Crc Card

The Sonics' second album is every bit as explosive and influential as their debut outing, loaded with gritty Northwest rock & roll. Sandwiched in between the abrasive classics of "Cinderella" and "Don't Be Afraid of the Dark" (with the Wailers on backing vocals), the funk sass of "The Hustler" and "Shot Down," the demonic "He's Waitin'," and the sledgehammer, inside-out version of "Louie, Louie" (only three chords to play and they don't even play 'em) are the band's straight-ahead takes on old R&B chestnuts like "Skinny Minnie," "Let the Good Times Roll," "Don't You Just Know It," "Since I Fell for You," "Hitch Hike," and a nice barn-burning version of "Jenny Jenny." Where the Wailers cut down the trees and paved the highway, the Sonics were the first group from their neck of the woods to take that music somewhere wilder than their original inspirations. The second chapter of Northwest rock & roll after you absorb the Wailers' Golden Crest sides.

The Sonics that Wailers bassist Buck Ormsby took into a small studio and unleashed on the world show a live band at the peak of its power, ready to mow down the competition without even blinking twice. Their debut long-player (originally issued on the Etiquette imprint) is reprised here with new liner notes by Norton prexy Miriam Linna in the original mono. The flame-throwing hits of "The Witch," "Psycho," "Boss Hoss," and "Strychnine" are aboard, along with versions of "Do You Love Me," "Dirty Robber," "Have Love Will Travel," and "Walkin' the Dog" that are no less potent. This long-play vinyl reissue also boasts the addition of four bonus tracks: "Keep a Knockin'" (the original B-side of "The Witch") and three selections from an Etiquette Christmas album, "Don't Believe in Christmas," "The Village Idiot," and "Santa Claus." Another important chunk of Seattle rock & roll history.

With two of the Alan Parsons Project's best songs, the lovely ballad "Time" and the wavy-sounding "Games People Play," The Turn of a Friendly Card remains one of this group's most enjoyable albums. Parsons' idea, the subject of the album's six tracks, centers around the age-old temptation of gambling and its stranglehold on the human psyche…

With two of the Alan Parsons Project's best songs, the lovely ballad "Time" and the wavy-sounding "Games People Play," The Turn of a Friendly Card remains one of this group's most enjoyable albums. Parsons' idea, the subject of the album's six tracks, centers around the age-old temptation of gambling and its stranglehold on the human psyche. On "Games People Play," vocalist Lenny Zakatek sounds compelling and focused, giving the song a seriousness that aids in realization of the album's concept. With "Time," it is Eric Woolfson who carries this luxurious-sounding ode to life's passing to a place above and beyond any of this band's other slower material.

Smooth jazz stalwarts the Rippingtons infuse their trademark brand of instrumental pop with a Latin aesthetic on Wild Card. Once again featuring the lead guitar of Russ Freeman, the Rippingtons deliver a solid collection of mellow contemporary pop and lite jazz that should please longtime fans. Evenly split between R&B-inflected cuts such as the Aretha Franklin hit "Till You Come Back to Me" and Latin tracks including the flamenco-inspired "Spanish Girl" and the salsa-ready "Mulata di Mi Amor," Wild Card is a pleasant listen.

Gallagher's second album for Chrysalis – and last with his longstanding trio of Lou Martin (keyboards), Rod De'Ath (drums) and Gerry McAvoy (bass) – was a milestone in his career. Although Calling Card was produced by Deep Purple bassist Roger Glover and not surprisingly contained some of his most powerfully driving rockers, tracks like the acoustic "Barley & Grape Rag" and the jazzy, soulful, finger snapping title cut – a perennial concert favorite – found the Irish rocker not only exploring other musical paths, but also caught him on one of his most consistent songwriting streaks ever. Even "Do You Read Me," the muscular opening track, is a remarkably stripped-down affair that adds subtle synths to the rugged blues rock that was Gallagher's claim to fame.

Gallagher's second album for Chrysalis – and last with his longstanding trio of Lou Martin (keyboards), Rod De'Ath (drums) and Gerry McAvoy (bass) – was a milestone in his career. Although Calling Card was produced by Deep Purple bassist Roger Glover and not surprisingly contained some of his most powerfully driving rockers, tracks like the acoustic "Barley & Grape Rag" and the jazzy, soulful, finger snapping title cut – a perennial concert favorite – found the Irish rocker not only exploring other musical paths, but also caught him on one of his most consistent songwriting streaks ever. Even "Do You Read Me," the muscular opening track, is a remarkably stripped-down affair that adds subtle synths to the rugged blues rock that was Gallagher's claim to fame. While "Moonchild," "Country Mile," and "Secret Agent" displayed catchy hooks, engaging riffs, and raging guitar work (the latter adds a touch of Deep Purple's Jon Lord-styled organ to the proceedings), it's the elegant ballad "I'll Admit You're Gone" that shifts the guitarist into calmer waters and proves his melodic talent was just as cutting on quieter tunes.

Antonio Caldara composed during the most flourishing period of the Baroque. While his contemporaries - Handel, Bach, Scarlatti and Vivaldi - are today held in higher esteem, in his own day, Caldera's vocal output was much celebrated. 18th century music critic Charles Burney called him "one of the greatest professors both for the Church and the stage that Italy can boast," and rated Caldera second only to Handel for his vocal writing. He was born in Venice to musical parents. He was a working musician from an early age as both contralto chorister and cellist at St. Mark's in Venice, at the same time composing vocal music.