In 2013, David Byrne’s Luaka Bop label released Who is William Onyeabor?, a compilation of the obscure, but increasingly influential Nigerian musician William Onyeabor. Now (in 2014) follows a 9xCD box set that collects the entirety of Onyeabor’s recorded output.
It's always fascinating to go back in time and re-discover the origins of a genre-defining band, especially one that has been as influential as Within Temptation. Originally released in 1997, the stripped down and dark/gothic doom of Enter stands in stark contrast to the polished and catchy Hydra, their latest studio release out earlier this year. And while Enter was previously reissued in 2007 along with the 1998 EP The Dance, Nuclear Blast - perhaps in light of the recent success of Hydra - decided to make these more obscure and out of print titles once again available for new (and old I suppose) fans of the band…
Excellent Monk concert from his well-documented 1961 European Tour. The sound is very good and Monk is in very good form. The bonus tracks were recorded for TV in Bussum; April 1961. There is a low quality video copy of part of this that circulates among collectors, but it is nice to have it in a much more complete audio format as presented here. Huge thanks to the Dutch Archives for releasing this vintage Monk!
The first-ever single-disc anthology of Queen drummer Roger Taylor's solo material, 2014's Best brings together tracks off all five of his studio albums. The collection follows-up the more exhaustive 2013 box-set, The Lot, and features cuts from 1981's Fun in Space, 1984's Strange Frontier, 1994's Happiness?, 1998's Electric Fire, and 2013's Fun on Earth. While primarily known for his commanding drum presence with Queen, Taylor is also a strong rock singer and talented songwriter, responsible for penning such Queen hits as "Radio Ga Ga," "Breakthru," "These Are the Days of Our Lives," and others. Vocally, Taylor has a throatier, more gravelly presence on the microphone than Queen's highly resonant, operatic frontman Freddie Mercury. In that sense, he often brings to mind the sound of such similarly inclined contemporaries as the Who's Roger Daltrey, Mott the Hoople's Ian Hunter, and Deep Purple's Ian Gillan. Perhaps not surprisingly, many of the cuts here sound like they could easily have ended up on a Queen album, and tracks like "Let’s Get Crazy," "Man on Fire," and "Strange Frontier" showcase the same synth-driven, pop/rock approach Queen was championing in the '80s.