It’s not quite right to say that the Go-Go’s' 1981 debut, Beauty and the Beat, is where new wave caught hold in the U.S., but it’s not quite wrong, either. Prior to this, there had certainly been new wave hits – Blondie had been reaching the Top Ten for two years running – but the Go-Go’s ushered in the era of big, bright stylish pop, spending six weeks at the top of the U.S. charts and generating two singles that defined the era: the cool groove of “Our Lips Are Sealed” and the exuberant “We Got the Beat.” So big were these two hits that they sometimes suggested that Beauty and the Beat was a hits-and-filler record, an impression escalated by the boost the Go-Go’s received from the just-launched MTV, yet that’s hardly the case. Beauty and the Beat is sharp, clever, and catchy, explicitly drawing from the well of pre-Beatles ‘60s pop – girl group harmonies, to be sure, but surf-rock echoes throughout – but filtering it through the nervy energy of punk.
The Beat Goes On is the second album by the American psychedelic rock band Vanilla Fudge, released in early 1968. The album doesn't contain any real "songs", but rather a sound collage featuring many different elements: the voices of world leaders past and present, the band reciting pre-written mantras and reflections, and excerpts of songs (done "Vanilla Fudge style") by The Beatles and Sonny Bono. While not as successful as their debut album, The Beat Goes On was a moderate hit despite the band's reservations, peaking at #17 on the Billboard album charts in March 1968.
Lian Ross is a German Hi-NRG/Euro disco singer. She has recorded successful covers such as Sylvester's "Do You Wanna Funk" and Modern Talking's "You're My Heart, You're My Soul." Her original hit songs include, "Say You'll Never", "Fantasy", and "Scratch My Name" among others. Her 2013 album ”I Got The Beat” comprised a variety of musical styles including Tribal House with the song ”Around The World”, Electropop with the song ”Shake Your Booty” and a new version of Lians ”Say You’ll Never”. 3 years after the success of “I Got The Beat”, Lian Ross finally releases her long-awaited Double CD Album “And The Beat Goes On”…
These previously unreleased live recordings by Rory Gallagher were made for the German TV series Beat Club. Recorded over three different appearances in the early seventies they capture Rory Gallagher in his element as a superb live performer. The tracklisting focuses on his first two solo albums and contains many classic songs that would carry on playing throughout his career.
1984's Love on the Beat will forever be one of Serge Gainsbourg's most memorable recordings, but not for its musical quality. First and foremost it is the album that gave us the notorious, now infamous, single "Lemon Incest," with its equally scandalous video featuring Gainsbourg on a bed with his scantily clad 12-year-old daughter Charlotte performing the song. It is also the only American recording made by Gainsbourg, recorded in New Jersey with Billy Rush and synth king Larry Fast providing most of the synth programming. Finally, it is notorious for its feminine screaming on the title track, adding a double entendre to the word "beat" in the title.
The beat goes on, and Herbie Mann gets plenty darn groovy – serving up these short, soulful tunes that really pack a sweet little punch – thanks in part to some excellent work on vibes by the young Roy Ayers! Ayers' rings out next to Herbie's flute in a very cool way – almost Latin, but a bit groovier overall, with some echoes of bossa and 60s soundtrack jazz – all mixed with deeper soul currents that are very much in the best 60s jazz spirit of Atlantic Records! Jimmy Wisner handles the arrangements, and also plays some mean piano. Titles include Dave Pike's "Dream Garden", which was arranged by Pike himself – plus Herbie Mann's "West African High Life", and Herbie Hancock's "Hey Ho" – as well as the cuts "No Matter What Shape", "More Rice Than Peas, Please", "Soul Montuno", and "The Beat Goes On".
The gigs and shows played by the Ramones between 1977 & 1980 were perhaps the finest they ever performed. Despite having, during their 22 year career, played live over 2000 times - more than The Grateful Dead ever did, and without all the hoo-ha - it was the three years following the release of the group s debut album on the Sire label (issued in February 1976) that their most electric, dynamic and passionate live appearances took place. The recording and release of The Ramones had instilled a communal confidence in the group and this translated into making their shows less chaotic, somewhat longer and certainly featuring a lot more new material than had ever surfaced prior to the album coming out.