Produced by the great Jay Graydon, with contributions by David Foster, it has become sort of an obscure “West Coast” classic. It embodies a mixture of typical 80’s synthesizer-pop and classic Rawls soul and jazz ballads, which seem to come from two different production camps, most likely in an effort to maintain Rawls current with pop music developments of the time and at the same time remain true to his fan base.
Layla stands as one of a handful of pillars of classic rock. The short-lived ensemble that was the Dominos provided an outlet for Eric Clapton to vent his then unrequited (and secret) passion for the wife of his best friend, George Harrison. Romantic anguish inspired Clapton to write and collect an embroiling and interconnected song cycle. Meanwhile, latecomer Duane Allman prodded Clapton to tear it up on guitar, so as not to be overwhelmed by his even more talented foil. Of course, Clapton eventually won the hand of his lady love. And then he divorced her. Sometimes real life messes up a good plot line. ~ Steve Stolder
Not long into the ceaseless promotional parade for Born This Way, Lady Gaga’s second full-length record and easily the most anticipated record of the 2010s, a certain sense of inevitability crept into play. It was inevitable that Born This Way would be an escalation of The Fame, it was inevitable that Gaga would go where others feared to tread, it was inevitable that it would be bigger than any other record thrown down in 2011, both in its scale and success…
CAROL WILLIAMS, from Montclair, New Jersey, was the first female singer to sign a solo recording contract with the legendary disco label Salsoul Records. With Williams vocal audition trumping all other hopefuls, allied with her extensive experience in the industry due to being an integral member of soul groups The Geminis and The Del-Rios, she was the obvious choice for the label who were looking for their equivalent of Gloria Gaynor who was riding high at the time with the success of her disco smash “Never Can Say Goodbye.” Williams soon got to work with legendary producer and multi-instrumentalist Vincent Montana, Jr. and his incredible Salsoul Orchestra, contributing not only several track selections but also co-writing three of the cuts on her debut offering.
Cut during the period when she was between Chess and Alligator, this 15-song selection, cut in a French studio and live in the Netherlands in 1973, is a potent set that finds Koko Taylor ably backed by the Aces, guitarist Jimmy Rogers, and pianist Willie Mabon. Lots of familiar titles – a live "Wang Dang Doodle," studio remakes of "I'm a Little Mixed Up" and "Twenty-Nine Ways" – and a few numbers that aren't usually associated with Chicago's undisputed blues queen.