Любовь Лучше, Чем Когда Либо Love Is Better Than Ever (1952, Dvd5 + Dvdrip)

The tenth studio album from Better Than Ezra, Super Magick arrives as a prime showcase for the distinct collision of elements that have made them so beloved over the years: the eternally sticky melodies, heart-on-sleeve storytelling and wildly clever turns of phrase, potent yet finely composed soundscapes embedded with so much ear candy. But in a creative leap typical of the sonically adventurous band—whose lineup also includes guitarist/keyboardist James Arthur Payne Jr. and drummer Michael Jerome Moore—the album finds Better Than Ezra’s exploring influences from an eclectic mix of genres (country, Britpop, dub, new-wave-leaning arena rock, to name just a few). Mainly produced by Griffin and Emery Dobyns (a producer/songwriter/engineer known for his work with Patti Smith, Lou Reed, and Antony and the Johnsons), Super Magick once again proves their passionate commitment to constant evolution in their artistry. “This album took a while, but we wanted to put the right energy into it,” says Griffin. “There’s this idea that most people who go to see veteran bands are there for the old songs, but for us putting out a new record is about adding to our canon of work and creating music that we’re excited to play.”

The tenth studio album from Better Than Ezra, Super Magick arrives as a prime showcase for the distinct collision of elements that have made them so beloved over the years: the eternally sticky melodies, heart-on-sleeve storytelling and wildly clever turns of phrase, potent yet finely composed soundscapes embedded with so much ear candy. But in a creative leap typical of the sonically adventurous band—whose lineup also includes guitarist/keyboardist James Arthur Payne Jr. and drummer Michael Jerome Moore—the album finds Better Than Ezra’s exploring influences from an eclectic mix of genres (country, Britpop, dub, new-wave-leaning arena rock, to name just a few). Mainly produced by Griffin and Emery Dobyns (a producer/songwriter/engineer known for his work with Patti Smith, Lou Reed, and Antony and the Johnsons), Super Magick once again proves their passionate commitment to constant evolution in their artistry. “This album took a while, but we wanted to put the right energy into it,” says Griffin. “There’s this idea that most people who go to see veteran bands are there for the old songs, but for us putting out a new record is about adding to our canon of work and creating music that we’re excited to play.”

His plaintive baritone equally conversant with R&B and country phrasing, Joe Simon married the two genres with startling success during the late '60s, adapting Nashville material to the soul sound and repeatedly coming up a winner. Simon began recording in the Bay Area, but a switch in recording sites (first to Muscle Shoals for Vee-Jay and then to Nashville, upon signing with disc jockey John Richbourg's Sound Stage 7 label in 1966) heightened his national appeal. With easy access to prime country-oriented material, Simon soon found his true calling, scoring major hits with "Nine Pound Steel," "(You Keep Me) Hangin' On," and the number one R&B smash "The Chokin' Kind," penned by Music Row tunesmith Harlan Howard.

Released in 1976, when Etta James wasn't ruling the charts by any means but wasn't adverse to the idea of climbing back into the Top 40, "Etta Is Bettah Than Evvah!" bears a boastful title and its ten funky cuts do not lack for bravado. Nevertheless, it's very difficult to agree that Etta is better than ever here. Part of the problem is that the songs are just kind of generic: good-enough uptempo dance cuts and midtempo groovers, songs that give enough space for Etta but never really escape the confines of average '70s disco-oriented R&B.