Rush 50

Rush is an excellent dark blues score written by Eric Clapton (with help on the three songs) and performed by an augmented version of his band. This soundtrack album produced one big hit for Clapton with "Tears in Heaven," but it's a wonderfully intense piece of work all the way through, with some terrific guitar work from Clapton himself. Buddy Guy turns up to add lead vocals and guitar on the 11-minute version of Willie Dixon's "Don't Know Which Way to Go," and that's more than all right too. There's a very good chance that the dark intensity of this music was as much informed by the tragedies in Clapton's life ("Tears in Heaven" is about his son) as the film itself.

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.

Out of My Hands is the seventh studio album by American singer Jennifer Rush. Released in early 1995, the album was led by single "Tears in the Rain" - a song originally recorded by Robin Beck. "Tears in the Rain" became Rush's biggest single of the decade, charting highly in many European countries, particularly in Germany. The album also improved on her previous one by reaching No.15 there during a four-month chart run. A second single was released, the title track "Out of My Hands", while the album boasted a collaboration with Brian May on the Queen cover "Who Wants to Live Forever" - which was released as a promo-only single. Also included on the album was a cover of the Moody Blues hit "Nights in White Satin".

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.

Exit… Stage Left is a live album by Canadian band Rush, released in 1981. The album was voted 9th best live album of all time in a poll by Classic Rock Magazine in 2004. The original CD issue removed "A Passage to Bangkok", as CDs could only hold 75 minutes at the time.

Not only is 1981's Moving Pictures Rush's best album, it is undeniably one of the greatest hard rock albums of all time. The new wave meets hard rock approach of Permanent Waves is honed to perfection – all seven of the tracks are classics (four are still featured regularly in concert and on classic rock radio). While other hard rock bands at the time experimented unsuccessfully with other musical styles, Rush were one of the few to successfully cross over. The whole entire first side is perfect – their most renowned song, "Tom Sawyer," kicks things off, and is soon followed by the racing "Red Barchetta," the instrumental "YYZ," and a song that examines the pros and cons of stardom, "Limelight."

Inconsistent but sometimes riveting 1975 studio set that hits some high highs (a crunchy "Cut You a Loose," the lickety-split jazzy instrumental "Motoring Along") right alongside some incredibly indulgent moments. But that's Otis – the transcendent instants are worth the hassle. Breaking into the R&B Top Ten his very first time out in 1956 with the startlingly intense slow blues "I Can't Quit You Baby," southpaw guitarist Otis Rush subsequently established himself as one of the premier bluesmen on the Chicago circuit. Rush was often credited with being one of the architects of the West Side guitar style, along with Magic Sam and Buddy Guy. It was a nebulous honor, since Rush played clubs on Chicago's South Side just as frequently during the sound's late-'50s incubation period.