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Our Price: $12.39  CDFor Sale Usually ships in 1-2 days
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On its second full-length album, THAT'S LIFE, the U.K. punk group Sham 69 solidified its sound, offering up catchier fist-shaking anthems than its half-live/half-studio debut, TELL US THE TRUTH, while also thoughtfully conveying a song cycle of working-class woe. In addition to shout-along numbers "Hurry Up Harry" and "Angels with Dirty Faces," the record features more reflective tunes, most notably the pensive, subdued "Everybody's Right, Everybody's Wrong," proving that frontman Jimmy Pursey and the lads were more than just a knuckleheaded band that instigated brawls. While TRUTH may be the better introduction to Sham 69, THAT'S LIFE presents the ensemble at its creative peak.
Originally released in the UK on Polydor. Includes liner notes by Jimmy Pursey and Dave Parsons.
Sham 69 includes: Jimmy Pursey (vocals); Dave Parsons (guitar).
Q (5/02 SE, p.141) - Included in Q's "100 Best Punk Albums".
Q (8/96, p.140) - 3 Stars - Good - "...Jimmy Pursey stood tall in an era of gig-rucks, council bans and pre-Lottery tabloid hysteria....in better style..." That's Life Music | List Price | $13.98 (You save $1.59) | | Category | Rock/Pop Albums, Punk CDs, Rock | | Label | Sanctuary | | Orig Year | 1978 | | All Time Sales Rank |  210732  | | CD Universe Part number | 6840307 | | Catalog number | 236127 | | Discs | 1 | | Release Date | Feb 15, 2005 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Jimmy Pursey; Peter Wilson | | Engineer | Peter Wilson |
Sham 69 That's Life Songs | 1. | Leave Me Alone | $0.99 | |
| 2. | Who Gives a Damn | $0.99 | |
| 3. | Everybody's Right, Everybody's Wrong | $0.99 | |
| 4. | That's Life | $0.99 | |
| 5. | Win or Lose | $0.99 | |
| 6. | Hurry up Harry | $0.99 | |
| 7. | Evil Way | $0.99 | |
| 8. | Reggae Pick up (Part 1) | |
| 9. | Sunday Morning Nightmare | $0.99 | |
| 10. | Reggae Pick up (Part 2) | |
| 11. | Angels With Dirty Faces | $0.99 | |
| 12. | Is This Me or Is This You | $0.99 | |
| 13. | Cockney Kids Are Innocent, The | |
| 14. | No Entry | |
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That's Life Review
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THE VERY BEST OF includes a 46-page booklet with pictures and track information.
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Also available in a 3-pack with FACE THE MUSIC and DISCOVERY.
1976's A NEW WORLD RECORD is both a classic of commercial '70s pop and an archetypal ELO album. From the outer-space synths and rich orchestrations that open the album to Jeff Lynne's meticulous production and Beatlesque melodies, A NEW WORLD RECORD is magnificent ear candy. Both ambitious enough to appeal to "serious" rock fans and ultra-catchy enough to sound terrific on Top 40 radio (the plaintively gorgeous, McCartney-like "Telephone Line" and the anthemic "Livin' Thing" were well-deserved smashes), ELO was one of the few '70s bands whose appeal covered both the FM and AM spectrums. The album even resurrects "Do Ya," a classic single by Lynne's former band, the Move, in a splashy new version.
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Jefferson Airplane were less focused in 1969 than they had been in the Summer of Love two years before. Recorded at the Fillmore East, these performances find the Airplane coming off their most recent album, Volunteers, released a month earlier, with the band a lot looser (drug use aside) and fractured. The factions in the group were presenting themselves during performances, and this set is no exception. Guitarist Jorma Kaukonen and bassist Jack Cassidy connected and jammed like they would have been just as content without the vocals getting in the way, Grace Slick and Paul Kantner combined their voices and played off ...
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That stylistic dynamic plays itself out in less blatant juxtapositions throughout the rest of the album. "You Don't Understand Me" is a classic power-popper replete with twinkling piano and smooth, layered vocal harmonies, while raw garage-rock stomper "Hold Up" leaps out with almost ...
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One of the high-water marks of progressive rock (and thus of 1970s rock in general), CLOSE TO THE EDGE found British prog godfathers Yes firing on all cylinders. Throughout their history, they've undergone numerous lineup changes, but this album ...
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“A musician like Chris Norman comes along, oh, perhaps once in a century. He’s the kind of player whose virtuosity serves the music without becoming the performance itself; whose exceptional technique not only is of the “he’s so good he makes it sound easy” variety, but also frees the music to reel out as if it, the instrument, and the player were one communicative entity. ” -- CD Review“. . .Norman stands out for his spirited eclecticism . . . His rootsy heritage shines through in every nuanced embellishment, trill, triple tonguing, and silky slide. It’s clear that Norman is having a ball, with the chops to make it sound effortless.” -- Billboard Magazine“ . . .a flute player of spectacular & imaginative virtuosity” -- The New Yorker Magazine“A flute superstar . . .the musicianship just came wailing out” --Toronto Globe & Mail“The finest wooden flute player in the world . . .and few that have heard him play would dispute that description.” — Halifax Mail Star" . . .The Chris Norman Ensemble wondrously demonstrated that classical and folk need not necessarily be separate entities at all. They can intertwine to enchanting effect . . .Norman's agility with his wooden flutes was exceptional, as was his way of conveying the expressive heart of each piece. He has formed a marvelous ensemble of like-minded musicians." -- Cleveland Plain Dealer“ . . .one of music’s most talented performers. Norman is certainly a special musician. In solos or accompaniments, Norman brilliantly spun out delicate phrase after phrase, bridging the centuries-wide gap to make the music ours. . . With whoops more reminiscent of a pop concert, it could have set purists on their collective ears were it not for the fact that these guys [The Chris Norman Ensemble] could do it all . . . it was charmin' Norman's night, whether hovering expertly between several flutes or pumping the bellows of the Scottish small pipes. He is a star in this Celtic crossover firmament, titillating with triple-tonguing and then turning around to caress a folk melody as if it were the best of Mozart.” -- Pittsburgh Post Gazette"I was recently heard to remark that it would be wonderful to feel as at home with anything as Chris Norman seems to be with his flutes, and this CD is further evidence if any were needed of the exceptional talent and musicality he possesses. His playing of this repertoire is never less than utterly convincing . . .musical characters such as Chris Norman are rare in any generation . . ." -- Early Music"In the spotlight on several numbers was flutist/bagpiper Chris Norman. Norman is a commanding, expressive player. He sails through dances with endless energy, giving the sort of continuous ...
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