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Acclaimed poet Dr John Cooper Clarke and esteemed singer / songwriter (and founding member of The Stranglers) Hugh Cornwell have teamed up to release their first album, This Time It’s Personal. It's a match made in the rock 'n' roll heaven of their respective youth and, just as their eyebrow-raising new album says, This Time It's Personal. Featuring classic tracks that they both grew up listening to, the album is the surprising duo’s first collaboration.
As one of the leading lights of New Orleans music, Dr. John deserves a splashy, star-studded celebration – which is precisely what producer Don Was assembled on May 3, 2014 at New Orleans' Saenger Theatre. Was led a house band featuring drummer Kenny Aronoff, trombonist Sarah Morrow, keyboardist Chuck Leavell, guitarist Brian Stoltz, and pianist John Gros, then invited a host of rockers, blues musicians, and Big Easy legends to the party…
This concert film captures beloved pianist and musician Dr. John performing a 1995 concert. The setlist includes "Iko Iko," "Gee Baby Ain't I Good To You," "Right Place, Wrong Time," "Goin' Back to New Orleans," "Mess Around," amd "Makin' Whoopee."
Digitally remastered two CD set containing a pair of albums from iconic New Orleans singer/songwriter Mac Rebennack AKA Dr. John. By the end of the '90s, Dr John was again embracing the mysterious bubbling gumbo of his Gris-Gris era, which was music to the ears of a generation of younger British musicians such as Paul Weller, Gaz Coombes of Supergrass and Jason Pierce of Spiritualized. While Pierce is credited with producing two tracks here, the lion's share of ANUTHA ZONE was helmed by UK producer legend John Leckie. Although much of the album was recorded in New York in 1998, six tracks were recorded at Abbey Road, with guest appearances from the UK stars above. The following year saw Dr John pay his respects to the music of Duke Ellington - like he says: 'Doesn't sound like these tunes were written by a hundred year-old cat, but they were. You want to know the ticket to immortality, write a bunch of tunes that people keep on singin' and playin'. The package includes 24 page booklet is fully annotated by Paul Myers.
The portrait of John Bull on the cover of this two-CD U.S. release gives an idea for the uninitiated of what to expect from the composer's music: it's intense, single-minded, and even a bit demonic (although the hourglass topped with a skull with a bone in its mouth is apparently an alchemical symbol). Bull was, in the words of an unidentified writer quoted by harpsichordist Mahan Esfahani, "the Liszt of the virginals." The most immediately apparent feature of his music is extreme virtuosity, on display especially in the mind-boggling set of variations entitled Walsingham (CD 1, track 8) and in the galliards of the pavan-galliard pairs. But the opposite pole in Bull's style exerts just as strong a pull: he is fascinated by strict polyphony by what would be called harmonic progressions, and by the close study of the implications contained within small musical units. As spectacular in their way as the keyboard fireworks are, the three separate settings of a tune called Why Ask You? on CD 2 are marvelous explorations of compressed musical gestures.