Aerosmith Rockin' The Joint (2005) [japanese Edition]

Bigelf are sort of the white version of Lenny Kravitz. They're astoundingly accurate rock revivalists in terms of songwriting, instrumentation, and recording techniques. They also cobble together styles that in their heyday would never have co-existed: Hendrix-ish blues, Beatlesque pop, Floydian psychedelia. Unlike Kravitz, however, Bigelf are much more sonically daring. They specialize in blowing up basic germs of ideas into Technicolor fantasies light years away from their origins. "Superstar," for example, begins with terse, standard-issue AC/DC chords, then flowers into bright pop changes and lush vocal harmonies.

Bigelf are sort of the white version of Lenny Kravitz. They're astoundingly accurate rock revivalists in terms of songwriting, instrumentation, and recording techniques. They also cobble together styles that in their heyday would never have co-existed: Hendrix-ish blues, Beatlesque pop, Floydian psychedelia. Unlike Kravitz, however, Bigelf are much more sonically daring. They specialize in blowing up basic germs of ideas into Technicolor fantasies light years away from their origins. "Superstar," for example, begins with terse, standard-issue AC/DC chords, then flowers into bright pop changes and lush vocal harmonies.

When New Order returned in 2001 with their first new record in eight years, the album they created (Get Ready) was given a great deal of leeway by fans (if not critics). Was it original? Not very. Although the band never recycled a riff, many of the songs recalled not just the band's salad days, but often specific performances from '80s touchstones Brotherhood or Low-life. What saved Get Ready from irrelevance was a brace of great songs, a new look at the band as capable rockers, and what's more, that uncanny ability to produce timeless, ever-fresh recordings. Almost as surprising as that comeback record was its follow-up, Waiting for the Sirens' Call, which arrived in 2005. If New Order's ambition was only to reinforce themselves in their fans' imaginations as members of a working band (à la their contemporaries Echo & the Bunnymen or even Duran Duran, for that matter), then the album is a success…

Deep Purple were the biggest selling album act in America when they embarked on a 28 date tour promoting their new album "Burn". The undoubted climax of this tour was headlining the California Jam Festival at Ontario Speedway in California, in front of 200,000 people. Their explosive set is presented here on DVD for the first time. The set list includes tracks from "Burn", as well as classics like "Space Truckin'" and "Smoke On The Water".

When the album "Phaedra" hit the album charts worldwide back in 1974, no one had foreseen such a remarkable career of a new musical sound created by Tangerine Dream. All instruments were new and unknown to the audience. The sound itself was the opposite of all common music at those days. During the concerts the band created an uncomparable atmosphere. Now, more than 30 years later you can listen to the modern form of this classic recording. The material has been re-recorded by using partly the same kind instruments as on the original recording. Also the new digital technology has played a keyrole during various recording sessions. It was not the intension to please all the TD purists and analogue fans ­ but you will have an idea of how the band is still connected to the style and trademark that has made them so original. The additional title "Delfi" has been composed 2005 in the spirit of the seventies.

When New Order returned in 2001 with their first new record in eight years, the album they created (Get Ready) was given a great deal of leeway by fans (if not critics). Was it original? Not very. Although the band never recycled a riff, many of the songs recalled not just the band's salad days, but often specific performances from '80s touchstones Brotherhood or Low-life. What saved Get Ready from irrelevance was a brace of great songs, a new look at the band as capable rockers, and what's more, that uncanny ability to produce timeless, ever-fresh recordings. Almost as surprising as that comeback record was its follow-up, Waiting for the Sirens' Call, which arrived in 2005. If New Order's ambition was only to reinforce themselves in their fans' imaginations as members of a working band (à la their contemporaries Echo & the Bunnymen or even Duran Duran, for that matter), then the album is a success…

When the album "Phaedra" hit the album charts worldwide back in 1974, no one had foreseen such a remarkable career of a new musical sound created by Tangerine Dream. All instruments were new and unknown to the audience. The sound itself was the opposite of all common music at those days. During the concerts the band created an uncomparable atmosphere. Now, more than 30 years later you can listen to the modern form of this classic recording. The material has been re-recorded by using partly the same kind instruments as on the original recording. Also the new digital technology has played a keyrole during various recording sessions. It was not the intension to please all the TD purists and analogue fans ­ but you will have an idea of how the band is still connected to the style and trademark that has made them so original. The additional title "Delfi" has been composed 2005 in the spirit of the seventies.

This compilation of music by one of Canada's most important singers is presented in approximate chronological order, beginning in 1980 with Remember. The first Bryan Adams song that I became familiar with is Straight from the heart, which became his first top ten hit in America. It wasn't a hit for him in Britain but Bonnie Tyler covered it for her album, Faster than the speed of night. A hugely successful album that spawned a British and American number one hit, Total eclipse of the heart, it surely can't have harmed Bryan's career to have a cover of one of his songs on such a successful album, even though his name among the credits may not have meant anything to many Brits who bought the album at the time.