Later Mellow

Saturnia started off in late 1996, founded by multi-instrumentalist Luis Simões. Originally meant to be a free art communal project of several artistic areas such as literature, photography, design, painting and music. Filipe homem and Luis Simões named the project. The name came from the merge between the saturnia butterfly, the planet Saturn and saturnalia. Late 2000 and early 2001 were spent finishing Saturnia's second long duration recording which was well received by music critics and was spoted by Cranium music who released it as "The Glitter Odd". Complete throughout with hiss and vinyl ticks you would think you old turntable is spinning. "The Glitter Odd" is firmly in the psychedelic realm, though lots of fun spacey synths are prominent with Dubs…

Billie Holiday - The Complete Billie Holiday On Verve 1945-1959 (1992) {10CD Set Verve–PolyGram 517 658-2}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 2.63 Gb | MP3 @320 -> 1.66 Gb
Full Artwork @ 300 dpi (jpg) -> 288 Mb | 5% repair rar
© 1945-59, 1992 Verve / PolyGram | 517 658-2
Jazz / Vocal Jazz / Swing / Classic Female Blues / Traditional Pop

This is a rather incredible collection: ten CDs enclosed in a tight black box that includes every one of the recordings Verve owns of Billie Holiday, not only the many studio recordings of 1952-57 (which feature Lady Day joined by such jazz all-stars as trumpeters Charlie Shavers and Harry "Sweets" Edison, altoist Benny Carter, and the tenors of Flip Phillips, Paul Quinichette and Ben Webster). Also included are prime performances at Jazz at the Philharmonic concerts in 1945-1947, an enjoyable European gig from 1954, her "comeback" Carnegie Hall concert of 1956, Holiday's rather sad final studio album from 1959, and even lengthy tapes from two informal rehearsals. It's a perfect purchase for the true Billie Holiday fanatic.

“We think it's our best work in a very, very long time,” Kian Egan of Irish pop legends Westlife tells Apple Music. Nine years after their last studio album, Gravity, Egan, Nicky Byrne, Mark Feehily, and Shane Filan have reunited. “We met as a band and said, ‘What should Westlife sound like in 2019?’” Filan says. “A lot has happened in music since our last tour.” They’re right that pop has moved in many directions since those 2012 “farewell” shows in Europe and China—and especially since their 1999 breakout hit “Flying Without Wings”—but Spectrum absorbs those changes into their sound. The 11 tracks showcase the quartet’s enduring chemistry through irresistible harmonies. “The Westlife sound is based on us as singers more than a type of song or a tempo,” says Egan. “We've managed to create a really cool new uptempo sound, but it still sounds like us, because at the end of the day, it's us singing that makes it a Westlife song.”

This was CIRCUS' debut from 1976. It's quite mellow with lots of flute. It's interesting that the vocalist sometimes sounds like Ian Anderson and at other times like Peter Hammill…

Albion is Ginger Wildhearts latest venture with the fan funded Pledge Music system, building upon the huge success of the 555%, Mutation and Hey! Hello! projects, and what a monster of an album it is. Albion has been recorded primarily by the lineup that Ginger put together for the live shows to support the 555% albums, hence the Ginger Wildheart Band monica and what a line up it is featuring the talents of Ginger Wildheart (The Wildhearts / Mutation / Solo / Hey! (Ginger Wildheart Band / The Loyalties / Bassknives / Michael Monroe Band), Victoria Liedtke (Ginger Wildheart Band / Hey! Hello!).

Billie Holiday - The Complete Commodore Recordings, 1939-1944 (1997) {2CD Set GRP Records CMD 24012}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 353 Mb | MP3 @320 -> 290 Mb
Full Artwork @ 300 dpi (jpg) -> 86 Mb | 5% repair rar
© 1939-44, 1997 Commodore / GRP Records | CMD 24012
Jazz / Vocal Jazz / Swing / Classic Female Blues / Traditional Pop

Throughout these sessions, a window into Billie Holiday's creative process is provided by the inclusion of alternate takes. Many of them are rare, although all have previously been issued on one or another of the labels that have interacted with Commodore over the years. As alternates for records on other labels also reveal, once Billie conceptualized her approach to a song, she seldom varied the basic template. She seemed to decide the best way to organize the expressive gifts at her disposal and "photograph" in her mind a musical image of how she would do the number. Once that image was in place, subsequent versions for the most part differed only in matters of nuance or animation.