Man in The Long Black Coat

Relish can be a sharp, bittersweet condiment; it can also suggest a determined gusto to live to the fullest. Combined, these two images provide a good taste of Joan Osborne's major-label debut (the live Soul Show was self-released in 1992). Grounded in blues, soul, and gospel, the Kentucky native wields her gritty voice with personality and forceful presence, kind of Melissa Etheridge meets Sophie B. Hawkins with a splash of Jann Arden. Osborne's passion for life oozes from the grooves. There's an uplifting fervor to her material and delivery, as if every second, every note, was being individually savored.

Wild Orchids marks the return of the former Genesis and GTR guitarist to his progressive rock roots. If 2005's Metamorpheus was Steve Hackett's penultimate classical record, then Orchids is his art rock flagship…

The Top 100 '80s Rock Albums span a series of genres as startling and varied as the era's neon-flecked fashions.No one was immune to the early-decade emergence of new wave, from up-and-coming acts to legacy groups – many of whom began incorporating the then-new sound into their bedrock approach.Meanwhile, classic rock and subsequently metal began a transformation into mass acceptance when the edges were smoothed out to form arena rock and hair metal, respectively. The arrival of roots, thrash, and world music influences kept things interesting, along the way. All of it made selecting the period's best releases both intriguing and deeply challenging.Check out the list below, as Ultimate Classic Rock takes a chronological look at the Top 100 '80s Rock Albums.

Oh Mercy was hailed as a comeback, not just because it had songs noticeably more meaningful than anything Bob Dylan had recently released, but because Daniel Lanois' production gave it cohesion. There was cohesion on Empire Burlesque, of course, but that cohesion was a little too slick, a little too commercial, whereas this record was filled with atmospheric, hazy production – a sound as arty as most assumed the songs to be…

New York-born singer Indra Rios-Moore, now living in Barcelona, releases her new album “Carry My Heart”. It comes right after her pretty successful (at least in Europe) “Heartland” album. One of the most sympathetic features of the album is the fact that Indra wanted to record an optimistic record because there was (and is) simply too much whining going on. Not that most of the current matters aren’t disheartening, but it feels good to be warmed and eased by Indra’s warm and caressing voice on covers such as “I Can See Clearly Now” or Curtis Mayfield’s “Keep On Pushin'”. Still, you can file this one under “protest” albums, too because during the writing process, a certain Drumpf took over the White House.

Bob Dylan - Forever Young (1990) {CBS Records XPCD 116, UK Promo Sampler}
EAC rip (secure mode) | FLAC (tracks) +CUE+LOG -> 316 Mb | MP3 @320 -> 135 Mb
Full Artwork @ 300 dpi (jpg) -> 5 Mb | 5% repair rar
© 1990 CBS Records | XPCD 116
Rock / Folk Rock / Roots Rock / Songwriter

Very Rare. Promotional sampler released to recognise Bob Dylan's residence at the Hammersmith Odeon, London February 3rd-8th,1990. All 10 album songs are the original LP mixes, as this release was before the remixing (for digital) of Bob's entire catalogue that began in 1997, whilst the 3 Biograph songs are also the original mixes (so 'Visions Of Johanna' is still including the brief 'splice' from the 3-track tape to the safety tape and back again).

Mick Taylor's Stranger in This Town was recorded mostly in Sweden in the summer of 1989, except for "Little Red Rooster," recorded in Germany, and "You Gotta Move," the traditional blues number found on the Rolling Stones' Sticky Fingers, recorded in Philadelphia in December of 1989. This is a blues album, make no doubt about it, and it is one of Taylor's finest. Co-produced by the guitarist and Phil Colella, the performances feature former Jeff Beck sideman Max Middleton on keyboards, Shane Fontayne on guitar, Wilbur Bascomb on bass, and Eric Parker on drums.