Retrospective that highlights the best film scores from the acclaimed soundtrack composer. Though best known for his work in many of the Bond films, Barry has composed many other great movie themes during his 40+ year career Not only does this collection include Bond classics like 'Goldfinger' and 'Diamonds Are Forever' (both sung by Dame Shirley Bassey), it also features many other musical moments from films like 'Midnight Cowboy', 'Dances With Wolves', 'Out Of Africa', 'Born Free'(sung by Matt Monro) and more. Like John Williams, Barry's style is easily identifiable yet each theme is unique in it's own way.
The Best of Ultravox is a fairly comprehensive compilation that disregards the era during which guitarist Robin Simon and vocalist John Foxx were in the group. It's actually comprehensive to a fault, since it's a little too fair to the group's later and lesser singles off 1986's U-Vox – an album that was almost as poor as its title…
French exclusive 13-track CD album compiling the best work from the legendary progressive freaksters including key cuts from Camembert Electrique Flying Teapot and Angels Egg; sealed digipak sleeve. Anarchic, experimental, and whimsical ensemble originally led by guitarist Daevid Allen, a founding member of the Soft Machine.
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.