For the Alice Cooper fans who feel his output was spotty before and after the 1989 classic Trash on Epic, Brutal Planet is a cause to rejoice. It is a solid hard rock offering. Cooper is in great voice, and he sounds mean and spirited. The title track would be a blessing on radio today. It has great bottom, sizzling guitars, and wonderful backing vocalists. The most impressive thing about this album is Cooper's lyrics. "Sanctuary" could be Lou Reed meets Deep Purple in their heyday. Back in 1987 Cooper performed with an unruly band all over the map. It was very uncomfortable and a far cry from his heyday of "I'm 18" and "Under My Wheels": guitars too loud, and an artist obviously struggling with his personal demons.
The Café del Mar is perhaps most known around the world for its chill-out music compilations. The songs are described as balearic ambient, easy listening music. The collections of the music played at the café were first sold on cassette at the end of the 1980s. In 1994, the first official “Café del Mar” CD was released, which included works by world-renowned artists. Following the great success of the first release, a total of 18 volumes of the main compilation series have been published.
Blondes Have More Fun is Rod Stewart's ninth album, released in November 1978. As was the popular musical trend at the time, it is Stewart's foray into disco music, which although commercially successful, was critically panned. The lead single "Da Ya Think I'm Sexy" became one of Stewart's biggest hits, peaking at No.1 in both the UK and US. The album has sold more than 14 million copies worldwide. The album itself peaked at No.3 in the UK, being certified platinum by Christmas and was a No.1 hit in the US, where it went double platinum. It also charted within the top ten in a host of other countries.
Those who consider themselves Oscar Peterson completists should be aware of The London House Sessions, a generous five-LP set that focuses exclusively on the Peterson Trio's 1961 engagement at Chicago's London House. However, completists are the only ones who would want to invest in this collection; others would be better off with individual LPs of the pianist's London House performances. One such LP is the Verve Master Edition of The Sound of the Trio, which was recorded in July 1961 and contains performances of "Tricotism," "On Green Dolphin Street," and "III Wind…
Beethoven reputedly wasn't Beecham's favorite composer, but you wouldn't know it from this performance; it's exceedingly well conceived, highly energetic, and has that unique Beecham sparkle to it. The fillers also are delightful. All recorded in Ascona, Switzerland in 1957.
With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush, and Muddy Waters and rock & roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre.
Under one cover collection compilers gathered the greatest composers of all the classics I have never seen such a comprehensive, coherent, astonishing album of classical music like this. I think that the most passionate plays the greatest composers in the history enrich your rainy night for more than 3.5 hours without faltering on any note.
Whirl-Y-Waves Vol. 1 (1996). Whirl-Y-Waves Vol.1. is the first double CD compilation from Whirl-Y-Gig, compiled and mixed by DJ Monkey Pilot. Featuring a wealth of rare classic tracks, disc one takes you on a journey through a typical whirly club night experience, whilst disc 2 is a collection of ambient, downtempo parachute tracks.
Whirl-Y-Waves Vol. 2 (2000). Following on from the ground breaking Whirl-Y-Waves compilation of ’96, Volume 2- Global Grooves comes closer than ever to capturing that unique whirly vibe. Designed as one continuous listening experience, you can glide effortlessly between the enlivening Hot One and the relaxing Chill Too…
The second of two collaborations involving Moebius and Gerd Beerbohm, "Double Cut" sounds miles away from the relatively harmless electronic/pop experiments of solo work by Moebius or Cluster. Consisting of only four extended tracks, the album expresses the dark side of electronics courtesy of the repetitive trance-state on "Hydrogen" and "Minimotion." "Double Cut" is much closer to electronic inheritors in the experimental and techno fields than Moebius' usual new age pursuits.