Omara Portuondo, Eliades Ochoa, Francisco Repilado (Compay Segundo), Ibrahin Ferrer y Rubén González, all legendary figures of the Cuban music scene, shine in the recording world for their invaluable contribution to the success reached by Buenavista Social Club. This collection offers us five compilations on 5 CD’s, each dedicated to these five legends. They include selected themes of anthologies previously published from these great artists. It also includes a booklet with wide comments of noted musicologists deepening the history of each one of these figures and their significance in the Cuban musical context.
Decades before Corey Harris, Guy Davis, and Keb' Mo' wed the Delta blues to various folk forms, there was Taj Mahal. Almost from the very beginning, Mahal provided audiences with connections to a plethora of blues styles. Further, he offered hard evidence connecting American blues to folk styles from other nations, particularly, but not limited to, those from the West Indies and various African countries, bridging gaps, highlighting similarities, and establishing links between many experiences of the African diaspora…
THE ANALOGUE YEARS presents a 50-Album overview across 54 CDs, in original jackets, of the celebrated international recordings that emerged from the London-based record label in that pre-digital era.
"The Musician's Musician". "The Master of the Eclectic". There are probably a dozen more titles by which this "guitar player" is known. To even refer to him as a guitar player is probably a gross mislabeling of this musician. He defies any sort of categorization; this is his greatest strength and for some his weakness. The theme for these nine cuts is rhythm of all different ilk. I won't even give the parameters because he seems to have none. I wondered how many different instruments he played on this album (I thought I counted five different types of guitar); it only says guitar and vocal for his credits. Listen to his version of "All Shook Up," more bop and rhythm than Elvis could put into four of his songs. It seems musicians line up to play with him, and they feel he did them a favor by letting them play on his albums. He always gives them plenty of space to do what they do. This CD will make the dead start tapping their toes.
With 1980's Borderline, Ry Cooder followed the foray into R&B and soul of his previous effort, Bop Till You Drop, but this time out with a little shot of the Southwest thrown in. At the same time, he also continues the primarily electric sound of that record. As far as his selection of material goes, Borderline may sometimes lack the surprising, esoteric charm of his earlier recordings, but there are still some terrific finds, including the Tex-Mex-flavored "The Girls from Texas," which may be the album's finest moment. Other highlights include one of John Hiatt's best, the written-to-order "The Way We Make a Broken Heart," as well as Billy "The Kid" Emerson's "Crazy 'Bout an Automobile," which Cooder had been performing live for a number of years, and the soulful Maurice & Mac treasure "Why Don't You Try Me." And while it's moments like these that help make Cooder's records special, he also takes on some better-known '50s and '60s offerings with moderate success.