Columbia/Legacy's 2001 release The Best of Eddie Money supplants the earlier 1989 collection Greatest Hits: The Sound of Money as the best overview of Money's career. Again, it's not sequenced chronologically, nor is it as tight as it should have been (Money is somebody who would really sound terrific on an eight- or ten-song collection), but it's very good all the same, containing all of his big hits, plus live versions of "Rock and Roll the Place" and "No Control" previously only available on a promo EP. So, even if it's not perfect, it will still satisfy the needs of most Money fans.
The Blues Masters series, much to Rhino`s credit, adopts an expansive definition of blues, allowing the likes of Count Basie, Blind Lemon Jefferson, Muddy Waters and even Louis Prima admission. There is none of the purist`s quibbling over strict 12-bar form or the relative significance of prewar and postwar styles.
What Rhino delivers instead is the blues in all its myriad guises. This music is old and new, black and white, acoustic and electric, folksy and jazzy, performed by women and men, and yet it is all still blues at its core.
Eddie Money album Ready Eddie is a good music album, Ready Eddie release at May 18, 1999. Featuring a very tight band, and the guitar talents of Survivor's Frankie Sullivan, 1999's 'Ready Eddie' is one of Eddie Money's best albums ever, featuring a collection of hard-driving rock'n'roll songs that only dreams are made of. It's hard to name a favorite here since all the songs count!
"Shakin' with the Money Man" is a latter-day, live recording from Eddie Money that finds him running through his biggest hits - "Two Tickets to Paradise," "Shakin'," "Baby Hold On," "Wanna Go Back," "Take Me Home Tonight" - for an appreciative audience. In addition to the hits, he throws in a couple of lesser-known tunes, recent numbers, and a holiday song to keep the diehards happy.
"Love And Money" is the ninth studio album by rock artist Eddie Money. This 1995 release is like a valentine from Eddie. Lots of beautiful love songs. It was just pretty much invisible in the mid-nineties grunge era. It is just as good as any of Eddie's other CD's.
"Unplug It In" is an acoustic EP by Eddie Money, released in 1992. Recorded at Back Alley, Houston, TX on may 14, 1992; The Backroom, Austin, TX on may 15, 1992. Eddie Money was one of the first rockers to make an attempt to capitalize on MTV's successful Unplugged series. Like any "unplugged" recording, the album features a collection of the rocker's biggest hits performed acoustically.
"Right Here" is Eddie Money's eighth album, released in 1991. His version of the song peaked at #58 on on the Billboard Hot 100 and #6 on Billboard’s Mainstream Rock Songs chart in 1991. The video for "I'll Get By" is dedicated to producer Bill Graham who worked with Money on previous projects.
"Nothing to Lose" is Eddie Money's seventh album, released in 1988. The top-ten hit "Walk on Water" featured a guest appearance from original band member Jimmy Lyon on lead guitar. Throughout his career, Eddie Money has followed a successful album with another record that sounded remarkably similar to its predecessor and Nothing to Lose was no exception to the rule.
For Eddie, every move was calculated for maximum commercial impact, which more often than not meant wrapping his raspy voice around the best songs possible. "Can't Hold Back" was Eddie Money's sixth album and the first to be produced by Richie Zito, a man with an impressive resume, including crafting records by Cheap Trick, Heart, Bad English and the Cult. Issued in 1986, the album moved Eddie's career firmly back in the spotlight, giving rise to no less than three hit singles, including "I Wanna Go Back" and "Endless Nights". It contains Money's biggest hit, "Take Me Home Tonight" which helped bring Ronnie Spector back to the spotlight. The album has been certified platinum.
"Special Deluxe Collector s Edition / Fully remastered sound shaped from 24 BIT digital technology / Classic AOR produced by Ron Nevison (Heart, Survivor, UFO). EDDIE MONEY's first two albums certainly set the scene: panoramic melodic hard rock filled with memorable hooks supporting an instantly identifiable rasp. It was a tailor made sound that perfectly fitted the American airwaves sitting comfortably besides music from the likes of Boston, Foreigner and Journey. A reliable style that served Eddie well and it was masterfully replicated on this, his third, album.