It's finally here! Gather up your favorite grateful guys and gals, pop some corn, and head out on Amazon Prime's Long Strange Trip.
There are records whose reputations precede them, for good or ill. Pink Floyd's THE DARK SIDE OF THE MOON sells thousands of copies every year, many of them to people just discovering the music for the first time, made curious by the record's reputation as one of the great albums ever made.
On the other hand, Yes' TALES FROM TOPOGRAPHIC OCEANS likely doesn't sell many copies annually, because it has the reputation for being a big, bloated mess—four songs spread out over four sides of vinyl, a dense thicket of prog rock excess that reveals a band clearly separated from its better musical instincts, if not its senses. Some of this is true—it is big and dense—but considering the recent spotlight thrown on the band, thanks to their Rock 'n' Roll Hall of Fame election, it is high time to give the album another listen, perhaps a reassessment.
Remember last week when we asked you if you remembered Foreigner’s 4 album and then told you that it was time for Foreigner’s 40, a new best-of set to commemorate the band’s 40th anniversary? Sure you do! And if you don’t, then you can just click right here, after which you’ll also remember – if only because you literally just read it – how we mentioned that we’d be releasing a 2-LP vinyl version of the compilation on June 2.
Guess what? It’s June 2!
Don’t just get busy tomorrow. Get Rhino’s new Sean Paul best-of set, DUTTY CLASSICS COLLECTION, too.
11 years ago today, the debut single from the R&B group 112 entered the Billboard Hot 100, and it’s somehow appropriate that we should be celebrating the 11th anniversary of that date, since the song actually has 11 writers credited with its composition.
Yes, you read that correctly.
The following names are listed in the songwriting credits:
Who could have predicted the enormous success of ZZ Top's 1983 album ELIMINATOR? The "Little Ol' Band from Texas" racked up five singles and sold 10 million copies by welding their blues and boogie to a bank of synthesizers and sequencers, then jamming the entire thing in the back of a 1933 Ford Coupe and setting off for wherever MTV programming executives were hiding out back then.