Previous 20 (61-80)

100 Favourite albums you will not find on other lists (81-100)

There are many lists of best of albums on the internet. What is interesting for me, is the fact that I might agree with many of them, they are not my favourite albums. Even though I agree to the merits of Pet Sounds and Seargent Pepper, I very often listen to them. Now what is the albums that I enjoy listening to the most. Here they are.  If you have any comments, please e-mail us. These albums are alphabetically. Here are the third twenty albums.

Steamhammer - MountainsSteamhammer - Mountains: STEAMHAMMER’s second release “Mountains” is just plain and simply one of those “full bodied brews” that the commercials always promised. This was STEAMHAMMER’s strongest album (although the debut album is also quite amazing) and represents a great journey into a rather interesting world where progressive, blues and psychedelic genres meet. This five piece band play somewhere in the CREAM, GOLDEN EARRING, Peter Green school of music. One of the interesting aspects of this album is that fact that basically half the album was recorded live yet sounds dynamically like the studio album and goes on almost undetected. Perhaps though the aspect I appreciate the most in this recording is the standout instrument interplay with some fantastic guitar solos (aka SANTANA) and bass guitar that just wont stop (James Unger)


The Strawbs - Just A Collection Of Antiques & Curios

The Strawbs - Just A Collection Of Antiques & Curios: I don't understand why A&M didn't make an effort to put Strawbs songs on pop radio. American Top 40 radio back in the early 1970's had such wonderful diversity that nothing would seem obscure or out of place on the charts. Practically every song their next few albums could have been a Top 40 hit. This album of "Just a Collection of Antiques and Curios" is probably the world's first introduction to the keyboard genius of Rick Wakeman. His incredible extension to the earlier Strawbs classic "Where Is This Dream of Your Youth?" performed live at The Queen Elizabeth Hall is just mind-blowing. And not since the days of Franz Liszt did we ever get to hear a fabulous aggressive piano solo performed live such as we have here with Rick Wakeman's "Temperament of Mind".

What a performance this is. This is where the Strawbs first obtained world recognition. And to categorize this album is practically undefinable. I mean, what do you call it? Folk, Folk Rock, Progressive Rock, Progressive Folk Rock with a hint of Classical? Progressive Folk Rock with a hint of Classical....performed live? This album has way too many contradictive ventures that it is practically amazing that it all works together anyway.

This is one of the two Strawbs albums that Rick Wakeman was best known for while being with the Strawbs. The Strawbs always had great keyboardists (in fact, Dave Cousins always had to search for a keyboardist that could match the talent and appeal of Rick Wakeman), which is what truly offered the Progressive edge to a group whose humble beginnings were that of a traditional folk band.  (Elk Grove)

Supertramp - Crime Of The Century

Supertramp - Crime Of The Century: Supertramp: Roger Hodgson (vocals, guitar, piano); John Anthony Helliwell (vocals, saxophone, clarinet); Richard Davies (vocals, harmonica, keyboards); Dougie Thomson (bass); Bob C. Benberg (drums, percussion). Producers: Ken Scott, Supertramp. Reissue producer: Beth Stempel. Recorded at Trident, Ramport Studios and Scorpion Sound, London, England between February & June 1974. All tracks have been digitally remastered. The punishment befits the crime, and a quarter of a century later, Supertramp have been forgiven by critics. Quite why they induced such negative press seems unjustified, as 'Bloody Well Right' and 'Dreamer' sound as fresh as ever. The electric piano cuts through the speakers like a knife through butter, the treble at times hurting the ear like a heavy rock guitar solo. Both Hodgson's and Davies' voices sound rich and confident, although both are quite different. Maybe the pace slackens with the slightly indulgent 'If Everyone Was Listening' and the title track, but there are enough musical highlights to recommend this for any would-be progster's wants list.

Symphony X - The Damnation GameSymphony X - The Damnation Game: SYMPHONY X is one of the world’s premier Metal bands in my opinion and I’m sure many will nod their heads to that. The band always had the potential and talent to go far, but the real magic begins at the second release entitled “The Damnation Game”, by the simple fact that Russell Allen joins the band.

Musically “The Damnation Game” can be filed under Progressive, Heavy and Symphonic Power Metal, the songs contain all the trademarks; classical and sometimes medieval keyboards, show off guitar playing, pounding drums, slick bass guitars and emotional vocals.

There are fast songs like the opening title track and “Dressed To Kill” sure to please any Power Metal fan yet they have those intricate fills and odd percussion works the band does so well. The band has a darker edge than most Prog/Power Metal bands, which can be heard on a track like “The Haunting”.

A wise man once claimed that a SYMPHONY X album would be incomplete without an epic masterpiece. True! The band has written some amazing epic songs during their career that leave a special feel of achievement. “The Edge Of Forever” is this albums epic masterpiece, has to be heard to be believed and both parts of “A Winter’s Dream” are two more Prog/Power Metal gems to treasure.

Needless to say the songwriting is very good and always focuses on making the song interesting and varied. As for the players involved, well, you have a very professional and accomplished line-up and bringing Russell Allen into the bands fold was a very fortunate and positive move. Michael Romeo and Michael Pinnella share the same passion and playing technique and that’s why they function so well together in the solos.

Those who like their Metal progressive, fast and technical should place their money here; I don’t think that you’ll be disappointed.

System Of A Down - Hypnotize

System Of A Down - Hypnotize: It wasn't a lie when System of a Down said the packaging for Mezmerize and Hypnotize would slot together. Released in November 2005, roughly six months after its counterpart, Hypnotize does indeed feature a tri-fold design. But the extra cardboard slotting's a little extraneous, as are some of the sonic parts on both albums. Truth is the motor for System's spazzy, modernist thrash. It drives the boiling rage in Hypnotize's "Attack," "Stealing Society," and "U-Fig"; on "Holy Mountain," it inspires SOAD to transform the sad facts of genocide into the album's most vicious, powerful, and arresting moment. Of course, truth also drives SOAD to make passionate, if slightly screwy, decisions: Serj Tankian's ADD sputter of "eat 'em eat 'em eat 'em eat 'em" and "banana banana banana terracotta" on Hypnotize; Mezmerize's detour into celebrity baseball game outtakes on "Old School Hollywood." These moments are head-scratchers, no doubt, but they're integral to the experience — System of a Down confound and irritate even as they rock. And it's precisely because of that weird aggression/aggravation dynamic that Mezmerize/Hypnotize is as strong a concept/double album as metal can offer in 2005.

The Tea Party - Seven CirclesThe Tea Party - Seven Circles: This is the seventh release of this Canadian heavy rock act and according to the band members is their major weapon to conquer the world (more specific the American market). They have gained the Canadian and Australian audiences, they are totally ignored by the Europeans (they were dropped by the European EMI not to mention how hard is to find their records in Greece) and the only thing that is missing from them is the American treasure land. But be cautious! We are not talking about a commercial band that softens its music in order to gain more fans. Although this CD is more radio oriented, than all their previous, I still wonder if their uncompromising spirit (depicted in every note of "Seven Circles") will let them offer empty music that satisfies the truly guided American audience. The Tea Party is a real innovating band that shares a traditional heavy rock/blues background, a love about eastern traditional music and a melodic and atmospheric heavy rock sound. They resemble to (a modern version of) Led Zeppelin, but I think that this resemblance is rather unfair for both of the bands.

"Seven Circles" is somehow heavier than their three previous works, in terms that the over-elaborated productions and orchestrations are missing. The band tries to transform to a power heavy rock trio, but they cannot reach back at the time they were releasing the monumental "The Edges of The Twilight". The orchestrations are still rich, leading to a conflict of aggressive rock riffs with melodic sound textures. The production is partly signed by Bob Rock (for the other half of the production responsible are Gavin Brown and the guitarist/vocalist Jeff Martin). It's pretty hard for me to rate them (and not to give them 10 to 10 points), but I think that the issue here is to help you meet the band and listen to their music and of course to secure my objectivity's reputation (if any left).

Ten - SpellboundTen - Spellbound: This record should both surprise and amaze old fans and new.
It should also intimidate any other bands that thought they might have been closing in on the best rock band in Britain crown. The bar has been lifted and no-one is nearly within range of this great disc.
Without going on to much, there is not one area that has not been improved upon by a mile.
Gary's vocals have come to life in a way I have never heard from him. They are powerful, they are loud, they are raw and they are passionate - both with the ballads and the rockers.
They were recorded live and no filters or effects were added. This was a particular habit of Mike Stone. As Mark Ashton said to me - who ever would have thought the sound problem was connected with him?!
The production is monstrous. Hats off to Now & Then Productions for the sound and the mix. Crisp, in your face and big, big, big.
The drums are bigger than ever. Mark also told me they hired a huge kit for Greg and that inspired him to hit them even harder! It shows!
And let's not forget guitarist Vinny Burns who on this record simply shreds.
I haven't even heard this many solo's and riff's on any Yngwie Malmsteen record.
The guitars are everywhere on this record and they are both raw and multi-layered and the songs offer plenty of melodic hooks and solo's.
The album kicks off with the usual big build up and monster instrumental intro that Gary is becoming quite the master of.
This one offers the best intro of any album in the last few years with a mix of drums, guitars and strings. Epic indeed...and only 2 minutes long!
Fear The Force then cuts in a little mysteriously at first then with a collective implosion of keys, drums, guitars and of course Gary's vocals.
You know straight away that the band have lifted and this song is typical Ten, just bigger.
Hard guitar riffs and a pounding rhythm without going over the top like some of these metal albums. The most noticeable thing is the rawness of Gary's vocals. Just great.
The chorus is big and melodic. Then it's back to the riffing. Love the end where the vocals get to run solo.
Inside The Pyramid Of Light is the track that really floored me and convinced me these guys are world class. It rocks so hard from the first second as the guitar chops and changes furiously and the fast rapping vocals turn a really heavy track into a melodic masterpiece. Go straight to this track - it rocks big time. (When I say rapping, I don't quite mean Ice T either!)
Spellbound continues the onslaught. A slower but heavier track that again attacks the senses. Then Gary's voice cuts in a la Led Zeppelin's Black Dog and the track reveals it self as exactly that sort of influenced track. teh chorus is more typical Ten, but it is great to hear such diversity in just the first 4 tracks. We Rule The Night slows it down for the first time. It starts with those wonderful strings again and a great raw vocal. Almost a little Celtic...more of that to come.
The track is a typical Ten/Gary Hughes ballad, just bigger and better than I have heard before. A monster finish and a really big anthem.
Remembrance For The Brave brings those Celtic influences to the forefront. This is an instrumental piece that leads into Red. Again, wonderful diversity.
Red starts with Gary singing a fast vocal over mainly acoustic guitar with a less obvious Celtic feel. The vocals get faster and the drums kick in softly in the background and then it just goes off. Fast and heavy guitar and drums and that vocal just rocks. The chorus is in there but Gary hardly takes a breath between lines. Exhausting. Guitars everywhere. The Alchemist is another uptempo hard rocker. This is more straight ahead Ten. Another cool track.
Wonderland thankfully gives us a little break with a piano / vocal ballad that sounds a little like a Gary Hughes solo track. Another big chorus and multi layered backing vocals. Gets heavier, but is still ballad melodic.
Eclipse is straight back into that sonic onslaught. Another more traditional Ten track, with more huge guitars. Some keyboards clearly evident also.
The Phantom rocks harder and faster again and even a little darker. Some organ helping the songs get it's mood.
Till The End Of Time ends the album with a big huge 'hands in the air' ballad with Gary and a piano kicking this off. Great vocals and a very good song with lots of emotion.
I normally save this much excitement for a Rick Springfield record or maybe even a Night Ranger album, but believe me Ten have recorded an album that not only out does their entire back catalogue but the back catalogue of a good deal of other bands.
If you like British hard rock, or if you are already an old fan, or if you have been sitting on the fence like myself...then this is an album that should be checked out.


Threshold - HypotheticalThreshold - Hypothetical: Reviewed by: John "Bo Bo" Bollenberg, March 2001
Ever since day one the nucleus of Threshold has remained stable. The only problems were to be found in the vocal and drum departments, which meant that the band lived through many different line-ups. On their previous album Clone, the band introduced Damien Wilson’s replacement Mac, who stepped in after a succesful period with his band Sargant Fury. During the 1999 tour together with Pain of Salvation and Eldritch, drummer Mark Heaney was replaced by newcomer Johanne James. Hypothetical is his first studio recording with this line-up and the result is a very cohesive whole what with Karl Groom, Nick Midson, Jon Jeary, and Richard West having been together since the late eighties.

What strikes me first is the addition of nice harmonies which give an extra dimension to the songs, lavishing between powerful metal and more modest parts. It also strikes me how the band has developed from a production point of view, making Hypothetical one hell of a mature album. I remember that a lot of music lovers didn’t go for Threshold because for the metal fan they were too mellow, whereas for the lover of melodic rock Threshold at times were too hard. However, over the years its exactly that mix which has proven to be the originality of the band. In that respect opener “Light And Space” is the perfect illustration for this mix, once again giving way to great solos from both Karl Groom and Richard West. Electric power switches with acoustic simplicity whilst electronic wizardry creeps in to turn the song into an interesting whole. This song contains all of the angles to make it a very recognizable classic, a winner. In the same tradition “Turn On Tune In” opens with fierce guitar chords and extremely powerful drumming which certainly is an addition to the Threshold sound. The way this song evolves and Mac’s voice is introduced reminds me of latter-day Rush head-banging it’s way through many chord changes. Take away the ominous deafening guitars in “The Ravages Of Time” and you get music which comes close to ambient courtesy of Richard West. But then the guitars once again take the upperhand, whilst harmonies introduce the song once more into Rush territory.

Once again it strikes me how Threshold has matured in creating real songs which remain interesting throughout and which will without any doubt introduce a lot of new fans to the band. Take “Sheltering Sky” as an example of how a Michael Schenker guitar blends with the symphonic texture of the keyboards, of how acoustic piano and murdering guitar leads can find themselves in one and the same song. “Oceanbound” starts with industrial noises and the washing of the sea before the fierce rhythm sets in making this a track which will please fans of Queensryche and Fates Warning alike. The vocals also undergo a studio treatment resulting in weird effects which do the song a lot of justice. The layers of keyboards make this a majestic song with lots of "balls" before, once again, the calm is introduced, giving way to one of the strongest choruses on the album. Another superb song is, without any doubt, “Long Way Home,” which would have been a strong contender for MTV’s Headbanger’s Ball if that were still around! Hard guitars and a rousing organ lay the foundation for the great singing. Another winner with some ace solos courtesy of maestro Karl Groom!

The following song is probably the most commercial song Threshold has ever tried their hands at. “Keep My Head” is the kind of song which can be played over and over again because it’s moulded in the Foreigner tradition, including all the right hooks and singalong ability! A single! However, you'll find both your feet firmly in prog metal arena with the longest track on the album “Narcissus." After yet another healthy dose of fierce guitars and powerful drumming, the song introduces a different direction where piano, strings and a metallic sounding Mac illustrate what a great job has been done production-wise.

Hypothetical without any doubt is the very best, the most diverse and yet the most mature Threshold album ever to hit the shelves. I can only hope this line-up will stay together as tight as the world’s best glue because it’s obvious that this sextet is so far the only one which is able to fully exploit what the band stood for all these years. If the "old" material will be performed with the same "zest" as on this new album then I can only suggest to check these guys out when they’re in your neighbourhood. I already have a title for the tour: "Threshold Re-born!"

Timo Tolkki - Hymn To Life

Timo Tolkki - Hymn To Life:  The second album by Timo Tolkki, entitled Hymn To Life (Nuclear Blast (Germany/USA) NB0614, 2002) is comprised of twelve tracks of varying styles grounded on a metal edge. For those that don't know him, Timo Tolkki is the mainman, main songwriter and guitar player of one of the most successful heavy metal bands today. He formed Stratovarius back in 1982 and led them through some real hard years until they became what they are now. In the last couple of years, he wrote a lot of very personal songs, which didn’t fit into the musical and lyrical concept of Stratovarius.

After the band decided to take a break until 2003--they did NOT split up--Timo had the chance to record his personal material as his second solo album. His first album, Classical Variations and Other Themes (1996), was more like the typical "guitar hero" thing where Timo played a lot of melodies from some classical compositions on his guitar together with some of his own instrumentals.

Here’s what Timo says about his new output: "It was recorded in a place called Hästholmen, not a studio, but a house by the sea near Helsinki where I brought my recording gear. I also wrote the songs there. I was there basically from February to June 2001, and then from August to September and then mixed the album at Finnvox studios.

"Anssi Nykänen, a top Finnish session drummer played the drums, Mika Ervaskari (original Stratovarius keyboarder from 85-87) played the keys, Michael Kiske (ex-Helloween) sang "Key to the Universe," Sharon Den Adel (Within Temptation [feature]) sang "Are You the One?" I sang the rest, played bass, guitar, some keys, recorded, produced and mixed the album."

"Are You The One" is a sensitive ballad perfectly suited to Sharon Den Adel's sweet--yet powerful--voice. Accompanied primarily by keyboard, a guitar solo rounds out the sound in the bridge and adds texture during the chorus to add a characteristic metal sound to the track.

"This album is a trip into my childhood and into my life in general and also into life how I see it. I am writing about painful childhood experiences, about love, about life, about the world, about the universe, about god, religion, wars etc. The songs and lyrics are by far the most personal I have ever written. It was a perfect chance for me to forget all the frames of what a metal band many times tend to have. I didn’t set myself any limits musically or lyrically, and I think I succeeded pretty well. Many times it is very hard to categorize what style of song is playing."

If you want to be part of Timo’s life so far, you now have the chance to. Hymn to Life is, as mentioned above, a very personal and honest album about a man who’s had his experiences in life. If you’re only interested in good music, well, then this album is perfect, as well. It is, without a doubt, an album that can’t be categorized. It’s for people who are very opened minded in a traditional way.

Read further reviews, listen to soundbites and order the album from here. This is a very good and thematic album but Sharon Den Adel's stunning vocals on "Are You The One" make for an incredible standout track. Certainly worth a journey, this one is a very nice listen.

Traffic - Low Spark Of High Heeled Boys

Traffic - Low Spark Of High Heeled Boys: The Low Spark of High Heeled Boys marked the commercial and artistic apex of the second coming of Traffic, which had commenced in 1970 with John Barleycorn Must Die. The trio that made that album had been augmented by three others (Ric Grech, Jim Gordon, and "Reebop" Kwaku Baah) in the interim, though apparently the Low Spark sessions featured varying combinations of these musicians, plus some guests. But where their previous album had grown out of sessions for a Steve Winwood solo album and retained that focus, Low Spark pointedly contained changes of pace from his usual contributions of midtempo, introspective jam tunes. "Rock & Roll Stew" was an uptempo treatise on life on the road, while Jim Capaldi's "Light up or Leave Me Alone" was another more aggressive number with an unusually emphatic Capaldi vocal that perked things up on side two. The other four tracks were Winwood/Capaldi compositions more in the band's familiar style. "Hidden Treasure" and "Rainmaker" bookended the disc with acoustic treatments of nature themes that were particularly concerned with water, and "Many a Mile to Freedom" also employed water imagery. But the standout was the 12-minute title track, with its distinctive piano riff and its lyrics of weary disillusionment with the music business. The band had only just fulfilled a contractual commitment by releasing the live album Welcome to the Canteen, and they had in their past the embarrassing Last Exit album thrown together as a commercial stopgap during a temporary breakup in 1969. But that anger had proven inspirational, and "The Low Spark of High Heeled Boys" was one of Traffic's greatest songs as well as its longest so far. The result was an album that quickly went gold (and eventually platinum) in the U.S., where the group toured frequently.

Gravy Train - Staircase to the Day

Gravy Train - Staircase to the Day: Staircase to the Day is a more polished and professional product than their earlier albums which could have and should have been taken further. They explore different styles, from the all out rockin' jam of "Busted in..", to more peaceful ballads (Ballad of a Peaceful Man being an earlier album) like Bring My Life On Back To Me. This track is not about a nuclear war but about the troubles in Northern Ireland and has a similar chord structure to the intro of Freebird by Lynyrd Skynyrd only with considerably more feeling. Norman Barrett holds everything together with his highly emotive guitar work and powerful vocals, and this, along with the keyboards which replaced the flute and sax of the other albums, makes Staircase.. a showpiece for one of rock's smaller gems.


Uriah Heep - Demonds And Wizards

Uriah Heep - Demonds And Wizards:  You can find the whole review here .......






Rick Wakeman - Journey To The Centre Of The Earth

Rick Wakeman - Journey To The Centre Of The Earth: Journey to the Center of the Earth is one of progressive rock's crowning achievements. With the help of the London Symphony Orchestra and the English Chamber Choir, Wakeman turns this classic Jules Verne tale into an exciting and suspenseful instrumental narrative. The story is told by David Hemmings in between the use of Wakeman's keyboards, especially the powerful Hammond organ and the innovative Moog synthesizer, and when coupled with the prestigious sound of the orchestra, creates the album's fairytale-like climate. Recorded at London's Royal Festival Hall, the tale of a group of explorers who wander into the fantastic living world that exists in the Earth's core is told musically through Wakeman's synthesized theatrics and enriched by the haunting vocals of a chamber choir. Broken into four parts, the album's most riveting piece entitled "The Battle" involves Wakeman's most furious synthesized attack, churning and swirling the keyboards into a mass instrumental hysteria. With both "The Journey" and "The Forest," it's the effective use of the strings and percussion section of the London Symphony Orchestra that causes the elements of fantasy and myth to emerge from the album's depths. The gorgeous voice of Ashley Holt is effectively prominent, and some interesting guitar work via Mike Egan arises occasionally but meritoriously in amongst the keyboard fervor. The whole of Journey to the Center of the Earth still stands as one of the most interesting conglomerations of orchestral and synthesized music, and it is truly one of Wakeman's most flamboyant projects.


War - The World Is A GhettoWar - The World Is A Ghetto: War's third album as an act separate from Eric Burdon was also far and away their most popular, the group's only long-player to top the pop charts. The culmination of everything they'd been shooting for creatively on their two prior albums, it featured work in both succinct pop-accessible idioms ("The Cisco Kid," etc.) as well as challenging extended pieces such as the 13-minute "City, Country, City" — which offered featured spots to all seven members without ever seeming disjointed — and the title track, and encompass not only soul and funk but elements of blues and psychedelia on works such as the exquisite "Four Cornered Room." "The Cisco Kid" and "The World Is a Ghetto" understandably dominated the album's exposure, but there's much more to enjoy here, even decades on. Beyond the quality of the musicianship, the classy, forward-looking production has held up remarkably well, and not just on the most famous cuts here; indeed, The World Is a Ghetto is of a piece with Marvin Gaye's What's Going On and Curtis Mayfield's Curtis, utilizing the most sophisticated studio techniques of the era. Not only does it sound great, but there are important touches such as the phasing in "Four Cornered Room," not only on the percussion but also on the vocals, guitars, and other instruments, and the overall effect is a seemingly contradictory (yet eminently workable) shimmering blues, even working in a mournful and unadorned harmonica amid the more complex sounds.

War - Why Can't We Be Friends?

War - Why Can't We Be Friends? Cut from the same cloth as the band's 1973 Deliver the Word LP, War's 1975 Why Can't We Be Friends? is a masterpiece in its scope and breadth. And, emerging as the last work the band would do for its longtime label, United Artists, it became a fitting swansong, powering up the charts and giving War its fourth and final number one hit. In recent years, the album has been overshadowed by the monstrously popular bass-beating and bright brass of its singular hit, "Low Rider." Indeed, the song would become the band's signature theme, as the Latino street-cruiser jam quickly became a live set staple and, much later, was reinvigorated through sampling on songs by the Beastie Boys, Stereo MC's, and Offspring. However, that one track, iconographic as it is, is by no means the only treat onboard Why Can't We Be Friends? There are far more interesting and superb treats roiling in the wake of "Low Rider." The snappy title track, which poses the question of the decade and, oddly, closes the album, is a feel-good thumper. Its bright brass punctuation and rakish vocals are wonderfully combined with an absolutely contagious reggae beat. Then, add the doesn't-get-much-better-than-that medley "Leroy's Latin Lament." Divided into four "songs," the music swings from the smart vocal opening "Lonnie Dreams" to the effervescent Latin jam of "La Fiesta." And, of course, where there's War, there's funk — this time on the seven-plus minute"Heartbeat." Wrap it all up with the poignant ballad "Lotus Blossom," and the result is pretty much perfection. Why Can't We Be Friends? remains one of War's truly outstanding efforts, and has become an integral part of the funk genre's landscape. It also remains the nightcap of their finest hour. War's ill-timed move to MCA changed the energy and focus of the band forever.

Whitesnake - Restless Heart

Whitesnake - Restless Heart: This cd should be credited to David Coverdale....It has more in common w/ his 1977 Northwinds and 1976 White Snake solo records than any Whitesnake records of the 70's or 80's. Restless Heart is a mature, passionate, honest, introspective, beautiful and sincere release by one of rocks greatest talents.

Don't Fade Away could be a Bryan Ferry song.....beautiful harmonies w. female making music! All in the Name of Love has same vibe. Restless Heart is a 'hard song' but more like light rock...I have great appreciation for Adrian V. on this record....his style comes through, not the "keep up w/ the Vai's and Viv's" approach I saw in concert in '87....Very tasteful and emotional playing....Too Many Tears is stunningly beautiful.....

If you are a 70's Coverdale fan you'll love this record...If you are a "Sleezy 80's stripper-chasing-reverse headstock airbrushed Jackson GIT lip pout clown w/ highlighted hair" (I obviously never went through that 'phase') you may want to go and do some research and move on at some point (ie. Coverdale was in a funky soulful Deep Purple, then went soulfully mellow on 2 criminally unknown solo LPs: who knew? you can close you mouth now:).

As a huge Coverdale fan that has all 16 of his studio releases Restless Heart is up there w. the best of them....check this record'll be pleasantly surprised by it's depth and sophistication.

The Who - Tommy

The Who - Tommy:







Wishbone Ash - Pilgramage

Wishbone Ash - Pilgramage:






XIT - Silent Warrior

XIT - Silent Warrior :






Yes - Talk

Yes - Talk:










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