A wonderful artifact, this is a prime slice of the latter-day Satchmo with a small all-stars band working through a relatively typical set. The performance ranges from solid to excellent, with the occasional odd flub (such as the uncertain return after Danny Barcelona's first drum solo on "Basin Street Blues"), but the quality of the recording is the key element. The Mobile Fidelity gold CD edition adds three tracks to the Storyville original, and provides a clear, uncluttered sound field with excellent separation. The resulting album is a treat to hear. ~ Steven McDonald, Rovi
With its title originating from an Isaac Asimov novel, I Robot's main concept is one that deals heavily in the field of science fiction. The album's idea is based around Parsons' concern with the onslaught of machinery and its inevitable takeover of man, both in a physical sense and a spiritual one. As one of the Alan Parsons Project's strongest efforts, its wise blend of keyboard-dominated instrumentals partnered with the warmth of the vocals during the lyrical songs emblazons the man-vs.-machine idea. The mechanical-sounding title track is the opening song, setting the tone for the album's futuristic motif. Man's regret for his mechanical creations sweeps through "I Wouldn't Want to Be Like You," with a passionate Lenny Zakatek singing lead.
Although one of the world's best-kept secrets at the time, this was John Lennon's declaration of independence from the Beatles, the document of a concert appearance at Toronto's Rock and Roll Revival festival about a month after the conclusion of the Abbey Road sessions. Thrown together literally on the wing (they rehearsed only on the flight from England), the ad-hoc band consisting of Lennon, Yoko Ono, Eric Clapton on guitar, Klaus Voorman on bass, and Alan White on drums hit the stage to the surprise and delight of the thousands who packed Varsity Stadium…
This fourth album from Manhattan Transfer was the first for Cheryl Bentyne, who replaced Laurel Masse after the original singer's auto accident and subsequent decision to leave the group. Though replacing Masse was difficult, Bentyne's energy and style proved to be the perfect complement to the group's already dynamic performance. Hits from Extensions include "Twilight Zone" and "Birdland," which earned the group their first Grammy for Best Jazz Performance, Vocal or Instrumental.
Perhaps the funkiest album of Herbie Hancock's early- to mid-'70s jazz/funk/fusion era, Man-Child starts off with the unforgettable "Hang Up Your Hang Ups," and the beat just keeps coming until the album's end. "Sun Touch" and "Bubbles" are slower, but funky nonetheless. Hancock is the star on his arsenal of keyboards, but guitarist Wah Wah Watson's presence is what puts a new sheen on this recording, distinguishing it from its predecessors, Head Hunters and Thrust. Others among the all-star cast of soloists and accompanists include Wayne Shorter on soprano sax, Stevie Wonder on chromatic harmonica, and longtime Hancock cohort Bennie Maupin on an arsenal of woodwinds.
From the beginning, Frank Zappa cultivated a role as voice of the freaks - imaginative outsiders who didn't fit comfortably into any group. We're Only in It for the Money is the ultimate expression of that sensibility, a satirical masterpiece that simultaneously skewered the hippies and the straights as prisoners of the same narrow-minded, superficial phoniness. Zappa's barbs were vicious and perceptive, and not just humorously so: his seemingly paranoid vision of authoritarian violence against the counterculture was borne out two years later by the Kent State killings.