ZZ Top returned after an extended layoff in late 1979 with Degüello, their best album since 1973's Tres Hombres. During their time off, ZZ Top didn't change much – hell, their sound never really changed during their entire career – but it did harden, in a way. The grooves became harder, sleeker, and their off-kilter sensibility and humor began to dominate, as "Cheap Sunglasses" and "Fool for Your Stockings" illustrate. Ironically, this, their wildest album lyrically, doesn't have the unhinged rawness of their early blooze rockers, but the streamlined production makes it feel sleazier all the same, since its slickness lets the perversity slide forth. And, forget not, the trio is in fine shape here, knocking out a great set of rockers and sounding stylish all the time. Undoubtedly one of their strong suits.

Active as a solo recording artist between the years of 1975-1981, Chris Rainbow wrote and recorded three very highly regarded albums, Home Of the Brave (1975), Looking Over My Shoulder (1978) and this release, his third full length recording, White Trails (1979), as well as a collection of singles throughout his valued career. Chris Rainbow also worked extensively adding vocal contributions to artists’ work of the calibre of The Alan Parsons Project, Culture Club, Elaine Paige and Toyah Wilcox, as well as producing albums for the likes of Scottish Gaelic rock group Runrig.
Features the sought after bonus tracks ‘Body Music’ (7” Version), ‘Girl In Collision’ (12” Version) and ‘Body Music’ (12” Version). All material has been fully remastered especially for this release.

They started in 1972 in Breda, a Southern-Holland town near the Belgium border (this explains the Flemish influence) when a group of students from both countries decided to create a Prog band. Not much is known about the story of Flyte between their formation and the moment in which they reach their definitive line-up including Lu Rousseau (lead vocals, percussion), Ruud Worthman (acoustic and electric guitars), Jack van Liesdonck (acoustic and electric piano, clavinet, synthesizer), Leo Cornelissens (electric organ, mellotron, string ensemble, vocals), Hans Marynissen (percussion) and Peter Dekeersmaeker (bass, vocals) with whom they released their one and only album "Dawn Dancer" on the Don Quixote micro label in 1979…

Richard Wahnfried is the side project of Berlin electronic pioneer Klaus Schulze. The pseudonym's etymology comes from Shulze's admiration for Richard Wagner. The name Wahnfried was previously used in a title from his "Timewind" album. The project has started in the late 70's. Musically it alternates Schulze's usual synth material in his solo works and a handful of instruments as guitar, tribal percussions, saxophone thanks to the collaboration of several famous rock musicians. Each album features guest musicians as the vocalist Arthur Brown on "Time actor" (1979), Schulze's friend and guitarist Manuel Gottsching (Ashra Tempel) on "Tonwelle" (1981). Carlos Santana's drummer Michael Schrieve also participated on several albums. The result is orientated to more mainstream genres with a constant exploration in electronic, "space" synth music.

Foreigner - Foreigner (1977). Blissful feelings arise at the mere mention of 70s arena rock. It gives listeners the permission to have fun, sing along to aircraft-hangar-size choruses, play air guitar solos, forget about any troubles, recall the experience of a first kiss, and quite simply, rock out. Few albums better instill these pleasures than Foreigner’s 1977 self-titled debut album, a five-times platinum blockbuster chock full of salacious riffs, soaring vocals, edgy beats, and lyrics that practically demand to be shouted.
Spearheaded by guitar hero Mick Jones, fresh off success with Spooky Tooth, Foreigner rallied around a talented collective pulled from the U.S. and U.K…

They came from the mountains of British Columbia with ideas to fill ears with sounds so strange as to entrance the imagination into vivid lucidity. "Moon Phase Compendium" is the compilation of Melodic Energy Commission's first two albums: "Stranger in Mystery", released in 1979 and now a cult classic due to the two Hawkwind alumni that played with the group, and "Migration of the Snails", released in 1980 with the same great response. The original vinyl was selling for $1000 a copy so in 1997 they were re-released in this one classic recording. The band uses rather "Gong-ish" equipment such as "Gas and steam" bass and "hydro-electric" guitar, and bubble synths are featured to create unique spacey trip music with an experimental edge. Less common instruments such as several types of flutes, theremin, tablas, and glockenspiel among others, provide additional musical coloration.

Morning Dance is Spyro Gyra's most commercially successful album, released in summer 1979. The song "Morning Dance" was a major hit (Billboard #24 pop, #1 adult contemporary) in summer 1979. The album cover of Morning Dance had concept origination, design and art direction by Peter Corriston.

The saving grace behind Everybody Up is the excellent "Don't Say Goodbye". Slow funk, sensual funk jam…backed by the wonderful guitarist/vocalist Sugarfoot and his excellent scat guitar delivery. The surrounding jams for the record boast nice funk, almost a return to form, and Everybody Up would serve as the last Ohio Players album to retain their signature vibe somewhat. The tunes here are still mostly forgettable, you would be buying the album primarily because you are a fan of the group and their history. The guys seem to be dipping into a Cameo bag a bit in 1979, but, the one trait that has always set them apart was Sugarfoot's guitar playing, and solid background ensemble vocals.

The lone album from the group known as Avalanche is primarily the work of Dutch multi-instrumentalist Jan Blom, who recorded the tracks with the help of friends in seventies and released it on the vanity label Starlet in 1979. The first side of the record is primarily acoustic instrumental work, while the second half expands the sound to include psych and more progressive arrangements.

City Boy was an interesting art rock band, and it's surprising that they didn't win a more lasting legacy of acclaim. Their sound is a stew of late 70s styles, from the arty rock of 10cc to the pomp of Queen and the glossy sheen of Utopia. This is one of their later albums and is chock full of dramatic tunes driven by big riffs, clanky piano, smooth keyboards and high-pitched harmonies. There seems to be an apocalyptic theme, particularly in the opening two tracks. Proggers will interested in the 12-minute "Ambition", which features some orchestration for extra pomposity. This is definitely slick music with commercial appeal, but it is also interesting enough and has enough good musicianship to hold the attention of demanding listeners. City Boy's output was very consistent in terms of quality, so any of their albums make for a good listen.

The French equivalent of prog-rock bands Yes and Genesis, Atoll recorded four albums in the mid- to late '70s with a lineup that stabilized by the time of the group's second album. L'Araignee Mal (1975) included vocalist/percussionist André Balzer, guitarist Christian Beya, bassist Jean-Luc Thillot, keyboard player Michel Taillet, and drummer Alain Gozzo. Gradually commercializing its sound beginning with third album Tertio, Atoll released only one more studio album Rock Puzzle before breaking up. In the late '80s, however, a new, pop-oriented version appeared. Including only Beya from the previous lineup, the band released L'Ocean and the live album Tokyo C'est Fini (both 1989).