James Vernon Taylor (born March 12, 1948) is an American singer-songwriter and guitarist. A five-time Grammy Award winner, he was inducted into the Rock and Roll Hall of Fame in 2000. He is one of the best-selling music artists of all time, having sold more than 100 million records worldwide…
”Live at the Troubadour” is a live album by Carole King and James Taylor released in 2010. The album was recorded at The Troubadour in West Hollywood in November 2007 to celebrate the venue's 50th anniversary. It was also the first venue that King and Taylor played together in November 1970. The album debuted at #4 in the United States with first-week sales of 78,000. This gives James Taylor a top 10 album in every decade since the 1970s and Carole King her first top 10 album since 1976.
La-La Land Records and Paramount Pictures proudly present the remastered and expanded presentation of acclaimed composer James Horner's (STAR TREK II: THE WRATH OF KHAN, ALIENS, GLORY, TITANIC) original motion picture score to the 1992 feature film dramatic thriller PATRIOT GAMES, starring Harrison Ford, James Earl Jones, Anne Archer and Sean Bean, and directed by Phillip Noyce. Horner's intense, Irish-tinged score expertly supports and builds this political thriller's complex characterizations, brooding intrigue and white-knuckle suspense. Produced by Dan Goldwasser and mastered by Mike Matessino, Horner's PATRIOT GAMES score is finally given the deluxe treatment it deserves in this 2-CD set, which contains more than 50 minutes of previously unreleased music. Exclusive liner notes by writer Jim Lochner take you behind-the-scenes of the film and its score. This is a limited edition of 3000 Units.
While somewhat overshadowed by his more famous brother James, Livingston Taylor is a fine singer-songwriter in his own right–superficially, his voice recalls that of his sibling, but Liv is less moody, more folk-like. INK is a "tribute" album of sorts–instead of paying homage to a particular artist, Taylor interprets hit songs by various writers from several eras, leaning a bit toward classic R&B/soul hits. Songs made famous by Ray Charles, the Jackson Five, and Stevie Wonder are re-imagined via the gentle, genial imagination of Livingston Taylor.
On this, their fourth studio album, you are treated to the unexpected missing link between James Taylor Quartet's early mod-cum-spy theme sound and the later polished acid jazz feel (which carried the band through to be the respected pioneer figures they are today) without sounding exactly like either of them. Having landed themselves with the big-budget U.K. label Polydor, James Taylor found he could indulge himself with the best in big jazz-funk sounds, employing what sounded suspiciously like more than a "quartet" to produce a collection of bold and brassy numbers that escalated the sounds of Johnny Hammond and Booker T into the late '80s. The album begins as it finishes, with a touching yet relentless jazz-rock instrumental groove combining clever chord structures and strong piano flourishes gliding over, of course, Taylor's trademark whirring Hammond organ.
British soul-jazz organist James Taylor has crossed easily between stylistic definitions throughout his career, from the hard-charging garage rock of the Prisoners to his pioneering acid jazz work of the '90s. As the title suggests, Picking Up Where We Left Off finds Taylor returning to a straight soul-jazz setup with a classic Hammond quartet lineup akin to the James Taylor Quartet but featuring new collaborators in guitarist Nigel Price, bassist Andy McKinney, and drummer Neil Robinson. Fresh blood aside, this is entirely familiar territory for Taylor, mixing funky, Jimmy Smith-inspired organ lines with shuffling beats and funk-influenced guitar. The closest thing to a departure is the ballad "Never in My Wildest Dreams," a lovely showcase for an extended George Benson-like solo by Price.