| |
|
| |
|
| |
|
| |
THUNDER - BACKSTREET SYMPHONY |
|
Thunder were signed in 1989 by EMI after performing a demo audition and soon began recording their first album Backstreet Symphony. It was released in early ]1990 .The band scored their first two UK Top 30 hits with two singles from this album; the title track reached numbrt 25 and, the following year, "Love Walked In" reached 21. The album was later certified 'Silver' by the BPI. In 2009, to coincide with the bands retirement tour, a 2 disc version of the album was released, including bonus tracks and live recordings..
Guitarist Luke Morley, except for the cover of the old Spencer Davis Group classic "Gimme Some Lovin'", almost exclusively wrote the album. This album would prove to be Thunder's only charting release in America although they continued to have success in their native country, but they definitely deserved more recognition. |
| |
|
| |
|
| |
|
| |
|
| |
UFO - Strangers in the night |
|
Strangers in the Night is the album that should have catapulted UFO into the hard rock mainstream, but it wasn't to be. Michael Schenker quit UFO a month prior to the album's release and the band replaced him with Paul Chapman, a fine guitarist in his own right though perhaps his playing was not as distinctive as that of Schenker. With the departure of Michael Schenker, UFO were unfairly given last rites by the fans. These guys still had many great albums left in them and No Place to Run, The Wild, The Willing and the Innocent and Mechanix are simply fantastic examples of a band that got hopelessly lost in the shuffle of the New Wave of British Heavy Metal. But I am in the minority of opinion there as many reviewers shrug off most post Michael Schenker albums as generic and tepid. Essentially a double live greatest hits album, Strangers in the Night deserves to be mentioned in the same breath as Deep Purple's Made in Japan, Thin Lizzy's Live and Dangerous and The Allman Brothers at Fillmore East. Unlike most live albums of the time, Strangers in the Night rarely launches into lengthy jams. It is the tightness of the performances, the Phil Mogg braggadocio, the unpredictability of loose cannon guitarist Michael Schenker, the powerful drumming of Andy Parker, the hammering bass lines of Pete Way and the crisp production values that elevate the album to classic status. |
| |
| |
|
| |
|
| |
|
|
|
|
|
