Breakdown (1997)

Instead of running away from his father's enormous legacy, Jason Bonham embraced it on his first official solo album, In the Name of My Father: Zepset. Recorded live in New York City, the album features Bonham and his backing band running through a number of Led Zeppelin classics, and he expertly mimics the style and subtle funk of his father, John. While it proves his technical skill as a musician, the record doesn't offer any significant new interpretations of the material, suggesting that his vision may be limited. Nevertheless, In the Name of My Father is a warm, loving tribute to one of the giants of hard rock that is entertaining in its own right.

In 1997 when “Big Men Cry” was originally released on Planet Dog Records, no one could have predicted the chaos that would surround and follow it. The campaign was a classic case of the record company marketing one thing and the artist recording another. In this instance, the label and many of the public alike wanted “another Last Train to Lhasa” but for Toby Marks (AKA Banco de Gaia), another “Lhasa” was the last thing on his mind.
Add to that a breakdown of relations between Toby and the record label and you have all the necessary components for a pretty uncomfortable album release. This was compounded by Ultimate Records, who licensed the Planet Dog label, going into liquidation shortly after the album’s release…

1997 Japanese 27-track compilation CD album featuring Jimmy's early work with Neil Christian & The Crusaders, Nico, The Masterminds, John Mayall & The Bluesbreakers, Eric Clapton, Joe Cocker & The Yardbirds. Jimmy Page is an English musician, songwriter, and record producer who achieved international success as the guitarist and founder of the rock band Led Zeppelin. Page began his career as a studio session musician in London and, by the mid-1960s, had become the most sought-after session guitarist in England. He was a member of the Yardbirds from 1966 to 1968. In late 1968, he founded Led Zeppelin.

Upon its release, Butterfly was interpreted as Mariah Carey's declaration of independence from her ex-husband (and label president) Tommy Mottola, and to a certain extent, that's true. Butterfly is peppered with allusions to her troubled marriage and her newfound freedom, and the music is supposed to be in tune with contemporary urban sounds instead of adult contemporary radio. Nevertheless, it feels like a Mariah Carey album, which means that it's a collection of hit singles surrounded by classy filler. What is surprising about Butterfly is the lack of up-tempo dance-pop. Apart from the Puffy Combs-produced "Honey," Butterfly is devoted to ballads, and while they are all well-crafted, many of them blend together upon initial listening.

Upon its release, Butterfly was interpreted as Mariah Carey's declaration of independence from her ex-husband (and label president) Tommy Mottola, and to a certain extent, that's true. Butterfly is peppered with allusions to her troubled marriage and her newfound freedom, and the music is supposed to be in tune with contemporary urban sounds instead of adult contemporary radio. Nevertheless, it feels like a Mariah Carey album, which means that it's a collection of hit singles surrounded by classy filler. What is surprising about Butterfly is the lack of up-tempo dance-pop. Apart from the Puffy Combs-produced "Honey," Butterfly is devoted to ballads, and while they are all well-crafted, many of them blend together upon initial listening.

On their third album, Lucifer's Friend took a new tack: instead of being a progressive band or a hard rock band, they decided to incorporate both styles into a more ambitious sound that also worked in elements of soul and jazz. The resulting album, I'm Just a Rock 'n' Roll Singer, lacks the coherent flow that defines a good album but offers an array of tuneful, well-crafted tracks nonetheless. By this time, the band had learned to make their songwriting the focus of each track and tamed the instrumental soloing that overwhelmed Where the Groupies Killed the Blues.

On their third album, Lucifer's Friend took a new tack: instead of being a progressive band or a hard rock band, they decided to incorporate both styles into a more ambitious sound that also worked in elements of soul and jazz. The resulting album, I'm Just a Rock 'n' Roll Singer, lacks the coherent flow that defines a good album but offers an array of tuneful, well-crafted tracks nonetheless. By this time, the band had learned to make their songwriting the focus of each track and tamed the instrumental soloing that overwhelmed Where the Groupies Killed the Blues.

Bill Evans - The Complete Bill Evans On Verve (1997) {18 CD Set Verve 314 527 953-2 rec 1962-1969}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 6.92 Gb | MP3 @320 -> 2.96 Gb
Full Artwork @ 600 dpi (jpg) -> 151 Mb | 5% repair rar
© 1962-69, 1997 Verve / PolyGram | 314 527 953-2
Jazz / Post Bop / Modal Music / Piano

THE COMPLETE BILL EVANS ON VERVE is an 18-disc, 269-track box set featuring every track that Bill Evans recorded for Verve between 1962 and 1969, including 98 previously-unreleased tracks. It includes a 160-page, full-color book. THE COMPLETE BILL EVANS ON VERVE was nominated for a 1998 Grammy Award for Best Recording Package - Boxed and for Best Historical Album. The 18 CDs in this exhaustive set provide a comprehensive picture of Bill Evans from 1962 to 1969, a period when the pianist was both consolidating his fame and sometimes taking his music into untested waters, from unaccompanied piano to symphony orchestra. His work with multitracked solo piano, originally released as Conversations with Myself and the later Further Conversations with Myself, was the most remarkable new format for his introspective music. It gave Evans a way to be all the pianists he could be at once–combining densely chordal, harmonically oblique parts with surprising, rhythmic punctuation and darting, exploratory runs.