Word: albums
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Dates: during 1970-1979
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...quiet, slow synthesizer backing Oates' soft, relaxed voice, the song shifts into the screams of a beach crowd mixed with a driving electric guitar riff that carries a vocal part adorned with a Beach Boys, teeny bopper harmony line. It's innocent, fun rock and one of the album's best offerings...
...Oates companion and contributor), to a poor attempt at a Phil Spector rocker, called "The Last Time." There's a great orchestral work in "I Don't Wanna Lose You," a fine tune which may do well as a pop single; but the range and uneveness of the album as a whole make it almost impossible to label the work as a success or failure...
...problem is that there's no real Hall and Oates sound. Not many groups can switch from a country, acoustic sound on an album like Past Times Behind to the futuristic, electronic rock of Bigger than the Both of Us. And perhaps that constant state of flux explains why Hall and Oates have never attracted a massive, fanatic following. They have some characteristic sounds; they can play formula pop or experimental rock, but not everyone likes their use of different styles of music. And Along the Red Ledge, in the end, becomes a Hall and Oates sampler, offering a little...
EVERY NEW David Bowie album including his latest, Stage, carries an invitation to join his Official International Fan Club slipped inside the record with the dust jacket. The offer promises all sorts of paraphernalia: the official David Bowie News, a personal membership card, a biography, a charter certificate (suitable for framing), a poster, and more...
...indeed, does the two-disc album, a live recording of unspecified stops made on Bowie's 1977 summer tour. Each side has a distinct sound, roughly charting some of the solar systems Bowie has visited in his galactic travel...