Let's Twist Again CD is a compilation of Chubby Checker, was released in 1993 on the Starlite records label. CD music contains a single disc with 18 best songs.
In 1984, some years before the fall of Communism, pop singer Tatiana tours Soviet Russia, accompanied by her boyfriend Iouri. One of her concerts is stormed by the KGB, who are pursuing her father, a university professor charged with supporting a Jewish student. Iouri turns to his brother-in-law, Igor Tataiev, the manager of a luxury hotel in Moscow, but his request for help falls on deaf ears. Igor has his own problems, since his hotel is to be scrutinised by a single-minded apparatchik, Boris Pikov, who intends to report any sign of dissidence to his superiors.
En URSS, le dernier concert de Tatiana, la nouvelle idole des jeunes Moscovites, est interrompu par un incident : le K.G.B. est à la recherche de son père, Fedor, un professeur d'université qui a pris fait et cause pour un étudiant juif souhaitant partir en Israël. Tatiana, sa famille et Iouri, son petit ami, décident alors de prendre la fuite.
When vibist Dave Pike recorded the 1962 LPs paired on this disc, U.S. jazz was being revitalized by the new wave of Brazil’s bossa nova, while on the pop side, dance fever raged on. Kicked off in 1960-61 by Chubby Checker’s global mega-smash, “The Twist,” there followed a series of dance hits including Checker’s “Limbo Rock,” which is covered herein. At the time of these two lively, tuneful albums, Pike (b. 1938) was employed by the popular jazz flutist Herbie Mann, whose repertoire successfully drew on both Latin music (like bossa nova) and some dance hits.
After a string of mediocre albums throughout most of the 1970s, Muddy Waters hooked up with Johnny Winter for 1977's Hard Again, a startling comeback and a gritty demonstration of the master's powers. Fronting a band that includes such luminaries as James Cotton and "Pine Top" Perkins, Waters is not only at the top of his game, but is having the time of his life while he's at it. The bits of studio chatter that close "Mannish Boy" and open "Bus Driver" show him to be relaxed and obviously excited about the proceedings. Part of this has to be because the record sounds so good. Winter has gone for an extremely bare production style, clearly aiming to capture Waters in conversation with a band in what sounds like a single studio room. This means that sometimes the songs threaten to explode in chaos as two or three musicians begin soloing simultaneously. Such messiness is actually perfect in keeping with the raw nature of this music; you simply couldn't have it any other way.