Misfits is the sixteenth studio album by the English rock group The Kinks, released in 1978. Following the minor success of Sleepwalker in the United States, Misfits featured a more rock-oriented style than many other Kinks records of the 1970s. Despite internal conflicts within the band, leading to both bassist Andy Pyle and pianist John Gosling quitting the band, the album made the Top 40 in America. The album also contained the minor hit single "A Rock 'n' Roll Fantasy", as well as less successful releases "Live Life" and "Black Messiah".
2007 release from Melodic Rock supergroup/project. 10 tracks: Features members of House Of Lords, Harem Scarem, Hardline, MSG, Malmsteen, Street Talk, Robin Beck, Giant, Dan Reed, Crown Of Thorns, and FM.
House Of Shakira are a Swedish rock formed by guitarists Mats Hallstensson and Anders Lundström that started out in Stockholm around 1991 under the moniker The Station. The mid 1990’s saw the band change their name to House of Shakira, named after a London bordello and found a settled line up with Per Schelander (bass), Tony Andersson (drums) and Andreas Eklund (vocals) alongside Hallstensson and Lundström…
Most entries in the Back to Mine series allow the artists to investigate their wide but dabbling tastes in influences – a bit of dance, a bit of alternative, some roots in '60s pop or soul perhaps, and maybe a stray nugget from something obscure like Krautrock or dub or rockabilly. The other volumes usually come from true DJs or, rarely, those with something special to say. Regardless of whether you enjoy Röyksopp's vision of polished downbeat pop, the duo's interest in post-disco and Euro-dance pays major dividends here for those looking to hear something beyond the usual Klein + M.B.O…
Empire released their fourth album "Chasing Shadows" in November, with White handling all vocal duties. Doogie White replaced Tony Martin as the frontman of the German band Empire. This is consistent hard rock with great melodies and hooks wrapped in a hard driving performance. Mr. White appears to have been born to sing these songs.
"Book of the Dead" is the second album by metal band Bloodbound. It is the first with Pelle Åkerlind on drums, and the only one to feature the German vocalist Michael Bormann, who was under a one-time contract to record this album. While the singer is mostly known for his melodic rock/AOR works, his adaptability is very much in favor of the band and fronts this effort flawlessly delivering the appropriate heavy/power metal tone. Beyond vocals, the album features a totally devastating rhythm section that manages to sound interesting throughout the album while the guitars retain a fair balance between riffs and melodic lines, both in no short supply.
Following his high-water mark of Cardiff Rose, McGuinn's Thunderbyrd is a bit of a letdown. While most of the tracks are covers ranging from Dylan to Peter Frampton to George Jones to Tom Petty's "American Girl," the songs all have a sort of weariness to them which detracts from what should have been a great effort. His last solo disc for a long, long time.
On the surface, Roger McGuinn, the former leader and 12-string jangle-meister of the Byrds, and Mick Ronson, who contributed the wicked guitar crunch to David Bowie's Spiders from Mars period, might seem like a wildly unlikely musical combination, but the two became friendly when they both toured as part of Bob Dylan's Rolling Thunder Revue, and after that road trip came to a close, Ronson went into the studio with McGuinn to produce his next solo album.
In the liner notes to Sundazed's reissue of Roger McGuinn & Band, the former Byrds leader says, "A band should be a benevolent dictatorship," adding, "Democracy is a great form of government, but it doesn't work in rock & roll." Whether you agree with that statement or not, Roger McGuinn & Band is one album that supports McGuinn's argument pretty well; in 1975, after his first two solo albums were greeted with lackluster commercial and critical response, Columbia Records assigned producer John Boylan to McGuinn's next project, and Boylan brought along a band.
Although the music of Norah Jones continues to blend pop, soul, folk, and country with a seasoning of jazz, her third album for Blue Note is the first where she's written (or collaborated on) all the material. Beneath the smooth surface lie darker strains on the album-opening "Wish I Could" (about a boyfriend lost to war), intimations of mortality in "The Sun Doesn't Like You," and the post-election horrors of "My Dear Country." The last seems to channel the inspiration of Brecht/Weill, while the equally bleak "Sinkin' Soon" is set to a jaunty Dixieland rag. Throughout, Jones's vocal intimacy and melodic warmth remain as disarmingly understated as ever. The soulful "Thinking of You," the countryish "Wake Me Up," and the syncopated "Be My Somebody" reflect the captivating style of her previous work. Although too much in the same midtempo mode becomes a dreamy lull, cut by cut, Jones's voice is irresistible.