Can't Rush Greatness

While virtually unknown in the U.S., pop singer Jennifer Rush achieved superstar status as an expatriate in Europe, selling millions of records and releasing a string of hit singles notable for their booming, dance-rock arrangements and Rush's powerful voice. Born Heidi Stern in New York City, Rush's father was an opera singer and her mother was a pianist. At the age of nine, she moved to Germany with her family, returning in her teens to the States. In 1982, she returned to Germany with her father to pursue a singing career, signing a deal with CBS/Columbia. Changing her name to Jennifer Rush, she released a series of songs that made her a star in Europe, including "Into My Dreams," "Come Give Me Your Hand," "25 Lovers," and "Ring of Ice."

Jennifer Rush (The Power Of Love - International Version) is the debut album by American singer Jennifer Rush. It became a big-seller across Europe, hitting the top ten in many countries, including Germany, where it remained on the charts for over 100 weeks. The album features the song "The Power of Love" which when released as a single, reached number one in several countries around the world.

Although keyboards dominated Rush's 1989 double live set A Show of Hands, it's a definite improvement over its somewhat flat predecessor, 1981 's Exit…Stage Left. The band's music isn't as hard rock-based as it previously was, evidenced by the more modern-sounding compositions selected for this third live album (the first Rush album to be produced completely by the band)…

Now the reigning king of the blues at the age of 89 – after a lifetime of working the fringes, he won two Grammys for Best Traditional Blues Album in 2017 and 2021 – Bobby Rush settles into a comfortable groove on All My Love for You. The title, like Rawer Than Raw before it, offers an indication of what lies within. This 2023 set doesn't aspire to be as, well, raw as its predecessor. This is a bright, largely cheerful affair, filled with punchy rhythms, tart horns, and clean licks. Dialing back his signature raunch a notch, Rush sings with an audible grin throughout the record, and that amiable nature means that the album's title seems plausible: he really is giving the listeners nothing but good vibes.

Buju Banton's new album, Born For Greatness, features the singles “HIGH LIFE (with Snoop Dogg),” BODY TOUCHING BODY (with Victoria Monet),” and more roots/dancehall reggae songs to experience.

Grace Under Pressure was the first Rush album since 1975's Fly by Night to not be produced by Terry Brown, who was replaced by Peter Henderson (Supertramp, Paul McCartney). The change resulted in a slightly more accessible sound than its predecessor, Signals, and marked the beginning of a period where many Rush fans feel that synths and electronics were used too prominently – in effect pushing guitarist Alex Lifeson into the background. The songwriting and lyrics were still strong however, as evidenced by the video/single "Distant Early Warning" (a tale about nuclear war) and the often-overlooked highlight "Kid Gloves," one of the album's few songs to feature Lifeson upfront.

Troubles, Troubles was originally recorded for Sonet, but is probably better known through its re-release as Lost in the Blues by Alligator. Lost in the Blues was justifiably criticized because of the decision to have Lucky Peterson overdub a bunch of keyboards in order to give it a more "contemporary" (read: more "Alligator") sound. This release is of the original album (with a couple bonus alternate takes) without all the overdubbing, and is a vast improvement over the Alligator version. But how does it stand as an Otis Rush album? It's a very good set – perhaps "comfortable" says it best – recorded with Rush's longstanding band of Bob Levis on rhythm guitar, Bob Stroger on bass, and Jesse Lewis Green on drums (despite what the package says).

The powers that be at Alligator were subjected to a fair amount of criticism for taking a 1977 album of standards that Otis Rush had cut in Sweden and overdubbing Lucky Peterson's keyboards to make the thing sound fuller and more contemporary. History, after all, should not be messed with. But it's still a reasonably successful enterprise, with Rush imparting his own intense twist to "I Miss You So," "You Don't Have to Go," and "Little Red Rooster."