Harriet Brown Obsessions

Though a bit over the top, this album was still powerful and surprisingly melodic, and managed to be quite bluesy and soulful even as the band overhauled chestnuts by James Brown and Screamin' Jay Hawkins. "Spontaneous Apple Creation" is a willfully histrionic, atonal song that gives Captain Beefheart a run for his money. Though this one-shot was not (and perhaps could not ever be) repeated, it remains an exhilaratingly reckless slice of psychedelia.

Samantha Brown is an English female singer-songwriter, composer, multi-instrumentalist, arranger and record producer.
The box set has been an 18-month labour of love and has been curated by me (SDE Editor, Paul Sinclair), with the full support and enthusiasm of Sam Brown. It includes newly mastered versions of the albums Stop! (1988) and April Moon (1990) and three further discs offering B-sides, unreleased demos.

Arthur Brown had practically owned the radio one summer with the insane hit "Fire" (1968), while Black was a former member of the Mothers of Invention, which under the leadership of Frank Zappa became perhaps the most notorious rock band in American history. These Austin sessions are more about the roots rock both Black and Brown love, and one could say they really didn't dig too far to find songs to cover, sticking to warhorses. Some listeners may find the list of titles a bit discouraging, in fact. Once past this roadblock, though, and the scenery gets nice as the musicians in the backseat find effective grooves and the two leaders keep things interesting, Brown with his original vocal style and Black with his soulful drumming.

Capability Brown had and still have a cult following in UK music history as a "progressive" band, ultimately based on an outstanding piece from their second album, Voice. But largely their range covered mainstream pop music, treated in an "arty", alternative fashion. The band was a six-piece in which everyone sang and played instruments. The line-up consisted of Tony Ferguson (guitar, bass), Dave Nevin (keyboards, guitar, bass), Kenny Rowe (bass, percussion), Grahame White (guitar, lute, balalaika, keyboards), Joe Williams (percussion) and Roger Willis (drums, keyboards).
Ferguson and Nevin wrote the majority of the band's material, and the band also excelled in covers of obscure material (Rare Bird's Beautiful Scarlet and Redman, Argent's Liar, Affinity's I Am And So Are You and Steely Dan's Midnight Cruiser).
Capability Brown's forte was vocalizing…

Quentin Tarantino established himself as one of the few filmmakers to effectively use pop music with his first film Reservoir Dogs, a movie where the music was integral to the success of the film yet also worked well as a collection of songs. Jackie Brown, Tarantino's long-awaited third feature, finds him exploring new territory, creating an homage to blaxploitation flicks as well as a surprisingly subtle character study and love story, and its soundtrack appropriately finds him in new territory as well. The soundtrack still features snippets of dialogue, which simply aren't as effective separated from the film as those from Pulp Fiction, but the unified collection of '70s soul and funk is refreshing. He has wisely selected a batch of songs that haven't been worn out by oldies radio, building the bulk of the album with cult favorites like Bobby Womack's "Across 110th Street," Bill Withers' "Who Is He (And What Is He to You?)," Randy Crawford's "Street Life," Minnie Riperton's "Inside My Love".