The Stylistics were one of the best-known Philadelphia soul groups of the 1970s. They formed in 1968, and were composed of lead Russell Thompkins, Jr., Herbie Murrell, Airrion Love, James Smith, and James Dunn. All of their US hits were ballads, graced by the soaring falsetto of Russell Thompkins, Jr. and the lush yet graceful productions of Thom Bell, which helped make the Stylistics one of the most successful soul groups of the first half of the 1970s." During the early 1970s, the band had twelve straight U.S. R&B top ten hits, including "Stop, Look, Listen (To Your Heart)", "You Are Everything", "Betcha by Golly, Wow", "I'm Stone in Love with You", "Break Up to Make Up", and "You Make Me Feel Brand New".
Died in the Wool — variations on David Sylvian's 2009 release Manafon with the addition of 6 new pieces, including collaborations with acclaimed composer Dai Fujikura, producers Jan Bang and Erik Honoré and a stellar roster of contemporary musicians and improvisers. Released as a Double CD digipak in a hardboard slipcase. Disc Two featuring audio from the installation When We Return You Won't Recognise Us.
Official Release #103. Performed/Arranged/Conducted by Frank Zappa. Road Tapes, Venue #3 features two complete shows from Tyrone Guthrie Theater in Minneapolis, MN. The July '70 Mothers line-up featured Flo & Eddie, George Duke, Ian Underwood, Aynsley Dunbar & Jeff Simmons. FZ's vast Vault does not contain many full shows from this time period, so that alone makes this release a special one. The tapes were recorded to stereo reel-to-reel, but not without problems. Due to their historical relevance, we felt it was worth it, warts 'n all! Venue #3 does not disappoint.
When Stan Getz visited Paris to witness the French Open tennis matches, he would hang out at the Blue Note nightclub to hear how the locals did it, being told their jazz scene was not up to snuff. In London, he would pick up the European band he heard in Paris for an engagement at Ronnie Scott's. Because of his stature, Getz was able to grab the very best musicians the continent could provide, in this case the brilliant Belgian guitarist René Thomas, organist Eddy Louiss from Martinique, and French classical and jazz drummer Bernard Lubat.
Michael Gira claims that Swans' The Seer took 30 years to make: "it's the culmination of every previous Swans album as well as any other music I've ever made, been involved in or imagined." This is not hyperbole. Two years after My Father Will Lead Me Up to a Rope to the Sky, The Seer is the most sprawling, ambitious, thoughtfully conceived and tightly performed recording in the band's catalog – also not hyperbole – over two discs, two hours, and 11 tracks. And it is not an endurance test, but an argument for compulsive listening. It's an exquisitely wrought journey through post-rock, electronic soundscapes, haunting acoustic songs, punishing noise, and (lots of) percussion.
This Sony UK 2013 two-fer pairs two latter-day albums from Buddy Guy: the 2005 album Bring 'Em In and its 2008 sequel, Skin Deep. The Steve Jordan-produced Bring 'Em In and the Tom Hambridge-produced Skin Deep are both cut from the same cloth and feature a bunch of cameos – Keith Richards, John Mayer, and Tracy Chapman on the former; Derek Trucks & Susan Tedeschi, Eric Clapton, and Robert Randolph on the latter – and if neither are standouts in his discography, they're both enjoyable and this is a nice, easy way to get them both simultaneously.
After debuting with 1973's excellent but neglected Show Your Hand (later reissued as Put It Where You Want It), the Average White Band switched from MCA to Atlantic and hit big with this self-titled gem. Upon first hearing gutsy, Tower of Power-influenced funk like "Person to Person" and the instrumental "Pick Up the Pieces" (a number one R&B hit), many soul fans were shocked to learn that not only were the bandmembers white – they were whites from Scotland. Like Teena Marie five years later, AWB embraced soul and funk with so much conviction that it was clear this was anything but an "average" white band. This album is full of treasures that weren't big hits but should have been – including the addictive "You Got It," the ominous "There's Always Someone Waiting," and a gutsy remake of the Isley Brothers' "Work to Do." [When Rhino reissued AWB on CD in 1995, an edited live version of "Pick Up the Pieces" recorded at the 1977 Montreux Jazz Festival was added. (The full-length version had been included on Rhino's 1994 reissue of Warmer Communications.)[/quote]
If you love the Blues, these sets provide some of the greatest songs all in one collection. You need these in your collection. It's very hard to characterize "Memphis blues," even though all blues started at Memphis. This is more delta blues, but still a good collection. Some of what we call "Chicago blues" is more of "toned up" Memphis blues. Not so much of that here, and it should've been included. Old school Blues with a large selection of music and great artist,enjoyed it.