Royal Hunt - Paper Blood 2005

Genre: Hard Rock, Progressive Metal
Format: ape + cue + log
Released: 1992
Label: Frontiers Records

01. Break Your Chains

02. Not My Kind

03. Memory Lane

04. Never Give Up

05. Seven Days

06. SK 983

07. Kiss Of Faith

08. Paper Blood

09. Season’s Change

10. Twice Around The World

Paper Blood celebrates a new era for Royal Hunt and it captures the very essence of the whole concept behind the band: aggressive yet highly melodic, symphonic but still very much in your face. Outstanding song writing combined with excellent musicianship results in a collection of ten highly energetic catchy songs. Royal Hunt have a new lineup: joining keyboard player Andre Andersen and the awesome singer with native American origins, John West are Marcus Jidell (ex Jekyll & Hide, The Ring) on guitar and Kenneth Olsen, the original drummer now back for good in the lineup! Frontiers Records. 2005.

Forcefield - Forcefield 1987

Genre: Hard Rock
Format: ape + cue + log
Released: 1992
Label: President Records Ltd.

01. Set Me Free (Ray Davies)

02. Best Shot (Ray Fenwick)

03. Runaway (Del Shannon/Max D.Crook)

04. Sunshine Of Your Love (Jack Bruce/Pete Brown/Eric Clapton)

05. Shine It On Me (Ray Fenwick)

06. Whole Lotta Love (Page/Jones/Plant/Bonham)

07. Black Cat (Denny Laine/Ray Fenwick/Pete Prescott)

08. Whiteroom (Jack Bruce/Pete Brown)

09. You Really Got Me (Ray Davies)

10. Fire In The City (Ray Fenwick/Johnny Mars)

11. Keep On Running (Jachie Edwards)

12. Smoke On The Water(Blackmore/Gillan/Glover/Lord/Paice)

An Anglo-Dutch project featuring ex-FOCUS man Jan Akkerman, the band would attract an enviable array of experienced Rock talent over a series of albums. FORCEFIELD also comprised ex-FANCY vocalist / guitarist Ray Fenwick. Ray had also been a member of the IAN GILLAN band in 1976 and also cut the bizarrely titled 'Keep America Beautiful Get A Haircut' solo album in 1971 (Decca SKL 5090). The FORCEFIELD debut comprised a clutch of re-worked well known Rock standards such as DEEP PURPLE's 'Smoke On The Water', LED ZEPPELIN's 'Whole Lotta Love', THE KINKS 'Set Me Free' and 'You Really Got Me' and CREAM's 'White Room' and 'Sunshine Of Your Love'. The featured musicians included the WHITESNAKE rhythm section of drummer COZY POWELL and bassist Neil Murray, SERGEANT vocalist PETE PRESCOTT and bass player Mo Foster.
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Jeff Beck - Blow By Blow 1975 (1992 Mastersound SBM EK 53442)

Genre: Jazz-Rock
Format: flac + cue + log
Released: 1992
Label: Epic

01. You Know What I Mean

02. She's A Woman

03. Constipated Duck

04. Air Blower

05. Scatterbrain

06. Cause We've Ended As Lovers

07. Thelonius

08. Thelonius

09. Diamond Dust

Jeff Beck seems finally to have figured out that his is not going to replace the great Sixties group which bore his name and featured Mickey Waller, Rod Stewart, Nicky Hopkins and Ron Wood. After some trying moments with a couple of abortive bands whose principal purpose was to give him someone to play with, this all-instrumental album points a newer, healthier direction for the man whose playing is more emblematic of the Yardbirds than either Jimmy Page, who followed him, or Eric Clapton, whom he succeeded.
Beck's music here is new only for him. It is closely connected to Stevie Wonder's, Herbie Hancock's and perhaps most of all, to that of the Mahavishnu Orchestra, his current touring partner. The only axe Beck has to grind is his Gibson; there are no statements here, only his usual flurry of notes. His affection for Max Middleton's keyboard playing seems more sensible than it did with the group that made Rough and Ready. Middleton is derivative of Chick Corea and Hancock, but it hardly matters. His principal function is to complement Beck and he does that well. Richard Bailey's percussion is a little freer than it needs to be, often as not, but then, this is not rock & roll.

Aside from "She's a Woman," where Beck's guitar literally sings a verse, there is little here to distinguish one song from another. But the tunes blend together pleasantly and the second side, particularly, contains some hints that Beck may finally have found a mode in which he is once more comfortable. His exhibitionism can find full play within the ensemble instrumental complex, as it never could when it had to worry about being upstaged by a vocalist. And in places, he is even lyrical.

George Martin produced, but without orchestral charts to arrange, he seems to have had very little to do, other than balance the mixes. Chances are that Beck will make better records, if he chooses to continue to work within the framework established here. The important thing about Blow By Blow, however, is that Beck seems finally to have found something to do with his talent other than waste it.
- Dave Marsh, Rolling Stone, 6/5/75.