Final Cut

Final Cut Overview

1994 U.K. reissue of their top 10 1983 album on a full colorpicture disc. 12 tracks, including 'The Post War Dream', 'The Gunner's Dream' and 'Not Now John'.

Final Cut Specifications

The last release from the Roger Waters-led incarnation of the band, The Final Cut is easily the most darkly provocative entry in the entire Pink Floyd catalog. Many fans and critics tend to think of it as a Roger Waters solo album, though it certainly hangs together much better than The Pros and Cons of Hitchhiking or Radio K.A.O.S.. Others view it as a sequel to The Wall--and indeed, The Final Cut tackles many of the same issues (the futility of war, the innate powerlessness of the individual in modern society), albeit with twice the bile and intensity. The anger that fires songs like "The Hero's Return" and "Not Now John" is certainly legitimate, and Michael Kamen's orchestral arrangements are absolutely stunning, but the entire listening experience can be pretty draining. On the other hand, if you found The Wall to be too soft or commercial, The Final Cut is definitely the record for you. --Dan Epstein

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Richard Marx - Greatest Hits

Richard Marx - Greatest Hits Overview

titolo-greatest hitsartist-arichard marx etichettaemin. dischi1data29 novembre 1997supportocd audiogenerepop e rock internazionalehard rock e metal----brani1.don't mean nothingascolta2.endless summer nightsascolta3.now and foreverascolta4.should've known

Richard Marx - Greatest Hits Specifications

It's telling that Richard Marx broke into the music business singing backup vocals for Lionel Richie and writing songs with Kenny Rogers and Chicago, for he kept to the straightforward, middle-of-the-road approach of those acts once he became a recording artist in his own right--not that there's anything wrong with that. A dependable hitmaker throughout the late '80s and early '90s, Marx scored with rockers ("Don't Mean Nothing," "Should've Known Better"), and ballads ("Right Here Waiting," "Endless Summer Nights") alike. Greatest Hits collects those songs as well as the lion's share of his high-end chart action--of which there was plenty, proving that a devotion to craft sometimes pays off better than fickle inspiration. --Daniel Durchholz

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Blood Pressures

Blood Pressures Overview

The Kills, UK/US duo of Jamie Hince and Alison Mosshart, release Blood Pressures, the highly anticipated follow-up to their critically acclaimed third album, Midnight Boom. This album keeps their basic sound intact searing guitars, driving rhythms and sexually charged lyrical savvy. The 11 tracks on Blood Pressures find The Kills embracing a fuller sound; there is heavier instrumentation and layered, huge-sounding harmonies with Jamie and Alison uniting in their trademark singsong vocal style over tom heavy primitive beats.

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All The Stars And Boulevards

All The Stars And Boulevards Overview

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All The Stars And Boulevards Specifications

Augustana's finely burnished debut again points up the contrast between contemporary American rock's persistent navel-gazing and the vibrant, back-to-the-future vibe of resurgent Britpop. The angst-ridden lyrical pleas of mainstay Dan Layus are often informed by the band's restless westward travels from its Midwestern roots on tracks like the spare "Roosevelt" and lush, mid-tempo gem of a ballad, "Boston." Yet one can almost count the modern rock influences on the album's opening wall-of-guitar conceits, "Mayfield" and "Bullets," and elsewhere, the likely residue of Train and Wallflowers producer Brendan O'Brien's aggressive studio slickery. It's to Layus' and the band's credit that the album's best moments are usually its most emotionally and musically direct, as witnessed by the moody title track, "Boston" and folk-tinged closer, "Coffee and Cigarettes." The soaring drama of "California Burning" throws all those elements firmly against the wall and damned near makes ‘em stick, ample evidence that the band has the potential to rise above the comfortably safe familiarity that sometimes seems to constrain them here. --Jerry McCulley

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The Lord of the Rings: The Fellowship of the Ring

The Lord of the Rings: The Fellowship of the Ring Overview

Score composer Howard Shore has informed this first installment of the Lord of the Rings trilogy with his distinctly modern sensibilities. Revolving loosely around a brief, heroic brass theme, this epic is infused with a powerful rhythmic thrust and a musical range that encompasses centuries (from the Renaissance pastoralism of "Concerning Hobbits" to the fiery, Prokofiev-influenced drama of "A Knife in the Dark"). Key to the score's sense of mystery and magical place are the rich choral passages that are interspersed throughout, some so ominously gothic they make The Phantom Menace's "Duel of the Fates" sound almost sunny by comparison. Enya's contributions ("The Council of Elrond" and the song "May It Be") add a sense of organic tranquility, but it's Shore's Wagnerian-scaled orchestral score that should long be cherished by admirers of film music and hobbits alike. --Jerry McCulley

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