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Station to Station is the tenth studio album by English musician David Bowie (8 January 1947 – 10 January 2016), released by RCA Records in 1976. Commonly regarded as one of his most significant works, Station to Station was the vehicle for his last great "character", the Thin White Duke. The album was recorded after he completed shooting Nicolas Roeg's The Man Who Fell to Earth, and the cover artwork featured a still from the movie. During the sessions Bowie was heavily dependent on drugs, especially cocaine, and later claimed that he recalled almost nothing of the production.

Musically, Station to Station was a transitional album for Bowie, developing the funk and soul music of his previous release, Young Americans, while presenting a new direction towards synthesisers and motorik rhythms that was influenced by German electronic bands such as Neu! and Kraftwerk. This trend culminated in some of his most acclaimed work, the so-called 'Berlin Trilogy', recorded with Brian Eno in 1977–79. Bowie himself said that Station to Station was "a plea to come back to Europe for me". The album's lyrics reflected his preoccupations with Nietzsche, Aleister Crowley, mythology and religion.

Blending funk and krautrock, romantic balladry and occultism, Station to Station has been described as "simultaneously one of Bowie's most accessible albums and his most impenetrable". Preceded by the single "Golden Years", it made the top five in both the UK and US charts.

The album was ranked No. 323 on Rolling Stone magazine's list of the 500 greatest albums of all time.
In remembrance of Bowie's birthday.
 

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From Elvis in Memphis is the fifteenth studio album by American rock and roll singer Elvis Presley (January 8, 1935 – August 16, 1977).

It was recorded at American Sound Studio in Memphis in January and February 1969.

Following the success of Presley's 1968 Christmas television special and its soundtrack, the album marked Presley's return to non-soundtrack albums after the completion of his film contract with Paramount Pictures.

Presley's entourage convinced him to leave the RCA studios and record this album at American Sound, a new Memphis studio at the peak of a hit-producing streak. The reason for going to Moman's studio was for the soul sound of the house band, 'the Memphis Boys'. The predominance of country songs among those recorded in these sessions gives them the feel of the "country soul" style. This impression is emphasized by the frequent use of the dobro in the arrangements. In any case, the Memphis Boys have a solidly southern soul sound.

From Elvis in Memphis was released in June 1969 to favorable reviews. Its single "In the Ghetto" reached number three on the Billboard Hot 100.

It is ranked number 190 on Rolling Stone magazine's list of the 500 greatest albums of all time.
In remembrance of Elvis's birthday.

And this year marks the 40th anniversary of his death. :eek:
 

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In photo 3 you can see Nipper on the record label and on the lid of my Victrola cabinet. Seems right for Elvis' birthday ;)
 

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Keep it Up is the third album by the rock band Loverboy, released in 1983.

AllMusic Review by Donald A. Guarisco:
After establishing themselves as a multi-platinum arena act with Get Lucky, Loverboy continued to crank out their unique new wave-tinged style of AOR on Keep It Up. Although this album's hits weren't as large or as indelible as those from Get Lucky, Keep It Up is actually a more consistent album. This time, the songs that hit the charts were "Hot Girls in Love" and "Queen of the Broken Hearts." The album doesn't suffer from the inconsistent songs that marred Get Lucky and succeeds as a fully realized album of pop/rock. In short, Keep It Up is a worthwhile listen for Loverboy fans and anyone who is into 1980s AOR.

Mike Reno (born Joseph Michael Rynoski; January 8, 1955) is a Canadian musician and the lead singer of the rock band Loverboy.
Happy 62nd birthday, Mike! :cool:
 

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Candy-O is the second studio album by the American rock band The Cars, released in 1979.

The album cover was painted by artist Alberto Vargas, who was known for his paintings of pin-up girls that appeared in Esquire and Playboy magazines in the 1940s and 1960s. The idea to hire Vargas came from drummer David Robinson, the band's artistic director and a collector of pin-ups. The 83-year-old Vargas had retired several years earlier but was persuaded to take the assignment by his niece, who was a fan of The Cars. The painting, depicting a woman sprawled across the hood of a car, was based on a photo shoot directed by Robinson at a Ferrari dealership. The model, coincidentally named Candy Moore (famous for having played Lucille Ball's onscreen daughter on The Lucy Show), briefly dated drummer David Robinson afterward.
 

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Walking in the Shadow of the Big Man is the debut full-length album by Guadalcanal Diary, released in 1984.

AllMusic Review by David Cleary:
Like R.E.M., the B-52's, and Pylon, this fine band hailed from the unlikely independent-rock hotbed of Athens, GA. The long jangle pop shadow of R.E.M. is extremely strong on this release, with seven of the ten tracks showing either full or partial influence of that group. Fortunately, the songs here are excellent, exhibiting much variety within this style. "Trail of Tears," a haunting antiwar number, sounds the most like their Athens counterparts. "Fire From Heaven" is more up-tempo, intense, and dynamic, while "Sleepers Awake" is an ominous, slowly unfolding song. "Ghost on the Road" is primarily a fast country-punk number that saves its R.E.M. stylings for its yearning chorus. "Gilbert Takes the Wheel" and the title track are jangly instrumentals, the former being a fast rocker with a thudding beat, the latter being a lengthy slow-tempo selection exhibiting noticeable psychedelic traits. Other territory is touched on as well. "Pillow Talk" is a winsomely energetic Everly Brothers-influenced song. The brilliant "Watusi Rodeo" is a jumpy pop number sporting over-the-top surf guitar licks and inspired hilarious-yet-uncomfortable lyrics about "Ugly American" cowboys in Africa. There's also an eccentric cover of the missionary hymn "Kum Ba Yah," complete with appreciative background audience shouting, an energetic drum solo, and extreme contrasts of loud and soft dynamics (sometimes within the same verse line). This odd yet strong album is well worth hearing.​
 

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No Cities to Love is the eighth studio album by American rock band Sleater-Kinney, released on January 20, 2015.

It is the first album following a decade-long hiatus after the band's 2005 release, The Woods. Chicago Tribune critic Greg Kot listed the supporting tour as one of the winter's top rock shows.

The album received universal acclaim from music critics and was listed on several "Best Albums of 2015" lists. Robert Christgau said it may be Sleater-Kinney's best record and wrote, "Honed back down to punky three-minute songs because the leisure to stretch out is a luxury they can’t presently afford, the music carries the seed of tumult to come, the sense that something or everything could explode without notice just the way this album did." Jon Pareles from The New York Times said it was "the first great album of 2015", full of "hurtling, bristling, densely packed, white-knuckled songs that are all taut construction and raw nerve". Music journalist Graham Reid said it had "all the stabbing energy of Gang of Four, the blazing passion of Siouxsie Sioux and the drama of Hole at their (rare) best".
 

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Pink Floyd: The Wall
 

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The Velvet Underground & Nico is the debut album by American rock band the Velvet Underground and vocal collaborator Nico, released in March 1967.

In 1982, musician Brian Eno famously stated that while The Velvet Underground & Nico initially only sold 30,000 copies, "everyone who bought one of those 30,000 copies started a band."

Though it was a commercial failure upon release and was almost completely ignored by critics at the time, the record has since become one of the most influential and critically acclaimed rock albums in history, appearing at number 13 on Rolling Stone's list of the 500 Greatest Albums of All Time as well as being added to the 2006 National Recording Registry by the Library of Congress.
 

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