Chris Brown no One Else

#KingButch—hashtag proudly attached—is the title of Butcher Brown’s soon-to-be top-trending album, the eighth in the band’s up-from-the-roots legacy, and their first with Concord Records, on the Concord Jazz imprint. The 13 tracks collectively represent a bold step forward for the 5-piece group from Richmond, Virginia. Remaining true to the group’s heady fusion of contemporary hip-hop, ‘70s fusion, ‘60s jazz and funk—even echoes of Southern rock and marching band music show up—#KingButch is a powerfully original statement that reaches across divisions of genre, generation, ethnicity, and geography. Significantly, the new recording also reveals a side of Butcher Brown that’s been developing and is now in full-flower: a song-crafting, studio maturity on a par with their national reputation as an explosive live act.

The Dreamboats & Petticoats brand has been developed to be synonymous with everything from the late 50/60's. Selling over 3.5 million copies across the album series, and boosted by the hit musical (sold over 1 million tickets), Dreamboats & Petticoats has now become cross generational with 'all the family' appreciating the iconic pop songs from this golden era.

GREATEST EVER! is Union Square Music’s select, best-selling label, utilising the very best repertoire from key major labels, Greatest Ever’s 3CD box sets are some of the strongest multi-artist compilations on the market, with the greatest ever songs.

Few bands in the history of rock & roll were riddled with as many contradictions as the Who. All four members had wildly different personalities, as their notoriously intense live performances demonstrated. The group was a whirlwind of activity, as the wild Keith Moon fell over his drum kit and Pete Townshend leaped into the air with his guitar, spinning his right hand in exaggerated windmills. Vocalist Roger Daltrey strutted across the stage with a thuggish menace, as bassist John Entwistle stood silent, functioning as the eye of the hurricane.

Thousands on a Raft is remembered as much for its cover as anything else – a picture of a model Titanic and a model Concorde sinking in a puddle, as rafts of toast ferry thousands of baked beans to the shore. Musically it was some good jazz-rock, with the emphasis not always on Brown's vocals and elliptical lyrics, as Jim Mullen's "Highland Song" offered an inventive, lengthy instrumental as the disc's centerpiece. The title cut has a Pink Floyd edge, surprising given Brown's predilection for jazz and blues, but it works well in the context. Guitarist Mullen is co-writer throughout, while the rhythm section of Rob Tait and Steve Glover swing rather than plod. "Station Song Platform Two" employs Mellotron to full prog rock effect, while "Got a Letter from a Computer" seems eerily ahead of its time for the early '70s. This was the last gasp of this incarnation of Piblokto!, but there's no doubt they went out on a high note.