After the Velvet Underground cut three albums for Verve Records that earned them lots of notoriety but negligible sales, the group signed with industry powerhouse Atlantic Records in 1970; label head Ahmet Ertegun supposedly asked Lou Reed to avoid sex and drugs in his songs, and instead make an album "loaded with hits." …
Forty-fifth anniversary box set release from The Velvet Underground & Nico featuring the latest remastering. Set consists of 6 discs includes 29 unreleased tracks in a 92-page hardcover book packaging with a sticker of banana. Japanese edition features the high-fidelity SHM-CD format (compatible with standard CD player). The set includes both stereo and mono versions of the album "The Velvet Underground & Nico" (Disc 1-2), as well as Nico's 1967 solo debut CD "Chelsea Girl" (Disc 3), a studio session at Scepter Studio recorded to acetate, and unreleased recording footage from rehearsal at Andy Warhol's Factory in January 1966 (Disc 4), and a live show from Columbus, Ohio (Disc 5-6).
The most high-profile percussionist of the 1970s and still among the most famous, Airto Moreira (often simply known by his first name) helped make percussion an essential part of many modern jazz groups; his tambourine solos can border on the amazing. Airto originally studied guitar and piano before becoming a percussionist. He played locally in Brazil, collected and studied over 120 different percussion instruments, and in 1968 moved to the U.S. with his wife, singer Flora Purim. Airto played with Miles Davis during part of 1969-1970, appearing on several records (most notably Live Evil). He worked with Lee Morgan for a bit in 1971, was an original member of Weather Report, and in 1972 was part of Chick Corea's initial version of Return to Forever with Flora Purim.
Essential: a masterpiece of progressive rock music
Cressida’s short career will be unfortunately unnoticed, despite having a lot of trumps in their hands. Just two albums, but both fetching small fortunes (partly due to the fact that they were released on Vertigo’s Swirl label), but the music quality is simply excellent on both records although there are very notable differences between them.
Michael Gira claims that Swans' The Seer took 30 years to make: "it's the culmination of every previous Swans album as well as any other music I've ever made, been involved in or imagined." This is not hyperbole. Two years after My Father Will Lead Me Up to a Rope to the Sky, The Seer is the most sprawling, ambitious, thoughtfully conceived and tightly performed recording in the band's catalog – also not hyperbole – over two discs, two hours, and 11 tracks. And it is not an endurance test, but an argument for compulsive listening. It's an exquisitely wrought journey through post-rock, electronic soundscapes, haunting acoustic songs, punishing noise, and (lots of) percussion.
After a first album, Harmonic Ascendant, where the ambient and atmospheric structures were moulding to a deep romanticism, Robert Schroeder undertakes a first musical change of direction by offering a 2nd album filled of a very great wealth in eclectic tones. Here, no romantic guitars that flirt with a solitary cello or vocoders which roam in a cosmic mist, Floating Music (whose title has nothing to do with its musical structure) is an album where the rhythm at once funky and sensual thrones among suave cosmic flights. A first change of course from an artist whose versatility will be the cornerstone of his musical charms.
Atlantic Starr hit its commercial peak in the late '80s, when the bland, insipid adult contemporary ballad "Always" soared to number one on both the pop and R&B charts. That song put Atlantic Starr in the Whitney Houston/Lionel Richie realm – in other words, people who associate Atlantic Starr with "Always" think of them as a crossover act. But from an R&B standpoint (as opposed to a pop/adult contemporary standpoint), Atlantic Starr provided their best work in the early '80s, when Sharon Bryant was still on board and the East Coast residents were being produced by James Carmichael. Released in 1982, Brilliance was the second of three albums that Carmichael produced for Atlantic Starr – and it is also one of the band's finest and most essential releases.