Ian Gillan Naked Thunder (1990)

Naked Thunder is a 1990 solo album by Ian Gillan, released soon after his departure from Deep Purple in 1989. It features a varied selection of songs, with one of Gillan's most passionate and impressive performances on power ballad "Loving on Borrowed Time" and traditional field lament "No More Cane on the Brazos". It was also the first album to feature Ian Gillan's long time writing partner Steve Morris. Naked Thunder was produced by Leif Mases and features a number of notable guest musicians, including drummer Simon Phillips and former Grease Band keyboard player Tommy Eyre.

Naked Thunder is a 1990 solo album by Ian Gillan, released soon after his departure from Deep Purple in 1989. It features a varied selection of songs, with one of Gillan's most passionate and impressive performances on power ballad "Loving on Borrowed Time" and traditional field lament "No More Cane on the Brazos". It was also the first album to feature Ian Gillan's long time writing partner Steve Morris. Naked Thunder was produced by Leif Mases and features a number of notable guest musicians, including drummer Simon Phillips and former Grease Band keyboard player Tommy Eyre.

Never Say Die! is the eighth studio album by English rock band Black Sabbath, released in September 1978. It was the last studio album with the band's original lineup and also the last studio album to feature original vocalist Ozzy Osbourne until 13 in 2013. It was certified Gold in the U.S on 7 November 1997 and as of November 2011 sold 133,000 copies in the United States since the SoundScan era. Critics called it unbalanced, scattering its energy in too many directions.

Mention the name of Ian Gillan and the name Deep Purple immediately springs to mind. His trademark long-flowing hair, crazed conga-playing, and soaring classic rock voice, have always personified the Seventies hard rock supergroup. Here we present the very best of Ian’s solo recordings - an intoxicating mixture of hard rock, blues and even the occasional pop song.

Heaven and Hell is the ninth studio album by English rock band Black Sabbath, released on 25 April 1980. It is the first Black Sabbath album to feature vocalist Ronnie James Dio, who replaced original vocalist Ozzy Osbourne in 1979. Produced by Martin Birch, the album was a commercial success, particularly in the United States, where it reached number 28 on the Billboard 200 chart, and was certified platinum for 1 million sales in the United States alone. One of Sabbath's finest records!

Live at Last is a 1980 live album by English heavy metal band Black Sabbath. Despite its wide distribution and success (it peaked at No. 5 on the UK Albums Chart), the album was released without the permission or knowledge of the band, and is thus regarded in some quarters as an unofficial bootleg live album.

Master of Reality is the third studio album by English rock band Black Sabbath, released on 21 July 1971. It is widely regarded as the foundation of doom metal, stoner rock, and sludge metal. It was certified double platinum after having sold over 2 million copies. Master of Reality was Black Sabbath's first and only top 10 album in the US until 13, forty-two years later. If Paranoid has more widely known songs, the suffocating and oppressive Master of Reality was the Sabbath record that die-hard metalheads took most closely to heart.

Sabbath Bloody Sabbath is the fifth studio album by English rock band Black Sabbath, released in December 1973. With 1973's Sabbath Bloody Sabbath, heavy metal godfathers Black Sabbath made a concerted effort to prove their remaining critics wrong by raising their creative stakes and dispensing unprecedented attention to the album's production standards, arrangements, and even the cover artwork. Sabbath Bloody Sabbath was arguably Black Sabbath's fifth masterpiece in four years, and remains an essential item in any heavy metal collection.

Vol. 4 is the fourth studio album by English rock band Black Sabbath, released in September 1972. Vol. 4 is the point in Black Sabbath's career where the band's legendary drug consumption really starts to make itself felt. And it isn't just in the lyrics, most of which are about the blurry line between reality and illusion. Vol. 4 has all the messiness of a heavy metal Exile on Main St., and if it lacks that album's overall diversity, it does find Sabbath at their most musically varied, pushing to experiment amidst the drug-addled murk.