King Crimson opened 1970 scarcely in existence as a band, having lost two key members (Ian McDonald and Michael Giles), with a third (Greg Lake) about to leave. Their second album - largely composed of Robert Fripp's songwriting and material salvaged from their stage repertory ("Pictures of a City" and "The Devil's Triangle") - is actually better produced and better sounding than their first. Surprisingly, Fripp's guitar is not the dominant instrument here: The Mellotron, taken over by Fripp after McDonald's departure - and played even better than before - still remains the band's signature. The record doesn't tread enough new ground to precisely rival In the Court of the Crimson King. Fripp, however, has made an impressive show of transmuting material that worked on stage ("Mars" aka "The Devil's Triangle") into viable studio creations, and "Cadence and Cascade" may be the prettiest song the group ever cut…
Blues-Rock at it's best! Chris Bell's first studio record in five years, delivers an exceptional guitar driven, rockin' CD of well crafted catchy songs with strong hooks! This great new CD has styles ranging from lowdown bluesrock to backwoods delta!
As the bloated corpse of Black Metal continues to be picked apart by Myspace “friends” and post-whatever posers, it’s up to scene veterans like Sargeist to Let the Devil In. Featuring the six-string sorcery of Horna songwriter Shatraug as well as the vile throat and cruel battery of Behexen, Finland’s finest Sargeist here display that Black Metal orthodoxy need not spell creative death, that occult mysticism is still ripe for exploration if the words match the deeds – and especially if you have the songs to back them up. One anthem to the horned one after another, Let the Devil In masterfully balances raw, bloodcurdling passion with poised, steely-eyed professionalism: a new classic of traditional Black Metal is born!
Five CD sets containing 100 classic tracks by legendary artists, one of the biggest selling and best remembered musical icons of all time.
Having been joined by drummer Leah Shapiro of The Raveonettes, San Francisco rockers Black Rebel Motorcycle Club follow-up to 2008's instrumental and experimental record 'The Effects Of 333'. Returning to the melodic country gospel of 'Howl' (2005), while also referring heavily to their self-titled2001 debut's hard-hitting sound, 'Beat The Devil's Tattoo' is a powerful record full of fuzzy bass and guitar swagger. Peter Hayes and Robert Been sound as determined and relentless as ever.