August 26, 2019

The Gun Club - Fire of Love (1981)

*U.S. first pressing on CD. 
Contains 11 tracks total.
Country: U.S.A.
Genre: Punk Rock, Blues Rock
Label Number: 23935-2
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.AAC 256 kbps via Florenfile


© 1981-1993 Slash
AllMusic Review by Thom Jurek
The Gun Club's debut is the watermark for all post-punk roots music. This features the late Jeffrey Lee Pierce's swamped-out brand of roiling rock, swaggerific hell-bound blues, and gothic country. With Pierce's wailing high lonesome slide guitar twinned with Ward Dotson's spine-shaking riffs and the solid yet off-the-rails rhythm section of bassist Rob Ritter and drummer Terry Graham, the Gun Club burst out of L.A. in the early '80s with a bone to pick and a mountain to move -- and they accomplished both on their debut album. With awesome, stripped to the frame production by the Flesh Eaters' Chris D., Fire of Love blew away all expectations -- and with good reason. Nobody has heard music like this before or since. Pierce's songs were rooted in his land of Texas. On "Sex Beat," a razor-sharp country one-two shuffle becomes a howling wind as Pierce's wasted, half-sung half-howled vocals relate a tale of voodoo, sex, dope, and death. The song choogles like a freight train coming undone in a twister. Here Black Flag, the Sex Pistols, Son House, and the coughing, hacking rambling ghost of Hank Williams all converge in a reckless mass of seething energy and nearly evil intent. As if the opener weren't enough of a jolt, the Gun Club follow this with a careening version of House's "Preachin the Blues," full of staccato phrasing and blazing slide. But it isn't until the anthemic, opiate-addled country of "She's Like Heroin to Me" and the truly frightening punk-blues of "Ghost on the Highway" that the listener comes to grip with the awesome terror that is the Gun Club. The songs become rock & roll ciphers, erasing themselves as soon as they speak, heading off into the whirlwind of a storm that is so big, so black, and so awful one cannot meditate on anything but its power. Fire of Love may be just what the doctor ordered, but to cure or kill is anybody's guess.

tags: the gun club, fire of love, 1981, flac,

Jennifer Rush - Now Is The Hour (2010)

Country: U.S.A.
Genre: Pop, Ballad
Label Number: 88697 59865 2

© 2010 Sony/Ariola/Valicon
AllMusic Review by Jon O'Brien
Challenging Kate Bush and Guns N' Roses for the title of "lengthiest gap between albums," Now Is the Hour is the first offering from American powerhouse Jennifer Rush since 1998's collaboration with the Hungarian Philharmonic Orchestra, Classics, and her first set of new material since 1997's Credo. Having taken 12 years off to raise her daughter, Rush has assembled a crack team of established European-based hitmakers including Swede Jörgen Eloffson (Leona Lewis, Britney Spears), American country singer/songwriter Sharon Vaughn (Alcazar), and soul-pop songstress Natasha Bedingfield on a record that retains the epic power balladry of her mid-'80s heyday while also pursuing a previously unexplored dance-pop direction similar to Cher's fifty-something disco diva re-invention a decade earlier. Produced by Valicon, the Berlin-based team behind Germany's 2010 Eurovision win, the majority of its 15 tracks do sound as though they've been tailor-made for the much-derided singing competition, with both potential winners such as the hook-laden schlager-inspired "Down on My Knees," the Middle-Eastern-flavored "Betcha Never," and the theatrical pop/rock of "Eyes of a Woman" and possible nul points entries like the corny overblown balladry of "I Never Asked for an Angel," the faux-inspirational key changes of the title track, and the plodding gospel-tinged "Ain't Loved You Long Enough." However, there are several songs that would also translate outside the confines of the contest, such as the opening number "Dream Awake," which borrows the lush piano riffs of Coldplay's "Clocks" and the twinkling percussion of Britney Spears' "Gimme More" to produce a bittersweet slice of shimmering synth pop, the Kylie-esque glittery disco of "Just This Way," and the clattering Ryan Tedder-inspired piano-led epic "Head Above Water." But for an artist so synonymous with the impassioned big-voiced vocal ballad, it's a surprise that she comes unstuck when attempting to tread the path of her signature hit, "The Power of Love," as the likes of "Before the Dawn," "Windows," and "Still" may provide the chance to showcase her impressive and slightly operatic tones, but they are so utterly unmemorable that you wish she'd had the confidence to just stick with her newfound uptempo leanings instead. Now Is the Hour might not exactly be worth a 12-year wait, but take away the perfunctory torch songs and it is a respectable comeback that suggests her one-hit wonder status is a rather unjust state of affairs.

tags: jennifer rush, now is the hour, 2011, flac,

Color Me Badd - C.M.B. (1991)

Country: U.S.A.
Genre: R&B
Label Number: 9 24429-2

© 1991 Giant Records
AllMusic Review by Alex Henderson
The urban contemporary market can be incredibly fickle. While Color Me Badd was the toast of the urban world in 1991, the interracial quartet was all but forgotten a few years later. In the age of videos, Badd's image proved very marketable (for a while, anyway). But in general, its songs were far from remarkable, and its singing wasn't great by any means. This debut album -- which soared to triple platinum sales thanks to some very aggressive marketing on the part of veteran music industry exec Irving Azoff's Giant Records -- does have its moments, including the hit slow jams "I Adore Mi Amor" and "I Wanna Sex You Up" (which samples rapper Slick Rick in a rather clever fashion). But most of the songs are pedestrian and generic. There's little or nothing to distinguish cliché-ridden numbers like "Roll the Dice" or "Heartbreak" from the countless other new jack swing songs flooding the market in the early '90s. And all the "cool videos" in the world can't erase the CD's many weaknesses.

tags: color me badd, bad, cmb, cmb album, 1991, flac,

Social Distortion - Hard Times & Nursery Rhymes (2011) ☠

Country: U.S.A.
Genre: Punk Rock, Pop Punk
Label Number: 87119-2
☠: Selected by Lass
© 2011 Epitaph
AllMusic Review by Mark Deming
For a veteran band, there's often a fine line between writing and playing in a signature style and just going through the motions, and some of the time it's as much about attitude and intent as anything else. Social Distortion cut their first album in 1983, and well over 25 years later, they have a trademark style, if there's any such thing, a rough-hewn hybrid of punk rock guitar attack and rootsy melodies influenced by classic blues, country, and rockabilly. By now, Mike Ness and his bandmates could probably crank this stuff out in their sleep if they wanted, but 2011's Hard Times and Nursery Rhymes is clearly the work of a band that still gives a damn about their rock & roll, no matter how familiar the surroundings. While 2004's Sex, Love and Rock 'N' Roll saw Ness digging deeper into personal concerns, Hard Times finds him stepping back a few paces; while "Can't Take It with You," "Gimme the Sweet and Lowdown," and "Still Alive" find Ness waxing philosophical, most of these songs exist in the world of cool cars, tough dames, and bad-luck guys who've been part of his regular cast of characters since the album Prison Bound in 1988. But if Ness isn't trying to reinvent Social Distortion in the 21st century, he still clearly knows what works for the band and what doesn't, and the songs are tough, memorable, and solidly crafted, while his guitar work remains solid, his vocals are expressive but with a shade less grit than usual and the faintest hint of vulnerability on songs like "Bakersfield" and a cover of Hank Williams' "Alone and Forsaken." This latest edition of Social Distortion -- Ness, guitarist Jonny Wickersham, bassist Brent Harding, and drummer David Hidalgo, Jr. -- can play their classic roots/punk sound with muscle and finesse and just the right amount of swing. And Ness produced the sessions for Hard Times and Nursery Rhymes, showing he knows how to make this music work in the studio as well as he can make it come alive on-stage. Social Distortion sounds just as you would expect on Hard Times and Nursery Rhymes, but that's to say they sound like a fine and fierce rock & roll who have beaten the odds and stayed around to keep making music long after many of their peers gave up, and the commitment that holds them together can be heard bubbling under each tune.

tags: social distortion, hard times and nursery rhymes, 2011, flac,

August 25, 2019

Social Distortion - Mommy's Little Monster (1983) ☠

Country: U.S.A.
Genre: Punk Rock
Label Number: 51019-2
☠: Selected by Buccaneer
© 1983-1989 Triple X/New World Records
AllMusic Review by Paul Tinelli
Seminal Orange County punk band Social Distortion's first full-length album Mommy's Little Monster is the epitome of early-'80s suburban California punk and provided inspiration for many future Californians, including the Offspring and Rancid. Mommy's Little Monster finds the band supplying plenty of attitude and aggression as they rip through nine tracks worth of hard, fast, power chord-filled tracks loaded with snarling anti-establishment lyrics and themes. Songs like "The Creeps (I Just Want to Give You") and "Telling Them" show a young punk group that is very angry, and they were going to let society know it whether they wanted to hear it or not. The title track, "Mommy's Little Monster," with its descriptions of the girl with blue hair and the unemployed young punk who loves to drink and fight, gives you a good idea of the characters Social Distortion was surrounded by in the scene of the day. Although the low budget production gives the album a genuine early genre feel, it tends to hinder some of the potential power of most of the tracks presented here. As frontman Mike Ness matured as a songwriter the band went on to record stronger albums later in their career, but Mommy's Little Monster is a fine document of the raw early stages of a great influential American punk band that would go on to influence countless others in the future.

tags: social distortion, mommys little monster, 1983, flac,

Social Distortion - Prison Bound (1988) ☠

Country: U.S.A.
Genre: Punk Rock
Label Number: 72251-2
☠: Selected by Buccaneer
© 1988 Restless Records
AllMusic Review by Vincent Jeffries
After the long layoff that followed their groundbreaking debut, Mommy's Little Monster, Mike Ness and Social Distortion dropped another seminal punk offering, Prison Bound, in 1988. Slower and more song-driven than their previous disc, this sophomore outing is an absolute triumph. The epic stories of hard living and regret that became Social Distortion's trademark fill Prison Bound's track list. Right off the top, the band adds Ghost Riders-like surf/country guitar riffs to "It's the Law," proclaiming a commitment to their rootsy punk direction. Cautionary tales like the title cut foreshadow future monster hits like "Ball and Chain" off of the group's self-titled 1990 release. Other highlights include "Like an Outlaw" and a raucous cover of the Rolling Stones' "Backstreet Girl." Fans of Social Distortion who have somehow neglected to pick up this gem are encouraged to do just that at their very first opportunity, as the list of West Coast punk offerings more influential than Prison Bound is extremely short.

tags: social distortion, prison bound, 1988, flac,

Social Distortion - Social Distortion (1990) ☠

Country: U.S.A.
Genre: Punk Rock
Label Number: EK 46055
☠: Selected by Lass
© 1990 Epic Records
AllMusic Review by Mark Deming
With Prison Bound, Social Distortion began to metamorphasize from a rather ordinary L.A. hardcore band into a roots rock band willing to make with more than their share of the attitude, and this process continued on their self-titled third album (which was also their major-label debut). Musically, Mike Ness and company had learned to split the difference between rockabilly and Ramones-style punk, not unlike fellow L.A. vets X, and if Ness couldn't sing or write with the skill or the resonance of John Doe, "Story of My Life" and "It Coulda Been Me" sound a lot more personal and deeply felt than anything on Mommy's Little Monster, and "Ball and Chain" and "So Far Away" prove he could crank out a respectable honky tonk number if he put his mind to it. Thanks to Epic's sponsorship, the group had more time and money at their disposal for Social Distortion than on their previous albums, and producer Dave Jerden made the most of it; Mike Ness and Dennis Danell's guitars sound lean, sharp, and powerful; Ness's vocals are better controlled than ever before; and Christopher Reece's drums have a tight snap that suits both the thrashier numbers as well as the slower, blusier tunes. Social Distortion isn't a great roots rock album, but it's a pretty good one, and it's better and more affecting than anything this band had cranked out before.

tags: social distortion, social distortion album, 1990, flac,

Social Distortion - Somewhere Between Heaven & Hell (1992) ☠

Country: U.S.A.
Genre: Punk Rock, Pop Punk
Label Number: EK 47978
☠: Selected by Lass
© 1992 Epic Records
AllMusic Review by Paul Tinelli
Social Distortion finally achieves the perfect balance between their two major influences, the country anguish of Johnny Cash and the furious punk rock sound of early Clash, on their 1992 album Somewhere Between Heaven and Hell, making it the band's finest hour. The band tears through a fair share of rollicking, straight-ahead hard rock with songs like "Cold Feelings" and "When She Begins," but they also show a reflective, heartfelt, country-inspired side with songs like "This Time Darlin'" and the hard rock tribute to "Folsom Prison Blues," the cold blooded, murderous tale "99 to Life." At times the band slows down the pace a bit more than on earlier albums, but the band hasn't lost any of the edge or attitude they had as the brash young punks who recorded Mommy's Little Monster. Social Distortion classics "Bad Luck" and "Born to Lose" find a more mature Mike Ness still continuing to play the familiar role of the steadfast underdog with better results than in previous efforts. This album had all the earmarks of a major commercial success with some radio friendly tunes and strong production, but it never found the large audience Epic records expected. Regardless of the sales totals, Somewhere Between Heaven and Hell finds Orange County's most enduring punk band, Social Distortion, at their creative peak, and this album is the crown jewel of their entire catalog.

tags: social distortion, somewhere between heaven and hell, 1992, flac,

Social Distortion - White Light White Heat White Trash (1996) ☠

Country: U.S.A.
Genre: Punk Rock, Pop Rock
Label Number: BK 64380
☠: Selected by Lass
© 1996 Sony 550 Music
AllMusic Review by Stephen Thomas Erlewine
With White Light, White Heat, White Trash, Social Distortion made a conscious attempt to cash in on the alternative "revolution" of the early '90s." Underneath the layers of glossy hard rock production, the band still hold fast to some of their punk roots, but too often they sound like a heavy hard rock band. Of course, that commercial sheen is intentional -- it's the only way they could appeal to the legions of post-grunge alternative fans who appeared since Social Distortion released Somewhere Between Heaven and Hell in 1991. The problem is, the band doesn't deliver enough songs to justify the production. Mike Ness still wails away and growls out confessional lyrics, but too often they are ham-fisted and clichéd, much like the music that supports them. The band sounds tight and muscular, but the songs have few hooks to make them memorable. In trying to appeal to a wider audience, Social Distortion have lost much of their identity on White Light, White Heat, White Trash.

tags: social distortion, white light white heat white trash, 1996, flac,

Social Distortion - Sex, Love & Rock 'N' Roll (2004) ☠

Country: U.S.A.
Genre: Punk Rock, Pop Rock
Label Number: 70930-43547-2
☠: Selected by Lass
© 2004 The Bicycle Music Company
AllMusic Review by Mark Deming
Eight years separated the release of Social Distortion's misguided White Light, White Heat, White Trash and their next studio album, 2004's Sex, Love and Rock 'n' Roll, and a fair amount happened to the band in that time. Most notably, Dennis Danell, who had been the only constant in the band's lineup besides leader Mike Ness, died in 2001 at the age of 39, and on a pair of solo albums Ness began digging deeper into the roots music that had long informed his style. After confronting the grief of losing one of his best friends and exploring the less muscular side of his musical personality, Sex, Love and Rock 'n' Roll makes it clear Ness and his bandmates were ready to turn up the amps and make some noise, but while musically this is firmly in the So-Cal punk mode of their best work, lyrically this music reflects the mind of a more mature and thoughtful Mike Ness. Much as Ness dealt with the toll his years of drug abuse and casual violence had taken on him on the albums Social Distortion and Somewhere Between Heaven and Hell, Sex, Love and Rock 'n' Roll finds him pondering the stuff of genuine adulthood -- love, relationships, and looking to the future while trying to reconcile the past. "Live Before You Die" celebrates life in the moment without giving in to hedonism, Ness declares "I'm gonna trade in my old ways for a new shot at life" in "Faithless," and "Footprints on My Ceiling" tells the story of a man who has come to the realization that he has to accept his feelings if he's ever going to be loved. Some might think this means Ness is going emo on us after all these years, but in context these songs become the work of a man who's strong enough to know his own weaknesses and is struggling to become a better man by working through them, and the music -- with Ness ably assisted by John Maurer on bass, Jonny Wickersham on guitar, and Charlie Quintana on drums -- is potent, hard-hitting rock & roll with real heart and soul behind it. Sex, Love and Rock 'n' Roll shows that Social Distortion have held onto what made them great while growing and changing in the best ways, and the result is one of the best albums this band has made to date.

tags: social distortion, sex love rock n roll, 2004, flac,

August 24, 2019

Warrant - Dirty Rotten Filthy Stinking Rich (1989) ☠

*U.S,. first pressing. 
Contains 10 tracks total.
Country: U.S.A.
Genre: Glam Metal
Label Number: CK 44383
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☠: Selected by Lass
© 1989 Columbia Records
AllMusic Review by Stephen Thomas Erlewine
Other bands were bigger, other bands were better, but no other group embodied the spirit of late-'80s hair metal as much as Warrant. They were slick and tuneful, cheerfully shallow and gussied up to look prettier than they actually are. It was the era in a nutshell -- proud to be all surface and no depth. That aesthetic is what drives their debut, Dirty Rotten Filthy Stinking Rich, an album where they shake and shimmy like rock stars because that's what they desperately want to be. To achieve that, they distilled the sounds of L.A. at the time, where everybody used Van Halen and Kiss as a template, balancing the former's guitar hero antics and flamboyant sex-god frontman with the latter's big dumb riffs and pop hooks. Warrant surely weren't the first to do it -- Ratt and Poison brought it into the mainstream a few years earlier -- but the glossy package of Dirty Rotten makes it emblematic of its time. It's sleek and clean, built on processed guitars and cavernous drums, never taking more time than it needs, pushing the hooks front and center, along with a mile-wide sentimental streak best heard on the power ballads "Sometimes She Cries" and "Heaven," which sold this album to a wider, largely female audience that was also enamored with frontman Jani Lane's pretty looks. But don't be mistaken -- those are two slow moments on an album that's a party record, the time when the lights dim and the kids sway in a slow dance. The rest of this is good-time pop-metal, all professionally done but leaving little lasting impression, outside of the tremendous "Down Boys," which sounds exactly the same as the rest of the record but has an indelible chorus and is the one time when the band actually sounds powerful instead of preening. But it's hard to criticize an album for not making a lasting impression when it was designed to be in the moment, something to blast at keggers and when cruising through town. It served its purpose in 1989, and years later, it sounds exactly like that year, both for better and worse.

tags: warrant, dirty rotten filthy stinking rich, 1989, flac,

Jody Watley - Jody Watley (1987)

Country: U.S.A.
Genre: Pop
Label Number: MCAD-5898

© 1987 MCA Records
AllMusic Review by Jose F. Promis
After achieving considerable success as a member of Shalamar, Jody Watley staged a spectacular debut as a solo artist with her self-titled album. This set not only scored five hit singles, but also a Grammy for Best New Artist. For a few years, Jody Watley was almost as hot as Madonna, scoring major pop, R&B, and dance hits. Of all her albums, her debut was the most successful (and the most dance-oriented), and produced some of the most memorable dance hits of the decade. Included here is "Lookin' for a New Love," which spent four weeks perched at number two on the U.S. pop charts, as well as the Top Ten hits "Don't You Want Me" and "Some Kind of Lover." However, both those songs were remixed when released as singles -- hence, the versions on this album are inferior to the single mixes (but those versions can be found on her Greatest Hits). Also on this set is the stunning second single, "Still a Thrill," which wasn't a big pop hit, but featured Watley singing in her lower register, and ranks as one of the funkiest and oddest dance tunes of its time. This album also contains another minor pop/R&B hit, "Most of All," as well as a forgotten duet with George Michael (who was also at the top of his game at the time), "Learn to Say No." This album really doesn't possess any duds (or ballads), with other album tracks like "Love Injection" proving almost as infectious as the singles. This album clearly ranks among the artist's best, but if one desires the hit versions of most the singles, then one would be better off with Greatest Hits.

tags: jody watley, jody watley album, 1987, flac,

Jody Watley - Intimacy (1993)

Country: U.S.A.
Genre: R&B
Label Number: MCAD-10947

© 1993 MCA Records
AllMusic Review by Jose F. Promis
Jody Watley, who was one of the biggest American music stars at the end of the 1980s, saw her streak come to an abrupt end with the release of her fourth solo album, Intimacy, which, years later, still manages to sound fresh and undated. She toned down the rhythms (a little bit) which had made her so famous, and instead recorded an album ripe with mid-tempo, jazz-influenced grooves, which shine on the set's first single, "Your Love Keeps Working On Me"," which peaked at an embarrassing number 100 on the American pop charts. Intimacy, which is quite a varied album, begins with the harmonica-enhanced summer jam "Workin' on a Groove." The album's second track is the set's second single, "When a Man Loves a Woman," which is a seductive, meandering, spoken word, early-1990s anthem which, among other things, warns of the dangers of AIDS. A couple of over-long and unremarkable ballads weigh Intimacy down towards the end, but, other than that, the album is a definite treat. Other highlights include the house track "Ecstasy," the funky, riff-laden "Are You the One?," the slow burning R&B jam "To Be With You," and the gorgeous, soaring ballad "Too Shy to Say." Who is to say why this album, and Watley's fabled career, floundered so badly -- perhaps this style of music didn't vibe with the grunge and hip-hop that ruled American pop music in the early 1990s, or perhaps it was due to lousy marketing. In any case, Intimacy is a fine, well-rounded album that has managed to stand the test of time

tags: jody watley, intimacy, 1993, flac,

Sweetbox - Classified (2001)

Country: U.S.A.
Genre: R&B, Electronic
Label Number: 74321 77113 2

© 2001 RCA Records
*No professional reviews available for this release.

tags: sweetbox, classified, 2001, flac,

August 23, 2019

Jane Child - Jane Child (1989)

Country: Canada
Language: English
Genre: Pop
Label Number: 9 25858-2

© 1989 Warner Bros. Records
AllMusic Review by Stephen Thomas Erlewine
Jane Child's debut album was a pleasant excursion into synthesized dance-pop that was distinguished by the ingratiatingly catchy single, "Don't Wanna Fall in Love." A handful of other songs on the album -- including the minor hit "Welcome to the Real World" -- demonstrated Child's skills as a pop craftswoman, but just as many fell flat.

tags: jane child, jane child album, 1989, flac,

As Tall As Lions - As Tall As Lions (2006)

Country: U.S.A.
Genre: Alternative Rock
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© 2006 Triple Crown Records
Review by John Motley for Pitchfork.com
Listening to Long Island's As Tall as Lions, I couldn't help thinking the band must feel caged in by its tour itinerary of small clubs. On their self-titled, sophomore release, ATAL's polished pop sounds like the work of a band starved for its moment in the spotlight. Aided by producer Steven Haigler, who engineered and mixed several Pixies albums, the band sounds huge. His labor-intensive approach to recording-- loads of minute sonic detail and layers of overdubs-- creates a rich tapestry of sounds, but it also comes across as smoke-and-mirrors, a flashy package more dazzling than the songs it dresses up.
That said, singer Daniel Nigro and his vocal pyrotechnics have been compared to Jeff Buckley-- particularly on the stale soul of album-seller "Love, Love, Love (Love, Love)". Like Buckley, Nigro reaches for expressive heights and never shies from falsetto, but his register is closer to an emo-whine than a shimmering croon. As airy as his vocals are, his lyrical musings are equally weightless. Whether finishing phrases with cursory Spanish in "Song for Luna" or lamenting "even when I find the love, it's fake/ And everything I want to touch would break" on opener "Stab City", Nigro's words are confined to the horse-blinded scope of teenaged feelings. And when he sings lines like, "I'm an anthropophobiac/ A wolf from the steps/ With pills in my coat/ And wine on my breath," it's like a game of telephone with Nigro channeling Chris Martin channeling Thom Yorke.
Like Coldplay, ATAL trade in the emotional sucker-punches of soaring choruses and crushing crescendos. The album's best song, "Ghost of York", explodes with an insidiously catchy chorus and monstrous guitar chords. It's an alluring song, but with its galloping rhythm section, twinkling guitar arpeggios, and on-a-dime stops and starts, it sounds deliberately constructed to fit neatly into the landscape of modern rock radio. And these days, that's not the place to be looking for inspiration.

tags: as tall as lions, as tall as lions album, 2006, flac,

August 22, 2019

Jennifer Rush - Wings of Desire (1989)

Country: U.S.A.
Genre: Pop
Label Number: 466000 2

© 1989 Columbia Records
*No professional reviews available for this release.

tags: jennifer rush, wings of desire, 1989, flac,

August 21, 2019

Jennifer Rush - Jennifer Rush (1992)

Country: U.S.A.
Genre: Pop
Label Number: 79224 2

© 1992 Electrola Records
*No professional reviews available for this release

tags: jennifer rush, jennifer rush album, 1992, flac,

Jennifer Rush - Out of My Hands (1995)

Country: U.S.A.
Genre: Pop
Label Number: 7243 8 31126 2 3

© 1995 EMI Electrola/Bertelsmann Club
*No professional reviews available for this release.

tags: jennifer rush, out of my hands, 1995, flac,

Jennifer Rush - Credo (1997)

Country: U.S.A.
Genre: Pop
Label Number: 7243 8 56242 2 3

© 1997 Electrola/EMI Electrola
*No professional reviews available for this release.

tags: jennifer rush, credo, 1997, flac,

Jennifer Rush - Jennifer Rush (International Version) (1984) ☠

*Contains 10 tracks total.
Country: U.S.A.
Genre: Pop
Label Number: CBSCD 26488
☠: Selected by Lass
© 1984-1985 CBS Records
*No professional reviews available for this release.

tags: jennifer rush, jennifer rush album, international version, 1984, 1985, flac,