Road Show Blues [Bluesbreaker] was John Mayall's third album for the U.K.'s DJM Records, following Bottom Line and No More Interviews. At this time, his backup band included guitarist/singer James Quill Smith, bassist Kevin McCormick, drummer Soko Richardson, and singer Maggie Parker. Two cuts, Jimmy Reed's "Baby, What You Want Me to Do" and Mayall's "Mexico City," were recorded live. The band is a tight unit in support of the leader, who sings and plays fiercely. By the time that this album, the last in Mayall's DJM contract, was recorded, his career was in decline, and the disc was not released in the U.S. at the time. It would be another five years before he made another.

Although marketed as an Annihilator album, Remains is actually a full fledged solo album by band founder Jeff Waters. And while it’s true that both King of the Kill and Refresh the Demon were also largely created by Waters with minimal help from other musicians, Waters replaced drummer Randy Black with a drum machine for this album! Aside from minor contributions to two songs by John Bates & Dave Steele, everything you hear on this album is Jeff.
What he’s accomplished here is actually quite admirable and should be viewed for what it is - a solo album done almost Completely solo. Jeff takes this opportunity to experiment with his songwriting choices, but really doesn’t veer all that far from his signature sound…

A Golden Classics Edition Review by William Ruhlmann
In essence, Collectables Records' Gary Puckett & the Union Gap compilation A Golden Classics Edition is a two-fer CD combining the group's first two albums, named after its first two singles, Woman, Woman and Young Girl. But the addition at the end of the disc of the next five singles – "Lady Willpower," "Over You," "Don't Give in to Him," "This Girl Is a Woman Now," and "Let's Give Adam and Eve Another Chance" – makes this a more thorough best-of for the group, at a generous 76-minute running time. Gary Puckett & the Union Gap was very much a singles act; the first six of those seven singles, all of which reached the Top 15 and four of which went gold, are all most people know the band for. The full contents of the first two albums suggest that that is all the group should be known for, too. The albums are clearly afterthoughts thrown together to generate some LP sales tied into the hit singles.

This is an afternoon studio session between George Harrison, Bob Dylan and somefriends at Columbia Studio B (NYC) on May 1, 1970 while Bob was drumming up material for his New Morning project. The sound quality is absolutely perfect in every respect. T are a few remarkable performances , particularly “Da-Doo-Run Run” (Bob & George duet), the Everly Brothers' classic “All I Have To Do Is Dream,” “Song To Woody,” and the Beatles' “Yesterday” (which is hard to believe he actually sang!) Overall, it's a very enjoyable way to spend an hour.

Emerging from Liverpool, England in 1960, the Beatles were a seminal British group that evolved from rock/pop origins into pioneers of musical experimentation. The band solidified its iconic lineup in 1962, featuring John Lennon (vocals, rhythm guitar, harmonica, keyboards, percussion), Paul McCartney (vocals, bass, guitar, keyboards, percussion), George Harrison (lead guitar, vocals, keyboards), and Ringo Starr (drums, vocals, percussion) after signing a recording contract with EMI. This followed a brief period with Stuart Sutcliffe (bass, 1960-61) and Pete Best (drums, 1960-62).

REHEARSAL BROADCAST FOR BOWIE S 50th BIRTHDAY BASH His other milestone birthdays had passed privately, but for his 50th Bowie threw himself a celebration at Madison Square Garden; it was simulcast via pay-per-view television. As a consolation prize to Britain, Bowie, Gail Ann Dorsey and Reeves Gabrels cut ten songs during rehearsals to be played on a Radio One special to air on the same day. Bowie opened with Little Wonder dug into Hearts Filthy Lesson . Some guests were a subtle nod at Tin Machine s influences: Frank Black, who came on to sing Scary Monsters and Fashion and Sonic Youth, who bloodied up I m Afraid of Americans . Dave Grohl added munitions to Seven Years in Tibet and Hallo Spaceboy . Robert Smith, the most inspired guest choice, sang The Last Thing You Should Do and an oddly heartening Quicksand (Smith had lobbied to sing Young Americans ). Billy Corgan helped close out the show like a kid who d won a contest. For some fans, this immersion in the present tense was disappointing. The biographer David Buckley made a case for the prosecution: Playing live with Iggy Pop for the first time in 20 years. Playing live with Robert Fripp and Brian Eno for the first time ever. Bringing on Nile Rodgers for Let s Dance. The only person who d been invited that night who actually hailed from Bowie s past, who had been Bowie s influence, was Lou Reed. At the end of the show, Bowie made a concession: he came out alone with his 12-string acoustic guitar and sang Space Oddity . I don t know where I m going from here, he said. But I promise I won t bore you. Then he was off for another year of tours and TV spots. He d dodged the snare, at least this time.

"Please" is a song by Irish rock band U2. It is the eleventh track on their ninth album, Pop (1997), and was released as its fourth single on 22 September 1997 by Island Records. As with "Sunday Bloody Sunday", the song is about The Troubles in Northern Ireland. The single cover for this song features pictures of four Northern Irish politicians – Gerry Adams, David Trimble, Ian Paisley, and John Hume (clockwise from top left). Two months before the release of the single, live versions of "Please" and three other songs from the PopMart Tour were released on the Please: PopHeart Live EP in September 1997.

Strapping Young Lad's guitarist leader embarked on a solo career with the enigmatic "Ocean Machine", an album of encompassing, thrilling atmospheres in which pop, metal, progressive metal, trash and nuances of electronic blended together in a very balanced way. This atmosphere somewhat recreated the best from the 80's decade: from the mainstream heavy metal scene to the dark atmospheres of The Cure or the frantic energy of Queen. To his virtuous and somewhat prolific guitar work in the vein of Steve Vai or Joe Satriani, Devin Towsend added his inspired gift for creating remarkable melodies and outstanding choruses, while his dynamic voice and obtuse lyrics gave the album the necessary melodic profoundness…

During the 20 years that preceded this set, Paul Motian had led some of the most intriguing jazz groups around. For this project, his "Electric Bebop Band" consists of two tenors (Chris Potter and Chris Cheek), two guitars (Kurt Rosenwinkel and Brad Schoeppach), bassist Steve Swallow, and the leader himself on drums. With the exception of Motian's opening selection and a pair of originals by Rosenwinkel, the repertoire consists of three songs by Thelonious Monk and one tune apiece from Bud Powell, Miles Davis, George Shearing, Charlie Parker, and Rodgers & Hart. Essentially a straight-ahead bebop date, the most unusual aspect of the set (which unfortunately has no liner notes, so individual soloists are not identified) is that there are many sections where two different players solo together…

Bryn Terfel has it all. His rich, deep baritone voice is capable of navigating the rapids and doing the vocal leaps and cartwheels that Handel routinely demands of his singers, even the ones with big, deep voices that usually move more slowly. He is Welsh, and in his mastery of words–clarity of projection and precise emotional expression–he calls to mind another great Welsh performer, Richard Burton.

Since its formation in 1987 the Dufay Collective has specialised in colourful, themed recordings – often with a touch of the nudge-nudge, wink-wink about them (Johnny, Cock Thy Beaver; Miri It Is, etc). So 13th-century Paris, with its bawdy mix of persons of all kinds, is natural ground for this group. But not everything is treated as slapstick: the songs by Adam de la Halle and some other pieces are touchingly rendered by a delightful trio of male voices in the latest scholarly fashion (without instruments), and this seems right even in the famous ‘On parole’, a motet with street cries woven in: this work is really an academic parody of the popular style. With the ‘minstrel’ dances and song arrangements we are led into a kind of musical toyshop where bagpipes and many other instruments abound.

Captain Beyond is a one-of-a-kind progressive album with rock, heavy metal, and jazz influences with a "space rock" lyrical bend. Formed by former members of Deep Purple (Rod Evans, vocals), Iron Butterfly (Rhino, lead guitar, and Lee Dorman, bass), and Johnny Winter (Bobby Caldwell, drums) Captain Beyond is an album that flows from riff to riff, drumbeat to drumbeat, often with various time signatures within the same song. Taking a tip from the Moody Blues, songs flow directly into each other without benefit of any lag time between selections. Taken as a whole, the album is kind of a rush, as quick, riff-laden guitar lines predominate for a few songs before slowing down temporarily into a lull until the next takeoff.

This Is…Cult Fiction Royale collects 47 original television and film themes from the '60s and '70s like "Theme from Space 1999," "Theme from the Man from U.N.C.L.E.," "Theme from Dirty Harry" and "Theme from Get Carter." Much of it is from the source material (directly from the films and shows themselves), while others are from the original masters. Many of these tracks are available elsewhere, but there are enough obscurities to entice collectors of the genre. Important notice! Cult Fiction Royale is brought to you using tip top modern technology, however some tracks included on this compilation are original mono masters rather than stereo copies, so please do not adjust your stereophonic gramophone recording equipment, rest assured it is all an integral part of the listening experience of Cult Fiction Royale.

As the Elephant 6 catalog continues to expand, it becomes increasingly obvious that many of the label's bands are concerned not merely with creating fresh and exciting music but rather entire mythologies, crafting obscure concept records exploring the intricacies of strange pocket universes. Existing in the musical gray area between Olivia Tremor Control and Neutral Milk Hotel – both of whose members make cameos here – Elf Power's superb When the Red King Comes is a heady journey to a psychedelic utopia, a travelogue with such destinations as "The Secret Ocean," "The Separating Fault," and "The Silver Lake." As imagined primarily by singer/songwriter Andrew Rieger, the album is a odyssey "Into the Everlasting Time," and true to its word, it seems to exist outside of any obvious era – the fuzzy, lo-fi production is an Elephant 6 hallmark, but the unique instrumentation (electric horns, pump organs, even Nepalese percussion) and cryptic, stream-of-consciousness wordplay suggest something altogether different; perhaps most telling is When the Red King Comes' cover, a crazed map suggesting something out of a J.R.R. Tolkien fever dream.

"Last Night on Earth" is a song by Irish rock band U2. It is the sixth track on their 1997 album, Pop, and was released by as its third single on 1 July 1997 by Island Records. The song features excerpts from "Trayra Boia", written by Naná Vasconcelos and Denise Milan.It's music video was directed by Richie Smyth and filmed in the US.