Полный Каталог Военных Автомобилей и Танков Германии (1900 1982)

Somewhere in Afrika, an ode to Mann's home country of South Africa, contains a formula that is atypical of Manfred Mann's Earth Band sound. With rhythms that combine an African flavor with a modern rock feel, vocalist Mick Rogers takes over on vocals with the number 22 hit "Runner," released as the album's only single. Tracks such as "Demolition Man" and "Eyes of Nostradamus" are model Earth Band efforts, but the compelling material lies in songs such as "Lalela," "Koze Kobenini," and the title track, which conveys Mann's love for his birthplace without sounding overly pretentious or manufactured. The instrumentation is solid and free-flowing, with drums and other percussion work coming to the forefront while maintaining the group's atmosphere as a rock band.

One of Hawkwind's stronger 1980s releases, their last U.K. Top 30 hit, and certainly the high point of their two-year/three-album stint with RCA, Choose Your Masques boasts a vision and energy that neither of its predecessors could match, coupled with some excellent songwriting and - again, unlike its predecessors - more than a couple of songs that demanded revisiting. Part of the improvement was surely down to the return of saxophonist Nik Turner, absent since 1978. Both his pen and his instrument are eminently visible across an album that matches a newfound sense of high drama with Hawkwind's traditional emotional punch, with the title track, the "Arrival In Utopia"/"Utopia" suite, and the closing "Waiting for Tomorrow" not only proving their worth in the studio, but restoring Hawkwind to the highest standards in concert as well…

Lionel Richie's solo career began while he was still in the Commodores, as he wrote and sang (as a duet with Diana Ross) the theme to the Brooke Shields romance Endless Love, which became a bigger hit than any of the group's singles, thereby setting the stage for his departure and his 1982 self-titled solo debut. He wasn't working in unfamiliar territory, or with new musicians. The Commodores decided to work as their own band, so their producer, James Anthony Carmichael, was able to devote his energy to working on Richie's album. Using the pop-crossover ballad style of "Endless Love," "Three Times a Lady," and "Easy" as their template, the duo turned Lionel Richie into a sleek, state-of-the-art record that, at its best, provides some irresistible pop pleasures.

The Getaway gave Chris de Burgh his first charted single with "Don't Pay the Ferryman," which peaked at number 34 in 1983. A feverishly fast-paced tune, it contained vibrant keyboards and had de Burgh powerfully barking out the chorus in one of his most intense offerings. As his most spirited single up to that point, it proved that he could easily dish out a charging rock song that still harbored his enchanting brand of lyrics and mystery. Other songs carry this surging flow as well, like the flighty tempo of "The Getaway," kept together by its pop/rock stride, or the determination aching from de Burgh's voice throughout "Ship to Shore," which proves he can muster up some energy with barely any effort.

In 1982 pianist Dave Brubeck welcomed clarinetist Bill Smith (who he had played with back in his octet days in the late '40s) as a permanent member of his Quartet along with drummer Randy Jones and Chris Brubeck on electric bass and occasional bass trombone. This album features the new Quartet at the Concord Jazz Festival playing what would become their typical mixture of songs: three Brubeck compositions ("Benjamin," "Koto Song" and "Softly, William, Softly"), a standard ("Black and Blue") and yet another remake of "Take Five." These are fine performances.

Larry Lee is best known as the drummer/guitarist/singer of the Ozark Mountain Daredevils, and has the unique distinction of being the only one of the original band with a solo album/CD. The original album was released in 1982 with a totally different cover than the one on this CD. The original cover featured a simple picture of Larry with a tam style hat looking at the camera. This album is surprisingly understated, and perhaps lacked the edge that the Ozark's had on their albums. Still, it's a must have for any Ozark Mountain Daredevils fan.