A collection of 12 CD, which includes 11 studio albums by British rock band from Manchester. To the date, the band sold more than 25 million albums worldwide.
Retreating from the experimental tendencies of Laid and Wah-Wah, James return to straight-forward anthemic folk-rock with Whiplash. Although the album isn't a retread of Seven or Gold Mother, it is considerably more rock-oriented than its two predecessors, particularly because the group has incorporated some elements of Brit-pop into their music.
2010 mini album from the veteran Britpop outfit fronted by Tim Booth. Produced by Lee 'Muddy' Baker, The Night Before seems fearless in comparison to its predecessors, a product, no doubt, of the way it was conceived: the band set up an ftp site to which they all contributed, downloading and updating each other's efforts at various intervals whilst Baker knocked things into shape. This "virtual" recording process (which eventually led to recording sessions in Brighton and Oswestry), was presumably inspired by the band's history of working with Brian Eno and has brought out the best in James, the results proving as diverse and intriguing as anything the band have attempted before.
Blues Breakers with Eric Clapton was Eric Clapton's first fully realized album as a blues guitarist - more than that, it was a seminal blues album of the 1960s, perhaps the best British blues album ever cut, and the best LP ever recorded by John Mayall's Bluesbreakers. Standing midway between Clapton's stint with the Yardbirds and the formation of Cream, this album featured the new guitar hero on a series of stripped-down blues standards, Mayall pieces, and one Mayall/Clapton composition, all of which had him stretching out in the idiom for the first time in the studio…
British soul-jazz organist James Taylor has crossed easily between stylistic definitions throughout his career, from the hard-charging garage rock of the Prisoners to his pioneering acid jazz work of the '90s. As the title suggests, Picking Up Where We Left Off finds Taylor returning to a straight soul-jazz setup with a classic Hammond quartet lineup akin to the James Taylor Quartet but featuring new collaborators in guitarist Nigel Price, bassist Andy McKinney, and drummer Neil Robinson. Fresh blood aside, this is entirely familiar territory for Taylor, mixing funky, Jimmy Smith-inspired organ lines with shuffling beats and funk-influenced guitar. The closest thing to a departure is the ballad "Never in My Wildest Dreams," a lovely showcase for an extended George Benson-like solo by Price.