This is the definitive collection of the Pretenders' recordings issued under the Warners banner from 1979 to 1999 in unique outer slipcase. This 22-disc box set (14 x CD, 8 x DVD) brings together all eight deluxe digipak reissues (six 2 CD + DVD sets and two CD + DVD sets) of Pretenders (1980), Pretenders II (1981), Learning To Crawl (1984), Get Close (1986), Packed! (1990), Last Of The Independents (1994), The Isle Of View (1995), and Viva El Amor! (1999).
Saga are a Canadian rock band, formed in Oakville, Ontario. Jim Crichton and Welsh-born vocalist Michael Sadler have been the principal songwriters for Saga. Ian Crichton is the band's guitarist; apart from his work with Saga, he has recorded several solo albums as well as sessions with Asia. Full Circle is a studio album by Saga, their thirteenth album of new material. This recording marks the begin of the second round of Chapters. Three of the songs, "Remember When (Chapter 9)", "Uncle Albert's Eyes (Chapter 13)" and "Not This Way (Chapter 10)," were part of a second series of eight songs that Saga included within some of their albums called "The Chapters".
With his lush and sophisticated instrumental approach to pop music, Richard Clayderman (born Philippe Pagès) is, according to The Guinness Book of World Records, "the most successful pianist in the world." Clayderman's albums routinely sell millions of copies and his concerts are quickly sold out.
Although the name may not be familiar to many, Big Boy Pete (aka Pete Miller) has been flogging around the music scene for nearly five decades. He first played in a rock & roll band called the Offbeats, who recorded an EP in 1958, and in 1961, he joined the beat group Peter Jay & the Jaywalkers. With the Jaywalkers, he recorded a number of singles, which were produced by Joe Meek, from whom Pete learned many new and innovative recording techniques. In 1965, he quit the band to concentrate on recording solo projects, and turned to session work to support his recording career. During this period, he became a part-time member of the legendary underground freakbeat band the News, while continuing to write songs for Britain's major publishing houses…
Looked at in the cold light of day and from some years' distance, Gene Loves Jezebel would seem like the last band whose work would stand the test of time. Weird thing, though – in all their "everything goes" exuberance, from abstract goth wailing to balls-out Sunset Strip rock, the Aston brothers, much like their labelmates in the Cult, made everything work somehow. Not all the time, certainly, but Voodoo Dollies wisely draws on the best and biggest hits of the group, not to mention a couple of rarer items for the hardcore fanbase, to make an enjoyable career overview (certainly better than Some of the Best of Gene Loves Jezebel). Following a straight chronological order and enjoying the usual high quality of Beggars Banquet remastering, the 18-track collection is a fine treat. Besides the obvious numbers like "Desire (Come and Get It)," "The Motion of Love" (appearing here in a single mix), and "Jealous," the less well-known songs help to really flesh out the band's freaked-out, glammed-up appeal.
Enchant, this time changed: the former drummer Paul Craddick along with three further band associates as well as various guest musicians have created an album that is filled with the typical Enchant prog sound that is laden with groovy and alternative rock elements.
Solo project from 1999 of the former Enchant drummer Paul Craddick together with Ted Leonard (Enchant, Thought Chamber), Michael Benignus Geimer (Enchant) and Douglas A. Ott (Enchant).
Apart from his popular Canciones negras, written more than half a century ago, the compositions of the now 87-year-old Montsalvatge (in 1999) have made little impact on the musical public in general: many of his works remain unrecorded – the opera Puss in Boots, the Indian Quartet, the five Invocaciones al Crucificado and the virtuoso Harpsichord Concerto, to name only four. But there are two Montsalvatges – one with a more traditional manner, and a later more trenchant, experimental and individual. From his earlier period comes the Sinfonia Mediterranea, composed three years after the Canciones negras; its lack of fashionable ‘modernity’ tempted him at one time to consider rejecting it completely. I’m glad he didn’t, for it’s an attractive (if slightly overlong), warmly romantic work that includes melodies of a popular cast.