Whirlwind is the fourth album by singer/songwriter/multi-instrumentalist Andrew Gold. It was released in 1980 on Asylum Records. It is Gold's final major label album and last solo album of any kind for over a decade.
Andrew Gold is the first album by singer/songwriter/multi-instrumentalist Andrew Gold. It was released in 1975 on Asylum Records. Linda Ronstadt, of whose band Gold was a member at the time, appears on the album.
Here is a worthwhile re-issue of a classic jazz-fusion release. The title track is just a sublime piece of midtempo magic, the kind of track would play on his much missed Radio 1 show (the music for a candlelight dinner section). gets to sing on this track. Elsewhere we get some jazz-funk instrumentals the best to my mind being the moody, downtempo with ronnie's soprano sax to the fore atop dreamy fendor rhodes. is an attractive ballad with singing again. With sidesmen and women of the calibre of , , and helping out, he can't really go wrong, can he?
Formed in 1967 by former Motions guitarist Robbie van Leeuwen, the Dutch quartet Shocking Blue originally had a lineup of VanLeeuwen on guitar, lead vocalist Fred DeWilde, bass player Klaasje Van der Wal, and drummer Cornelius Van der Beek, and the initial configuration of the band had a minor homeland hit with “Lucy Brown Is Back in Town” a year later in 1968. Things really got moving, though, when DeWilde was replaced by sultry singer Mariska Veres, whose sexy presence and solid singing brought the band a second Netherlands hit, “Send Me a Postcard,” and then a huge international smash with “Venus” in 1970 after the group had signed to Jerry Ross' Colossus Records imprint.
2006 seems to be a significant year for jazz's elder states persons. Pianist Andrew Hill has seen a year full of recordings: new music, reissues and previously unreleased material, as well as an outstanding tribute by guitarist Nels Cline. Chick Corea, who's a few years younger than Hill, has released a new record and toured with trios focusing on his back catalog. Super Trio (Stretch, 2006) documented a tour where the pianist was clearly in control of the arrangements; however, Live in Molde is an entirely different affair.
Tabor teams up with one of Britain's leading folk-rock outfits, the Oyster Band, with fairly successful results, although it won't be the favorite of June's most traditionally-minded fans. She takes all the lead vocals on these fully electrified arrangements. The material is certainly varied, including both traditional numbers and covers of contemporary folk and rock tunes by Richard Thompson, Si Kahn, the Pogues, Billy Bragg, and the Velvet Underground.
Listening to this, it's easy to believe that June Tabor was made to sing these old border ballads, tales of the uneasy coexistence of families in the marches between England and Scotland. Her dark voice is well-suited to the texts, which are often bloody and vengeful, and quite certainly epic – in some respects, the very essence of British balladry, whether it's "The Battle of Otterburn," with its gloriously textured Kathryn Tickell arrangement, or the demanding "The Duke of Athole's Nurse," where Martin Simpson is reunited with Tabor, his guitar offering shining counterpoint to her voice. The songs, tried and tested over the centuries, are wonderful in themselves, but Tabor's presentation of them brings them fully to life, like "The Cruel Mother." Harrowing at the best of times, it becomes pure torment in her hands. And her "Sir Patrick Spens" makes the old Fairport Convention version sound like a playground romp. Intensity has always been one of Tabor's fortes, and here she takes full advantage of the opportunity to indulge it.
The 20th-Century Cello performed by Matt Haimovitz is a great way to wade into the waters of 20-century music. His technique and musicality are inspiring and the 3-CD collection of pieces is extensive and diverse. It is a great value and a great educational tool for aspiring cellists.