Deathconsciousness Have A Nice Life

Follow-up volumes appeared in 1993 and 1996, extending the time period to 1979 and with additional songs from the 1972-76 period, available on cassette or CD (ALL 25 volumes were issued in both formats). Each volume has twelve songs. Despite the greater capacity of compact discs, the running time of each of the volumes is no longer than the limit of vinyl records in the 1970s, from 38 to 45 minutes long.

Have a Nice Day, Bon Jovi's ninth studio album of original material, picks up where 2002's Bounce left off, showcasing a harder, heavier band than either 2000's Crush or Jon Bon Jovi's 1997 solo effort, Destination Anywhere. Not only that, but this 2005 album finds Jon Bon Jovi picking up on the serious undercurrent of Bounce, writing a series of angry, somber neo-protest songs that form the heart of this record…

For anyone who grew up during the last days of AM radio, anyone who remembers gas shortages, disco scarves, and feathered hair, this mammoth seven-disc box set, Have a Nice Decade: The 70s Pop Culture Box, will be a holy grail of nostalgia. First of all, the discs themselves contain a staggering 164 tracks. Basically, if you remember the song, it's probably included: from enduring chestnuts even today's teenagers can sing ("Fire and Rain," "Fly Like an Eagle") to obscure gems of kitsch like "The Night Chicago Died" and the supremely maudlin "Billy Don't Be a Hero." If you were born in the 1960s, you'll probably find this stuff enjoyable rather than embarrassing (to the degree that you can think back on your adolescence without cringing). But don't let the music distract you from the packaging, either. The box is covered in avocado-green shag carpeting (embroidered with a happy-face pattern), and the booklet contains photos of all the artists, essays on the politics and culture of the period, and capsule references to notable events, fads, and people. Only Rhino Records could have put out a reissue package of music, images, and text this perfect.

In the five years between Roxette's last album, Crash, Boom, Bang, and this, their "comeback" album, pop music had changed considerably. Crash, Boom, Bang failed, in part, because it was completely out of step with the times; in 1994 grunge, alternative, and rap ruled the charts, but Roxette always produced a relatively crisp and clean brand of pop/rock. In the five years since then, however, Brit-pop brought alternative rock back towards pop, electronica made dance music "cool" again, and bubblegum pop bands like the Spice Girls made unabashed pop fun again. Also, Per Gessle was fresh off from his very rock-oriented 1997 solo album.

In the five years between Roxette's last album, Crash, Boom, Bang, and this, their "comeback" album, pop music had changed considerably. Crash, Boom, Bang failed, in part, because it was completely out of step with the times; in 1994 grunge, alternative, and rap ruled the charts, but Roxette always produced a relatively crisp and clean brand of pop/rock. In the five years since then, however, Brit-pop brought alternative rock back towards pop, electronica made dance music "cool" again, and bubblegum pop bands like the Spice Girls made unabashed pop fun again. Also, Per Gessle was fresh off from his very rock-oriented 1997 solo album.

The series was revived as "AM Gold" in 1995, with a different cover design (early volumes had an artist's drawing of a pocket transistor radio, with later volumes bearing a "gold record" with the year or era spotlighted emblazoned over the top). The first 20 volumes were re-titled issues of volumes from the former "Super Hits" series with identical track lineups, while new volumes covering the mid- and late-1970s (including individual volumes for each of the years 1974-1979) were included.

The series was revived as "AM Gold" in 1995, with a different cover design (early volumes had an artist's drawing of a pocket transistor radio, with later volumes bearing a "gold record" with the year or era spotlighted emblazoned over the top). The first 20 volumes were re-titled issues of volumes from the former "Super Hits" series with identical track lineups, while new volumes covering the mid- and late-1970s (including individual volumes for each of the years 1974-1979) were included.

The 1960s was a time of Top-40 radio, featuring a wide variety of styles, especially in the pop and easy listening genres. 'Pop Memories of the '60s' is the biggest and best collection of these hits ever offered in one box set. With well-known vocalists, folk artists, instrumentalists and more, it's one great musical memory after another! Step back in time… you're sipping a martini, ready to play an LP… listening to Ray Charles, Dionne Warwick, Herb Alpert & the Tijuana Brass, Bobby Darin, Elvis Presley, the Kingston Trio, the Lettermen, Connie Francis, Englebert Humperdinck, Glen Campbell, Al Martino, B.J. Thomas, Tom Jones, Nat King Cole, Stan Getz, Henry Mancini, Bobby Vinton, Stevie Wonder and dozens more '60s favorites.

The 1960s was a time of Top-40 radio, featuring a wide variety of styles, especially in the pop and easy listening genres. 'Pop Memories of the '60s' is the biggest and best collection of these hits ever offered in one box set. With well-known vocalists, folk artists, instrumentalists and more, it's one great musical memory after another! Step back in time… you're sipping a martini, ready to play an LP… listening to Ray Charles, Dionne Warwick, Herb Alpert & the Tijuana Brass, Bobby Darin, Elvis Presley, the Kingston Trio, the Lettermen, Connie Francis, Englebert Humperdinck, Glen Campbell, Al Martino, B.J. Thomas, Tom Jones, Nat King Cole, Stan Getz, Henry Mancini, Bobby Vinton, Stevie Wonder and dozens more '60s favorites.

Sounds of the Seventies was a 38-volume series issued by Time-Life during the late 1980s and early-to-mid 1990s, spotlighting pop music of the 1970s. Much like Time-Life's other series chronicling popular music, volumes in the "Sounds of the Seventies" series covered a specific time period, including individual years in some volumes, and different parts of the decade (for instance, the early 1970s) in others; in addition, some volumes covered specific trends, such as music popular on album-oriented rock stations on the FM band. Each volume was issued on either compact disc, cassette or (with volumes issued prior to 1991) vinyl record.