Solo 1981

Considering how lackluster some of David Byron's early solo work (and final days with Uriah Heep) sounds today, it is not only refreshing, but astonishing, to run head first into On the Rocks and find the old voice box sounding better than it had in years. Packed with some of the most menacing riffs of his career – check out "King" – and a voice that roars on the right side of anger, On the Rocks is the sound of classic Heep, shot through with both the fresh adrenalin of the NWOBHM and an ear for what was going on elsewhere in the world. "Start Believing" layers in Mel Collins' sax to add an almost funky feel to the proceedings, even as "Piece of My Love" echoes on bluesy piano, while "Bad Girl" is simply slinky.

A pioneering work for countless styles connected to electronics, ambience, and Third World music, My Life in the Bush of Ghosts expands on the fourth-world concepts of Hassell/Eno work with a whirlwind 45 minutes of worldbeat/funk-rock (with the combined talents of several percussionists and bassists, including Bill Laswell, Tim Wright, David van Tieghem, and Talking Heads' Chris Frantz) that's also heavy on the samples - from radio talk-show hosts, Lebanese mountain singers, preachers, exorcism ceremonies, Muslim chanting, and Egyptian pop, among others. It's also light years away from the respectful, preservationist angles of previous generations' field recorders and folk song gatherers…

Whatcha Gonna Do? is an album by British blues rock musician Peter Green, who was the founder of Fleetwood Mac and a member from 1967–70. Released in 1981, this was his fourth solo album, the third in his 'middle period' of the late 1970s and early 1980s, and his last for PVK Records. All the tracks on the album were written by Green's brother Mike.

Impersonator I was originally released in 1981 when Carlos Perón was still a member of the band Yello. Remastered, with two bonus tracks. His first solo album represents the extreme desire to conduct daring experiments, to achieve stylistic variety and musical intensity while at the same time it is an example of Monsieur Perón's bizarre sense of humour. Impersonator I was the foundation for the constantly expanding Impersonator series. Long since out of print, this album is once again available completely remastered for the first time.

After the breakup of Emerson, Lake & Palmer in 1978, Greg Lake set out to launch a solo career. He teamed up with guitar virtuoso Gary Moore and enlisted the talents of Bruce Springsteen's sax player, Clarence Clemmons, as well as Toto veterans Steve Lukather, David Paich, and Jeff Porcaro. The result was his 1981 self-titled debut album. After more than a decade with prog-rock legends ELP and King Crimson, it is clear Lake was looking for a musical change and a chance to perform as a guitarist, his primary instrument, after more than a decade mainly playing bass.

Sarah Vaughan is accompanied by her regular rhythm section of the early '80s (with pianist George Gaffney, bassist Andy Simpkins, and drummer Harold Jones), guitarist Freddie Green, and the Count Basie horn sections on this enjoyable date. The arrangements by Sammy Nestico and Allyn Ferguson unfortunately do not leave much room for any of the Basie sidemen to solo, but Sassy is in superb form. She is at her best on "I Gotta Right to Sing the Blues," a remake of "If You Could See Me Now," and a rapid "When Your Lover Has Gone," although some listeners may enjoy her overly dramatic rendition of "Send in the Clowns."