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.
For all of his many attributes, one thing Frank Zappa most certainly was not is commercial. Presumably, the title of this collection is ironic. Strictly Commercial: The Best of Frank Zappa is a compilation not of the composer's hits – he only broke the Top 40 on one occasion, with "Valley Girl" – but rather, a collection of his best-known material, from "Don't Eat the Yellow Snow" to "Sexual Harassment in the Workplace." Zappa's albums often function as individual works, but this disc offers an intelligent selection of songs, serving as an introduction to the maverick musician.
This 22-cut double-disc set finally gets at it. Issuing a single disc of Dire Straits and Mark Knopfler would be a silly thing at best and a hopelessly frustrating one at worst. When the band burst on the scene with "Sultans of Swing," there was a lot happening in rock music, but most of it was under the radar and remains forgotten except in the historic annals of music fanatics. Knopfler and his band were full of rock & roll romance and proved it through their first four recordings time and again. They couldn't help but become superstars and mainstays of MTV. But there is another story told on this best-of, which begins with "Telegraph Road"…
While it's true that Oscar Peterson compilations appeared with regularity form the early '60s on, only a few of them – as with most recording artists – have any real merit. This two-disc collection from the Concord Music Group's Telarc label, is one of them. Appearing less than a year before his death, this compilation concentrates on recordings issued from the '50s through the middle of the '80s on Dizzy Gillespie's Pablo label, and those made for Telarc between 1990 and 2000. Many live dates are included here from both labels, including "Tenderly" with Herb Ellis and Ray Brown at the J.A.T.P. concerts in Japan; the trio dates at Zardi's in 1955 ("How High the Moon"), in Copenhagen with Joe Pass, Stéphane Grappelli, and Niels-Henning Ørsted Pedersen in 1979, and Mickey Roker in 1979 ("Nuages")….
For a time, Repeat: The Best of Jethro Tull, Vol. 2 held the distinction of being the band's lowest-charting album (and by a wide margin, at that). This little tidbit of information usually engenders an internal dialogue along the lines of one of two things: the album must have little merit or the timing of its release was inopportune…