| Magdalen | |
|
Revolution
Mind (©1993 Essential Record Group)
Continuing my Lanny Cordola adventures. Here we have the almost follow up CD to Magdallan. Gone is Ken Tamplin, and in is vocalist Philip Bardowell. Revolution Mind is less hair glam metal, and is more rock / funk / blues / R&B. The result is pretty good. "Soul Child" is Extreme without being Extreme. None of the songs here really jumped out and grabbed me by the short and curlies, but it's a pretty good album. Reviewed October 28, 2002 |
|
|
This is an “unplugged” album of sorts, featuring covers of Black Sabbath’s "War Pigs", and Bob Marley’s "Redemption Song". I’ve got to hand it to the guys they did pull off a pretty good album, incorporating some interesting arrangements and solid performances. "The Rapture" would have been an excellent song if the guys had played it straight with Phil’s vocals. The poor choice of using an effect-laden flange is distracting and spoils the song. Overall a decent album, and another one of the many Lanny Cordola albums I’ve somehow managed to accumulate over the last year or so. The boys would later re-sticker themselves Chaos is the Poetry and lean more to progressive rock. Reviewed April 3, 2003 |
|
| Magdallan | |
|
Big Bang
(©1992 Intense)
Big Bang is an over the top hair metal guitar tweeter-nut vocal crunching extravaganza. Fret wizard Lanny Cordola and his royal shriekiness Ken Tamplin joined forces and produced a slick album that went (sigh) nowhere. You can tell this one cost some bucks too: it's a great sounding record. Sure it's dated - so what? If you miss the so-called melodic rock from the late 80's and early 90's there're a bunch of songs for sore ears here. The lead off track is great, and uses up about a hundred musical ideas in the space of 6 minutes. "Radio Bikini" is without a doubt the stupidest title I've ever come across - too bad it's an absolutely killer song musically (I wonder how you tune in a station?) A lot of the songs are paint by numbers glam rock with the mandatory ballads here and there. Ken's vocal tricks on This 1's 4 U are impressive, but annoying. Still, if this had come out in 1988 it would have sold millions. Millions I say. Sigh - in the immortal words of my favourite secret agent, "Missed it by that much." Reviewed October 25, 2002 |
|
|
This is one of those weird ones I got cheap without knowing what I was getting. Well, okay, I knew what I was getting into - Lanny Cordola, and Ken Tamplin were all over this one, so I knew I was into a hair-metal experience. End Of The Age also includes pieces from Magdalen, the post Tamplin releases, which featured Philip Bardowell on vocals (no slouch either). Who knows what happened there. Rumours abound for those who give a crap about feuding and all that silliness. Musically this is a time capsule, and although fun at times is more than a little dated. I have an admitted weakness for big guitars, and layered vocals. Lanny is an incredible player, and I've managed to snag a lot of work he's been part of - he's much broader in ability than he appears on this release. I have all of the Magdallan / Magdalen albums, so this one really stands out for the bonus demos - which for 8 track snapshots, are surprisingly good. Hair is dead - long live hair. Reviewed October 23, 2002 |
|
| Malcolm & Alwyn | |
|
Fool's
Wisdom (©1973 /©1991 Footstep)
The year was 1973, and a young duo from the U.K. released Fool's Wisdom which was recorded at AIR studios in London, and used the same musicians as Larry Norman's Only Visiting This Planet. I first heard this one in the early 1980's, and it become one of my favourite albums, which was kind of odd considering most of what I was listening to at the time wasn't anything like this. Of course over time my collection would grow to rather preposterous proportions, but my handful of early albums still retain a special place on my shelves. When I finally found this on CD a couple of years ago I was finally able to hear this one without the pops and scratches my old vinyl had. If you've never heard of these two, you have been missing an integral part of early Christian music. Alwyn Wall was the singer, whose voice bore an uncanny resemblance to John Lennon - his partner was Malcolm Wild who also sang, accompanied him on autoharp of all things. Hey, it was the early 70's, and dang it all, it worked! Thirty years have gone by, and this one hasn't lost any of it's punch. If there's a weak spot here, it's the packaging - Footstep records did a great job with the sound, but it would have been great to have a decent booklet about the recording of the album, memories of the time - you know, all the nostalgia stuff. There's so little on the web about these pioneers. Now, like then they're letting the music do the talking. Reviewed May 21, 2005 |
|
|
Wildwall
(©1974 /©1999 Footstep)
Wildwall never got the respect it deserved from me (initially). A year later the guys did a 180, and did their own version of Dylan going electric. To be honest the dated 70's rock style didn't catch me the first time around. Hard to believe these are the same guys. Like their previous album this was produced by the Triumvirate of Jon Miller, Rod Edwards, and Roger Hand (who were responsible for a number of classic albums in the 1970's. Most notably Larry Norman's Planet, and Garden) Mickey Keen (one very underrated player - why isn't there anything on the net about this guy?) is all over this one, and I can only assume the same gang of players are along. There were no liner notes of any kind this time around. Sigh - you'd think there would be something. Oh well, it was remastered and sound bloody great. This is classic 70's rock, and although it is dated, it's a lot of fun. It's full of great tunes, and I have no idea why after releasing two of Christian music's watershed albums the boys stopped. I did have a solo Alwyn Wall album, and Malcolm and the Mirrors but it wasn't the same. At least I've got these. Those were the days. Even if I was too young to remember them first hand ... Reviewed May 21, 2005 |
|
| Aimee Mann | |
|
|
|
Harry
Manx & Kevin Breit |
|
|
In Good
We Trust (©2007 Stony Plain)
I had figured that 2003's Jubilee was a one off. So it was a pleasant surprise when I was casually browsing in a record store when I discovered In Good We Trust. I'd picked up the first album based strictly on Kevin Breit's name being on the cover. This time around I was eager to hear Harry's soulful bluesy tones accompanied by the delightful playing of Kevin Breit. The album opens with a truly remarkable cover of Springsteen's "I'm on Fire". This isn't an album that is going to grab you and make you pay attention. Rather, like so many gifted artists Harry and Kevin lure you in with their warmth. This is an album that glows. The instrumental songs here are reminiscent of Kevin's solo work. But this is as the cover states "Blended" the two come together and produce something that neither one alone could pull off. Kevin may have more quirky stringed instruments than a squirrel has nuts, but I'd bet he doesn't have a Mohan veena - Harry plays one of those. It's a 20 stringed modified archtop that produces some really cool sounds (I had to look it up, I was curious about some of the sounds they were getting). This is one of those albums that is the musical equivalent of sitting in front of a warm fire with a great cigar and a cognac. Here's hoping that this isn't the last collaboration from these gifted players. Reviewed January 7, 2008 |
|
| Marianas Trench | |
(©2009)
Masterpiece Theatre  
These kids are pretty cool, and they wear their influences on their sleeves like a badge of honour. Now I will admit that other than "Cross My Heart" I didn't really think this was much more than an average album with some fun moments, but the first couple of times through it felt like a somewhat contrived effort by a wannabe boy band. But the more I listened to it, the more I began to appreciate the depth of their pop songs - which is pretty funny when you think about it since by definition pop songs are supposed to be superficial fun. The first thing that really hooked me is that Masterpiece Theatre is an album meant to be listened to as an album with the recurring theme serving to anchor and tie the songs together. I have to admit I didn't expect a bunch of whippersnappers to borrow elements of Queen and The Beach Boys mixed up with Green Day-ish new-punk power chords. The result is a lot of fun. Although I have to say that Josh Ramsay often sounds like Sylvester the Cat with his spitting lisp, the best example occurs on "Celebrity Status" where I'm sure someone had to come in with a mop afterward. I can't hear the song without wanting to put a paper bag on my head (oh the shame). But that's a pretty small foible for an otherwise surprisingly deft album of power pop songs. I happen to like these guys, and aside from the odd ill-conceived f-bomb that doesn't serve any real purpose other than to sound "earthy"and makes listening to this around the younger kids (who happen to be the target market) an issue for me as a parent. I'm not convinced this is the masterpiece the band was hoping to produce, but it is a pretty decent album, and with a little luck these guys will be around a long time. Reviewed July 9, 2009 |
|
| The Mars Volta | |
|
The Bedlam
in Goliath (©2008)
First let me state unequivocally that these guys are jaw dropping in terms of their technical ability. This is some of the most wildly inventive stuff I've heard in years. Absolutely amazing stuff, and about as much fun to listen to as a bag of cats being used as a piñata by a bunch of 12 year old girls with gas powered weed whackers. Now, I came into this expecting over the top prog stuff, and I'm cool with that. But this went over the top, and over the edge, and down the side of a cliff. For whatever reason these guys are the current flavour of the month and critical darlings. Heck, it made me curious enough to get it. I can't begin to count how many 5 star reviews I've read. Everybody loves this album! At first I felt like maybe I was the only one who didn't get it. Maybe I'd lost my ability to discern diamonds from polished turds. Then it struck me - maybe there were a lot of people just buying into the hype. After all, everybody seemed to "get it" and perhaps in not wanting to appear out of the loop, they "got it" too, all the while wondering WTF was going on. It's like that lone idiot at a party no one likes but puts up with because they think he was invited by someone else, but in reality just crashed the party looking for free beer. Before I decided to admit to myself that this album was shit (and that I didn't "get it"), I forced myself to listen to it again, and again, and again - (time I'll never get back) on the off chance that I was mistaken. Hope. Shit is shit, and this my friends is shit. This isn't to say that buried amidst the hour and fifteen minutes of self indulgent musical wanking there aren't flashes of pure genius. Oh there are. There are a lot moments where I do go "Holy crap, that's unbelievably cool" and then the guys waffle on to some other musically insane tangent. Make no mistake, these guys are the real deal in terms of being able to pull off amazingly complex and at the risk of repeating myself jaw dropping displays of technically brilliant performances. Now if they could make something worth listening to ... Reviewed March 14, 2008 |
|
| Richard Marx | |
| Flesh
and Bone (©1997 Capitol)
The guy is so earnest about being generic that he actually makes a good case for it actually being a style. It doesn’t hurt that his voice is recognizable. He also surrounds himself with talented players. So even though the music is often nothing more than really nicely produced elevator music, it’s part of his charm.
Now that I’ve been an ass, let me say that when he pulls off a good pop song, I find my foot tapping and a little grin appears on my lips. Quite possibly the best song on the album is the opening track, which features the guitar prowess of Bruce Gaitsch. He’s a subtle player and really creates a nice feel through out. In a similar vein My Obsession is another nice track. The rest sort of flow in one ear and out the other. Richard’s attempts a MOR funk on You Never Take Me Dancing are a little irritating, but not offensive. In fact that pretty much describes any Richard Marx release, not offensive. I think he knows it too, and is more than happy to be a young man content with pleasing old folks while they ride the elevator of life.
Oddly enough, you can count me as a fan. Going up?
Reviewed April 1, 2004 |
|
|
Days
In Avalon (©2000 Signal 21)
... next floor, Richard Marx. Looks like Richard has found his comfort zone, and depending on your point of view, this is either a good thing or a bad thing. For me, it's pretty good. More of the same stuff with just enough edge to appeal to the aging rocker in me. Bruce Gaitsch lends his tasty work on a number of cuts, and there are some pretty good moments here, and overall I find this a more consistent album than Flesh and Bone, although to be honest they sound a lot a like - no wait, Flesh and Bone was more consistent ... no, it had that You Never Take Me Dancing song ... I was right the first time. If you're a fan of Richard's you have this one. If you're overly critical, then you'll probably hate this - it all flows into the background, doesn't take any musical chances, and sounds all the same, and is mostly forgettable. Pretty much describes a successful Richard Marx album. And for the life of me, I'm always dumbstruck as to why I like his stuff so much. That's the power of rock and roll kids. Reviewed September 6, 2004 |
|
| Mastedon | |
|
It's
A Jungle Out There (©1989 Pakaderm Records)
Mastedon is more than just a glorified John and Dino Elefante album. Okay, so the guys produced and wrote all of the songs; however, they did get a number of other people to help them. Most of them named Dave. Boy are there a lot of Daves in this band. These are the Daves I Know: David Raven on Drums, Dave Amato sings and plays the guitar, Dave Robbins, and David Pack sing. The music is pretty heavy, and there are some soft moments too. Shine On is a wonderful song sung by David Pack. Long out of print, but worth snagging if you like the arena rock sound of the late eighties. Reviewed August 18, 2000 |
|
|
Lofcaudio
(©1990 Pakaderm Records)
I like this one even better than the first one. John Elefante, Dave Amato, and Tony Palacios are on board this time out (the only other Dave here is Mister Raven). Musically it's still pretty hard, but this isn't hair rock. It borders on (gasp) progressive rock at times. Holiest One sounds like Elefante era Kansas, and the other vocalists do a great job. Like it's predecessor it too is long out of print and sought after by collectors for good reason. This album borders on excellent. If only John's solo albums had this passion and edge. I bought both albums at the same time in 1991, and they've seen a lot of airtime. Rumour has it that there may be a new release sometime soon. Reviewed August 18, 2000 |
|
| Masterplan | |
|
Aeronautics
(©2005)
I love this kind of stuff when it's done right. Admittedly I'm not a metal head, or a dyed in the wool headbanger - however since I was a little kid my musical crank has always been turned by hard rock. Masterplan was a band I took a chance on because of Jorn Lande the square-head with the great big voice. Masterplan is hard rock with huge drums, big guitars, rock solid bass, and great vocals. The music is aggressive, but there's an overarching sense of melody throughout that keeps this from becoming nothing more than a collection of musical clichés bordering on being ridiculous (Dragonforce anyone?). Heck, it's progressive power rock - which I find really cool. I don't think anyone will argue that Aeronautics is breaking any new ground, or reinventing the wheel. This is quite simply a really good hard rock album that pushes all the right buttons. I know that for most people this style of music is a good couple of decades past its expiration date - I would disagree, it's fallen from the mainstream that's for sure, but it never went away it just went to Europe where there's still a market and audience that keeps this stuff alive. Over here in North America it's the kids, young kids, who are getting into this stuff. Thanks to Guitar Hero my kids are raiding my CD collection down in the vault and listening to honest to goodness rock and roll. I was blasting this in the office and from the opening notes of "Crimson Rider" my eight year old son's jaw dropped and he had to have this album. High praise indeed. Reviewed October 28, 2008 |
|
| Curtis Mayfield | |
|
The
Very Best Of Curtis Mayfield (©1997 Rhino)
How can I slam a legend? I'm not a big R&B fan, so it's easy. It's not really fair that I review this at all, except that it is part of my collection, and as such - fair game. This CD was a gift from my sister in an attempt to widen my musical horizons. There are a few songs on here that are so funky and groovy you can't help but tap your feet and smile. As a kid I remember seeing Superfly, and Shaft so I get a touch of nostalgia when I hear songs that remind me of that time. For the most part though this isn't isn't my type of music. Curtis is a legend, and if you like R&B this is probably one of your favourite CDs. Reviewed June 16, 2000 |
|
| Matt
Mays and El Torpedo |
|
| Terminal
Romance (©2008)
|
|
| Andy McCarroll & Moral Support | |
|
Zionic Bonds
(©1981 Anthem) Many many years ago, around
the time I started getting into U2 I was also huge into another Irish
band who only released one spectacular album, and then disappeared.
I've always had a nostalgic spot for Andy McCarroll & Moral Support
- then last year I stumbled upon a CD re-issue, and snagged a copy. Reviewed June 19, 2008 |
|
| Bob
and Doug McKenzie |
|
|
Great
White North (©1981 Anthem)
This was album so highly anticipated I remember waiting in the record store while the first shipment was opened so that I could buy my copy. I prompty raced home and set needle to vinyl and proceeded to memorize the album. Much to the annoyance of my friends and family. Twenty five years later, I've got my kids listening to this one, and they've started learning the Canadian lexicon. I'm a proud daddy. Nothing makes my heart swell more than having to explain to a six year old what a hoser is, by point to his older brother. Is it really as funny now as it was then? Yes. The album was never meant to be a collection of jokes - it relies on the seemless banter between Rick Moranis and Dave Thomas. These two guys don't get the credit they deserve for their ability to do brilliant improvisation. It doesn't hurt that Geddy Lee joins in on the fun, and the guys have built in a Christmas classic. They were a flavour of the month in the states, but here at home there are statues and CBC specials on the cultural significance of Bob and Doug McKenzie. Rumour has it that if Canada ever adopts a five dollar coin it will feature images of Bob on one side, and Doug on the other. The coin will affectionately be called The Hoser. Hats off to the folks at Anthem for releasing this one on CD. Now if only they'd release the Strange Brew soundtrack recording on disc, my life would have meaning. Reviewed December 15, 2005 |
|
| Megadeth | |
|
Risk
(©1999 Capitol)
Megadeth - who'd a thunk I'd be buying, let alone really liking an album by these metal monsters? Dann Huff had produced it, so what the heck, if it sucked it was cheap, if it rocked I got a good deal. Besides rumour has it Dave Mustaine found God, and I was curious to see what was up with that. I must say it's not what I had expected, then again from what I've read it's not what the old die hard fans expected either. There are some really rocking songs here, and it's not all guttural death metal either. The boys aren't above borrowing from other bands, The Loverboy rip off "Enter the Arena" is thankfully short, and "Wanderlust" lifts bits and pieces from Bon Jovi's "Wanted Dead or Alive." "I'll Be There" is great, and was totally unexpected. In fact this whole CD is much better than I expected. Considering I was taking a chance on this, I was very pleasantly surprised. Of course if you really like the Megadetb of old, this is probably the worst thing old Dave has ever done. However, if like me you're just a fan of pop metal, this was pretty cool. Reviewed March 2003 |
|
| Stan
Meissner |
|
|
Undertow
(©1992 Duke Street Records)
Back in 1986 Stan released one of my favourite albums in Windows to Light, it featured songs like "One Chance" (yeah, it was covered by Eddie Money, whatever) and "I Want Everything". Stan's voice reminds me of an odd combination of Gerry Rafferty and Jude Cole, which sounds better than you may think. Then in 1992 Stan resurfaced with Undertow. It still makes frequent appearances in my CD player (like now as I write this). Undertow is a solid AOR effort, with some edge. Stan's not a bad guitar player (not bad is good, not as in "not bad" as is crappy) and he throws in the odd solo for fun. Stan plays everything himself (the drums sound pretty good, and I can't tell if they're samples or real - I'll give him the nod and assume he can pound too). Peter Cardinali (from The Boomers) helped on bass here and there, and he's among the best there is. Favourite cuts are "River of Fire" and "I Don't Believe It's Over". The other songs place solidly in the top ten. Revised August 13, 2001 |
|
| Metallica | |
|
Death Magnetic
(©2008)
I am not a head banger. Back in the day I was not a big fan of Metallica. I could take 'em or leave 'em. I cannot do a chapter and verse of their early work, and I can't go on ad nauseum about how Bob Rock killed the band, and sadly I can't piss on them for selling out. You want to know why? Because I never really cared all that much. Oh I've got the odd mixed tape (Yeah, I'm old - but I'm not any older than the guys in the band, cut me some slack) from years gone by with some of their songs. I have to admit there are a bunch of songs over the year's I thought were cool, but I never got around to getting their back catalog. So here I am with their new album (thanks to my little sister and a Best Buy gift card and impulse shopping) without a point of reference other than my opinion, I have to say I really liked this one more than I expected. Is it a return to form? Is it their best effort in years? Have they found their Mojo? Did they take it from Mike Myers - they might have and that might explain The Love Guru. No matter, this is one of the best hard rock albums I've heard in ages - and the much lauded return of Kirk Hammett's guitar solos are pretty cool - even if they're so over the top as to sound cartoonish at times. The music has muscle and is dripping with emotion. The beat Lars pounds out is infectious, and although there are times when things verge on thrash, it never quite wanders into sonically messy territory. The guys in Metallica have been around long enough to sit on their laurels. Heck, they'll be in the Rock and Roll Hall of Fame before their next album comes out. For a bunch of guys with nothing left to prove certainly made a point of delivering a killer album. There aren't any real duds on the album, aside from the never ending "Unforgiven III" which is okay, but frankly I liked the last one better. Even if it did spawn 1000 copycat bands and open the doors for bands like Hinder and Nickelback. Frankly what I liked most about this album was the fact that a bunch of middle aged old farts are still able to kick ass and take names. Reviewed January 15, 2009 |
|
| Metric | |
|
Fantasies
(©2009) Fantasies is of those little surprises that I stumbled across a few months ago. Okay I didn't so much stumble upon these guys (and gal) as I was TOLD I had to hear them. Now, the person who introduced me to the band has a pretty decent track record when it comes to recommendations (decent, but not perfect!) so back in April when this came out I was listening to this quite a bit, and really liked the album. Now you're probably thinking, "Why the delay then is posting a review?" Fair question, I don't suppose being lazy is an excuse but it is the truth. Now this was a band I didn't know much about except that my buddy thought Emily Haines was hot. Which truth be told wasn't really a drawing card, but it's true. This is one of those great alternative rock bands that really caught me from the first listen. Musically they're kind of hard to peg: A little bit of techno mixed with bits and pieces from just about everything power pop. Emily has one of those reedy voices that is one part Smurfette and two parts Siren (without the feathers and irritating habit of luring men to their deaths). The results are great. However if there's a little fly in the ointment I find the way her vocals were recorded sometimes a little distracting - there is an over abundance of vocal sibilance throughout the recording (just a fancy way of saying that the letter S is a real problem). This was annoying at first (don't ask me why it bugged me, I blame my headphones) but after a couple of listens I had let it go as an issue. Who knows, maybe in the way Neil Young is out of tune, Emily likes to accentuate her esses. Or maybe, and this is a long shot, Fantasies was brought to you by the letter S and the number 10. This album at ten tracks is a classic pop album - not so long it takes forever to get through, and not so short that you feel ripped off. There really isn't a weak song here. I started making a list of my favourite songs, and it just read like the track list so it kind of defeated the purpose. However - (isn't there always an exception?) if I had to pick my favourites (for today at any rate) I am especially partial to "Help I'm Alive", "Sick Muse" the atmospheric "Twilight Galaxy" and "Gimme Sympathy" just for asking the question "Who'd you rather be The Beatles of the Rolling Stones?" In a year where I've had a few musical surprises, Metric ranks among my favourites. This is a hell of an album. Reviewed October 5, 2009 |
|
| Metropolis |
|
|
The
Power of the Night (©1999 MTM Music)
Metropolis is Peter Fredette and Stan Meissner, and this is a good pop album, with just enough edge to make it a appeal to those who miss the late 80's and early 90's. Which makes sense since a lot of the songs were written then. In Stan's own words "The new thing (Metropolis) is a bit of a retro project, some older (early 90's) tracks that I started with Peter Fredette singing which never saw the light of day that I have un-earthed. Last year I was convinced to fill out an album's worth of that kind of late 80's early 90's rock and put it out in Europe and Japan. It's pretty good and along the lines of some of my rockier stuff although not really where my head is at now." If you liked Stan's earlier work, you'll love this. It's a treat to hear Peter fill the lead vocalist spot for a change. Most people will remember him as the guy who belted out backing vocals on All We Are with Kim Mitchell. Reviewed July 29, 2001 |
|
| John Mellencamp | |
|
The Best
That I Could Do (1978 - 1988) (©1997 Mercury)
John Cougar - er, I mean Mellencamp has never been one of my favourite artists, and to be frank a lot of his stuff I find annoying - especially his newer stuff. However, I'm not immune to the power of nostalgia. This collection is probably missing a lot of "gems" to the true Mellenhead. But since I'm a musical Philistine I'll wade in with my eyes closed and my mouth open and offer up my two scented opinion. Scent One: This is really good. Scent Two: I mean it. I could go all the way to six, but then I'd see dead people. All of the big radio hits are here, and I found myself propelled back in time, and was surprised to find that I liked a lot more of John's stuff than I realized. Small Town still reminds me of Pete Townshend's Let My Love Open the Door, but so what? It's a great song. So will I rush out and gobble up his back catalog and convert to Mellencampism? No. This was enough for me. I'm hurting enough as it is, I don't need to be a masochist. Reviewed January 3, 2003 |
|
| Riki Michele | |
|
One Moment
Please (©1993 WAL)
I love finding CDs on sale. I’ve long wanted to pick up something by Riki Michele, and with One Moment Please she finally made her way into my musical menagerie. It’s hard to imagine that over a decade has passed since this was released.
In terms of collected talent this is a veritable who’s who of some of the best talent you’ve probably never heard of: Terry Taylor (production, writing), Tim Chandler (bass), Derri Daugherty (guitar), Gene Eugene (keys, guitar, writing) Mike Roe (guitar), Rob Watson (synth, arrangements), and pounder and thrasher Aaron Smith. All of whom are complementary to Riki’s angelic vocals.
Vocally Riki has a lot in common with Jane Siberry (no mean feat), which is an accomplishment in and of itself (see told you, it was no mean feat). Thankfully Riki avoids being self indulgent, and instead sticks to creating songs, rather than three minute showcases of her warbling ability.
On the whole the songs are really good, the only song I don’t really enjoy is the title track with it’s farty snyth horns (sometimes it works for Rob, other times …), however, songs like her very cool cover of Fly Like an Eagle, Randy Stonehill’s Far, Far, Big Machine, and Terry and Gene’s In The Calling are wicked songs that push One Moment Please (the album, not the song - icky icky song, good album) above being merely a generic pop album.
While not an exceptional album, it has more depth to it than I was expecting, and it’s holding up pretty well considering I’m hearing it “new” over a decade later. That’s got to count for something.
Long out of print, but you can find it around if you look hard enough. Go on, look for yourself. It's out there.
Reviewed February 11, 2004 |
|
|
Surround
Me (©2001 rikimichele.com)
Riki is an interesting writer, and while I enjoyed her previous album, she really wasn't all that high on my "must have" list of artists. Surround Me came to me as part of a bundled purchase, and I thought, "Oh look, a Riki Michele album ... cool, I'll get to this one eventually." Eventually I did. The first time through it half played in the background, and I thought, "Hmm, a dance record?" It played through, and I wasn't all that blown away. But you know me, I have to give things a fair shake. So I sat down with the liner notes, and played it uninterrupted. A strange thing happened. Well, perhaps not so strange, but a bunch of great songs emerged (there are still a few bits and pieces here that I don't care for, but overall this is a really good album). There's a lot going on here both lyrically, and musically. Not to dig for references to her late ex-husband, but there are some melancholy moments here that are quite moving. One of the things that makes her so appealing is her voice - while not as distinctive as say, Jane Siberry, she's got a beautiful voice, and it's her instrument. And being a smart artist she's gathered some good talent to help her out. The album is centred on Julian Kindred who not only produced, engineered, and mixed the album, but he wrote a good chunk of the music with Riki. Marc Byrd from Common Children (who ever did the notes spelled his name wrong in the thank you section), Tim Chandler and Steve Hindalong (no glockenspiel!) all make appearances. This is a very good album. I'm constantly amazed by the amount of really good stuff out there most people will never hear. Songs that really standout (so far) Mystery in Me, Things I Mean, If I Remember (a very short haunting song - Marc Byrd's guitar is perfect), Forever Bright (a hit for sure. Which is why I'm not an A&R man - I hear hits everywhere) is tied with Mystery in Me as the best song on the album. Reviewed September 26, 2004 |
|
| Midnight Oil | |
|
Blue
Sky Mining (©1989 Columbia)
It's been a long time since I've put this one in the hopper. I was reminded of these guys today by my virtual friend Lost Canine (he made a number of references to my appearance and how when I wear my beloved Australian hiking hat I look like Peter Garrett. I always thought Peter resembled Lurch - but then people have called me that too. Sigh, I can't win), so I thought I'd refresh my memory. Anyway, back to the task at hand. I haven't kept current with these guys as this was the last album of theirs I bought. There isn't anything as catchy as Beds Are Burning here. Having said that the overall effort is stronger. Although Mister Garrett gets the press, the band is full of great songwriters. Many of my favourites were written by (give me a Spinal Tap gasp of disbelief) drummer Rob Hirst. After a couple of times around, it's as good as I remember it. Bedlam Bridge is a beautiful song, and Antarctica is as bland as ever. Reviewed March 13, 2002 |
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| The Mighty Lemon Drops | |
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Ricochet
(©1992 Sire) Here’s a band I knew nothing about, but the name was familiar so I took a chance on this one, and dang if it wasn’t a pleasant surprise. Musically it reminds me a little of The Adventures, The Godfathers and a whole bunch of mid 80’s British pop bands. This is not a bad thing. As far as the tunes go, Into the Sun is a great song, and the rest of the CD is full of pleasant songs. Nothing ground breaking here, but there aren’t any duds in the bunch either. It’s nice to be able to actually enjoy a CD from one end to the other. I’m sure if I find more of their stuff in a bin someplace I’ll pick it up. Reviewed April, 2003 |
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| The Mighty Mighty Bosstones | |
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This is an album I've been trying to like for over a year. Try as I may, this one doesn't do anything for me. Oh it has all the ingredients, and I'm sure that live these guys are a freakin' sensation. The music is fun, it's a blend of rock , ska, jazz, and little bits of the kitchen sink. Heck, there are eight people in the band, with that much noise in the band some of it must work. I play it fairly often (I told you I was trying to like it) but with 16 songs I seldom hear the whole thing, or it just plays in the background. It's not offensive (okay, they swear too much, but I'm talking about the tunes) it's just sort of there. For whatever reason it all feels as flat as a plumber's ass (not that I've ever felt one). There, now that I've totally pissed off all the Bosstone's fans, I'll say that there are a couple of near warm spots on this album. Generally speaking I don't really care for this one. I wouldn't go so far as to say it sucks - but it's not something I'll play again (okay maybe once more in a couple of years just to see if I've change my mind). Reviewed July 4, 2003 |
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| Mike + The Mechanics | |
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Mike + The
Mechanics (©1985 Atlantic)
In the mid 80's all things Genesis rocked (except for Tony's solo stuff, it only rocked a little). Phil Collins was the poster boy for lawn gnome cool, and Mike Rutherford was the tall goofy looking bass / guitar player who didn't say much. I had an old solo album and liked it, and some of his stuff appeared on soundtracks like Against All Odds - which oddly enough Phil and Peter Gabriel were on too. Anyway - the point I was trying to make before I lost my train of thought was that the 80's were dominated by Genesis, so it was natural that the boys stretch themselves with some side projects. Mike + The Mechanics was a band that took on a life of it's own. Their first album was wicked, and featured a host of great songs written by Rutherford. Who knew the tall gangly one was such a talent? Silent Running still sounds cool, as does All I Need is a Miracle. Par Avion is as beautiful as ever. The only song I don't really get too excited about is I Get The Feeling. This one was on my list of albums to pick up on CD for a long time, and the other day I finally saw it on sale. So I snapped it up, along with their sophomore release (see below). Reviewed July 4, 2003 |
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Here's a surprise. I remember hearing it at a friend's house just after it came out, and thought aside from The Living Years, this was an album that defined the term filler. Years later I finally found it cheap on CD and was all prepared to crap all over this album. I put it on and really listened to it for the first time. Imagine my surprise all these years later I discover that lo and behold this was actually a good album. The Lving Years is still a wonderful song, and is the reason I bought this CD, the rest of the songs are solid pop rock songs. Of course it doesn't hurt that the band features two great vocalists in the two Pauls (Carrack, and Young). I'm sure part of the appeal is that 80's pop sound, and since this is "new" to me it pushes all the right buttons. Mike Rutherford proves that he is a talented writter in addition to being a solid bass and guitar player. He's the quiet man of rock - you just don't hear much about him. Reviewed July 4, 2003 |
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| Steve Miller Band | |
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Living
In The 20th Century (©1986 Capitol / ©1995 Cema)
Here's a really good album by one of those old dinosaur farts. I bought the original on vinyl a long time ago, and just the other day I found the CD for under five bucks. Obviously a budget release as the packaging is nonexistent, but as they say "It's what's inside that counts." The album leads off with vintage Miller, and then follows with another pop gem. From there Steve does what he wants. There are a couple of instrumental pieces, and then several blues pieces. reviewed August 17, 2000 |
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|
Young
Hearts - Complete Greatest Hits (©2003)
Like millions (meeeeelllionssss) of people the only album I had from Steve Miller growing up was the ubiquitous Greatest Hits 1974-78 album. So when I picked this one up, there were a lot of "new to me" moments, and a few "he did that?" epiphanies such as with "Livin' in the USA". The best part about this album is that the songs aren't edited either for space. This is cool, and somewhat weird too, as I expect certain songs to sound a certain way - and there are more notes! "Fly Like an Eagle" has the bookends that made it so cool in the first place: "Space Intro" and "Threshold". There are some songs here I don't care for as much, but there are some omissions too. I know it was an album that stiffed, but I'd hoped that "Shangri-La" from Italian X Rays would have shown up. Oh well, it was cool to have songs from from all the phases of his career. Yes the songs from the 74 - 78 period kicked some serious ass, but there's a lot more to Mr. Miller's career than just those four short years. If you're looking for a Steve Miller album, this is the one to pick up if you want to cover the hits and a few extra surprises. Reviewed December 28, 2007 |
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| Kim
Mitchell |
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| The Monks | |
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Bad Habits
(©1979 Capitol)
The more things change the more they stay the same. The Monks are a band I know very little about. I remembered the song "Nice Legs Shame About Her Face" and I heard it on the radio a couple of weeks back, and figured I'd look up the boys and see if anything was still in print. Bad Habits was released in 1979, and the first thing that jumped out at me was how much of today's hip music sounds like the stuff I cut my teeth on in the late 1970's and early 80's. Franz Ferdinand et al should kiss the ground these lad trod upon. The album isn't perfect, but it's holding up pretty bloody well considering this is new to me almost 25 years after it's initial release. Good pop music doesn't die, it just gets re-issued. The boys even go surf twang on "Skylab" which is I suppose one of the first sci-fi surf tunes. Not counting Cliff Richards and Shadows as puppets on the original Thunderbirds movie. If you're looking for killer garage pop punk back when it was fresh you should start some bad habits of your own. Reviewed May 4, 2006 |
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| The Moody Blues | |
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The Present
(©1983)
The 80's were an odd time for a lot of bands. Cheesy synths were all over the place, and for whatever reason a number of thought to be dead and gone dinosaurs were still roaming the world. I guess they were attracted to the cheese. The Moody Blues, never a band I knew a lot about - other than "Gemini Dream" a song I thought was incredibly cool back in 1981 (I also thought it was ELO for the longest time too) experienced a minor resurgence in the first half of the 80's. I originally bought this because of "Sitting at the Wheel" and songs like "Blue World" and "Meet Me Halfway" were extra goodies I wasn't expecting. This is an album where having it on disc hasn't enhanced my overall listening experience (other than sounding way better than my old LP). I should really carve this into two reviews: side A which is stil very good (okay, the first three songs), and the side B which I've heard more lately than I ever did when I didn't flip the thing over. I know more about the band now than I did all those years ago, and although they're best known for their wonderful output in the 60's, I have to sheepishly admit that I have a pretty big soft spot for their cheesy stuff. The Present may not have been much of a gift to their hardcore fans who must have wondered what the heck happened to their favourite progsters - but to me this album had three killers, some fillers and that's all I have to say about that. Reviewed April 14, 2008 |
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| Gary Moore | |
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Out in the
Fields: The Very Best of Gary Moore (©1998)
Gary Moore is one of those guys I've liked for a long time, but only had a couple of his releases in my collection (vinyl back in the day). Hence my seeking out a "best of". The first song I ever heard of his was the single version (anyone else remember the 45?) of "Empty Rooms" a song that stood out because of the interplay between the classical and electric guitars. When the album Run for Cover came out, I really liked it - the title tracked kicked ass, but the version of "Empty Rooms" was different, and didn't have the same punch as I remembered. After that I more of less lost track of Mister Moore. Gary Moore is a player who plays with substance more than flash. He also has a really good voice. The songs here are that: songs. They're not merely excuses to wank on the frets and show off. What's really cool is Moore's ability to cross genres and feel authentic. Songs like the blues and R&B infused "Cold Day in Hell" and "Still Got the Blues" are wicked. However, the majority of the album mines Moore's rock vein. - with the occasional instrumental thrown in for good measure. Or to keep with the theme, this is a good crop of songs. Reviewed July 13, 2008 |
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| Geoff Moore | |
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Familiar
Stranger (©1995 Benson)
I’ve known of Geoff Moore since the mid-80’s but never got around to picking up any of his stuff. Amazing what you can pick up for a buck if you wait long enough. If you’re a big ole Geoff Moore fan don’t get your WWJD thong in a knot – I only have this “early” album as a point of reference and as such will only speak to this album. On the plus side I don’t have a lot of pre-packed baggage one way or the other.
I remember hearing Geoff’s version of WSTDHATGM (I’m not spelling out the entire title for crying out loud) and thought that for all its sonic bombasticness it was a surprisingly boring version. Of course now that almost 20 years have passed, it’s better than I remember – still somewhat lifeless in places, but it has that 80’s charm to it. Which is the draw and distraction to hearing this stuff for the first time. Geoff Moore was mining the same musical vein as White Heart, and featured many of the same writers. To be fair, when Geoff keeps the tempo up the results were pretty good: Love the One You Live In, Inside Out. Sadly there are a lot of cheesy mid temp songs that were probably huge with the milksop CCM crowd (I can’t make a list for everything, make up your own). There’s no accounting for some people’s taste (present company included).
You kind of have to suspend your disbelief (what a thing to say about a Christian album) and pretend it’s 1986, after all it is an 80’s record, and a pretty average one at that (hey I’m giving it three stars – it is good). If you’ve not heard Geoff Moore before and have no vested interest in 80’s nostalgia you can pretty much pass this by without missing anything.
We can’t all be retrospective geniuses can we?
Reviewed November 8, 2004 |
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| Alanis
Morissette |
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Supposed
Former Infatuation Junkie by (©1998Maverick/Reprise) Jagged Little Pill sold more albums than you could shake a stick at, and opened the doors for countless female singer songwriters (Take that Celine!). No matter what she did for a follow-up it was going to be blasted for either being more of the same, or taking a huge right turn and alienating her fans. So how is this album? Good. It features the painful songs you would expect, the yelling, and thankfully very little harmonica playing. There are some very good moments here, and this album deserved more respect that it received. |
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| Motley Crue | |
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Motley
Crue (©1994 Elektra)
Okay, I got this on sale - so cut me some slack. Let me start by stating I don't have any other Motley Crue albums, because I don't really like a lot of their stuff. Okay, "Dr. Feelgood" was pretty cool. But I never really liked their image, and what they stood for (I'm a prude). So why buy this album? I don't know - I still don't like their image, but since every Crue fan out there seems to hate this album I kind of wanted to give it a shot. Blam. Know what? This album cooks, and apart from a couple of bad words (did I mention I'm a prude?) this is an aggressive rock solid effort. Produced by Bob Rock, and driven by a great drummer (who bugs me, but man can he pound) and a guitar player who likes to low tune his guitar, there are a number of choice cuts on this disc. Starting off with "Power to the Music", and carrying on with "Hooligan's Holiday", "Misunderstood", and "Driftaway" this is a pretty wicked album. Remember when you were a kid and said to your parents, "I don't listen to the lyrics, it's the music I listen to . . . " That's how I listen to this album. |
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| Saints
of Los Angelese (©2008)
The Crue were never a big deal to me. During their heyday if their stuff came on the radio I was likely to change the station. There was something about their music that just sat sideways with me. Call me a prude but I couldn't really find anything redeeming about a lot of their music. So here I am decades later listening to SOLA and despite myself am getting into some of the music, while shaking my head at their lyrical depth. I suppose if you like the Crue, there's a lot to like here. Vince is as thin and nasally as ever, and the band still packs a sonic punch. Tommy Lee shows why he's still one of rock and roll's great pounders. Meanwhile Mick Mars is still a one man riff factory, despite looking like a scarecrow, he along with bassist Sixx are the musical heart of the band. While this isn't going to set the world on fire it will no doubt appease the hardcore fan. For me it was one of those car wreck experiences where I was more curious than anything, and although it wasn't the mess I was expecting (and to be honest hoping for) there's always next time. Reviewed August 28, 2009 |
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| Motonaut | |
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The
Now and the Not Yet (©2008)
Motonaut's debut e.p. is the brainchild of New Orlean's indie artist Mike Indest. In the past Mike has created some great music and some stuff I've not thought that much of. This time around Mike enlisted Jesse Maizlish to sing counter vocals and her voice adds a nice dimension to Mike's intimate vocals. This is a decent little recording and has certainly grown on me with repeated listening. I've not thought too hard about the band's name. I'm guessing a Motonaut is someone who can drive a car. Motonaut is an interesting musical experiment with Mike creating the songs using two mono synths and two drums machines. In Mike's own words "It seemed like an interesting way to record an album." In other words, Mike painstakingly put the songs together one layer at a time. The musical arrangements are sparse, and the vocals were recorded in such a way to make them very front and centre - an effect that brings a sense of urgency as well as intimacy to the performance. This is a great trick if you can pull it off as it creates a sense of tension between the sterile nature of electronic music, and the organic quality of the vocals by Mike and Jesse. Lyrically Mike is in good form, and even the subtle dropping of the "f" bomb is used for effect rather than simple shock value - as if in this day and age there's any shock value left by simply saying @#ck. It's used so often and so casually now it's just another word, a word that needs other words to make it work it's become so pointless. With less than a hand full of songs to go through it's tough to really form an opinion about the band, but the songs that are here are dark but not without hope. In a twisted way this is the kind of music I'd imagine the Apostle Paul would write. "I'm only happy when it's all fucked up / I'm only happy when it hits the ground / I'm only happy when it's complicated and wrong / Only when you look outside you / Can you see how you fit in / Only when you quit holding on / Can you really ever grasp anything" The worst thing I can say about this effort is that it is too short. Just as I started to get into the mood created by the songs it's over. I know there's an old adage about leaving them wanting more. In this case Motonaut has succeeded. Please Mike, may I have another? Reviewed January 9, 2008 |
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| Mukala | |
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Fiction
(©1998 Essential) This is a pretty interesting album. Caught be totally by surprise. The first time through I though it was crap. So I gave it a bunch of listens. I suppose there are new fangled titles for this style of music. Sadly I'm so unhip, I only know what I like. I liked this stuff, really - I'm as surprised as the next person. It's a strange mix of dance music, pop, but with actual lyrics. "Soap", "High", "Atrocity", and "Jesus Shirt" are some of the standout tracks. |
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| Muse | |
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Black Holes
& Revelations (©2006)
Black Holes & Revelations was one of those odd finds that came as a result of my son wanting "Knights of Cydonia". Apparently he heard it on Guitar Hero and wanted a copy for himself. So being a curious sort went out and found the album thinking it would suck, but would make him happy. I love it when I'm pleasantly surprised. This album hooked me in right off, and yes there are some obvious comparissons between Radiohead - Matt Bellamy has a voice that is reminiscent of both Thom York and Chris Martin. However, I don't mention this dismiss the band as derivative. It's more a point of reference. The band covers a lot of ground musically, and heck there even hints of Queen and Adrien Belew on occasion. For an album I picked up as a lark for my kid - I found myself really liking this more than I expected. As to the "Knights of Cydonia" - it's a cool song, a prog rock surf song even if it at times it bears more than a passing resemblance to "Ghost Riders in the Sky". How cool is that? It's not typical of the rest of the album, but honestly I could not care less. This was one of the better surprises I've had in a while. I'm thinking I'll be looking for more of their stuff. Reviewed May 23, 2008 |
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| My Little Dog China | |
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The Velvis
Carnival (©1994 Alarma)
Steve Hindalong produced this noisefest, and I have to be honest this MTV college grunge aural assault doesn't do much for me. I suppose if you liked a lot of the anti-establishment rock of the early 90's this will probably give you a musical chubby. Now, don't go thinking I'm totally out to lunch - Kevin Clay is a really good writer, and lyrically this is pretty cool stuff. I'm just too old to appreciate predominantly atonal tunes. I've listened to this one a few times, rarely all the way through in a single sitting, and although I can appreciate it for what it was - it doesn't mean I have to like it. I really did want to like this - it just never really worked for me. Reviewed July 14, 2005 |
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Fast forward a few years, and My Little Dog China is Kevin and some side players. Troy Deaton from Curious Fools lends bass, and mixed the album. This is still a noisy album, but Kevin has toned down the thrash and kept the emotional quotient cranked up. I get a sort of Aunt Bettys / Foo Fighters vibe from this one. While this will never be one of my favourite albums, there is something strangely engaging about the songs. As you can probably tell I like it more than The Velvis Carnival. You're probably wondering, "Sheesh Jev, if you don't like this stuff, why buy it?" Hmmm, a very good question. Let me think on that for a bit and get back to you. Admittedly this album didn't jump out and get me right off, but I did give it a few spins off and on over the last year or so, and when I'm in the mood it fits the bill nicely. Kevin is a really cool writer, and although the music isn't always my cup of tea, the guy puts it all out there, and you have to admire that. Reviewed July 15, 2005 |
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| Alannah
Myles |
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Alannah
Myles (©1989 Atlantic)
It’s been a while since I’ve heard this one. Back in 1989 this one came out of the blue, and introduced the world (for at least 15 minutes) to a raven haired vixen who could sing, growl, purr, and have some fun. Not one of my favourite artists, I can however claim to having all of her albums. This is a good rock album, and probably the one she's best known for since it contains her signature tune "Black Velvet" (which is an amazing song for all that). This is a good album but it’s not her best effort. Reviewed June 13, 2002 |
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Admittedly Alannah Myles is not one of my favourite artists, however she has released some decent albums, and has recorded some incredible songs. For whatever reason as her career progressed she was never able to escape the shadow of her first album and it's biggest single. I can't really call it a curse because most artists would kill for a signature song ... but it must be a heavy weight to carry. By the time A-Lan-Nah dropped it didn't generate much interest which frankly left me dumbfounded. With her third album it seemed like she'd gotten all the ingredients mixed in the right proportions. The result being an album with no filler at all, and is in my opinion her most cohesive album. Alannah Myles can belt it out, but she also has the ability to pack her vocals with emotion and vulnerability which is probably why I kept picking up her albums. When I think of this album, the tracks that come to mind are the Celtic influenced "Irish Rain" an incredibly beautiful song, and frankly one of the best things she's ever recorded in my opinion and the haunting "Sally Go Round the Roses". The album has a great mix of mid tempo rockers as well, but it was the mix of elements that really brought out the best in Alannah's voice and from what I heard showcased a performer comfortable in her own skin. There's a lot more to Alannah Myles than you'd expect, and this is the album where it all came together. It's the album I listen to most of hers, after all here I am almost 15 year later still talking about it. It sounds as fresh today as it did when I first got picked it up. Reviewed March 23, 2009 |
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Bad 4 You 1: Bad 4 You 2: Pearls Of Wisdom 3: Black Velvet (Live) 4: Weapons I guess she couldn't afford a spell checker for the cover. I'm of two minds about this album. The lyrics are embarrassing at times, have a listen to "Bad 4 You". A lot of the time she appears to be either shrieking, or in the throws of an orgasm. However there are some very good songs (I mean it, really good songs) buried in here too. Alannah Myles can really sing when she wants to. There are no doubt some who will hail this release as a return to her rock-vixen roots. To me she just came across as a predatory harlot. P.S. Oh lucky me, I got one of the lucky first 10,000 copies because there was a bone-us CD inside. Additional notes August 18, 2000. I've grown to really like this CD. Yes the lyrics are often embarrassing, but musically this is a very good album, and I was a bit of a shit in my original review. This is worth seeking out. May 2005 - Wait a minute, A rival. A RIVAL, not arrival! I finally get it ... gee she could have put some spaces in there. |
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Tracks:
Revolution Mind / Mad At The World / Make It Through / White Rice /
Soul Child / Baby Insane / Sad Sister Alchemy / Bad Bones / Waiting
For The Son / Samson And Delilah / Bethel / Caves Of Hercules / American
Lament / Testimony 
War
Pigs / Shotgun Shack / The Rapture / Redemption Song /Bourbon Way /
Street Of No Hope 
Tracks:
End Of The Ages / Radio Bikini / Shake / Wounded Hearts / Love To The
Rescue / Old Hard Line / Dome Of The Rock / Big Bang / House Of Dreams
/ Cry Just A Little / Heartbreak Woman / This 1's 4U / End Of The Ages
(reprise)
Tracks:
End Of The Ages / Caves Of Hercules / Big Bang / Soul Child / Dome Of
The Rock / Love To The Rescue / House Of Dreams / Revolution Mind /
Bourbon Way / Tumblin' Down (Unreleased 8-Demo) / Long Way To Paradise
(Unreleased 8-Demo) / Give All To Love (Unreleased 8-Demo) / Golden
Town (Unreleased 8-Demo) / Danger In Your Eyes (Unreleased 8-Demo) /
Walkin' On The Edge (Unreleased 8-Demo) / Strange Fascination (Unreleased
8-Demo) 
1:
Say It Like It Is 2: Fool's Wisdom 3: Tomorrow's News 4: Growing Old
5: Things Are Getting Better 6: Heaven Or Hell 7: Seed Of Corn 8: The
World Needs Jesus 9: Always On My Mind 10: It's Here The Answer Lies
1:
I Feel Fi ne 2: I Love You More T oday Than Yesterday 3: Spaceman 4:
Someone To Sing To 5: I'll Carry You Through 6: Buried Alive 7: Stay
With Me 8: I Love 9: Wildwall 10: England Goodbye 11: I Feel Fine -
Live 12: Morning Star - Live 13: Fool's Wisdom - Live
1.
I'm on Fire 2. Sometimes 3. Bottom of the Hill 4. Better Man's Waltz
[Instrumental] 5. Death Have Mercy 6. Steal 7. Ship of Fools 8. In Good
We Trust [Instrumental] 9. Hang On 10. Don't Swim, Float [Instrumental]
11. Sisters [Instrumental]
1.
Masterpiece Theatre, Pt. 1 2. All to Myself 3. Cross My Heart 4. Beside
You 5. Acadia 6. Masterpiece Theatre, Pt. 2 7. Sing Sing 8. Good to
You 9. Celebrity Status 10. Perfect 11. Lover Dearest 12. Masterpiece
Theatre, Pt. 3
1.
Aberinkula 2. Metatron 3. Ilyena 4. Wax Simulacra 5. Goliath 6. Tourniquet
Man 7. Cavalettas 8. Agadez 9. Askepios 10. Ouroborous 11. Soothsayer
12. Conjugal Burns
Richard
Marx has firmly established himself in the middle of the road. At times
straying dangerously close to insipid territory. But for whatever reason,
I’m strangely drawn to this master of the bland indistinguishable
pop song.
1:
Days In Avalon 2: Shine 3: Someone Special 4: Almost Everything 5: The
Edge Of Forever 6: Power Of You And Me 7: One More Time 8: Waiting On
Your Love 9: More Than A Mystery 10: Boy Next Door 11: Too Early To
Be Over 12: Straight From My Heart 
the
songs: Love Inhalation / Glory Bound / This is the Day / It's A Jungle
Out There / Islands in the Sky / Innocent Girl / Get Up / Love That
Will Survive / Shine On / Right Hand
the
songs: Holiest One / Life on the Line / Run to the Water / When It All
Comes Down / Taken Down Below / Stampede / Living For You / Thief in
the Night / People of this Time / It Is Done
1:
Crimson Rider 2: Back For My Life 3: Wounds 4: I'm Not Afraid 5: Headbanger's
Ballroom 6: After This War 7: Into The Arena 8: Dark From The Dying
9: Falling Sparrow 10: Black In The Burn 11: Treasure World 
the
songs: (Don't Worry) If There's a Hell Below We're All Going To Go /
The Makings of You / Get Down / We Got To Have Peace / Freddie's Dead
(Theme from "Superfly") / Superfly / Pusherman / Future Shock
/ Can't Say Nothin' / Kung Fu / So In Love / Only You Babe / Do Do Wap
is Strong in Here / Between You Baby and Me / Do Be Down
1.
Building a Boat 2. Digital Eyes 3. Tall Trees 4. Rock Ranger Record
5. Terminal Romance 6. Shining Eyes 7. Northern Belle 8. Stand and Deliver
9. Laser-Guided Love 10. Hunter, The Hunted 11. Long Since Gone 12.
Tall Trees (acoustic bonus track)
1:
Sin 2: How The Kids Are Feelin' 3: To Know You 4: Slipin' And Slidin'
5: I Am Human 6: Cyan City 7: King Man 8: Livin' A Lie 9: In Control
10: 20th Century
1:
This Is Our Album, Eh? 2: The Beerhunter 3: School Announcements 4:
The Miracle Of Music 5: Peter's Donuts 6: Gimme A Smoke 7: Take Off
8: Coffee Sandwich 9: Welcome To Side Two 10: Doug's Mouth 11: Elron
McKenzie 12: Black Holes 13: You Are Our Guest 14: Ernie's Mom 15: Twelve
Days Of Christmas 16: Ralph The Dog 17: Okay, This Is The End, Eh? 18:
...? 
Tracks:
Insomnia / Prince Of Darkness / Enter The Arena / Crush 'Em / Breadline
/ The Doctor Is Calling / I'll Be There / Wanderlust / Ecstasy / Seven
/ Time: The Beginning / Time: The End
the
songs: It's No Secret / River of Fire / No Way Out / Someone Like You
/ If It Takes All Night / Shelter in the Heart / Day After Day / When
I Look In Your Eyes / I Don't Believe It's Over / The Lucky One
1:
That Was Just Your Life 2: The End Of The Line 3: Broken, Beat & Scarred
4: The Day That Never Comes 5: All Nightmare Long 6: Cyanide 7: The
Unforgiven III 8: The Judas Kiss 9: Suicide & Redemption 10: My Apocalypse
1:
Help I'm Alive 2: Sick Muse 3: Satellite Mind 4: Twilight Galaxy 5:
Gold Guns Girls 6: Gimme Sympathy 7: Collect Call 8: Front Row 9: Blindness
10: Stadium Love
the
songs:Wild and Blue / The Darkest Side of the Night / Never Look Back
/ Walk Through the Fire / Restless Moon / A Million Miles Away / Whatever
It Is / The Eyes of Love / The Best is Good Enough / Running After A
Dream / The Power of the Night
Tracks:
I Need a Lover / Ain't Even Done with the Night / Hurts So Good / Jack
and Diane / Crumblin' Down / Pink Houses / Authority Song / Lonely Ol'
Night / Small Town / R.O.C.K. in the U.S.A. / Paper in Fire / Cherry
Bomb / Check It Out / Without Expression
1:
Moon 2: Fly Like An Eagle 3: One Moment Please 4: Far, Far 5: Big Machine
6: Mind To Mind 7: Light Of The World 8: Love Life And Dance 9: Love
You Now 10: Daniel's Eyes 11: In The Calling 
1:
Mystery In Me 2: She Said (Grandma's Words) 3: Giving Up 4: Treasure
You 5: Things I Mean 6: If I Remember 7: We Take It On 8: Forever Bright
9: Radiant 10: Interlude 11: Compassion 12: Surround Me
The
songs: Blue Sky Mine / Stars Of Warburton / Bedlam Bridge / Forgotten
Years / Mountains Of Burma / King Of The Mountain / River Runs Red /
Shakers And Movers / One Country / Antartica
Nothing
/ Into The Sun / Sense / From The Sky / (She's So) Out Of Touch / Falling
Deep / Reach Out / Between The Lines / More / Blues Inside /Hallowed
Ground 
1:
Let Me Be 2: The Skeleton Song 3: All Things Considered 4: So Sad To
Say 5: Allow Them 6: High School Dance 7: Over The Eggshells 8: She
Just Happened 9: Finally 10: I Know More 11: Riot On Broad Street 12:
One Million Reasons 13: Bad News And Bad Breaks 14: Temporary Trip 15:
Where You Come From 16: The Day He Didn't Die 
1:
Silent Running 2: All I Need Is A Miracle 3: Par Avion 4: Hanging By
A Thread 5: I Get The Feeling 6: Take The Reins 7: You Are The One 8:
A Call To Arms 9: Taken In
1:
Nobody's Perfect 2: The Living Years 3: Seeing Is Believing 4: Nobody
Knows 5: Poor Boy Down 6: Blame 7: Don't 8: Black & Blue 9: Beautiful
Day 10: Why Me?
the
songs: Nobody But You Baby / I Want To Make The World Turn Around /
Slinky / Living In The 20th Century / Maelstrom / I Wanna Be Loved (But
By Only You) / My Babe / Big Boss Man / Caress Me Baby / Ain't That
Lovin You Baby / Behind The Barn
01
Take The Money And Run 02 Abracadabra 03 Rockin' Me 04 Swingtown 05
The Joker 06 Livin' In The U.S.A. 07 Space Intro 08 Fly Like An Eagle
09 Threshold 10 Jet Airliner 11 Space Cowboy 12 Jungle Love 13 Serenade
14 Cry Cry Cry 15 Shubada Du Ma Ma 16 Wide River 17 Wild Mountain Honey
18 The Stake 19 My Dark Hour 20 Who Do You Love 21 I Want To Make The
World Turn Around 22 Dance Dance Dance
1:
Johnny B. Rotten 2: Drugs In My Pocket 3: Love In Stereo 4: Bad Habits
5: Spotty Face 6: Dear Jerry 7: Nice Legs Shame About Her Face 8: Inter-City
Kitty 9: Out Of Work Musician 10: I Ain't Gettin' Any 11: No Shame 12:
Skylab (Theme From The Monks)
1.
Blue World 2. Meet Me Halfway 3. Sitting At The Wheel 4. Going Nowhere
5. Hole In The World 6. Under My Feet 7. It's Cold Outside Of Your Heart
8. Running Water 9. I Am 10. Sorry 
1.
Out in the Fields 2. Over the Hills and Far Away 3. Run for Cover 4.
Parisienne Walkways [Live] 5. Empty Rooms 6. Loner 7. Military Man 8.
After the War 9. Cold Day in Hell 10. Wild Frontier 11. Still in Love
With You 12. Wishing Well 13. Friday on My Mind 14. Still Got the Blues
15. Ready for Love
The
Early Works of Geoff Moore 1: Why Should The Devil Have All The Good
Music 2: Never Wanna Go Back 3: Love The One You Live In 4: Build The
House 5: Didn't He 6: Familiar Stranger 7: Make Up Your Mind 8: Where
Are The Other Nine? 9: Over The Edge 10: Open Your Eyes 11: Inside Out
12: One Heart
the
songs: Front Row / Baba / Thank U / Are You Still Mad / Sympathetic
Character / That I Would Be Good / The Couch / Can't Not/ UR / I Was
Hoping / One / Would Not Come / Unsent / So Pure / Joining You / Heart
Of The House / Your Congratulations
1: Power To
The Music 2: Uncle Jack 3: Hooligan's Holiday 4: Misunderstood 5: Loveshine
6: Poison Apples 7: Hammered 8: Til Death Do Us Part 9: Welcome To The
Numb 10: Smoke The Sky 11: Droppin' Like Flies 12: Driftaway
1.
L.A.M.F. 2. Face Down in the Dirt 3. What's It Gonna Take 4. Down at
the Whisky 5. Saints of Los Angeles 6. MF of the Year 7. Animal in Me
8. Welcome to the Machine 9. Just Another Psycho 10. Chicks=Trouble
11. This Ain't a Love Song 12. White Trash Circus 13. Goin' Out Swingin'
1:
Gravity 2: Sirens 3: Everything 4: I Can Move 
1:
Soap 2: Skip To The End 3: Stranger Than Fiction 4: Regret 5: High 6:
Original Sin 7: Atrocity 8: Story Of Her Life 9: Ice Age 10: Jesus Shirt
1:
Take A Bow 2: Starlight 3: Supermassive Black Hole 4: Map Of The Problematique
5: Soldier's Poem 6: Invincible 7: Assassin 8: Exo-Politics 9: City
Of Delusion 10: Hoodoo 11: Knights Of Cydonia
1:
Listen 2: Her Machining 3: Puppets & Fools 4: See The Man Fall 5: Worthless
6: Entanglement (The Web) 7: Iconland 8: Why? 9: Eggshells 10: Salvadori
11: Nothing 12: Swirl
1:
Free 2: Rock 'n Roll 3: Creeps You Out 4: Stare 5: Habitual Ritual 6:
Game Face 7: On & On 8: Your Favourite Songs 9: Lift Me High 10: Add
A Little Pressure 11: Fire 12: When You Find Your Way Home
Tracks:
1: Still Got This Thing 2: Love Is 3: Black Velvet 4: Rock This Joint
5: Lover Of Mine 6: Kick Start My Heart 7: If You Want To 8: Just One
Kiss 9: Who Loves You 10: Hurry Make Love 
1:
Mistress Of Erzulie 2: Blow Wind Blow 3: Family Secret 4: Mother Nature
5: Irish Rain 6: Dark Side Of Me 7: Simple Man's Dream 8: Lightning
In A Bottle 9: Keeper Of My Heart 10: Do You Really Wanna Know Me 11:
Everybody's Breakin' Up 12: Sally Go Round The Roses
1: Motherload 2: Bad 4 You 3: The Dance Of Love 4: The Great Divide
5: Chained (Final Rescue) 6: Why Have Angels Denied You 7: What Am I
Gonna Do With You 8: Everything Missing 9: Kisses Are Weapons 10: Honesty
11: Yellow Rose