Although most Wes Montgomery fans associate his playing with strings with his later A&M and Verve recordings, the influential guitarist actually fronted a string section for the first time on this Riverside date from 1963, which had the ironic name of Fusion. As with his later albums, Montgomery's guitar solos here are brief and melodic but the jazz content is fairly high even if the emphasis is (with the exception of "Tune Up") on ballads.
Shack is led by Michael Head, who fronted the Pale Fountains in the mid-'80s after his mind was blown by Liverpool's incredible Echo & the Bunnymen and Teardrop Explodes. Head and his brother John know their way around highly-developed '60s-to-'80s pop. Get past what used to be called side one; it's often wonderful, but it's lesser. For instance, the one clunker, "Pull Together," is like uncharacteristically-bad Oasis. "Lend's Some Dough" is fun Mersey bounce pop like the La's, and the two U.K. singles, "Natalie's Party" and the much better Bunnymen-like "Comedy," are both guilty of trying too hard. But, starting with "Streets of Kenny," the LP shifts into a more natural pace, marked by chattering, delicately-picked bright acoustics, ringing electrics, busy background strings, and the Heads' onrushing, splendid harmonies. The level of compositions, arrangements, and singing on side two sets Shack apart from all the merely-OK, press-fed bands cluttering up British festivals. In fact, Head's pop knack has never been greater, as if he finished a long apprenticeship. He's rather sly about it, too: From the affectionate "You Only Live Twice" coda of the standout, "Since I Met You," to the staccato Burt Bacharach trumpet blurts of "Re-instated" to the Revolver Beatles outros of "Natalie's Party" and "I Want You" to the Arthur Lee/Love-worship of "Daniella," the milestones of yesteryear are referenced but built upon as well.
On this 1977 album, Nazareth makes a full-blooded return to the hard rock sound they had neglected since their success with Hair of the Dog. The result is a potent, driving slab of hard rock that will please Nazareth fans and devotees of 1970s hard rock alike. The album sets its frenzied tone right off the bat with its title track, a blistering rocker that features Dan McCafferty spitting out a sharp-edged vocal about life's cruelty over a series of fast and relentless guitar riffs. The remainder of the album prominently features a similarly brutal string of rockers: standouts include "Revenge Is Sweet," a paean to getting even that combines chugging guitar riffs with a stomping beat, and "Gimme What's Mine," a fierce declaration of dominance that layers Southern rock-styled riffs over a churning bassline.
In January 1973, David Liebman, the saxophonist who played on the first sessions of On The Corner let himself be persuaded to play with the group. It really wasn’t his kind of music, but he thought that “it was where things were happening,” and as was his habit, he joined the fray. And it was prodigious, even if Miles had reduced his band in an attempt to radicalize the Afro-funk directions of On The Corner. No more keyboards, except for a few touches by Miles himself and no more Indian instruments.
The debut album by the heavy metal band Killers, led by Iron Maiden's ex-vocalist - Paul Di'Anno. Coming together in 1991, Killers was one of the first metal super groups to exist. Featuring members from bands including Iron Maiden, Tank, Raven and Battlezone, they were hailed by the press as the 'Natural successor to Judas Priest'. With their album ""Menace to Society"" awarded Metal Hammer's best new album of 1994 and a world tour which included headlining the famous Wacken Festival in Germany, Killers represent all that is British Metal at it's very best. ""Murder One"", recorded in USA in the line-up: Paul Di'Anno - vocal, Steve Hopgood - drums, Cliff Evans - guitar, Gavin Cooper - bass guitar, Nick Burr - guitar, was officially released in 1992. Acclaimed by the press worldwide, the album became a classic for lovers of British metal. The album includes two cover tracks: ""Children of the Revolution"" ( T. Rex) and ""Remember Tomorrow"" (Iron Maiden).
During the mid-'50s, Sarah Vaughan spent most of her time recording songbook standards backed by a large orchestra in florid arrangements, with only the occasional breath of fresh air like her masterpiece, 1954's Sarah Vaughan with Clifford Brown. Four years after that milestone, another landed with the live album At Mister Kelly's. Recorded quite early in the days of the live LP, the album captured Vaughan at her best and most relaxed, stretching out on a set of late-night torch songs and ballads.
Dragontown continues the assault of Alice Cooper's gift to the new millennium that was Brutal Planet. Considered a third chapter of a trilogy initiated by 1994's The Last Temptation, this shadowy production plays like hardcore in slow motion. There is no one identifiable song like "Gimme" or "Brutal Planet" from the last episode, but the production values are high and the innovative riffs consistent. This work stands on its own, chock-full of the dark prince of pop's nasty humor. "It's Much Too Late" is supposed to be for John Lennon, but the Beatlesque backing vocals sound like Carole King's hit from Tapestry on hard drugs. There are references to the sacrilege spread out over Lennon's work from Plastic Ono Band to Imagine, but here Alice takes off the gloves and gives the church the finger: "I'm sending you all to hell/I'm tired and I'm wired here…."
With the future of the original Alice Cooper band in doubt by mid-1974 (they would soon break up for good with Alice going solo), Warner Bros. decided to issue a best-of compilation entitled Greatest Hits. If you're a newcomer to Alice, this 12-track compilation is a must-hear – all the selections are exceptional. While many have chosen to focus primarily on Cooper's theatrics over the years, the original bandmembers were indeed supreme rock songwriters; such anthems as "I'm Eighteen," "Under My Wheels," "School's Out," and "No More Mr. Nice Guy" are unquestionably among the finest hard rock tracks of all time. And the other selections prove to be just as strong – "Is It My Body," "Desperado," "Be My Lover," "Elected," "Billion Dollar Babies," and "Muscle of Love" are all outstanding as well. The only criticism of the original release is that the collection overlooked the band's key album tracks never issued as singles.
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.