The Low Spark of High Heeled Boys marked the commercial and artistic apex of the second coming of Traffic, which had commenced in 1970 with John Barleycorn Must Die.
In August 2002, ABKCO Records reissued Beggars Banquet as a newly remastered LP and SACD/CD hybrid disk. This release corrected an important flaw in the original album by restoring each song to its proper, slightly faster speed. Due to an error in the mastering, Beggars Banquet was heard for over thirty years at a slower speed than it was recorded. This had the effect of altering not only the tempo of each song, but the song's key as well. These differences were subtle but important, and the remastered version is about 30 seconds shorter than the original release. Wikipedia.
Grant Green recorded so much high-quality music for Blue Note during the first half of the '60s that a number of excellent sessions went unissued at the time. Even so, it's still hard to figure out why 1964's Matador was only released in Japan in 1979, prior to its U.S. CD reissue in 1990 – it's a classic and easily one of Green's finest albums. In contrast to the soul-jazz and jazz-funk for which Green is chiefly remembered, Matador is a cool-toned, straight-ahead modal workout that features some of Green's most advanced improvisation, and remains one of his greatest achievements. Allmusic*****Very rare Japan Promo only Bonus LP for who buy many copies from The Series "Blue Note 1993 4000 Series Ultra Collection Part 10 & 11
Big Hits (High Tide and Green Grass) is the first official compilation album by The Rolling Stones, released on 28 March 1966, on London Records in the United States and on 4 November 1966, by Decca Records in the United Kingdom. The two releases featured different cover art and track listing. The front cover for the American release was used for the rear photo on the UK edition. Wikipedia.
Ry Cooder has done some of the best soundtracks in the last 20 years or so (I wouldn't live without The Long Riders or the two-disc Music By Ry Cooder compilation, either)–most of them superior to the movies. (Sorry about that, Walter Hill–but it's true.) His lonesome, steel-guitar music for Wim Wenders' Paris, Texas is one of those cases where the movie and its music are equally great. I can't imagine one without the other. Every time I hear Cooder's opening theme, I see those wide western spaces and Travis (Harry Dean Stanton) wandering through them; and every time I see a still from the movie, I can hear Cooder's music playing in my head. –Jim Emerson
Palme d'Or à Cannes en 1984, Paris, Texas a été, trois ans avant Les Ailes du désir, le plus gros succès commercial de Wim Wenders. Le fantomatique Harry Dean Stanton y errait dans des paysages arides, à la recherche d'une famille disloquée et de sa propre identité. Belle idée de Wenders : confier la partition originale au guitariste Ry Cooder. Ici, sa force est dans le dépouillement : un tempo lent, des accords de blues, une guitare, un phrasé bien à lui… Le désert texan en plans de grand ensemble prend alors une dimension saisissante. Hypnotique et envoûtante, la musique de Paris, Texas joue avec le temps et, parfois, semble même l'arrêter. Le thème légendaire signé Ry Cooder est en fait une relecture d'un standard du blues acoustique de Blind Willie Johnson, "Dark Was The Night, Cold Was The Ground". –Stéphane Lerouge