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

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.

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.

After a string of hits, Unborn Child was a mistake coming from the Seals & Crofts camp when it did. Blatantly anti-abortion, it did little to help their careers and nothing in the way of chart success. But one must consider that it does hold good music in its grooves, and with today's attitudes changing, perhaps this isn't as harsh as it first appeared to be.
It's possible to hear the progression of soft rock through the music of Seals & Crofts, the duo who recorded some of the genre's perennials. Over the course of the 1970s, Seals & Crofts evolved from a gentle folk-rock duo to purveyors of slick, polished pop, two sounds that became inextricably associated with the Me Decade. Practitioners of the Baha'i Faith - at the height of their fame in the mid-'70s, they'd extol its virtues to fans - the duo were drawn to the quieter aspects of rock music, developing a signature sound distinguished by their easy melodicism and mellow vibe…

After a string of hits, Unborn Child was a mistake coming from the Seals & Crofts camp when it did. Blatantly anti-abortion, it did little to help their careers and nothing in the way of chart success. But one must consider that it does hold good music in its grooves, and with today's attitudes changing, perhaps this isn't as harsh as it first appeared to be.
It's possible to hear the progression of soft rock through the music of Seals & Crofts, the duo who recorded some of the genre's perennials. Over the course of the 1970s, Seals & Crofts evolved from a gentle folk-rock duo to purveyors of slick, polished pop, two sounds that became inextricably associated with the Me Decade. Practitioners of the Baha'i Faith - at the height of their fame in the mid-'70s, they'd extol its virtues to fans - the duo were drawn to the quieter aspects of rock music, developing a signature sound distinguished by their easy melodicism and mellow vibe…

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.

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…

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.

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…