Standing on the Edge is the eighth studio album by the American rock group Cheap Trick, released in 1985. Jack Douglas, the producer of Cheap Trick's debut album Cheap Trick, made a return for this release. When released, Standing on the Edge peaked at number 35 on the Billboard 200 and was on the charts for 19 weeks. After a few albums of more pop-oriented material, Standing on the Edge saw Cheap Trick return to their standard hard-rocking sound. The album was produced by Jack Douglas, who produced the band's eponymous debut album as well as the Found All The Parts EP. Originally, Cheap Trick planned on returning to the rough sound of their first album.
Cheap Trick attempted to ride the new wave on 1982’s One on One, but wound up with a wipe-out, so they recovered by hiring Todd Rundgren, one of the few ‘70s album-rockers who proved that he knew how to negotiate the treacherous waters of the early ‘80s, for 1983’s Next Position Please. Rundgren wielded a heavy hand during his production, pushing Cheap Trick toward making a record that could easily be mistaken for a Utopia record – so much so, the Todd composition, “Heaven’s Falling,” slips onto the second side without calling attention to itself. The bright surfaces with the guitars and keyboards melding so tightly with the vocal harmonies they’re inseparable, produce a sound that is uncannily reminiscent of Oops!
Tom Petersson left Cheap Trick following the George Martin-produced All Shook Up, and the band was somewhat left in a lurch, recording 1982’s One on One largely without a bassist; eventual replacement Jon Brant is on record and on the cover, but he’s obscured by a picture of Rick Nielsen, possibly because the guitarist handled the bulk of the basslines on the LP. In any case, One on One finds Cheap Trick rebounding from Martin with a slick, punchy, AOR record, hemmed in a bit by stiff sequenced rhythms – you can almost feel Bun E. Carlos straining against the metronome – but sparkling in its analog synths and pumped-up guitars. No, it’s not as ballsy as Cheap Trick’s best, but its glossy glimmer is appealing, a combination of heavy metal roar and new wave strut, and would be more so if the songs were just a bit tighter.
All Shook Up is the fifth studio album by American rock band Cheap Trick. Released in 1980, it was produced by former Beatles producer George Martin. As such, this was the first album since their debut to be produced by someone other than Tom Werman. All Shook Up was even quirkier than its predecessor, the platinum-selling Dream Police. Many of its songs were less radio friendly and more experimental, and the cover art, influenced by Magritte's Time Transfixed, led many to question what the band was trying to accomplish. However, at the time, Cheap Trick had severed ties with long-time producer Tom Werman and took the opportunity to take their sound in a different direction. With the assistance of producer George Martin and engineer Geoff Emerick, many of the songs have a dimension not found on any other Cheap Trick album.
PROVIDENCE were formed in 1985. For some years around their foundation they had changed the members or produced some demo tapes but they could not appear upon major scene in those days. In 1989 they saw the light with solidifying their members and recording their debut album 'And I'll Recite An Old Myth' (released in the following year), in that Madoka TSUKADA (keyboards) composed all songs. This album has got renowned also with the collaboration of Christian Beya (ex-Atoll). After replacing some members in 1991, PROVIDENCE had got more active on stage or production. In 1996 they released their second work 'There Once Was A Night Of Choko-Muro The Paradise'. PROVIDENCE had gigged in Japan actively until 2002 but sadly been disbanded without any notice.
Dream Police is the fourth studio album by American rock band Cheap Trick. It was released in 1979, and was their third release in a row produced by Tom Werman. It is the band's most commercially successful studio album, going to No. 6 on the Billboard 200 chart and being certified platinum within a few months of its release. Dream Police shows the band expanding into longer, more complex songs and incorporating orchestration on several tracks. The album's title track became a Top 30 hit for the band. "Voices" was also a hit for the band, reaching No. 32 on the Billboard chart. "Voices" has been used twice in the soundtrack of the American sitcom How I Met Your Mother.
Cardboard sleeve (mini LP) reissue from Soft Machine featuring the high-fidelity Blu-spec CD format (compatible with standard CD players) and 2012 24-bit remastering. The cardboard sleeve faithfully replicates the UK LP. Includes a booklet written in English. Part of a three-album Soft Machine Blu-spec CD cardboard sleeve reissue series featuring albums "Bundles," "Softs," and "Alive And Well Recorded In Paris." At this point in the band's history, Soft Machine might be considered an example of Theseus' paradox, akin to the original axe that George Washington used to cut down the cherry tree – original except that the head had been replaced three times and the handle twice. On Softs, Mike Ratledge, the only remaining original bandmember present on Bundles, the group's preceding Harvest LP, was relegated to guest status, contributing synthesizer to only two tracks, "Song of Aeolus" and "Ban-Ban Caliban."
Cardboard sleeve (mini LP) reissue from Soft Machine featuring the high-fidelity Blu-spec CD format (compatible with standard CD players) and 2012 24-bit remastering. The cardboard sleeve faithfully replicates the UK LP. Includes a booklet written in English and an inner bag. Part of a three-album Soft Machine Blu-spec CD cardboard sleeve reissue series featuring albums "Bundles," "Softs," and "Alive And Well Recorded In Paris." In the extensive discography of Soft Machine, albums from the band's mid- to late-'70s jazz-rock fusion period are generally afforded the least respect. Fans all have their favorite LPs representing a particular "classic" lineup – as well as opinions about other albums signifying that Soft Machine's best days were behind them. Some feel it was all over when Robert Wyatt left after Fourth (or stopped singing after Third), and it's probably even possible to find somebody somewhere who lost interest when Hugh Hopper replaced Kevin Ayers after Volume One.
While their records were entertaining and full of skillful pop, it wasn't until At Budokan that Cheap Trick's vision truly gelled. Many of these songs, like "I Want You to Want Me" and "Big Eyes," were pleasant in their original form, but seemed more like sketches compared to the roaring versions on this album. With their ear-shatteringly loud guitars and sweet melodies, Cheap Trick unwittingly paved the way for much of the hard rock of the next decade, as well as a surprising amount of alternative rock of the 1990s, and it was At Budokan that captured the band in all of its power.
Heaven Tonight, like In Color, was produced by Tom Werman, but the difference between the two records is substantial. Where In Color often sounded emasculated, Heaven Tonight regains the powerful, arena-ready punch of Cheap Trick, but crosses it with a clever radio-friendly production that relies both on synthesizers and studio effects. Even with the fairly slick production, Cheap Trick sound ferocious throughout the album, slamming heavy metal, power pop, and hard rock together in a humongous sound. "Surrender," the definitive Cheap Trick song, opens the album with a tale about a kid whose parents are hipper than himself, and the remainder of the record is a roller coaster ride, peaking with the sneering "Auf Wiedersehen," the dreamily psychedelic title track, the roaring rocker "On Top of the World," the high-stepping, tongue-in-cheek "How Are You," and the pulverizing cover of the Move's "California Man."