This vocal quartet originally started life as an extension of jazz band the Hi-Lo’s. From that prominent '50s band came Don Shelton, who decided to form Singers Unlimited after the Hi-Lo’s broke up in 1964. After retreating to Chicago, Illinois, where he worked on a series of television commercials, he enlisted fellow Hi-Lo’s veteran Gene Puerling of Milwaukee, Wisconsin, to join him in the city in 1967. The group was formed along with Len Dresslar and Bonnie Herman, with the express intention of recording commercials in the doo wop/vocal group idiom. Shelton’s connections in the industry ensured the group was able to exploit the market successfully, and lucrative work rolled in. However, the 30-second snatches of songs hardly satisfied their artistic ambitions, and when they found themselves with studio time left over after one session, they recorded a take on the Beatles' "The Fool on the Hill." Through visiting jazz pianist Oscar Peterson, the demo of the a cappella recording was passed to MPS Records in Germany.
It truly is remarkable what one drummer, five vocalists and an author can accomplish. The outcome? A grand impact of exhilaration that has the listener so immersed into a parallel universe, that they don’t want to think about anything else. The record in question, that will no doubt cause all attention levels on everything else to drop and arise awareness to the sheer beauty the album delivers, is the new upcoming album titled “Voices Of Fire” for Acapella Metal troupe VAN CANTO….
Release of live footage from the "Final Fantasy" orchestral concert held at the Pacifico Yokohama in February of 2006. Includes complete footage from the show including performances from Emiko Shiratori, RIKKI, Izumi Masuda, Angela Aki, The Black Mages, the acapella group Mogleys, and more. Limited edition includes bonus DVD with documentary footage and interview with Nobuo Uematsu and Arnie Ross.
There are a number of arguments to be made for and against Maria Muldaur's 2008 antiwar statement Yes We Can! on Telarc (before actually listening to it; remember, we live in a cynical culture). The "perceived" negatives all relate to the intent of the recording and who it's supposed to reach (no doubt an expression of the same set of beliefs rooted in Muldaur's 1960s music), and the fact that it's loaded with guests (in all fairness, these star-studded affairs seldom work). On Yes We Can!, her guests include Muldaur's old friends (Joan Baez, Bonnie Raitt, Phoebe Snow, Jane Fonda, and Holly Near) and influences (Odetta) and new pals (writers/spiritual gurus Anne Lamott and Marianne Williamson, and Indian spiritual teacher Amma). Does it read as if it is yet another exercise in self-referential backslapping? Yep. But don't believe everything you read on the back of a CD jacket. The positives are all musical.