Nazareth's second album of 1974 finds the group tempering the four-on-the-floor hard rock attack they developed on Loud and Proud by working a surprising and effective Southern rock edge into the songs. Th... read full review
Rick Wakeman wrote this music to accompany performances of the Cirque Surreal, a modern, all-human circus employing high-caliber gymnasts and lighting effects. There are a variety of tracks, all of which are do... read full review
Queen had long been one of the biggest bands in the world by 1980's The Game, but this album was the first time they made a glossy, unabashed pop album, one that was designed to sound exactly like its time... read full review
On Fallen Angel, Uriah Heep continued the push toward an AOR-friendly style that began with Firefly. The resulting album is too poppy to please hardcore metal fans and too eccentric to fit the bill of an AOR re... read full review
Dead Can Dance made a splash on commercial alternative radio with "The Ubiquitous Mr. Lovegrove," the first single from Into the Labyrinth. Raga drones, a strange clattering beat, a haunting wind inst... read full review
Alphaville's 1984 debut, Forever Young, deserves to be viewed as a classic synth pop album. There's no doubting that Germans are behind the crystalline Teutonic textures and massive beats that permeat... read full review
To songs "Sparks", balancing on the verge of a pop hit, an opera miniature and a successful joke, it is impossible to pick up exact definition. The discouraging vocal of Ron Mael, capable to replace o... read full review
Years before he attained guitar-god status with Deep Purple, Ritchie Blackmore was a session player of startling prolificacy and diversity -- Get Away assembles a generous 52 tracks that capture a gifted young ... read full review