04:52)
02. King's Chorale (01:04)
03. One Last Cold Kiss (03:54)
04. Crossroader (04:53)
05. Pride And Passion (07:11)
06. Dream Sequence (25:03)
07. Mississippi Queen (03:48)

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Steve Marriott (ex Humble Pie) - Rainy Changes. Rare Recordings 1973-1991 [2CD] (1999)

Year: 1999 (CD 1999)
Label: Fruitgum Records (Australia)
Style: Rock, Rhythm And Blues
Country: Essex, England (30 January 1947 - 20 April 1991)
Time: 51:02, 69:02
Format: Flac Tracks 16/44,1 kHz
Size: 341, 431 Mb

Stephen Peter Marriott (30 January 1947 – 20 April 1991), known professionally as Steve Marriott, was an English musician, guitarist, singer and songwriter. He co-founded and played in the rock bands Small Faces and Humble Pie, in a career spanning over 20 years. Marriott was inducted posthumously into the Rock and Roll Hall of Fame in 2012 as a member of Small Faces.
In Britain, Marriott became a popular, often-photographed mod style icon. Marriott was influenced by musicians such as: Miles Davis, Buddy Holly, Booker T & the MG's, Ray Charles, Otis Redding, Muddy Waters and Bobby Bland. In his later life, Marriott distanced himself from the mainstream music industry and turned away from major record labels, remaining in relative obscurity. He returned to his musical roots, playing in local pubs and clubs around London and Essex.
Marriott died on 20 April 1991 when a fire, which was thought to have been caused by a cigarette, swept through his 16th-century home in Arkesden, Essex. He was 44 and posthumously received an Ivor Novello Award in 1996 for his "Outstanding Contribution to British Music", and was listed in Mojo as one of the top 100 greatest singers of all time.
Former Black Sabbath frontman Ozzy Osbourne named Marriott the fourth-greatest singer ever and Clem Burke of Blondie ranked him the sixteenth. Paul Stanley of Kiss called Marriott "unbelievable" and a hero of his, while Steve Perry of Journey named him one of his favourite singers.
(en.wikipedia.org/wiki/Steve_Marriott)

01. Banter (00:57)
02. Poor Mans Rich Man (02:03)
03. Banter (00:47)
04. Thirty Day Shuffle (03:41)
05. Heartbreaker (02:08)
06. Midnight Of My Life (04:12)
07. Get Down To It (03:41)
08. It's All Over (03:18)
09. Think (03:33)
10. Banter (00:56)
11. Sea Of Change (02:30)
12. I Need Your Love (Like A Fish Needs A Raincoat) (Home Demo 1987) (02:42)
13. Let's Spend The Night Together (02:08)
14. Infatuation (03:16)
15. Jesus Loves Me (Blackberries On Lead Vocals) (01:32)
16. Soldier (with Los Angeles Philarmonic Orchestra) (03:42)
17. Rainy Changes (04:02)
18. Toe Rag (feat. 2 Year old Toby Marriott ) (01:46)
19. Poll Tax Blues (03:45)
20. Banter (00:20)

01. They Call It Love (But It Smells Like Pussy) (03:38)
02. Run Rudolph Run (02:10)
03. Nobody But You (01:30)
04. Phone Call Away (03:28)
05. If You Find What You're Looking For (03:22)
06. Say The Word (03:32)
07. Sweet Nuthins (02:53)
08. Looking Through At You (03:32)
09. Happy Birthday, Birthday Girl (03:08)
10. Some Kind Of Wonderful (05:33)
11. Save Your Love For Me (02:20)
12. An Itch You Can't Scratch (02:21)
13. Two Lane Fever (03:31)
14. Paying The Price (02:50)
15. I Never Loved A Woman (03:05)
16. Stay With Me Baby (04:16)
17. Oh Well (04:39)
18. Out Of The Blue (04:20)
19. I Won't Let You Down (04:26)
20. Bigger They Come, Harder They Fall (04:26)

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Hot Tuna (Jefferson Airplane) - America's Choice (1975)

Year: May 1975 (CD 19??)
Label: RCA Records (US), 0820-2-R
Style: Hard Rock, Blues Rock
Country: San Francisco, California, U.S.
Time: 44:53
Format: Flac Tracks 16/44,1 kHz
Size: 262 Mb

The first of the "Rampage" trilogy albums (the others being Yellow Fever and Hoppkorv) recorded by the now power trio, it marked a major shift in musical direction by the group. With new drummer Bob Steeler, Tuna now performed in a predominantly hard rock style, leaving the earlier band's mixture of electric and acoustic material.
The album rose to No. 75 on the Billboard charts. One of the tracks is named "Hit Single #1". Despite its title, it was not released as a single.
The album cover art depicts a box of laundry detergent, complete with dripping suds, labeled "America's Choice: Hot Tuna". The lettering and color scheme are loosely based on the style of Tide. On one side of the detergent box, a contents label lists the musicians as the "active ingredients", and also says, "Pure, unadulterated sounds with amplified additives and the necessary polytonal ingredients to handle heavy loads." On another side of the box is a "warning" stating, "This album to be played at full volume for maximum effect."
(en.wikipedia.org/wiki/America%27s_Choice)

01. Sleep Song (04:25)
02. Funky #7 (05:49)
03. Walkin' Blues (05:21)
04. Invitation (06:54)
05. Hit Single #1 (05:15)
06. Serpent Of Dreams (06:52)
07. I Don't Wanna Go (04:58)
08. Great Divide: Revisited (05:16)

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Rolling Stones - Hot Rocks 1964-1971 [Japan Ed. 2CD. Compilation] (1971)

Year:  20 December 1971 (CD 2006)
Label: Universal Music (Japan), UICY-93032
Style: Blues Rock, Pop Rock
Country: London, England
Time: 38:25, 47:11
Format: Flac Tracks 16/44,1 kHz
Size: 202, 303 Mb

It would be nice to be able to call it something like The Rolling Stones‘ Golden Decade, for the Stones have been the most enduringly prolific highwire act of their time, both reflecting and surpassing the era with a deadly accuracy that can make them seem more dangerous than they really are. But somehow this album merely falls into that venerable Stones tradition of supra-throwaway albums, collections like December’s Children and Flowers that by their very slapdash cynicism validate themselves and charm us into feeling that they’re as sure a representation of the Stones ethos as brand-new and more unified efforts like Let It Bleed.
Hot Rocks (London 2PS 606-7) is even crasser than Flowers and Children, because it’s the first Stones album on which every track has been represented on albums previously released in this country. Some of them, in fact, like “Let’s Spend the Night Together,” are on their fourth go-round. So in part Hot Rocks is, however beautifully packaged, a purely mercenary item put together by the Stones’ former record company to cash in on the Christmas season and wring some more bucks out in the name of the Mod Princes they once owned.
(rollingstone.com/music/music-album-reviews/hot-rocks-1964-1971-99551/) Review by Lester Bangs. December 20, 1971

01. Time Is On My Side (03:00)
02. Heart Of Stone (02:51)
03. Play With Fire (02:16)
04. (I Can't Get No) Satisfaction (03:44)
05. As Tears Go By (02:46)
06. Get Off Of My Cloud (02:56)
07. Mother's Little Helper (02:48)
08. 19th Nervous Breakdown (03:58)
09. Paint It, Black (03:24)
10. Under My Thumb (03:44)
11. Ruby Tuesday (03:18)
12. Let's Spend The Night Together (03:35)

01. Jumpin' Jack Flash (03:43)
02. Street Fighting Man (03:15)
03. Sympathy For The Devil (06:19)
04. Honky Tonk Women (03:02)
05. Gimme Shelter (04:32)
06. Midnight Rambler (09:15)
07. You Can't Always Get What You Want (07:29)
08. Brown Sugar (03:50)
09. Wild Horses (05:42)

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Adrian Belew (ex King Crimson) - Inner Revolution (1992)

Year: February 1992 (CD     Feb 1992)
Label: Atlantic Records (US), 7 82370-2
Style: Pop, New Wave
Country: Covington, Kentucky, U.S. (December 23, 1949)
Time: 39:56
Format: Flac Tracks 16/44,1 kHz
Size: 282 Mb

Here's to adversity. This album was recorded after a difficult divorce and shows Belew in a moment of self-actualization -- taking positive steps to overcome pain and hardship. And this is one of the strongest critiques of this record..."God Adrian, do you have to be so upbeat about everything?!" This is a misconception, however; the transcendental pinings are so strong in places that the darker ins and outs of this recording are often overshadowed. Nearly all instruments are played by Belew. Probably the strongest track here is "This Is What I Believe In" (once described by Linford Detweiler as "having more time changes than a cheap wristwatch"). Music is intense and yearning -- and Belew sings as though his life depends on getting the words out. His guitar solo on this track sounds like a saxophone, and other diverse experimentation with the guitar litters this record at every turn. The signature lick on the first single, "Standing in the Shadows," is created by scratching the strings vertically with a guitar pick. Other transcendental songs, such as "Birds," "I'd Rather Be Right Here," or "Member of the Tribe," are uplifting exhortations -- this is the first time Adrian has sung about this kind of thing. He sings about the dissolution of his previous marriage in the unfortunately titled "War In the Gulf Between Us" -- with a mood akin to exhaustion and resignation. From beginning to end, this is a fun romp and a fine example of Belew's prowess - creating inventive music that is simulateously experimental and accessable. One of his finest offerings.
(allmusic.com/album/inner-revolution-mw0000275260)

01. Inner Revolution (03:13)
02. This Is What I Believe In (03:29)
03. Standing In The Shadow (03:45)
04. Big Blue Sun (03:49)
05. Only A Dream (03:33)
06. Birds (02:24)
07. I'd Rather Be Right Here (03:08)
08. The War In The Gulf Between Us (03:30)
09. I Walk Alone (02:47)
10. Everything (02:57)
11. Heaven's Bed (04:05)
12. Member Of The Tribe (03:10)

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Julie Driscoll And The Brian Auger Trinity - If Your Memory Serves You Well [Compilation] (2000)

Year: July 10, 2001 (CD 2000)
Label: Dressed To Kill (UK), METRO430
Style: Progressive Rock, Soul
Country: London, England (8 June 1947 / 18 July 1939)
Time: 37:26
Format: Flac Tracks 16/44,1 kHz
Size: 123 Mb

Much of the material on this disc, especially the Auger titles, have nothing to do with Jools. The instrumental work "Fool Killer" & "Kiko" show the jazz underpinings of Auger's Oblivion Express. I was not impressed by "Oh, baby won't you come back home to Croyden" however. It's as if Auge & Trinity only share disc space with Driscoll.
To sample Jools I highly recommend "I know You Love Me Not". This song brings comparisons to Dusty Springfield' s "The Look Of Love" and Burt Bacharach's production style, it's 60's sophisticated and powerful.
I broke out my vinyl lp Jools & Brian for comparison. The liner notes quote EYE magazine's "the Janis Joplin of Great Britain" label for Ms Driscoll, she's not close. Her later works were much stronger but "I Know You Love Me Not" is almost worth the price.
(amazon.com/Your-Memory-Serves-You-Well/dp/B00004U9YO) Review by B. Sorensen. April 25, 2007

01. Julie Driscoll - Don't Do It No More (02:36)
02. Julie Driscoll - I Didn't Want to HAve To Do it (02:47)
03. Julie Driscoll - I Don't Know Where You Are (02:19)
04. Julie Driscoll - I Know You Love Me Not (03:25)
05. Julie Driscoll - If You Should Ever Leave Me (03:15)
06. Julie Driscoll - Shadows of You (03:39)
07. The Brian Auger Trinity - Come Back To Croydon (02:22)
08. The Brian Auger Trinity - Foolkiller (02:13)
09. The Brian Auger Trinity - Kiko (05:21)
10. The Brian Auger Trinity - Let's Do It Tonight (04:29)
11. The Brian Auger Trinity - Own Up, Lady Astor (02:25)
12. The Brian Auger Trinity - Tiger (02:30)

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Soft Machine - Six [Japan Ed. 2LP on 1CD] (1973)

Year: Feb 1973 (CD Dec 2, 1992)
Label: Epic / Sony Records (Japan), ESCA 5536
Style: Jazz Rock, Fusion, Progressive Rock
Country: Canterbury, England
Time: 76:40
Format: Flac Tracks 16/44,1 kHz
Size: 415 Mb

Definetely a class act, Soft Machine never had a stable line-up and became a refuge for Nucleus members as these continued to replace departing members. Karl Jenkins is a much needed new blood (replacing Elton Dean on reeds but also playing KB along with Ratledge) as the group inspiration was waning. But in this album, the newer members make their presence felt. For the first time in a while, a tracks gets group credits as opposed to individual ones and others are collaborations. the vast majority of the tracks are penned by Ratledge or Jenkins and Hopper takes a back seat.
One disc is live and the other is studio . The live album is made of two 20 min long tracks made of separate section a bit in the mini-suite mode. Clearly the first track is a renewal of the Machine and sets the direction towards fusion. the second tracks is much in the same mode but interrupted by a drum solo. The second vinyl disc was much shorter in lenght but showed that the Jenkins-Ratledge tancem was also working fine in studio. Only the last track is more in Hugh Hopper's mood - going in a typical RIO direction.
In the middle period of Soft Machine (from 4 until 7), this is the better album to start with and is recommended to all that loved Third and Bundles.
(progarchives.com/album.asp?id=3240) Review by Sean Trane. February 3, 2004

01. Fanfare (00:42)
02. All White (04:46)
03. Between (02:33)
04. Riff (04:28)
05. 37 1-2 (06:55)
06. Gesolreut (06:13)
07. E.P.V. (02:50)
08. Lefty (05:02)
09. Stumble (01:36)
10. 5 From 13 (For Phil Seamen With Love & Thanks) (05:15)
11. Riff 11 (01:29)
12. The Soft Weed Factor (11:16)
13. Stanley Stamps Gibbon Album (For B.O.) (05:58)
14. Chloe And The Pirates (09:33)
15. 1983 (07:56)

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Whitesnake - Greatest Hits. Revisited Remixed Remastered MMXXII (2022)

Year: 6 May 2022 (CD Jun 3, 2022)
Label: Rhino Records (US), R2 680916 / 19029648237
Style: Hard Rock
Country: London, England
Time: 76:28
Format: Flac Tracks 16/44,1 kHz
Size: 562 Mb

Very surprised im an old Heavy metal fan;but some of these songs will be around if to-days young get to hear them cos there songs that stick.Here i go again the special one but the cd well worth the money.I now like more Modern Country but still like to hear good heavy music too.Movie mars a very good seller.My taste in Music Varies Super Tramp another Favorite but i rate this an excellent buy 100%satifaction greatband great sound plus its songs you could sing at Kareoke yep you may sound a Fool but hey its fun.Certainly better than some of to-days Rap;Hip hop;which really doesnt require a lot of talent as the music is made for the Artist/s who only really speak and not sing.Yep i sound like an Old Fart but i still like folk who can play instruments Whitesnake can if youre a woman and youre Hubby liked Rock Im sure he would like it at xmas or birthday;Then he can listern while you shop avoid the arguments common cause most of us men hate the Asda/Tesco etc Run anyway.
(amazon.co.uk/WHITESNAKE-GREATEST-REVISITED-REMASTERED-MMXXII/dp/B0BG935JSS)

01. Still of the Night (06:50)
02. Here I Go Again (04:32)
03. Is This Love (05:03)
04. Give Me All Your Love (03:13)
05. Love Ain't No Stranger (04:18)
06. Slide It In (03:19)
07. Slow an' Easy (06:09)
08. Guilty of Love (03:22)
09. Fool for Your Loving (04:11)
10. Judgment Day (05:22)
11. The Deeper the Love (04:08)
12. Now You're Gone (04:10)
13. Sweet Lady Luck (04:36)
14. You're Gonna Break My Heart Again (04:16)
15. Crying in the Rain (05:47)
16. Forevermore (07:05)

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Soft Machine - Soft Machine Fifth [Japan Ed.] (1972)

Year: July 1972 (CD Sep 21, 1991)
Label: Epic / Sony Records (Japan), ESCA 5418
Style: Jazz Rock, Fusion, Progressive Rock
Country: Canterbury, England
Time: 36:24
Format: Flac Tracks 16/44,1 kHz
Size: 208 Mb

Fifth feels empty.
"All white" is a good opener, although I feel like the intro of the song drags on a little bit
"Drop" is my favorite track as it actually feels like an original fresh idea, the water droplets accompanied by the piano really add to the atmosphere until it breaks out in an exciting jazz fusion composition
"M.C" is..... empty, I suppose it's mostly the drums that carry the track, but it feels so empty, and the insane reverb on the drums do not help.
"As If" feels also like something is missing, while being longer, and more fletched out, it feels less memorable, and more like an improv filler on the album.
"L.B.O" is just straight up filler, 2 minutes of Drums.... that's it.....
"Pigling Bland" is good! Though I'm starting to feel like it's rushed... the track starts out fine, builds up to something epic and exciting, and then just stops...
"Bone" is... Empty, this time being a piece of ambient... that feels out of place on the album...
Yeah, overall, I feel like the first half of the album is good, but I can't shake off the idea that the recordings were very unfocused.
I've read how the first half of Fifth had a new drummer and that the second half has a different drummer, and I can take a good guess that the departure of Robert Wyatt definitely left a lasting impression on Mike and Hugh as they were trying to find their own in this new sound.
Overall, I have mixed feelings for this album.
(albumoftheyear.org/user/midaurus/album/23095-fifth/)

01. All White (05:59)
02. Drop (07:47)
03. M C (04:52)
04. As If (08:21)
05. L B O (01:31)
06. Pigling Bland (04:22)
07. Bone (03:30)

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Jefferson Airplane - Bark (1971)

Year: September 1971 (CD 1996)
Label: RCA Records (US), 07863 66574-2
Style: Psychedelic Rock
Country: San Francisco, California, U.S.
Time: 45:13
Format: Flac Tracks 16/44,1 kHz
Size: 257 Mb

Released in 1971 as Grunt FTR-1001, the album is one of the Airplane's late-period works, notable for the group's first personnel changes since 1966. The album was the first without band founder Marty Balin (who departed the band during the recording process but without featuring in the sessions) and the first with violinist Papa John Creach. Drummer Spencer Dryden had been replaced by Joey Covington in early 1970 after a lengthy transitional period in which both musicians had performed with the band.
Bark was the Airplane's first new album in two years, the previous being 1969's Volunteers. It was the first release on Grunt Records, launched in August 1971 by the band and RCA as an autonomous imprint for Jefferson Airplane-related releases.
Lead guitarist Jorma Kaukonen received four songwriting credits on the album, indicative of his growing importance as a composer and vocalist. At the time, he and bassist Jack Casady had already recorded two albums for their spin-off blues rock group Hot Tuna.
The album reached number 11 on the Billboard albums chart (outperforming both Volunteers and Kantner's Hugo Award-nominated 1970 solo album Blows Against the Empire) and was certified gold by RIAA. An accompanying single, the Covington-led "Pretty as You Feel", was the band's final top 100 American hit, peaking at number 60 in Billboard and number 35 in Cashbox.
(en.wikipedia.org/wiki/Bark_(Jefferson_Airplane_album))

01. When The Earth Moves Again (03:59)
02. Feel So Good (04:41)
03. Crazy Miranda (03:28)
04. Pretty As You Feel (04:35)
05. Wild Turkey (04:51)
06. Law Man (02:47)
07. Rock And Roll Island (03:48)
08. Third Week In the Chelsea (04:39)
09. Never Argue With A German If You're (04:37)
10. Thunk (03:03)
11. War Movie (04:41)

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Adrian Belew (ex King Crimson) - Young Lions (1990)

Year: May 1990 (CD 1990)
Label: Atlantic Records (US), 7 82099-2
Style: Pop Rock, New Wave, Punk
Country: Covington, Kentucky, U.S. (December 23, 1949)
Time: 38:20
Format: Flac Tracks 16/44,1 kHz
Size: 261 Mb

The album featured David Bowie singing on two tracks, "Pretty Pink Rose" and "Gunman", the latter of which Bowie and Belew co-wrote since he was acting as musical director and lead guitarist on the Sound+Vision Tour with Bowie.
Two cover versions appear on the album: "Heartbeat", a song Belew had co-written and performed with King Crimson while he was a member; and "Not Alone Anymore", a Traveling Wilburys song from Traveling Wilburys Vol. 1. This was Belew's tribute to Roy Orbison who had recently died.
The other songwriting "collaboration" on the album is with Nashville radio evangelist Prophet Omega. Working decades-old tapes of Omega's broadcasts into "I Am What I Am", Belew, "listed him as a co-author, so in case a couple of hefty guys drop by my place some day, I can say 'here's your money.' " Al Kooper, who collects "oddball" recordings, gave a 47-minute recording of Omega preaching and Belew made two further recordings: "I Know What I Know" on Coming Attractions and "Troubles" on Side Three.
Belew was pressed for time for the cover artwork and it was hurriedly completed by Atlantic's art department. It features a then five-year-old Robert S. Belew on his way to Sunday school carrying a stuffed animal.
(en.wikipedia.org/wiki/Young_Lions_(album))

01. Young Lions (03:51)
02. Pretty Pink Rose (04:44)
03. Heartbeat (04:00)
04. Looking For A UFO (03:37)
05. I Am What I Am (04:12)
06. Not Alone Anymore (03:16)
07. Men In Helicopters (03:18)
08. Small World (03:46)
09. Phone Call From The Moon (03:38)
10. Gunman (03:53)

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Marianne Faithfull - 20th Century Blues [Live] (1996)

Year: 1996 (CD Oct 14, 1996)
Label: Reverso Records (Austria), 74321 386562
Style: Ballad, Pop
Country: London, England (29 December 1946)
Time: 54:01
Format: Flac Tracks 16/44,1 kHz
Size: 302 Mb

As the liner notes to this intriguing release tell, Faithfull had a long-simmering interest in German cabaret, particularly the work of Kurt Weill. It came fully to life via her role as Pirate Jenny in a staging of The Threepenny Opera in Dublin as translated by Frank McGuinness and her attendance at a workshop organized by Allen Ginsburg. After a series of initial performances with pianist Paul Trueblood, Faithfull took her revue of many classic songs from the mid-century, titled "An Evening in the Weimar Republic," to the road. This particular recording is from a performance in Paris in 1996, showcasing both a smart selection of songs to work with and Faithfull's own dramatic, interpretive skills with them. Kicking off with the aggressive-then-smooth bite of the Brecht/Weill standard "Alabama Song," Faithfull and Trueblood show they make a great team -- her distinct vocals seem almost born for the material, while Trueblood is a sure hand on the keys, both playful and polished. Weill remains the centerpiece of the show, in both his various collaborations with Brecht -- standout tracks include withering versions of "Pirate Jenny," "Salomon Song," and "Surabaya Johnny" -- and with other partners, including "Complainte de la Seine" and "Mon Ami, My Friend." Friedrich Hollaender gets the nod twice, with a take on the eternal classic "Falling in Love Again" almost rivaling Marlene Dietrich's original interpretation. The title track, a noted Noel Coward number, gets a fine performance, as does the one nod to more contemporary times, a rendition of Harry Nilsson's "Don't Forget Me." One nod to Faithfull's previous recording past appears via a new version of "Boulevard of Broken Dreams," originally covered by her on Strange Weather. Faithfull throughout introduces songs with humor and reflection, a perfect MC for her own performance.
(allmusic.com/album/20th-century-blues-mw0000615188)

01. Alabama Song (04:18)
02. Want To Buy Some Illusions (03:57)
03. Pirate Jenny (04:58)
04. Salomon Song (03:43)
05. Boulevard Of Broken Dreams (03:34)
06. Complainte De La Seine (04:09)
07. The Ballad Of The Soldier's Wife (04:08)
08. Intro (01:12)
09. Mon Ami, My Friend (02:25)
10. Falling In Love Again (02:22)
11. Mack The Knife (03:32)
12. 20Th Century Blues (03:20)
13. Don't Forget Me (03:40)
14. Surabaya Johnny (05:15)
15. Street Singers Farewell (03:21)

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Def Leppard - Pyromania [24kt Gold. MFSL CD] (1983)

Year: 20 January 1983 (CD Jun 1989)
Label: Mobile Fidelity Sound Lab (US), UDCD 520
Style: Hard Rock, Arena Rock
Country: Sheffield, England
Time: 45:18
Format: Flac Tracks 16/44,1 kHz
Size: 288 Mb

Charts: UK #18, AUS #70, CAN #4, GER #20, NZ #26, SWE #23, SWI #45, US #2. UK: Silver; FRA: Gold; CAN: 7x Platinum; US: Diamond (10x Platinum).
The rock of the 1980s is arguably one of the most iconic sounds globally. Musical production was advancing, allowing bands to access cutting-edge technology, combined with the million-dollar budgets that were available for the genre at the time.
British rockers Def Leppard stand out as exemplars of excellence in '80s rock. They initially triumphed in the United States, drawing comparisons to artists from the English wave of Heavy Metal, such as Iron Maiden. Subsequently, they became a global sensation with their 1983 album "Pyromania," a timeless classic.
...What can we hear?
A quintessential '80s rock sound patented by Def Leppard, who distinguished themselves with meticulously crafted elements: Clean yet processed production, where effects like echo and delay play a crucial role. Impeccably tuned choruses complement Joe Elliott's distinctive vocals. The drumming, laden with echo (once again, very '80s), stands out, utilizing triggers on the drums, and the guitar work from the renowned duo of Phil Collen and the late Steve Clark adds a distinctive touch.
The band originally interprets excellent English rock, but at times, they soften their sound with high-quality pop, primarily in the choruses, which are undeniably memorable, perfect for thousands of fans to sing along in the world's biggest stadiums. Four singles charted on the Billboard in the United States: "Photograph," "Rock Of Ages," and "Foolin'," three audience favorites frequently played on the radio.
...A different guitar sound:
The guitar tones from Phil Collen and Steve Clark were innovative for 1983. They maintained constant distortion but sweetened it with delay and reverb as primary effects, giving "Pyromania" a unique sonic hue that would be perfected in their subsequent productions like "Hysteria" or "Adrenalize."
Apart from the guitars, the vocal effects were groundbreaking for the time, becoming distinctive for the band. Just listen to the choruses of "Action Not Words," "Die Hard The Hunter," or "Foolin'" to capture it within seconds. Speaking of vocals, Joe Elliott shines at his peak, hitting remarkably high notes and alternating between a raspy and melodic voice with a completely distinctive timbre, setting them apart.
The compositions are fun yet feature epic choruses, conveying a light but profound rock sound. Successful tracks like "Rock Of Ages" or "Billy's Got A Gun" showcase synthesizer-infused bass lines, adding an even more '80s vibe.
...A classic filled with quality:
"Pyromania" is an epic album that, upon first listen, reveals its distinct sound. From our perspective, the production was a standout feature that garnered widespread praise worldwide. No other rock band sounded like this album, perfectly encapsulating the '80s rock sound.
(therockreview.net/def-leppard-pyromania-eng/)

01. Rock Rock ('Til You Drop) (03:58)
02. Photograph (04:08)
03. Stagefright (03:45)
04. Too Late For Love (04:27)
05. Die Hard The Hunter (06:17)
06. Foolin' (04:33)
07. Rock Of Ages (04:07)
08. Comin' Under Fire (04:14)
09. Action! Not Words (03:49)
10. Billy's Got A Gun (05:55)

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