Herman's Hermits were one of those odd 1960's groups that accumulated millions of fans, but precious little respect. Indeed, their status is remarkably similar to that of the Monkees and it's not a coincidence that both groups' music was intended to appeal to younger teenagers. The difference is that as early as 1976, the Monkees began to be considered cool by people who really knew music; it has taken 35 years for Herman's Hermits to begin receiving higher regard for their work. Of course, that lack of respect had no relevance to their success: 20 singles lofted into the Top 40 in England and America between 1964 and 1970, 16 of them in the Top 20, and most of those Top Ten as well. Artistically, they were rated far lower than the Hollies, the Searchers, or Gerry & the Pacemakers, but commercially, the Hermits were only a couple of rungs below the Beatles and the Rolling Stones.
When all is said and done regarding the most influential power pop bands of the '60s, Herman's Hermits and Tommy James & the Shondells emerge as the clear-cut winners for the same reason: Their music was so diverse and well constructed that it showed the different dimensions of a genre that inspired music smart enough to respect its roots which, in turn, inspired music too hip for its own good – the modern rock movement that was not half as much fun as "the new wave," or as essential as anything found on ABKCO's perennial release of Herman's Hermits' Their Greatest Hits.
THE DEVIL RIDES OUT is a power packed with 1970s heavy metal and leaves no stone unturned. If you like classic heavy metal, then you cannot afford to miss out on this album. This album comes straight from the heart of all four musicians that are part of it, and it connects to directly to the listener's heart.
Nina Simone recorded seven albums for the Philips label between 1964 and 1966. It was the period in her career in which her reputation was cemented as a world-class artist, and one in which she gained fame for her contributions to the civil rights movement as well. Despite the fact that she recorded great albums both before and after her years with Philips (most notably with RCA), her Philips period is easily her most enigmatic. Among her Philips recordings are her live label debut and six studio recordings featuring wildly varying instrumentation, arrangements, and contents. The box contains all seven LPs on four CDs, and includes one bonus track.
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. The one and only Herman Foster, indeed – a pianist who only cut a handful of records, but always managed to leave his mark! You might know Foster from his wonderful work with Lou Donaldson in the early 60s Blue Note years, or his bluesy albums as a leader for Columbia around the same time – but here, the pianist has this lyrical flow that's really amazing – and quite a change from his style of the early years! As before, Foster really knows how to do a lot with a little – make each note count, and in this way that's mighty powerful, even on the few mellow moments – and he gets some strong accompaniment from the full, round bass of Jeff Fuller, and the drums of Victor Jones. Titles include "Monsterbeach Blues", "Softly As In A Morning Sunrise", "The Shadow Of Your Smile", and "You'd Be So Nice To Come Home To".
A fine swing clarinetist, an altoist whose sound was influenced by Johnny Hodges, a good soprano saxophonist, and a spirited blues vocalist, Woody Herman's greatest significance to jazz was as the leader of a long line of big bands. He always encouraged young talent and, more than practically any bandleader from the swing era, kept his repertoire quite modern.
This collection of 25 tracks recorded by legendary blues singer Nina Simone includes some of her best material including "Black Is The Color Of My True Love's Hair." UK compilation featuring 25 tracks from the late jazz-soul diva. Includes 20 page booklet with rare photographs.
Hagen formed the Nina Hagen Band in West Berlin's Kreuzberg district. In 1978 they released their self-titled debut album, which included the single "TV-Glotzer" (a cover of "White Punks on Dope" by The Tubes, though with entirely different German lyrics), and Auf'm Bahnhof Zoo, about West Berlin's then-notorious Berlin Zoologischer Garten station. The album also included a version of "Rangehn" (approximately, "Go On"), a song she had previously recorded in East Germany, but with different music.
In the midst of the Civil Rights Movement where spirits may not have been high, Nina Simone walked onto the stage and used her raspy voice to send a message. That message is there's always tomorrow and the future is bright. It's a live album that features Simone singing some of her biggest songs as well as other songs that she was fond of at the time. It also features a lot of dialogue from Simone on issues facing black Americans at the time.