Showing posts with label groups. Show all posts
Showing posts with label groups. Show all posts

Raised on Radio (Expanded) Review

Raised on Radio (Expanded)
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"Rasied On Radio" has been called "too pop" by some fans,but I like this album very much,thank you.The main reason to pick up this reissue is the the remastered sound( by Dave Donnelly),since it is a vast improvement over previous CD editions.The bass and midrange are increased,giving songs like "Once You Love Somebody","Positive Touch","It Could Have Been You" and the hits "The Girl Can't Help It","Be Good To Yourself","I'll Be Alright Without You" and "Suzanne" a kick and punch that wasn't there before.Its also contains two live tracks(I'll Be Alright Without You" and "The Girl Can't Help It") and is packaged with a cool booklet featuring photos and tour dates from the "Raised On Radio" period.Unfortunatly,this would be the final album for Journey until a short-lived Steve Perry-led reunion CD("Trial By Fire")appeared in 1996.

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Return to Paradise Review

Return to Paradise
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Live recordings of some of the best bands in the world rarely, if ever, truly capture the essence of the live performance. Now meet the exception. Although Gary Loizzo is behind the mixing of this album, it is still truly one of the best produced recordings of Styx' career. I mention the above only because I thought that Styx' production values dropped considerably after Pieces of Eight, when they replaced Barry Mraz with Loizzo for Cornerstone and future albums, including the horrible Caught in the Act live album of '84. All of those albums sounded cheap and tinny with a production sound made for adult contemporary radio rather then rock. You can blame Dennis' songwriting from 79-83 for that as well.
But here on Return to Paradise, Styx is in the finest form of their career. Dennis and Tommy's vocals and instrumentals are spectacular. Chuck's bass lines are thundering, JY's guitar playing could set fire to a lake, and newcomer Todd Sucherman is a drum god! The highlight of this album is Suite Madame Blue. You can scrap the original recording and go with this version in a heartbeat.
I don't miss Dennis' egotistically overblown ballads, and the current Dennis-less lineup is a total joke. But for one magical night in 1997, Styx recaptured the magic and put on the best show of their career! And how lucky we are that they captured it on CD and DVD.
I do have to note one rather odd observation: I saw them on 3 different nights for this tour, and can tell you that every song intro and/or comment made between songs was rehearsed and repeated word-for-word at every show. You would think that a band who has been in the business for 30 years would be creative enough to ad-lib just a little bit.

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Boy Review

Boy
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Although U2's real debut came in early 1979 with 'Three' the band broke onto the scene with 'Boy,' from 1980. They had recently been signed to major label Island Records, which was home to bands like Bob Marley & The Wailers in the '70s. 'Three' was released on CBS.
But anyway, this is where it all started. Right here. 'Boy,' their major label debut, gave them their first hit, 'I Will Follow' and contained such fan favorites like the eight minute 'An Cat Dubh/Into The Heart,' one of my personal favorites 'Shadows and Tall Trees' and the early-U2 concert classic 'Twilight.'
The bonus disc is where things get interesting. If you are a casual U2 fan, just buy the standard edition of 'Boy.' However, if you are a lifelong, die-hard U2 fan like I am, than this is a real treat!
The original version of '11 O'Clock Tick Tock' should have made the original cut. I don't understand why it didn't. This song is a great one, and while many people know it from 'Under A Blood Red Sky,' I prefer the studio version. (Note: For those who haven't heard the studio version, you are in for a real treat!)
The previously unreleased tracks 'Speed of Life' and 'Saturday Night' have a more punk rock sound. Clearly influenced by bands like The Clash and The Jam, these songs proves U2 can make great punk.
And finally, 'Three' is available on CD! This is what I've been waiting for for years! This is the real highlight of the disc! 'Boy/Girl' is a classic, and another really good punk rocker. The live version from London in early 1980 that is also featured here is superb as well. And what a treat it is to hear the original 'Out of Control' and 'Stories for Boys'! The songs have a much more punk rock sound here than they do in their 'Boy' album versions.
The final two unreleased tracks that are featured here is a rare, previously unreleased live version of '11 O'Clock Tick Tock' from London in early 1980, and 'Cartoon World' a non-album track that was recorded live in Dublin. Both are really cool.
'Another Day' was released as a single in mid-1979 on CBS Records. This song is a classic. Any U2 fan, whether casual or die-hard like myself, needs to hear this song. It is, without a doubt, one of my personal favorite U2 songs. Another really great one is the instrumental 'Things to Make and Do.' I own a rare live bootleg from Boston in 1981 where that song is performed. Although this version is great, I have to say, I prefer the live Boston version instead.
'Touch,' from late '79, is another one of my personal favorites. The lyrics are great, Bono's voice and The Edge's guitar is great, especially the opening riff.
Overall, the deluxe edition of 'Boy' is the version that you need to own. Everything is digitally remastered, so the sound quality is awesome, and the bonus tracks make it really worthwhile.
This edition of 'Boy' is highly recommended for any U2 fan that wants to hear early U2 at their finest. You won't regret this purchase.
ENJOY!!!

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RE-MASTERED VERSION (1CD): standard jewel case w/ 24pg. book--This text refers to an alternate Audio CD edition.

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Big Bam Boom Review

Big Bam Boom
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By the time 1984 rolled around, Daryl Hall and John Oates clearly had established themselves as one of the premier duos in the history of the Pop Music era. One year earlier (1983), Hall and Oates released a greatest hits collection called "Rock and Soul Part 1". Hall and Oates had always been terrific at integrating the genres of Rock and Soul in their music. "Rock and Soul Part 1" would go on to be a very successful greatest hits collection and almost seemed to be a culmination of their work over the prior decade. Little did we all realize that bigger things were to come - in the order of their album "Big Bam Boom". "Big Bam Boom" would not only be a commercial success, but many long-time critics of Hall and Oates would now come around and give them the critical acclaim that they so much deserved. This acclaim is well justified - this is one terrific collection.
Although "Big Bam Boom" isn't a concept album, there does seem to be a common thread among the music. The music has a very urban sound. This urban sound expands on the Rock and Soul genres.In 1984, "disco music" was almost obsolete. It had been replaced by "Dance" music. Around this time, studio mixing became very common to many Pop sounds. Many of these songs were known as "12 inch Remixes" (because they would often be released on 12 inch vinyl as singles). This allowed many songs, including those that were not traditional "Dance" style songs to be played in Dance Clubs. As a result, traditional Rock starts such as Bruce Springsteen had many of their tunes remixed into a "Dance" style and were now getting airplay in the clubs (Springsteen had "Cover Me" and "Dancing in the Dark remixed). The design of "Big Bam Boom" really seemed to fit nicely with the Dance Remix movement that was going on during this time. The difference is that Hall and Oates manage to create "Dance Ready" songs that expand on the foundation of their Rock and Soul music. Hall and Oates still did some 12 inch remixes of four of the songs (this can be found on the "Big Bam Boom" Remaster edition), but when you listen to "Big Bam Boom" closely you will hear that this is almost overkill - this is because the original versions really fit this "Dance" formula.
The collection starts out with "Dance on Your Knees". This song is has some nice Rock elements (i.e guitar), but you will hear many dance elements as well. This near 90 second tune has a near flawless segue into the monster hit "Out of Touch". One thing you will hear in "Dance On Your Knees" is the Bass influence. Whether it's Bass Guitar or Bass Drums, Hall and Oates make heavy use of a Bass sound throughout this collection. Much of this Bass influence is probably because their Studio Bassist for "Big Bam Boom", T-Bone Wolk played a major role in the arranging of this album. I think this Bass Influence combined with many of the dance elements help contribute to what is an Urban Sound. As for "Out of Touch", this song has the dance elements integrated into what I consider a traditional Rock song. It's a solid song, but it sounds much better when you hear it with the "Dance on Your Knees" intro.
In fact, Songs 2-5 on the collection seem to take a cue from "Out of Touch". This cue is that they are songs built on the a foundation of Rock music and have the dance elements integrated into it. You will also hear lots of Bass Guitar and Bass Drums throughout these tunes. You will hear some R&B influences at times, but the Rock influence is still strong. "Method of Modern Love" is basically a soft rock song. You will hear some R&B, but this is probably more due to the fact that the dance elements have been integrated. "Bank on Your Love" is a very underrated song. This sounds more like a song you'd hear in a Rock club than a traditional dance club. It has a solid Rock and Roll feel, but also listen closely to some elements that give it a slight dance spin. The fifth song "Some Things Are Better Left Unsaid" is probably the best song of the collection. This song like "Method of Modern Love" has an R&B spin, but has Rock roots - the bass elements are alive and well here.
As you move toward the last four songs, this is where you will hear the Soul/R&B edge to Hall and Oates take center stage. There also seem to be some funk elements you will hear in these songs. "Going Thru the Motions" is a song almost ready made for the dance clubs. Yes this song has some nice guitar work from a Rock perspective, but now its the R&B sound being the dominant sound. There are two songs in which John Oates gets to do some lead vocals. I found the Oates lead vocal tracks to be a real treat. These songs are "Cold Dark and Yesterday" and "Possession Obsession" - I rank these two songs as two of the stronger songs. The other remaining track is "All American Girl". Like "Going Thru The Motions", this song seemed almost ready made for the dance clubs. This song took me a while to get into it, but eventually I liked it.
The disappomting thing is that there are no lyrics and little in the way of studio musician and production credits. The songwriting credits and song durations are listed. There is a terrific writeup on the album that also provides a retrospective on Hall and Oates' career by Colin Escott. Overall, I like what Hall and Oates did on this album. They produced a terrific sound - one that they would never match in their subsequent releases. I highly recommend this collection.

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Hangin Tough Review

Hangin Tough
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I just listened to my long-lost tape of New Kids On The Block's
"Cover Girl" and oh man,did that bring back memories!!
That song transported me from now to the Summer of '89!
I know I might get laughed at,but I LOVE THAT SONG!!
And..."Hangin' Tough" is without a doubt,probably,the best
boy band album EVER(excluding maybe,New Edition or BBD).
New Kids On The Block were as processed and hated on as the
boy bands of today(they were basically a white washed New Edition) but in my opinion they are far better than Backstreet
Boys and N'Sync.They had great teenybop pop songs!
I still remember the dance steps from the "(You Got) The Right Stuff" video and I still know all the words to this album's title track too!
Oh,man,I know I may laughed big time folks but I mean the late
'80s and the early-to-mid '90s have so many memories and me being
a music fanatic,the music brings back the memories.Hope you understand!
Plus,you have to admit the teen stars of then are way more talented and groomed than the pesky teenyboppers of today!

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Toto IV Review

Toto IV
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One expects a backlash to anything that is overtly successful.
One also expects a backlash when something is extremely polished and professional sounding.
To all the reviewers who have lambasted or said this album is worth only two songs (which makes it better than the first TOTO album) -- think of songwriting like somebody building you a house. Now if you find a person who builds you a house, you move in, and you find it has charm but is built like c**p, you of course will be pleased with how it makes you feel, but disappointed that what you paid for, you didn't get. Now say you find another person who builds you an expertly crafted house, but it lacks a certain homely charm. Does that mean you race back to the cr***y house?
Songwriting is a craft, like any other trade, any other thing you can do with your mind, hands or both. Like blacksmiths, carpenters, and farmers, the artist / musician is constantly developing and improving their technique and proficiency to present you (a person who may not be skilled in such a craft) a thing which is well presented and should suit your tastes in somehow,someway. Whether this is overall, or momentary is up to you as 'the buyer'. But if you're satisified at least once, then they have succeeded.
And TOTO succeeded with TOTO IV in a major way. To fault them for finally honing a songwriting craft after 4 years of steady work, and 10 years of professional session work, and that people of all types responded to it enthusiastically, is more to do with you than them. I'm not trying to look at TOTO IV with rose coloured glasses, but one thing that cannot be found on here is bad musicianship.
As a musician, I learned an immense amount of craft from TOTO, and I will always be thankful to them (primarily the Kimball / Hungate / Paich / Porcaro / Lukather / Porcaro lineup)and I find nowhere else in their first four albums where this craft is presented so refined and polished than on TOTO IV. To maybe a listener who is just looking for gripping songs, or dramatic flourishes, or fits of anger or paeans to love, they will not find it here. For me, what I look for is someone who cares about what they're doing, shows it, and walks away saying 'I did my best'. And TOTO IV delivers that.
How anyone can say 'Waiting For Your Love' is a filler tune to the likes of Africa and Roseanne, I cannot comprehend. Have you actually heard the groove of this song? I hate to get all imploring, but have you heard the way Jeff Porcaro plays the hi-hat on this song? If it was jazz great Harvey Mason, you may say different, you might even listen, because its Mason and you're supposed to, but the playing of these musicians is almost perfect - the right amount of technique and feel. So it's alright if its Steely Dan, but not TOTO aye?
'Waiting For Your Love' and 'Good For You' are absolutely my favourite songs on here for the reasons stated above, the musicianship and playing skills of these people, and how much it adds to just a song. If you cannot find heart or soul in the playing of these musicians, or at least some passion for what they are doing, then maybe I can only suggest picking up an instrument and learn these songs, because you will find how 'on' you have to be to play them with as much 'feel' thats in them.
I just think you have to be at a certain point where crash crash bang bang just doesn't hold as much interest any more, and funnily enough I reached that point at 20 years old. And I thank TOTO for showing me that being a musician is more than just flicking your hair, and drinking booze and talking about your car.

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Digipak reissue of 1982 album. 2001.--This text refers to an out of print or unavailable edition of this title.

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Spirits Having Flown Review

Spirits Having Flown
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In the difficult position of having to top "Saturday Night Fever", the Gibb brothers surpassed themselves and created their biggest hit studio album of their careers, including three more #1 hits, making six #1 hit songs in a row! "Tragedy", "Too Much Heaven" and "Love You Inside Out" were all top hit singles. "Spirits (Having Flown)" was a large hit single overseas. All songs are Barry dominated vocals and he is at his falsetto best. However, "Stop (Think Again)" is a tad long and a little bit tedious, but the following tracks go right back to their upbeat best! Succeeding in avoiding any dance songs (disco), the Bee Gees out-do themselves. These songs are truly funky "R & B" numbers, a solid match for any rythym and blues band. "Until", the closing solo track may not be equal to their earlier hit "Words", but Barry's voice accompanied by the electronic harpsichord makes for a delicious ending.

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Brothers Barry, Maurice, and Robin Gibb made musical history for close to four decades with their magnificent vocal harmonies and ever-evolving styles. Masters of orchestral pop, blue-eyed soul and R&B, dazzling dance grooves, and disco fever alike-as well as uniquely blended hybrids of all these genres and more-the Bee Gees delivered album classics and top chart hits throughout their enduring career. On this newly remastered edition, the amazing genetics of their harmonies shine, as does the ongoing artistic evolution that’s made them one of contemporary music’s most successful and legendary acts.--This text refers to an out of print or unavailable edition of this title.

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Recycler Review

Recycler
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(Three and a half stars) The album that brought the "Eliminator" period to a close, and the end of the eighties for ZZ. I get the feeling that the band knew exactly what they were doing when they made this album. They had ridden a second wave, and a second decade, of popularity, and being the accomplished musicians they were, they knew it had to end sometime, why not finish it of with an effort befitting a band of journeyman musicians? It's a bit of a shame they didn't take more chances... this release has a slightly mellow, and even melancholy attitude about it, and although it uses this effect to good end in some songs, it also makes it somewhat unspectacular overall. Billy's guitar playing has gone completely in the direction of the thick distortion and simple chords that started with Afterburner, and though his lead playing has it's hot spots, I personally miss the arpeggiated rhythms, clean tones and raw feel of earlier ZZ Top.
2000 Blues has a great deal of feeling, I think it's a high point. Burger Man is an interesting song, how many other bands tried a classic blues-novelty style song in 1990? If only it was a little better... I have a thing for Tell It, with its laid back rhythm and syncopated flourishes. My Head's in Mississippi is this releases signature song, with it's La Grange like sound. There was a lot of "they're finally back to the old ZZ" with Recycler's release, mostly because of this song, but the creative direction that it started really didn't hit it's stride until the release of Rhythmeen six years later. Recycler ended ZZ's stay in the '80's limelight, and the beginning of their semi-retired(?) period, in which ZZ has recaptured some of the spark of individualism that is their best quality, and that mega stardom can apparently dull, and that little old band from Texas still churns 'em out.....

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Destination Anywhere Review

Destination Anywhere
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I bought this CD when it first came out a few years ago. I have to admit, when I first listened to it, I did not like it. At all. I guess I thought it was too...different. Unfortunately, I think I kind of put it in one of my "reject" CD piles. It must have been months later that I eventually dug it out and started listening to it again. After hearing it a few more times, I finally realized "Wow this is really good".
This album is COMPLETELY un-Bon Jovi, but that's probably one of the reasons it's so good. As always, Jon succeeds in blowing me away with his songwriting talents.
I guess you could say the songs are more mellow; don't expect any Livin' on a Prayers, Bad Medicines, etc. But it's a nice change to hear Jon sing (with the band it can be more like yelling) and without the blaring guitars. Don't get me wrong, Bon Jovi wouldn't be Bon Jovi without Richie or those amazing choruses, but this IS a solo album.
As a whole, this album is probably one of the best I've heard. I could get into detailing every song but it would take me forever because there are so many good things I could say about each one. In fact, this is one of only two CDs I've ever encountered (the other being Cross Road of course) that I can just put in the CD player and let it play. I really don't think there is even one bad song on it.
Do I recommend this album? Absolutely. BUT, if you go into it trying to compare it with Bon Jovi the band, you will likely have the same reaction I did at first. If you can accept it for the great music that it is, I don't think you'll be disappointed.

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Limited edition Japanese reissue pressing. Mercury. 2005.--This text refers to an out of print or unavailable edition of this title.

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Stunt Review

Stunt
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A lot of older BNL fans say that this album is a sellout for the band, and that Box Set has become a self-fullfilling prophecy. Others might think that Barenaked Ladies are simply a one-hit wonder band. But this is simply not true. While the album is definitely not Gordon, it still rocks, and it's still BNL. It's just different. Alright, so it's more produced than they're earlier stuff, but they're still the same bunch of guys who write excellent lyrics. I'll admit, I bought Stunt because of One Week and It's All Been Done. However, now that I have the CD, those are my two least favorite songs off of the album. "I'll be That Girl" is different, with it's dark lyrics juxtaposed to the upbeat music. "Call and Answer" is an excellent ballad-type song that did not get the radio play that it deserved. "Alcohol" is not what it first seems to be. And of course, if you're ever having an insomniac moment a la "Who Needs Sleep" just pop in "When You Dream" a really thought provoking lullabye. This CD was the first I ever bought that I could listen to straight through without skipping any of the tracks, and it's not even the Barenaked Ladies best. If you can, find the LE, which has two extra tracks. "Long Way Back Home" is excellent, even if it does have a bit of a country feel to it.

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Limited edition pressing of the quirky Canadian alternativerock/ pop group's 1998 breakthrough album with a seven track bonus CD featuring 'Brian Wilson' (Album Version), 'BrianWilson (2000)' and live versions of 'The Old Apartment', 'Jane', 'When I Fall', 'If I Had A $1,000,000' & 'Straw Hat And Old Dirty Hank'. A combined total of 20 tracks, with the main album featuring the smash hit 'One Week'. Double slimline jewel case. 1998 release. --This text refers to an out of print or unavailable edition of this title.

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Way It Is Review

Way It Is
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I was a junior high schooler watching NBC's music video show "Friday Night Videos" (if I remember the name correctly) back in 1986 when I heard "The Way It Is." It wasn't until the early 90s when I finally picked-up this CD; used. I almost traded it in about five years ago for something else. Needless to say, I still have it, and suprisingly (to me) it has become one of my favorite albums today.
The Amazon.com review was right on the mark, by stating that Bruce Hornsby and the (venerable) Range are "long overdue for reevaluation." The piano work is suberb, Hornsby's vocals are so smooth, and the writing reflects subtle notes of sociological problems, and life's wonderful moments ("The Way It Is" and "Mandolin Rain" respectively). His backup band rounded out the sound of this album very well, making it one of the most complete and cherished recordings of the 1980s.
It's been out of the limelight for years, but for those who dig this album up, a wonderful listening experience will become their's for a long time to come.

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No Description AvailableNo Track Information AvailableMedia Type: CDArtist: HORNSBY,BRUCE & THE RANGETitle: WAY IT ISStreet Release Date: 07/07/1987

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The Unforgettable Fire Review

The Unforgettable Fire
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The 1985 release of "Unforgettable Fire" vaulted U2 into heavy video rotation and arena rock. With the production team of Brian Eno/Daniel Lanois at the helm, the group's sound shaped with new keyboard textures and lots of layering of The Edge's guitars. Some might say the disk was over-produced. We also get Bono's trademark emotive breathing on several tracks.
I wavered between giving this 4 or 5 stars, so 4.5 might be the best assessment. The primary reason most people got this album was for the mega-popular anthem "Pride (In the Name of Love)" with its Christ imagery ("one man betrayed with a kiss...") and Martin Luther King, Jr. theme ("early morning, April 4, shot rings out...") and memorable guitar melody. Great vocal performance by Bono and backing by The Edge (oh-oh-oh-oh). An instant classic.
"Pride" aside, this disk has a number of excellent tracks. One of my all-time favorites is "A Sort of Homecoming" and I especially like the lyric "faces ploughed like fields that once gave no resistance." There's a strong Ireland theme here, and this is a great leadoff song. One drawback is that I think the mix is a little muddy.
"Wire" is a high energy piece with a chunky bassline, great drums, and very cool guitars.
"The Unforgettable Fire" really brings out the guitar atmospherics, along with a string section, and another powerful vocal from Bono.
"Promenade" is not a bad song, but it's really a sound-alike to many of the other songs, and not a particularly memorable memory.
"4th of July" is a sonic instrumental introduction to "Bad", which is one of the best songs on the disk. Great simple guitar melody and vocal performance with the "I'm wide awake...and I'm sleeping" rise and fall dynamics. Perhaps some of Adam Clayton's best bass work to this point. Check this song out on the "Wide Awake in America" live EP. It's a beautiful tune.
"Indian Summer Sky" is like "Promenade" in that it's not a bad song, but not as good as its sound-alike, "Wire."
"Elvis Presley and America" shows U2's growing love affair with Americana. It's a nice ballad.
"MLK" is the true Martin Luther King, Jr. tribute, a gospel-like vocal over some light keyboard textures. It's a great under-stated performance by Bono and nice closer for the disk.
The strengths by far lift up the few weaker tunes, and this disk is very listenable in its entirety.


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12" vinyl format: 16 page booklet with liner notes by Brian Eno, Danny Lanois and Bert Van de Kamp.This special edition marks 25 years since the album's original release in October 1984. Recorded at Slane Castle, Ireland, The Unforgettable Fire was the first U2 album to be produced by Brian Eno and Danny Lanois, and spawned two top 10 UK singles - "Pride (In The Name Of Love)" and "The Unforgettable Fire".--This text refers to an out of print or unavailable edition of this title.

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Crush Review

Crush
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The five year wait is over! Bon Jovi are back and better than ever with new album, "Crush"! If you're a die-hard fan you'll love it and even if you're not, you may be pleasantly surprised. It's classic Jovi at their finest. Starting with "It's My Life" and updated version of "Livin' On a Prayer" for the new millenium, will get your feet moving and if you aren't singing along by the second chorus, there's something wrong with you!Their ballad, "Thank You for Loving Me" will be the next wedding song for many years to come and with songs like "Save the World" or "Mystery Train", Jon and Richie's harmonies are in top form.They've experimented with new songs,like the humerous, "Captain Crash and the Beauty Queen from Mars" or the visual of "Two Story Town", but to great effect. Bon Jovi fans won't be disappointed. This is the album we've been waiting for. I can't stop listening to it! Thanks,guys for the great album! We love you and are glad you're back for the Next 100 years!

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Australian pressing includes two bonus tracks on the first CD, 'I Could Make A Living Out Of Lovin' You' & 'Neurotica' in addition to the Japanese bonus disc recorded live in Osaka, featuring 6 tracks, 'Runaway', 'Mystery Train', 'Rockin' In The Free World', 'Just Older', 'It's My Life' & 'Someday I'll Be Saturday Night'. 20 tracks in all. 2000 release. Slimline double jewel case.--This text refers to an out of print or unavailable edition of this title.

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Cosmic Thing Review

Cosmic Thing
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The B-52's began life as a self-described "tacky little dance band" out of 1970s Athens, Georgia--and they sounded like musical refugees from a Twilight Zone episode that Rod Serling thought better of. But the band touched a techno-nerve, and before too long they had a record deal and a cult single ("Rock Lobster") that actually made the charts. But for all their fame, The B-52's very glitchy sound never had much in the way of airplay, much less big-time sales... until the release of COSMIC THING.
COSMIC THING spawned two major singles. The first one to hit--and the one that remains most durable--is "Love Shack," a truly bizarre but extremely infectious mix of funky rhythm and catchy melody dominated by Fred Schneider's ultra-silly, ultra-clever pseudo-rap--the song was and is a tremendous amount of fun, and while it lacks the truly weird edge of earlier B-52's cuts it remains one of the best dance party cuts I've ever come across, something that will get you on your feet faster than you can say "Bang Bang." The second hit, "Roam," was more specifically pop--but pop with a B-52's twist: a covertly sexy lyric and Cindy Wilson and Kate Pierson blasting out unexpected harmonies from beneath their dueling beehive hairdos.
But COSMIC THING has more to offer than just these two cuts: everything here is extremely well done. The downbeat "Dry Country" has a seductive swing to it; "Deadbeat Club" is super smooth; "Topaz" is a remarkable little thing, sweet and sour all at once; and the largely non-vocal "Follow Your Bliss" wraps up the set on an unexpected but effective note. Along the way we also have at least three cuts that are very, very distinctly B-52's and as far out as anything the band did in their earlier incarnation: the rapid fire "June Bug," "Bushfire," and "Channel Z"--all of them with jagged rhythms, collapsing vocals, weird musical settings, and harmonies that go from liquid to strident before you can say "knock a little louder!"
By and large, the B-52's does the sort of music where a little goes a long way, but here they hit a really neat balance between their earlier extremes and some really solid pop inflections. The result may not please every one who is addicted to their original, undiluted sound, but the result is an extremely playable set that can be repeated again and again without you beginning to feel like roadkill on the intergalactic highway: it's funky, funny, stylish, and it still has enough of an edge to let you know that this really is the B-52's.
Bang bang, on the door, baby. Strongly recommended if you want to line up just to get down. Let's go around the world. The trip begins with a kiss!
GFT, Amazon Reviewer

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No Description AvailableNo Track Information AvailableMedia Type: CDArtist: B-52'STitle: COSMIC THINGStreet Release Date: 06/27/1989

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Live Era '87-'93 Review

Live Era '87-'93
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For six years, between 1987 and 1993, Guns N' Roses ruled the rock world. It was six years of accusations of being racist, riots, tempter tantrums, swearing on live TV, urinating on planes, very public feuds with other bands, and of course, unbelievably great rock n' roll. From the days of when GN'R brought authenticity back to rock n' roll, when Bon Jovi were considered the premier rock band, to surviving the onslaught of grunge, GN'R were rock gods. In 1999, five years after the semi-original Guns N' Roses rocked an arena for the last time, the posthumous "Live Era '87-'93" hit the stores.
While "Live Era" is quite good, it could have been better. Guns N' Roses was a great band, and put on an exciting live show, there's no denying that. "Live Era" is filled with classics, from each release, minus "The Spaghetti Incident" (1993). The band sounds great and performance on each track is top-notch. That said, "Live Era" is flawed in two ways-its chronology and production.
As the back of the CD states, the songs on this CD were "recorded across the universe between 1987 and 1993." For some bands, like Nirvana or Motley Crue, it wouldn't be any problem to compile a live album with songs from different years. With Guns N' Roses, however, it doesn't quite work. That's because the original Guns N' Roses went through four distinct phases:
Phase I: 1986-1990: Axl Rose- vocals, Slash- lead guitar, Izzy Stradlin- rhythm guitar, Duff McKagan- Bass, Steven Adler- Drums. This lineup, generally regarded as the definitive one, recorded "Appetite for Destruction" (1987) and "GN'R Lies" (1998). This lineup was basically Aerosmith on speed, with an element of punk and the Rolling Stones.
Phase II: 1991: Axl Rose- vocals, Slash- lead guitar, Izzy Stradlin- rhythm guitar, Duff McKagan- Bass, Matt Sorum- Drums, Dizzy Reed- Keyboards. The addition of the very proficient, yet slightly bombastic Matt Sorum and keyboard player Dizzy Reed made GN'R's sound slicker, less rough-around the edges. With this lineup, the band ventured out and experimented considerably, with the very ambitious epic "Use Your Illusion I" and "Use Your Illusion II" (1991).
Phase III: 1992: Axl Rose- vocals, Slash- lead guitar, Gilby Clarke- rhythm guitar, Duff McKagan- Bass, Matt Sorum- Drums, Dizzy Reed- Keyboards. In addition, many backup musicians, such as female backup singers and a horn section were added. GN'R purists often regarded this period as the weakest link in the bands career. It is said that GN'R became very bloated during this leg of the tour and all the horns and added singers watered down the bands sound. I tend to disagree with that assessment. It was an interesting phase in the band's career and many of the songs, like "Move to the City" and "November Rain" sound enhanced with the extra musicians. Unfortunately, in 1992, when compared to the stripped down, unadulterated rock n' roll of Nirvana and Pearl Jam, Guns N' Roses huge backup entourage seemed excessive and bloated. Still, it was just an experimental phase, something that people often forget. As a live guitarist, Gilby Clarke outshined Stradlin.
Phase IV: 1993: Axl Rose- vocals, Slash- lead guitar, Gilby Clarke- rhythm guitar, Duff McKagan- Bass, Matt Sorum- Drums, Dizzy Reed- Keyboards. All the excess musicians are gone. While not as raunchy as the early days, GN'R comes full circle and goes back to playing pure rock n' roll. Many of the songs are played even more stripped down, acoustically.
The problem with "Live Era" is that there will be one song from the AFD/Lies era, then one song from the horn era, then back to the AFD/Lies era, and then will leap into '93, before going back to '91 and so on. While the songs are great, no doubt, the album overall is a little disjointed. It would have been better if disc 1 were strictly from the '87-'90 AFD/Lies era,, and disc II were from the experimental, '92 horn era.
The other problem with "Live Era" is it sounds overproduced. The songs sound tampered with. There is some speculation that Axl Rose even re-recorded his vocals (although this is just speculation). They should have just left the songs as is, without trying to touch them up.
While this list of criticisms seems long, it is not meant to imply that "Live Era" is a bad album. Indeed, the songs are still classics and if you are a fan of the band "Live Era" is well worth owning.


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Japanese 2 x SHM paper sleeve pressing. Features 2009 remastering. Universal. 2009.--This text refers to an alternate Audio CD edition.

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Hi Infidelity Review

Hi Infidelity
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"Hi Infidelity" is the quintessential album from REO Speedwagon. This marked the zenith for the band, topping the charts for 15 weeks in 1981 and containing four top 40 singles.
"Keep On Loving You" was the consummate radio friendly power ballad (it was their first #1 song on the charts). It served as a precursor for their mainstream sound that was to follow them into the early half of the decade (They would top the charts one more time in 1984 with "Can't Fight This Feeling" from "Wheels Are Turning" album). In 2000, they assembled a collection of their greatest ballads.
The band had been recording for about a decade when they reached the masses with this album. This album has it share of upbeat rockers. The album opens with the hard driving, "Don't Let Him Go" (#36) as well as the top five "Take It On The Run.(#5)" The track, "In Your Letter" has a retro 1950's feel to it. It also made the pop charts at the time (#14).
"Tough Guys" is one of the most relentless tracks on the album. It rocks from start to finish and interestingly enough, begins with a vocal segment from the television program, "The Little Rascals." (Madonna would employ this technique in her song "White Heat," which included a spoken prologue from James Cagney in her tribute to him on her 1986 album "True Blue.")
"Follow My Heart," "Out Of Season," and "Someone Tonight" also serve as competent, well-crafted tunes. The one track I tend to not enjoy as much is "Shakin' It Loose."(Don't get me wrong-it is not a bad track; it just sounds too generic. It could have been recorded by Styx or Journey or 38 Special!). Nevertheless, there is a continuity to the album and it is absolutely clear why this album graced the charts for well over one year.
The album closes with the highly sentimental "I Wish You Were There," one of my favorite ballads on the collection. (This would be an excellent tune that could wind up on a soundtrack to a love story with a "coming of age" theme to it.)
Digitally remastered, this 20th anniversary collection contains the original artwork (including the classic album cover), and the complete lyrics to all ten songs. "Hi Infidelity" includes a well-balanced mix of hard rocking and mid-tempto ballads. It is an absolute must in any music library whether one is a fan of classic rock or infectious, coherent, pop music.

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Japanese only paper sleeve pressing features all new 2009 remastering. Sony.--This text refers to an alternate Audio CD edition.

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News of the World Review

News of the World
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Come 1977, the rock music world took some drastic turns. We witnessed the glory days of progressive rock, which started around the late 60s, and the creativity exhibited in that period seemed to only blossom and intensify up until the mid-70s. Ambitions were the order of the day, and it seemed like many bands - more or less - were trying to outdo one another in terms of technical prowess, intelligent lyrics, orchestral ambition and/or originality. However, the hyper-ambitious, long-winded, intelligent (some would say pompous) art that was popular shortly before began to wear thin, as many music fans wanted things to return to it's raw, dirty (and simple) roots.
The punks seem to appear on the scene at the right time to bring rock back to it's dangerous and dirty roots. The Sex Pistols seemed to be the band who led the charge, and guys like Johnny Rotten (frontman of the Pistols) and Joey Ramone (The Ramones) have verbally attacked Yes, Pink Floyd, Queen, and several others of the art-rock ilk for their long-winded arrangements, grand ambitions and fantasy/cosmic/literary material. (One of the members of the Sex Pistols wore a t-shirt that read the words, "I hate Pink Floyd," while another member reportedly had a brief bit of words with Queen frontman Freddie Mercury, as a few reviews below state.)
1977 also saw genres like disco, and what many call "corporate" rock, running wild. While bands like Yes and Pink Floyd continued to release "long-winded" material, Queen took an entirely different approach. Making art-rock albums since their inception, their creativity culminated with the ambitious, diverse and operatic A NIGHT AT THE OPERA (1975), and it's stripped-down, but no less ambitious companion A DAY AT THE RACES (1976). So, on NEWS OF THE WORLD, Queen wisely chose to cut down on the sophisticated operatic arrangements, and focus their attention on a more straightforward, harder-edged album -- with attitude. They basically dropped the "art" rock, and made more "hard" rock this time out. Complex arrangements are still present, but are so subtle, some may not recognize them.
But Queen's well-known diversity still remains intact. You get Latin-infused, elegant numbers like "Who Needs You," bluesy workouts like Brian May's "Sleeping On the Sidewalk," in which he also performs the lead vocal, sophisticated piano-driven pop numbers like "All Dead, All Dead," a song written for Brian May's deceased cat I believe, and an elegant late-night jazz workout on Freddie Mercury's "My Melancholy Blues." The versatility of this band was simply awe-inspiring, and possibly the envy of many.
Now that all of that's out of the way, Queen ROCKS with the rest of the tracks. Everyone knows "We Will Rock You" and "We Are The Champions." The latter exhibits brilliant arrangements - not to mention the apparent 12/8 time (7+5?) - which may be obfuscated for it's overplaying time on the radio. "Sheer Heart Attack" (not to be confused with the album of the same name) is just a lethal super-heavy monster. A fast-paced, supercharged heavy-hitter which may be able to induce a heart attack if played too loudly. There may also be a biting jab made toward the punks in one of the lyrics ("I feel so in-ar, in-ar, in-ar...ticulate.") Written by drummer Roger Taylor, he shares the vocal with Freddie Mercury, as well as contributing bass and rhythm guitar parts, which give the track it's extra heaviness. The prog rock epic of the album, however, is "It's Late," a love tale written by Brian May, and written in three parts (or scenes), and features an explosive John Bonhamesque drum solo at the end. I'll be the first to mention that the comparisons some people (and critics) make between Queen and Led Zeppelin are atrociously ridiculous, inaccurate and shallow (Queen sounded like nobody but themselves to me), but this part of the song is the closest Queen ever got to resembling Zeppelin.
With this album, Queen would abandon their unique brand of art rock for good. Is it ironic that the cover art of this album shows a gigantic robot killing the members of Queen? Was it a symbol that the operatic, original "queen" was no more? Or, was it purely coincidental? They would not make music resembling their 70s material for years to come (even if the small resurgences were slightly transformed.) NEWS OF THE WORLD is 70s Queen at their most straightforward and heavy. Highly recommended.

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Japanese remastered (2001 digital remastering) reissue of 1977 album packaged in a miniature LP gatefold sleeve, features 11 tracks. Virgin. 2004.--This text refers to an out of print or unavailable edition of this title.

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