Following the breakup of the Smiths, Morrissey needed to prove that he was a viable artist without Johnny Marr, and Viva Hate fulfilled that goal with grace. Working with producer Stephen Street and guitarist Vini Reilly (of the Durutti Column), Morrissey doesn't drastically depart from the sound of Strangeways, Here We Come, offering a selection of 12 jangling guitar pop sounds. One major concession is the presence of synthesizers – which is ironic, considering the Smiths' adamant opposition to keyboards – but neither the sound, nor Morrissey's wit, is diluted. And while the music is occasionally pedestrian, Morrissey compensates with a superb batch of lyrics, ranging from his conventional despair ("Little Man, What Now?," "I Don't Mind If You Forget Me") to the savage political tirade of "Margaret on a Guillotine." Nevertheless, the two masterstrokes on the album – the gorgeous "Everyday Is Like Sunday" and the infectious "Suedehead" – were previously singles, and both are on the compilation Bona Drag.
American pop/jazz-rock group. One of the biggest-selling bands in U.S. history, hailing from the Windy City (Chicago, Illinois). Formed in 1967 as "The Big Thing", they were one of the first groups to successfully fuse rock with a horn section…
Hotly tipped Icelandic quartet Kaleo deliver A/B, their debut album for Atlantic Records. Blending soulful indie folk ballads and smoldering, riffy rockers, the young quartet explore their fascination with American blues and roots rock on this ten-song effort co-produced by Nashville's Jacquire King (Kings of Leon, City and Colour). In spite of some of the more Americana-leaning acoustic fare like "All the Pretty Girls" and "Automobile," a big, bluesy garage rock approach takes center stage on A/B, with bangers like "Glass House" and "No Good" (as heard on the trailer for HBO series Vinyl) leading the charge.
This 2007 two-fer from American Beat combines two LPs George Jones and Tammy Wynette recorded as partners in life and music: 1970's We Go Together and 1973’s Let's Build a World Together. Only three years separate these two albums, but it was a period that produced plenty of tumult, much of which made it to the grooves, so they make for a good pair as a CD: within these two albums, it’s possible to trace their love bloom and wilt.