The daughter of the late bluesman Johnny Copeland steps up to the plate with this, her debut album for the Alligator imprint. Although only 19 at the time of this recording, Copeland comes to this album with a mature style and vast amounts of assuredness. While comparisons to Koko Taylor and Etta James will be plentiful, Shemekia has enough tricks up her sleeve to make this a disc well worth checking out. Eight of the 14 tunes aboard are co-written by producer John Hahn and strong musical support is summoned up from guitarist Jimmy Vivino, with guest turns from Joe Louis Walker and "Monster" Mike Welch, while the Uptown Horns show up on three tunes, including the title track. Highlights are numerous on this disc, but special attention should be paid to Copeland's "Ghetto Child," a nice cover of Don Covay's "Have Mercy"; Walker's "Your Mama's Talking"; and the strutting "I Always Get My Man." This is one very impressive debut.
Canned Heat's 1978 release, Human Condition, was an important one in the band's overall discography, as it was the last studio effort to feature original singer Bob Hite fronting the band (Hite would pass away in 1981). In 2006, the album was expanded with a pair of live tracks from 1985 and retitled Human Condition Revisited, and was packaged as a double disc that also featured the overlooked 1981 solo effort by Canned Heat guitarist Henry Vestine, I Used to Be Mad! (But Now I'm Half Crazy).
Canned Heat's second long-player, Boogie with Canned Heat (1968), pretty well sums up the bona fide blend of amplified late-'60s electric rhythm and blues, with an expressed emphasis on loose and limber boogie-woogie. The quintet – consisting of Alan "Blind Owl" Wilson (guitar/harmonica/vocals), Larry "The Mole" Taylor (bass), Henry "Sunflower" Vestine (guitar), Aldolfo "Fido" Dela Parra (drums), and Bob "The Bear" Hite (vocals) – follow up their debut effort with another batch of authentic interpretations, augmented by their own exceptional instrumentation. One development is their incorporation of strong original compositions. "On the Road Again" – which became the combo's first, and arguably, most significant hit – as well as the Albert King inspired anti-speed anthem, "Amphetamine Annie," were not only programmed on the then-burgeoning underground FM radio waves, but also on the more adventuresome AM Top 40 stations. Their love of authentic R&B informs "World in a Jug," the dark "Turpentine Blues," and Hite's update of Tommy McClennan's "Whiskey Headed Woman".
Phil Collins - Face Value (1981). Phil Collins' first solo album, 1981's Face Value, was a long time coming, but it proved worth the wait, both for the Genesis drummer/vocalist himself and fans of thoughtful, emotionally charged pop. He'd been wrestling with the idea of doing a solo record for years, finding great inspiration in the pain caused by an impending divorce and craving artistic independence after years of collaboration. Many of the songs ended up on Genesis' 1980 album Duke - and "Against All Odds" was pocketed for later use - but he kept enough to make an album that stands as a classic moment of '80s pop/rock. Collins produced the album himself and played keyboards and drums, calling in friends and the Earth, Wind & Fire horns to fill out the songs…
Chihiro Yonekura is a Japanese singer and songwriter from Yokohama, Kanagawa, Japan. She is best known for her songs that are used in anime.
The Scandinavian countries, with well-funded symphony orchestras, have been producing a new generation of composers who write for them. The best of these, a group that undoubtedly includes Anders Hillborg, have begun to attract attention and commissions from outside the region. Three of this group of four works from between 2010 and 2014 (Hillborg has been at it for decades) had commissioners from outside Sweden, and the mighty centerpiece, Sirens, was commissioned by the Los Angeles Philharmonic (whose former music director, Esa-Pekka Salonen, conducts it) and the Chicago Symphony Orchestra.