Monte Montgomery tears it up on the fretboard and the mic, and he's brought a strong rhythm section just for reinforcement. His guitar playing describes a true wealth of sounds–just picture a slap-bass player on an acoustic steel string with a penchant for Stevie Ray Vaughn, and you'll be in the ballpark. At the same time, his blazing fingerstyle, precise, percussive accompaniment, and exceedingly creative use of harmonics are only part of his truly unique guitar style. And Montgomery's outstanding technique does not prevent him from delivering a clear, melodic solo that dances through the changes.The folk-tinged songwriting is well developed, and this man's got stuff to say about life and love. In fact, Montgomery is an impressive, versatile vocalist in his own right……
With the exception of the late Amos Milburn, all of the artists presented here have proved to be survivors. None of them is young any more and each has suffered years if not decades of neglect and hardship. But on the brighter side, Charles Brown and Floyd Dixon are now receiving the sort of recognition and honours that equal and perhaps in some ways surpass the fame they enjoyed in their heyday. As for H-Bomb Ferguson, bis own resurgence has ensured that his wigs are made from the best materials.
Ah, Beale Street. lf you‘re into the blues, there are locations that conjure with the imagination. In Chicago, it‘s Maxwell Street, in Detroit, Hastings Street, in Los Angeles, Central Avenue. But for longevity and romance, incident and especially music, most bluesfans would set their feet on Beale Street‘s weaving sidewalk in any decade between the 20s and the 50s. Not that many white people did until the latter decade, for the area was as lawless as it was libidinous. Authorities left Beale Streeters to their own devices, sending in the wagons after dawn to clear away the bodies accrued from another night‘s misadventures…..
When one thinks of altoist/flutist Bud Shank's recordings of the 1950s, it is normally of his work with Stan Kenton's orchestra or collaborations with Laurindo Almeida or Bob Cooper. However, Shank led a superior quartet from 1956-1958 that also included pianist Claude Williamson, bassist Don Prell, and either Chuck Flores or Jimmy Pratt on drums. This typically magnificent five-CD limited-edition box set from Mosaic has the quartet's four albums (including a set that was recorded in Johannesburg, South Africa), a selection by Shank with a sextet that includes vibraphonist Larry Bunker, and three slightly later sets.
Chicago returned from a career dip in 1982 with "Hard to Say I'm Sorry" and continued to hit with power ballads, among them "Hard Habit to Break" and "You're the Inspiration," all sung by Peter Cetera. But the streak continued after Cetera departed in 1985, as Jason Scheff stepped in and Chicago went on to score hits like "Will You Still Love Me?," and "Look Away," which are all heard here.
Hunting High and Low is the debut studio album by Norwegian new wave band A-ha. Released on 1 June 1985 by Warner Bros. Records, the album was a huge commercial success selling more than 7.8 million units worldwide, peaking at number 15 on the US Billboard 200 and reaching high positions on charts worldwide. The album was recorded at Eel Pie Studios in Twickenham, produced by Tony Mansfield, John Ratcliff and Alan Tarney. The group was nominated for Best New Artist at the Grammy Awards in 1986, making A-ha the first Norwegian band to be nominated for a Grammy.
Carpathian Forest (previously known as "The Childmolesters", then "Enthrone") formed in 1990, & emerged with the demo tape "Bloodlust and Perversion" in 1992. In 1993 the band released a second demo: Journey Through the Cold Moors of Svarttjern. The following year, they signed to Avantgarde Music and recorded their first EP, Through Chasm, Caves and Titan Woods in 1995, followed by the debut album Black Shining Leather in 1998…..