This Rhino U.K. 2012 box set rounds up the prime of Booker T. & the MG's, the five albums they released between 1962 and 1968: Green Onions, Soul Dressing, And Now!, Hip Hug-Her, and Doin' Our Thing. Often, Booker T. & the MG's are seen as nothing more than a singles act but these records illustrate just how deeply their gifts ran, as they are all deeply funky, gritty, soulful records that are easy to enjoy. And when they're collected in this convenient little box, they're even easier – and cheaper – to appreciate.
Now available on CD in Digipak format. Released for short time in 1993 on the indie HTD label and hard to find. Recorded at The Attic Bar in Stafford in September 1992, before an ecstatic home-town crowd. Only their second live album after 1974's iconic FM Live and of comparable quality. Features definitive Nineties line up of Colin Cooper, Lester Hunt, George Glover, Neil Simpson and Roy Adams. Contains long-time set opener Fool For The Bright Lights , their biggest hit single Couldn't Get It Right and classics Chasing Change and The Movie Queen . Band play on today with frontman Johnny Mars replacing the late Colin Cooper, and most of this repertoire survives in their set. Booklet with authoritative and extensive liner notes written by respected Record Collector journalist Michael Heatley. Expertly remastered superb sound - top quality reproduction. The best in the business!
Pergolesi's Stabat Mater, his achingly lovely swan song, was most likely written with two male singers in mind. Yet it's not often recorded that way, and the present release, with a genuine male soprano and alto, represents something rarer still, perhaps because not a lot of male singers can pull off the higher ranges convincingly without belting. Both the singers are billed as countertenors on the album, but Romanian-born Valer Barna-Sabadus, who looks like he just stepped out of a rock & roll dive, is a true soprano. Check out his soaring lines in the "Cujus animan," track 2, for the real news on this album. It's not that he delivers operatic power; plenty of countertenors can do that. It's the lightness and balance – even a certain soberness – that fit the work to its intended church ambiance.