Mark Knopfler works with a loose theme here, that of living by your wits on the high seas, but the broader messages found on Privateering are sure to resonate with anyone who’s faced down life’s mighty struggles.
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This new two-disc set of rarities and unreleased tracks, built around a double-sided benefit single from Ian Gillan and Tony Iommi, traces a series of intriguing side trips traveled by Deep Purple and Black Sabbath.
By this estimation, the decade of the One Hit Wonder was the 1970s, as our panel of potentially stranded passengers voted for 18 tracks from that era to take along on their doomed trip.
Arriving between stints with the James Gang, Billy Cobham and then Deep Purple, Teaser stands as the first, best testament to the roving genius that was doomed guitarist Tommy Bolin.
Bob Pressner sings with a timeless, almost mythological passion — sorting through the promise and the disappointments of life with a knowing eye.
Symptomology and Shortcuts to Infinity sound nothing like the Beach Boys — and that’s saying something, considering lyricist Steve Kalinich’s long history with the band.
Titled as if its a sequel to Alvin Lee’s all-star 1973 debut album On the Road to Freedom with Mylon LeFevre, this new album from the Ten Years After frontman actually works as a more direct, personal statement.
Though his baritone has been consistently compared to that of Jim Morrison, Mister Link’s music connects with more modern sounds on Do It in the Name of Love, from the Cars and R.E.M. to the Smiths and the White Stripes.
Everything old is not quite new again on Joey DeFrancesco’s forthcoming Wonderful! Wonderful!, though I found myself disarmed nevertheless by this album’s old-school charms.
Charlie Gathe wrote and recorded all of these songs, all by himself. In this way, the stirring desire for connection found on Win the Day makes sense. But the album doesn’t play like a conversation held all alone