"Tell The World: The Very Best Of Ratt" is a career-spanning compilation album featuring twenty tracks from all seven of Ratt's albums, including their quartet of consecutive platinum LPs from the mid-to-late-'80s: Out of the Cellar, Invasion of Your Privacy, Dancing Undercover and Reach for the Sky, plus their 1990 album Detonator and their self titled 1999 album.
The best songs on this updated compilation are by far the first twelve. Raw and savage Mod rockers such as "Making Time" and "Painter Man" rival The Who's first LP for intensity. It makes one wonder why The Creation weren't bigger than they were…
The most dynamic female soul singer in the history of the music, Tina Turner oozed sexuality from every pore in a performing career that began the moment she stepped on-stage as lead singer of the Ike & Tina Turner Revue in the late '50s. Her gritty and growling performances beat down doors everywhere, looking back to the double-barreled attack of gospel fervor and sexual abandon that had originally formed soul in the early '50s. Divorced from Ike in the mid-'70s, she recorded only occasionally later in the decade but resurfaced in the mid-'80s with a series of hit singles and movie appearances; her high-profile status was assured well into the '90s.
The first of two 5-CD Classic Novels written by John Peel and based on the TV serial The Daleks' Master Plan. Recorded with music and sound effects, the book was first published by Target Books in 1989.
Stranded in the jungles of Kembel, the most hostile planet in the Galaxy, Space Security agent Marc Cory has stumbled across the most deadly plot ever hatched – the Daleks are about to invade and destroy the Universe. Cory has to get a warning back to Earth before it's too late, but the Daleks find him first. Months later the Doctor and his companions arrive on Kembel and find Cory's message. But it may already be too late for Earth: the Daleks' master plan has already begun…
It would have been easy to write off the Banshees after the so-so Superstition, especially given the fact that it came after two uneven and disappointing albums (including the unnecessary covers collection Through the Looking Glass) Frankly, one of punk's most consistently invigorating acts seemed to have run their course. Sure enough, The Rapture proved to be their final recording. The surprise is that it's a career highpoint. The band deny, incidentally, that they knew this was to be their last album. Quite how Siouxsie, Severin and Budgie rediscovered their chemistry is a moot point - some credited producer John Cale, who worked on four tracks - but rediscover it they did. Despite nods to the band's past in the savage "Not Forgotten," the real gems are the sunny-side-up "O, Baby" (when did Siouxsie ever sound so genuinely happy?) and an 11-minute title-track that is as dazzling as anything they have ever performed. A classic case of leaving the scene on a high note, and a fitting final chapter from one of punk's finest, and most dignified, bands.
After recording one of their darkest albums, 1983's The Top, the Cure regrouped and shuffled their lineup in 1984 and ended up changing their musical direction rather radically. While the band always had a pop element in their sound and even recorded one of the lightest songs of the '80s, "The Lovecats," The Head on the Door is where they become a hitmaking machine. The shiny, sleek production and laser-sharp melodies of "Inbetween Days" and "Close to Me" helped them become modern rock radio staples and the inspired videos had them in heavy rotation on MTV.