Canadian Brass Brass On Broadway (1994)

The Way We Live wasn't a terribly commercial or compelling name for a rock band, and Tractor is a yet more awkward and less appealing moniker. Yet, for some reason, that's what the Way We Live changed their name to between the 1971 A Candle for Judith album (which turned out to be the only the Way We Live LP) and their 1972 follow-up, Tractor. Both albums are combined onto one CD on this 1994 reissue by See For Miles. A Candle for Judith was uneven, second-division, early-'70s British hippie rock, divided between lumpy, bluesy hard rock and far folkier, pastoral, acoustic-flavored musings.

On this, their second album for A&M, Humble Pie proved that they were not the "minor league Rolling Stones" as people often described them. Led by the soulful Steve Marriot, the Pie was a great band in every sense of the word. Although Peter Frampton elevated himself to superstar status in just a few years, this album proves what an excellent lead guitarist he was. The record has an undeniable live feel to it, due in part to Glyn Johns' humble yet precise recording, framing the group as if they were a boogie version of the Band. When all of these elements come together on songs such as "Sour Grain" and "Stone Cold Fever," it's an unbeatable combination.

The Seventh Sign is the seventh studio album by guitarist Yngwie Malmsteen, released on 9 May 1994. After the classically-tinged Fire and Ice (1993), Yngwie Malmsteen returned to his heavy metal roots on this 1994 release. This is one of his hardest albums; the songwriting as well as the guitar work shows the influence of bands like Rainbow and Deep Purple. Most of the material is solid, and there are a few outstanding tracks like Pyramid of Cheops. The vocals are handled by Mike Verscara, who shows himself to be a competent, if not outstanding singer. The mastering on this SPV edition is quite good, resulting in very clear sound. The bonus material here consists of a studio track, In the Distance

B.B. King is more than just one of the greatest masters of electric blues guitar; he is also an extraordinarily gifted singer. His talents on his instrument are so great that they tend to eclipse his soulful and sophisticated singing voice, but any who might possibly have doubted his ability will do so no more upon hearing Heart to Heart. On this 1994 release, he joins pop-jazz balladeer Diane Schuur for ten surprising tracks. It is a very moody album, with the overall vibe being mainly of the drown-your-broken-heart-in-gin variety. Some of the string and synth arrangements come off as a little unnecessary, as the music is ably framed by piano, guitar, bass, and drums. However, producer Phil Ramone should be credited for minimizing the schmaltzy moments on Heart to Heart as much as possible, as the music is already treading the fine line between sentiment and drivel…

An important release for the extreme music subgenre of Viking metal, Frost represented a sizeable creative leap for Norway's Enslaved. After only a few years of existence, several record labels, and a few member changes, Enslaved had settled into a bit of a groove on this 1994 release. Bassist/vocalist Grutle Kjellson leads the way with plenty of throat splitting call-outs to various Norse gods and apocalyptic battle descriptions, while Ivar Bjørnson (guitar, keyboards) and Trym Torson (drums) plow through plenty of destructive riffs of their own. The music oscillates between spooky, plodding keyboard intros to black metal so fast and furious, barely a beat or melody is descernable. Highlights include the relatively decipherable "Fenris" and the slow, dissonant "Yggdrasil," but in general, all the tracks on Frost bear enough of a resemblance to make this 1994 release a fine black metal listen…

Bolder than The Karelian Isthmus and conceptually superior to later attempts at progressive but radio-friendly '90s metal, Tales From the Thousand Lakes might just be Amorphis' best recording. This record is heavy, yet never succumbs to the inane extremes common to the melodic death metal genre. The guitars and drums are in ample supply, and a rare attention to arrangement and production really sets this disc apart. The guttural vocal work isn't for every metal fan, but the neo-prog instrumental work and overall heaviness should impress those turned off by the throaty rants. In a possible attempt to widen the band's appeal, Tomi Koivusaari briefly sings, which doesn't exactly work out. These moments of confusion are short-lived, though, and they hardly blemish the release. The subtle addition of keyboards is a nice touch - Amorphis' captivation with the instrument would soften later efforts…

Known for his mariachi-inspired easy listening sound, trumpeter Herb Alpert is one of the most successful instrumental performers in pop history. He is also one of the entertainment industry's canniest businessmen, having co-founded A&M Records – a label that ranks among the most prosperous artist-owned companies ever established – with partner Jerry Moss. Collection includes: The Lonely Bull (1962); South Of The Border (1964); Whipped Cream & Other Delights (1965); !!Going Places!! (1965); What Now My Love (1966); S.R.O (1966); The Beat Of The Brass (1968); Rise (1979); Fandango (1982); Bullish (1984); Keep Your Eye On Me (1987); Classics, Volume 1 (1987); Steppin' Out (Featuring Lani Hall) (2013); In The Mood (2014); Come Fly With Me (2015).

The veterans of the Canadian Brass here show why the group continues to attract big audiences despite a good deal of competition they themselves have inspired. By now their seamless blend, made possible by the way each individual instrumentalist polishes his attack down to a seductive gentleness, is familiar to almost everyone who listens to over-the-air or Internet classical radio.