Jethro Tull's first album, THIS WAS, recorded and released in 1968, shows a band that is a far cry from their better-known incarnation as a prog rock outfit in the late 1970s. Instead, Tull come across here as a solid and talented blues band with elements of jazz, folk, and psychedelia thrown in. The band's sound was heavily influenced by guitarist, singer, and songwriter Mick Abrahams, whose bluesy singing and leads distinguish this disc in Tull's discography. Frontman Ian Anderson also shines with tunes like "Some Day the Sun Won't Shine for You" and the excellent cover of Rashaan Roland Kirk's "Serenade to a Cuckoo."
If Steven Wilson’s remixes of albums by Yes and XTC aren’t enough surround sound excitement for you, then check this out: Jethro Tull’s third album, 1970′s Benefit, is being reissued as a 2CD/1DVD set featuring the talents of the Porcupine Tree frontman. Benefit was, perhaps, the first step in Tull’s immersion in the greater world of progressive rock. The quintet moved away from the blues influences of their last two records toward a more heavier sound.
With the departure of vocalist John Foxx and guitarist Robin Simon behind them, Vienna kicked off Ultravox's second phase with former Rich Kids vocalist Midge Ure at the helm. Trading Foxx's glam rock stance for Ure's aristocratic delivery, Vienna recasts the band as a melodramatic synth pop chamber ensemble with most of the group doubling on traditional string quartet instruments and the synthesizers often serving to emulate an orchestra. It was a bold move that took awhile to pay off (the first two singles, "Sleepwalk" and "Passing Strangers," went unnoticed), but when the monolithic title track was released, the Ure lineup became the band's most identifiable one almost overnight.
Collecting B-sides from the Vienna to the Quartet era, Rare, Vol. 1 is a much better prospect than Vol 2. which comes from Ultravox's later, less interesting years. Here the band was still full of life and as many of the less formal tracks display, willing to experiment. The rickety "Keep Talking" is the strange sound of Ultravox jamming and if you've never been able to connect this cold band to member Midge Ure's earlier, more glam outfit the Rich Kids then you haven't heard their aggressive cover of Brian Eno's "King's Lead Hat" (and you really should).
This five-disc set from legendary UFO and Scorpions guitarist Michael Schenker collects all six albums that he made for Chrysalis between 1980 and 1984 under the Michael Schenker Group moniker. Bolstered by a handful of live cuts, B-sides, and alternate edits, The Chrysalis Years: 1980-1984 includes the group's eponymous 1980 debut MSG 2 (1981), the Japanese double-live album One Night at Budokan (1981), Assault Attack (1982), Built to Destroy (1983), and the band's second live album, Rock Will Never Die (1984).
This five-disc set collects all of the post-Michael Schenker albums that the British hard rock outfit released for the Chrysalis label in the 1980s, including No Place to Run (1980), The Wild, the Willing and the Innocent (1981), Mechanix (1982), Making Contact (1983), and Misdemeanor (1986). Like its 1973-1979 sibling, each disc on The Chrysalis Years (1980-1986) is stocked with live recordings, rare tracks, alternate takes, single edits, and extensive liner notes, making it a must-have for longtime fans.
Cyberpunk is a concept album by English rock musician Billy Idol, released in 1993 by Chrysalis Records. Inspired by his personal interest in technology and his first attempts to use computers in the creation of his music, Idol based the album on the cyberdelic subculture of the late 80s and early 90s. Heavily experimental in its style, the album was an attempt by Idol to take control of the creative process in the production of his albums, while simultaneously introducing Idol's fans and other musicians to the opportunities presented by digital media…
Scottish whiskey-voiced vocalist Frankie Miller never made much of a splash in the States, despite, or perhaps because of, his fixation on American soul and R&B. Yanks have never been terribly appreciative of the music that originated in their homeland, which might have been a contributing factor to Miller's marginal popularity in the U.S. He was a fairly major star in the U.K., though, big enough for EMI to remaster, repackage, and reissue his catalog (at least for the titles on their Chrysalis imprint) into this generous four-disc box. They even include a few rare singles and, more importantly, the original mix of his second effort, High Life, along with the previously released one, expanding this set's total to eight albums from 1973 through 1980.