Pour Down Like Silver was the last album Richard & Linda Thompson would release before beginning a self-imposed three-year retirement in order to join a communal Sufi Muslim sect. The cover photographs show the Thompsons dressed in traditional Muslim garb, and while lyrically the album offers few clear signs of the Thompsons' new spiritual direction, the stark asceticism of the music marked a real change from the alcohol-fueled mood swings of I Want to See the Bright Lights Tonight and Hokey Pokey…
This energetic, foot-tapping, no-filler album from the multi-talented Kenny Neal is a sheer delight, showcasing his fine skills on guitar and harmonica and his rich, powerful voice. Blues Fallin' Down Like Rain starts off with a bang, with an up-tempo rendition of the classic "Big Boss Man." Things settle down with "Shadow on the Moon," which features some tasteful guitar work and smooth, excellent vocals. In fact, Neal's voice is one of this album's major strengths, moving smoothly from richly sung melodies to expressive growls just as the music requires. The highlight of this album is the title track, a slow, lonely ballad with excellent guitar work and backing vocals. However, neither is as powerful as Neal's singing; when he pulls out all the stops, the results are impressive. Highly, highly recommended.
Given the length, breadth, and impact of his career as, arguably, the most revered figure in British folk-rock since he first joined Fairport Convention in 1967, it's no surprise that Richard Thompson has been honored with the multi-disc box set treatment not once, but twice…
1978's First Light marked Richard & Linda Thompson's first time in a recording studio after three years away from music, and it suggested they were still getting warmed up as performers; a year later, Sunnyvista found them in much stronger form and a significantly more upbeat frame of mind. Sunnyvista is the wittiest and most joyous album Richard & Linda made together; while several of Richard Thompson's trademark meditations on romance at it's least successful are on hand, "Why Do You Turn Your Back" manages to generate an unusually soulful groove, "Lonely Hearts" captures the melancholy country feel that First Light never quite caught, and "Traces of My Love" finds a winning warmth in its sadness.
A true classic, this CD found pianist Horace Silver and drummer Art Blakey co-leading the Jazz Messengers; Silver would leave a year later to form his own group. Also featuring trumpeter Kenny Dorham, Hank Mobley on tenor, and bassist Doug Watkins, this set is most notable for the original versions of Silver's "The Preacher" and "Doodlin'," funky standards that helped launch hard bop and both the Jazz Messengers and Silver's quintet.
A true classic, this CD found pianist Horace Silver and drummer Art Blakey co-leading the Jazz Messengers; Silver would leave a year later to form his own group. Also featuring trumpeter Kenny Dorham, Hank Mobley on tenor, and bassist Doug Watkins, this set is most notable for the original versions of Silver's "The Preacher" and "Doodlin'," funky standards that helped launch hard bop and both the Jazz Messengers and Silver's quintet. Essential music. ~ AllMusic
2016 three CD collection. As that noted hipster Plato once observed, when the mode of the music changes, the walls of the city shake. And there was certainly a whole lotta shakin' goin' on in 1967. A distended Summer of Love saw psychedelic pop emerging from the underground clubs to infiltrate the home-grown music scene mainstream, with the vast majority following in the footsteps of perennial market leaders The Beatles in surrendering to the new genre. As the year progressed, it seemed that more or less every element of the British pop world had been swept up in the blissed-out UFOria. Beat boom survivors, R&B stalwarts, sharp-suited mods, Swinging London soul revues, earnest acoustic folkies, Denmark Street hustlers, traditional pop acts… all abandoned or refined their previous identities to make music that reflected the ubiquitous influence of psychedelia in it's myriad paisley-patterned guises. Across four hours and eighty tracks, the all-singing, not-much-dancing Let's Go Down And Blow Our Minds anticipates the 50th anniversary of the Summer of Love to chronicle a tumultuous twelve-month period of music-making within the British Isles.