Ronnie Baker Brooks, son of blues great Lonnie Brooks, releases his "Times Have Changed", first album in 10 years on Provogue on January 20, 2017. In early 2013 Ronnie Baker Brooks traveled to the late Willie Mitchell's fabled Royal Studios in Memphis. There he recorded a clutch of new songs with producer/drummer Steve Jordan (Eric Clapton, Keith Richards, Robert Cray), the Memphis Horns, and the mighty Hi Rhythm section. The sessions also featured performances by musical friends like Angie Stone, Al Kapone, Big Head Todd and the legendary Bobby “Blue” Bland.
Blondes Have More Fun is Rod Stewart's ninth album, released in November 1978. As was the popular musical trend at the time, it is Stewart's foray into disco music, which although commercially successful, was critically panned. The lead single "Da Ya Think I'm Sexy" became one of Stewart's biggest hits, peaking at No.1 in both the UK and US. The album has sold more than 14 million copies worldwide. The album itself peaked at No.3 in the UK, being certified platinum by Christmas and was a No.1 hit in the US, where it went double platinum. It also charted within the top ten in a host of other countries.
Acclaimed a cappella ensemble Straight No Chaser's cheekily titled 2016 effort I'll Have Another…Christmas Album is the group's third full-length holiday album since their 2008 debut, Holiday Spirits. Recorded at their original home of Indiana University in Bloomington, Indiana, the album features a handful of beloved Christmas carols and holiday standards including "Do You Hear What I Hear?," "Joy to the World," and "Have Yourself a Merry Little Christmas." As with previous albums, Straight No Chaser also apply their sophisticated harmonies to several contemporary pop classics like…
John Hammond's latest album marks a major departure in one respect – for the first time in anyone's memory, he sings, but plays nothing on one of his records, while Little Charlie & the Nightcats, led by guitarist Charlie Baty, handle the guitars and everything else. The difference is very subtle, the playing maybe a little less flashy than Hammond's already restrained work – think of how good Muddy Waters sounded on the early-'60s records where he sang and didn't play. And that comparison is an apt one – even more than 35 years after he started, Hammond inevitably ends up sounding like its 1961 and he's working at Chess studios in Chicago, cutting songs between Muddy Waters sessions. Harpist Rick Estrin also contributes a smooth and eminently enjoyable original amid a brace of covers of blues standards. There is not a weak number here, and this band is a kick to listen to, sounding more naturally authentic than anybody in the 1990's has a right to (Baty's quiet pyrotechnics on "Lookin' for Trouble" would make this record worth owning, even if Hammond's singing and the rest of the songs weren't as good as they are).