BGO Records has released two early ‘70s albums by the legendary John Lee Hooker. While admittedly not his best albums, they both still show this man did more than play the blues, he lived them. On these offerings, Hooker pumped out a slow moving steam engine of blues music that never picks up too much speed, yet keeps things chooglin’ along just fine.
Stand Up is the second studio album by the British rock band Jethro Tull, released in 1969. Stand Up represents the first album project on which Anderson was in full control of the music and lyrics. The result was an eclectic album with various styles appearing in its songs, yet an album which remained somewhat in the blues rock mould, which would be the last such album from Jethro Tull. The album quickly went to number 1 in the UK charts. It was released again in November 2016 in a box set with two CDs and one DVD, named Stand Up - The Elevated Edition. The box contains rare and previously unreleased music (such as an alternate take of "Bourée", BBC tracks, radio spots) including new stereo and 5.1 mixes of the album and bonus tracks by Steven WIlson, and a live presentation, from a concert in Sweden in 1969, also remixed by Wilson.
One of Jerry Goldsmith’s greatest sci-fi/fantasy scores comes to CD in complete form: Twilight Zone: The Movie, the 1983 anthology film inspired by the classic Rod Serling TV series. No composer was better suited to score the big-screen Twilight Zone adaptation than Jerry Goldsmith. By the early 1980s Goldsmith was a master in every genre of film, from intimate dramas to large-scale adventures, but he was particularly noted for his landmark scores for science fiction: Planet of the Apes, Star Trek: The Motion Picture, Alien and more—including Poltergeist (1982), for Twilight Zone: The Movie producer and co-director Steven Spielberg, and the original Twilight Zone series, for which Goldsmith scored classic episodes like “The Invaders”.
The longtime lead vocalist for Krautrock pioneers Can, Kenji "Damo" Suzuki was born in Japan on January 16, 1950. An expatriate street poet inspired by Jack Kerouac's On the Road, he spent the better part of the late 1960s wandering through Europe, and while busking outside a cafe in Munich in May of 1970 was discovered by Can members Holger Czukay and Jaki Liebezeit; asked to replace the group's former frontman Malcolm Mooney, Suzuki joined them onstage that very night, making his recorded debut later that same year on the LP Soundtracks. With Suzuki in the lineup, Can produced its most enduring and innovative work, including classic LPs like 1971's Tago Mago, 1972's Ege Bamayasi and 1973's Future Days; however, upon completing work on the latter, he left the band to become a Jehovah's Witness. Absent from music for a decade, in 1983 Suzuki began showing up unannounced to perform at shows by the band Dunkelziffer, eventually joining the group full-time and recording a pair of LPs; in 1998, he founded the Damo's Network label, issuing a series of live recordings including V.E.R.N.I.S.S.A.G.E., Seattle and the seven-CD box set P.R.O.M.I.S.E..
Even when paying homage to the Moroccan music she grew up with, vocalist Natacha Atlas can't help but let the multicultural and modern seep in. With bossa nova, Western pop, and just a thin slice of electronica figuring into the mix, the "back to my roots" album Mish Maoul is a rich collection of music that doesn't sound decorated but natural coming from an artist who prides herself in being a musical nomad. Easy to believe a nomad's memories of her homeland would be foggy and sentimental, and easy to believe the modern nomad's soundtrack would sound something like this – only something like this because this is far and away Atlas' most personal album. Suitably, she seems totally in charge of its construction, making interesting production choices with the help of Temple of Sound, Timothy Whelan, and others. For someone who has worked with Transglobal Underground, Art of Trance, and Jah Wobble in the past, the restraint Atlas uses on the rhythmic and ritualistic "Hayati Inta" is surprising and creates an intoxicating tension with only a slight bit of electric guitar revealing this isn't a field recording.