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.
Two years after the first installment comes Buck 'Em!: The Music of Buck Owens, Vol. 2, a double-disc set chronicling the eight years when Buck Owens was a crossover superstar thanks to his prominent role as a co-host of Hee Haw. Buck started to slide into a rut toward the end of this run – a process accelerated by the tragic death of his right-hand man Don Rich in 1974, a loss from which Owens never fully recovered – but producer Patrick Milligan slyly disguises this trend by nestling deep cuts, live tracks, and outtakes among the best of his hits, thereby painting a portrait of Buck Owens as a musician nearly as adventurous as he was during the purple patch of the '50s and early '60s.
Omnivore's 2013 double-disc set Buck Em! The Music of Buck Owens (1955-1967) provides an interesting spin on Buck Owens: through a collection of mono singles, live tracks, alternate takes, early 45s, and other rarities, it tells an alternate history of Buck's prime years. If there's a hit on this 50-track collection, it's almost always in a version that's slightly different than what usually shows up on a standard greatest-hits. "Second Fiddle," "Love's Gonna Live Here," "I Don't Care (Just as Long as You Love Me)," "I've Got a Tiger by the Tail," and "Before You Go" are all in mono, there's an early version of "Ain't It Amazing Gracie," and "Act Naturally" is live, so they're familiar enough to not feel jarring and they do provide the core of a collection that winds up wandering into some pretty interesting territory.
This collection on the U.K.'s Soul Brother imprint is a very compelling look at a big slice of Freddie Hubbard's long career as a leader, and one that gets ignored for the most part. Hubbard recorded over 20 records between Backlash, his Atlantic debut in 1966, and Ride Like the Wind for Elektra in 1982, with lengthy stops at Columbia and CTI (as well some straight hard bop and post-bop outings for labels Fantasy and Pablo). In many cases, some of these original recordings were not only disregarded by more traditional jazzheads, they were regarded with outright hostility. It didn't matter to Hubbard, however, because at the time, these were among his best-selling albums and connected with the public deeply.
Massive electric Miles from the same Japanese tour that gave the world the Panagaea and Agharta albums – tracks that were recorded ten days before the concert that appeared on those records, with different songs as well! The music is a dark brew of funk, fusion, and some surprisingly spiritual currents – thanks to wonderful work from Sonny Fortune on alto, soprano sax, and flute – working here alongside guitarist Pete Cosey, who provides plenty of the fuzzier, freakier moments of the set – as does keyboardist Reggie Lucas! Al Foster's drumming is wonderful – and Michael Henderson's bass will blow you away if you only know his later smoother soul albums – but as usual, Miles is the star once he opens up his horn and steps into the darkness.
Richard Wagner's reputation rests on his tetralogy, Der Ring des Nibelungen, and the other music dramas he created, including Lohengrin, Tannhäuser, Tristan und Isolde, Die Meistersinger von Nürnberg, and Parsifal, which revolutionized all aspects of late Romantic music and left their mark on modern music as well. Yet there is a small body of non-operatic works that shows a more relaxed Wagner working on a much smaller scale: his Siegfried Idyll for chamber orchestra, a group of songs, and a collection of pieces for piano. This double CD by Pier Paolo Vincenzi presents Wagner's complete piano music with three sonatas, a large-scale fantasia, and eleven short pieces that show the composer's attempts at finding a more personal and intimate voice.