To say Sean Chamber's latest release Ten Til Midnight is a guitar heavy album is a bit of an understatement. Though certainly adept as a singer, the six-string is where Chambers truly shines, and he does so on this CD with enough intensity to give his listeners a dark suntan.Chambers' attack on the guitar is similar to that of Stevie Ray Vaughan, Jimi Hendrix, or Luther Allison. On each solo he springs forth a seemingly inexhaustible flurry of notes capable of melting the circuit board of a guitar hero controller….
This album's subject is space as human sees it from the Earth: cold, enchanting, saturated with the unknown materia throughout. It sends signals to us and watches over us all the time. But to get his intentions and grandiose purposes is not so easy. You can catch them only by the edge, until they slip away from the mind again.
When it came time for Motown to package its Commodores catalog for the CD market, they paired up the albums into a series of two-fers, one of the more suitable pairings being Natural High/Midnight Magic. These back to back albums, from 1978 and 1979 respectively, flow together well. Neither is one of the group's best overall albums, but each has a good share of hits that add up to a satisfying albeit spotty sum, one that includes a pair of gigantic hits, "Three Times a Lady" and "Still." These two crossover hits are both quiet piano ballads sung by Lionel Richie, who had made such songs his stock-in-trade by this point, delivering one or two on every successive Commodores album, to generally greater and greater (and broader) success each go round.
….The story of Melissa's debut album, Midnight Trampoline, is your typical saga of bad deals and lost opportunities. Recorded over a period of nine months, the album eventually appeared on the Banner label to little response at the end of 1971. 'Midnight Trampoline' stands as an intriguing artefact that combines esoteric, folksy-rock redolent of Jethro Tull ('Matalla', 'Getting Through'), Moody Blues-styled pastoral pop ('Out in the Country', 'Jennifer In New York'), progressive blues-rock ('Cuckoo'), and two Van Morrison covers ('Young Lovers Do', 'Madame George')…..
Rick James' second album, Bustin' Out of L Seven, maintained his status among R&B fans, almost topping the LP chart and spawning hits in the title track, "High on Your Love Suite," and "Fool on the Street," though none of them matched the popularity of the debut album's "You and I" or "Mary Jane." James managed an effective amalgam of recent R&B big-band styles, from Sly & the Family Stone to Earth, Wind & Fire and Funkadelic, overlaying the result with his jeeringly rendered sex-and-drugs philosophy. What was missing this time was a real pop crossover – if Come Get It! had suggested he could have the pop success of Earth, Wind & Fire, Bustin' Out of L Seven threatened that his work would find as restricted an audience as Funkadelic, and without the critical cachet.
Larkin Arnold, former CBS Records (Sony Music) senior executive VP, convinced Marvin Gaye to leave his flat in Belgium and sign with Columbia Records; the result would become the soul singer's last album before his untimely death. Of all his number one songs, this album's first release, "Sexual Healing," became his longest running number one single on the Billboard R&B charts (ten straight weeks).
Johnny Griffin, known as the world's fastest tenor-saxophonist in the late 1950's, purposely slowed down a bit on some of his later Riverside albums including this set which was reissued on a 1998 CD. Griffin is joined by pianist Buddy Montgomery (who switches to vibes on two of the six numbers), bassist Monk Montgomery (heard in a rare outing on acoustic bass) and drummer Art Taylor. They perform four standards (including "The Midnight Sun Will Never Set" and "That's All") and a couple of Griffin's basic originals. The music swings and the classic tenorman cuts loose a few times, making for enjoyable if not quite essential music.
"Nemesis" is the third album by Swedish melodic metal/hard rock band Midnight Sun, originally released in 2001. This is the first MS album with the Starbreaker, Allen & Lande mastermind Magnus Karlsson on guitar. Brilliant as usual. Pete Sandberg (Alien) does a great vocal performance, and the rhythm section and keys kill your ears and senses. No fillers, all tracks are good, including Europe's cover "Seven Doors Hotel".