'Home at Last' is the solo debut album by Wayne Berry, a Nashville-based singer-songwriter and former member of the folk-rock group Timber. This is arguably one of the greatest "lost" singer-songwriter albums of the 1970s, featuring guest appearances by Johnny Gimble, Charlie McCoy, Ned Doheny, and none other than Jackson Browne. The style of this album can be described as laid-back country rock in the vein of bands like Cowboy or The Ozark Mountain Daredevils. Berry is backed by an amazing all-star band of session musicians including, among others, Steely Dan's Jeff "Skunk" Baxter, Jesse Ed Davis, Jim Gordon, David Briggs, Shane Keister, David Paich, Reggie Young, and most of the Muscle Shoals Rhythm Section.
Jazz Funk Classics vol.1 is a collection of 30 of the greatest Jazz Funk tracks and the first in a new series of Street Sounds albums, across various music genres. These new albums signal a renaissance of the Street Sounds brand and Jazz Funk Classics vol.1 will take you on a special journey. Every track on this album is an essential, seminal classic which are as exciting, enjoyable and vital today, as they were when originally released. Every Street Sounds album is compiled with a great deal of TLC. We are aware that a buyer of a Street Sounds album expects nothing but the best - therefore we ensure that each track is the full length, original 12 extended or album version and meticulously remastered to the highest quality, a connoisseur and audiophiles dream.
The music of the American Westcoast from the late sixties won the hearts of music lovers around the world - and certainly also in the Netherlands. In this unique soundbook Leo Blokhuis tells what makes this music so special and gives an overview of all artists, albums and songs that matter. The four CDs contain a unique collection of beautiful songs. A must-have for anyone who loves the sunny sound of the West Coast - or who wants to discover it.
The Mastercuts label's great Classic Jazz-Funk series kicked off in 1991, and like the remainder of volumes released in its wake throughout the '90s, the first volume more or less concentrates on the '70s end of jazz-funk, as opposed to the form's beginnings during the '60s. Jazz artists were incorporating more potent and often easily danceable backbeats and were also allowing for the R&B of the time to infiltrate their sound, causing purists to shriek in horror at the break from tradition and – just as importantly – the crossover appeal.