The biggest selling of all Steeleye Span albums is also their hardest rocking record. They sound like would-be competitors to the Who on the opening bars of "The Wife of Usher's Well," with Bob Johnson's electric guitar grinding out power chords like nobody's business…
This box set contains 300 tracks, digitally remastered and compiled over 15 discs. Includes all of Louis Armstrong's hits, hundreds of rarities and the complete discography.
À Deauville, Lucien Moreau, flanqué de sa femme et de sa nièce, Sophie, vient occuper la villa qu'il a louée avec son ami Maurice Dubois, accompagné de sa séduisante épouse. Sur la route une rivalité de volant a opposé Lucien à un petit monsieur rageur et vindicatif. À l'arrivée, il tombe sur son patron féru de camping, qui lui compliquera la vie durant ces vacances tourmentées. La villa se révèle être en triste état, sans parler du ton cassant de sa propriétaire, Mme Couffinous, du machiavélisme des commerçants épiciers du quartier, des bévues du porteur de bagages.
With his idiomatic and graceful style, pianist Philip Martin has established himself as the foremost exponent of Gottschalk. Much of his music is by no means easy to play; it requires an impeccable technique matched with Èlan and joie de vivre for its most effective execution. Although not essentially a great composer, Louis Moreau Gottschalk had a unique spontaneity and individuality which Martins performances bring vividly to the fore. The composers music was hugely popular during his lifetime and his works display a real melodic charm and a great sense of fun. Each of the eight discs in Martins extensive Gottschalk series has received wide acclaim and left pianophiles eagerly awaiting the next issue.
The 40 tracks compiled on this two-disc set represent the entire span of pianist and singer Leroy Carr's recording career that spanned a brief seven years, from 1928-1935. The material represented here – all but one of these tracks were recorded for the Vocalion label – features accompaniment by guitarist Scrapper Blackwell on all but one selection, and Josh White on a handful as well. Carr's material here ranges from the classic piano blues of the era that spawned Ma Rainey and Bessie Smith to vaudeville and hokum tunes made popular by artists like Tampa Red and Georgia Tom. Carr's voice is the haunting thing here; it's higher and very clear, sweet almost, as evidenced by most of these sides. But there was an edge, too; one that belied a kind of pathos underneath even the most cheery material – check "Mean Mistreater Blues" or "Bread Baker." But the darker material such as "Suicide Blues" (one of six previously unissued performances), "Straight Alky Blues," or "Shinin' Pistol," is strange and eerie given Carr's smooth approach. Carr may not be the most well-known bluesman of the era, but his contribution is profound and lasting. This collection puts to shame almost all others with the exception of the multi-volume complete recordings on Document.