Excellent seventh studio disc by this awesome blues/rock guitarist from Ohio featuring 10 impressive, powerful, 70s-inspired, blues-based, heavy guitar rock tracks that shine a light on the vast six string musical talents of this killer, lead guitar rippin', blues-rockin' riff:master. Jay Jesse Johnson is a true "Man On A Mission" and on his latest disc the supreme kick-ass axeslinger digs deep & rocks the blues hard with a serious dose of amped up, electrified six string mojo blues power. JJJ is a bad-ass, legit "old-school meets modern day" guitar hero who was born to rock & give us faith & hope that real guitar rock music is still alive on this essential, classic Grooveyard Records disc.

The leap from 1970's Benefit to the following year's Aqualung is one of the most astonishing progressions in rock history. In the space of one album, Tull went from relatively unassuming electrified folk-rock to larger-than-life conceptual rock full of sophisticated compositions and complex, intellectual, lyrical constructs. While the leap to full-blown prog rock wouldn't be taken until a year later on Thick as a Brick, the degree to which Tull upped the ante here is remarkable. The lyrical concept – the hypocrisy of Christianity in England – is stronger than on most other '70s conceptual efforts, but it's ultimately the music that makes it worthy of praise.

Going for the One is perhaps the most overlooked item in the Yes catalog. It marked Rick Wakeman's return to the band after a three-year absence, and also a return to shorter song forms after the experimentalism of Close to the Edge, Tales from Topographic Oceans, and Relayer. In many ways, this disc could be seen as the follow-up to Fragile. Its five tracks still retain mystical, abstract lyrical images, and the music is grand and melodic, the vocal harmonies perfectly balanced by the stinging guitar work of Steve Howe, Wakeman's keyboards, and the solid rhythms of Alan White and Chris Squire.

Yes had fallen out of critical favor with Tales from Topographic Oceans, a two-record set of four songs that reviewers found indulgent. But they had not fallen out of the Top Ten, and so they had little incentive to curb their musical ambitiousness. Relayer, released 11 months after Tales, was a single-disc, three-song album, its music organized into suites that alternated abrasive, rhythmically dense instrumental sections featuring solos for the various instruments with delicate vocal and choral sections featuring poetic lyrics devoted to spiritual imagery. Such compositions seemed intended to provide an interesting musical landscape over which the listener might travel, and enough Yes fans did that to make Relayer a Top Ten, gold-selling hit, though critics continued to complain about the lack of concise, coherent song structures.

When Kevin Godley and Lol Creme left 10cc in 1976 to pursue a solo career, many thought it was the death knell for the group. However, Eric Stewart and Graham Gouldman kept the group alive as a duo (with the assistance of percussionist Paul Burgess) and turned in a surprisingly solid album with 1977's Deceptive Bends. It may lack the devil-may-care wackiness that popped up on previous 10cc albums, but it makes up for it by crafting a series of lush, catchy pop songs that are witty in their own right. Deceptive Bends also produced a pair of notable hits for the group: "Good Morning Judge" told the comical tale of a career criminal over a hook-laden, surprisingly funky pop backing while "The Things We Do for Love" was an irresistible Beatles pastiche that showcased 10cc's mastery of pop vocal harmonies.

Unplugged is an acoustic live album by Canadian musician Bryan Adams. The album was recorded completely on September 26, 1997, at the Hammerstein Ballroom in New York City. Recorded by David Hewitt and Bob Clearmountain on the Remote Recording Silver Truck. Adams was joined by Irish piper Davy Spillane and Michael Kamen who wrote orchestrations for many of the songs and brought students from the Juilliard School to play them. Three new songs were included; "Back To You", "When You Love Someone", and "A Little Love". The song "If Ya Wanna Be Bad - Ya Gotta Be Good" makes its debut on an album, originally appearing on the B-side of "Let's Make a Night to Remember" - to which it is paired on the Unplugged album.

Disco is the fifteenth studio album by Australian singer Kylie Minogue. It was released on 6 November 2020 by Darenote and BMG Rights Management. Following the completion of the Golden Tour and her performance at the Glastonbury Festival in 2019, Minogue sought to create a disco-influenced record and enlisted producers such as Sky Adams, Teemu Brunila and Biff Stannard. Minogue herself also gained engineering credits for vocals and synths. Disco received positive reviews from music critics, many of whom praised its fusion of retro and modern production and cohesiveness. A reissue of the album, subtitled the Guest List Edition, was released on 12 November 2021. At the 2021 ARIA Music Awards, the album was nominated for Best Adult Contemporary Album and Minogue was nominated for Best Artist with this release.

2007 two CD set from the Popabilly crooner. Shakin' Steven's can truly claim the '80s, in chart terms, were his. Indeed he spent more time on the UK chart than any other artist during that decade, racking up no less than 27 top 30 hits of which four hit the top spot and a further seven breached the Top 5. He's sold in excess of a staggering seven million singles to date. A loyal, predominantly female fan base ensured 'Shaky's' success and it's one that puts him in with the Beatles and Elton John who can claim the same chart domination for the '60s and the '70s respectively. This selection contains all those hits as indicated and more. 37 tracks.

This double-disc comp of Bonnie Tyler's early chart-happy period ranges from her first charting single, "Lost in France" in 1977, to 1981, when she was still a force at the beginning of the MTV era. It's a slew of A- and B-sides, and album tracks that give a solid picture of Tyler's career as a fine interpretive singer and an individualistic, if idiosyncratic, voice in pop. Her delivery is rugged yet vulnerable, assertive yet tender. She is capable of anthems such as her monumental worldwide smash "It's a Heartache," to the most lithe of love songs, as evidenced by her read of "Goodbye to the Island." There are some very compelling covers here as well, including Stevie Wonder's "Living for the City," the Goffin & King classic "You Make Me Feel Like a Natural Woman," Gary Brooker and Keith Reid's "A Whiter Shade of Pale," and even Jerry Ragovoy's "(Take a Little) Piece of My Heart" so closely associated with Janis Joplin.

Led by Colin Cooper, the former frontman of the R&B unit the Hipster Image, the Stafford, England-based Climax Chicago Blues Band were one of the leading lights of the late-'60s blues boom. A sextet also comprised of guitarists Derek Holt and Peter Haycock, keyboardist Arthur Wood, bassist Richard Jones, and drummer George Newsome, the group debuted in 1969 with a self-titled effort recalling the work of John Mayall. Prior to the release of 1969's Plays On, Jones left the group, prompting Holt to move to bass. In 1970 the Climax Chicago Blues Band moved to the Harvest label, at the same time shifting toward a more rock-oriented sound on the LP A Lot of Bottle.

Released in 1982, Middle Class White Boy was Mose Allison's first recording in six years, and his debut for the fledgling and relatively short-lived Elektra Musician label run by Bruce Lundvall. Allison is featured here in a sextet setting. His fellow front-line players are saxophonist Joe Farrell and guitarist Phil Upchurch. The set is a well-blended collection of originals and covers including Muddy Waters' "Rollin' Stone," and Duke Ellington's "Just a Lucky So and So." As is his trademark, Allison effortlessly blends jazz, backwoods blues, and Southern hipster jive in a heady brew of fantastic musicianship. His work on electric and acoustic piano here is as startling as ever and his songwriting is canny, wildly swinging, funny, and biting.

The French synth-pop band Space had international hits with their 1977 dance numbers "Carry on Turn Me On" and "Magic Fly," leading to a deal with Casablanca Records and gold records for the band's songwriter and leader Didier Marouani. The dance group was formed by keyboardist Marouani in 1977. The group's biggest international success came later that year with the previously mentioned singles, both appearing on charts in a number of countries. Space toured and recorded for the next few years and continued to make well-received records, although no singles duplicated the success of "Magic Fly."

When it comes to red hot boogie guitar, you can't get hotter than Alvin Lee, especially when he's firing on all fretboards. That's certainly the case with this aptly named Best Of compilation. This unmissable 2CD set is jam packed with dazzling performances by the former Ten Years After guitar hero. We hear Alvin singing and playing on 30 tracks, culled from the many solo albums he released during the years when he led his own bands, from the 1970s through to recent times. Backed by top rock session players, old mates and his regular sidemen, Alvin sounds at home in a variety of moods and styles, from blues to rock'n'roll. He burns up his fingers and vocal cords on such favourites as Keep On Rockin, Boogie All Day and The Bluest Blues, and the action never lets up.

Clapton Chronicles ignores Eric Clapton's 1983 Reprise debut, Money and Cigarettes (which sounded more like an RSO album, anyway), starting with the pair of Phil Collins-produced mid-'80s albums, Behind the Sun and August. Though these had a pop sheen, they were album rock holdovers. Clapton didn't get the balance between hard rock and commercial gloss right until 1989's Journeyman, whose featured songs – "Before You Accuse Me," "Bad Love," and "Pretending" – form the heart of this compilation. Journeyman was overshadowed by the phenomenal success of "Tears in Heaven" and 1992's Unplugged. Not only did Unplugged go platinum ten times, it established a new public image – classy, stylish, and substantial. That's the image that prevails on Clapton Chronicles. His triple-platinum blues album From the Cradle is written out of the picture, with songs from movie soundtracks taking its place.

Yessongs is the first live album by the English progressive rock band Yes, released as a triple album in May 1973 on Atlantic Records. After completing their Close to the Edge Tour in April 1973, the band selected live recordings between February and December 1972 on their tours supporting Fragile (1971) and Close to the Edge (1972) for a live album release. They were then edited and remixed with their producer and live sound mixer Eddy Offord. Three tracks feature original Yes drummer Bill Bruford while the remaining tracks feature his replacement, Alan White. Yessongs received a mostly positive reception from music critics, though much of its criticism was directed at its sound quality. However, the album was a commercial success for the band, reaching number 7 on the UK Albums Chart and number 12 on the US Billboard 200. In 1998, the album was certified platinum in the United States. In 2015, recordings of seven shows from late 1972, including ones that were used in the original album, were released in their entirety as Progeny: Seven Shows from Seventy-Two.