Originally released in 1983, this album was recorded in between the 2 Toto albums "IV" and "Isolation", and includes most of the Toto band members, plus almost all the best studioperformers of L.A. at the time (Tom Kelly, Billy Steinberg a.m.o). The songs are well written and powerfully recorded. The 2 best known songs are the title track "Taking A Cold Look" and "Alone". The last one was also released some years later by the band Heart, but I personally like this original version better. If you like the mid-80's AOR/Westcoast sound, this album is a MUST, and the sooner you buy it, the better - for you!
The Music of…Larry Polansky is a marvelous combination of the mathematical and the expressive. The blend is so seamless, in fact, that it serves to point out the absurdity of regarding those two strains as opposite or even especially different.'' (Joshua Kosman, SFGate) This album of chamber music offers three pieces: Polansky's drifting, shape-shifting freeHorn and his pulsing ii-v-i - each of which consists of a continuous modulation between the three different natural-just harmonic series - and minmaj, Polansky's unusual ''translation'' or Ruggles's Angels.
Circus Animals is the fourth studio album by Australian band Cold Chisel, released in 1982. It was recorded and mixed at Paradise Studios and EMI Studio 301, Sydney (Sep-Dec 1981). It reached number one on the Australian charts, remaining in the charts for 40 weeks, and also topped the New Zealand charts. The working title for the album was "Tunnel Cunts". Cold Chisel opened the '80s with their most widely accepted and artfully constructed album, East. Following it up was a tall order for the Aussie quintet, but they did the trick admirably with Circus Animals. (A live album, Swingshift, was released in the period between the two studio discs.) A ten-song stew of the band's signature guitar-and-piano-driven ballads and rockers, it further confirmed Chisel's depth and breadth as a creative unit. From the outset of Circus Animals, the boys come crashing in through the window like a bunch of rowdies with hell-raising on their minds, cranking out the guitar rock rottweiler "You Got Nothing I Want"…
Tom Waits grew steadily less prolific after redefining himself as a junkyard noise poet with Swordfishtrombones, but the five-year wait between The Black Rider and 1999's Mule Variations was the longest yet. Given the fact that Waits decided to abandon major labels for the California indie Epitaph, Mule Variations would seem like a golden opportunity to redefine himself and begin a new phase of his career. However, it plays like a revue of highlights from every album he's made since Swordfishtrombones. Of course, that's hardly a criticism; the album uses the ragged cacophony of Bone Machine as a starting point, and proceeds to bring in the songwriterly aspects of Rain Dogs, along with its affection for backstreet and backwoods blues, plus a hint of the beatnik qualities of Swordfish.