After spending much of 1981 involved in a successful tour, Nazareth returned to the studio with a newfound sense of vigor the next year. The album they produced was 2XS, an outing that stands alongside Malice in Wonderland as one of their finest achievements during the 1980s. Although its sound goes for the sonic sleekness of AOR, it does not skimp on the hard rock elements. For instance, "Love Leads to Madness" boasts the kind of sumptuous power ballad melody that helped it become a radio favorite but is also layered with plenty of surprisingly heavy power chords. 2XS also finds the group cranking out some of their most furious rockers since the days of Expect No Mercy and No Mean City:

Mungo Jerry are one of rock's great one-hit successes. Outside of England, they're known for exactly one song, but that song, "In the Summertime," is a seasonal anthem known by listeners who weren't even born when it was released. Mungo Jerry was a solid blues outfit as well – in fact, one suspects they were the kind of blues band that purists Alexis Korner and Cyril Davies would have loved, had they ever intersected – and knew how to get the most out of their jug band sound, which helped them survive for decades.

To celebrate the fiftieth anniversary of when Donovan exploded onto the British folk scene, Sanctuary's excellent two-disc set collects together all of the man's recordings on the Pye recording label from 1965.

The Doors Live in Bakersfield is one of the more unique shows from The Doors during a tumultuous 1970 when Jim Morrison was on trial on trumped-up charges in Miami. The band had been playing together live for five years, and were tight enough to be able to veer into the unknown. That’s what they opted for in this California agriculture town on a hot summer night. Featuring improvisations and medleys of The Doors many beloved hits from across their albums, Live in Bakersfield is a shamanic adventure for all who listen.

Leon Russell's CD "Snapshot" comes unheralded. There are no musicians listed, no writers' credits for the songs. But the music has delightful gems. The double-entendre titled "Come for You" bounces joyfully with romantic bliss as the background singers, stinging electric guitar and Russell's growl-sing make the track shine. "Honey & Eli" is another of my favorites with Russell's signature piano – his fingers seem to bounce along the keyboards – and soul horns to create an intoxicating mix, "I see sweet love there in your eyes; true love cannot be denied." Another gem that should not be confused with the Hank Williams' classic by the same title is the religious but not preachy "I See the Light." Russell is in reflective mood here on the Almighty and the afterlife with a slower beat and his vocals soulful and passionate, "I see a place there in the distance now, a sweet delight, his precious love abounds, I hear his words and then I feel alright; I speak his name; I see the Light." The rest of the CD is a mix with some predictable melodies, but also some joyful surprises. "Lost Inside the Blues" is a strong track. The CD concludes with a Russell instrumental "Friendly Fire." "Snapshot" is a strong set, well worth exploration by fans of Russell and heartfelt roots music. Enjoy!

Includes the album in 192/24 resolution for both quadraphonic and stereo audio.

Agent Provocateur is the fifth studio album by the British-American rock band Foreigner, released on December 7, 1984. The album was the band's first and only number one album in the United Kingdom, and it reached the top 5 in the United States. Although album sales were lower than their previous work in the U.S., it contains the band's biggest hit single, "I Want to Know What Love Is", which is their only #1 single in the UK and the U.S., staying at the top spot for three and two weeks respectively. The follow-up single, "That Was Yesterday", also proved to be a sizeable hit, peaking at #12 in the U.S. The album was certified Platinum in the UK, and triple Platinum in the U.S.

Fleetwood Mac was at the top of its game in August 1977 when the band returned to its adopted home in Southern California to play three shows at The Forum in Los Angeles. Rumours had only been out a few weeks when the band left in February to tour the world, returning six months later to play three shows at The Forum for nearly 50,000 fans.

…And I Mean It is an amalgam of girl group, new wave, blues, pop, and folk-rock by Genya Ravan. To hear her exquisite voice on "Night Owl" soaring above her own backing vocals is intense, imagine Etta James backed by the Sex Pistols doing a rock version of "Earth Angel." Of all Ravan's work, …And I Mean It is possibly the most concise and picture-perfect statement of what the woman is musically about. A girl group pioneer who worked with Richard Perry prior to his finding the Pointer Sistersgroove, there is no doubt Ravan influenced that major producer, and his work did the same for her. "Pedal to the Medal" is high-end treble rock before it came into vogue. This is the other side of Siren, the album Genya produced for Ronnie Spector, with more emphasis on a good-time rocking party. "I'm Wired, Wired, Wired" is a rock & roll anthem for people who burn the candle at both ends, while "I Won't Sleep on the Wet Spot" embodies the unbridled sexuality of this album. The music crunches while Ravan uses her voice, her production skills, and her legacy to create something far removed from her days in Ten Wheel Drive.

Urban Desire is Genya Ravan creating music on her terms after artistically successful work with producers Richard Perry, Jimmy Miller, and Jim Price, along with the three strong albums she recorded with Ten Wheel Drive. As producer of the prototypical punk band the Dead Boys and their classic single "Sonic Reducer," Ravan was an essential part of the new wave explosion of the '70s, which was a blend of punk rock and power pop. Urban Desire is the quintessential new wave album, and though it caused a stir, it has never fully been recognized as the groundbreaking work it is. A driving cover of the Supremes hit "Back in My Arms Again" has guitarists Conrad Taylor and Ritchie Flieglerfragmenting Deep Purple's "My Woman from Tokyo" riff under Ravan's brilliant New York party atmosphere. That comes right after her duet with Lou Reed, a tune called "Aye Co'lorado," one of the album's highlights written by Ravan and keyboard player Charlie Giordano.

Two CD set. First-ever complete anthology of highly regarded early 70s American proto-power pop band Crabby Appleton. After the demise of Curt Boettcher's late 60s project The Millennium, gifted singer and songwriter Michael Fennelly joined forces with LA club band Stonehenge to form Crabby Appleton. Signed to Elektra, they made their debut with the glorious 'Go Back', a hit single that married a mid-60s pop sensibility with early 70s studio advances to stand as a proto-power pop classic. A slightly different mix of the track featured on their self-titled debut album, which attracted rave reviews from the underground press and sold reasonably well. But the band were unable to follow 'Go Back' with another hit single, and after second album 'Rotten To The Core!' made little impact, they disintegrated. The first-ever complete compilation of the band's work, 'Go Back: The Crabby Appleton Anthology' includes both albums and a raft of singles (including rare mono mixes and non- LP tracks) as well as two miniature tracks that were only included on the first album's 8- track release and are therefore making their first digital appearance. Featuring a new 5000 word essay on the band, and housed in a stylish digipak, 'Go Back' is the definite document of a fine group that deserve to be remembered as far more than one-hit wonders.

On To the Hilt, Golden Earring fully gives themselves over to the prog rock tendencies that they had toyed with throughout the 1970s. The resulting album has a strong prog feel but lacks the characteristic sound and the solid material that defined the group's best efforts to that point. The band puts in a typically energetic and thunderous performance, but their strong instrumental chops can't overcome the self-indulgent nature of much of the album's material: "Why Me?" and "Latin Lightning" are a few of the potentially interesting songs on To the Hilt that are undercut by dull, overlong sections of jamming. Said songs also lack the tight arrangements and the sudden, surprising instrumental twists that made the group's past epics so interesting.

We recorded this album as the title tells, in Vancouver 1997. The main man at Universal Records, Doug Morris, had personally signed us to the label. Why it has taken twelve years to get this music out, we don’t know… “it’s just the way it goes.” Never The Bride never give up. We have rescued our music from the vaults of The Armoury where our album was recorded with the late and legendary producer Bruce Fairbairn, who produced colossal platinum selling albums for Aerosmith, Metallica, Bon Jovi, INXS, Kiss and Van Halen. Sadly he died soon after our album was recorded. A great guy who really loved his music and Never The Bride. The musicians joining Nikki and Been on this album were Doug Boyle on guitars, Trevor Barry on Bass, Frosty Beadle on Drums and additional programming and keyboards from Canadian, John Webster. Our songs have now been mastered all these years later and brought to you by our own indie label, Lock Stock and Barrel Records.

The Best Christmas Album In The World…Ever! is designed and signed as a reference on your choice of several exchangers file. Convenience, reliability and availability, is the property of our portal, efficiency and commitment to new heights! Universal Music Group N.V. often abbreviated as UMG and referred to as just Universal Music is a Dutch–American multinational music corporation under Dutch law.

Cut Loose is Paul Rodgers (of Free and Bad Company fame) debut solo album. Unlike his other work, Paul Rodgers plays all the instruments on this album. It was recorded at his house in Kingstone. The song "Live In Peace" was re-recorded by his next band The Firm on their second album Mean Business. "Superstar Woman" was originally an unreleased Bad Company song and was re-recorded by Rodgers for this album. (the original version was eventually released on the Bad Company Anthology in 1999). Released in 1983, the album peaked at #135 on the Billboard's 200 chart.