Features the high-fidelity SHM-CD format (compatible with standard CD player). Cover artwork faithfully replicates original one. Comes with lyrics and a description. Camel was still finding its signature sound on its eponymous debut album. At this point, Peter Bardens and his grand, sweeping organ dominate the group's sound and Andrew Latimer sounds tentative on occasion.
It's no secret that Philadelphia has, over the years, become synonymous with the sweet sound of meticulously crafted Soul and R&B. However, if you dig a little deeper, you'll uncover a thriving Hard Rock scene, best exemplified in the late '80s by the banshee wail of bands like Cinderella, Britny Fox and Tangier. Add to that list the name of Heavens Edge and suddenly you've got a pack of lean 'n' mean rockers that rivaled both Los Angeles and New York for sheer quality and bravado. Assembled from the cream of local Philly bands, Heavens Edge rapidly snagged a substantial deal with industry powerhouse Columbia Records, who at the time were a label eager to increase their market share of profitable melodic Rock acts.
An unusual sort of setting for tenor saxophonist Paul Jeffrey – an overlooked player from the east coast scene of the early 70s, and one who only cut a handful of records at the time! The date features Jack Wilkins on guitar, playing with these bright chromatic hues next to Jeffrey's sharper horn – a pairing that makes for an unusual sound, despite a familiar quartet setting – one that's even different from other matches of this nature, such as the work between Sonny Rollins and Jim Hall! Jeffrey's clearly got some bop roots here, but also opens up in other directions too – and the group features Thelonious Monk Jr on drums and Richard Davis on bass.
Sleaford Mods were ahead of the curve when it came to reintroducing politics to music, and if English Tapas is anything to go by, they're also on the cutting edge of post-Brexit weariness. As on Key Markets, Jason Williamson and Andrew Fearn serve up more character-driven songs that express their constant – and always timely – frustrations, whether they're skewering machismo on "Army Nights" or 21st century solipsism on songs like the attention-seeking "Snout" or "Just Like We Do," which calls out "pretentious little bastards on social medias." The duo's state of mind on English Tapas was foreshadowed not only on Key Markets but the T.C.R. EP, whose title track used a toy race car set as a nostalgic metaphor for spinning one's wheels.