Liza Minnelli's career as a recording artist essentially lapsed after the commercial failure of her 1977 album Tropical Nights, but recording was never one of her real priorities, taking a back seat to her work as a live performer and film star. After early records on which she was positioned as a middle-of-the-road pop singer in the '60s, she made some attempts to perform contemporary, rock-informed material, but her heart wasn't in that, and eventually she contented herself with occasionally updating her stage act on record, notably with 1987's Liza Minnelli at Carnegie Hall. Thus, Results, her first studio album in 12 years, seemed to come out of the blue. And for Minnelli's old-time fans, it was very different from what they might have expected. Simply put, the album was a Pet Shop Boys electronic dance disc with Minnelli serving as vocalist. Pet Shop Boys, the duo of Neil Tennant and Chris Lowe, were all over the record, writing seven of the songs (including a cover of their hit "Rent"), producing, and contributing synthesizer programming, with Tennant even chiming in on vocals here and there.
On this 1977 album, Nazareth makes a full-blooded return to the hard rock sound they had neglected since their success with Hair of the Dog. The result is a potent, driving slab of hard rock that will please Nazareth fans and devotees of 1970s hard rock alike. The album sets its frenzied tone right off the bat with its title track, a blistering rocker that features Dan McCafferty spitting out a sharp-edged vocal about life's cruelty over a series of fast and relentless guitar riffs. The remainder of the album prominently features a similarly brutal string of rockers: standouts include "Revenge Is Sweet," a paean to getting even that combines chugging guitar riffs with a stomping beat, and "Gimme What's Mine," a fierce declaration of dominance that layers Southern rock-styled riffs over a churning bassline.
In January 1973, David Liebman, the saxophonist who played on the first sessions of On The Corner let himself be persuaded to play with the group. It really wasn’t his kind of music, but he thought that “it was where things were happening,” and as was his habit, he joined the fray. And it was prodigious, even if Miles had reduced his band in an attempt to radicalize the Afro-funk directions of On The Corner. No more keyboards, except for a few touches by Miles himself and no more Indian instruments.