In the courtroom, Joan Alton (Brick Randall) and Mike Hathaway (John St. James) are legal adversaries, but outside the halls of justice they are entangled in a torrid love affair. When Mike's wife finds evidence of her husband's extramarital activities, she confronts him with the proof, and he storms out. Unable to reach Joan, Mike stops at a local strip club where he finds comfort in a few stiff drinks and the come-on of a blonde who doesn't want to know his name. When Hathaway wakes up alone at a local motel, the blonde is gone. Soon after, he discovers that his wife has been brutally murdered, and he's the number one suspect. Suddenly, all of the people able to verify his alibi are not talking or they're turning up dead. As the police build a case against Mike, digging up all the dark secrets they can find, Mike turns to the one person he can trust and the one person who might be able to clear his name—his mistress.
Gilberto Gil's world tour in 1997 was a startling revelation for North American audiences who had not heard from him live in several years, if at all. Quanta Live was recorded in Rio not long before his appearance at the Hollywood Bowl – and unlike the latter concert, which was strongly rooted in the samba, this CD more fully reflects Gil's role as a pioneer of Brazil's cosmopolitan "tropicalismo" music movement.
In a career spanning four decades Steveland Judkins Morris has been many things: child star, funk hero, political chronicler, the saviour of Motown Records and depressingly, the instigator of the painfully schmaltzy R&B ballad. Thankfully, this exhaustive "Best Of…", timed to commemorate the 40th anniversary of his first appearance as Little Stevie Wonder, focuses mainly on the 1966-1980 glory years and his transition from incendiary soul man to voice of the 70s.
Johnny Cash's fourth project with producer Rick Rubin continues on the same path as many of their previous releases: Cash's warm and rumbling baritone over minimal production and gentle duets with some surprising guests. One of the things that sets American IV: The Man Comes Around apart from the others is Cash's song selections. The success he experienced with his previous interpretations of contemporary songwriters (Soundgarden's "Rusty Cage," Nick Cave's "The Mercy Seat") is applied to this album with varying degrees of success. His throaty reading of Nine Inch Nails' "Hurt" easily fits into his "Man in Black" persona…