Love Hurts is the 20th studio album by American singer-actress Cher, released on June 11, 1991 by Geffen Records. The RIAA certified it Gold on August 27, 1991. It is the final studio album with the record label Geffen. The lead single from the album was, "Love and Understanding" and the follow-up singles were "Save Up All Your Tears", "Love Hurts", "Could've Been You" and "When Lovers Become Strangers". It debuted at #48 on the Billboard Top 200 Albums chart with the sales of 19,000. Billboard stated in November 2011 that Love Hurts has sold 600,000 copies in the US. In European and Oceanian countries, as well as in Australia and New Zealand, the album was very successful, and peak at number one in four countries: Austria, Ireland, Norway and the United Kingdom.

The second volume of Queen’s Greatest Hits appeared a decade after the first; a decade after the group started its slow shift from international superstars toward ruling the world that existed outside of the United States. Apart from “Under Pressure” and “Radio Ga Ga,” all of the 17 singles here did not crack the American Top 40, but they’re well-known throughout the world, particularly the operatic anthems “A Kind of Magic,” “I Want It All,” “I Want to Break Free,” and “Who Wants to Live Forever.” Generally, the songs here favor melodrama to untrammeled rock & roll, which means while there’s nothing here that hits as hard as “Tie Your Mother Down”; there’s also nothing as light on its feet as “Crazy Little Thing Called Love,” either. This is not necessarily a bad thing: nobody scaled the dramatic heights like Queen, and this captures their pomp & circumstance at its most polished.

Originally released in 1991 as Boots‘ second album, additional material (in the form of a 9 minute, previously unreleased track) has been added to this remastered 2002 reissue, bringing the total time to 74 minutes of luscious electronic ambience.
Besides offering a more primal glimpse into Boots‘ music, this release delivers a softer side of Boots‘ electronic styling. The compositions are moodier here, more rooted in the ambience of Steve Roach or Michael Stearns than the powerful epics of Boots‘ more recent works. And yet, Boots introduces his own elegance to these atmospheric soundscapes, injecting subtle power to this peaceful sonic domain…

Unfortunately, Sparks never enjoyed more than a small, though devoted, cult following. But it certainly wasn't for a lack of effective hooks and clever, insanely funny lyrics. While a few of the L.A. pop/rockers' albums were disappointing, many others were exceptional. For those seeking an introductory overview of Sparks' legacy, this two-CD set is highly recommended. From "Achoo" to "Tips for Teens" to "This Town Ain't Big Enough for the Both of Us," Profile makes it clear just how delightfully goofy Sparks could be.

This CD may be scoffed at by serious jazz listeners, and even by big-band devotees wary of modern "ghost band" performances, but the fact is that it sold over 100,000 pieces when it first appeared in 1983, and its CD version was among the very earliest compact discs ever released commercially in the United States (indeed, so early that the actual CDs had to be imported from Japan). The second-ever release by GRP Records, it put the label on the map, and it also stood as testimony to how good those original arrangements of the Glenn Miller Orchestra were. So how is it as music?

The first in a series of Classics CDs focusing on the recordings of Sidney Bechet, this disc features the clarinetist/soprano-saxophonist on two early titles with blues singer Rosetta Crawford, his torrid 1932 session with The New Orleans Feetwarmers (which also features trumpeter Tommy Ladnier and is highlighted by "Shag" and "Maple Leaf Rag") and sides from Noble Sissle's somewhat commercial orchestra. Fortunately Sissle was wise enough to give Bechet plenty of solo space on some of his selections, most notably "Polka Dot Rag." Even with a few indifferent vocals, this CD is recommended to those not already owning this music.

Sweet's earliest recordings - the clutch of 45s issued in the U.K. and Europe between 1968 and 1971 - made it out in a variety of forms in the years following the band's initial breakthrough. Strangely, however, it was not until 1991 - a full 20 years after "Funny Funny" gave them their long-awaited first hit - that the entire canon was pulled together, as Repertoire raided the vaults not only of Fontana and Parlophone, the band's first two labels, but also visited some less-familiar directions as well. The bulk of First Recordings 1968-1971 - tracks one through eight - comprises all four original singles, a mixed bag that ran from the unadulterated pop of "Lollipop Man" and "Slow Motion" to the convincing harder rock of "The Juicer"…

Mr. Tambourine Man is the greatest hits album by the American rock band The Byrds, originally released as The Byrds' Greatest Hits. It is the first greatest hits album by the Byrds and was released in August 1967 on Columbia Records. It is the top-selling album in the Byrds' catalogue and reached number 6 on the Billboard Top LPs chart, but failed to chart in the UK. The album provides a summary of the Byrds' history during Gene Clark and David Crosby's tenure with the band and also functions as a survey of the group's hit singles from 1965 to 1967, a period when the band had its greatest amount of success on the singles chart.

This compilation of Joan Armatrading's best moments has all of the indisputable singles on it, but some of those choices, as to whether they were the very best of an artist who has always been more favored than understood is open to debate. Nonetheless, these 14 tracks do provide a fine introduction to Armatrading, who has slipped from the cultural radar screen – at least in America – since before the turn of the century. Along with obvious choices like "Love and Affection" (though it is a 1991 remix), "Down to Zero," "Drop the Pilot," "Show Some Emotion," "Willow," "Rosie," "The Weakness in Me," "All the Way From America," "More Than One Kind of Love" from 1990, and, of course, from 1983, "(I Love When You) Call Me Names," from the terminally misunderstood album The Key, produced by Steve Lillywhite.

Don't be fooled by the Bee Gees-esque cover photo, Love Beach is not really ELP gone pop. True, many of the songs are more concise and accessible than those on previous albums, and there are a couple of Greg Lake-dominated "romantic" tunes, but those had always been part of the deal. They're still classically rockin' along on "Canario," and half the album is dominated by the 20-minute epic "Memoirs of an Officer and a Gentleman," reminiscent of such long-form ELP classics as "Trilogy."

Alex Acuna ( drummer for the famous Weather Report ) and world class session drummer is well known but his work with the "Unknowns" remains unknown to the vast majority of the jazz fusion listening public!

Gravy Train were a progressive rock group from Lancashire, England, formed by vocalist and guitarist Norman Barratt in 1969. Also featuring J.D. Hughes (keyboards, vocals, wind), Les Williams (bass, vocals) and Barry Davenport (drums), the band would record four studio albums. The first two were released on the Vertigo label, the latter two by Dawn Records. In 1973, Gravy Train moved from Vertigo to Dawn Records, the progressive offshoot of Don Kirshner’s PYE Records label. This produced Second Birth — eight tracks, two of which ("Strength of a Dream" and "Tolpuddle Episode") were released as a single. Again it failed to set the charts alight.

This recording is over 20 years old, so it's hard to believe that it hasn't been reviewed yet. Domus is long gone, and its members have morphed into the Florestan Trio, but it was a great group, and by the time they recorded these Mozart pieces, they had been together for a dozen years. The music is mature Mozart, roughly contemporaneous with "Le Nozze di Figaro" (1785), and it's superbly played and recorded here.

Abandoning the lovely soundscapes of Snow Goose, Camel delved into layered guitar and synthesizers similar to those of Pink Floyd's Wish You Were Here on the impressive Moonmadness. Part of the reason behind the shift in musical direction was the label's insistence that Camel venture into more commercial territory after the experimental Snow Goose, and it is true that the music on Moonmadness is more akin to traditional English progressive rock, even though it does occasionally dip into jazz-fusion territory with syncopated rhythms and shimmering keyboards. Furthermore, the songs are a little more concise and accessible than those of its predecessor.