Brian May [1994] Live At Brixton Academy

[01] Back To The Light
[02] Driven By You
[03] Tie Your Mother Down
[04] Love Token
[05] Headlong
[06] Love Of My Life
[07] 39 - Let Your Heart Rule Your Head
[08] Too Much Love Will Kill You
[09] Since You've Been Gone
[10] Now I'm Here
[11] Guitar Extravagance



amg: Live at the Brixton Academy finds former Queen guitarist Brian May playing almost the entirety of his previous solo album, Back to the Light, and an assortment of material from various eras of Queen. The material culled from Back to the Light sounds much more alive in concert than on record, freed up as it is from the album's heavy production. Even "Last Horizon," which sounded quite sappy on the album version, works well here, especially coming after the intense "Resurrection." However, even a live setting can't help the clunker "Too Much Love Will Kill You." The Queen tracks are a mixed bag. May just doesn't have the voice to tackle the harder-edged "Headlong" and "Tie Your Mother Down." These tracks and a quite lifeless "We Will Rock You" sorely miss Freddie Mercury's commanding vocals. However, the medley of the old Queen track "'39" with May's "Let Your Heart Rule Your Head" works quite well, in part because May sung the original version. For old Queen fans, it's also hard not to get emotional on the old sing-along "Love of My Life," played here as a tribute to Mercury While the cover of Hank Ballard's "Since You've Been Gone" doesn't come off as impressive with May's weak voice, the rousing version of Queen's "Hammer to Fall" ends the album on a fine note.
(amg 6/10)

Boston [1994] Walk On

[01] I Need Your Love
[02] Surrender To Me
[03] Livin' For You
[04] Walkin' At Night
[05] Walk On
[06] Get Organ-ized
[07] Walk On (Some More)
[08] What's Your Name
[09] Magdalene
[10] We Can Make It



amg: Boston's long-awaited fourth album, Walk On, which this time took Tom Scholz a full seven years to complete, failed to capture the attention of most AOR fans and became the group's first record to not spawn a hit single. Perhaps the reason was AOR and classic rock stations began losing their audiences in 1992; more likely, it was because Scholz's legendary perfectionism didn't yield the same results it did in the past. Although the production is certainly state of the art and is overflowing with detail, there aren't any memorable songs or hooks to justify such extravagance. On the surface, the record sounds fine, but there is no substance beneath the layers of gloss.
(amg 4/10)

Ben Harper [1994] Welcome To The Cruel World

[01] The Three Of Us
[02] Whipping Boy
[03] Breakin' Down
[04] Don't Take That Attitude To Your Grave
[05] Waiting On An Angel
[06] Mama's Got A Girlfriend Now
[07] Forever
[08] Like A King
[09] Pleasure And Pain
[10] Walk Away
[11] How Many Miles Must We March
[12] Welcome To The Cruel World
[13] I'll Rise



amg: The full range of Ben Harper's influences would not come to bear until later albums, but his debut, Welcome to the Cruel World, lays a strong foundation. "Like a King" and "Take That Attitude to Your Grave" burn with a political conviction rarely heard during the 1990s. "Forever" has a tenderness which demonstrates Harper's emotional range. Lackluster hippie jams that cultivated his early following may have served a purpose but feel fluffy by comparison when compared to the meatier tracks. Ben closes the album with a song that frequently closes his concerts, "I'll Rise." This song, built around Maya Angelou's 1979 poem "And Still I Rise," reminds one of art's ability to pierce through society, self, and the soul.
(amg 6/10)

Bush [1994] Sixteen Stone

[01] Everything Zen
[02] Swim
[03] Bomb
[04] Little Things
[05] Comedown
[06] Body
[07] Machinehead
[08] Testosterone
[09] Monkey
[10] Glycerine
[11] Alien
[12] X-Girlfriend



amg: Bush's grunge-by-the-numbers is certainly well-produced. Under the guidance of Clive Langer and Alan Winstanley — the kings of early-'80s British pop — Bush turn in an album that follows all the rules and sounds of American hard rock, specifically Nirvana and Pearl Jam. Their songwriting isn't terribly original, nor is it particularly catchy. What makes "Everything Zen" and "Little Things" memorable is the exact reproduction of all of Nirvana's trademarks, only with a more professional execution. In other words, all the guitars keep rhythm perfectly and Gavin Rossdale doesn't shred his throat when he sings, he projects from his diaphragm. As far as pop craftmanship goes, it's actually quite impressive.
(amg 8/10)

Brian May [1993] Back To The Light

[01] The Dark
[02] Back To The Light
[03] Love Token
[04] Resurrection
[05] Too Much Love Will Kill You
[06] Driven By You
[07] Nothin' But Blue
[08] I'm Scared
[09] Last Horizon
[10] Let Your Heart Rule Your Head
[11] Just One Life
[12] Rollin' Over

With [04] Cozy Powell



amg: Queen guitarist Brian May's first complete attempt at a solo album, Back to the Light, focuses on the hard rock sound that Queen often abandoned in the 1980s. While obviously sounding similar to some of the work by his former band, May's path is far more hard-edged and emotionally punched than the majority of Queen's work. His vocals are sometimes weak for a singer, but they also add a certain tenderness that most hard rock frontmen seem to lack. The album succeeds best on its heaviest tracks such as the cover of "Rollin' Over" or "Resurrection," which features pounding drums courtesy of Cozy Powell and thundering guitar riffs with Queen-like multi-tracked vocals. References to Queen can also be heard in the eccentric humor of such numbers as "Love Token," which includes a back-and-forth dialogue in the middle of the song. Likewise, the low-key country song, "Let Your Heart Rule Your Head," is reminiscent of "'39" off Queen's A Night at the Opera. The ballads are not as strong or as interesting and are not helped by well-meaning but overly sentimental lyrics and light rock arrangements. Unfortunately, the instrumental, "Last Horizon," ends up sounding like Muzak. "Driven By You," the album's biggest hit, was originally written for a Ford commercial, and it shows. That said, it is great to hear May finally get a chance to rock out and while the over-the-top and eccentric stylings of the album might put off some, it is those same traits that will also attract many to this work. [Note: The CD version of the album contains a remix of "Driven By You."]
(amg 6/10)

Bryan Adams [1993] So Far So Good

[01] Summer Of '69
[02] Straight From The Heart
[03] It's Only Love
[04] Can't Stop This Thing We Started
[05] Do I Have To Say The Words
[06] This Time
[07] Run To You
[08] Heaven
[09] Cuts Like A Knife
[10] (Everything I Do) I Do It For You
[11] Somebody
[12] Kids Wanna Rock
[13] Heat Of The Night
[14] Please Forgive Me



amg: Throughout the 1980s and early '90s, few contemporary rock artists were able to come up with as many lighthearted, guilty pleasures as Bryan Adams. This is especially evident through So Far So Good, which neglects all album fillers and compiles many of his most noteworthy songs, from such rockers as "Summer of '69," "Run to You," and "Cuts Like a Knife" to the equally popular power ballads "Heaven" and "(Everything I Do) I Do It for You." Also included is the all-new "Please Forgive Me," one of his best power ballads yet. It's not quite a perfect compilation, however; in particular, his Top 20 hits "She's Only Happy When She's Dancin" and "Thought I'd Died and Gone to Heaven" are overlooked. These are only minor flaws, though. There is no better introduction to Bryan Adams to date than So Far So Good.
(amg 9/10)

Bob Geldof [1993] The Happy Club

[01] Room 19
[02] Attitude Chicken
[03] The Soft Soil
[04] A Hole to Fill
[05] The Song Of The Emergent Nationalist
[06] My Hippy Angel
[07] The Happy Club
[08] Like Down On Me
[09] Too Late God
[10] Roads Of Germany (After BD)
[11] A Sex Thing
[12] The House At The Top Of The World



amg: Irish singer Bob Geldof's third solo set, The Happy Club, finds him again being produced by Rupert Hine, although he and Pete Briquette lend a hand. Geldof eschews the guest star-laden turns of his prior albums and settles with a set band line-up, with World Party's Karl Wallinger the only name guest. While not quite the triumph of his previous outing, The Happy Club is still an engaging release through and through. Drawing on his love for Motown, the album is an often upbeat, ebullient affair starting with the lead track "Room 19," complete with "sha la las, " hand claps, and comical lyrics about cryogenics. Other standouts include the gentle, lovely "The Soft Soil," the singalong slice of neo-psychedelic pop "My Hippy Angel," and the catchy title track. Thought-provoking lyrics wrapped in some great melodies, The Happy Club is mature, adult pop/rock that doesn't forget to have a good time.
(amg 8/10)

Blondie [1991] The Complete Picture - The Very Best Of Deborah Harry and Blondie

[01] Heart Of Glass
[02] I Want That Man
[03] Call Me
[04] Sunday Girl
[05] French Kissin' In The USA
[06] Denis
[07] Rapture
[08] Brite Side
[09] (I'm Always Touched By Your) Presence Dear
[10] Well, Did You Evah!
[11] The Tide Is High
[12] In Love With Love
[13] Hanging On The Telephone
[14] Island Of Lost Souls
[15] Picture This
[16] Dreaming
[17] Sweet And Low
[18] Union City Blue
[19] Atomic
[20] Rip Her To Shreds



amg: This import CD is one of the best Blondie and Debbie Harry compilations for original music, unless one is looking for remixes and rarities. The 20-track disc covers the years 1977-1990, and includes "Heart of Glass," "Call Me," "French Kissin' in the U.S.A.," "Rapture," "Atomic," "The Tide Is High," and others. Very solid song selection (and track order). First released in 1993, the current version has superior sound quality. Casual fans will most likely choose Best of Blondie [Chrysalis], as it only has the best of Blondie. But some of Debbie Harry's songs will please the casual fan, so Complete Picture may be a better alternative than the more expensive Platinum Collection for the adventurous shopper.
(amg 8/10)

Big Audio Dynamite [1991] The Globe

[01] Rush
[02] Can't Wait - Live
[03] I Don't Know
[04] The Globe
[05] Innocent Child
[06] Green Grass
[07] Kool-Aid
[08] In My Dreams
[09] When The Time Comes
[10] The Tea Party



amg: The Globe marked the beginning of the second chapter in Mick Jones' Big Audio Dynamite venture and their biggest commercial success in the U.S. With Jones the only member remaining onboard, The Globe is the sound of a reinvigorated BAD, with the engaging "Rush" becoming a surprise Top 40 hit. There are plenty more worthy tracks, including the buoyant "Can't Wait/Live," the title song (which also charted), and the poignant "Innocent Child," which makes good use of a sample from Phil Collins' "In the Air Tonight." The songwriting is some of Jones' strongest in some time, and The Globe was possibly the strongest effort of Big Audio Dynamite (in any incarnation) and certainly their best work since their debut.
(amg 8/10)

Breeders [1990] Pod

[01] Glorious
[02] Doe
[03] Happiness Is A Warm Gun
[04] Oh!
[05] Hellbound
[06] When I Was A Painter
[07] Fortunately Gone
[08] Iris
[09] Opened
[10] Only In 3's
[11] Lime House
[12] Metal Man



amg: On their 1990 debut album Pod, the Breeders — led by the Pixies' Kim Deal and Throwing Muses' Tanya Donelly — prove that they have more potential, and more fun, than the average side project. In fact, thanks to the album's creative songwriting, immediate production (courtesy of Surfer Rosa producer Steve Albini), and clever arrangements, Pod is a fresher and more successful work than the Pixies' Bossanova and the Muses' Hunkpapa, their main projects' releases from around that time. Though the album doesn't feature as many of Donelly's contributions as was originally planned — which was part of the reason she formed Belly a few years later — songs like "Iris" and "Lime House" blend the best of the Pixies' elliptical punk and the Muses' angular pop. Pod reaffirms what a distinctive songwriter Deal is, and how much the Pixies missed out on by not including more of her material on their albums. With their unusual subjects — "Hellbound" is about a living abortion — and quirky-but-direct sound, songs like "Opened" and "When I Was a Painter" could have easily fit on Doolittle or Bossanova. But the spare, sensual "Doe," "Fortunately Gone," and "Only in Threes" are more lighthearted and good-natured than the work of Deal's other band, pointing the way to the sexy, clever alternative pop she'd craft on Last Splash. A vibrantly creative debut, Pod remains the Breeders' most genuine moment.
(amg 9/10)

Bob Geldof [1990] Vegetarians Of Love

[01] A Gospel Song
[02] Love Or Something
[03] The Great Song Of Indifference
[04] Thinking Voyager 2 Type Things
[05] Big Romantic Stuff
[06] Crucified Me
[07] The Chains Of Pain
[08] A Rose At Night
[09] No Small Wonder
[10] Walking Back To Happiness
[11] Let It Go
[12] The End Of The World



amg: Geldof returns after a four-year absence with his second solo release, The Vegetarians of Love. Again, there are some high-profile guests including Paul Carrack, Kevin Godley, and Dave Stewart, but this Rupert Hine-produced affair has a low-key feel to it. Geldof applies his Dylanesque croak to a set that is very heavy on Irish-folk influences with rich results.

"A Gospel Song" is a gorgeous, organ-driven track that leads things off. Dave Stewart lends his guitar work to the catchy pop/rock of "Love Or Something." "The Great Song of Indifference," is a wry, tongue-in-cheek stomp fueled by pennywhistles, accordion and violin. There's even the appearance of former Boomtown Rat bandmate Pete Briquette playing bass and keyboards and co-writing the pleasant, albeit meandering, "Thinking Voyager 2 Type Things." A commercial flop on both sides of the Atlantic, this album is, nonetheless, a joyous romp from start to finish.
(amg 9/10)