Until their third album, Regular Urban Survivors, Terrorvision were little more than a faceless metal band. That disc, however, worked as a loose concept album and featured some exceptional songwriting that earned them four big hits in the U.K. For the follow-up, the band hired four producers (including singer/songwriter Edwyn Collins) and wrote 15 of the best songs of their career to date. There is a definite pop leaning to Shaving Peaches that hardcore fans of the band may find disheartening, but the truth is that the band shines when they turn down the guitars a bit. Apparently the British music-buying public thought so as well – "Tequila" became the band's biggest U.K. hit single to date, peaking at number two. Apart from that anthemic single, however, there is much more to love here: the raucous twang of "Josephine," the Gary Glitter-esque glam rock of "Can't Get You Out of My Mind," disco metal on "Left to the Right," a hard-hitting synthesized rocker in "Babyface" and two tender ballads ("Day After Day" and "Vegas"). The only places that the album wears thin are on the more midtempo tracks, which are neither aggressive, tender nor particularly catchy. Luckily, there's more memorable material than filler on this disc, making it a very worthwhile purchase for Brit-pop fans.

Glory Days Of Rock 'n' Roll: Instrumentals is a various artist compilation album. Released in 2000.

This 25-track British release is the most comprehensive anthology of Fontella Bass' Chess work ever assembled. Very Best of Fontella Bass includes the entirety of her 1966 The New Look LP, as well as ten tracks from singles and three duets with Bobby McClure. If you value quantity as much as quality, it's certainly a superior buy to the shorter 16-track Rescued: The Best of Fontella Bass compilation that came out on Chess/MCA in 1992, including all but two tracks from that collection. While Bass is a fine, commanding soul vocalist, however, you don't actually lose out on much if you already have that 1992 best-of, since most of the added tracks are covers of '60s soul hits (à la "Our Day Will Come," "Gee Whiz," "You've Lost That Lovin' Feelin'") and pop standards from The New Look album.

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Over many missions and against impossible odds, Dom Toretto and his family have outsmarted, out-nerved and outdriven every foe in their path. Now, they confront the most lethal opponent they've ever faced: A terrifying threat emerging from the shadows of the past who's fueled by blood revenge, and who is determined to shatter this family and destroy everything—and everyone—that Dom loves, forever.

During the mid-19th century, the Danish composer Niels. W. Gade was one of Europe's most well-known composers, conducting his own works all over the continent. Starting out as a protégé of Mendelssohn's, he later became his successor as music director of the famous Leipzig Gewandhaus Orchestra, and made the acquaintance of Robert and Clara Schumann, and of Liszt and Wagner. Initially known as a composer of symphonies, Gade mastered the German musical idiom to perfection, while adding a Nordic accent to it, particularly noticeable in his best works. His eight symphonies were composed between 1841 and 1871, and although Gade remained active as a composer until his death in 1890, he wrote no more symphonies. When questioned, he is said to have stated that 'there is but one Ninth Symphony!'

This recording combines the lyrical and rhythmic vitality of early 20th century Brazilian and American popular music with Rifkin's thoughtful and artistic realization, in much the same way as his 1970's recordings of Joplin piano works did on the Nonesuch label. As with those recordings, the sound here is good and the performances excellent. Various different interpretations of Nazareth, Scott, and Lamb exist, and some might find the slower pace of Rifkin's ragtime playing eccentric, but I believe these performances to be subtle and truly musical, as opposed to surface and expected.

On June 17, the UMC/EMI label will reissue Money For Nothing, the first Dire Straits greatest hits collection (featuring songs from the band’s first five albums), which was originally released in October 1988.

Aside from the alluring title, which in terms of words alone, not music, recalls Jim Hendrix’s “Burning of the Midnight Lamp,” we have a straight-ahead, inspired session led by Toronto-born, NYC-based tenorist Grant Stewart and his usual contingent plus rising NYC-based trumpeter Bruce Harris, making this a classic quintet configuration.

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