Let It Ride (1989)

Sounds of the Seventies was a 40-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.

Released when Mercury Records was still located in Chicago, IL, back in 1973, the second album from Bachman-Turner Overdrive was the first to break through in a big way. First the hit single "Let It Ride" went Top 25 circa March of 1974, then the anthem "Taking Care of Business" went Top 15 the summer of that year. By October they would top the charts with "You Ain't Seen Nothing Yet" from the follow-up LP, 1974's Not Fragile, but their seven chart songs were all made possible by this album and these two songs, "Let It Ride" and "Takin' Care of Business," in particular. "Let It Ride" features one of C.F. Turner's best vocals; keeping that gargle-with-Draino diesel sound down to a minimum, the song has two major guitar riffs, one a strum, the other from Led Zeppelin's 1970 "Immigrant Song," an inverted mutation of Randy Bachman's own "American Woman" riff which also hit in 1970.

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.

Another quality Time-Life music collection with 500 originals from the period 1955-1964, the so called "Rock'n'Roll Era". In addition of this wonderful classics' parade, you will acquire a R'n'R encyclopedia, since each CD comes with an extensive description and historical data, in a 6 page booklet, scanned at 600 dpi. Enjoy excellent music and artwork.

Another quality Time-Life music collection with 500 originals from the period 1955-1964, the so called "Rock'n'Roll Era". In addition of this wonderful classics' parade, you will acquire a R'n'R encyclopedia, since each CD comes with an extensive description and historical data, in a 6 page booklet, scanned at 600 dpi. Enjoy excellent music and artwork.

For many, the face of Skid Row will always be that of outspoken frontman Sebastian Bach. But since the late '90s, three original members of the band have been carrying on the Skid Row name without Bach and instead with Johnny Solinger manning the mic. 2006 saw the release of the second Solinger-era Skid Row release, Revolutions Per Minute, and the group's sound remains largely the same. In other words, you get the same angry-yet-melodic riff rockers that you long ago came to expect from the group, while Solinger's singing style isn't that far removed from Bach's…

Elephant Mountain (1969) is the Youngbloods' third long-player and marks their debut as a trio – featuring Jesse Colin Young (bass/guitar/vocals), Joe Bauer (drums), and Lowell "Banana" Levinger (keyboards) – after the departure of co-founder Jerry Corbitt (guitar/vocals). Although the band initially formed out of the early '60s Northeast folk scene, by the time this set was issued they had relocated to the pastoral Northern California county of Marin. Blending affective pop/rock melodies and lyrics with their good time jug band roots, the Youngbloods were instantly embraced by the already blossoming Bay Area music community. This effort contains some of the band's strongest material to date, building on the considerable momentum of their 1967 self-titled release and further enhanced by their remarkable instrumental capabilities. Young's contributions are particularly notable as he vacillates between the edgy and electric "Darkness, Darkness" to the light and earthy "Sunlight" and "Ride the Wind," or the bouncy tales "Smug" and "Beautiful." Banana honors his new surroundings with the gorgeous and catchy instrumental "On Sir Francis Drake" (named after a heavily traveled Bay Area motorway).