The Jazztet had been in existence for two years when they recorded what would be their final LPs, this date plus Another Git Together. The personnel (other than the two co-leaders flugelhornist Art Farmer and tenor-saxophonist Benny Golson) had completely changed since 1960 but the group sound was the same. The 1962 version of the Jazztet included trombonist Grachan Moncur III, pianist Harold Mabern, bassist Herbie Lewis and drummer Roy McCurdy and it is remarkable to think that this talent-filled group could not find enough jobs in order to stay together…
La-La Land Records and 20th Century Fox present the remastered release of acclaimed composer Mark Snow’s (THE X-FILES, MILLENIUM, GHOST WHISPERER, BLUE BLOODS) original motion picture score to the 1998 motion picture THE X-FILES: FIGHT THE FUTURE, starring David Duchovny, Gillian Anderson and John Neville. Composer Snow launches the beloved television series, THE X-FILES onto the silver screen with an astounding score that retains the show’s already established sonic palette of atmospheric synths, while opening up its musical universe with the addition of a live orchestra. This special limited edition release features much improved sound and contains some music not previously released. Also, the incorrectly reversed stereo channels on the original soundtrack release have been corrected here. Produced by Mark Snow and Nick Redman, and mastered by Mike Matessino, this exciting release also contains exclusive liners by writer Julie Kirgo and an updated print interview with Snow conducted by film music writer Randall D. Larson.
La-La Land Records, Warner Bros. and WEA celebrate Warner Bros.' 90th Anniversary, with the LETHAL WEAPON SOUNDTRACK COLLECTION - an 8-CD BOX SET featuring Michael Kamen, Eric Clapton, and David Sanborn's iconic film scores from all four LETHAL WEAPON films. Each LETHAL WEAPON score is contained in its own 2-CD jewel case, and all four scores, along with a 40-Page booklet, are housed in an attractive slip case.
Hologram of Baal is the eleventh album by the Australian psychedelic rock band The Church, released in September 1998. It was written and recorded following the full-time return of founding guitarist Peter Koppes, who had left the band in 1992 after the Priest=Aura tour. It was also the first album which the band had produced on their own and was recorded and mixed by their drummer Tim Powles. Album titles originally proposed by singer Steve Kilbey included Bastard Universe and Hologram of Allah, but these were rejected as too inflammatory. In the end, the latter was amended with the name of a deity from the Canaanite pantheon and the former was used as the title of the bonus disc. The song "This Is It" is about the death of INXS front man and fellow Australian, Michael Hutchence.
When Rock and roll was a religion, four young man gathered to commune and dream. It was a dream, that like so many in the San Francisco Bay Area, began in a Garage. Robert Berry and Gene Perrault, in 1975, got together in Berry’s garage and began what was to become an eight year reverie. They created, with the addition of Roger Bonasera and Paul Keller, a new and distinct sound, a sound whose trademark would be a hard-driving, high-energy beat. Their rhythms were powerful, yet smooth, their vocals textured and tight. This was the nucleus of the dream that became Hush, one the most exciting bands to appear in the late seventies.
”Theaudience” is the debut album from British band Theaudience. The album was released in the UK in 1998 and peaked at #22 on the UK Albums Chart. Theaudience (styled as theaudience) were a Britpop group active in the 1990s. They released one album and saw three singles enter the UK Singles Chart. The band's singer Sophie Ellis-Bextor became a successful solo artist after the band's disbandment.
Swedish progressive rock/metal innovators PAIN OF SALVATION released their long-awaited new studio album, "In The Passing Light Of Day", on Friday, January 13, 2017, via their longtime label partners InsideOut Music.
Michael Crétu's attempt at fusing everything from easy listening sex music and hip-hop rhythms to centuries-old Gregorian chants couldn't have been more designed to tweak the nose of high art, a joyously crass stab straight at a mainstream, do not pass go, do not collect 200 dollars. The result is something that shouldn't exist, but in its own way results in as much of a cultural scramble and explosion as anything Public Enemy were doing around the same time, crossing over the Euro-disco and new age spheres with style…