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Billion Dollar Babies (50th Anniversary Deluxe Edition)

Alice Cooper

Hard Rock - Released February 25, 1973 | Rhino - Warner Records

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There are aficionados and champions of Alice Cooper's many albums and eras. Some fans insist that Easy Action is one of the most criminally underappreciated records of the rock era, while others feel that Killer is the most rockin' album in the band's entire catalog; heck, there are folks out there who vociferously advocate for the wild charms and unexpected pleasures of Cooper's solo "blackout era" of the early '80s (and those folks are not wrong!). However, one thing that is widely agreed upon is that Billion Dollar Babies is Alice Cooper (the band) at the peak of its powers. The commercial sheen—and success—of its predecessor, School's Out, is seamlessly fused here with relentless, riff-fueled propulsion, decadent arrangements (brass band on "Elected"? Sure!), some of Cooper's most wittily deranged lyrics to date, and, of course, fantastic production from Bob Ezrin, who masterfully balanced all of the band's disparate elements. Babies is where commercial, creative, and critical success convene, and the result is not just a '70s rock masterpiece, but also that rarest of things: a '70s rock masterpiece that still manages to yield surprises. While packed with radio staples—the title track, "Elected," "No More Mr. Nice Guy"—and canonical classics ("Raped and Freezin'," "I Love the Dead"), there are also eyebrow-raising numbers like "Unfinished Sweet" (spaghetti western meets fuzzbox freakout meets rock opera) and "Mary Ann" (a sweet piano ballad that turns on an unexpected plot twist) that reiterate that, despite their success on the charts, Alice Cooper was still a delightfully transgressive band. The track lineup on this 50th anniversary "Trillion Dollar" deluxe edition slightly expands on 2001’s reissue. A 1973 Texas show featured earlier is rounded out with two additional, non-BDB songs from the concert, and the selection of outtakes is now accompanied by four single edits of album tracks. This edition also brings with it a warm, dynamic remastering that delivers on the original mix's maximalistic approach, making this the definitive rendition of a classic. © Jason Ferguson/Qobuz
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Billion Dollar Babies (Édition Studio Masters)

Alice Cooper

Hard Rock - Released February 25, 1973 | Rhino - Warner Records

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With Billion Dollar Babies, Alice Cooper refined the raw grit of their earlier work in favor of a slightly more polished sound (courtesy of super-producer Bob Ezrin), resulting in a mega-hit album that reached the top of the U.S. album charts. Song for song, Billion Dollar Babies is probably the original Alice Cooper group's finest and strongest. Such tracks as "Hello Hooray," the lethal stomp of the title track, the defiant "Elected" (a rewrite of an earlier song, "Reflected"), and the poison-laced pop candy of "No More Mr. Nice Guy" remain among Cooper's greatest achievements. Also included are a pair of perennial concert standards -- the disturbing necrophilia ditty "I Love the Dead" and the chilling macabre of "Sick Things" -- as well as such strong, lesser-known selections as "Raped and Freezin'," "Unfinished Sweet," and perhaps Cooper's most overlooked gem, "Generation Landslide." Nothing seemed like it could stop this great hard rock band from overtaking the universe, but tensions between the members behind the scenes would force the stellar original AC band to split up after just one more album. Not only is Billion Dollar Babies one of Cooper's very best; it remains one of rock's all-time, quintessential classics.© Greg Prato /TiVo
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ARTPOP

Lady Gaga

Pop - Released November 11, 2013 | Interscope

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If Born This Way was made for the Little Monsters, its 2013 sequel ARTPOP was made for the world. Lady Gaga has grand designs for her third album, to pull a "reverse Warhol," which presumably means she wants to channel high art into pop instead of pop into high art, but it's a little difficult to discern Gaga's intent, either in this statement or ARTPOP as a whole. Willfully existing simply on the surface, a surface that perhaps (or perhaps not) signifies a greater depth, ARTPOP is teasingly garish, its bright colors and brittle beats attacking with glee, the emphasis always on big, pulsating beats, shattered reflections, sound cascading over song in every instance. Inevitably, this emphasis on production means the pop in ARTPOP winds up diminished; perhaps it's "pop" in the pop-art sense, as it's shamelessly, intentionally populist, but as pop music it relies not on hooks in either its melody or rhythm, but rather a full-on glitz blitz that can dazzle as often as it tires. Lost in her self-generated mythos, Gaga doesn't much care whether her music sticks as long as she's not ignored -- even such seemingly soul-baring moments as the single-spotlight showcase "Dope" isn't confessional so much as a gearshift designed to capture attention -- and ARTPOP continually demands attention as it eschews the notion of love, right down to how all the sex songs deliberately separate the body from the soul. This isn't limited to Gaga's exhortation to R. Kelly to "do what you want with my body" on "Do What U Want," either. At times -- particularly throughout the album's first half -- ARTPOP is a non-stop erotic cabaret, Gaga contorting herself to fulfill any desire, switching roles between a guy and a girl and a bottom and a top, her ambidexterous sexuality signaling power, not sensuality. This same arrogance glides her through songs about style -- the ludicrous "Donatella," a tribute to Versace that borders on character assassination; "Fashion!," which isn't a David Bowie cover, no matter how much it longs to be -- and songs about drugs, a cycle that takes her toward a concluding coda where Gaga stands resplendent in the applause.© Stephen Thomas Erlewine /TiVo
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A Man And The Blues

Buddy Guy

Blues - Released January 1, 1968 | Vanguard Records

Distinctions The Qobuz Ideal Discography
The guitarist's first album away from Chess -- and to be truthful, it sounds as though it could have been cut at 2120 S. Michigan, with Guy's deliciously understated guitar work and a tight combo anchored by three saxes and pianist Otis Spann laying down tough grooves on the vicious "Mary Had a Little Lamb," "I Can't Quit the Blues," and an exultant cover of Mercy Dee's "One Room Country Shack."© Bill Dahl /TiVo
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Feels Like Rain

Buddy Guy

Blues - Released March 1, 1993 | Silvertone

On Buddy Guy's second Silvertone release, he continues the practice of guest appearances begun on Damn Right, I've Got the Blues. In this case, the notables include Paul Rodgers, Travis Tritt, and John Mayall. The finest combination comes when Bonnie Raitt joins Guy on John Hiatt's "Feels Like Rain." Raitt's gritty vocals and sweet slide guitar add a pleasing nuance to the bittersweet track, and it is ultimately the high point of the record. Certain critics and blues purists have derided Guy's search for mainstream success as evidenced by his penchant for guest appearances and non-traditional blues forms, but Guy sounds fantastic in these unconventional situations (witness his burning version of the Moody Blues' "I Go Crazy"). Guy's vocals, often under appreciated, really sell this song. As for his guitar playing, it is slightly below his usually high standards. He often sounds sloppy and unfocused, an extremely noticeable exception being his explosive solo on the John Mayall duet "I Could Cry," but his singing, especially on the soulful "Feels Like Rain," is full of character. Guy's backing band is top-notch, particularly bassist Greg Rzab, who plays both more actively and more melodically than most bassists working in the blues idiom. Guy has recorded better blues in his career, but on Feels Like Rain he shows that he is comfortable in more mainstream situations as well. The blues on this record often just sound flat for some reason, like Guy and his band are just going through the motions. But on up-tempo R&B tracks such as the Paul Rodgers duet "Some Kind of Wonderful" or Guy's pairing with Travis Tritt on "Change in the Weather," the bluesman sounds excited and fresh. It must be mentioned that the production is a bit on the thin side throughout, and many of the tracks simply do not pack enough punch. Despite this, the album is quite strong. Feels Like Rain is not the place to look for Guy the legendary blues guitarist, but, taken for what it is, it is extremely entertaining.© Daniel Gioffre /TiVo
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Mary Wells Sings My Guy

Mary Wells

R&B - Released May 31, 1964 | Motown

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On this album, Smokey Robinson demonstrated his ability to craft and hone great material for female acts, something he would later repeat with The Marvelettes. Besides the title track, which became Motown's first Top Ten and #1 pop hit, there were other strong tunes, such as "He's the One I Love" and "At Last," that weren't hits but certainly should have been.© Ron Wynn /TiVo
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Paris - Buenos Aires

Guy Marchand

French Music - Released June 6, 2006 | O Plus

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Company (2018 London Cast Recording)

Stephen Sondheim

Film Soundtracks - Released February 1, 2019 | Arts Music

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ARTPOP

Lady Gaga

Pop - Released November 11, 2013 | Interscope

Booklet
If Born This Way was made for the Little Monsters, its 2013 sequel ARTPOP was made for the world. Lady Gaga has grand designs for her third album, to pull a "reverse Warhol," which presumably means she wants to channel high art into pop instead of pop into high art, but it's a little difficult to discern Gaga's intent, either in this statement or ARTPOP as a whole. Willfully existing simply on the surface, a surface that perhaps (or perhaps not) signifies a greater depth, ARTPOP is teasingly garish, its bright colors and brittle beats attacking with glee, the emphasis always on big, pulsating beats, shattered reflections, sound cascading over song in every instance. Inevitably, this emphasis on production means the pop in ARTPOP winds up diminished; perhaps it's "pop" in the pop-art sense, as it's shamelessly, intentionally populist, but as pop music it relies not on hooks in either its melody or rhythm, but rather a full-on glitz blitz that can dazzle as often as it tires. Lost in her self-generated mythos, Gaga doesn't much care whether her music sticks as long as she's not ignored -- even such seemingly soul-baring moments as the single-spotlight showcase "Dope" isn't confessional so much as a gearshift designed to capture attention -- and ARTPOP continually demands attention as it eschews the notion of love, right down to how all the sex songs deliberately separate the body from the soul. This isn't limited to Gaga's exhortation to R. Kelly to "do what you want with my body" on "Do What U Want," either. At times -- particularly throughout the album's first half -- ARTPOP is a non-stop erotic cabaret, Gaga contorting herself to fulfill any desire, switching roles between a guy and a girl and a bottom and a top, her ambidexterous sexuality signaling power, not sensuality. This same arrogance glides her through songs about style -- the ludicrous "Donatella," a tribute to Versace that borders on character assassination; "Fashion!," which isn't a David Bowie cover, no matter how much it longs to be -- and songs about drugs, a cycle that takes her toward a concluding coda where Gaga stands resplendent in the applause.© Stephen Thomas Erlewine /TiVo

Niet Voor De Views

Zwangere Guy

Hip-Hop/Rap - Released November 6, 2020 | Couture 33 - Top Notch Music BV

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Paris / Buenos Aires

Guy Marchand

French Music - Released June 6, 2006 | BRJ Music

The Complete Vanguard Recordings

Buddy Guy

Blues - Released January 1, 2000 | Vanguard Records

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3 out of 5 - "...3 albums consolidated into one tidy package, with state-of-the-art digital sound and fresh liner notes....Guy's playing is richly personal..."© TiVo
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Don't Come Back/A Certain Guy

Mary Weiss

Pop - Released February 13, 2007 | Norton Records

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Mary Wells Sings My Guy

Mary Wells

R&B - Released May 31, 1964 | UNI - MOTOWN

On this album, Smokey Robinson demonstrated his ability to craft and hone great material for female acts, something he would later repeat with The Marvelettes. Besides the title track, which became Motown's first Top Ten and #1 pop hit, there were other strong tunes, such as "He's the One I Love" and "At Last," that weren't hits but certainly should have been. © Ron Wynn /TiVo

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Zwangere Guy

Hip-Hop/Rap - Released November 6, 2020 | Couture 33 - Top Notch Music BV

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My Guy

Mary Wells

Soul - Released April 10, 2023 | Cleopatra Records

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Mary Goes Round

Esteban van der Guy

House - Released June 19, 2020 | iM Electronica

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Mary Had a Little Lamb (Live) [feat. Øyvind Andersen]

Drammen Bluesband

Blues - Released February 1, 2017 | Drammen Bluesband

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Mary Goes Round (Julien Baril Remix)

Esteban van der Guy

Electronic - Released May 12, 2023 | iM Electronica

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Mary Had a Little Lamb (live on 3RPP)

The Jacqui Walker Band

Blues - Released March 12, 2023 | Jacqui Walker Productions