A collection includes: 'Faith' (1987); Listen Without Prejudice (1990); 'Older' (1996); 'Ladies & Gentlemen: The Best Of George Michael' (1998); 'Songs From The Last Century' (1999); 'Patience' (2004); and 'TwentyFive' (2006).
"Famous in the Last Century" is the twenty-fourth studio album by the British rock band Status Quo, released in 2000 to largely negative reviews. According to the band's autobiography, the idea to record it came from their manager David Walker, who said that they should celebrate the millennium with an album containing twenty of their favourite hits from the last century. To quote leader Francis Rossi, "Or, put another way, another bloody covers album! We went along with it, as usual, but inside I felt like a fraud...for me it was the worst Quo album there had ever been - or ever will be!" Ironically it still reached #19 in the UK Albums Chart, a better position than the previous Status Quo album of mainly original material, Under the Influence.
With the subtitle "Songs from the Vault," you'd be forgiven if you thought 24 Karat Gold was an archival collection of unreleased material and, in a way, you'd be right. 24 Karat Gold does indeed unearth songs Nicks wrote during her heyday – the earliest dates from 1969, the latest from 1995, with most coming from her late-'70s/early-'80s peak; the ringer is a cover of Vanessa Carlton's 2011 tune "Carousel," which could easily be mistaken for Stevie – but these aren't the original demos, they're new versions recorded with producer Dave Stewart. Running away from his ornate track record – his production for Stevie's 2011 record In Your Dreams was typically florid – Stewart pays respect to Nicks' original songs…
This double album from the Accent label collects two single recordings, one made in Ghent in 1994, the other in Corsica and Frankfurt in 2003 and 2005. The second shares only a few musicians with the first but is essentially made of the same stuff, so you might wonder what exactly is added. The pieces on the second CD are generally longer, more serious, and more intricate.
George Strait may have landed his first number one in 1982, making him an "overnight sensation," but he'd been working for it since 1976. Strait From the Heart boasts "Fool-Hearted Memory," a perfect slow two-step that raged in all the dancehalls in America for half a year and sent folks to the bins in droves seeking out Strait's records. What they found was a singer of uncommon vitality who could sing honky tonk, countrypolitan, and the new traditional sounds that were just beginning to assert themselves after the first wave of "new country." The new Strait fans were interested in the ballads such as "Marina del Rey" and "A Fire I Can't Put Out," but they are hardly the best cuts on the set. In fact, when Strait lets it get on the raw side is when he is at his best. Tracks such as "Honky Tonk Crazy," his cover of Guy Clark's "Heartbroke," the Western swing of his original "I Can't See Texas From Here," and the strutting barroom anthem "The Steal of the Night" offer a portrait of Strait as a man who can do it all.
Love , lust and angst were the biggest topics of teen love songs back in the 50s, a time where the idols of the day , no longer your Mom and Dad s crooners, dominated the charts. The 1950s marked the birth of rock’n’roll. From big band tracks to jazz standards, until midway through the 20th century, music was a resolutely parent-friendly zone. But then everything changed. Elvis had flustered teenagers all shook up, while the likes of Chuck Berry, Jerry Lee Lewis and the like were destroying the old safety nets with a virile, passionate new sound.