After disappearing from Hong Kong audience for almost two year, Sandy finally released her fourteenth Cantonese album "Feeling Perfect" in January 1996. Her new Cantonese album topped No.1 on the IFPI Chart in Hong Kong. The song "Cry" also topped the No.1 spot on the Commercial Radio Music Chart and many others as well within a week or two. It was Jonathan Lee's (one of the most famous Taiwanese producer) first time producing a Cantonese album.
Hubert Sumlin arguably did his best work during the 23 years he was Howlin' Wolf's guitar player, and his ragged, angular guitar style was a big part of Wolf's rough-and-ready sound. The perfect sideman, Sumlin was by all accounts somewhat shy and reticent about taking center stage, and Healing Feeling, his second album for Black Top Records, much like his first, Hubert Sumlin's Blues Party, is really more of an all-star blues jam than it is a fully realized project. Recorded May 5 and 6, 1989, at Southlake Recording Studios in Louisiana, with two additional tracks coming from a live show at Tipitina's in New Orleans earlier in the day on May 5, the sessions were once again organized by guitarist Ronnie Earl, whose band the Broadcasters is used on most of the cuts. The vocal duties were shared by James "Thunderbird" Davis and Darrell Nulisch, with Sumlin singing on "Come Back Little Girl," "Honey Dumplins," and the set closer, "Blues for Henry," all of which gain poignancy because of Sumlin's somewhat fragile, whispered vocal approach. A clear highlight is Sumlin's solo electric guitar version of "Down the Dusty Road," which is focused, clear, and intimate.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A brilliantly bubbling session from Hammond genius John Patton – and a set that serves as a real link between the gutbucket soul of his early years, and some of the fresher phrasing he was beginning to explore at Blue Note! Patton's lines on the keys are a wonderful thing to behold (and behear!) – as they're both rhythmic, but extremely fluid and exploratory – more conceived around some of the new ideas on tenor at the time, and pushing forward roughly into the same territory as Larry Young – but with more of Patton's rootsy soul still intact.
Few are the bass players who the average music fan can name. There are simply not that many who stand out as more than a member of the rhythm section, however tight. Paul McCartney. Sting. Bootsy Collins. Tony Levin. Gene Simmons. These may be the greater part of a list that, for most, is no larger than one hand long. Shorter still is the list of bassists who can take their playing one step further. Brian Bromberg is one such bass player. Having originally begun his musical career on drums, Bromberg soon switched to classical upright bass. Though this switch was more or less his choice, Bromberg's next musical move was more demanded than decided: in order to get a gig with Stan Getz's band, Bromberg dropped the upright, picked up an electric four-string and, leaving home on his 19th birthday, started down his own musical road less taken.
'This music is inspired by the music I play during the evening events at the Zen Book & Music Shop in Oslo.' - Yogi
'The sound of the Persian santoor has magical qualities. It speaks of the mysteries of life and death. The atmosphere fills you with awe and wonder and invites you to go inside to find lasting inner peace.'
'Music comes closest to meditation. Music is a way towards meditation and the most beautiful way. Meditation is the art of hearing the soundless sound, the art of hearing the music of silence - what Zen people call 'the sound of one hand clapping'…
Some people will seek out the debut album by Lovelock, because the man behind it is Steve Moore of the band Zombi – a New York duo who play faintly absurd horror soundtrack music enjoyed mainly by metalheads. Yet they will discover, in ‘Burning Feeling’, one of the least horrific or metallic records ever. Lovelock is where Moore lives out his oiliest, most moustachioed cosmic-disco-meets-yacht-rock fantasies. Largely paced languidly enough for the cruise ship dancefloor’s erection section, synths fizz like fireworks and vocals, when they feature, are shameless requests for unnamed ladies to disrobe. Despite being a good 30 years out of time, it’s absolutely brilliant.