Mathias Eick follows up his melodically charged leader debut, 2008’s The Door, with something delectable. This time he fronts an expanded, smoother band that includes saxophonist Tore Brunborg within a nest of Scandinavian talent. Ever at their center is Eick, whose threefold role as composer, performer, and arranger takes on fuller idiomatic body.
Skala shares key aspects with its predecessor. It is another set of eight originals, which too can be divided into three acts of two, three, and three scenes, respectively. Act I likewise opens with the title track and, like its earlier counterpart, only seems to grow more translucent as instruments are added. Yet the similarities end there, for the music is something else entirely. Here is a musician who not only has listened deeply to others on the path to enriching his compositional breadth…
Overall, this is not quite in the top echelon but is a solid entry in the increasingly crowded sub-genre of greasy, white-hipster, roadhouse blues - a retro-blend of Texas and Chicago blues sensibilities with dirty-toned guitar, danceable jump and shuffle rhythms, and soul-inflected vocals. The band is a guitar-bass-drums trio, plus singer Jimmy Morello (who brings to mind Kim Wilson and Sugar Ray Norcia, sans harp). Boyack displays flashes of wit on guitar. Producer Ron Levy thickens the sound with his own Hammond B-3, although mixed very much in the background, and with horns on a few cuts. The tunes are all originals, a majority written or co-written by Morello (who has since left the band). Best cuts are the upbeat "Sugar," with its catchy "wo-wo-wo-wo" hook; the minor key "I Know It's Over"; and the Albert King-style "Cleanin' Out My Closet."
20-time Grammy winner Pat Metheny returns with his most personal record to date - Dream Box.
Un détective privé est engagé afin de retrouver une stripteaseuse disparue. La mission, d'apparence simple, se complique lorsque les cadavres s'amoncèlent sur sa route..
Best Shots is a Platinum-certified greatest hits album released by the American rock singer Pat Benatar in 1987 in Europe and in an updated version in 1989 in North America. It peaked at No. 67 on the U.S. Billboard 200 album chart, two years after the album peaked at No. 6 in the UK.