Computeractive UK From 20 August 2014

Silver Convention - Get Up And Boogie (1976) {2014 Remastered & Expanded Reissue - Big Break Records CDBBR0275}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 338 Mb | MP3 @320 -> 130 Mb
Full Artwork @ 300 dpi (png) -> 106 Mb | 5% repair rar
© 1976, 2014 Big Break Records / Cherry Red / Jupiter Records | CDBBR 0275
Disco / Funk / Dance / Pop

SILVER CONVENTION started life in Munich in 1974 as Silver Bird Convention when German song writing and producing partners Michael Kunzte and Sylvester Levay released the single ‘Save Me’ on Jupiter Records, enlisting three session singers to take care of the minimal vocal refrain on the track. With the "Bird” soon dropped from the acts name ‘Save Me’ became an international Disco hit heralding the start of continued success throughout the 70's. GET UP AND BOOGIE was the group’s second album released in 1976 and capitalized on the success of their debut, which is also available on BBR. Simply titled "Silver Convention” for the US market, GET UP AND BOOGIE confirmed the group’s reputation for very catchy, accessible dance floor music that was at the forefront of the Euro-disco movement.

Comprehensive 3CD set featuring all of The Artwoods’ A and B sides, plus four previously unissued early acetate recordings by the Art Wood Combo. Also includes several BBC radio sessions with unique tracks and a long-lost live recording from Denmark at tail-end of their career. The compilation benefits from the involvement of the band’s guitarist Derek Griffiths and basisst Malcolm Pool, plus legendary blues producer Mike Vernon.
Back in the mid-‘60s, The Artwoods were one of the most vital, impressive R&B bands on the circuit, fronted by Art Wood (elder brother of future Faces/Rolling Stones guitarist Ronnie) and also boasting future Deep Purple organist Jon Lord, renowned drummer Keef Hartley, guitarist Derek Griffiths and bassist Malcolm Pool. Between 1964 and 1967, the band recorded seven singles, the ultra-rare EP ‘Jazz In Jeans’ and a nearly as scarce LP, ‘Art Gallery’, mostly for Decca…

Tribute albums frequently betray their subject, but not this homage to Johnny Cash’s Bitter Tears, the country giant’s 1964 salute to Native Americans. A concept album about a discomfiting cause – the US’s treatment of its indigenous people – Tears was a radical statement resisted, to Cash’s fury, by the Nashville establishment. For its 50th anniversary, producer Joe Henry gathers a stellar house band that takes turns to lead. Gillian Welch delivers an entrancing As Long As the Grass Shall Grow; Emmylou does likewise with Apache Tears. Steve Earle drawls: “I ain’t no fan of Custer” and instrumentals evoke North America’s haunted plains. Very fine.

Amenophis was founded in 1978 by Michael Roessman, Wolfgang Vollmuth, and Stefan Roessmann. The name was taken from an Egyptian Pharoah, and was meant to have international appeal.
Amenophis' self-titled 1983 debut is regarded by many as a masterpiece of symphonic prog. Its moody and mystical world enveloped the listener in a spell not broken until sometime after the last bonus track had reached homeopathic decibel levels. Unfortunately, the album achieved little sales success, and the band was only able to release a follow up if it met certain commercial standards, hence "You and I" from 1988, a decent pop prog album but with few of its predecessor's charms. It sold only a little better, and that was pretty much that, perhaps…