Straight Between the Eyes undoubtedly has one of the worst album covers in rock history, but the record is an unexpected return to form from the journeyman hard rockers. Just a record before, Rainbow sounded as if they were verging on Billy Squier territory, but here, they reverse course and deliver a solid, no-frills hard rock record. It isn't just that the material is stronger, though it certainly is, it's that Roger Glover abandoned his smoothed-out, radio-ready production that marred Difficult to Cure. That's not to say that Straight Between the Eyes doesn't sound dated – Rainbow was a band that was forever tied to its era – but the album does have a harder-hitting, muscular sound that is more appropriate for the band.

The temptation is to compare this version of Fleetwood Mac with the multiplatinum quintet that peaked in the '70s and then made a triumphant return in 1997. But there've been some half dozen versions of Mac over the last 28 years, some significantly more memorable than others. This 1995 lineup isn't likely to make anyone forget Rumours…

Oh Mercy was hailed as a comeback, not just because it had songs noticeably more meaningful than anything Bob Dylan had recently released, but because Daniel Lanois' production gave it cohesion. There was cohesion on Empire Burlesque, of course, but that cohesion was a little too slick, a little too commercial, whereas this record was filled with atmospheric, hazy production – a sound as arty as most assumed the songs to be…

Keeping the same line-up from Henry's Dream, Nick Cave and company turn in yet another winner with Let Love In. Compared to Henry's Dream, Let Love In is something of a more produced effort – longtime Cave boardsman Tony Cohen oversees things, and from the first track, one can hear the subtle arrangements and carefully constructed performances. Love, unsurprisingly, takes center stage of the album.

The Steve Lacy Sextet (comprised of the leader on soprano, Steve Potts doubling on alto and soprano, Irene Aebi playing violin and singing, pianist Bobby Few, bassist Jean-Jacques Avenel, and drummer John Betsch) had a rare opportunity to appear on a major American label in the early '90s. This live set is an excellent example of the group's unique music performed live. The versions of Lacy's five scalar originals ("Prospectus," "The Bath," "Morning Joy," "The Wane," and "Blinks") are each at least ten minutes long ("Morning Joy" clocks in over 16) and find the musicians playing with enthusiasm and consistent creativity. Their relaxed but adventurous solo and ensemble work make this a set worth several listens.

There are several words one could use to describe Jack Bruce. Legendary, fiery, innovative, multi-talented, and influential. His style of bass playing, incredible vocals and the sound he is most recognized for is distinct and never duplicated. He has inspired and influenced generations of bass players and has brought that instrument single-handedly into the spotlight. On the 20th of November in 1980, Jack Bruce performed live in Denver, Colorado with Billy Cobham, David Sancious, and Clem Clempson. On this album, the band tackles works from Cream ('White Room', 'Traintime', 'Politician'), Jack's solo years ('Post War', 'Morning Story') and songs from the other band members.

If ever a metal band deserved the box set treatment, it's Slayer. Love them or hate them, their accomplishments in the thrash metal subgenre is pretty much unequaled. For over 20 years, Slayer have remained doggedly and stubbornly persistent in their approach to playing the heaviest, loudest, and darkest metal in America…

Dena Derose's attractively sultry voice is a perfect fit with her septet, which also features her own excellent piano work. Bolstered by strong arrangements from Steve Davis, the group focuses mostly on standards, and the whole band joins in the fun. Steve Wilson is equally capable on soprano and alto saxophones, and he is given ample time to stretch. In addition to his writing, Davis blows a mean and dirty trombone, and trumpeter Ingrid Jensen continues to impress. It is DeRose, though; who makes the outing special. Her phrasing is immaculate, and she swings with abandon. At times, her voice seems influenced by vocalist Susannah McCorkle, but DeRose's style is sufficiently her own Her fine piano solos mark her as a jazz stylist, but it is her singing that sets her apart. With any luck, she should go far.

The second official concert package from Yes contains tunes recorded over a span of two years (1976-1978) and two different incarnations of the band. Like its live predecessor Yessongs (1973), Yesshows finds the combo during one of their states of perpetual change. Jon Anderson (vocals), Steve Howe (guitar), Chris Squire (bass/vocals), and Alan White (drums) are joined by Rick Wakeman (keyboards) on a majority of the selections…

The band's second album is a major advance on its first, featuring superior singing, playing, and songwriting, as well as a more unified sound, without sacrificing the element of surprise in the first record…

The music on Among Friends was actually performed at San Francisco's Keystone Korner during a recorded engagement by the Bobby Hutcherson sextet. Pianist Cedar Walton opened each set with a few numbers and he was playing so well that in 1990 Evidence decided to release his material as a separate CD. Walton performs three songs ("Ruby My Dear," "My Old Flame" and "I've Grown Accustomed to Her Face") solo, interprets four other pieces (three standards plus his own "Midnight Waltz"), in a trio with bassist Buster Williams and drummer Billy Higgins, and Hutcherson himself makes the group a quartet on "My Foolish Heart." Excellent hard bop-based music from the talented pianist.

Falco was the most internationally successful pop artist ever to come out of Austria, best known for his 1986 chart-topping hit "Rock Me Amadeus." Born Johann Holzel in Vienna on February 19, 1957, he was a classically trained child prodigy, but after graduating from the Vienna Conservatoire, he relocated to West Berlin and began fronting a jazz-rock band…

Astonishingly daring debut album, not as focused or overpowering as King Crimson's first but still crashing down barriers and steamrolling expectations. The mix of medieval harmonies and electric rock got stronger on subsequent albums, but the music here is still pretty jarring…

Jerry Lee Lewis (The Killer) cd is a good collection of songs, a real treat to hear his honky tonky style on all tracks, a compilation put together by Gary Walington for Spectrum Records, 20 studio tracks recorded between 1965/1970 inside cd sleeve a profile written by Richard Wooton.