Falling halfway between the modern R&B of Introducing the Hardline and the extravagant Neither Fish nor Flesh, Symphony or Damn is Terence Trent D'Arby's most ambitious album yet. It's also his best, because it takes the fine songwriting of his debut and melds it to the sonic excesses of Fish. Sure, some of it is embarrassing (it's hard not to cringe during the "Welcome to My Monasteryo" declaration at the beginning of the album), but more often than not, D'Arby's experimentations succeed, and succeed grandly, at that.
Il trentesimo Festivalbar si svolse nel 1993 presso l'Arena di Verona in Verona.
Venne condotto da Claudio Cecchetto e Federica Panicucci. Per le prime serate, Cecchetto è sostituito, causa malattia, da Amadeus e Fiorello.
I vincitori dell'edizione furono Raf con il brano Il battito animale, nella sezione dei singoli, e gli 883 con Nord sud ovest est, in quella degli album.
There have been many Huey Lewis & the News hits compilations released overseas, but 2006's simply named Greatest Hits is only the second U.S. comp, following Time Flies, which appeared a decade earlier. At a generous 21 tracks, Greatest Hits is not only five songs longer than Time Flies, but it's a better-chosen collection, too. It may be missing "Bad Is Bad," but it has a stronger selection of early songs, like the wonderful "Hope You Love Me Like You Say You Do," plus a better selection of latter-day songs, including Huey's duet with Gwyneth Paltrow on Smokey Robinson's "Cruisin'." That doesn't mean the disc is perfect, however – although this does have a stronger representation of their earlier material, it could use just a little bit more, and the non-chronological sequencing is a bit of a headache. That said, this has all the hits and no weak songs, making it the best Huey Lewis & the News compilation yet.
Frostbite was the first indication that Albert Collins' Alligator albums were going to follow something of a formula. The album replicated all of the styles and sounds of Ice Pickin', but the music lacked the power of its predecessor. Nevertheless, there was a wealth of fine playing on the album, even if the quality of the songs themselves is uneven.
Compiling a number of performances recorded shortly before Albert Collins' death, Live '92/'93 offers definitive proof that the guitarist remained vital until his last days.
This provided fresh looks at 11 Collins classics, among them such epic numbers as "Don't Lose Your Cool," "Frosty," "Honey Hush" and "Tired Man." There were slow, wailing ballads with blistering solos, electrifying uptempo wailers with a great horn section answering Collins' phrases with their own bleats, and first-rate mastering and production. Guest stars included B.B. King, Branford Marsalis, Kim Wilson and Gary Moore, while Collins injected vitality into numbers he'd already made standards years ago. This set is a wonderful tribute to an incredible guitarist and musician.
28-year-old Austin, TX, native Gary Clark Jr. exploded onto the music scene with incredible impact when he delivered an incendiary debut performance of his song "Bright Lights" at Eric Clapton's 2010 Crossroads Guitar Festival in June 2010. Boasting a distinguished sound that fuses deep blues influences with classic hip-hop and contemporary soul, Clark is a rocking soul man for a new generation.
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.
The Iceman is in remarkable form on this 1992 live date, offering proof positive that his smoldering Texas-style electric blues is ageless. With a set list that spans from his early hit "Frosty" to tracks from his 1991 release, ICEMAN, Albert Collins's stinging technique makes his Telecaster sing out over his no-holds-barred full electric band. A deeply satisfying blues excursion, LIVE AT MONTREAUX was recorded merely a year before Collins's death from cancer, making it a fitting tribute as well as a fine concert recording.