1999's "Animation" was the second album from MVP (Mike Vescera Project). Vescera, of course, is best known as the singer from Obsession, and his stints with Loudness and Yngwie Malmsteen. He’s joined here by guitarists Roland Grapow (Masterplan, ex-Helloween), Roy Z (Halford, Bruce Dickinson) and Joe Stump (Reign of Terror).
Eddie Money album Ready Eddie is a good music album, Ready Eddie release at May 18, 1999. Featuring a very tight band, and the guitar talents of Survivor's Frankie Sullivan, 1999's 'Ready Eddie' is one of Eddie Money's best albums ever, featuring a collection of hard-driving rock'n'roll songs that only dreams are made of. It's hard to name a favorite here since all the songs count!
One of Spain's longest-running heavy metal exports, Dark Moor was founded in 1993 by Madrid-based guitarist Enrik Garcia, and after honing their fantasy-laced power metal via three demo tapes (1996's Tales of the Dark Moor, 1998's Dreams of Madness, and 1999's Flying), signed with the independent Arise label for the release of their full-length debut, 1999's Shadowland.
The Atomic Fireballs were formed in Detroit in 1996 by John Bunkley and James Bostek. The two of them met when Bostek's wife was working with Bunkley and introduced them. Although the group plays their own brand of high-energy swing music, they list their influences to be as far ranging as Louis Jordan and Black Flag. The lineup of the group is Bostek on trumpet, Bunkley on vocals, Tony Buccilli playing trombone, Duke Kingins on guitar, Shawn Scaggs on double bass, Eric Schabo wailing tenor sax, and Randy Sly on piano. Their first album was the self-released Birth of the Swerve (1998). The album was good enough to garner the interest of major labels. That meant that the follow-up, 1999's Torch This Place, was not an independent release but rather on Atlantic.
Stereolab took an unprecedented two years between 1997's Dots & Loops and 1999's Cobra and Phases Group Play Voltage in the Milky Night, as they tended to personal matters. During those two years, Stereolab's brand of sophisticated, experimental post-rock didn't evolve too much, even as colleagues like Tortoise, Jim O'Rourke, and the High Llamas tried other things. Since each Stereolab album offered a significant progression from the next, it would have been fair to assume that when they returned, it would be with a leap forward, especially since Tortoise's John McEntire and O'Rourke were co-producers. Perhaps that's the reason that the album feels slightly disappointing. The group has absorbed McEntire's jazz-fusion leanings – "Fuses" kicks off the album in compelling, free-jazz style – and the music continually bears O'Rourke's attention to detail, but it winds up sounding like O'Hagan's increasing tendency of making music that's simply sound for sound's sake.