Rainbow Flac

Masayoshi Takanaka, is a Japanese guitarist, composer, and producer. He was born in 1953 in the Shinagawa ward in Tokyo, Japan. Takanaka's music was influential in the city pop genre of the late 1970s and '80s.

It's September 1981 and it's matter of weeks away from the release of I'm A Rainbow, the second album Donna Summer had recorded for Geffen Records, which had been produced by Giorgio Moroder and Pete Bellotte. At the time that the album was being recorded, the musical landscape had changed and production techniques were developing further. Geffen also wanted a more R&B-influenced album, despite the album having a more R&B feel than The Wanderer had done. The songs and their lyrical content were very strong and Donna's voice had never sounded better, which was always a tough comparison against previous albums. A decision was taken by the label to withdraw I'm A Rainbow just prior to it's release.

Rainbow Serpent are one of the best Electronic Music bands to emerge from Germany having a rare talent for infectious sequences and sublime melodies. At one moment they can produce tracks overflowing with the joy of life and then in the next turn their hands to growling menacing stuff. Frank Specht is one half of the awesome Rainbow Serpent and as with Gerd Wienekamp's (the other half of Rainbow Serpent) album 'Der Laborant - Kontakt' what we get is a mixture of very recognisable Serpent characteristics as well as a different angle identifying the individuality of each member.

Pretty much every record released during the psychedelic era by EMI’s various satellite labels was honed and buffed to opaque perfection by the studio technocrats who were working for the company.

Ritchie Blackmore decided to pull the plug on Rainbow following the supporting tour for 1983's Bent Out of Shape. To commemorate the end of the band, he released the appropriately-titled, Finyl Vinyl. A double-record set of live recordings and a handful of studio outtakes, primarily culled from the Joe Lynn Turner era but also featuring selections with Ronnie James Dio and Graham Bonnet, Finyl Vinyl offers a haphazard alternate history designed for hardcore fans (by 1986, that's pretty much all Blackmore had left). For those fans, the album is actually quite a treat. Rainbow always sounded better on stage than they did on the studio – rawer, harder, alive – and songs that sounded half-baked in the studio, such as selections from Difficult to Cure, sound right here.

The Best of Rainbow compiles 16 of the best tracks from Rainbow's first seven studio albums, wisely avoiding 1977's live On Stage release. The first two tracks from their debut album, 1975's Ritchie Blackmore's Rainbow, showcases the instant bond that was formed between Blackmore and Ronnie James Dio, especially on "Man on the Silver Mountain." Blackmore changed the band for the following year's Rainbow Rising, with Jimmy Bain replacing bass player Craig Gruber, and Cozy Powell taking percussion duties away from Gary Driscoll. Adding keyboard player Tony Carey helped tracks like "Starstruck" and the lengthy "Stargazer" to sound a little more dimensional and fluent than the group's first effort.

Originally issued in 1976, "End Of A Rainbow" was Patti's solo debut album for CTI Records. Although not a commercial success, this album was one of the first ever to be exclusively devoted to the Quiet Storm "sound" that was just-then blossoming. Patti's soulful, tender and at times wistful and melancholic vocals are nothing short of exquisite. Patti wrote all eight tracks herself and CTI boss Creed Taylor obviously spared no expenses in getting the best session players for this cult classic. Now that it's available on CD "End Of A Rainbow" definitely deserves a reappraisal.

Only "What Makes a Man Turn His Back on God?," which features Bessie Griffin, has been previously released. But any number of those 23 sides could have been issued with success (only "Dinner, Mr. Rupe?," a half-minute of studio byplay, wouldn't). The earlier, slightly longer take of "Too Close to Heaven" is especially interesting to compare to the hit; too sweet how Bradford whittled almost 30 seconds out of a performance already in fine fighting trim. Superb annotation by gospel historian Anthony Heilbut offers an insightful history of Bradford and his sound and also gets down to cases about various tracks.

Three classic albums from Crusaders’ original member Joe Sample from the late ‘70s and early ‘80s.