Oh Mercy was hailed as a comeback, not just because it had songs noticeably more meaningful than anything Bob Dylan had recently released, but because Daniel Lanois’ production gave it cohesion.
While still deeply into the R&B/funk thing, Clarke's Time Exposure is a cut or two above its immediate neighbors in quality, thanks mostly to some superior tunesmithing on Clarke's part. The title track is the prize of the set and one of the best funk numbers of Clarke's career, an ingratiating fusion of a riff and a tune that won't quit the memory, set to a vigorous groove and hammered out by rock guitarist Jeff Beck. Even the obviously radio-minded ballad "Heaven Sent You" (a number 21 R&B hit) is a better-than-average bit of R&B writing – and here and elsewhere, Clarke wisely leaves the lead vocals mostly to others.
Stanley Clarke and George Duke,two musical titans who'd worked together for years finaly get around to doing a duo album, namely one that emphasises the funk that both artist's regular releases tended to skim over and considering funk is both artists best asset,that's a wonderful thing.
It is the album where this group drops its masks and speaks directly to the audience about themselves and each other.
The Furs would never sound this glorious or this raw again.
An album of Duran Duran covering their "influences" was never something even the most dedicated fan wanted to hear, yet the band had the audacity to record Thank You, a collection of the group's favorite songs. Featuring songwriters as diverse as Bob Dylan and Sly Stone, Thank You works best when the band realizes the monumental silliness of its cover, as on "White Lines," which is performed with Grandmaster Flash himself, and the acoustic blues rendition of Public Enemy's "911 Is a Joke."
This is vinyl rips of 2 copies of the same album. One is a promo copy and the other is a regular retail 1st pressing of the 6th and final album released in the United States by Lobo. This album has never been released on CD. A couple of these tracks charted but none made it to the top 10.
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep love of jazz and crafting a distinctive, largely self-taught sound. Inspired by a Roy Rogers cowboy movie.
Released just six months after Gypsy '66, Gabor Szabo's second album as a leader (after leaving a sublime Chico Hamilton band that also included Charles Lloyd) remains one of his finest moments in the studio. Szabo utilized the tales of bassist Ron Carter and his old boss Hamilton on drums, as well as a pair of fine Latin percussionists – Willie Bobo and Victor Pantoja. The groove quotient was very high on Spellbinder, maybe even higher than on later albums such as Jazz Raga or Sorcerer.
The octet Archie Shepp surrounded himself with in 1966 was filled with new and old faces. The twin trombones of Roswell Rudd and Grachan Moncur III embodied this, but so did bassist Charlie Haden and trumpeter Tommy Turrentine, while familiar figures like drummer Beaver Harris and tubaist Howard Johnson had been part of Shepp's regular band. There are four tracks on Mama Too Tight, all of them in some way acting as extensions of the opening three-part suite, "A Portrait of Robert Thomson (As a Young Man). Here again, lots of free blowing, angry bursts of energy, and shouts of pure revelry are balanced with Ellingtonian elegance and restraint that was considerable enough to let the lyric line float through and encourage more improvisation. This is Shepp at his level best.
On The Idiot, Iggy Pop looked deep inside himself, trying to figure out how his life and his art had gone wrong in the past. But on Lust for Life, released less than a year later, Iggy decided it was time to kick up his heels, as he traded in the mid-tempo introspection of his first album and began rocking hard again. Musically, Lust for Life is a more aggressive set than The Idiot.