2008 four CD anthology that covers Ayers' musical career from 1969 to 1980; a period most fans and critics deem his best. Ayers remains one of Rock's oddest enigmas. He makes ordinary subjects extraordinary with his rich low vocals and inventive wordplay. He projects the image of a Prog-Rock beach bum writing about life's absurdities with a celebratory, relaxed detachment, yet he is also one of Prog- Rock's more important innovators, helping to launch the Soft Machine, and working with noted progressive musicians Mike Oldfield, Lol Coxhill, and Steve Hillage. Ayers' solo material reflected a Folksier, lazier, and gentler turn than Soft Machine. He was often compared to Syd Barrett, but without the madness and is never less than enjoyable and original, Discs One to Three contain 49 hits, album tracks and more while Disc Four was recorded at The Queen Elizabeth Hall, London on 25th May 1973.
A really cool pairing of two relatively obscure and always overlooked early- to mid-'60s LPs by Jerry Lee Lewis that, respectively, capture him as a country crooner (and quite a good one) and a high-energy country-rocker with a bluesy edge. The original albums never sold any significant numbers to speak of, with the result that the material will essentially be new to all but the most hardcore fans. None of it is bad and a large portion of it is not only good but impressive, showing some sides to Lewis' talent that weren't always obvious amid the rippling ivories of the Sun Records hits.
For a band that's been compared to Joy Division, Leonard Cohen, Wilco, and Nick Cave & the Bad Seeds, the National sure sounds a lot more like the Czars or Uncle Tupelo on this sophomore album Sad Songs for Dirty Lovers. Where the band might lack Joy Division's angular fury, Cohen's existentialism, and Cave's vampiric attack, vocalist Matt Berninger and company whip up a murky alt country meets chamber pop vibe that's quite potent. The five-piece mostly keeps things on the country side of the fence during the album's first half, as slide guitars and fiddles overpower just about any hint of rock styling except the drumbeat, occasional feedback, and some screeching guitar freak-outs.
Film composer Eleni Karaindou was born in the Greek mountain village of Teichio and raised in Athens, going on to study piano and music theory at the Hellenikon Odion. Relocating to Paris in 1969, she studied ethnomusicology for five years before returning to Greece to found the Laboratory for Traditional Instruments at the ORA Cultural Centre. Karaindrou's most successful collaboration was with filmmaker Theo Angelopoulos, with whom she first teamed in 1982, going on to score features including 1991's The Suspended Step of the Stork, 1995's Ulysses' Gaze, and 1998's Palme d'Or-winning Eternity and a Day.
Chris Rea is not alone in the company of musicians who found fame later in life – think Jarvis Cocker, Leonard Cohen – and indeed it is interesting to note that he didn’t achieve UK Top Ten single status until the release of The Road To Hell (pt2), a record that was actually his eighteenth chart entry. Artist and painter, blues aficionado and self-confessed motoring nut, filmmaker and Italian-influenced classical music composer, eclectic and maverick are two terms that hardly come close to describing a man who has sold more than 30 million albums worldwide for just being himself. Road Songs For Lovers is beautifully nuanced and a record that regularly tugs at the heartstrings and is arguably Rea’s best album to date. The album, Road Songs For Lovers, continues Rea’s obsession with travel and motion…