Whitesnake - Slide It In (1984) (25th Anniversary Deluxe Edit)

Following up the splendid Saints & Sinners album was no easy task, but 1984's Slide It In turned out to be an even greater triumph for David Coverdale's Whitesnake. From the boisterous machismo of "Spit It Out" and "All or Nothing" to the resigned despair of "Gambler" and "Standing in the Shadow," and the embarrassingly silly title track, everything seems to click. For hit singles, look no further than the twin guitar attack of "Guilty of Love" and the sheer poetry and emotion of "Love Ain't No Stranger," one of the decade's greatest power ballads, bar none. Not to be outdone, "Slow an' Easy" is a masterpiece of sexual tension and the kind of power-blues which no one does as well as Whitesnake. On a quirky historical note, Coverdale fired most of the band soon after the album's release, replacing them with younger, prettier faces with which to better conquer America. For that purpose, Geffen Records even released a re-recorded version of Slide It In with flashy soloing from new guitarist John Sykes, sparking an ongoing debate as to which version is better. [The 25th Anniversary Edition of Slide It In is a deluxe, two-disc (CD/DVD) package. In addition to an edition of the album completely remixed for a U.S audience (the sound is terrific and is tighter than the slicker Brit mix). the CD contains a whopping ten bonus cuts. They include "Need Your Love So Bad," the B-side of "Give Me More Time," and U.K. mixes of all but two of the original album tracks; only "Hungry for Love" is left off. Also "Love Ain't No Stranger," is taken from the live, 1998 Starkers in Tokyo album. The DVD contains promo videos for "Guilty of Love," "Slow & Easy," and "Love Ain't No Stranger," as well as performances from Castle Donington in 1983, a television appearance of "Give Me More Time," from Top of the Pops in 1984, and other sundry concert videos. The set is packaged in a deluxe slipcase with a 24-page booklet featuring rare photos, album outtake shots, lyrics, and an interview with Whitesnake frontman and founder David Coverdale.]... T. Jurek

320 @
178 MB


01 Gambler U.S. Remix 3:57
02 Slide It In U.S. Remix 3:19
03 Slow & Easy U.S. Remix 6:00
04 Love Ain't No Stranger U.S. Remix 4:14
05 Give Me More Time U.S. Remix 3:42
06 Standing in the Shadow U.S. Remix 3:38
07 Hungry for Love U.S. Remix 3:29
08 All or Nothing U.S. Remix 3:40
09 Spit It Out U.S. Remix 4:28
10 Guilty of Love U.S. Remix 3:24
11 Need Your Love So Bad 45 B-Side 3:16
12 Gambler Bonus / UK Mix 3:50
13 Slide It In Bonus / UK Mix 3:17
14 Standing in the Shadow Bonus / UK Mix 3:29
15 Give Me More Time Bonus / UK Mix 3:39
16 Slow & Easy Bonus / UK Mix 6:02
17 Spit It Out Bonus / UK Mix 4:10
18 All or Nothing Bonus / UK Mix 3:31
19 Guilty of Love Bonus / UK Mix 3:18
20 Love Ain't No Stranger (Starkers in Tokyo) Bonus 3:16

George Harrison - Let It Roll

George Harrison had two periods of great commercial success, separated by 15 years and two record labels. This extended gap is the chief reason there hasn't been a career-spanning Harrison collection until 2009's Let It Roll: Songs By George Harrison, the first-ever disc to gather songs from George's stints at both Apple and Dark Horse, and only his third-ever hits collection, following 1976's Beatles-heavy The Best of George Harrison and The Best of Dark Horse, released in 1989 in the afterglow of Cloud Nine's comeback success. Let It Roll balances these two periods, swapping any Beatles-era song ("Something," "Here Comes the Sun," "While My Guitar Gently Weeps") for a live version from The Concert for Bangladesh, then mixing it all up chronologically, so the set starts with the pristine bounce of "Got My Mind Set on You" before giving way to "Give Me Love (Give Me Peace on Earth)" If anything jars, it's the sounds of times, as Jeff Lynne's clean, manicured arrangements don't necessarily fit with Phil Spector's lush, magisterial productions, but that's a minor quibble about a useful compilation that consolidates all of Harrison's signature tunes on one very enjoyable disc...S. Erlewine

320 @
177 MB


01 Got My Mind Set on You 3:52
02 Give Me Love (Give Me Peace on Earth) 3:35
03 Ballad of Sir Frankie Crisp (Let It Roll) 3:48
04 My Sweet Lord 4:40
05 While My Guitar Gently Weeps Live 4:46
06 All Things Must Pass 3:46
07 Any Road 3:52
08 This Is Love 3:47
09 All Those Years Ago 3:46
10 Marwa Blues 3:41
11 What Is Life 4:24
12 Rising Sun 5:27
13 When We Was Fab 3:51
14 Something Live 3:10
15 Blow Away 3:59
16 Cheer Down 4:06
17 Here Comes the Sun Live 2:54
18 I Don't Want to Do It 2:54
19 Isn't It a Pity 7:07

The Hollies - French '60s EP Collection, Vol. 3 (1996) (22-track Digipack 24 bit Remaster 2001)

One of the best and most commercially successful pop/rock acts of the British Invasion, when the Hollies began recording in 1963, they relied heavily upon the R&B/early rock & roll covers that provided the staple diet for countless British bands of the time. They quickly developed a more distinctive style of three-part harmonies (heavily influenced by the Everly Brothers), ringing guitars, and hook-happy material, penned by both outside writers (especially Graham Gouldman) and themselves, eventually composing most of their repertoire on their own. The best early Hollies records evoke an infectious, melodic cheer similar to that of the early Beatles, although the Hollies were neither in their class (not an insult: nobody else was) nor demonstrated a similar capacity for artistic growth. They tried, though, easing into somewhat more sophisticated folk-rock and mildly psychedelic sounds as the decade wore on, especially on their EP's (which contain quite a few overlooked highlights).

 320 @
150 MB


01 Stop,stop,stop 03:01
02 It's You 02:14
03 King Midas In Reverse 03:02
04 Everything In Sunshine 01:59
05 Jennifer Eccles 02:56
06 Try It 03:02
07 Listen To Me 02:39
08 Do The Best You Can 02:50
09 Sorry Suzanne 03:00
10 Not That Way At All 02:50
11 He Ain't Heavy, He's My Brother 04:18
12 Cos You Like To Love Me 03:00
13 I Can't Tell The Bottom From The Top 03:49
14 Mad Professor Blyth 02:17
15 Kill Me Quick 02:08
16 We're Alive 02:38
17 Non Prego Per Me 02:45
18 Devi Avere Fiducia In Me 02:12
19 Open Up You Eyes 02:49
20 Blowin' In The Wind 04:09
21 Man With No Expression 03:25
22 Sign Of The Times 02:36

Prefab Sprout - Let's Change the World With Music

Let's Change the World with Music sees the first Prefab Sprout album in 8 years and contains eleven unique tracks. This album should have been the follow up to 1990's Jordan The Comeback but finally sees the light of day in 2009.

Prefab Sprout were formed in 1978 as a four-piece band based in Co. Durham and went on to be arguably one of the most beloved British pop bands of the 80s and 90s. Their biggest top ten album, From Langley Park To Memphis featured Pete Townsend and Stevie Wonder and included their biggest hit, "The King of Rock n Roll". They followed this album with Jordan, The Comeback which was hugely acclaimed and Brit-nominated. After various line up changes, the rest of the band released one album in 2001 and Paddy released a solo album, Trawl The Megahertz in 2003. Singer-songwriter Paddy McAloon is regularly hailed one of the greatest songwriters of his era. Let's Change the World with Music sees the first Prefab Sprout album in 8 years and contains twelve unique tracks.

320 kB@
106 MB
Genre : Altern. Rock


01. Let there be music 3:44
02. Ride 4:04
03. I love music 4:49
04. God watch over you 4:33
05. Music is a princess 3:31
06. Earth: The story so far 5:01
07. Last of the great romantics 4:39
08. Falling in love 3:10
09. Sweet gospel music 4:23
10. Meet the new Mozart 4:13
11. Angel of love 4:23

The Beatles - Past Masters (1988) (Stereo Box Set Remaster)

The classic original Beatles studio albums have been re-mastered by a dedicated team of engineers at Abbey Road Studios in London over a four year period utilising state of the art recording technology alongside vintage studio equipment, carefully maintaining the authenticity and integrity of the original analogue recordings. The result of this painstaking process is the highest fidelity the Beatles catalogue has seen since its original release.

When Capitol decided to release the original British editions of the Beatles' albums instead of the bastardized American versions, they were left with a bit of a quandary. Since the Beatles had an enormous number of non-LP singles, some of their greatest hits — from "I Want to Hold Your Hand" through "Hey Jude" — would not be included on disc if Capitol simply served up straight reissues. They had two options: they could add the singles as bonus tracks to the appropriate CDs, or they could release a compilation of all the non-LP tracks. It should come as no surprise that they chose the lattermore…. In fact, they took it one further, issuing two separate compilations of non-LP tracks, which is fairly appropriate since the Beatles released far more singles and EPs in the first two years of their recording career than they did in the last five. Past Masters, Vol. 1 covers those first two years and, to be fair, there are some cuts that are unnecessary for anyone outside of the hardcore — only a handful of people will be able to spot the difference in the alternate "Love Me Do," while German versions of "I Want to Hold Your Hand" and "She Loves You" aren't even good for a chuckle. Still, the sheer number of astounding singles makes this essential, even with its faults. These 17 songs capture the exuberance of Beatlemania while confirming their talents as popcraftsmen ("This Boy," "Yes It Is") and proving that they could rock really, really hard ("I Feel Fine," "She's a Woman," the peerless "I'm Down"). Apart from the cuts that are merely rarities, this is a near-perfect compilation that captures the energy and spirit of the Beatles' early years.

566 MB


CD 1

01 Love Me Do 2:23
02 From Me to You 1:57
03 Thank You Girl 2:04
04 She Loves You 2:21
05 I'll Get You 2:05
06 I Want to Hold Your Hand 2:26
07 This Boy 2:16
08 Komm, Gib Mir Deine Hand 2:26
09 Sie Liebt Dich 2:19
10 Long Tall Sally 2:03
11 I Call Your Name 2:09
12 Slow Down 2:56
13 Matchbox 1:58
14 I Feel Fine 2:19
15 She's a Woman 3:03
16 Bad Boy 2:20
17 Yes It Is 2:42
18 I'm Down 2:31

CD 2

01 Day Tripper 2:49
02 We Can Work It Out 2:15
03 Paperback Writer 2:18
04 Rain 3:02
05 Lady Madonna 2:17
06 The Inner Light 2:36
07 Hey Jude Consoling a friend 7:08
08 Revolution 3:24
09 Get Back 3:14
10 Don't Let Me Down 3:34
11 The Ballad of John and Yoko 3:00
12 Old Brown Shoe 3:18
13 Across the Universe Version 3:49
14 Let It Be 3:50
15 You Know My Name (Look up the Number) / Brian Jones 4:19

Procol Harum - Broken Barricades (1971) (12-track Remaster)

Digitally remastered and expanded edition of the British band's 1971 album including bonus tracks. Stylish packaging includes a 20-page booklet, rare photos and memorabilia plus extensive sleevenotes by Procol expert and respected author Patrick Humphries with contributions from band members. 12 tracks. Salvo. 2009.

Despite the departure of organist Matthew Fisher, Procol Harum survived, and this album is ample proof. Fisher was one of the prime architects of the Harum sound, and his work on such classics as "Shine on Brightly" and, of course, "Whiter Shade of Pale" underline that. Procol continued as a four-piece, and it was indeed a good thing that they decided not to replace Fisher. The sound of the band on this album is a bit sparser, but definitely not without dimension and dynamics. "Simple Sister," one of the finest Gary Brooker/Keith Reid compositions, is truly glorious, with Robin Trower's frightening lead guitar work juxtaposed nicely against a wonderful string arrangement. Several other tracks are first rate, including "Power Failure" and "Playmate of the Mouth." Along with Little Feat, Procol Harum was a great survivor among rock bands that have lost a key member. The proof is in these grooves. Matthew Greenwald

 320 @
120 MB


01. Simple Sister 5:52
02. Broken Barricades 3:12
03. Memorial Drive 3:48
04. Luskus Delph 3:52
05. Power Failure 4:33
06. Song For A Dreamer 5:41
07. Playmate Of The Mouth 5:05
08. Poor Mohammed 3:16
09. Broken Barricades (Long Fade, Raw Track) 3:58
10. Simple Sister (Raw Track) 5:50
11. Poor Mohammed (Backing Track) 2:45
12. Song For A Dreamer (Backing Track) 5:26

mirror p1
mirror p2


Michael Rother - Süssherz Und Tiefenschärfe (1985) (1994)

On his sixth album, Michael Rother entered deeply into the ambient side of his music. Released in 1985, Suessherz and Tiefenschärfe is the first solid, intentional release of Rother's in the ambient trance realm, even though it wasn't being called that yet. His signature use of synthesizers to texturize spaces and silence with long, looping grooves, his trademark guitar style now slowed to a crawl to wring the maximum atmosphere from every note, and his pacing and hypnotic repetition are all evident. Perhaps the most startling thing about this recording is how much it echoes the earlier intentions of Rother's former band, Kraftwerk, by getting the very sounds that they had been striving for years before and abandoning because they were too warm, too amniotic, too human. The masterpiece track here is the 13-minute "Tiefenschärfe." With bubbling sounds, warm, glissando keyboards, a steady pulse that is mixed into the backdrop of the soundscape, and a purposeful five-note pulsing melody that weaves and loops through the glissandos, drops in seemingly found sounds form the ether, and pushes the beat through the middle so seductively, it's as if the listener is brain dancing and not even aware until she or he is halfway through. There is a slight break in the movement with "Glitzerglanz," a spare, minimal soundscape of keyboard layers without a rhythmic pulse. This small dreamscape is short-lived, however, in that it is followed by the careening Euro-trance of "Rapido," which pits guitars and keyboards against a steady but quickening motorik beat to create the illusion of quickly paced mind travel. The album ends two tracks later with the beautiful ambient soundscape called "Blaues Licht." It's a haunting keyboard drone interwoven with a minimal set of notes covering its frame with grace and elegance; it's almost an electronic hymn. The CD reissue is added to with two excellent tracks from 1994 called "Weserwellen" and "Weltes Land...T. Jurek

320 kB@
124 MB
Genre : Electronic, Ambient, Krautrock


01 Süßherz 5:40
02 Tiefenschärfe 13:38
03 Glitzerglanz 4:52
04 Rapido 7:01
05 Daisy 6:37
06 Blaues Licht 5:36
07 Weserwellen 4:55
08 Weites Land 6:05

Procol Harum - Procol Harum (1967) (40th Anniversary Collectors Edit)

2009 digitally remastered and expended deluxe edition of the British band's 1967 debut album including 11 bonus tracks. Procol Harum's eponymous long-playing debut is here augmented by the inclusion of the timeless 'A Whiter Shade of Pale', the follow-up smash 'Homburg' and a variety of rare and previously unreleased cuts selected by Gary Brooker. If any song can be said to encapsulate an era - to immediately conjure up the sights, sounds and smells of a particular time - then 'A Whiter Shade Of Pale' is surely that song. For a whole generation 'AWSOP' remains the emblematic anthem of that Summer of Love. And even now, 40 years on, the song remains a haunting tale of mystery and imagination. 21 tracks. Salvo.

Their music was a particularly majestic hybrid. Keith Reid’s expansive, highly cinematic lyrics crowned an instantly identifiable sound. Strong R ‘n’ B influences were integrated with classical themes. Gary Brooker’s blue-eyed soul vocals were accompanied by a hallmark dual keyboard sound (a Steinway grand piano and a Hammond organ), bluesy guitar playing, rock-inspired percussionand melodic bass lines, forming the essence of a uniquely British ensemble. Salvo, in association with Fly Records, have enlisted the assistance of songwriters and band mainstays Gary Brooker and Keith Reid in presenting the Procol Harum’s early albums as a part of their meticulously produced 40th Anniversary Series. Procol’s classic recordings are to be collated chronologically for the first time accompanied by copious bonus tracks - including previously unreleased masters - and generous, highly detailed booklets. A wonderful album that built on the lavish promise of their first two singles, which weren’t originally included, and proved very influential in its own right, Procol Harum’s eponymous long-playing debut is here augmented by the inclusion of the timeless A Whiter Shade Of Pale, the follow-up smash Homburg and a variety of rare and previously unreleased cuts selected by Gary Brooker.

If any song can be said to encapsulate an era - to immediately conjure up the sights, sounds and smells of a particular time - then ‘A Whiter Shade Of Pale’ is surely that song. For a whole generation AWSOP remains the emblematic anthem of that Summer of Love. And even now, 40 years on, the song remains a haunting tale of mystery and imagination.

Thanks to the extraordinary success of AWSOP, the recording of the album had to be staggered, slotted in between a hectic round of one-nighters all over the UK. And when it hit No.5 in the US during the summer of 1967, transatlantic travel had to be factored in too. After such an interrupted gestation it would not have been at all surprising if the LP had lacked continuity, but in fact Procol Harum is a remarkably cohesive record. The foundations for a whole school of specifically English rock music were laid by AWSOP and by the tracks on this album. Even the album’s cover managed to capture the spirit of the times. Drawn in the style of Aubrey Beardsley, the illustration was perfectly in keeping with the faux-Victorian flavour established by Sgt Pepper and here we have used the rare pink Italian version...D. Jellinc

320 @
168 MB


01. Conquistador 2.38
02. She Wandered Through the Garden 3.26
03. Something Following Me 3.37
04. Mabel 1.56
05. Cerdes (outside the gates of) 5.08
06. A Christmas Camel 4.48
07. Kaleidoscope 2.58
08. Salad Days (are here again) 3.38
09. Good Captain Clack 1.30
10. Repent Walpurgis 5.05
11. A Whiter Shade Of Pale 4.07
12. Lime Street Blues 2.53
13. Homburg (single version) 3.57
14. Good Captain Clack (single version) 1.36
15. Il Tuo Diamante (Italian single promo version) 3.32
16. Understandably Blue (stereo) 3.32
17. Pandora s Box (version 1: backing track) (stereo) 3.46
18. Alpha (stereo) 3.50
19. Conquistador (stereo) 2.40
20. She Wandered Through The garden Fence (stereo) 3.27
21. Homburg (album version) (stereo) 3.54


Pacific Gas and Electric - Are You Ready/Pacific Gas and Electric (1969-1970) (2CD Digipack Remaster 2005)

This 2005 German remastered release contains Pacific Gas & Electric's second and third albums, 1969's Pacific Gas & Electric and 1970's Are You Ready, were their two most popular LPs, and are reissued together as a two-CD package with historical liner notes.

The history of Pacific Gas and Electric can be traced back to 1967 in Los Angeles. Self-taught guitarist Tom Marshall met bassist Brent Block at a party thrown by Block's former art teacher. The band they started was called "Pacific Gas and Electric Blues Band", one of the first, if not the first interracial band to hit the LA music scene. One of the early members was a drummer from the east coast named Charlie Allen. Charlie's vocal abilities were so great that he was relieved of his drum sticks, and became lead singer and front man, to be replaced on drums by Canned Heat's former drummer, Frank Cook, who had earlier signed on to manage the band. By 1968, the band name was shortened to Pacific Gas and Electric, and included Allen, Cook, Marshall, Block, and guitarist Glenn Schwartz. They released their first album, "Get It On", that year on the Kent label (it was subsequently released on Big Orange and Power Records as well). Although it only reached #159 on the album charts, someone at Columbia Records was listening, as they signed the band to a recording contract shortly after their appearance at the Miami Pop Festival in December of 1968. The band did countless concerts, often appearing with other big musical acts of the era. On April 25, 1970, racists in Raleigh, North Carolina heckled the band off the stage. When the members were driving away, they came under gunfire. Despite four shots hitting their van, no one was hurt. It was at one P G & E show that writer and film producer Lawrence Schiller filmed his documentary "The Lexington Experience". Disagreements with the owners to the rights to the music caused the film to be shelved after only a few showings, and the only copies known to exist are in Schiller's vault. They made more movie history when they appeared in and provided music to the Otto Preminger film "Tell Me That You Love Me, Junie Moon" starring Liza Minnelli. After 1972, the group's lineup became unstable, resembling more of a Charlie Allen solo project. One more album was forthcoming "...Starring Charlie Allen" in 1973 on the Dunhill label, featuring Charlie and a host of studio musicians..D. Jellinc

Pacific Gas & Electric's second and third albums, 1969's Pacific Gas & Electric and 1970's Are You Ready, were their two most popular LPs, and are reissued together as a two-CD package with historical liner notes (in English) on this German release. On most of Pacific Gas & Electric, they play soul-rock with some dash and verve, though the songwriting isn't up to the level of musicianship or Charlie Allen's genuinely soulful vocals. Pacific Gas & Electric are really a band that would be better served by a selective compilation than any of their individual LPs, and strong candidates for such an anthology would include "Death Row #172" and "Bluesbuster," which are a little like early Blood, Sweat & Tears with more blues-rock and less bluster. Some of the other songs are closer to average period blues-rock workouts, like "Miss Lucy" and the live cover of John Lee Hooker's "She's Long and She's Tall," though the group original "My Women" finds them getting into a slow blues-funk groove with graceful style. The four-part, 17-minute "PG&E Suite" is typical of the highs and lows of many such psychedelic rock experiments of the late '60s, starting off promisingly with the cinematic jazz-rock instrumental "The Young Rabbits." But it runs off the rails with too much drum soloing, and the momentum utterly drains when the suite peters out into poor white-boy blues that's obviously trying to be drolly humorous, yet ends up being painfully lame. The closing blues-soul-rock stomper "Redneck" restores the energy level somewhat, but it's an erratic record on the whole, as would be its follow-up, 1970's Are You Ready. Anchored by their sole hit, "Are You Ready?," it treads a thin line between eclecticism and confusion, and is actually weaker on the whole than its predecessor. Certainly the ominous yet inspirational gospel-funk-psychedelia of "Are You Ready?" was the strongest track, and to this day the only one that most casual rock fans remember. Yet other cuts on the album indicated they couldn't decide whether to be a heavy blues-rock group ("Hawg for You"), a more soul-dipped version of the Band ("Staggolee"), a swampy soul-rock outfit (a cover of the Isley Brothers' "The Blackberry"), or, least convincingly, cry-in-your-beer honky tonk balladeers ("Mother, Why Don't You Cry?"). This wouldn't have been such a handicap if the material wasn't as mediocre as it was, and any song titled "Love, Love, Love, Love, Love" is a warning that lyrical imagination wasn't in abundance on the day it was composed. They do play the James Brown-psychedelic rock fusion card with some gusto on "Elvira," and Charlie Allen's vocals are pretty soulful, though it's only on a cover of Percy Sledge's "When a Man Loves a Woman" that they come to the fore in a no-nonsense manner...R. Unterberger


*Charlie Allen - Vocals
*Frank Cook - Drums
*John Hill - Piano, Organ
*Glenn Schwartz - Lead Guitar
*Brent Block - Bass
*Tom Marshall - Rythm Guitar

320 @
186 MB

Are You Ready (3nd album - 1970)

01 Are You Ready? 5:46
02 Hawg for You 4:42
03 Staggolee 3:49
04 The Blackberry 5:31
05 Love, Love, Love, Love, Love 3:51
06 Mother, Why Don't You Cry? 5:06
07 Elvira 1:58
08 Screamin' 4:27
09 When a Man Loves a Woman 4:31

Pacific Gas & Electric (2nd album - 1969)

01 Bluesbuster 2:55
02 Death Row #172 3:55
03 Miss Lucy 2:28
04 My Women 5:35
05 She's Long and She's Tall 6:18
06 Pacific Gas & Electric Suite - Medley 16:41
07 Redneck 3:30

Grand Funk Railroad - Survival (1971) (12-track Remaster 2002)

Remastered reissue of their Top Ten-charting album from 1971 includes the hits, 'Feelin' Alright' & 'Gimme Shelter', plus five previously unreleased bonus tracks, 'I Can't Get Along With Society' (2002 Remix), 'Jam (Footstompin' Music)', 'Country Road' (unedited original version), 'All You've Got Is Money' (unedited original version), & 'Feelin' Alright' (unedited original version). Capitol. 2002.

In his annotations to this expanded reissue of Grand Funk Railroad's fifth album, Steve Roeser quotes producer Terry Knight as saying that the band regarded Survival as their "studio album," a curious remark considering that they had made three previous albums in the studio. But those albums, recorded at Cleveland Recording, were rushed affairs and had been criticized for muddy sound. By the time Grand Funk came to make Survival in January 1971, that studio had moved to new quarters, and the group had become a national phenomenon, its last two albums Top Ten million-sellers. They spent a relatively luxurious six weeks or so on the record, and the results showed; Survival was the best-sounding and the best-played album they had yet made. Such assessments are, of course, relative, however. The group's playing remained rudimentary, especially in the rhythm section, and its sense of song construction was simple and repetitious. Singer/songwriter/guitarist Mark Farner sang in a strained, limited tenor lyrics that yearned for basic satisfactions ("Comfort Me," "I Want Freedom"), then led the lengthy instrumental passages with either simple guitar patterns or simple organ patterns. The band's choice of covers, Traffic's "Feelin' Alright" and the Rolling Stones' "Gimme Shelter," indicated taste (and that they were short of material), but their interpretations were inferior. This may have been Grand Funk's first real studio album, but they still sounded like they hadn't quite figured out how the studio differed from the stage and what added dynamics might be necessary to make a recording successful. The 2002 reissue adds a studio outtake, "I Can't Get Along With Society," that should have made the album; an early version of "Footstompin' Music" (which would turn up on the next album); and extended takes of "Country Road," "All You've Got Is Money," and "Feelin' Alright."...W. Ruhlmann

320 @
167 MB


01 Country Road 4:22
02 All You've Got Is Money 5:16
03 Comfort Me 6:48
04 Feelin' Alright 4:27
05 I Want Freedom 6:19
06 I Can Feel Him in the Morning 7:15
07 Gimme Shelter 6:29
08 I Can't Get Along With Society- Bonus 5:41
09 Jam (Footsompin' Music) - Bonus 4:40
10 Country Road - Bonus / Unedited Original Version 7:38
11 All You've Got Is Money - Bonus / Unedited Original Version 8:19
12 Feelin' Alright - Bonus / Unedited Original Version 5:57

Nazareth - The Anthology (2CD Remaster)

Deluxe 2009 two CD set from the British Hard Rockers includes 28-page booklet, a fine array of photos and memorabilia and informative sleeve notes by Classic Rock's Dave Ling. One of Britain's hardest working bands, Nazareth are road warriors par excellence. For nigh on four decades they have performed in front of fervent audiences across the globe. 38 tracks. Salvo.

O.K. I Know there are a few Nazareth compilations available,the main difference with this one is it not only contains all the major singles,but it also includes some album tracks which otherwise may of been missed by anyone wanting an introduction to one of the greatest bands ever to walk this earth.One of the great bonus's of this cd are the album tracks featured are included in their uncut versions where as tracks like "Telegram" has appeared before but in edited versions.The real bonus is the inclusion of the awesome "No Mean City" in its complete version. The only minor gripe with the cd ismore… the fact the running order, all the well known tracks ie singles are on cd 1,why not mix the track listing up so some of the better known tracks are mixed in with the later material on cd 2.But don't let that put you off buy the cd and turn the volume up to full and listen to a truly brilliant band at the peak of their power...D. Jellinc

320 @
360 MB


Dan McCafferty - Vocals
Jimmy Murrison - Guitar
Pete Agnew - Bass
Lee Agnew - Drums


CD 1

01. Razamanaz 03:50
02. Bad Bad Boy 03:57
03. Broken Down Angel 03:44
04. Woke Up This Morning 03:53
05. Go Down Fighting 03:06
06. Turn on Your Receiver 03:19
07. Teenage Nervous Breakdown 03:43
08. This Flight Tonight 03:24
09. Sunshine 04:15
10. Shanghai'd in Shanghai 03:44
11. Hair of the Dog 04:12
12. Love Hurts 03:52
13. My White Bicycle 03:26
14. Holy Roller 03:25
15. Telegram 07:49
16. Expect No Mercy 03:27
17. Gone Dead Train 03:44
18. Place in Your Heart 03:02
19. No Mean City 06:31

CD 2

01. Just to Get into It 04:22
02. May the Sunshine 04:55
03. Whatever You Want Babe 03:42
04. Holiday 03:38
05. Heart's Grown Cold 04:14
06. Moonlight Eyes 03:3
07. Cocaine Live 04:38
08. Little Part of You 03:31
09. Dream On 03:27
10. Where Are You Now 03:56
11. Ruby Tuesday 03:28
12. This Month's Messiah 05:18
13. Piece of My Heart 04:26
14. Winner on the Night 04:11
15. Every Time It Rains 04:12
16. Thinkin' Man's Nightmare 04:02
17. Steamroller 04:30
18. When the Lights Come Down 03:30
19. Goin' Loco9 05:25

AC/DC - Live (1992) (Japan Remaster 2CD Collector's Edit 2003)

Double CD collector's edition of AC/DC's 1992 live album digitally remastered and reissued in a special digipak plus a 16 page full color booklet containing all original album art, many unpublished photos, classic memorabilia and new 2003 liner notes. 23 tracks. Epic.

AC/DC Live captures a fine performance by the heavy metal titans, as they run through their biggest hits with fire and energy. Featuring two discs of prime material, the "Special Collector's Edition" is actually preferable to the regular version, simply because it adds more first-rate music to an already worthwhile album...S. Erlewine

Despite the fact that the band's best days were obviously behind them, a live album for AC/DC was all but completely necessary. After all, the group's first live release, If You Want Blood You've Got It, was recorded at a time when AC/DC was nothing more than a cult act that had yet to produce many of its future rock staples. Though recorded well into their career on the Razor's Edge 1991 tour, AC/DC Live surprisingly captures the hype and excitement that made AC/DC such a hit in their heyday. The set list wisely overlooks the songs from the band's mid-'80s slump and concentrates on hard rock hits such as "Hells Bells," "Back in Black," "Highway to Hell," and "Dirty Deeds Done Dirt Cheap." Brian Johnson's voice may not be as strong as in the early '80s, but he still sounds competent in his role. All too often, a live album is a cheaply made, rushed recording that only serves as a testament to a band's decline. AC/DC Live, however, shows what makes this band different from their peers -- here they are still entirely capable of pulling off a great live show. This ranks among the best live metal albums of the '90s. [In February 2003, the American distribution rights to AC/DC's back catalog transferred over to Epic, their new label. Epic reissued the band's catalog as remastered digipacks containing lavish, expanded booklets with plenty of rare photographs, memorabilia, and notes. Although the digipacks may wear a little too easy, the sound is terrific -- clean and muscular, enhancing the raw qualities of the original record -- and the packaging is loving, making the reissues necessary for collectors.]...B. Weber

320 @
302 MB


CD 1

01 Thunderstruck 6:35
02 Shoot to Thrill 5:23
03 Back in Black 4:28
04 Sin City 5:40
05 Who Made Who 5:15
06 Heatseeker 3:37
07 Fire Your Guns 3:40
08 Jailbreak 14:43
09 The Jack 6:57
10 The Razor's Edge 4:35
11 Dirty Deeds Done Dirt Cheap 5:02
12 Moneytalks 4:29

CD 2

01 Hells Bells 6:01
02 Are You Ready 4:34
03 That's the Way I Wanna Rock 'N' Roll 3:57
04 High Voltage 10:33
05 You Shook Me All Night Long 3:54
06 Whole Lotta Rosie 4:30
07 Let There Be Rock 12:17
08 Bonny 1:03
09 Highway to Hell 3:53
10 T.N.T. 3:48
11 For Those About to Rock (We Salute You) 7:17

Allman Brothers Band - At Fillmore East (1971) (2CD Deluxe Edit 2003)

THE FILLMORE CONCERTS contains the Allman's 1971 live recording, THE ALLMAN BROTHERS BAND AT THE FILLMORE EAST. It also includes material omitted from the original LP, plus previously edited tracks that have been restored to their original length.

2003 saw the release of a two-disc edition entitled At Fillmore East [Deluxe Edition]. It compiled all the released versions of the Fillmore material, some material from the collection Duane Allman: An Anthology and the Dreams box set, and remixed the material with a better soundstage than the 1992 release The Fillmore Concerts.

There has never been a better showcase for improvisational rock than this 1971 concert recording, and few (if any) live rock albums are in its rank. With only two studio albums (and plenty of touring) under their belt, the Georgia sextet tore into the Fillmore East with road-tested buoyancy. Titanic guitarist Duane Allman was at the peak of his powers, pushing his foil, Dickey Betts, to unsurpassed peaks. Vocalist-keyboardist Gregg Allman would have been a star in any other setting; here he's merely one more component in a brilliant ensemble. Duane Allman died shortly after At Fillmore East shippedmore…, and the Brothers haven't scaled such heights since. But, then, neither has anyone else...Bob Hope

The original Live At The Fillmore East album is one of the finest live documents of the rock era, capturing the original line-up of one of the 70s' tightest outfits before they were cruelly robbed of Duane Allman and Berry Oakley. Taken from five 1971 performances at New York's fabled Fillmore East, the extended and effortlessly melodic workouts of 'In Memory Of Elizabeth Reed' and 'Whipping Post' remain definitive recordings. The dual guitar interplay of Duane Allman and Dickey Betts glides effortlessly over the propulsive rhythm section of Oakley and twin drummers Jaimoe and Butch Trucks, while Greg Allman's powerful blues voice and melodic keyboard work provides the icing on the cake...Robert Hoffnung


Gregg Allman (vocals, piano, organ)
Duane Allman (guitar, slide guitar)
Dickey Betts (guitar)
Berry Oakley (bass)
Jai Johanny Johanson (drums, congas, timbales)
Butch Trucks (drums, tympani)

320 @
307 MB
Genre : Southern Rock


CD 1

01. Statesboro Blues 04:17
02. Trouble No More 03:46
03. Don't Keep Me Wonderin' 03:38
04. In Memory Of Elizabeth Reed 13:10
05. One Way Out 05:15
06. Done Somebody Wrong 04:17
07. Stormy Monday 10:39
08. You Don't Love Me 19:26

CD 2

01. Hot 'Lanta 05:32
02. Whipping Post 22:44
03. Mountain Jam 33:58
04. Drunken Hearted Boy 07:34

Anna Netrebko ~ Souvenirs (2008)

Soprano superstar Anna Netrebko steps away from the operatic stage to create her most personal and intimate album yet. Souvenirs is a gorgeous collection of short and sparkling pieces that allow Anna to display her amazing voice and temperament

“This recording is like a bridal bouquet, bursting with variety and colours,” says Anna Netrebko. “I want it to create a wonderful array of emotions – passion, fun, love, tenderness.”

The album includes repertoire from all over the world: songs in French, German, Italian, Norwegian, Latin, Czech, Yiddish, Spanish and – of course – Russian. These are pieces that are very close to Anna’s heart and include treasures by Dvorák, Grieg, Carlos Guastavino, Reynaldo Hahn, Offenbach, Richard Strauss, as well as rarely performed songs by Rimsky-Korsakov. For this special project, Anna is accompanied by conductor Emmanuel Villaume and the Prague Philharmonia. Villaume is well-known as the director of the Spoleto Festival (USA) and is a regular guest at major opera houses such as the Teatro La Fenice and the Met. He has previously worked with Anna in concert and is a perfect match for her passionate artistry. On this album Anna Netrebko has a few stunning guests to partner with her: Elina Garanca for Offenbach's Barcarole, Andrew Swait for Andrew Lloyd Webber's “Pie Jesu” (Requiem), Piotr Beczala for Heuberger's “Im Chambre Séparée”. Stunningly talented, gorgeous and intelligent, Netrebko already has the music world at her feet making this one of THE albums of 2008, eagerly awaited by her legions of fans as well as all music lovers worldwide. ”

320 @
142 MB
Genre : Classical


01 Heia, in den Bergen 03:28
02 Im Chambre Separee 04:08
03 Meine Lippen, sie kussen so heiss 05:43
04 Depuis le jour 05:21
05 Belle nuit, o nuit d'amour (Barcarolle) 03:47
06 Cacilie, op. 27 no. 2 02:03
07 Solveigs Sang 05:04
08 Lorsque je n'etais qu'une enfant 02:10
09 Kdyz mne stara matka, op. 55 no. 4 03:10
10 Wiegenlied, op. 41 no. 1 04:17
11 Ne veter, veya s visoti, op. 43 no. 2 02:13
12 Plenivsis' rozoy, Solovey, op. 2 no. 2 03:18
13 Schlof sche, mein Vogele 03:37
14 Pie Jesu 03:47
15 L'Enamouree 03:26
16 La rose y el sauce 02:30
17 La tarantula e un bicho mu malo 01:37
18 Il bacio 03:47

Emmerich Kálmán (1882 - 1953)
The Gypsy Princess (Die Csárdásfürstin)
Act 1
1 Lied: "Heia, heia, in den Bergen ist mein Heimatland"
Richard Heuberger (1850 - 1914)
Der Opernball
2 Im chambre séparée
Franz Lehár (1870 - 1948)
Act 4
3 Meine Lippen, die küssen so heiss
Gustave Charpentier (1860 - 1956)
Act 3
4 "Depuis le jour"
Jacques Offenbach (1819 - 1880)
Les Contes d'Hoffmann
Act 2
5 Barcarolle
Richard Strauss (1864 - 1949)
Vier Lieder, Op.27
6 2. Cäcilie
Edvard Grieg (1843 - 1907)
Peer Gynt, Op.23
7 Solveig's song
André Messager (1853 - 1929)
8 L'orsque j'etais enfant
Antonín Dvorák (1841 - 1904)
Ciganské melodie (Gypsy Melodies), Op.55
9 4. Kdyz mne stara matka (instr. by Jiri Teml)
Richard Strauss (1864 - 1949)
Fünf Lieder, Op.41
10 1. Wiegenlied
Nicolai Rimsky-Korsakov (1844 - 1908)
11 'T was Not the Wind, Op.43, No.2 - orchestrated by Andreas N. Tarkmann
12 Captivated by the Rose (The Nightingale), Op.2, No.2 [Plenivshis rozoï soloveï] (orchestrated by Andreas N. Tarkmann)
13 Schlof sche, mein Vögele (orchestrated by Friedrich Meyer)
Andrew Lloyd Webber (1948 - )
14 Pie Jesu
Reynaldo Hahn (1874 - 1947)
15 L'enamourée - orchestrated by Andreas N. Tarkmann
Carlos Antonio Guastavino (1912 - )
La rosa y el sauce
16 instr. Giullo Espel
Jerónimo Giménez (1854 - 1923)
La Tempranica
Edition Claudio Prieto
17 Nº 2 Tiempo de zapateado "La tarántula e un bicho"
Luigi Arditi (1822 - 1903)
18 Il Bacio

Caravan - If I Could Do It All Over Again...(1970) (2001)

Caravan followed up their eponymous debut with the cryptically titled If I Could Do It All Over Again I'd Do It All Over You in the fall of 1970. If I Could Do It All Over Again contains significant progressions over the first album. These include the intricacy with which compositions are sculpted around some of the finest instrumental improvisation in British rock at the time -- or arguably since. Caravan's uncanny ability to create a montage that effortlessly maneuvers through acoustic folk and electric progressive rock is best exemplified on the "With an Ear to the Ground" suite. The extended instrumental passages weave in and out of each other, creating a hypnotic and otherwise psychedelic soundscape that would become a trademark of the European progressive rock movement. Another epic, "For Richard," quickly found solid standing as the Caravan live performance-closer for decades after first appearing on this album. Juxtaposed against these pieces are several shorter works, which in essence clear the palette for the longer ones. The title track as well as "Hello, Hello" are perfect examples of how Caravan was able to one-up many of its progressive contemporaries, creating shorter and more accessible songs for radio airplay -- resulting in a guest appearance on BBC TV's Top of the Pops program,..L. Planer

The Japanese reissue offers seven bonus tracks: unreleased versions of "A Day in the Life of Maurice Haylett," "For Richard," "Warlock," and "Limits," and demos of "As I Feel I Die," "Clipping the 8th (Hello Hello)," and "Why? (And I Wish I Were Stoned).

320 @
108 MB


01 If I Could Do It All over Again, I'd Do It All over You 3:07
02 And I Wish I Were Stoned/Don't Worry 8:20
03 As I Feel I Die 5:06
04 With an Ear to the Ground You Can Make It/Martinian/Only Cox/Reprise 9:54
05 Hello, Hello 3:45
06 Asforteri 1:21
07 Can't Be Long Now/Francoise/For Richard/Warlock 14:21
08 Limits 1:35

Jethro Tull - Rock Island (1989) (Remaster Editi 2006)

Remastered edition of this 1989 album. Following the success of Crest Of A Knave, which won a Grammy in the hard-rock category, group leader Ian Anderson responded two years later with Rock Island, a record that re-imagined Jethro Tull as a modern-rock act. Features ''Another Christmas Song'', ''Rattlesnake Trail'' and more.

"Rock Island" is an album for those Jethro Tull fans who are more inclined toward the heavy rock side of Tull over their folkier, accoustic side. It opens with the fast paced rocking "Kissing Willie" and is followed by the riffy "The Rattlesnake Trail" complete with Martin Barre's searing guitar fills.

Then comes my personal favorite from the album "Ears of Tin." It's one of those 'stop-go' songs. The verses are melodic, featuring mandolin and flute while the refrains contain pulsating hard rock. Next is "Undressed to kill," a slow, steady rocking song. Then comes the title song, which is fairly subdued until the fast paced instrumental break.

"Heavy Water" is another moderate to slow paced rocker, which is followed by the subdued and melodic "Another Christmas Song." Then comes the another of my personal favorites: the slow, brooding "The Whaler's Dues." Between Martin Barre's jagged electric guitar fills and Ian Anderson's wheezing flute, the song just gets under your skin and stays there.

The last two songs from the original release, "Big Riff and Mando" and "Strange Avenues" are lackluster, in my opinion. But overall, "Rock Island" is a consistently enjoyable album. The song quality might not be as high as on their previous release, "Crest of a Knave," but it has the advantage (or disadvantage, depending on taste) of containing far fewer ballads than 'Crest.'

There are many who believe that the quality of Jethro Tull's music began a permanent decline following "Aqualung" in 1971 or "A Passion Play" in 1973. However, the music on "Crest of a Knave," "Rock Island" and "Catfish Rising," Tull's 1987, 1989 and 1991 releases, convinces me that Ian Anderson's songwriting has, if anything, improved over time.

As with most Tull albums, you'll need to give this one a half dozen spins in your CD player before familiarity breeds enjoyment...M. Denver

320 @

137 MB


01 Kissing Willie 3:33
02 The Rattlesnake Trail 4:01
03 Ears of Tin 4:55
04 Undressed to Kill 5:23
05 Rock Island 6:54
06 Heavy Water 4:12
07 Another Christmas Song 3:31
08 The Whaler's Dues 7:53
09 Big Riff and Mando 5:59
10 Strange Avenues 4:13
11 Christmas Song Live / Bonus 3:06
12 Cheap Day Return/Mother Goose Live / Bonus 3:09
13 Locomotive Breath Live / Bonus 3:38

The Hollies - Romany (1972) (20-track Digipack Remaster 2007)

This EMI expanded CD edition of the Hollies' Romany album appeared some seven years after the Magic Records expanded edition, and the two do not overlap entirely. The difference is in the bonus tracks -- gone are Tony Hicks' "A Better Place" (which was released on the 1973 album Out on the Road) and Mikael Rickfors' "The Last Word" and "Don't Leave the Child Alone," but in their place are an alternate acoustic take of "Magic Woman Touch," the lost single "Papa Rain," and the group's rendition of the Eagles' "Witchy Woman." Both CDs total 20 songs, but this one is a little over three minutes longer in overall running time, and those outtakes are well worth owning, even if it means keeping two versions of the expanded edition around -- the harmony singing and the timbre of the acoustic version of "Magic Woman Touch" make it one of the prettiest recordings ever to emanate from this group's orbit, and that is saying something given the Hollies' track record; "Papa Rain" would have made a somewhat brooding, moody single, a bit reminiscent in tone of the darker side of Crosby, Stills & Nash; and "Witchy Woman" (which was then a new song) gets a punchy, enthusiastic performance that pushes the harmonies hard and also allows Tony Hicks, Bernie Calvert, and Bobby Elliott to show off some of their more intense playing. And the version of "Oh Granny" featured here is the rarely heard remix, with Terry Sylvester's vocals replacing Allan Clarke's. The sound throughout this edition, incidentally, is considerably improved over the Magic Records edition, with boosted volume and a lot more detail revealed in the playing and singing -- though the Magic edition offers a heavier bass, which some people prefer. The earlier CD is perfectly acceptable, however, and either can safely be said to be superior to anything that Sony Music might ever have issued on the basic album in America (which they never got around to issuing on CD, anyway)...B. Eder

320 @
161 MB


01 Won't You Feel Good That Morning 3:23
02 Touch 5:13
03 Words Don't Come Easy 3:46
04 Magic Woman Touch 3:20
05 Lizzy and the Rainman 3:19
06 Down River 4:09
07 Slow Down 2:57
08 Delaware Taggett and the Outlaw Boys 3:11
09 Jesus Was a Crossmaker 3:46
10 Romany 5:28
11 Blue in the Morning 3:22
12 Courage of Your Convictions 3:38
13 The Baby Bonus 3:55
14 Magic Woman Touch Bonus / Acoustic Version 4:03
15 Indian Girl Bonus 3:19
16 If It Wasn't for the Reason Bonus 3:19
17 Papa Rain previously unreleased / Bonus 4:09
18 Witchy Woman previously unreleased / Bonus 3:38
19 Oh Granny Terry Sylvester Vocal Version 2:43
20 I Had a Dream Bonus 3:32


Jeronimo - Cosmic Blues (1970) (Remaster 2003)

Here's another good band from Germany. It's really hard to find enough info about groups from this period, and also about Jeronimo.

320 @
87 MB
Genre : Hard Rock. Krautrock


02.The Key(3:00)
04.So Nice to Know(2:03)
05.Na Na Hey Hey(3:37)
06.Let the Sunshine In(1:57)
08.Number 5(5:22)
09.No No No(3:53)
10.Never Goin' Back(2:37)
11.The Light Life Needs(2:14)

Warren Zevon - The Envoy (1982) (Remastered 2007)

While moderation was never Warren Zevon's strong suit, his efforts to clean himself up in the early '80s resulted in two of his finest albums, 1980's literate but corrosive Bad Luck Streak in Dancing School and the following year's explosive live set Stand in the Fire. It seemed as if the wired chaos of Zevon's personal life had been channeled into his art on those LPs, but after another bout with the bottle and another attempt at sobriety, Zevon tried another approach at merging his music and his life on 1982's The Envoy. On The Envoy's best songs, Zevon tackles his dangerous appetites head on; "Charlie's Medicine" is a chilling requiem for a drug dealer who used to sell him dope, "Jesus Mentioned" is a spare but curiously moving meditation on the death of Elvis Presley, who "went walking on the water with his pills," and the ragged but right " Ain't That Pretty at All" is an unlikely but powerful recovery anthem in which he howls "I'd rather feel bad than not feel anything at all." When Zevon confronts his own demons on The Envoy, the album is intense and compelling stuff, but unfortunately there aren't enough of these moments to prop up the rest of the set, which is smart and literate but not especially exciting. Novelist Thomas McGuane co-wrote "The Overdraft," a hard-charging rocker that unfortunately doesn't make much sense, while the languid "The Hula Hula Boys" plays like a joke in which the punch line got lost, and the two love songs, "Let Nothing Come Between You" and "Looking for the Next Best Thing," manage to sound at once heartfelt and like lesser variations on themes he'd covered with greater strength before. The Envoy would prove to be Zevon's last album for five years after he took another stumble into addiction, but while it's an often brave and ambitious disc, the high points don't quite redeem its weaknesses. [In 2007, Rhino Records gave The Envoy its belated debut on CD in a remastered and expanded edition featuring new liner notes from David Wild and four bonus tracks recorded during the album's original sessions. There's an alternate take of "Let Nothing Come Between You" with some alternate lyrics and a sloppy pass at the Troggs' "Wild Thing" that's fun but hardly revelatory. More interesting are "Word of Mouth," a taut and rhythmic instrumental, and "The Risk," which sounds like it wasn't quite finished but walks a provocative line between Zevon's tales of romance and self-destruction; it would have made a nice coda for the album, and is the one really essential new track on this edition.]...M. Deming

320 @
103 MB


01 The Envoy 3:13
02 The Overdraft 2:44
03 The Hula Hula Boys 3:02
04 Jesus Mentioned 2:45
05 Let Nothing Come Between You 3:41
06 Ain't That Pretty at All 3:35
07 Charlie's Medicine 4:51
08 Looking for the Next Best Thing 3:4
09 Never Too Late for Love 4:46
10 Word of Mouth prev. unreleased / Bonus / Outtake 4:01
11 Let Nothing Come Between You prev. unreleased / Bonus / Alternate Take 3:40
12 The Risk prev. unreleased / Bonus / Outtake 2:34
13 Wild Thing prev. unreleased / Bonus / Outtake 2:29

Vanilla Fudge - Rock'n'Roll (1969) (11-track Remaster 1996)

This is Vanilla Fudge's best album, and their last. Fudge was a very important band in heavy rock in the late sixties. They had a sound similer to Grand Funk Railroad with more Hammond organ worked in. Influenced Deep Purple and every heavy group who followed...T, Bunderaker

320 @
110 MB


- Carmine Appice / drums
- Tim Bogert / bass
- Vince Martell / guitar, lead vocals
- Mark Stein / organ, keyboards


01. Need Love (4:58)
02. Lord In The Country (4:34)
03. I Can't Make It Alone (4:46)
04. Street Walking Woman The Beat (6:12)
05. Church Bells Of St. Martins (4:39)
06. The Windmills Of Your Mind (6:03)
07. If You Gotta Make A Fool Of Somebody (6:19)
08. Good Good Lovin' (Bonus) (2:59)
09. Shotgun (Bonus) (2:29)
10. Where Is My Mind (Bonus) (2:41)
11. Need Love (7" version) (Bonus) (2:39)

It's a Beautiful Day - Marrying Maiden (1970) (1994)

After their wonderful debut from 1969, Linda LaFlamme left replaced by Fred Webb. Here, the songs tend to be softer and shorter than on their debut, and also more eclectic. You won't find any rockers here like "Wasted Union Blues". There's a few stinkers on this album as well, like "The Dolphins", but some great songs like "Essence of Now", "Soapstone Mountain", and "Good Lovin'". The atmospheric "Let a Woman Flow" features some of the most ridiculous lyrics I have ever heard ("I let a woman flow to her own natural rhythm") and you know what's silly was they weren't trying to make the song funny. Still, aside from the lyrics, it's actually quite a pleasant song. "Don and Dewey" is in honor of the R&B duo by the same name (Don "Sugarcane" Harris was the violinist in that duo having played with the likes of Little Richard and Frank Zappa). Dutch prog rock band Alquin happened to do a lengthy cover of that song off their 1973 album The Mountain Queen. Two songs features Jerry Garcia on pedal steel, "Hoedown" and "It Comes Right Down To You", which have, not surprisingly a country-ish flavor, especially since the Dead did release two country-ish albums at the same time, Workingman's Dead and American Beauty. It's strange that Marrying Maiden should be It's a Beautiful Day's best selling album even though it's not as good as their first. The music does have a rather dated sound, and the lyrics, just like their first, is still hippie fluff. I do like the back cover which features the band in what looks like a hippie's house. But be careful, just like the reissue of their first album, don't buy this album on the San Francisco Sound label because the money will go in the greedy hands of Matthew Katz and none of the band members will receive royalties for this...A. Cyrieview

320 @
90 MB
Genre : Rock, Folk, Psychedelic Ccountry


*Pattie Santos - percussion, vocals
*Val Fuentes - drums, vocals
*Fred Webb - french horn, keyboards, vocals
*David LaFlamme - flute, violin, guitar, vocals
*Mitchell Holman - bass, harmonica, vocals
*Hal Wagenet - guitar, vocals
*Richard Olsen - clarinet (guest)
*Jerry Garcia - banjo (Hoedown), pedal steel (guest)


01 Don and Dewey 5:16
02 The Dolphins 4:30
03 Essence of Now 3:20
04 Hoedown 2:29
05 Soapstone Mountain 4:20
06 Waiting for the Song 1:03
07 Let a Woman Flow 4:04
08 t Comes Right Down to You 3:14
09 Good Lovin' 3:59
10 Galileo 3:02
11 Do You Remember the Sun? 3:14

ZZ Top - Fandango (1975) (Remaster Edit 2006)

Blessed with their first full-fledged hit album, ZZ Top followed it up with Fandango!, a record split between a side of live tracks and a side of new studio cuts. In a way, this might have made sense, since they were a kick-ass live band, and they do sound good here, but it's hard not to see this as a bit of a wasted opportunity in retrospect. Why? Because the studio side is a worthy successor to the all-fine Tres Hombres, driven by "Tush" and "Heard It on the X," two of their greatest songs that build on that album by consolidating their sound and amplifying their humor. If they had sustained this energy and quality throughout a full studio album, it would have been their greatest, but instead the mood is broken by the live cuts. Now, these are really good live cuts -- and "Backdoor Medley" and "Jailhouse Rock" were fine interpretations, making familiar songs sound utterly comfortable in their signature sound -- and Fandango! remains one of their better albums, but it's hard not to think that it could have been even better. [The 2006 reissue of the album adds three live tracks: "Jailhouse Rock," "Tush," and "Heard It on the X."]...S. T. Erlewine

320 @
96 MB


01 Thunderbird 4:10
02 Jailhouse Rock 1:55
03 Medley: Backdoor Love Affair/Mellow Down Easy 9:51
04 Nasty Dogs and Funky Kings 2:44
05 Blue Jean Blues 4:44
06 Balinese 2:36
07 Mexican Blackbird 3:05
08 Heard It on the X 2:25
09 Tush 2:17
10 Heard It on the X Live / Bonus Track 2:36
11 Jailhouse Rock Live / Bonus Track 1:52
12 Tush Live / Bonus Track 3:42

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Santana - Santana (1969) (2CD Remaster Legacy Edit 2004)

Before the arrival of Carlos Santana's eponymous band, the San Francisco rock scene drew the inspiration for its jam-oriented music mainly from blues, rock, and Eastern modalities. Santana added Latin music to the mix, forever changing the course of rock & roll history. On Santana's groundbreaking debut album, the group mixes Latin percussion with driving rock grooves. Santana's unique guitar style, alternately biting and liquid, vies with the multiple percussionists for the sonic focus. Unlike later efforts, Santana's first album features an abundance of loose collective compositions based on a couple of simple riffs ("Jingo," "Soul Sacrifice"). This approach allows for Santana and his bandmates to flex their improvisational muscles to fine effect. The high energy level on SANTANA is infectious--the laid-back feel of other '60s S.F. groups was clearly not for Carlos and company.

In 2003, the album was ranked number 150 on Rolling Stone magazine's list of the 500 greatest albums of all time.

The Sony Legacy Edition of Santana's 1969 self-titled debut album is exactly the kind of deluxe treatment that the repackaging and remastering of a classic album deserves. Fine liner notes by Hal Miller guide the listener through the historical journey of this record. First, there is a stunningly remastered version of the original album, front and center with alternate takes of "Savor" and "Soul Sacrifice" added, as well as a studio jam. Musically, Santana is the spot on the map marking the point where everything came together, mutated, and changed. Here Afro-Cuban son, blues, rock, jazz, and funk collided head on, and decided to become something else. Gregg Rolie's swirling, atmospheric organ provided the sonic root equation. Santana's guitar provided the frenzied flight, and Michael Shrieve's Elvin Jones/Roy Haynes-inspired driving kit work provided a dynamic commensurate with the visceral nature of rock. This was not aided, but made possible and furthered by the percussion work of Joe Areas and Michael Caravello, and anchored to earth only by David Brown's rock-solid, dirty-assed bassing. Sure, "Evil Ways" was a monster single, but it doesn't begin to tell the story of the album. Interestingly, with the all the bonus material added, the album doesn't even tell the story of the album. What does offer the key is disc two, which includes the band's original studio sessions for the album -- before the addition of Shrieve and Areas to the band. These tracks, almost all of which appeared in different form on the final version, revealed a talented, original, but loosely focused and slightly timid jamming ensemble that put together some compelling riffs and ideas, but hadn't jelled in a studio setting. Add to this Santana's complete Woodstock performance (with four previously unreleased tracks which took place before the album's release date) and the listener gets floored just contemplating the final release. That in four months, this band had gone from being green and naïve to becoming command performers. This is a remarkable, welcome, and definitive addition to the Santana catalog and raises the watermark for all reissues as well...T. Jurek

320 @
310 MB


Carlos (guitar, vocals)
Gregg Rolie (organ, piano, vocals)
David Brown (bass guitar)
Michael Shrieve (drums)
Michael Carabello (timbales, congas, percussion)
Jose 'Chepito' Areas (timbales, congas, percussion).

CD 1

01 Waiting 4:07
02 Evil Ways 4:00
03 Shades Of Time 3:13
04 Savor 2:47
05 Jingo 4:23
06 Persuasion 2:36
07 Treat 4:46
08 You Just Don't Care 4:37
09 Soul Sacrifice 6:42
10 Savor prev. unreleased / Alternate Take 2 2:57
11 Soul Sacrifice prev.unreleased / Alternate Take 4 8:50
12 Studio Jam prev. unreleased 7:09

CD 2

01 Fried Neckbones prev. unreleased 7:41
02 Soul Sacrifice prev. unreleased 9:06
03 Persuasion prev. unreleased 3:52
04 Treat prev. unreleased 6:49
05 Shades Of Time prev. unreleased 2:29
06 Jingo prev. unreleased 5:20
07 Waiting Live / prev. unreleased 4:44
08 You Just Don't Care Live / prev. unreleased 4:55
09 Savor Live 5:25
10 Jingo Live / prev. unreleased 5:14
11 Persuasion Live / prev. unreleased 3:05
12 Soul Sacrifice Live 11:49
13 Fried Neckbones Live 7:13

Procol Harum - A Salty Dog (1969) (40th Anniversary Remaster)

Digitally remastered and expanded edition of the British Progressive/Pop band's third album, originally released in 1969. Rightly lauded as Procol Harum's masterpiece, A Salty Dog is one of the high spots of late '60s Rock culture; an unmissable musical voyage, a brilliant example of how to fuse classical music with Rock and a tremendously rewarding experience, enhanced here with six bonus tracks selected by band leader Gary Brooker. When you listen to the album, it becomes clear - from the sweeping title track that opens the album, to the serene 'Pilgrims Progress', which brings it to a conclusion, that A Salty Dog is quite simply Procol's most rewarding album. 16 tracks. Salvo. 2009.

This album, the group's third, was where they showed just how far their talents extended across the musical landscape, from blues to R&B to classical rock. In contrast to their hastily recorded debut, or its successor, done to stretch their performance and composition range, A Salty Dog was recorded in a reasonable amount of time, giving the band a chance to fully develop their ideas. The title track is one of the finest songs ever to come from Procol Harum and one of the best pieces of progressive rock ever heard, and a very succinct example at that at under five minutes running time -- the lyric and the music combine to form a perfect mood piece, and the performance is bold and subtle at once, in the playing and the singing, respectively. The range of sounds on the rest includes "Juicy John Pink," a superb piece of pre-World War II-style country blues, while "Crucifiction Lane" is a killer Otis Redding-style soul piece, and "Pilgrim's Progress" is a virtuoso keyboard workout. [A Salty Dog was reissued by Repertoire Records in 1997 with enhanced sound and the lost B-side "Long Gone Geek," a Robin Trower guitar workout par excellence.]...B. Eder

320 @
155 MB


01 A Salty Dog 4:41
02 The Milk of Human Kindness 3:47
03 Too Much Between Us 3:45
04 The Devil Came from Kansas 4:38
05 Boredom 4:34
06 Juicy John Pink Mono Version 2:08
07 Wreck of the Hesperus 3:49
08 All This and More 3:52
09 Crucifiction Lane 5:03
10 Pilgrims Progress 4:32
11 Long Gone Geek 3:18
12 Goin' Down Slow (live in the USA, April 1969) 7:48
13 Juicy John Pink (live in the USA, April 1969) 2:39
14 Crucifiction Lane (live in the USA, April 1969) 4:35
15 Skip Softly (My Moonbeams) / Also Sprach Zarathustra 5:29
16 The Milk of Human Kindness (take 1; raw track) 3:47


Black Sabbath - Black Sabbath (1970) (2CD Deluxe Edition)

Digitally remastered and expanded two CD deluxe edition of the 1970 debut album from the British Metal legends including a bonus disc containing nine previously unreleased tracks. Black Sabbath, the album, is often regarded as one of the first Heavy Metal full length releases. The album reached #8 on the UK Album Chart. Following its US release in May 1970 by Warner Bros. Records, the album reached #23 on the Billboard 200, where it remained for over a year, selling a million copies. 17 tracks. Sanctuary. 2009

BLACK SABBATH Black Sabbath (2009 issue UK 16-track digitally remastered 2CD album set - Released on Friday the 13th February 1970 by Vertigo Records, 'Black Sabbath' was recorded and mixed in just three days and spawned the singles 'Evil Woman','Black Sabbath', 'N.I.B. & 'The Wizard' and now comes expanded with a Bonus 9-track CD featuring outtakes from the November 1969 Black Sabbath sessions. Presented in a fold-out digipak picture sleeve housed in a clear PVC slipcase complete with a picture booklet containing sleevenotes by David Wells, rare photos and memorbilia).


Ozzy Osbourne / vocals; harmonica on "The Wizard"
Tony Iommi / guitar, keyboards
Geezer Butler / bass
Bill Ward / drums

320 @
193 MB


CD 1:

01. Black Sabbath (6:20)
02. The Wizard (4:24)
03. Behind the Wall of Sleep (3:37)
04. N.I.B. (6:08)
05. Evil Woman (3:25)
06. Sleeping Village (3:46)
07. Warning (10:28)

CD 2

01. Wicked World (Single B-Side) (4:45)
02. Black Sabbath (Studio Outtake) (6:22)
03. Black Sabbath (Instrumental) (6:13)
04. The Wizard (Studio Outtake) (4:46)
05. Behind The Wall Of Sleep (Studio Outtake) (3:41)
06. N.I.B. (Instrumental) (6:08)
07. Evil Woman (Alt. Version) (3:47)
08. Sleeping Village (Intro) (3:45)
09. Warning (Part 1) (6:58)

Bad Company - Straight Shooter (1975) (Japan Min LP 2008)

Japanese Limited Edition Issue of the Album Classic in a Deluxe, Miniaturized LP Sleeve Replica of the Original Vinyl Album Artwork.2008

One year after Bad Company's multi-platinum self-titled debut, the British band returned to London to record a follow-up. Utilizing material written earlier in 1973, vocalist and songwriter Paul Rodgers wrote two acoustic-based rock ballads that would live on forever in the annals of great rock history. "Shooting Star" and the Grammy-winning "Feel Like Makin' Love" helped Straight Shooter rise quickly through the charts to reach Billboard's number three spot both in the U.S. and U.K. However, critically and commercially the album never achieved the tremendous success of its predecessor, largely due to the lack of strong follow-up singles and supporting tracks. Simon Kirke stepped out from behind the drum-set to help produce and write "Anna" and "Weep No More," two slower and less aggressive ballads indicative of the overall diminishing quality of the album. Following the release of Straight Shooter, Bad Company headlined their first North American tour...G. Baksi

Released in 1974, Straightshooter is regarded by many as being Bad Company's strongest album. It has the bluesy feel of its predecessor (Bad Co) but has the band turning their amps up 11 and rocking out the strongest set of songs of the band's career. Do not forget that Bad Co was a supergroup with 2 guys out of Free (Rodgers and Kirke), the bass player from King Crimson (Boz Burrell) and Mott the Hoople's guitarist (Mick Ralphs). They should have been huge, of course, but suffered from having to play second fiddle to Swan Song stablemates Led Zeppelin. The songs were great, their sound: a sort of supercharged, sexy blues-rock without the pretention of Led Zep. What let them down perhaps was their lyrics, some of which make Spinal Tap look like Leonard Cohen, but if you can take that - and I can - this album is a great listen from beginning to end. Bad Company were also one of the few hard rock bands that wrote great ballads (Anna), though it was Straightshooter's high-octane rockers like Good Lovin' Gone Bad, Feel Like Making Love and Shooting Star that helped secure them a place in rock history. Bad Company were a good, tight band, but I would recommend anyone to listen to them purely to hear Paul Rodgers' masterful rock vocals. New to Bad Company? Get this one first, and then Bad Co...Mo. Mons

320 @
261 MB


01 Good Lovin' Gone Bad 3:35
02 Feel Like Makin' Love 5:12
03 Weep No More 3:59
04 Shooting Star 6:14
05 Deal with the Preacher 5:01
06 Wild Fire Woman 4:32
07 Anna 3:41
08 Call on Me 6:03

Doobie Brothers - Toulouse Street (1972) (MFSL Limited Edit)

Limited Edition European pressing of this album comes house in a miniature LP sleeve.

This was the album by which most of their fans began discovering the Doobie Brothers, and it has retained a lot of its freshness over the decades. Producer Ted Templeman was attuned to the slightly heavier and more Southern style the band wanted to work toward on this, their second album, and the results were not only profitable — including a platinum record award — but artistically impeccable. Toulouse Street is actually pretty close in style and sound at various points to what the Eagles were doing during the same period, except that the Doobies threw jazz and R&B into the mix, as well asmore… country, folk, and bluegrass elements, and (surprise!) ended up just about as ubiquitous as the Eagles in peoples' record collections, especially in the wake of the singles "Listen to the Music" and "Jesus Is Just Alright." But those two singles represented only the tip of the iceberg in terms of what this group had to offer, as purchasers of the album discovered even on the singles — both songs appear here in distinctly longer versions, with more exposition and development, and in keeping with the ambitions that album cuts (even of popular numbers) were supposed to display in those days. Actually, "Listen to the Music" (written by Tom Johnston) offers subtle use of phasing and other studio tricks that make its seemingly earthy, laid-back approach some of the most complex and contrived of the period. Johnston's "Rockin' Down the Highway" shows the band working at a higher wattage and moving into Creedence Clearwater Revival territory, while "Mamaloi" was Patrick Simmons' laid-back Caribbean idyll, and the title tune (also by Simmons) is a hauntingly beautiful ballad. The band then switches gears into swamp rock for "Cotton Mouth" and takes a left turn into the Mississippi Delta for a version of Sonny Boy Williamson II's "Don't Start Me Talkin'" before shifting into a gospel mode with "Jesus Is Just Alright." Johnston's nearly seven-minute "Disciple" was the sort of soaring, bluesy hard rock workout that led to the group's comparison to the Allman Brothers Band, though their interlocking vocals were nearly as prominent as their crunching, surging double lead guitars and paired drummers. And it all still sounds astonishingly bracing decades later; it's still a keeper, and one of the most inviting and alluring albums of its era...Dhar Jellinc

Toulouse Street was the album by which most of their fans began discovering the Doobie Brothers, and it has retained a lot of its freshness over the decades. Producer Ted Templeman was attuned to the slightly heavier and more Southern style the band wanted to work toward on this, their second album, and the results were not only profitable — including a platinum record award — but artistically impeccable. Toulouse Street is actually pretty close in style and sound at various points to what the Eagles were doing during the same period, except that the Doobies threw jazz and R&B into the mix, as well as country, folk, and bluegrass elements, and (surprise!) ended up just about as ubiquitous as the Eagles in peoples' record collections, especially in the wake of the singles "Listen to the Music" and "Jesus Is Just Alright." But those two singles represented only the tip of the iceberg in terms of what this group had to offer, as purchasers of the album discovered even on the singles — both songs appear here in distinctly longer versions, with more exposition and development, and in keeping with the ambitions that album cuts (even of popular numbers) were supposed to display in those days. Actually, "Listen to the Music" (written by Tom Johnston) offers subtle use of phasing and other studio tricks that make its seemingly earthy, laid-back approach some of the most complex and contrived of the period. Johnston's "Rockin' Down the Highway" shows the band working at a higher wattage and moving into Creedence Clearwater Revival territory, while "Mamaloi" was Patrick Simmons' laid-back Caribbean idyll, and the title tune (also by Simmons) is a hauntingly beautiful ballad. The band then switches gears into swamp rock for "Cotton Mouth" and takes a left turn into the Mississippi Delta for a version of Sonny Boy Williamson II's "Don't Start Me Talkin'" before shifting into a gospel mode with "Jesus Is Just Alright." Johnston's nearly seven-minute "Disciple" was the sort of soaring, bluesy hard rock workout that led to the group's comparison to the Allman Brothers Band, though their interlocking vocals were nearly as prominent as their crunching, surging double lead guitars and paired drummers. And it all still sounds astonishingly bracing decades later; it's still a keeper, and one of the most inviting and alluring albums of its era...Bruce Eder ”
320 @
212 MB


01 Listen to the Music 4:45
02 Rockin' Down the Highway 3:23
03 Mamaloi 2:29
04 Toulouse Street 3:19
05 Cotton Mouth 3:48
06 Don't Start Me to Talkin' 2:44
07 Jesus Is Just Alright 4:33
08 White Sun 2:30
09 Disciple 6:42
10 Snake Man 1:40

Rod Stewart - A Night on the Town (1976) (2CD Limited Edition)

When Rod Stewart signed to Warner Bros. in 1975, the deal coincided with his move to the States, and his coming into his own as a reigning global superstar. Stewart's debut for the label, ATLANTIC CROSSING, was his sixth solo LP and his first without any of his mates from the Faces, who disbanded in '75. Produced by the legendary Tom Dowd, it made Billboard's Top 10, and charted with the now-classic hits 'Sailing' and 'This Old Heart Of Mine.' A NIGHT ON THE TOWN followed in 1976-Stewart's first platinum release, it delivered the #1 smash 'Tonight's The Night.' Both albums mixed covers and originals split between fast and slow sides, and both were recorded in Muscle Shoals and Los Angeles with session luminaries including the MG's. The pleasure of each title is now doubled with 2-CD COLLECTOR'S EDITIONS, and a wealth of previously unreleased tracks.

320 @
219 MB


CD 1

01 Tonight's the Night (Gonna Be Alright) 3:57
02 The First Cut Is the Deepest 4:29
03 Fool for You 3:48
04 The Killing of Georgie, Pts. 1 & 2 6:22
05 The Balltrap 4:42
06 Pretty Flamingo 3:32
07 Big Bayou 3:55
08 The Wild Side of Life 5:10
09 Trade Winds 5:29
10 Rosie Bonus Track 3:51

CD 2

01 Share prev. unreleased / Studio Outtake 4:19
02 Tonight's the Night (Gonna Be Alright) Early Versions 3:52
03 The First Cut Is the Deepest Early Versions 3:48
04 Fool for You Early Versions 3:41
05 The Killing of Georgie, Pt. 1 Early Versions 4:23
06 The Balltrap Early Versions 4:41
07 Pretty Flamingo Early Versions 3:27
08 Big Bayou Early Versions 4:13
09 The Wild Side of Life Early Versions 4:47
10 Trade Winds Early Versions 4:44
11 Rosie Early Versions 4:22
12 Get Back Alternate Version 4:06

Sparks - Propaganda (1974) (21st Century Edit 2006)

Digitally remastered and expanded reissue of Ron and Russell Mael's 1974 album featuring three bonus tracks: 'Alabamy Right', 'Marry Me' and 'Interview' (Saturday Scene). Island. 2006.

What better way to promote Sparks' spinning blender of demented pop than Propaganda? The band's fourth album (and second with producer Muff Winwood) is chock-full of great ideas, including the overseas hits "Something for the Girl with Everything" and "Never Turn Your Back on Mother Earth." With Russell Mael delivering the lyrics in his rapid-fire falsetto, the lyric sheet is a necessary compass, as the clever wordplay is a key to discovering what these pranksters are up to. Ron Mael's skewed take on relationships ("At Home at Work at Play," "Don't Leave Me Alone with Her") are nearly upstaged by the hyperactive arrangements, but when the words and the music click, it's pure magic. In fact, "Bon Voyage" might be the most sublime song they've ever written, teetering between genuine pathos for and lampooning of the plight of those left behind by Noah and his ark. Other highlights include "Achoo" (about, you guessed it, catching a cold) and "Who Don't Like Kids," in which Mael uncorks the opening lines "You got a cigar, here's a couple more/Because the offspring are springing through swinging doors" in a few seconds. The torrential outpouring of words and ideas, underscored by guitars and keyboards with oft-shifting rhythms, either repels or attracts listeners. Though the similarities to Queen are sometimes striking, they eschew that band's seriousness and epic guitar work, favoring hit-or-miss observations that suggest a cross between 10cc and the power pop of the late '70s. Propaganda remains one of Sparks' brightest achievements, brimming with a loopy charm that continued to captivate the open-minded English listeners, if not their close-minded countrymen in the U.S. [Note that European CD reissues in the late '90s include non-album B-sides from the record's two U.K. singles as bonus tracks: "Alabamy Right" and "Marry Me," while the 2006 reissue goes further to include an interview.]...D. Connolly

320 @
105 MB
Genre : Psychedelic pop, New Wave


01 Propaganda 0:23
02 At Home at Work at Play 3:06
03 Reinforcements 3:55
04 B.C. 2:13
05 Thanks But No Thanks 4:14
06 Don't Leave Me Alone with Her 3:02
07 Never Turn Your Back on Mother Earth 2:28
08 Something for the Girl with Everything 2:17
09 Achoo 3:34
10 Who Don't Like Kids 3:37
11 Bon Voyage 4:54
12 Alabamy Right Bonus 2:11
13 Marry Me Bonus 2:54
14 Interview -- Saturday Scene 8/11/74 Bonus 7:16

Uriah Heep - Fallen Angel (1978) (Japan DeLuxe Edit 2008)

Deluxe edition reissue of the British metal act's 1978 album includes eight bonus tracks, 'A Right To Live' (Promo B-Side), 'Cheater' (Single A-Side), 'Gimme Love' (Single B-Side), 'Last Farewell' (Alternate Version of 'One More Night' - Previously Unreleased), 'Street Lady' (Alternate Version of 'Woman Of The Night - Previously Unreleased), 'Struttin'' (Alternate Version of 'Gimme Love' - Previously Unreleased), 'Falling In Love' (Alternate Live Version - Previously Unreleased), & 'Woman Of The Night' (Alternate Live Version - Previously Unreleased). Sanctuary. 2008.
When John Lawton took over after original vocalist David Byron (R.I.P.), Uriah Heep's material became much more even, and most of the early rattling and noisy tunes became just a painful memory. On "FALLEN ANGEL" (1978), there's a certain touch of gospel in many of the songs but don't let that scare you away because Uriah Heep manage to keep the rock feeling all along the way through the album. The great John Lawton stayed with Heep for only three albums ("FIREFLY" 1977, "INNOCENT VICTIM" 1978, and "FALLEN ANGEL" 1978), and I dare to say that this period was the peak in Uriah Heep's career.

This album includes great (but unknown?) tracks like "Woman of the night", "Falling in love", "One more night", "Love or nothing", and "I'm alive". I can highly recommend this album to anyone who like hard rock with great vocals and high quality song writing from the 1970's...B. Iversson
320 @
151 MB


01 Woman of the Night 4:04
02 Falling in Love 2:53
03 One More Night 3:30
04 Put Your Lovin' on Me 4:08
05 Come Back to Me 4:19
06 Whad'ya Say 3:40
07 Save It 3:33
08 Love or Nothing 3:00
09 I'm Alive 4:17
10 Fallen Angel 5:02
11 A Right to Live - Bonus 3:36
12 Cheater - Bonus 4:04
13 Gimme Love - Bonus 3:17
14 Last Farewell - prev. unreleased / Bonus / Alternate 3:20
15 Street Lady - prev. unreleased / Bonus / Alternate 3:42
16 Struttin' - prev. unreleased / Bonus / Alternate 3:16
17 Falling in Love - prev. unreleased / Bonus / Alternate Live 3:08
18 Woman of the Night - prev. unreleased / Bonus Alternate Live 3:18

Jefferson Starship - Freedom at Point Zero (1978) (2008)

Freedom at Point Zero is not a great Jefferson Starship album; the wonder is that it is as good as it is. Since the band's previous album, the Top Ten, million-selling Earth, the group had lost its two lead singers, Grace Slick and Marty Balin, and they had been replaced by Mickey Thomas. "Jane," released as a single in advance of the album, displayed the result: even before Thomas' soaring tenor entered, it sounded like Foreigner. But it also made the Top 20, which helped the album into the Top Ten and to a gold record award. Reluctant leader Paul Kantner came back to the fore, and, at least on the energetic "Girl with the Hungry Eyes" (a chart single), that was a good thing, though the more typically discursive, rhythmically static songs like "Lightning Rose" and "Things to Come" (on which Thomas, through the magic of overdubbing, replaced Slick and Balin) slowed things down. Other songwriting contributors such as bassist Pete Sears and guitarist Craig Chaquico brought in generic arena rock bombast like "Awakening" and "Rock Music," making this a typically uneven effort. Although Freedom at Point Zero demonstrated that the group could soldier on, the band without its quirky individualists was ultimately too generic, which made Slick's return on the next album welcome...W. Ruhlmann

320 @
98 MB


01 Jane 4:11
02 Lightning Rose 4:36
03 Things to Come 4:45
04 Awakening 8:03
05 Girl with the Hungry Eyes 3:29
06 Just the Same 5:18
07 Rock Music 3:36
08 Fading Lady Light 3:40
09 Freedom at Point Zero 4:28