Just 18 September 2013

At the peak of their career, Sly & the Family Stone topped the charts with a Greatest Hits album – in 1970, it was their first LP to crack the Billboard Top 200, peaking at number two; an argument could be made that it was the LP that cemented their stardom – and over the years, they've been anthologized many times, almost each compilation worthwhile, but they've never been subjected to a comprehensive box set until Legacy's 2013 four-disc set Higher!…

Various Artists - Bluesin' By The Bayou (2013) {Ace Records CDCHD 1368}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 218 Mb | MP3 @320 -> 141 Mb
Full Artwork @ 300 dpi (jpg) -> 26 Mb | 5% repair rar
© 2013 Ace Records | CDCHD 1368
Blues / Louisiana Blues

Hardly have we savoured the full taste of “Rhythm ’n’ Bluesin’ By The Bayou” than here comes another bucketful of steaming South Louisiana gumbo and this time it’s “Bluesin’ By The Bayou” – a spicy mix of guitars, harmonicas, and even the occasional accordion, accompanying those tales of despair or machismo that are the recipe for the blues. All the tracks stem from the studios of J.D. Miller in Crowley and Eddie Shuler in Lake Charles. These two men were wonders at spotting talent and getting the best out of the performers, as illustrated on the 28 tracks on this CD.

Bob Dylan (/ˈdɪlən/; born Robert Allen Zimmerman, May 24, 1941) is an American singer-songwriter, author, and painter, who has been an influential figure in popular music and culture for more than five decades. Much of his most celebrated work dates from the 1960s, when he became a reluctant "voice of a generation" with songs such as "Blowin' in the Wind" and "The Times They Are a-Changin'" that became anthems for the Civil Rights Movement and anti-war movement. In 1965, he controversially abandoned his early fan-base in the American folk music revival, recording a six-minute single, "Like a Rolling Stone", which enlarged the scope of popular music…

With 1971's Fragile having left Yes poised quivering on the brink of what friend and foe acknowledged was the peak of the band's achievement, Close to the Edge was never going to be an easy album to make. Drummer Bill Bruford was already shifting restlessly against Jon Anderson's increasingly mystic/mystifying lyricism, while contemporary reports of the recording sessions depicted bandmate Rick Wakeman, too, as little more than an observer to the vast tapestry that Anderson, Steve Howe, and Chris Squire were creating…

An accomplished musician known for his prowess on electric bass, Tom Kennedy fronts a nine-piece ensemble of top-notch players delivering engaging new interpretations of well-known jazz standards on Just Play!, his fourth album as leader. While much of his experience performing progressive and mainstream jazz has been on the electric bass, Kennedy's first experience began on double bass at the age of eleven. Here, the bassist leads the performance on his vintage St. Louis legend Jerry Cherry Bohemian upright bass.

The Salsoul Orchestra - Nice 'N' Naasty (1976) {2013 Remastered & Expanded - Big Break Records CDBBR 0234}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 526 Mb | MP3 @320 -> 181 Mb
Full Artwork @ 300 dpi (png) -> 57 Mb | 5% repair rar
© 1976, 2013 Big Break Records / Cherry Red / Verse Music | CDBBR 0234
R'n'B / Funk / Disco / Soul / Philly Soul

THE SALSOUL ORCHESTRA was the brainchild of once MFSB member and legendary vibraphonist, Vince Montana Jr. Formed in 1974 THE SALSOUL ORCHESTRA, house band for the remarkable Salsoul Records, sometimes featured up to 50 members amongst its ranks including a number of former musicians from MFSB of the Gamble & Huff fronted Philadelphia International Records and fused elements of Funk, Latin, Disco and Philly Soul into their compositions.

Superchunk - I Hate Music (2013) {Merge Records MRG480}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 291 Mb | MP3 @320 -> 91 Mb
Full Artwork @ 300 dpi (jpg) -> 35 Mb | 5% repair rar
© 2013 Merge Records | MRG480
Rock / Alternative / Indie Rock

After returning to the scene with the glorious Majesty Shredding album in 2010, Superchunk could have packed it in, again secure in the knowledge that they had made one last power punk noise classic. The album's focus may have been on thoughts and issues relevant to old-timers, but the music was ferocious enough to blow away even the most energetic young band of whippersnappers. Since they didn't give up and did indeed release another album in 2013, I Hate Music, the question is, did they need to? Did they have more to say? Could they maintain the high level of crackling energy and keep the intensity flowing? The answer is a resounding yes, yes, and yes.