Victim of Love, released in 1979, is the thirteenth official album release for Elton John. It is a disco album, released shortly after the peak of disco’s popularity. The title track of the album was moderately successful as a single. It reached No. 31 on the U.S. Billboard Hot 100, and No. 46 in Canada. When the album was released as a CD in the 1980s, the track breaks were incorrect. The first 45 seconds of "Spotlight" is part of the previous track, and similar errors occur in other tracks as well. The album was reissued in a digitally remastered format in 2003, with these issues corrected, and with improved sound and instrumental setup.
Excellent addition to any fusion music collection
Somehow passed over and nearly forgotten, languishing in the shadow of the 'Friday Night in San Francisco' set, is this great album from the guitar hero team. The immediacy of that first release is still here but this session benefits from the quiet calm of the studio and less chance for the these luminaries to get caught up in showmanship. Rather, a proper selection of music is heard and the delicate balance the three achieve between jazz spontaneity, Spanish heat, and the precision of Latin fusion is more clearly rendered than on the beloved but somewhat cold 'Friday Night'. And the music is better, too, if only from lack of exposure.
Features 24 bit digital remastering. Comes with a mini description. This collaboration between Miles Davis and producer Marcus Miller (who, except for some cameos, plays all of the other instruments) is quite successful and a bit of a surprise since it is essentially a soundtrack to an obscure film. Dedicated to arranger Gil Evans, the music is greatly influenced by his style with Miller creating an electrified but very warm orchestra to accompany Davis' melodic solos. This was the first of several instances in which Miles Davis, in the twilight of his life, returned to his roots. It's worth searching for.
This is the Marcus Miller everybody always knew existed yet never really heard on record. This is the man who can play bass, saxophone, and bass clarinet, and also compose, produce, arrange, etc., and usually does so in a slick studio setting. The Ozell Tapes is reported to be an "official bootleg"; it's official to be sure but it's no bootleg. These are tapes from the band's 2002 tour straight from the soundboard without any remixing. The tapes are not from a single show, however, but the best performances from the entire tour. It's a small complaint, really, that it doesn't have the complete languid feel of a single show, because this is easily the best record Miller has ever released.
After a long career with much hard work and much beautiful music, Marcus seems to have reached another level. With the help of the clarinet, he is coming into his mature voice, full of confidence and ease. And at the risk of making any kind of statement about the "current state of jazz," it seems that Marcus is part of the happy marriage emerging between the traditionalists and the avant-garde. There are two magnificent streams within this music, and the combination of their strengths is an exciting prospect. For Yes! is a step forward that leaves no one behind, and it's also one of the most thoroughly enjoyable albums in recent memory.