30 years after the release of their debut album, ERASURE (Andy Bell and Vince Clarke) celebrate their incredible career and friendship with a 13 disc anthology box set charting their award-winning songwriting partnership. Mute / BMG are delighted to announce From Moscow To Mars – An Erasure Anthology. Curated by Vince and Andy it is a sumptuous box of memories of Erasure’s intergalactic journey through the pop and glitter and love that has defined their story so far. The BRIT and Ivor Novello winning pop duo have released a staggering number of albums, including 5 UK Number 1’s and 17 top 10 singles (35 singles charted in the UK Top 40) and their recent best of, Always, saw the band entering the Top 10 album charts once again. From Moscow To Mars is a 13-disc box set that includes all of the band’s 50 singles, a CD from both Vince and Andy compiling their favourite tracks, CDs of remixes (from Martyn Ware, William Orbit, Little Boots, Youth, Shep Pettibone, Chris & Cosey, to name but a few), b-sides, live material and rarities PLUS a radio documentary about the band and the Wild! concert, available on DVD for the first time.
Like Memphis, Tennessee, Atlanta was a staging post for itinerant musicians and like Memphis, it was home to an impressive number of guitarists who established a very distinctive style of playing that became synonymous with the city. It was also the location for the first country blues artist, Ed Andrews, to be recorded. Three years later, Julius Daniels was the first Carolina bluesman to record. Atlanta was also a recording centre for out-of-state artists such as Blind Lemon Jefferson, Bo Carter, the Memphis Jug Band, Blind Willie Johnson and Hambone Willie Newbern. A further school of blues gathered around Peg Leg Howell and Eddie Anthony.
‘The blues come to Texas, loping like a mule,’ Blind Lemon Jefferson sang through a shower of surface noise as he made his recording debut in March 1926. He established the primacy of Texas blues musicians that continued unchallenged for the next 30 years, encompassing the likes of Henry ‘Ragtime’ Thomas, Texas Alexander, T-Bone Walker, Smokey Hogg, Lightnin’ Hopkins, Clarence ‘Gatemouth’ Brown, Clarence Garlow, Lil’ Son Jackson, Lowell Fulson and Frankie Lee Sims. Other famous musicians recorded when they were passing through Texas, and that included Lonnie Johnson, Walter Davis, The Mississippi Sheiks, Robert Johnson, Roy Brown, Joe Turner, Honeyboy Edwards, Memphis Slim and Jimmy McCracklin.
Van Zandt's subject matter had not changed much in the seven years between recordings, as was apparent only a few lines into the leadoff track, "A Song For," when Van Zandt spoke-sang, "I'm weak and I'm weary of sorrow." In fact, he wasn't weary of enumerating the causes of sorrow, as was proven especially in "Marie," sung in the voice of a derelict whose life gets worse and worse until his pregnant girlfriend dies. Songs like that were typical of Van Zandt, but this time he also displayed an unusual range, from the scary, calypso-like song of temptation "The Hole" to the weird tall tale of "Billy, Boney and Ma" in which a man and a skeleton turn to a life of crime, demonstrating Van Zandt's humorous side.
For only the second time in her career, jazz pianist and vocalist Diana Krall deviates from her tried, true m.o. of covering easily identifiable jazz standards. On Glad Rag Doll she teams with producer T-Bone Burnett and his stable of studio aces. Here the two-time Grammy winner covers mostly vaudeville and jazz tunes written in the 1920s and '30s, some relatively obscure. Most of the music here is from her father's collection of 78-rpm records. Krall picked 35 tunes from that music library and gave sheet music to Burnett. He didn't reveal his final selections until they got into the studio. Given their origins, these songs remove the sheen of detached cool that is one of Krall's vocal trademarks. Check the speakeasy feel on opener "We Just Couldn't Say Goodbye," with Marc Ribot's airy chords, Jay Bellerose's loose shuffle, and Dennis Crouch's strolling upright bass. Krall's vocal actually seems to express delight in this loose and informal proceeding – though her piano playing is, as usual, tight, top-notch.
Kscope label digipak CD edition of the sixth solo album from Mick Karn (originally released on the Invisible Hands label in 2004). More Better Different sees Karn utilising guitars, clarinet, samples and spoken word in nine mood pieces, which swing from the winningly funky The Jump to the cinematic noodling of The End Gag to the wah guitar and 80's sci-fi soundtrack stylings of Atyan B-Boot.
Bossa nova is not unfamiliar to Diana Krall, but 2009's Quiet Nights is her first record devoted to the gently swaying rhythm. Teaming up again with arranger Claus Ogerman, who last worked with Krall on 2001's The Look of Love and who also frequently collaborated with bossa nova godfather Antonio Carlos Jobim, Krall winds up with a mellow, lazy album that recalls the relaxed late-night sophistication of Jobim's duet album with Frank Sinatra, which Ogerman also happened to arrange and conduct. It's not just the sound, it's the songs: how '60s standards like Bacharach/David's "Walk on By" sit next to three Jobim tunes, a song by Marcos Valle ("So Nice"), and a few American Songbook standards placed at the beginning, the better to ease listeners into purer bossa nova at the end.