Sue Thompson

Maria Schneider Orchestra - The Thompson Fields (2015) {ArtistShare AS0137}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 415 Mb | MP3 @320 -> 188 Mb
Full Artwork @ 300 dpi (jpg) -> 46 Mb | 5% repair rar
© 2015 ArtistShare / Maria Schneider | AS 0137
Jazz / Experimental Big Band / Post-Bop / Modern Big Band / Progressive Jazz

There's a wealth of information to be found inside the beautiful packaging that accompanies this release, but a brief Theodore Roosevelt quote may be the most telling piece of text to be found there. It reads: "There is nothing more practical in the end than the preservation of beauty, than the preservation of anything that appeals to the higher emotions in mankind." That really says it all about this artist and her work, for there is nobody more capable of harnessing emotions in music and projecting and preserving the beauty and power of the natural world in sound than Maria Schneider. She's demonstrated that time and again, and she does it once more on this awe-inspiring release.

Richard & Linda Thompson - Sunnyvista (1979) {Chrysalis CCD 1247}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 260 Mb | MP3 @320 -> 108 Mb
Full Artwork @ 300 dpi (jpg) -> 29 Mb | 5% repair rar
© 1979 Chrysalis Records | CCD 1247
Rock / Folk Rock / British Folk / British Folk Rock

1978's First Light marked Richard & Linda Thompson's first time in a recording studio after three years away from music, and it suggested they were still getting warmed up as performers; a year later, Sunnyvista found them in much stronger form and a significantly more upbeat frame of mind. Sunnyvista is the wittiest and most joyous album Richard & Linda made together; while several of Richard Thompson's trademark meditations on romance at it's least successful are on hand, "Why Do You Turn Your Back" manages to generate an unusually soulful groove, "Lonely Hearts" captures the melancholy country feel that First Light never quite caught, and "Traces of My Love" finds a winning warmth in its sadness.

Beat music, British beat, or Merseybeat (after bands from Liverpool and nearby areas beside the River Mersey) is a pop and rock music genre that developed in the United Kingdom in the early 1960s. Beat music is a fusion of rock and roll (mainly Chuck Berry guitar style and the midtempo beat of artists like Buddy Holly), doo-wop, skiffle and R&B. The genre provided many of the bands responsible for the British Invasion of the American pop charts starting in 1964, and provided the model for many important developments in pop and rock music, including the format of the rock group around lead, rhythm and bass guitars with drums. The Beat Of The Pops - excellent selection of beat tracks.

Superlatives are inadequate for the box record company Universal Music recently released. Two hundred hits on ten CDs, hundreds of hits and a lot of TV and news clips on five DVDs and then another book as reference book. It can not be on. The disadvantage of the Testament of the sixties is that for a hundred euros a hefty investment. The advantage that you are now ready to be a hit with your sixties Collection.

In the early to mid-1960s in Australia, the landscape was rapidly changing - the Holden now had serious competition from newcomers the Ford Falcon and Chrysler Valiant. Householders were saving and buying television sets - and Top 40 radio along with local record shops were doing big business. Another Saturday Night - 60s Giants of The Jukebox, put together by compilation producer Brent James takes us back to that booming period just prior to - and at the start of the 'British Invasion'. A 2CD set superbly mastered with State by State Australian Chart details along with extensive liner notes, the set features local chart hits from Tommy Roe, Johnny O'Keefe, Rick Nelson, Bobby Fuller, The Delltones, Jumpin' Gene Simmons, Mike Sarne, Elvis Presley, Del Shannon and many others who set the stage the for the hits that were to come.