M•a Recordings

Originally scheduled for release in 1981, the double-album I'm a Rainbow was shelved at the last minute. In the proocess, it became legendary among Donna Summer fanatics. In 1996, I'm a Rainbow was finally released as a single compact disc. Like most of Summer's recordings from the late '70s and early '80s, it was produced by Giorgio Moroder and Pete Bellotte, who give the stylish disco a sleek, sexy sheen. The difference between I'm a Rainbow and its predecessors – and, indeed, its sequels – is the subject matter. Throughout I'm a Rainbow, Summer turns in some of her most personal, introspective lyrics and singing, which gives the album an emotional force her albums sometimes lacked. In fact, given the quality of the music, it's hard to see why this was shelved at the time because it is stronger than the majority of her official studio albums.

Lazy Lester is, without doubt, one of the great blues harpists, whose somewhat lethargic style is distinctive and unique. I'm a Lover Not a Fighter acts as something of a tribute to the Louisiana blues scene of the 1960s, and reflects the growing interest in Louisiana blues that Lester's recordings have initiated. Containing such swamp blues classics as "I Hear You Knockin" and the inimitable title track, this release sees Lester in fine form, ably backed by some of the best musicians in Louisiana. Indeed, although showing further signs of the artist's creative renaissance will appeal to devotees, this disc also acts as a perfect introduction to the artist's work, and to both groups, this disc comes highly recommended.

From the start of their recording career, Athens, Georgia's finest have been a fertile source of cover tunes, non-album B-sides and alternate versions. This limited-edition collection compiles a baker's dozen of rarities and oddities, including the band's readings of Pylon's "Crazy," Aerosmith's "Toys in the Attic," the Floyd Cramer instrumental "Last Date," and the gospel number "Tired of Singing Trouble," plus a variety of alternate mixes and live versions. Rounding out the set are a pair of ramshackle acoustic numbers from the soundtrack of the documentary Athens GA, Inside Out, "Swan Swan H" and the Everly Brothers' "All I Have to Do Is Dream." Although a couple of tracks overlap the band's 1987 rarities package Dead Letter Office, In the Attic is a handy adjunct to R.E.M.'s album catalog.

Nat King Cole - The Complete Capitol Recordings Of The Nat King Cole Trio (1942-1961) {18CD Box Set Mosaic MD18-138 rel 1991}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 2.87 Gb | MP3 @320 -> 2.10 Gb
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© 1942-61, 1991 Capitol / Mosaic Records | MD18-138
Jazz / Vocal Jazz / Swing / Traditional Pop

This collection contains 349 songs recorded at 91 separate recording sessions between October 11, 1942 and March 23, 1961. Two-thirds of the selection on this 18-disc anthology have either been out out of print since the 1940s, or have never been released in any form. Cole's 1956 album, AFTER MIDNIGHT, is included here in its entirety, along with all of the trio's more familiar songs. Included in this set are 104 tracks previously unavailable on US LPs. Sixty-six of the tracks were previously unavailable anywhere. Fifty-six rare Capitol radio transcriptions appear commercially for the first time. Dozens of the tracks appear at the correct speed for the first time ever.

Bill Evans Trio - Turn Out The Stars: The Final Village Vanguard Recordings, June 1980 {6CD Box Set Warner 9 45925-2 rel 1996}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.87 Gb | MP3 @320 -> 954 Mb
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© 1980, 1996 Warner Bros. | 9 45925-2
Jazz / Post Bop / Modal Music / Piano

Just three months before his death, pianist BIll Evans was extensively recorded at the Village Vanguard. Originally, one or two LPs were to be released featuring his brilliant new trio (with bassist Marc Johnson and drummer Joe LaBarbera), but after the innovative pianist's death, the project was stalled for over 15 years. Finally, when Warner Bros. got around to it, a definitive six-CD box set was released (although unfortunately in limited-edition form). Evans sounded quite energized during his last year, Johnson was developing quickly as both an accompanist and a soloist, and the interplay by the trio members (with subtle support from LaBarbera) sometimes bordered on the telepathic. The playing throughout these consistently inventive performances ranks up there with the Evans-Scott LaFaro-Paul Motian trio of 20 years earlier.