Crc Press

Keeping the same line-up from Henry's Dream, Nick Cave and company turn in yet another winner with Let Love In. Compared to Henry's Dream, Let Love In is something of a more produced effort – longtime Cave boardsman Tony Cohen oversees things, and from the first track, one can hear the subtle arrangements and carefully constructed performances. Love, unsurprisingly, takes center stage of the album.

Barcelona is a collaborative studio album recorded by Freddie Mercury, frontman of popular British rock band Queen, and operatic soprano Montserrat Caballé. It was released in 1988. After Barcelona was selected to host the 1992 Summer Olympics, Mercury was approached to write a song as a theme for the forthcoming games. The idea was to create a duet with Caballé, as she was from the city. He had been a long-standing admirer of her and she in turn grew to respect his talents very highly. They decided to work on an album together, with Mercury and Mike Moran taking the creative lead as songwriters. Mercury and Moran made and sent her tapes of the music with Mercury singing in falsetto as a guide vocal for Montserrat's parts. As they rarely had an opening in their schedule to meet, her parts were recorded at another location.

Illinois Speed Press was a guitar-driven rock quintet on this, their first recording. Produced by Chicago's producer and mentor, James William Guercio, this album sounds at times like Chicago Transit Authority without horns. ISP is important in rock history primarily as the band from which co-leader Paul Cotton emerged to replace Jim Messina in Poco, whom he would help guide to commercial success. "Get in the Wind," later recorded by Poco in a completely different form, rocks hard in this version, while Cotton's "P.N.S. (When You Come Around)" hints at the sound of From the Inside era Poco. The bouncy acoustic number "Here Today" is another highlight, standing out amidst the bluesy rock that makes up the bulk of this recording. The liner notes, designed like a newspaper, were written by Firesign Theatre.

Simultaneously more accessible and ambitious than any of the Cure's previous albums, the double album Kiss Me, Kiss Me, Kiss Me finds Robert Smith expanding his pop vocabulary by tentatively adding bigger guitars, the occasional horn section, lite-funk rhythms, and string sections. It's eclectic, to be sure, but it's also a mess, bouncing from idea to idea and refusing to develop some of the most intriguing detours. Even if Kiss Me doesn't quite gel, its best moments – including the deceptively bouncy "Why Can't I Be You?" and the stately "Just Like Heaven" – are remarkable and help make the album one of the group's very best.

The release of Good Time Warrior by Lucifer's Friend saw the departure of legendary rock vocalist John Lawton (who exited for a stint as Uriah Heep vocalist) and the entrance of another English talent Mike Starrs. The album also marked a change of direction for the group. Earlier albums like Mind Exploding and Where the Groupies Killed the Blues demonstrated the German groups flair for progressive and experimental rock,while Good Time Warrior contained a more straight ahead rock sound. Such tracks as "Old Man Roller" and "Sweet Little Lady" demonstrate this the best and pave the way for future band releases such as Sneak Me In and Sumo Grip. The albums last cut "Warriors" is a lengthy and moody piece which harkens to the groups earlier sound while providing a solid platfrom for Starrs' vocals.

A Live Record is the first live album by the progressive rock band Camel, released in 1978. It is a double LP, composed of recordings from three different tours. LP one features recordings from the Mirage tour in 1974, and the Rain Dances tour, in 1977. Tracks 1–4 on the LP are from the Rain Dances tour, and 5–6 are from the Mirage tour. LP 2 features the original line-up all the way, and is devoted to a complete performance of the band's instrumental concept album, The Snow Goose, during the tour for the album in 1975, performed with the London Symphony Orchestra.

101 is a live album and documentary by Depeche Mode released in 1989 chronicling the final leg of the band's Music for the Masses Tour and the final show at the Pasadena Rose Bowl. Group member Alan Wilder is credited with coming up with the name; the performance was the 101st and final performance of the tour (and coincidentally also a famous highway in the area).