JUMBO were formed in Milan at the end of 1969 around singer-songwriter Alvaro "Jumbo" FELLA (his nickname then became the name of the group). The band delivered complex Bluesy prog in a very non-traditional Italian style. They have created its own sound … an alternation of melody and hard rock, with strong themes (sex, drugs and prostitution. They were also influenced by Ian ANDERSON and JETHRO TULL.
Fittingly for an album called Mumbo Jumbo, Air Supply do employ some smoke and mirrors on their 2010 album – perhaps more than any of their previous albums, dabbling with a variety of textures and rhythms. Although their touch remains decidedly light, this isn’t merely a collection of romantic ballads: it opens with the spooky prog pomp of “Setting the Seen”; “A Little Bit of Everything” pulsates with the clean sheen of the late ‘80s; they work up a fairly good head of steam on “Me Like You”; they get a little dirty on the slow groove of “Lovesex”; “Until” approaches the baroque; and even on something as soft as “A Little Bit More,” the acoustic guitars are unadorned in a way Air Supply never have tried. While none of the songs approach the skyscraping hooks of their soft rock classics, this isn’t the sound of a band resting on its laurels; if anything, this is one the group’s most adventurous records, which may also be why it’s one of Air Supply's best.
This excellent follow-up album from World Party is much tighter than the debut. Dealing with issues from the environment ("Take It Up," "Put the Message in the Box") to relationship woes ("And I Fell Back Alone"), these tracks manage to maintain a hopeful, positive mood without becoming trivial. In these songs, Wallinger has developed his own distinct style. A great album, worth checking out just for the uptempo groove of "Way Down Now."
Recorded for the ASV label in 1990, this collection of Ravel’s piano music has never previously been released complete. Now reissued for the first time in more than a decade, this set presents not the kind of coolly objective view of the fastidious composer-craftsman that modern recordings have accustomed us to, but more of a poet in sound and in touch with his Basque origins.