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Other standout rockers include "Don't Talk to Strangers," "Bringing Down Paradise," "Let Me Down Easy," and the title track. While it's not on par with such Who classics as TOMMY or WHO'S NEXT (how could it be?), UNDER A RAGING MOON proved to ... Full DescriptionWho fans that the band's ex-singer wasn't going wallow in retirement.
UNDER A RAGING MOON remains one of Roger Daltrey's strongest solo albums. While his earlier releases were more ballad-based (a departure from his blaring hard rock with The Who), UNDER A RAGING MOON contains mostly rock compositions. The best track here is the Pete Townshend-penned "After the Fire," which turns out to be a tribute to their fallen friend, Keith Moon (its video was an MTV favorite in the fall of 1985).
Personnel: Roger Daltrey (vocals); Alan Shacklock (guitar, piano, keyboards, percussion); Russ Ballard (guitar, background vocals); Robbie McIntosh, Bruce Watson (guitar); Mark Feltham (harmonica); Nick Glennie-Smith (keyboards, synthesizer); Steve Rance (Fairlight); Tony Butler, John Siegler (bass); Mark Brzezicki (drums, percussion); Zak Starkey, Cozy Powell, Martin Chambers, Roger Taylor, Stewart Copeland, Carl Palmer (drums); Mark Williamson, Annie McCaig, John Payne, John Parr (background vocals).
Hide Description Under A Raging Moon Music Roger Daltrey Under A Raging Moon Songs Purchase Under A Raging Moon CD To buy, Click on price to add to cart | Neil Young On The Beach CD (1974) Remastered
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After working his way through loss and chaos on the brilliant TONIGHT'S THE NIGHT (recorded in 1973, but not released until 1975), Neil Young deftly exorcised any lingering demons with 1974's ON THE BEACH. The album opens with the saunter of the aptly titled "Walk On," followed by the utterly gorgeous, Wurlitzer-tinged "See the Sky about to Rain."
The set also features a trio of scathing songs--"Revolution Blues," "Vampire Blues," and "Ambulance Blues"--that address issues important to Young, both social and personal. It is good to hear Young back with such bite and vitriol, especially after the broken desperation of TONIGHT'S THE NIGHT. But while ON THE BEACH is edgy and deeply felt, it also manages to sound liberating and relaxed, with glimmers of hope and humor peeking through the spare, evocative arrangements. Inexplicably unreleased on CD until 2003, ON THE BEACH is both unflinching and resilient, and easily stands as one of Young's finest albums.
Guests:Graham Nash/Rick ...
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In the first seven years of its existence, as chronicled on the GOLDEN ROAD box set, the Grateful Dead went from a garage R&B band to LSD-fueled experimentalists to acoustic country rockers. The stylistic expanses traversed during the subsequent phases of the group's lifetime were just as great. THE GOLDEN ROAD's companion piece, the dozen-disc box BEYOND DESCRIPTION, contains all of the Dead's post-Americana-period releases up to their final studio album, 1989's BUILT TO LAST. Each is buttressed with numerous outtakes, demos, live versions, etc. Most impressively, in the case of the back-to-basics acoustic live album RECKONING, there's an entire disc of bonus material.
Over the course of BEYOND DESCRIPTION, we witness changes on several levels; following organist/singer Pigpen's death, the arrival of keyboardist Keith Godchaux and his vocalist wife, Donna, helped edge the band beyond its blues/country roots toward such jazz-rock excursions as "Eyes of the World," while Bob Weir expanded his horizons as well with the ambitious contemporaneous piece "Weather Report Suite." By the mid-'70s, bold conceptual works were the group's stock in trade, from the prog-rock shadings of "Blues for Allah" to the side-long epic "Terrapin Station." After Keith's death, new arrival Brent Mydland at the turn of the decade helped revitalize the band with his more soulful approach, and the Dead moved back to the rich, rootsy sound it had embraced 10 years earlier. This approach eventually earned the band a whole new generation of fans via the 1987 hit "Touch of Grey." The whole ...
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ELO was big enough by 1974 that some people actually suggested that ELDORADO featured Satanic backward-masking. Of course, the idea was ludicrous; but the band playfully responded by adding a backward message to "Fire on High," the opening instrumental on 1975's FACE THE MUSIC.
Besides "Fire on High," which was used as background music for countless television programs in the '70s, this album's eight lengthy tracks include two enormous hits, "Evil Woman" and the McCartneyesque ballad "Strange Magic." Decades later, these two tracks are still in constant rotation on classic-rock radio around the world. Those three songs defined the new sound of ELO. Gone were the elaborate, classically styled overtures, in favor of concise, ultra-melodic pop songs given lush, romantic orchestral arrangements with endlessly overdubbed harmony vocals. The next three ELO albums refine this aesthetic to commercial ...
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By this album, Fleetwood Mac had only 2 members from the original line-up of 1967: Mick Fleetwood and John McVie. Danny Kirwan joined in 1968, in time for the group's second album. Christine McVie (nee Perfect) joined in 1970, and Bob Welch joined in Spring 1971 to replace departed guitarist Jeremy Spencer.
Not a Mac album that springs readily to mind, when you consider the multi-billion sellers in the catalogue. This was during their "lost period," when they were neither a boy or a girl. Greeny had long departed and Stevie Nicks was not even a twinkle in Mick Fleetwood's eye. Bob Welch was the frontman, and shared the songs with Christine Mcvie and ...
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Released in early 1981, just before the band became power ballad kings, Journey's CAPTURED is a live double album/single CD. Although it would reach even greater heights of popularity starting with its next studio release, ESCAPE, Journey was already one of the top names in stateside rock. All of its hits and fan favorites up to this point are featured, notably "Lovin' ...
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