Bed at Midnight

Big Joe Turner was a blues singer like no other, and he was able to work in an astonishing number of styles and settings, from jazz, swing, and boogie-woogie to jump blues, early R&B, and rock & roll, and even bop and straight pop, without ever betraying his talent. This four-disc, 71-track set collects several of Turner's earliest recordings from various labels, beginning with 1938’s “Roll ‘Em Pete” and running up to 1951, when Turner signed with Atlantic Records.

It is believed that the rush hour lounge music falls on the 50-60s. Then it executes unknown bands, but the rooms were great friends. While implementing lounge music could be called any musician who played in a cafe or restaurant to the public. In the 60s there were ensembles, records which are related to Lounge. Among them - the bands of James Last, Bert Kempferta, Paul Mauriat, Herb Alpert. Distinguished as a lounge music and musical design films, because this style of music can rightly be called the background.

First time the track, "Center of the Sun", is available on vinyl. "Midnight Boogie" starts out with a UFO cover (that'd be the "Boogie" part, as in "Boogie for George" from the band’s 1970 debut, UFO 1), and the band promptly use the low-end groove of the track as a bed for an 11-minute jam.

Aptly titled, 'The Great Vocalists Of Jazz & Entertainment', culls 748 of the absolute finest recordings by top singers of the pre-rock era of the '30s, '40s & '50s.

A very obscure and difficult to locate album produced in Germany in the early-70's. This is a dreamy progressive folk album that appears to be a duo augmented by sessions musicians (in the manner of Witthuser + Westrupp but with vocals sung in English). The album does venture out into a tougher rock sound at times while at others it will float on a bed of mellotron sound which hazily recalls the sound of early King Crimson or The Moody Blues. A very interesting and rare album which is well worth a listen.

In 1960, pop vocalist Julie London was really cranking out albums for the successful label Liberty Records. The success of her 1955 hit "Cry Me a River" put Liberty into overdrive and London responded by making some of the strongest records of her career. Her ability to interpret a song was at its strongest in the late '50s and early '60s, as is evidenced on the shimmering Around Midnight. While some of her best recordings were front of small jazz combos, Around Midnight proves that London was just as effective in front of larger orchestras and bands. The drowsy "Black Coffee" and lazy "Lush Life" typify the late-night feel of the album, leading right into "The Wee Small Hours of the Morning."