Michael Warren Davis

About Schmidt is a 2002 American comedy-drama film written and directed by Alexander Payne, produced by Michael Besman, Harry Gittes and Rachael Horovitz, co-written by Jim Taylor with music by Rolfe Kent and starring Jack Nicholson in the title role. The film also stars Hope Davis, Dermot Mulroney and Kathy Bates.

Formed in Bristol in 1969, Stackridge were one of the most unique British bands of the era. Their initial line-up featured Andy Davis (guitar, keyboards, vocals), James Warren (guitar, vocals), James “Crun” Walter (bass), Michael “Mutter” Slater (flute, vocals), Michael Evans (violin) and Billy Bent (drums). Possessing a gift for melody, musicianship and a fine sense of humour and English eccentricity, their concerts were legendary.

Curiosity Killed the Cat was a British pop band that achieved success in the UK, with hit singles such as Down To Earth, Misfit, from their No. 1 debut album, Keep Your Distance. Come On Eileen is a song by English group Dexys Midnight Runners credited to Dexys Midnight Runners and the Emerald Express. Rhythm of the Night is a single by DeBarge, written by Diane Warren. It was a single from their album, Rhythm of the Night on the Motown label. The song jump-started the career of the prolific Warren. Dr. Beat is the first international single released by the American band Miami Sound Machine, led by Gloria Estefan, on their first English language. Cant Wait Another Minute is a 1986 hit single by British pop group Five Star, peaking at number 7 on the UK Singles Chart.

New expanded release of the 1971 debut album by stackridge. With four bonus tracks including a 1971 bbc session for john peel’s top gear. Reviews in prog, uncut, mojo, record collector magazines plus coverage on relevant websites and fanzines. Formed in Bristol in 1969, Stackridge were one of the most unique British bands of the era. Their initial line-up featured Andy Davis (guitar, keyboards, vocals), James Warren (guitar, vocals), James “Crun” Walter (bass), Michael “Mutter” Slater (flute, vocals), Michael Evans (violin) and Billy Bent (drums). Possessing a gift for melody, musicianship and a fine sense of humour and English eccentricity, their concerts were legendary.

New expanded 2cd edition of the 1972 album by stackridge. With 12 additional bonus tracks including a previously unreleased performance recorded for bbc radio one in concert in june 1972.

Unlike other labels subjected to exhaustive multi-disc retrospectives like this whopping ten-disc Revolutions in Sound: Warner Bros. Records – The First Fifty Years, Warner Brothers never embodied a scene or sound: they've always embodied what a major label should be – a dominant force that chronicles and dictates the sound of the mainstream. Coming out at the tail-end of 2008, when the influence of major labels is on a slow steady decline, Revolutions in Sound can be seen as a portrait of a time that's beginning to recede into the past: a time when there was such a thing as mass entertainment, when the pop audience all shared a common bond of hit records they either loved or rallied against. Perhaps the greatest things about this monumental box set is that it captures that colossus while also illustrating that for a while, majors did take risks. Of course, Warner was the riskiest of all the majors, never held back by an anti-rock & roll sourpuss like Mitch Miller, who struggled to keep CBS out of the tumult of the '60s (this with no less than Bob Dylan as the label's flagship rock artist). Instead, Warner embraced the underground, recording some of the strangest to shake out of the '60s, and that adventure fits a label that turned to rock & roll to help establish themselves as a real player at the turn of the '60s.

Motown's "The Best of Thelma Houston" covers her late-'70s/early-'80s output for the label, including her hit cover of "Don't Leave Me This Way." A few other covers, including "Jumpin' Jack Flash" and "Me and Bobby McGee," hint at Houston's range as an interpreter; originals like "If It's the Last Thing I Do," "I Want to Go Back There Again," and "Stealin' in the Name of the Lord" show her finesse with lush ballads, quintessential Motown, and gospel-inflected pop, respectively. Along with "Don't Leave Me This Way," tracks such as "Saturday Night, Sunday Morning," "Love Machine," and "I'm Here Again" reflect Houston's sophisticated but fiery take on disco. While the Spectrum collection has a slightly grittier edge to it, this compilation does a fine job of showing the breadth and depth of her Motown work.

Johnny Dillard Lytle (October 13, 1932 in Springfield, Ohio – December 15, 1995 in Springfield) was a jazz drummer and vibraphonist. Lytle grew up in Springfield, Ohio in a family of music, the son of a trumpeter father and an organist mother. He began playing the drums and piano at an early age. Before studying music in earnest, he was a boxer, and was a successful Golden Gloves champion. During the late '50s, Lytle continued to box, but landed jobs as a drummer for Ray Charles, Jimmy Witherspoon and Gene Ammons. Then he switched from drums to vibraphone and toured with organist Hiram "Boots" Johnson from 1955 to '57. He formed his first group in 1957 with saxophonist Boots Johnson, organist Milton Harris and drummer William "Peppy" Hinnant. He impressed the Grammy award-winning producer Orrin Keepnews who signed him to his Jazzland label in 1960.