EMERSON LAKE & PALMER (ELP) reformed for the first time since 1998 to headline the High Voltage Festival on Sunday July 25th 2010. 2010 marked the 40th anniversary of the creation of Emerson Lake and Palmer, the band that was formed from King Crimson, The Nice and Atomic Rooster. They became the first true prog-rock Super Group and defined an era…
Equal parts blue-eyed soul shouter and wild-eyed poet-sorcerer, Van Morrison is among popular music's true innovators, a restless seeker whose incantatory vocals and alchemical fusion of R&B, jazz, blues, and Celtic folk produced perhaps the most spiritually transcendent body of work in the rock & roll canon…
The third studio album from the internationally renowned Croatian classical/pop duo consisting of savvy cellists Luka Sulic and Stjepan Hauser, the self-produced Celloverse offers up 13 spirited slabs of rock-infused, classical crossover mayhem that are as elegant as they are downright fiery. Tracks include rousing renditions of rock hits from the likes of Iron Maiden ("The Trooper"), Radiohead ("Street Spirit"), Muse ("Hysteria"), and AC/DC ("Thunderstruck"), the latter of which segues into Vivaldi's Cello Sonata No. 4 in E minor.
Recorded in 1962 with most of the same band that made Soul Clinic, Hank Crawford turns in a simmering, deep soul performance that draws in equal parts from Ray Charles' R&B, James Moody's blues and Duke Ellington's swing. Accompanied by Texas tenor giant David "Fathead" Newman, baritone saxophonist Leroy Cooper, trumpeters John Hunt and Phil Guilbeau, bassist Edgar Willis and drummer Bruno Carr (with Sonny Forrest on guitar on three tracks), Crawford follows the soul-blues Muse into the night on this set.
The fourth in a series of comprehensive box sets chronicling David Bowie's entire career: Loving the Alien (1983-1988) covers a period that found Bowie at a popular peak yet somewhat creatively adrift. Once Let's Dance went supernova in 1983, as it was designed to do, Bowie's productivity slowed to a crawl: he knocked out the sequel, Tonight, in a year, then took three to deliver Never Let Me Down. By the end of the decade, he rediscovered his muse via the guitar skronk of Tin Machine, but Loving the Alien cuts off with Never Let Me Down, presented both in its original version and in a new incarnation containing tasteful instrumentation recorded in the wake of Bowie's death…