Billy Ray

Harry Ray, Al Goodman and Billy Brown previously recorded as The Moments, their Stateside hits including “Love On A Two-Way Street”, Sexy Mama” and “Look At Me”. Here in the UK they made Top 10 in the national charts with “Girls” and “Dolly My Love” while the soul scene still spin their 1976 single “Nine Times”, another record for Sylvia Robinson’s Stang label before the group’s name transition to Ray, Goodman & Brown in 1978 for contractual reasons. The Moments had included prior members since forming in Washington in the 1960, but when Sylvia’s Sugarhill label was on a roll, Harry Ray would also record briefly as a solo artist, “Love Is A Game” being the song from that period he is best remembered for.

Not a vocal session from Ray Charles, but instead a set that showcases his great abilities in jazz - a side of Charles' talents that Atlantic was focusing on a bit more at the end of the 50s! The record's a collaboration with vibist Milt Jackson, who's nicely more loose and gritty here than in the company of the Modern Jazz Quartet - and in addition to piano, Ray also plays a bit of alto sax too - which comes as a nice surprise! Other players include the great Billy Mitchell on tenor sax, Skeeter Best on guitar, Oscar Pettiford on bass, and Connie Kay on drums.

Ray Obiedo's excellent debut release was followed by five more over the next 10 years, after which he seemingly disappeared from the music scene. While the decline in jazz recording artist contracts is largely to blame, I had always thought that such a dynamic talent would continue recording and releasing music own his own, but unfortunately you can't even find a website for him. In addition to his writing and producing talents, Ray Obiedo plays both guitars and keyboards on every track; and if that wasn't enough, he also does the horn arrangements!

Not a vocal session from Ray Charles, but instead a set that showcases his great abilities in jazz - a side of Charles' talents that Atlantic was focusing on a bit more at the end of the 50s! The record's a collaboration with vibist Milt Jackson, who's nicely more loose and gritty here than in the company of the Modern Jazz Quartet - and in addition to piano, Ray also plays a bit of alto sax too - which comes as a nice surprise! Other players include the great Billy Mitchell on tenor sax, Skeeter Best on guitar, Oscar Pettiford on bass, and Connie Kay on drums.

Def Leppard’s 1983 album Pyromania will be reissued in April across numerous physical editions.

Concord Records is celebrating the 80th birthday of the legendary Ray Charles with a special gift for his legions of fans: Rare Genius: The Undiscovered Masters. This treasure trove of newly discovered recordings, highlighted by a duet with fellow icon Johnny Cash, will become available on October 26th, 2010.

Culled from four decades worth of demos and other previously unreleased material, Rare Genius showcases the remarkable artistic vision, stylistic range and emotionally rich vocals that crafted Charles enduring legacy. Listening to the ten gems from the '70s, '80s and '90s that comprise this CD, fans will have no trouble envisioning the late singer rocking back and forth at the piano as he effortlessly segues between R&B/soul, pop, country and gospel. "Ray would always get inside the meaning of a lyric and make the listener believe every word," says Concord Music Group Chief Creative Officer, John Burk. "His vocals carried incredible emotion and intensity, even on demo tapes. What we have here with Rare Genius is on par with some of his greatest works."

Never one to disappoint, this is another fine "real deal" blues album from the West Coast cat who wastes no notes and no time (neither yours nor his). Most of Keep the Mojo Workin' was recorded live, with just a few overdubbed solos, and was completed in just two sessions. You'll find instrumental tributes to Anson Funderburgh, Jimmie Vaughan, and Ray's late great boss, William Clarke. You also get some Billy Gibbons harmonics and early-'60s style B.B. King/Duke Jethro sounds. Covers include Albert Collins' "Backstroke," Little Walter's "Mean Old World," Eddie Taylor's immortal 1955 hit "Bad Boy," Jimmy Reed's laconic shuffle "You Don't Have to Go," and the Elmore James classic "I Believe." In addition to some great West Coast, Texas, and Chicago blues guitar playing, Ray takes to the Hammond B-3 on four of the songs. This one also showcases Charlie Chavez on vocals and harp and Stan Powell on chromatic harp.