Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24 bit digital remastering. Cardboard sleeve. Mono. David Stone Martin 10 inch Collector's Selection Series. Buddy DeFranco is one of the great clarinetists of all time and, until the rise of Eddie Daniels, he was indisputably the top clarinetist to emerge since 1940. It was DeFranco's misfortune to be the best on an instrument that after the swing era dropped drastically in popularity and, unlike Benny Goodman and Artie Shaw, he has never been a household name for the general public.
Continuing to work with Conny Plank, who once again provides a compelling job as producer and engineer, Kraftwerk went right ahead and named their new album after their two remaining members – an understandable enough move. Like the first two albums, Ralf and Florian still has not seen official re-release, for all that one can practically taste Kraftwerk's leap into the beyond on it. Given that this was the last album before the most famous lineup was formed and Autobahn was released, it's appropriate to listen to Ralf and Florian as a harbinger for the future, though perhaps all too easy. Take it on its own terms – a further investigation of electronic possibilities in a more open-ended, less constantly structured fashion than would be the case later – and Ralf and Florian becomes most enjoyable.
"Never underestimate the heart of a champion" may as well have been the unspoken moral behind Kreator's astounding return to form via 2001's Violent Revolution, following over a decade of "wilderness study" in non-thrash terrain. As well as revitalizing the band's career the album clearly helped main man Mille Petrozza make peace with his past, and set the stage for his band's wisely retro-minded direction going forward into the new millennium. Cue 2005's Enemy of God: not only Kreator's next shot at revitalizing old-school thrash metal for modern generations, but a necessary building block to sustaining their unexpected renaissance…
LOUIS T. HARDIN (MOONDOG). In the beginning was tonality. Then came atonality which was revolutionary. Tonality continued in folk music and popular music, in spite of atonality, but in the case of serious composers, it was taboo to even think of writing tonal on pain of being ignored and unperformed. I persisted in writing tonal music, and by opposing the atonal revolutionaries, I became a counter-revolutionary. I maintained the tonal tradition, unaware that the founder of atonality himself had repudiated the 12-tone System, which he had conceived. But that was not the end of atonality, for even though its founder gave it up, his pupils did not, and so, for the time being, at least, it survives. As it was in the beginning, is now, and ever shall be, Tonality!
This set collects the Hollies' first two U.S. albums, 1964’s Here I Go Again and 1965’s Hear! Here!, on a single disc. Both LPs were originally released in the States by Imperial Records, a label founded in 1947 by Lew Chudd, who had sold his rights in the imprint to Liberty Records in 1963. Liberty began leasing material by popular U.K. artists for U.S. distribution that same year, which led to the Hollies' initial single in the American market, a cover version of Maurice Williams & the Zodiacs' 1960 hit “Stay.” Although several of the cuts found here got extensive radio airplay in the U.S. at the time, “Just One Look” and “Here I Go Again” from 1964 and “I’m Alive” and “Look Through Any Window” from 1965 among them, the Hollies didn’t really break through on the continent until a year later in 1966 with the hits “Bus Stop” and “Stop Stop Stop,” and neither of those songs is found here. Aside from the singles, most of the cuts on these two albums are covers of American R&B tunes that are done capably but without a whole lot of originality. The end result is a portrait of a promising band just beginning to come into its own.