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Motörhead, is a long-lived and iconic British heavy metal band formed in 1975 by former roadie for Jimi Hendrix, bassist, singer and songwriter Ian "Lemmy" Kilmister. They are widely recognized as progenitors of thrash & speed metal, a fusion of heavy metal and what was soon to become hardcore punk. Consequently they influenced countless rock, punk rock, and heavy metal bands that followed. Usually a power trio, Motörhead had particular success in the early 1980s with several successful singles in the UK Top 40 chart. The albums Overkill, its follow on, Bomber, Ace of Spades, and particularly No Sleep ‘til Hammersmith, cemented Motörhead’s reputation as one of Britain’s foremost heavy metal groups. While Motörhead are typically classified as heavy metal, speed metal or thrash metal (and often regarded as a foundational influence on the latter two styles); Lemmy dislikes such labels, preferring to describe the band’s music simply as “Rock and Roll”...

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Added:
Another Perfect Day (1983, 2008 Ltd. Reissue)
Stone Deaf Forever! (5CD Set, 2003)

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A very different set than Teldec's Bach 2000. The Hanssler Bachakademie, supervised by Helmut Rilling, is not HIP (historic instruments performance). The orchestras are warm and lush (but not huge). The soloists are, in general, extraordinary. The tempos are sane. Hanssler has included fragments of some incomplete BWV's that are not included in the Teldec set; a minor plus but appealing. I found I preferred these traditional instruments and the daring using of forte-piano in place of harpsichord on a few of the recordings (flute sonatas). Highlights for me are The Well-Tempered Clavier Books 1 and 2, Musical Offering, Flute Sonatas, The Motets. I also found I prefer these Cantatas recordings to any other, including the new Koopman, Suzuki and the well-known Leonhart-Harnoncourt. While not the newest recordings, the sound is warmer which I prefer to the new state-of-the-art HIP recordings. Although most of the Cantatas are older recordings, much of the Hanssler Bachakademie edition is newly recorded for this project and the sound is consistent and excellent. Jan Hanford, J.S. Bach Home Page

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For this CD reissue of a Riverside date, altoist Cannonball Adderley's 1961 Quintet (which includes cornetist Nat Adderley, pianist Victor Feldman, bassist Sam Jones and drummer Louis Hayes) is joined by guest pianist Wynton Kelly on five of the eight selections, during which Feldman switches quite effectively to vibes. The music falls between funky soul-jazz and hard bop, and each of the performances (particularly "Star Eyes" and "Well You Needn't") is enjoyable. The CD adds a new alternate take of "Lisa" and the previously unissued "O.P." to the original program. - AMG