Johhny Smith Japan Shm cd

As Kiss approach 40 years of ridiculously dumb rock & roll fun, it makes sense that their 20th studio album, Monster, is more self-referential than anything. Following 2009's Sonic Boom, the album marks the second set of tunes by a revamped "original" Kiss lineup, with Paul Stanley and Gene Simmons joined by new guitarist Tommy Thayer and re-emerging drummer Eric Singer donning the makeup and personas originated by Ace Frehley and Peter Criss, respectively. Dressing up these semi-random players in the classic comic book costumes is just step one in re-creating the feel of Kiss' 1970s over the top heyday.

It's advantageous to get an early start on your chosen career, but Billy Preston took the concept to extremes. By age ten he was playing keyboards with gospel diva Mahalia Jackson, and two years later, in 1958, he was featured in Hollywood's film bio of W.C. Handy, St. Louis Blues, as young Handy himself. Preston was a prodigy on organ and piano, recording during the early '60s for Vee-Jay and touring with Little Richard. He was a loose-limbed regular on the mid-'60s ABC TV series Shindig, proving his talent as both a vocalist and pianist, and he built an enviable reputation as a session musician, even backing the Beatles on their Let It Be album. That impressive Beatles connection led to Preston's big break as a solo artist with his own Apple album, but it was his early-'70s soul smashes "Outa-Space" and the high-flying vocal "Will It Go Round in Circles" for A&M that put Preston on the permanent musical map. Sporting a humongous Afro and an omnipresent gap-toothed grin, Preston showed that his enduring gospel roots were never far removed from his joyous approach. He continued to perform and record throughout the '80s, '90s, and 2000s, until he fell into a coma caused by pericarditis late in 2005; sadly, he never regained consciousness and passed away on June 6, 2006.

Layla stands as one of a handful of pillars of classic rock. The short-lived ensemble that was the Dominos provided an outlet for Eric Clapton to vent his then unrequited (and secret) passion for the wife of his best friend, George Harrison. Romantic anguish inspired Clapton to write and collect an embroiling and interconnected song cycle. Meanwhile, latecomer Duane Allman prodded Clapton to tear it up on guitar, so as not to be overwhelmed by his even more talented foil. Of course, Clapton eventually won the hand of his lady love. And then he divorced her. Sometimes real life messes up a good plot line. ~ Steve Stolder

As the title suggests, Live Bites is a collection of live tracks from the Scorpions, recorded at a time (between 1988 and 1995) when they weren't at the top of their form, despite the hit single "Winds of Change." There are occasional highlights that might make the CD worthwhile for the band's most dedicated fans…

Supersonic and Demonic Relics is mostly the same sort of material the Crüe included as bonus tracks on their 1999 catalog reissues: live performances, rarities, outtakes, alternate versions, and previously unreleased songs; plus an extended Skinny Puppy remix of "Hooligan's Holiday," and the two songs recorded specifically for Decade of Decadence…

Intense, is a word that comes to mind when listen to this YES-influenced classic from the seventies. The band simply doesn't slow down for a minute as they rush through the multiple sections in each song. My only complaint is that they should have considered releasing an Italian version (like the MAXOPHONE album) of the album. The English vocals are okay (the accents are fine), but the music is really screaming for some Italian. If you're in the mood for YES-influenced music done with the energy, and optimism, of the 70's Italian prog scene then you will love this CD. ~ Steve Hegede

When Udo Dirkschneider sang lead with the West German metal band Accept, it was clear that AC/DC's Bon Scott was his primary influence. And the headbanger took his love of Scott with him when he departed Accept and formed his own band, Udo, in 1987. Though not as strong as his work with Accept, Faceless World is a decent album that employs mildly gothic imagery at times. Not content to simply crank up the volume and hit us with power chords, Dirkschneider and friends make melody a priority on "System of Life," "Stranger," "Blitz of Lightning" and other songs on this exuberant CD. Faceless World may not be Balls to the Wall (one of Accept's best releases), but it isn't anything to be ashamed of either. Who could have predicted that only three year's after Faceless World came out, this type of rock would have lost so much ground to alternative rock?