is a studio album by , released in August 1981. The album peaked at #4 in the UK album charts upon release and spent a total of 25 weeks on the chart in 1981–82. The album was certified by the BPI and achieved sales over one million globally.
is a studio album by , released in August 1981. The album peaked at #4 in the UK album charts upon release and spent a total of 25 weeks on the chart in 1981–82. The album was certified by the BPI and achieved sales over one million globally. The title track was released as the lead single of the album and was followed up by a cover of 1961 US doo-wop hit, . The singles peaked at #4 and 2 respectively on the UK singles chart. was held off #1 for 4 weeks running by the 's , but earned gold certification from the BPI for sales over half a million. The track was recorded live on 1 May 1981 at the for a rock 'n' roll special to be broadcast later by .
Call 'em what you will (ax grinders, stringmeisters, fret burners), guitar players are the main men (and sometimes women) in the worlds of rock, blues, and country. So the idea behind this 90-minute, Canadian-produced documentary (examining various guitarists' styles, hearing their stories, and of course listening to them play) is sound, so to speak.
"Wired For Sound" is the latest release from Detroit Blues performer Howard Glazer, and his band the EL 34s. This new release retains the same searing electric blues style that Glazer is known for, mixing traditional Blues elements with more modern elements, including a full horn section at times. Glazer's guitar is as hot as an EL 34 vacuum tube throughout, blazing and scorching on both slow and upbeat blues. Special guests include Delta Blues legend David "Honeyboy" Edwards and famed poet/musician/activist John Sinclair. There is no doubt that with it's intense guitar, tight rhythm section, and Detroit styled power, "Wired For Sound" is sure to leave you feeling fully charged!
Now You See Me, Now You Don't is a rock gospel album by English singer Cliff Richard released in August 1982 on the EMI label. It reached No. 4 in the UK albums chart, No. 1 in Denmark, No. 21 in Australia and No. 19 in New Zealand. It was certified Gold in the UK. The lead single from the album, "The Only Way Out" was released in July 1982, and following on from the top 5 successes of Richard's previous singles "Wired for Sound" and "Daddy's Home", it managed to reach No. 10 in the UK Singles Chart. With this foundation, the album peaked at No. 4 on debut in early September - matching Richard's previous two studio albums. However the album did not receive a significant chart boost from the follow-up singles. The next single "Where Do We Go from Here" was released in September, but failed to have much impact, only managing to reach No. 60. In Germany, "It Has to Be You, It Has to Be Me" was released as a single instead, and did a little better, reaching number 36 in a five-week chart run.
"I'm No Hero" is a 1980 album by Cliff Richard. Following the success of his 1979 single "We Don't Talk Anymore" which was written and arranged by Alan Tarney, the record company were keen to use his services again. For the follow-up album in 1980, he was employed as producer for the entire album. This gave I'm No Hero a cohesive sound but was criticised at the time for being too unadventurous. The songs on the album were similar in style to "We Don't Talk Anymore", but it was also a success, generating two top 20 singles, while the album itself made the top five in the UK.
This is the first volume in an elaborately ambitious five-CD series, with each disc dedicated to one of the decades that Cliff Richard has held in his thrall – and each one throwing up so many surprises that no conscientious listener could ever wonder how he's managed to stick around for so long. In terms of sheer impact and novelty, 1950s is the killer, a survey of the less than three years during which Richard first blueprinted, and then rewrote, the rules of British rock & roll. Where would it have been without "Move It" to prove that there was more to life than Tommy Steele and skiffle? And how could things have progressed from there, without Richard's career to both signpost and shape the next five, pre-Beatles years?