Hunter's third album for Alligator finds him in tip-top form, sounding like a man half his age (62 at the time) and brandishing a nasty guitar tone that supposedly died out with 1950s one-track mono recording. Everything on here is kept in a nice Texas roadhouse framework, with plenty of air moving behind Long John from a fine combo that includes Derek O'Brien on guitar and Sarah Brown on bass. For his end of it, Hunter sounds positively involved on tunes like "Irene," "Crazy Love," the rockin' "Bad Feet," the uptempo "Dream About the Devil," a fun duet with T.D. Bell on "West Texas Homecoming," and the title track. With his songwriting hand clearly defined on all ten tunes here, Hunter has made his most realized album to date, showing him still in sharp command of his prestigious powers.
Criminally overlooked upon its release, 1998 saw Chaka Khan shine on Come 2 My House. This album is thanks largely to the work of Prince, whose voice, words, and musicianship permeate the record all the way down to the colorful packaging. In fact, compared with New Power Soul, his own lackluster release that year, Come 2 My House and Graham Central Station's 2000, also from the Prince camp, should count as the real Prince albums of 1998.
Candye Kane's sole major-label release, 1998's Swango, isn't one of her best albums. Producer Mike Vernon (who had run the famous U.K. blues-rock label Blue Horizon in the '60s) uses the then-current swing revival to reduce the more authentic jump blues elements of Kane's earlier records…..
Released with the Greek magazine 'Ihos & Hi-Fi', November 1998 ''Not commercial Release''
Even within the pop landscape of today's mainstream country, Deana Carter's follow-up to her blockbuster Capitol debut surprises. Carter and co-producer Chris Farren demonstrate an uncanny instinct for hits: These 13 songs–five of which were co-written by Carter–-tour through Top 40s of many decades and genres. The musical and lyrical variety–rather than Carter's singing, which is breezy, not bold–is her strong suit. "You Still Shake Me" marries ZZ Top and raunchy Hank Jr., while "Never Comin' Down" has a sly, soul groove and wah-wah guitar that sounds like Bobbie Gentry swinging to Sheryl Crow. "Absence of the Heart" has flashes of Crystal Gayle at her torchiest, while "Angels Working Overtime," Carter's best vocal performance, has hip-hop style percussion, big, Mellancamp-esque acoustic guitars, and the bubbly, laughing voices of children–and somehow the pop dazzle doesn't swamp the intense narrative. Carter isn't making country music, but her confections can be delightful, even ambitious, pop stuff.
50 of the finest punk & new wave recordings from the late'70s & early '80s by the likes of: Sex Pistols, Buzzcocks,Iggy Pop, Stranglers, Bow Wow Wow, Elvis Costello & TheAttractions, Stiff Little Fingers, The Jam, Wire, Vapors,Undertones, Generation X, Bl .