Dino Saluzzi’s new music for orchestra and soloists characteristically glides through the borders between the idioms. A Saluzzi composition can, from one minute to the next, be “serious”, “popular”, “traditional”, “experimental, even if these style divisions barely exist for a bandoneonist who prefers to see his work as “simply an expression of innocence”. “El Encuentro” was recorded live in Amsterdam with the Metropole Orchestra in February 2009 and is issued in time for Dino’s 75th birthday in May.
THE COMPLETE REMASTERED RECORDINGS ON BLACK SAINT & SOUL NOTE is a monographic box-set collection aimed at recounting the most beautiful chapters that revolutionised the history of jazz. This new series was launched in March 2010 with the simultaneous release of four box-sets, including albums by some of the artists who participated in the success of the outstanding labels. A philological work, beginning with the original recordings on multi-track master tapes, patiently integrally remastered paying strict attention to the sound quality.
EU three CD set containing a trio of original albums from the AOR/Melodic Rock greats: Departure (1980), Escape (1981) and Frontiers (1983). While the band had been active during the '70s, it wasn't until Steve Perry joined as vocalist, leading to Journey's dominance of FM radio during the first half of the '80s. Departure features the hit 'Any Way You Want It', which really kickstarted their ascension to the upper reaches of the charts. Escape features the hits 'Don't Stop Believing', 'Who's Crying Now' and the mega hit 'Open Arms'. Frontiers includes the hits 'Separate Ways (Worlds Apart)', 'Send Her My Love' and 'Faithfully'.
So Danço Samba is the fourth album by keyboardist/composer-arranger Clare Fischer, and his first in the bossa nova vein, recorded and released in 1964 on the World Pacific label. Devoted primarily to the music of Antonio Carlos Jobim, it also features three of Fischer's own compositions.
All good things must come to an end. Thus it is with tears in our eyes and handkerchiefs in hand that, this month, we bring the curtain down on our series of pairings of the Shirelles’ original Scepter albums. We’d love it to have continued for longer but, unfortunately for us all, the girls just did not release enough long players to make that happen. If you’re looking for someone to blame for that, blame Florence Greenberg – Scepter was her label, not ours. Few big (or small) girl groups of the 1960s could have achieved the level of success that they did without the pioneering work of Shirley Alston, Micki Harris, Doris Coley and Beverly Lee. The conclusion of the series is with two very rare albums, neither of which has ever been on CD before.
This is a double CD collection of studio recordings from 1962 to Luke’s untimely death in 1984, covering the original releases of the songs that became synonymous with Luke. In addition the collection will include the rare recording of Ray Davies song ‘Thank You For The Days’.
Hip-O Select’s 2010 double-disc set Sweet Dreams: The Complete Decca Masters (1960-1963) gathers all of the 51 master takes Patsy Cline recorded with Owen Bradley after she left 4 Star Records for Decca in 1960, running right until her tragic death in 1963. This is the first time all these master takes have been issued in a complete set, which is hard to believe because they form the core of Cline’s legacy. Patsy had been recording frequently since 1954 when she first signed a deal with 4 Star, but the label’s president, Bill McCall, insisted that she only recorded songs for which he owned the publishing rights, a restrictive deal that resulted in only one hit, the classic career-making “Walkin’ After Midnight.”
It’s been seven years since Sarah McLachlan released Afterglow, her last album of original material. That’s a lifetime in the pop world, perhaps, but McLachlan handles her absence well, filling Laws of Illusion with the same sort of adult contemporary fare that made her a star in the first place. The market has changed since McLachlan’s late-‘90s heyday; pop starlets like Lady Gaga and Taylor Swift are now among the industry’s most highly prized female songwriters, making McLachlan seem a bit staid and outdated by comparison. With the 2010 revival of Lilith Fair, though, she has somewhat reconstructed the world as it existed a decade ago, and Laws of Illusion furthers the fantasy by taking its cues from Clinton-era folk-pop…
Bassist Nick Greenwood is best-known today for his fiery work with Arthur Brown in his own 1968-69 heyday. Moving on, in 1972, Greenwood chose to record a solo album, and to that end brought together a crack band of sessionmen. Even for its time the resulting Cold Cuts set was way out there, a mighty slab of psychedelia-laced prog rock that soared into musical recesses seldom explored. Besides showcasing Greenwood's superb bass skills, fans are also surprisingly treated to his vocals – surprising, because Greenwood was not previously known as a singer…
One of the great lost treasures of australian 70’s music. Although Autumn began as a bubblegum band in the late-60’s, the early-70’s found them, after various line-up changes, a markedly different band. With lush harmonies, Beatlesque arrangements and a great batch of songs that ranged from breezy pop to progressive rock (as well as the the seven minute orchestral extravaganza: ‘Kill My World’), Comes… Autumn showed a mature and accomplished band that belied both their age and their beginnings. Features the singles ‘Falling’, and ‘Goblin’s Gamble’ plus 5 bonus tracks: including the rare final single ‘Just Couldn’t Believe It’, a spirited cover of The Beatles’ ‘Day Tripper’ and previously unreleased demos. Deluxe reissue is packaged in a 6 panel digi-pak. It has been remastered by Gil Matthews. Liner notes featuring quotes from a recent interview with lead singer Tony Romeril and a 24 page booklet filled with rare photos, posters.