Jimmy Hughes is known mostly for his classic 1964 Top 20 soul ballad "Steal Away," but did a good amount of recording for the FAME label in the 1960s. This is the first of two volumes of his FAME output on Kent, essentially presenting his 1964 debut LP Steal Away with ten bonus tracks (six taken from 1962-1965 singles, the other four previously unreleased). "Steal Away" (the song) is great, but like many albums of its time, the LP of the same name – half of which was comprised of tracks also appearing on singles – is on the shallow side.
Away from the World is the eighth studio album by Dave Matthews Band (DMB), slated for release on September 11, 2012. Steve Lillywhite produced Away from the World, which marks his first released studio album with the band since 1998's Before These Crowded Streets. A series of failed sessions with Lillywhite led to the leaked Lillywhite Sessions in 2001 and Lillywhite's departure from the band's work.
For his third Mack Avenue Records release, Pushing the World Away, alto/soprano saxophonist, composer/bandleader Kenny Garrett literally had to “push away” a steady flow of distractions to get to the inner core of the album, shifting priorities in his schedule and diving deep into the essence of the music.
Third in the series of Lou Reed live Concert albums these two shows taken from the 1978 Street Hassle Tour. Includes classic tracks Walk On The Wild Side & Satellite of Love from the iconic Transformer album as well as Velvet Underground tracks Sweet Jane & Rock N Roll and introducing the just shy of 13 minute brutal Street Hassle.
One of the greatest and most original rock 'n' roll stars of the early 1960s, Del Shannon was also one of the few to not only triumph in the face of the British Invasion, but grow artistically and professionally. He is lauded now as the godfather of Power Pop. His astonishing vocal range combined with Max Crook’s Musitron made one of the most unique and easily identifiable sounds in all popular music. In addition, Del Shannon wrote several of the era’s classics, exploring themes that would recur in his work: loss, alienation, and abandonment.
Norah Jones' debut on Blue Note is a mellow, acoustic pop affair with soul and country overtones, immaculately produced by the great Arif Mardin. (It's pretty much an open secret that the 22-year-old vocalist and pianist is the daughter of Ravi Shankar.) Jones is not quite a jazz singer, but she is joined by some highly regarded jazz talent: guitarists Adam Levy, Adam Rogers, Tony Scherr, Bill Frisell, and Kevin Breit; drummers Brian Blade, Dan Rieser, and Kenny Wollesen; organist Sam Yahel; accordionist Rob Burger; and violinist Jenny Scheinman. Her regular guitarist and bassist, Jesse Harris and Lee Alexander, respectively, play on every track and also serve as the chief songwriters.
Considered by many fans to be a classic, this debut on Fat Wreck Chords (originally released on Doctor Strange, with only a few thousand copies shipped before the company went out of business) qualifies as a '90s punk must-have. The first (and by far the rawest) of three Face to Face recordings to include alt-rock radio mega-hit "Disconnected," this 13-track disc reveals a band on the brink of punk stardom. Don't Turn Away features original members Matt Riddle on bass, Rob Kurth on drums, and singer/guitarist Trevor Keith – the one constant in what would become an ever-shifting lineup.
Why aren't there more recordings like Fly Away Little Bird? Perhaps it's because there aren't more musicians of this stature. The studio reunion of the legendarily experimental Jimmy Giuffre 3 in 1992 was reissued in 2002 on the French Sunnyside label and is a radical departure from anything the trio had done in the past. These studio apparitions of the band are their most seamlessly accessible while being wildly exploratory. In addition to the consummate improvisations and compositions by Giuffre (title track, a redone "Tumbleweed"), the tender meditations by Steve Swallow ("Fits" and "Starts"), and the bottom-register contrapuntal improves by Paul Bley ("Qualude"), this is a trio recording that uses standards such as "Lover Man," a radically and gorgeously reworked "I Can't Get Started," "Sweet and Lovely," and "All the Things You Are" to state hidden textural possibilities inside chromatic harmony. There is never the notion of restraint in the slow, easy, and proactive way these compositions are approached.