In 1972 Bruce Johnston left The Beach Boys and two new members were added - Blondie Chaplin and Ricky Fataar. Their time in the band was short-lived, enough for these two albums plus the live album released in 1973, but their presence was felt. The "Carl and The Passions" name is simply to make The Beach Boys into a "new" band for this record. Sort of the way The Beatles "became" Sgt. Pepper's Lonely Hearts Club Band in 1967 for that landmark album. But in this case all it did was confuse a mostly disinterested public. And that's too bad because there are some great songs on this little-heard album. “Holland,” on the other hand, remains one of the jewels of the Beach Boys’ post-Capitol Records catalog. There are lots of highlights here. "Sail On, Sailor" is the lead-off track and the most recognizable song on the album, but dig deeper and you'll be amazed at what the band members could accomplish when they put their minds to it. This CD reissue includes the six-song E.P. ("Mt. Vernon and Fairway") that was included with the album.
Career spanning 17 disc (11 CD + six DVD) box set from the British Rock icons. Timeless Flight is a definitive career-spanning Moody Blues box set. The Moody Blues have released 24 albums in a career spanning nearly five decades. They have sold over 50 million albums, earning them eighteen platinum discs and all manner of awards. This set contains 11 remastered CDs featuring key album tracks, previously unreleased mixes, out-takes and complete live concerts, three DVDs of rare television performances from around the world, promotional videos and the previously unreleased live concert from Olympia, Paris in 1970, three DVD audio discs containing the long-deleted 5:1 surround sound mixes…
One can sympathize with Freddie Cole's plight. The younger brother of Nat King Cole, Freddie has spent most of his life in his brother's shadow, even though Nat died in 1965. The problem is that Freddie is also a pianist/vocalist and sometimes performs similar material. In fact, the title of this CD is a bit absurd, since Cole is heard playing in the same type of group that Nat made famous (a trio with guitarist Ed Zad and bassist Eddie Edwards) and his repertoire includes such songs as "Home Fried Potatoes," "To Whom It May Concern," "The Best Man," and a ten-minute, six-song "Nat Cole Medley." Add to that such originals as "He Was the King" and "I'm Not My Brother, I'm Me," and one is not allowed to forget for a moment that Freddie was Nat's brother. Actually, Freddie has an older and raspier voice (which is natural, since he has outlived Nat) and his piano style is more tied to 1950s jazz (such as Red Garland) than to swing. This fairly definitive CD from Freddie Cole does give one a strong sampling of his talents.
For the compilers of Time-Life Music's Singers & Songwriters series, which – more or less – chronicles the 1970s singer/songwriter movement, the 24-month period 1970-1971 marked the real birth of that trend, with the popular emergence of such defining figures as James Taylor, Carole King, Carly Simon, John Denver, and Cat Stevens, all of whom had their first big hits in the style included here.
George Benson may have changed labels with That's Right, but he didn't change his approach. Like his other '90s albums, That's Right is jazz-inflected quiet-storm soul. It's quietly funky and always grooving, whether he's playing a light uptempo number or a silky ballad. As always, Benson's tone is smooth and supple – it's a pleasure to hear him play, even if the material he has selected doesn't always showcase his ample skills. In fact, the unevenness in material is the very thing that keeps That's Right from being on par with Benson's early '80s contemporary soul records…
On this 2006 release, Tab Benoit, the blues guitarist who throughout his career has embraced virtually every shade of American roots music, reconnects to his earliest and most profound influences with the help of some old friends. The thirteen-track set features Benoit's solid guitar and vocal attack supported by the popular Louisiana band, LeRoux, with the addition of special guest appearances by some of the most seasoned country and Cajun songwriters and musicians of the past three decades: Jim Lauderdale, Billy Joe Shaver and fiddler Waylon Thibodeaux.
This collection on the U.K.'s Soul Brother imprint is a very compelling look at a big slice of Freddie Hubbard's long career as a leader, and one that gets ignored for the most part. Hubbard recorded over 20 records between Backlash, his Atlantic debut in 1966, and Ride Like the Wind for Elektra in 1982, with lengthy stops at Columbia and CTI (as well some straight hard bop and post-bop outings for labels Fantasy and Pablo). In many cases, some of these original recordings were not only disregarded by more traditional jazzheads, they were regarded with outright hostility. It didn't matter to Hubbard, however, because at the time, these were among his best-selling albums and connected with the public deeply.