20. Hã¤mophilie Symposion Hamburg 1989

Australian Tour is a concert from The Bee Gees recorded live at the National Tennis Centre in Melbourne, Australia in November 1989. Melbourne was the final stop on their 1989 One For All World Tour, which included the United States, the first time The Bee Gees played live there since their 1979 Spirits Having Flown Tour.

As glam rock debut albums go, you'll have to search a long way to find one that outclasses Suzi Quatro's opening shot. Though her fame and, of course, her hit singles thus far were based around songwriters Nicky Chinn and Mike Chapman's guileless ability to crank out the classics, away from the glare of TV and radio play the pair allowed Quatro and partner Len Tuckey full rein. The result was an album of several very distinct parts, inextricably linked by the sheer power of the Quatro personality. The heart of Suzi Quatro lies in the band's choice of covers.

The Magician's Birthday is the fifth album by British rock band Uriah Heep, released in 1972 by Bronze Records in the UK and Mercury Records in the US. The concept was "based loosely on a short story" written by Ken Hensley in June and July 1972. In a retrospective review, Sputnikmusic praised The Magician's Birthday, saying, "Though probably not as cohesive as it could be, it still offers plenty of highlights, earning its place among Heep's finest albums". Reviewer Daniel Dias singled out "Sunrise", noting that it was "a highlight in Heep's catalog and one of the band's finest progressive rock ballads". AllMusic noted the album's prog elements as well, and said, "The Magician's Birthday never quite hits the consistent heights of Look at Yourself or Demons and Wizards but remains a solid listen for Uriah Heep fans". The Magician's Birthday was certified Gold on 22 January 1973.

Michael Bolton is no fool, and when he broke through to platinum sales with The Hunger, nobody had to tell him to record a follow-up devoted to more of the same. Bolton produced most of the record himself, and he teamed with the cream of the era's romantic rock ballad writers, people like Diane Warren (who gets five co-credits here) and Desmond Child, while the R&B copy this time was Ray Charles' version of "Georgia on My Mind." He also reclaimed "How Am I Supposed to Live Without You" from Laura Branigan. The result was five Top 40 hits and millions of albums sold. Maybe Bolton wasn't the king of the hockey rinks, but his voice was now stoking the romantic fires in bedrooms across America, which is nice work if you can get it.

The ultimate contemporary jazz hyphenate Russ Freeman (guitarist/arranger/producer/keyboardist/composer) became one of smooth jazz's most influential artists through magnificent projects like this one, chosen by Jazziz as the best contemporary jazz album of all time. This third Ripps release is a masterpiece of mouthwatering pop-jazz tunes, featuring strong hooks, gorgeous texturing, and styles ranging from tropical (the sunny "Aruba" featuring Rob Mullins on keys and Carl Anderson scatting away) and Brazilian ("One Summer Night in Brazil," Freeman's lush centerpiece) to soulful (a cover of Al Green's "Let's Stay Together") and rockin' (the locomotive "Earthbound," which shows Freeman's strings at their frenzied peak).

Like Mr. Universe, Glory Road put to shame many of the albums Deep Purple recorded after Ian Gillan's departure. Play this album next to Purple's post-Gillan 1975 release Come Taste the Band, and it becomes clear just how superior some of Gillan's solo albums were. Those who like Gillan for melodic yet blistering heavy metal won't be disappointed by "Sleeping on the Job," "Unchain Your Brain," and other inspired, high-octane rockers. A few years later, Gillan would experiment with elements of jazz fusion and R&B/funk, but on Glory Road it is his love of metal and balls-to-the-wall rock that wins out. Next to Mr. Universe, this was Gillan's best studio date.