Official Release #55. This two-CD set is the second of three albums of material Frank Zappa compiled from the 1988 tour. While Broadway the Hard Way (released in 1988) mostly presented the new songs performed during that tour, this set focuses on older songs (Make a Jazz Noise Here would contain mostly instrumental pieces). This is the best band you never heard in your life because the 12-piece group disintegrated after only four months of touring through the U.S. East Coast and Europe. These shows took place during the Jimmy Swaggart scandal, when the televangelist was caught with a prostitute.
The Best Band in the Land is the third and final studio album of Collective Consciousness Society. It was recorded at Abbey Road Studios in London, January to May 1973 and released in September that year. It includes covers of songs by The Kinks and Cream amongst others, but unlike their first album it mostly features original compositions. The style continues that of their previous two albums, with heavy rock and blues songs arranged with jazz instruments.
This two-CD set is the second of three albums of material Frank Zappa compiled from the 1988 tour. While Broadway the Hard Way (released in 1988) mostly presented the new songs performed during that tour, this set focuses on older songs (Make a Jazz Noise Here would contain mostly instrumental pieces). This is the best band you never heard in your life because the 12-piece group disintegrated after only four months of touring through the U.S. East Coast and Europe. These shows took place during the Jimmy Swaggart scandal, when the televangelist was caught with a prostitute.
One of three collections from the 1988 world tour, THE BEST BAND YOU NEVER HEARD IN YOUR LIFE is a portrait of one of Zappa's most accomplished bands. Unfortunately, this band self-destructed in mid-tour and never completed their scheduled appearances. … Full DescriptionHence, the title stands for the fans that couldn't see this amazing group live. The vocals of Ike Willis and Mike Keneally, the rhythmic acrobatics of Chad Wakerman, Ed Mann and Scott Thunes, the powerful horn section including the Fowler brothers, keyboardist/vocalist Bobby Martin–it all adds up to one of the most musically agile bands Zappa ever commanded.
There are the usual Zappa favorites on disc one with "Cosmic Debris" and "Zomby Woof." The band also gets to flex its muscles on the instrumentals "Zoot Allures" and "Sofa #1." Disc two captures all the zany behavior that could be preserved on tape as bizarre covers of "Purple Haze" and "Sunshine Of Your Love" start things off. Snippets of "When Irish Eyes Are Smiling," "The Godfather Theme" and "Bonanza" escalate into a diatribe by right-wing character Brother A. West and several songs denouncing televangelist Jimmy Swaggart. The finale of "Stairway To Heaven" ties everything back together in grand Zappa style.
Hootie & the Blowfish never were cut out to be superstars. They were meant to be the best band at the local bar. They were ordinary guys, and they played ordinary music, the kind that could be heard in any college town on the East Coast or Midwest during the early '90s when the local bar wasn't having grunge night. It was the ordinariness of the music on their 1994 debut, Cracked Rear View, that connected with millions of American listeners – they sounded like everybody's favorite local band. Once they were superstars, their bubble burst fairly quickly as the 1996 follow-up sold considerably fewer than the debut, and by the end of the decade, they had settled into a reliable routine of turning out modest records and touring steadily, without many people outside of their core fans noticing. Their popularity might have declined, but as the 2004 Atlantic/Rhino compilation The Best of Hootie & the Blowfish (1993 Thru 2003) illustrates, their music changed very little over the course of the decade, nor did the quality of their music decline.
Ole Børud (born December 6, 1976) is a Norwegian singer, songwriter and instrumentalist, known both for his solo recordings and as a member of the band Extol. Børud, son of Norwegian gospel singer Arnold Børud, began performing music at age five as part of Arnold B. Family. He later started playing in hard rock and heavy metal bands, first in the two-man project Schaliach and later for Extol and, briefly, the hardcore punk band Selfmindead. Since the early 2000s, he has also recorded several solo albums featuring pop, funk, and jazz styles. In 2016, he formed a heavy metal side-project, Fleshkiller, with his former Schaliach band-mate, Peter Dalbackk, and drummer Andreas Skorpe Sjøen.
Career retrospective from Pub Rock’s angriest man Graham Parker, spread over 6 CDs with a DVD featuring a live set at the Brook Southampton from last year’s final tour with the Rumour…LTW’s Ian Canty looks at 40 years of Camberley’s very own Punk Soul brother….. It wasn’t very promising on the face of it. A resentful 25 year old garage pump attendant with a run through the 60s from Mod to Hippy behind him and a headful of dreams about Van Morrison and Dr Feelgood, matched up with what might have been the cream of the Pub Rock scene. But this was after all of their respective bands had singularly failed to make an impact, so together, in 1976, they stood at the doors of the Last Chance saloon. What wasn’t expected was that with their musical power allied to the petrol pump punk’s lyrical smarts and alarming stage presence, they would blow the doors off the hinges. Ladies and gentleman, I give you Graham Parker and the Rumour.
A collection from the Mercury funk lineup that covers the hits from the first five Gap Band albums. Every major hit that they had is included here. What one might notice is that all of the major hits ("You Dropped a Bomb on Me," "Burn Rubber on Me," "Early in the Morning," and "I Don't Believe You Want to Get up and Dance") all sound surprisingly similar. This may or may not be a large surprise to everyone, but the bright note about their similarity is that the basic riffs and rhythms that they all use are extremely catchy. The energy that the Gap Band exudes in the midst of producing a song is stunning, and this compilation displays that to the fullest extent. For a basic introduction to the forms of funk that the Gap Band followed, this album would certainly suit any given listener. For those who only need one Gap Band album in their collection, this one also fits the bill perfectly. For die-hard fans who already have all of the band's albums, this one would probably only really serve as a summary.