Musical evolution was in the air at the end of the '60s, as groups adapted to survive in an ever-changing rock landscape. Such was the case with After Tea, who shed the colourful petals of their flower-pop past to re-emerge as a solid progressive blues rock outfit with their outstanding 1970 album, 'Joint House Blues'.
For American ears only, in the years before a new deal with Elektra finally granted the Cure the access to the airwaves that they'd all but given up dreaming of, …Happily Ever After is nothing less than a two-for-one repackaging of the band's second and third European albums, the brooding gloom of Seventeen Seconds and the affirmative darkness of Faith. It makes for discomforting listening, both for newcomers to the sound of the early group and for fans more accustomed to experiencing the two records in separate sittings. Together with the band's fourth album, Pornography, the two LPs here were the sound of the Cure racing to distance themselves not simply from their early reputation as a moody power pop band, but also from any of the other comparisons, compadres, and contemporaries that the post-punk scene could throw at them. Seventeen Seconds, one U.K. review famously remarked, was the sound of the band sitting in a dark room, staring at clocks. Faith was what happened when those clocks stopped.
Back inlay states "A Double Album on 1 CD." 12 page booklet with all lyrics and pictures.
Coming off his two-volume tribute to Jimi Hendrix, Electric Chubbyland, Popa Chubby is still high on rock & roll. While his love of the blues remains strong and dominates a handful of the tracks here, Deliveries After Dark features more heavy metal thunder and hard rocking than usual. The furious "Sally Likes to Run" captures that arena rock feel with enough cowbell to keep Christopher Walken happy while the title track crunches like Deep Purple in "Highway Star" mode….
On his 2007 album, AFTER TONIGHT, veteran R&B/soul singer Will Downing presents an assured set of songs that are often rooted in 1970s funk and jazz. Highlights of the record, which features guest appearances by saxophonists Gerald Albright and Kirk Whalum, include the slinky "Will's Groove" and the catchy title slow jam, tracks that ably showcase the New York City native's deep, resonant voice.
The third and final record by the progressive rock trio U.K. was recorded during a 1979 concert in Japan, although it was not released until after the group disbanded; by this time the group featured bassist and lead vocalist John Wetton with ex-Zappa sidemen Eddie Jobson (keyboards and electric violin) and drummer Terry Bozzio. "Night After Night" serves a driving opener, followed by "Rendezvous 6:02," primarily a feature for Jobson's keyboard wizardry. The instrumental "Alaska" is a bit bombastic on the scale of Emerson, Lake & Palmer, though the hard-rocking "In the Dead of Night" makes up for it. Jobson switches to violin for the high-energy closer, "Caesar's Palace Blues" (which is not actually a blues). This is easily the best of U.K.'s rather small discography…