Regarding The Soul

Typically, rock bio programs for radio are little more than aural versions of Teen Beat, rarely delving beyond the surface appeal of a given artist. Los Angeles-based DJ Jim Ladd's aptly titled Inner View was the first nationally syndicated music and interview program to raise the intelligence bar several notches. Ladd's No One Here Gets Out Alive – originally broadcast on North American radio stations during the late summer of 1979 – is an audio biography of the Doors as told by those who lived it…

The multidimensional Hot Chocolate incorporated strains of soul, rock, reggae, and disco into their sound and, during the '70s and early '80s, scored a dozen Top 10 hits in their native U.K. Formed by Errol Brown and Tony Wilson, the interracial band debuted in 1969 as Hot Chocolate Band with a cover of Plastic Ono Band's "Give Peace a Chance," issued on the Beatles' Apple Records. The band then forged a long-term alliance with producer Mickie Most and his RAK label, for which Brown and Wilson also wrote material for other artists. From 1970 through 1973, Hot Chocolate released seven singles. "Love Is Life" and "I Believe (In Love)" were Top 10 U.K. hits, as was "Brother Louie," a bleak tale regarding an interracial relationship. A cover version, shrewdly recorded by Stories, went to number one in the U.S.

If this is blues, it's blues in the Billie Holiday sense, not the Muddy Waters one. This is one of Nina Simone's more subdued mid-'60s LPs, putting the emphasis on her piano rather than band arrangements. It's rather slanted toward torch-blues ballads like "Strange Fruit," "Trouble in Mind," Billie Holiday's own composition "Tell Me More and More and Then Some," and "Nobody Knows You When You're Down and Out." Simone's then-husband, Andy Stroud, wrote "Be My Husband," an effective adaptation of a traditional blues chant. By far the most impressive track is her frantic ten-minute rendition of the traditional "Sinnerman," an explosive tour de force that dwarfs everything else on the album.

According to Nelson Motta's biography of Tim Maia, "Vale Tudo," this record had a working title of "Verão Carioca" and marks the period where Tim began imbibing large quantities of coke. Whatever, Motta's book is in fact poorly written, lacking any kind of sources, or even a comprehensive discography (or a partial one, for that matter). But Motta was a personal friend, so we have to take his word. What is for certain is that this is the record where disco begins to be felt in his music in a positive way. Rug burners like "Feito Pra Dançar" nestle alongside low-down heavy funk like "E Necessario." Another highlight is "Não Esquente a Cabeça" which has memorable hooks and melodies, and tasty electric piano and guitar work over a smokey post-bossa pan-latin groove.

Thriller is the sixth studio album by American singer Michael Jackson, released on November 30, 1982 by Epic Records. Reunited with Off the Wall producer Quincy Jones, Jackson was inspired to create an album where "every song was a killer". With the ongoing backlash against disco, Jackson moved in a new musical direction, incorporating pop, post-disco, R&B, rock and funk. Thriller features a single guest appearance, with Paul McCartney becoming the first artist to be featured on Jackson's albums…