The Ramones It's Alive: 1974 1996 (2007) [2xdvd9] Restored

Although it shook the band's fan base to its core, the acrimonious departure of vocalist Ian Gillan and bassist Roger Glover served to rejuvenate Deep Purple in time for 1973's aptly named Burn album, which unquestionably showed huge improvement over their lackluster previous effort, Who Do We Think We Are. And in an interesting twist rarely attempted before or since, new recruits David Coverdale (vocals) and Glenn Hughes (bass and vocals, ex-Trapeze) traded lead singing duties on virtually every one of its songs – an enviable tag team, as both possessed exceptional pipes. The phenomenal title track started things off at full throttle, actually challenging the seminal "Highway Star" for the honor of best opener to any Deep Purple album, while showcasing the always impressive drumming of Ian Paice.

Collection of all five Beethoven piano concertos, played by a young Vladimir Ashkenazy at the height of his piano-playing career. Accompanied by the London Philharmonic Orchestra, conducted by the great conductor Bernard Haitink, this was a first for television.

Almost Heaven is the tenth regular studio album by European-American pop group The Kelly Family. Based on a concept by Dan Kelly, it was co-produced by Kathy and Paddy Kelly and released in 1996 throughout most of Europe. Following the major success of previous albums Over the Hump and Christmas for All and the number-one single "I Can't Help Myself," the album debuted number-one in Austria, Germany and Switzerland. It also entered the top 5 in the Netherlands and Norway and made it to the top 20 in Belgium. Almost Heaven eventually sold more than three million copies worldwide, making it the band's second biggest-selling release to date.

Produced by George Martin, The Man in the Bowler Hat continues Stackridge's brand of satiric rock marbled with elements of folk and to some extent, even country. The lyrics are just as witty as in their first two releases, and the poetry glistens with a jovial Englishness that became the band's most identifiable trademark. With Martin's help, though, the album became one of their better releases, as the music rises to the top before the words do, sounding fresher, livelier, and noticeably sharper than both their debut and 1972's Friendliness. Stackridge's best song, "Dangerous Bacon," was released as a single, and it's in this song as well as "The Galloping Gaucho" and "The Indifferent Hedgehog" in which their sound comes alive…

Although the music of this two-LP set was recording at a concert in the Soviet Union, it is a fairly typical recital by pianist Oscar Peterson with no obvious reference to the exotic location. Peterson takes five selections unaccompanied, performs four others as duets with bassist Niels-Henning Ørsted Pedersen, and adds drummer Jake Hanna to the nine remaining numbers. Other than three originals, all of the music is comprised of veteran standards and, although no real surprises occur, the results are what one would expect from the great Oscar Peterson, who alternates hard swingers with sensitive ballad renditions.

Guitarist Michael Schenker's impact upon UFO's career cannot be overestimated. Before the German teenager's arrival (he was only 19 when he jumped ship from the Scorpions), the British rockers' early albums of half-baked space rock had been completely ignored everywhere but Japan. But with Schenker on board, the group's sound received a well-needed attitude injection, veering toward the Anglo-hard rock style that would make them famous. That is not to say that their first collaboration, Phenomenon, was an instant home run. Quite the contrary, as the band seemed a tad wary of giving Schenker's more aggressive style complete freedom to roam, reining in the budding guitar hero just enough to stunt the impact of promising rockers like "Oh My and "Too Young to Know." Likewise, "Time on My Hands" and "Crystal Light" are bogged down in excessive acoustic guitars, while "Space Child" shows glimpses of their failed space rock past…

Guitarist Michael Schenker's impact upon UFO's career cannot be overestimated. Before the German teenager's arrival (he was only 19 when he jumped ship from the Scorpions), the British rockers' early albums of half-baked space rock had been completely ignored everywhere but Japan. But with Schenker on board, the group's sound received a well-needed attitude injection, veering toward the Anglo-hard rock style that would make them famous. That is not to say that their first collaboration, Phenomenon, was an instant home run. Quite the contrary, as the band seemed a tad wary of giving Schenker's more aggressive style complete freedom to roam, reining in the budding guitar hero just enough to stunt the impact of promising rockers like "Oh My and "Too Young to Know." Likewise, "Time on My Hands" and "Crystal Light" are bogged down in excessive acoustic guitars, while "Space Child" shows glimpses of their failed space rock past…

Guitarist Michael Schenker's impact upon UFO's career cannot be overestimated. Before the German teenager's arrival (he was only 19 when he jumped ship from the Scorpions), the British rockers' early albums of half-baked space rock had been completely ignored everywhere but Japan. But with Schenker on board, the group's sound received a well-needed attitude injection, veering toward the Anglo-hard rock style that would make them famous. That is not to say that their first collaboration, Phenomenon, was an instant home run. Quite the contrary, as the band seemed a tad wary of giving Schenker's more aggressive style complete freedom to roam, reining in the budding guitar hero just enough to stunt the impact of promising rockers like "Oh My and "Too Young to Know." Likewise, "Time on My Hands" and "Crystal Light" are bogged down in excessive acoustic guitars, while "Space Child" shows glimpses of their failed space rock past…

The great thing about a solo album from someone like Bill Wyman, of the Rolling Stones, is that quality musicianship and high-profile guest appearances are all but a given. The unfortunate aspect, though, is that the Stones bassist was never known for his songwriting. In the case of Monkey Grip, the first claim holds true (with guest appearances by Dr. John, Lowell George, and Leon Russell, the album is a solid affair musically), while the issue of Wyman's songwriting ability leaves the listener pleasantly surprised.

Guitarist Michael Schenker's impact upon UFO's career cannot be overestimated. Before the German teenager's arrival (he was only 19 when he jumped ship from the Scorpions), the British rockers' early albums of half-baked space rock had been completely ignored everywhere but Japan. But with Schenker on board, the group's sound received a well-needed attitude injection, veering toward the Anglo-hard rock style that would make them famous. That is not to say that their first collaboration, Phenomenon, was an instant home run. Quite the contrary, as the band seemed a tad wary of giving Schenker's more aggressive style complete freedom to roam, reining in the budding guitar hero just enough to stunt the impact of promising rockers like "Oh My and "Too Young to Know." Likewise, "Time on My Hands" and "Crystal Light" are bogged down in excessive acoustic guitars, while "Space Child" shows glimpses of their failed space rock past…