High Society From March 2015

Jesus Christ Superstar started life as a most improbable concept album from an equally unlikely label, Decca Records, which had not, until then, been widely known for groundbreaking musical efforts. It was all devised by then 21-year-old composer Andrew Lloyd Webber and 25-year-old lyricist Tim Rice…

Popa Chubby, born Ted Horowitz, has been hard rocking the blues in his fierce and soulful way for more than 25 years. Over the course of a career that dates back to 1994, he has been a force of to be reckoned with on the guitar, and his tempestuous, soulful playing has never been more powerful. An imposing figure with a shaven head, tattooed arms, a goatee and a performance style he describes as “the Stooges meets Buddy Guy, Motörhead meets Muddy Waters, and Jimi Hendrix meets Robert Johnson," Popa Chubby is an endearing character who is one of the genre’s most popular figures.

Jack Teagarden - Jazz Great (1954) {2014 Japanese Bethlehem Album Collection 1000}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 155 Mb | MP3 @320 -> 96 Mb
Full Artwork @ 600 dpi (png) -> 218 Mb | 5% repair rar
© 1954, 2014 Solid Records / Bethlehem | CDSOL-6132 | LP BCP-32
Jazz / Swing / Trombone

Reissue. Features the latest remastering. Includes a Japanese description, lyrics. Features original cover artwork. The album definitely lives up to the title, and features the mighty Jack Teagarden in a number of small group settings – all with a straight ahead punch that gets away from some of the gimmicks of his other 50s sessions! Teagarden's trombone is still one of the sharpest instruments of his generation of jazz – and Jack works here with a mix of players that includes Jimmy McPartland on trumpet, Edmond Hall on clarinet, Dick Cary on piano, Walter Page on bass, and Jo Jones on drums. Most arrangements are by Cary – and Jack sings just a bit, in that wonderfully raspy style of his. Titles include "Misery & The Blues", "Bad Acting Woman", "Meet Me Where They Play The Blues", "Music To Love By", and "High Society".

Kim Skovbye is a composer, songwriter and poet. Born in copenhagen in 1955, he grew up in a home frequented by artists. The Celtic harp is his main instrument, but as a true multiinstrumentalist he also knows how to handle the guitar, violin, bouzouki, mandoline, flutes, cello, dulcimer and keyboards. During the eighties, Kim made numerous trips to Ireland, Wales and Bretagne, the old Celtic countries. His meeting with the Celtic music has become a lasting inspiration for him. But he does not play Celtic music, 'the Celts are better at that'. His music is born out of Scandinavian tradition, incorporating the light and the landscapes to give form and color to the music.
In 1997 Kim released the album 'There and back again', and as Tolkien lovers will know, this title is the subtitle of Tolkiens 'The Hobbit'…

For many, Eddie Condon's name is synonymous with swing-infused Chicago-style Dixieland, which he embodied in almost every way. Although not considered a great technician, Condon was a great section man, a guitarist who provided a solid rhythmic root. More than that, he was an organizer who sponsored and influenced innumerable musicians. These eight CDs feature groups led by players associated with Eddie Condon. Although Condon only performs on a handful of the tracks, his spirit is pervasive, and the collection is unified not only by style but also by something more ethereal as well. As is common with the Mosaic box sets, there is a commitment to quality recording that often begins with long-forgotten original masters…

Even though the album was weighed down by its adherence to late-'80s state of the art studio techniques, UK Jive was a noticeable improvement over the lackluster Think Visual. Featuring only a handful of hard rockers – including the excellent, snarling "Aggravation" – the album was comprised of pop songs that painted an unfocused portrait of modern British life. Although many of Ray Davies' finest songs were based on a similar concept, his songwriting on UK Jive was frustratingly inconsistent, ranging from the infectious bop of the title track to the ham-fisted anthem "Down All Days (To 1992)." With the loping "Looney Balloon," Davies wrote one of his finest songs of the '80s, but the only track that equaled its conviction was his brother Dave's spiteful protest, "Dear Margaret."