Love, Q features some of producer/composer/arranger/trumpeter and music legend Quincy Jones' best-known love songs. Spanning a nice swath of time from the '70s through the '90s, the collection focuses on Jones' R&B-oriented material. Included here are such stellar tunes as the steamy Leon Ware/Bruce Fisher number "Body Heat," Patti Austin's lyrical "Love Me By Name," and the Tevin Campbell feature "Everything." While this isn't the definitive Jones compilation, or even as complete a picture as Hip-O's previous Jones package, Ultimate Collection, it is still nice to have all these "quiet storm"-ready tracks in one place.
The Very Best of Howard Jones is a collection of Howard Jones's biggest hits from 1983 through 2003. It also contains one new track, "Revolution Of The Heart", in its original form. It would later be altered and featured on his 2005 album, "Revolution Of The Heart". The Very Best Of Howard Jones also came with a bonus disc of b-sides. The two-disc set featuring 36 synth-pop hits includes "New Song", "Everlasting Love", and the Phil Collins-produced version of "No One Is To Blame".
The complete memorable recordings made by Billie Holiday in 1956-57 backed by a small group including Ben Webster, Harry Edison, Jimmy Rowles and Barney Kessel. A complete Holiday set recorded at Newport during the same period has been added as a bonus. Includes 16-page booklet.
Exorcizing the ghost of a failed relationship via the time-honored tradition of the breakup album, Norah Jones luxuriates in beautiful misery on Little Broken Hearts. Liberated by the separation but not quite ready to let it go, Jones achieves a curious subdued tension here, dressing unadorned confessionals in softly stylized studio noir created with the assistance of producer Danger Mouse, who collaborated with her the year before on the collective Rome. Seeming opposites – the classicist meets the futurist – Jones and Danger Mouse are well matched, as both artists are not as set in their ways as their individual reputations would suggest…
Tom Jones became one of the most popular vocalists to emerge from the British Invasion. Since the mid-'60s, Jones has sung nearly every form of popular music – pop, rock, show tunes, country, dance, and techno, he's sung it all. His actual style – a full-throated, robust baritone that had little regard for nuance and subtlety – never changed, he just sang over different backing tracks. On-stage, Jones played up his sexual appeal; it didn't matter whether he was in an unbuttoned shirt or a tuxedo, he always radiated a raw sexuality that earned him a large following of devoted female fans who frequently threw underwear on-stage. Jones' following never diminished over the decades; he was able to exploit trends, earning new fans while retaining his core following.