Gaznevada Thrill OF The Night

Nathaniel Rateliff and the Night Sweats present their 3rd studio album, The Future. Nathaniel once again demonstrates that he is a writer and performer of the highest order, who seems to be smack dab in the middle of what we all hope is an extended creative peak. The album showcases Nathaniel's unique observations of our world and people's ongoing struggle in learning how to better understand each other. The Future was produced by Brad Cook (Bon Iver, Kevin Morby, Waxahatchee, Hiss Golden Messenger) and R.M.B. The latter being the production team of Nathaniel himself, Patrick Meese, and James Barone (Beach House).

Two scores with a tone of righteous fury woven throughout. While there are differences in the approach to the two scores, Quincy Jones did manage to provide a unifying style – no mean feat, considering that the intent behind In the Heat of the Night was to get a Southern, blues-inflected atmosphere to support the angry, anti-racist approach of the picture, while They Call Me Misters Tibbs! had a more open, urban attitude from its San Francisco setting. The music throughout has an edge (the lighter music in the second score is generally source music), with some interesting musical experiments going on (Jones, as one example, used cimbalom to reflect Tibbs' feelings in They Call Me Mister Tibbs!.) The Ryko CD release includes an Enhanced CD portion with film material. The sound throughout the disc is excellent, although the cues from In the Heat of the Night show their age, and the dialogue excerpts sound very rough.

The Hal Galper Quintet - Children Of The Night (1978) {Double-Time DTRCD-125 rel 1997}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 362 Mb | MP3 @320 -> 155 Mb
Full Artwork @ 300 dpi (jpg) -> 11 Mb | 5% repair rar
© 1978, 1997 Double-Time Records | DTRCD-125
Jazz / Post Bop / Piano

This is one of the hottest albums of the ’70s. Recorded at Rosy’s in New Orleans in 1978 (and originally released a year later as Speak With a Single Voice), it features Galper on piano, Michael Brecker on tenor saxophone and flute, Randy Brecker on trumpet and fluegelhorn, Wayne Dockery on bass and Bob Moses on drums. The hornmen (already famous then for their hard-hitting funk-jazz group, the Brecker Brothers) comprised a blistering front line. Galper was in aggressive form, playing with an energy reminiscent of McCoy Tyner, a spirit of embellishment reminiscent of Art Tatum and a harmonic knowledge reminiscent of Bill Evans. Dockery and Moses formed a heart-pounding tandem.

While not as good as Live (X-Cert), the Stranglers' live album it bookends, this does have some things to recommend it. First, it was recorded a decade down the line and was able to draw from a wellspring of generally excellent material…

Der niederländische Walzerkönig André Rieu ist wieder da. Nachdem er 2012 pausieren musste, veröffentlicht der derzeit erfolgreichste Tourneekünstler der Welt endlich sein lang erwartetes Doppelalbum André Rieu Celebrates ABBA & Music Of The Night. Während der Arbeit an Music Of The Night, einer wunderbaren Sammlung bisher nicht aufgenommener klassischer Songs aus der Welt der Musicals, Filme und Romanzen, entdeckte André Rieu das beeindruckende Repertoire der schwedischen Supergruppe ABBA und widmet sich nun zum ersten Mal dieser Musik. ABBA Fans weltweit können ihre Lieblingssongs jetzt endlich in noch nie gehörten, wunderschönen Orchesterarrangements erleben.

By 1982's Creatures of the Night, Kiss had finally ditched their plans of becoming "respectable artists" (starting with 1979's Dynasty) and had come to the realization that they were a loud, no-holds-barred heavy metal band. Easily their best since 1977's Love Gun, Creatures of the Night contains very little filler and sounds as if Kiss had been reborn (it also includes one of the heaviest drum sounds ever captured in the studio by any rock band)…