MANILLA ROAD - The epic metal legends lead by Mark Shelton are back again! On 30 June 2017, the new studio album "To Kill A King" will be released at Goldencore Records in 3 different configurations: - GCR 20111-2 (Standard Edition in Digipack) - GCR 20111-1 (double vinyl including an exclusive bonus track in tube bag with CD) - GCR 20111-2D (Deluxe box, with flag, storm lighter, plectrum and Digipack CD) Not counting the live albums, "To Kill A King" is now the eighteenth studio album by the inventors of Epic Metal from Wichita / Kansas. With the album they celebrate their anniversary year "40 Years Of Manilla Road". The iconic Metalheads left the underground scene only five, maximum six, years ago. Before, performances at festivals such as Sweden Rock, Hellfest and Bang Your Head were just as unusual as participating in the "700000 Tons Of Metal Cruise" in 2016. In spite of everything not Manilla Road have changed, but the scene and listening habits of metal heads and rockers. In their fortieth year, the band is finally at the right time and the right place to unite the underground with the conventional rock and metal scene.
The choir which David Trendell directed for twenty-two years pays tribute in a collection of specially chosen pieces by Davids colleagues, friends and former students, interspersed with the Renaissance polyphony which was Trendells area of scholarly expertise. His deep love for the Song of Songs has inspired many of the inclusions, and its nature imagery threads through the disc, adding a suggestion of renewal and rebirth to the memorial tone of works written in the difficult months after his untimely death.
King Sunny Adé had been making his own music since 1974 with his group the Green Spots before creating his large African Beats group. This band, despite making literally over 100 records in Nigeria, failed to stir much Western interest until Mango Records, a subsidiary of Island, took a chance and issued the breakthrough album Juju Music in 1982. With its seven extended cuts, it introduced King Sunny Adé & His African Beats to the U.S. as well as England and most of the rest of Europe – save for France, where the band had previously been able to tour. This U.K. two-fer reissue of 1983's Synchro System and Aura (on Cherry Red's T-Bird imprint) is comprised of the other two recordings in the band's Mango catalog (the band was dropped after sales of these two recordings proved disappointing to label bosses who tried to market Adé as "the new Bob Marley").
Henry Purcell's Twelve Sonatas of Three Parts were issued in 1683, when the composer was 24 and the first wave of Italian trio sonata-like pieces was hitting France and England with earthshaking impact. Purcell followed Italian models with a pair of interlocking violin parts over a continuo, but the results are unmistakably English and hark back to the melancholy consort tradition, with oddly shaped lines and pungent dissonances scattered through the short, four-movement pieces (six or seven minutes in total).
The second album of the just 20-year-old Marcus King and his band. A total of 13 songs by Marcus King and his fellow musicians, drummer and percussionist Jack Ryan, bassist Stephen Campbell, keyboardist and organist Matt Jennings, saxophonist Dean Mitchell, and trombonist Justin Johnson for 'The Marcus King Band'. Marcus plays the guitars, from acoustic and electric to pedal and lap steel guitar. Have a listen to his soulful singing. The result is an extraordinary blend of blues, rock, soul, country and Americana. Special guests: Derek Trucks and Warren Haynes, who is also the producer of the CD.
All of King's recordings for the Bobbin label are on this 22-track disc, including everything from his 1959-1963 singles for the label and previously unissued alternate takes of "Why Are You So Mean to Me," "The Time Has Come," and the previously unissued "Blues at Sunrise." While these are decent journeyman urban blues/R&B, they're not up to the level of his subsequent recordings for Stax. Albert King just sounds too much like the records another King – B.B. King, that is – was making during the same era. There are similar horn arrangements and alternation of stinging guitar with smooth, confident vocal phrasing. It's a tribute to Albert King's abilities, in a way, that it does sound confident, and not the work of an imitator, despite the similarities.