GQ originally formed in 1968 as Sabu & The Survivors. Their biggest hit was "Disco Nights (Rock-Freak)” single from their debut album which peaked at R&B #1, Disco #3 and Pop #12. The debut album peaked at R&B #2 and Pop #13. GQ TWO was their second album and reached R&B #9 and Pop #46 shortly after it’s release in 1980. It was produced by Jimmy Simpson who also produced Candi Staton, Ashford & Simpson and Deodato.
GQ originally formed in 1968 as Sabu & The Survivors. They released three albums on Arista Records between 1979 and 1981. DISCO NIGHTS was their debut album and also their most successful spending five weeks at the #2 position in the R&B charts and reaching #13 in the Pop chart. DISCO NIGHTS (ROCK FREAK) was the first single from the album and gained them the #1 spot in the R&B charts as well as #3 in the Disco chart and #12 in the Pop chart. It sold over one million copies in the US alone and has become an ultimate Dance classic.
Fleetwood Mac was the subject of an all-star tribute back in 1998, when Legacy: A Tribute to Fleetwood Mac's Rumours appeared. That full-length album tribute celebrated the Mac's biggest hit in a big way, concentrating entirely on major-label acts like Elton John and Matchbox 20, but 2012's Just Tell Me That You Want Me: A Tribute to Fleetwood Mac is decidedly more eccentric, as its title – a line borrowed from "Tusk" – no doubt suggests. Apart from Marianne Faithfull and Billy Gibbons, along with Americana singer Trixie Whitley, every band here exists solely within the realm of indie rock and, collectively, there's been a decision to stray from the confines of the standards of the Buckingham/Nicks songbook, with Bob Welch and Peter Green eras almost as well-represented as oddities from Lindsey Buckingham's album tracks…
The sophomore effort from Georgia-raised, Britain-based vocalist Kristina Train, 2012's Dark Black is a brooding, atmospheric collection of slow-burn pop songs that put her burnished, sultry croon at the fore. Picking up where 2009's Spilt Milk left off, Dark Black finds Train once again working with British singer/songwriter Ed Harcourt, as well as songwriter/producer Martin Craft. Together, they've come up with an album that builds upon Train's twangy Southern roots layered with a baroque, cinematic aesthetic. Train's vocals are often drenched in an echo-chamber sound, often backed with boomy, resonant percussion, languid piano parts, eerie orchestral sections, shimmering baritone guitar lines, and even some light electronic flourishes. In that sense, the album brings to mind the work of such similarly minded contemporaries as singer/guitarist Richard Hawley and neo-soft rock singer Rumer as much as it does the classic soul-inflected '60s sound of Dusty Springfield.
If someone asks you whether or not you like 'Korean music' you might wonder what kind of a question that is - after all, surely an entire country isn't likely to stick to one style in all of the music that it outputs. However, if you know anything about modern, popular Korean music you're likely to know what it is this someone is on about. Yes, kpop is becoming more of a phenomenon every day, and you'd be hard-pressed to find many people, Korean or otherwise, that know much about any Korean musical artists outside of mass-produced, fluffy pop music. It is the prominence of such samey pop that pushes down a lot of wonderful artists in South Korea, and I won't sugar-coat it in the same way the industry sugar-coats their mainstream output: it is almost heartbreaking how many of these artists are not given half of the recognition they deserve. Jambinai is one of these artists.