Celebrating the thirtieth anniversary of its 1987 release, it's the ultimate collector's edition of The Joshua Tree. A live recording of The Joshua Tree Tour from Madison Square Gardens in 1987, b-sides from the original singles and new remixes from Daniel Lanois, St Francis Hotel, Jacknife Lee, Steve Lillywhite and Flood form part of this special edition of The Joshua Tree.
The fourth studio album by the cello duo of Luka Sulic and Stjepan Hauser, Score takes on favorites of the big and small screens, dating back as far as the '60s for Henry Mancini's "Moon River." Later highlights include a medley of Ramin Djawadi's music for TV's Game of Thrones, still in production at the time of the album's release. 2Cellos are joined here by none other than the London Symphony Orchestra and conductor/arranger Robin Smith, who puts appropriate focus on the duo's own cello arrangements.
Official 2016 remastered collection of 5 albums recorded for Prestige, housed in replica card sleeves with full original artwork. Includes 'Worktime', 'With The Modern Jazz Quartet', 'Tenor Madness', 'Moving Out', & 'Saxaphone Colossus'. The quality of the music collected here needs no comment, really. But what I like about this series of box sets is that the original LP covers are faithfully reproduced on the small paper sleeves, front and back, just like the Japanese do it with their ridiculously expensive miniature CD paper sleeves. All relevant discographic data, like musicians, recording dates etc., are listed on the CD labels, which is unique for this kind of box sets and a great service if you ask me.
Released swiftly after Ghost Stories – just a year and a half, all things considered – A Head Full of Dreams plays like a riposte to that haunted 2014 album. Where Chris Martin spent Ghost Stories in a mournful mood – his sorrow perhaps derived from his divorce to Gwyneth Paltrow or perhaps not; it's best not to read too much into the tabloid headlines – the Coldplay leader sees nothing but sunshine and stars on A Head Full of Dreams. Martin gives away the game with his song titles. He's quite literally having "Fun" on an "Amazing Day," living for the weekend and viewing his impending middle age as nothing so much as the "Adventure of a Lifetime."
"Vande Mataram" became a Sanskit rallying cry for freedom in the early 1900s, as Indians protested against the partitioning of Bengal and its use as the title for the first international release by Ar Rahman, one of India's most popular contemporary recordings artists, is appropriate. Vande Mataram was released to coincide with the fiftieth anniversary of India's independence from colonial Britain and it also was designed to introduce the western world, particularly the United States, the wonders of modern Indian music and culture.
Nine pieces of impulsive, on-the-fly sounds from a core trio of British legends: the saxophonist Evan Parker, improv/contemporary classical bassist Barry Guy and drummer Paul Lytton - joined by Agusti Fernandez, the most accomplished Catalan jazz pianist since the postbopper Tete Montoliu. Fernandez joined the long-suspended British trio in Barcelona last year to add a seamless Cecil Taylor-like sound-stream to fast tailchasers such as Coalescence, darkly sinister or nimbly banjo-like plucked-strings noises here and there, and scary, door-slam chords.
Since the mid-'80s, Barrence Whitfield has dedicated his life to reminding people that rock & roll and rhythm & blues are not separate but equal institutions, but healthy branches of the same tree; on-stage or in the studio, Whitfield howls vintage R&B tunes with the fury of a hot-wired rock band, and belts out vintage-style rock with a healthy portion of swagger and soul. In Whitfield's world, it's all loud and furious, and makes you want to dance, and really, who doesn't want some of that in their life? After a detour through other projects, Whitfield resurrected the Savages in 2011, and 2015's Under the Savage Sky, the group's third album since returning to duty, stands proudly alongside mid-'80s landmarks like Dig Yourself and Ow! Ow! Ow! as a master class in souped-up and full-bodied roadhouse rocking.
Features the high-fidelity SHM-CD format (compatible with standard CD player). Cover artwork faithfully replicates original one. Comes with lyrics and a description. Camel was still finding its signature sound on its eponymous debut album. At this point, Peter Bardens and his grand, sweeping organ dominate the group's sound and Andrew Latimer sounds tentative on occasion.
John Paul Jones stayed quiet for years after the disbandment of Led Zeppelin, performing the occasional arranging, soundtrack, or production gig, or collaborating with such avant garde musicians as Diamanda Galas. Throughout it all, he never released a full-fledged solo album – until the fall of 1999, when he unleashed Zooma. Anyone that was following who Jones worked with in the '90s – including Galas, the Butthole Surfers, and R.E.M. – shouldn't be entirely surprised by the depth, range, and gleeful strangeness on Zooma, but those expecting something like Led Zeppelin IV will be disappointed.
The Dave Pell Octet was the epitome of mid-'50s West Coast jazz. With its tight arrangements, concise performances (usually around three minutes long despite the rise of the LP), soft tones, and distinctive brand of restrained swing, Pell's ensemble was a perfect representative of cool jazz. The ensemble originally was part of the Les Brown Big Band, gaining an independent life of its own in 1955. This valuable reissue CD from 1998 has all of the first 13 selections that Pell recorded for Capitol – eight from 1955 and the remainder from 1957 – plus four titles (one previously unissued) led by trumpeter Don Fagerquist with a similar band in 1955 (one of only two opportunities that the underrated great had to head his own date).