Japan 35dp

Quarterflash - Take Another Picture (1983) {CBS-Sony Japan 35DP-73}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 243 Mb | MP3 @320 -> 96 Mb
Full Artwork @ 600 dpi (png) -> 69 Mb | 5% repair rar
© 1983 Geffen / CBS-Sony Japan | 35DP-73
Rock / Pop Rock / New Wave

Japanese first CD pressing, issued and manufactured by CBS/Sony Japan in early 1983. This is Quarterflash's strongest CD. Although it doesn't have the smash hits of the first album, overall it is a better album. This album is 40 minutes long and has 10 tracks. 7 of those are very good. And of the three bad tracks, only one is horrible. The problem with Quarterflash's first album is that the bad tracks are so bad, it takes away from the enjoyment of the good stuff. On this CD, it possible to sit through bad tracks without suffering.

Richie Beirach - Ballads II (1987) {CBS/Sony Japan 35DP-649}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 193 Mb | MP3 @320 -> 142 Mb
Full Artwork @ 300 dpi (jpg) -> 35 Mb | 5% repair rar
© 1987 CBS/Sony Japan | 35DP-649
Jazz / Post Bop / Contemporary Jazz / Solo Piano

This is the first of the two Ballads albums recorded in Japan in 1986-1987 by the inimitable Richie Beirach. I've been trying to get them for many years, but they have been nearly impossible to track down. Now finally, they are being reissued on the Japanese Sony label. The music is great- it's Richie Beirach playing a mix of his marvelous originals and a few standards.

Miles Davis - Kind of Blue (1959) {CBS Japan, 35DP-62, Early Press, CSR stamped, Full Scan rel 1983}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 268 Mb | MP3 @320 -> 106 Mb
Full Artwork @ 600 dpi (png) -> 98 Mb | 5% repair rar
© 1959, 1983 CBS / Sony Japan | 35DP-62
Jazz / Hard Bop / Cool / Modal Music / Trumpet

What can we say? This is the ultimate Miles Davis album – the one that includes so many songs that we've heard way too much in Starbucks, in retail stores, or at a friend's house who claims to be a "jazz expert", but is really a yuppie dilettante. Yet somehow, over all the years, and all those playings, the record manages to still sound fantastic – a truly inspirational piece of music that's long deserved all the attention it gets! The legendary group on the album includes John Coltrane on tenor, Cannonball Adderley on alto, Bill Evans on piano, and Paul Chambers on bass – working with Miles in a relatively modal style, with brilliant rhythm changes and a wonderful sense of space.

Quarterflash - Quarterflash (1981) {CBS-Sony Japan 35DP-27, Gold-Face rel 1983}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 288 Mb | MP3 @320 -> 116 Mb
Full Artwork @ 600 dpi (png) -> 50 Mb | 5% repair rar
© 1981, 1983 Geffen / CBS-Sony Japan | 35DP-27
Rock / Pop Rock / New Wave

First Japanese CD of this Title. 3500 Yen price noted in lower left corner of rear insert. Earliest pressings featured a "gold face" - a gold tinted CD. Quarterflash's debut album sported the fiery saxophone playing of lead singer Rindy Ross, helping it achieve platinum status, as well as posting two Top 20 hits. "Harden My Heart" reached the number three position in 1981, thanks to a complimentary blend of sax and expert bass riffs from Pilot's Rick Gooch. The second single, "Find Another Fool," was bolstered by Ross' high-pitched vocal attack, gaining a respectable number 16 chart position. While the album's novel appeal of having a sexy female saxophone player at the forefront was well worth the attention, it didn't mean the rest of the album lacked in pop attractiveness.

Pink Floyd followed the commercial breakthrough of Dark Side of the Moon with Wish You Were Here, a loose concept album about and dedicated to their founding member Syd Barrett. The record unfolds gradually, as the jazzy textures of "Shine on You Crazy Diamond" reveal its melodic motif, and in its leisurely pace, the album shows itself to be a warmer record than its predecessor…

When dissected carefully, The Pros and Cons of Hitch Hiking becomes a fascinating conceptual voyage into the workings of the human psyche. As an abstract peering into the intricate functions of the subconscious, Waters' first solo album involves numerous dream sequences that both figuratively and symbolically unravel his struggle with marriage, fidelity, commitment, and age at the height of a midlife crisis…

Weather Report's biggest-selling album is that ideal thing, a popular and artistic success – and for the same reasons. For one thing, Joe Zawinul revealed an unexpectedly potent commercial streak for the first time since his Cannonball Adderley days, contributing what has become a perennial hit, "Birdland." Indeed, "Birdland" is a remarkable bit of record-making, a unified, ever-developing piece of music that evokes, without in any way imitating, a joyous evening on 52nd St. with a big band. The other factor is the full emergence of Jaco Pastorius as a co-leader; his dancing, staccato bass lifting itself out of the bass range as a third melodic voice, completely dominating his own ingenious "Teen Town" (where he also plays drums!).

The San Francisco Bay Area rock scene of the late '60s was one that encouraged radical experimentation and discouraged the type of mindless conformity that's often plagued corporate rock. When one considers just how different Santana, Jefferson Airplane, Moby Grape, and the Grateful Dead sounded, it becomes obvious just how much it was encouraged. In the mid-'90s, an album as eclectic as Abraxas would be considered a marketing exec's worst nightmare. But at the dawn of the 1970s, this unorthodox mix of rock, jazz, salsa, and blues proved quite successful. Whether adding rock elements to salsa king Tito Puente's "Oye Como Va," embracing instrumental jazz-rock on "Incident at Neshabur" and "Samba Pa Ti," or tackling moody blues-rock on Fleetwood Mac's "Black Magic Woman," the band keeps things unpredictable yet cohesive. Many of the Santana albums that came out in the '70s are worth acquiring, but for novices, Abraxas is an excellent place to start.

The Final Cut extends the autobiography of The Wall, concentrating on Roger Waters' pain when his father died in World War II. Waters spins this off into a treatise on the futility of war, concentrating on the Falkland Islands, setting his blistering condemnations and scathing anger to impossibly subdued music that demands full attention. This is more like a novel than a record, requiring total concentration since shifts in dynamics, orchestration, and instrumentation are used as effect…