Running on Empty is the fifth album by American singer-songwriter Jackson Browne. Released in 1977, the album reached #3 on the Billboard Pop Albums chart in 1978 and stayed on the charts for 65 weeks. The single for the title track, "Running on Empty", peaked at #11 and the follow-up single, "The Load-Out"/"Stay", reached #11 on the Billboard Pop Singles chart. The song "Running on Empty" was included in the film Forrest Gump. On November 15, 2005, Elektra/Rhino issued a remastered version with the following additional tracks: 11. "Cocaine Again" and 12. "Edwardsville Room 124" on Disc 2 of the package, which is a DVD Audio version of the album's track lineup that features a 5.1 surround sound mix, among other bonus items, such as video montages and lyrics. Disc 1 is a remaster of the original album's song list only. The remaster is missing the first 25 seconds of audience ambience that, on all other previous editions of the album, led into the beginning of the album's title track. For reasons unknown, this snippet, which included the sounds of the musicians' count into the song's opening, was edited out on this version, though curiously the Disc 2 DVD Audio version includes the 25 seconds missing on Disc 1.
The celebrations of ABBA’s 40th Anniversary year of 2014 continue with the latest release in the acclaimed ABBA Deluxe Edition series. In April of this year, Waterloo Deluxe Edition was released, attracting 4-star reviews in the music press, and in November, ABBA’s Spanish-language 1980 album Gracias por la música will receive the Deluxe Edition treatment. The original album has been expanded with 5 bonus tracks, plus a 40-minute DVD featuring vintage promo clips and previously unreleased television material. Gracias por la música Deluxe Edition will be released November 10, 2014.
Following the release earlier this year of the sequel to JETHRO TULL’s Thick As A Brick, on November 5th 2012 EMI will release a 40th anniversary edition of the original album. In 1972, Ian Anderson wrote and recorded the Jethro Tull Progressive Rock classic album ‘Thick As A Brick’. The lyrics were credited at the time to the fictitious child character, 'Gerald Bostock', whose parents supposedly lied about his age. The record instantly became a number one Billboard Chart album and enjoyed considerable success in many countries of the world.
King Crimson achieved the rare feat of marrying their hard-fought, hard-hitting prog sound with the bristling energy of new wave on this 1981 triumph, which nearly cracked the Top 40. The title cut; Frame by Frame; The Sheltering Sky , and the rest of the original LP featuring Fripp, Buford, Levin and Belew is here on CD in a new stereo mix with bonus alternate mixes. The DVD-Audio disc adds a 5.1 DTS mix, hi-res stereo mix, original album mix, new album mix and even a rough mix from the original sessions. On top of that, you get the 1981 12" dance mix of Elephant Talk and other audio extras plus footage of The Old Grey Whistle Test performances, new notes co-written by Fripp and more!
Alternately trippy and thunderous, this 1974 LP (featuring Fripp, Bruford and Wetton) hit the U.S. charts almost a year to the day after Larks' Tongues in Aspic did. The Great Deceiver; Lament; The Night Watch; Trio this experimental gem managed to outdo the prog classic that preceded it; this reissue is full of alternate mixes and other special treats. The CD features a new stereo mix plus bonus tracks including the ultra-rare (performed once only) Guts on My Side . The DVD-Audio disc has the original and new mixes plus a 5.1 surround mix, 5.1 Lossless audio and stereo mixes, video footage of Easy Money and an improv from NY's Central Park ('73), audio extras including live cuts and radio edits and more!
The release of King Crimson’s seminal 1974 album Red continues the overhaul of the progressive rock band’s catalog that also — so far anyway — includes their debut album In The Court Of The Crimson King and Lizard. As was the case with those two albums, the remastering of this album was overseen by Porcupine Tree’s Steven Wilson, along with founding member Robert Fripp. Wilson was a great choice for this task for a couple of reasons. He’s a longtime fan, and with Porcupine Tree and his other many projects, he also definitely has the necessary prog-rock credentials.
On ISLANDS, Crimson left behind the formula they followed for their first three albums, setting off for more adventurous avenues of expression. If his leadership were ever in question before, Robert Fripp had emerged as the mastermind of the group by this point. There's a much looser feel here, and even when essaying a delicate ballad like "Formentera Lady" or the gorgeous title track, jazzy bass and piano lines and free-wheeling percussion keep things from getting too settled. The jazz influence always present in Crimson grew far more pronounced on ISLANDS via saxman Mel Collins and pianist Keith Tippett.
Lizard, King Crimson's third studio album and second release of 1970, was, like its predecessor In the Wake of Poseidon, the product of a studio band. It was also the first Crimson album for which Robert Fripp provided all of the music. Remarkably self-contained & sounding somewhat atypical for a King Crimson album, even by the standards of a band that rarely sounded similar from album to album, Lizard is an often overlooked and under-appreciated gem from the band's early years. Certainly at the time of release, anyone expecting an extension of the soundscapes introduced & explored on the band's earlier two albums was in for a surprise.
"Pictures of a City" seems meant to pick up where "20th Century Schizoid Man" left off, with it's furious ensemble passages, knotty Fripp guitar leads and Greg Lake's authoritative vocal. "Cadence and Cascade" helps fill out the ballad quotient with a beautiful, wispy vocal from transitional singer Gordon Haskell. A valuable note of humor is interjected into the proceedings via the jokey, off-handedly jazzy "Cat Food." Keith Tippet's piano and Mel Collins' sax–both soon to play larger roles–were introduced on POSEIDON as well.
For better or for worse, a pretty decent argument can be mounted that progressive rock — or "prog" as we know it today — was born with the 1969 release of King Crimson's first album, In The Court Of The Crimson King. The British band's early fans included Pete Townshend and Jimi Hendrix, and it only took one listen for legendary music-exec Ahmet Ertegun to sign them to his Atlantic Records on the spot. Now, forty years later, another of King Crimson's fans, Porcupine Tree's studio wizard and resident genius Steven Wilson has overseen a 40th Anniversary deluxe edition of this landmark album, working alongside founding member Robert Fripp. Wilson is said to have revered the album as a teenager, and is also managing the analog-to-digital transfer of a number of other nuggets from the Crimson catalogue.