The Singles is exactly what the title says – a collection of the Clash's U.K. single A-sides. The Singles does illustrate the progression of the Clash's music from raw, energetic punk to eclectic dabblings in rockabilly, reggae, and dance-rock (even if it doesn't do so as seamlessly as London Calling), and so far, it is the only single-disc Clash comp to feature the original version of the non-LP single "Bankrobber" (the one on Super Black Market Clash is a dub version with most of the lyrics missing).
Sandinista! is a stylistic and topical potpourri that anticipates the "world music" trend of the late '80s and early '90s. The rock music world hailed Sandinista! as a masterpiece. John Piccarella, in a review headlined "The Clash Drop The Big One" and giving the album the highest possible rating of five stars, argues that in effect, the band said "to hell with Clash style, there's a world out there."
Nina Simone Sings the Blues, issued in 1967, was her RCA label debut, and was a brave departure from the material she had been recording for Phillips. Indeed, her final album for that label, High Priestess of Soul, featured the singer, pianist, and songwriter fronting a virtual orchestra. Here, Simone is backed by a pair of guitarists (Eric Gale and Rudy Stevenson), bassist (Bob Bushnell), drummer (Bernard "Pretty" Purdie), organist (Ernie Hayes), and harmonica player who doubled on saxophone (Buddy Lucas). Simone handled the piano chores. The song selection is key here. Because for all intents and purposes this is perhaps the rawest record Simone ever cut. It opens with the sultry, nocturnal, slow-burning original "Do I Move You," which doesn't beg the question but demands an answer: "Do I move you?/Are you willin'?/Do I groove you?/Is it thrillin'?/Do I soothe you?/Tell the truth now?/Do I move you?/Are you loose now?/The answer better be yeah…It pleases me…." As the guitarists slip and slide around her husky vocal, a harmonica wails in the space between, and Simone's piano is the authority, hard and purposely slow.
“Pensar en nada” is the fifth studio album by the Argentine singer-songwriter León Gieco.
“Vivencia” is the disc that follows “Mi Cuarto” LP. I read somewhere in the network that after that LP (Mi Cuarto), they did not get better jobs … Hmmm, debatable.
“El Fantasma De Canterville” is the third album of study of the Argentine singer-songwriter León Gieco. It was released in 1976 by the label Music Hall.
“Dear fans and friends of LPs, now I beginning a series on the influential Argentine scene, in terms of rock music and its derivatives are concerned. This at the request of several followers-music lovers.
This LP “7 Años” by León Gieco, is a review of seven-year career. Any doubt? The interesting thing is that it is not a compilation of different LPs as one might think and was for that reason that I bought this album.
James Taylor had scored eight Top 40 hits by the fall of 1976 when Warner Brothers marked the end of his contract with this compilation. One of those hits, the Top Ten gold single “Mockingbird,” a duet with his wife Carly Simon, was on Elektra Records, part of the Warner family of labels and presumably available, but it was left off.