The story of the Cranberries is one of dogged survival. Debuting with a maiden release that everybody seemed to rate as a portent of great things, the band suffered not only a "difficult" second album but also an absolute stinker of a third one, as the bandmembers strove desperately – too desperately – to live up to their reputation for sensitivity and thoughtfulness, and completely lost sight of their true virtues in the process. Internecine squabbling, health problems, and general disaffection all took further toll, so much so that, as the band prepared to release its fourth album, 1999's Bury the Hatchet, many observers were shocked to learn that the band even existed any longer, let alone was capable of actually making a new record – especially one that was as good as Bury the Hatchet turned out to be. Filmed at the Paris Omnisport de Bercy on December 9, 1999, toward the end of that album's accompanying tour, Beneath the Skin captures the full 84-minute concert performance, with the band ranging and, occasionally, raging through a veritable greatest-hits collection. The 22 tracks date back to the shimmering beauty of the Everybody Else Is Doing It era, fast forward through the highlights (and there were a few) of the two albums that followed, and then climax with eight cuts from the new record, including an opening salvo of "Animal Instinct," "Loud and Clear," and "Promises" that restates Hatchet's own defiant kickoff.
Taped May 15, 2016 at Red Rocks Amphitheater In Colorado, The Legendary Classic Rock Band delivers it's biggest hits. The quality of the music on this CD/DVD set is not in question. The band sounds as good as they always do, and this set includes "Crazy Circles," a first for a Bad Company live disc.
Back in New York after three years spent gigging and recording in Europe, a mature and rejuvenated James Moody resumed the endless North American scuffle to get by as a contemporary jazz musician. Volume five in the Classics James Moody chronology presents 16 rare Mercury recordings made between October 1951 and June 1953, followed by eight Prestige titles from January and April, 1954. The first four tracks feature baritone saxophonist Cecil Payne; high points include the rowdy, bristling "Moody's Home" and "Wiggle Waggle," an R&B rocker that sounds like something right up out of the King record catalog. Beginning with the material recorded on May 21, 1952, Moody is heard leading a group largely composed of players who, like him, had worked in Dizzy Gillespie's big band. Two of these individuals – trumpeter Dave Burns and baritone saxophonist Numa "Pee Wee" Moore – show up regularly in the front line of Moody's excellent recording ensembles between 1952 and 1955.
As a rule, record companies don't give artists the chance to pick the songs when a boxed set is assembled. They might ask the person who writes the liner notes to interview the artist, or they might even have the artist write the liner notes. But the label, not the artist, usually chooses the material. Self Portrait is an exception; when this five-CD, 95-track boxed set was assembled in 2001, a 91-year-old Artie Shaw was given a rare chance to make the selections himself and comment on them. And for those who are seriously into the clarinetist, it is fascinating to see what he chooses. Self Portrait, which spans 1936-1954, contains most of his essential swing, era hits, including "Stardust," "Begin the Beguine," "Frenesi," and his ominous signature tune, "Nightmare."