Iron Maiden's World Slavery Tour was one of the longest and most extensive tours ever undertaken by a rock band. Lasting from August 9, 1984, to July 5, 1985, and visiting such countries as Poland, Austria, Hungry, Yugoslavia, Italy, France, Spain, Portugal, Scotland, England, Germany, Sweden, Canada, Japan, and the U.S., the show included a mammoth setup that replicated the intricate ancient Egyptian scenery of the Powerslave album cover…
Violinist Jenny Scheinman was a full-fledged Left Coaster before transplanting herself to the fertile artistic ground of Brooklyn, so it was only natural that she return to her former home turf to record her first CD as a leader at Oakland's venerable Yoshi's nightspot. On this debut release she seems to have emerged fully formed as a bandleader and compelling soloist. But given Scheinman's extensive experience preceding the September 1999 recording date, playing with everyone from Rova Saxophone Quartet to Charming Hostess, her skillfulness shouldn't be surprising.
Despite the presence of classic tracks like Joe Zawinul's "Great Expectations," Big Fun feels like the compendium of sources it is. These tracks are all outtakes from other sessions, most notably Bitches Brew, On the Corner, and others. The other element is that many of these tracks appeared in different versions elsewhere. These were second takes, or the unedited takes before producer Teo Macero and Miles were able to edit them, cut and paste their parts into other things, or whatever. That is not to say the album should be dismissed.
Pappo was an Argentinean guitarist/singer that rose to prominence in the 70's, mainly through his ever-changing blues rock band, Pappo's Blues. He'd go on to achieve legendary status, being regarded as Argentina's greatest guitarist of all time and performing together with international artists such as B.B. King.
One thing is certain in this uncertain world – you can trust Ashley Hutchings to do interesting things with various areas of British folk and rock music. In the case of the Albion Dance Band, under its various names, the focus was on mutating traditional English dance and folk music, which led to escapades involving traditional tunes, Morris dancers, double drummers, dance callers, Philip Pickett's entire collection of medieval instruments, and serious rock guitar front lines that tend to leap onto the hay cart and start blazing away. The Prospect Before Us is particularly unusual, even for Hutchings and the Albions – a number of the tracks were recorded live in the studio, complete with dancing by the Albion Morris Men, an effort that resulted in some especially raucous moments: the bonus version of "Merry Sherwood Rangers" is far more staid than the live rendition that made it to the original version of this album. An essential purchase, we think.