Lian Ross is a German Hi-NRG/Euro disco singer. She has recorded successful covers such as Sylvester's "Do You Wanna Funk" and Modern Talking's "You're My Heart, You're My Soul." Her original hit songs include, "Say You'll Never", "Fantasy", and "Scratch My Name" among others. A compilation of her hit singles and choice tracks, "The Best of and More" was released in 2005. One of her recent successful hit singles is, "Never Gonna Lose" released on ZYX Records in Germany on December 27, 2005 and her number one hit "Young Hearts Run Free" was released on Blanco y Negro Music in Spain on September 9, 2009. Her 2013 album ”I Got The Beat” comprised a variety of musical styles including Tribal House with the song ”Around The World”, Electropop with the song ”Shake Your Booty” and a new version of Lians ”Say You’ll Never”.
Reissue of the first full length album recorded by this great West Coast harmonica player for the World Pacific label in 1968 with three bonus cuts. Most of the disc consists of George singing or playing some of the best sides recorded by the great Little Walter who had died shortly before these recordings. On this session he is accompanied by members of the Muddy Waters band who were touring the West Coast at the time with Muddy & Luther Johnson on guitars, Little Sonny Wimberly on bass and S.P. Leary on drums.
Features 24 bit remastering and comes with a mini-description. The beat goes on, and Herbie Mann gets plenty darn groovy – serving up these short, soulful tunes that really pack a sweet little punch – thanks in part to some excellent work on vibes by the young Roy Ayers! Ayers' rings out next to Herbie's flute in a very cool way – almost Latin, but a bit groovier overall, with some echoes of bossa and 60s soundtrack jazz – all mixed with deeper soul currents that are very much in the best 60s jazz spirit of Atlantic Records! Jimmy Wisner handles the arrangements, and also plays some mean piano. Titles include Dave Pike's "Dream Garden", which was arranged by Pike himself – plus Herbie Mann's "West African High Life", and Herbie Hancock's "Hey Ho" – as well as the cuts "No Matter What Shape", "More Rice Than Peas, Please", "Soul Montuno", and "The Beat Goes On".
Herbie Mann was quite unpredictable in the 1960s - from one album to the next, you never knew if he would embrace hard bop, bossa nova, Latin jazz, soul-jazz, or whatever else he was in the mood for. He could be commercial one minute, esoteric and experimental the next. One of Mann's more commercial LPs from that period, The Beat Goes On, is a generally funky, groove-oriented soul-jazz effort with strong Latin leanings. Much of the material brings to mind Pucho and the Latin Soul Brothers, and comparisons to Pucho are unavoidable on cuts that range from Mann's "More Rice Than Peas, Please" to a version of Sonny & Cher's "The Beat Goes On" and a Latin boogaloo interpretation of Joe Liggins' "The Honeydripper" (which features King Curtis on tenor sax). Afro-Cuban rhythms are a high priority, although Mann gets into more of a bossa nova groove on vibist Dave Pike's "Dream Garden." Jazz purists hated this release, but let them say what they will - this LP is full of highly infectious grooves and makes a great party album.
Allan Taylor is one of England's most-respected singer/songwriters. His songs have been covered by artists on both sides of the Atlantic, including Don Williams, Frankie Miller, Fairport Convention, Dick Gaughan, the McCalmans, the Fureys, the Clancy Brothers, and De Dannan. Folk Roots praised him for his "ability to crystallize a mood and evoke an era with the ease of a computer memory access, crafting perfect songs with dramatic changes in the spirit of Brecht, Bikel, and Brel."…
Allan Taylor is one of England's most-respected singer/songwriters. His songs have been covered by artists on both sides of the Atlantic, including Don Williams, Frankie Miller, Fairport Convention, Dick Gaughan, the McCalmans, the Fureys, the Clancy Brothers, and De Dannan. Folk Roots praised him for his "ability to crystallize a mood and evoke an era with the ease of a computer memory access, crafting perfect songs with dramatic changes in the spirit of Brecht, Bikel, and Brel." The Oxford Book of Traditional Verse felt as strongly, writing that Taylor was "one of the most literate and sensitive of contemporary songwriters in terms of words and music and one who is capable of exploring more complex subjects than most of his contemporaries." (…)