Alex Richman

Comprehensive 3CD overview of the American power pop scene's evolution throughout the 70s. Featuring the genre's major bands, cult names, hits, rarites and several previously unissued tracks. Although the power pop genre wasn't named and codified until late 1977, the sound and spirit had been slowly gathering steam throughout the decade. Surrounded by heavy metal and introverted singer/songwriters, the likes of The Raspberries, Big Star, Blue Ash and The Wackers spearheaded an early 70s return to the spiky, three-minute pop urgency of the mid-60s British Invasion bands. While only The Raspberries charted, such bands established a musical template that was adopted by a new raft of slightly younger acts including the Dwight Twilley Band, The Rubinoos and Shoes. The tide had turned by the late 70s, with such names as Cheap Trick and The Cars achieving success as the American music industry embraced power pop as a radio-friendly alternative to punk.

"Funny Lady" is a soundtrack album by American vocalist Barbra Streisand. It was released by Arista Records on March 15, 1975 to promote the 1975 American musical comedy-drama film "Funny Lady". Executively produced by Peter Matz, the fifteen tracks on the album were performed by Streisand, James Caan, and Ben Vereen. A soundtrack sequel to 1968's "Funny Girl", "Funny Lady" is a collection of songs from the point of view of American performer Fanny Brice. "How Lucky Can You Get", the album's only single released in April 1975, promoted the record and was written by Fred Ebb and John Kander, who also co-wrote the majority of the songs on "Funny Lady".

Classic Road Trip is a thrilling, 60 track journey through iconic, classic rock - the perfect soundtrack for any road trip, the sound of the open road. Featuring such icons as The Rolling Stones, The Who, Bon Jovi, T Rex and many more. Division of Universal Music Operations Ltd. London-based Universal Music Group label specialising in compilations. Founded from the acquisition of PolyGram by Seagram, which were then merged under the same umbrella, replacing the PolyGram TV label. This Compilation 2018 Universal Music Operations Limited is a variety of stylistically useful material, which is, however, a possible platform, simply decipher. This is how you can use your collections and archive. And a non-familiar apprehension definitely sustainable attitude!

Driving Rock The Ultimate Collection, brings together 100 road blazing classic and contemporary rock tracks, specially selected for the open road. From Kiss and Free to Sum 41 and Motörhead, this compilation boasts killer track after killer track; whether you slide the gear into cruise control or put the pedal to the metal, this is the perfect soundtrack for any journey.

"Helen of Troy" is the sixth solo studio album by Welsh musician John Cale, released in November 1975 by Island Records, his last of three albums for the label. Even though the other Island albums were issued in the US (June 1, 1974, Fear, Slow Dazzle, Guts), Helen of Troy was not. It was commonly sold as a UK import all over the US. No singles were released from the album.

Repo Man Review by Stephen Cook
As a backdrop to his fast-paced and cartoon-like debut chronicling the wayward life of Los Angles repo men, punk auteur Alex Cox did well to use music from the city's early-'80s hardcore punk scene; the tongue-in-cheek histrionics of Fear and the Circle Jerks (who appear in the movie as a punk band-turned-lounge act) fit flush with the film's mix of displaced suburban youth, gruff, and wizened repo veterans, Mexican hoods, industrial-skid row scenery, and irradiated UFO conspiracy theorists. Along with tracks by punk godfathers Iggy Pop ("Repo Man") and Jonathan Richman (writer of "Pablo Picasso"), the album's additional L.A. hardcore highlights include Black Flag's "TV Party," Suicidal Tendencies's "Institutionalized," and the Plugz's "Hombre Secreto (Secret Agent Man)." The Plugz's noir-ish, punk en espanol tracks, in fact, formed the trademark sound of the film. One of the first soundtracks to use pre-existing band cuts in lieu of an original score, Repo Man is a fine, if not terribly thorough document of L.A.'s punk heyday.