Country Women

After 25 years, constant traveling, nine albums, and various solo projects, Saffire are calling it quits with one last tour and Havin' the Last Word, a collection of new tunes, covers of favorites, and songs that define their dissolution. It sounds as though it's a happy-sad decision, gratified for all the success and love accrued from their fans, but pleased for future blues via other partnerships and collaborations that can now be achieved individually. Though all will pursue solo careers – Ann Rabson is already firmly established – it is this magical and timeless combination of spirit, focused same-page concept, and great musicianship that has served Saffire very well far beyond most bands. This final effort showcases individual vocal tracks, as if the group members are already preparing for going out on their own, as there's very little group harmonizing. Individual efforts notwithstanding, the group still convenes musically on common ground, especially when Rabson plays piano, Gaye Adegbalola jams on the slide guitar or harmonica, and Andra Faye offers her musings on fiddle, mandolin, or upright bass.

The album is a body of work which sees Dexys putting their heart and soul into every track that Kevin has wanted to do since the mid-1980s. Drawing on Rowland and co-producer/core band member Sean Read's Irish roots, the album is a combination of their interpretations of Irish songs and other select compositions. Each song has been given at least the same level of attention and care as any of their own songs would be. This record is not a stop gap, or a fill in album. It is not a covers album. "The album is called Dexys DO Irish & Country Soul: DO it, not BECOME it," Kevin emphasizes.

Zes Vrouwelijke Componisten - Six Women Composers from the Netherlands (1991) {NM Classics 92018}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 241 Gb | MP3 @320 -> 160 Mb
Full Artwork @ 600 dpi (jpg) -> 126 Mb | 5% repair rar
© 1991 NM Classics | 92018
Classical / Viennese School / Romantic / Early 20th Century / Contemporary Classical

This album collects instrumental, vocal, and chamber music by "six women composers from The Netherlands", to quote its subtitle directly. These works cover a span of about 160 years, and are presented in the chronological order of the composers' birth years. This CD is yet another example of how the now-sadly-defunct NM Classics label served the music of its country so well. This album comes recommended to those interested in Dutch music, and music by female composers.

Recorded on Halloween night, 1966, in Copenhagen, Denmark, this one of the few great "blues rediscovery" albums that comes by its reputation honestly. With Roosevelt Sykes and Little Brother Montgomery sharing the piano stool, Sippie clearly shows that the intervening years had, indeed, been kind to her, belting out one great tune after another. Listing highlights is superfluous, simply because every track's a gem. The no-frills production is warm and cozy enough to make you feel like you're hearing the world's greatest one-woman concert right in your living room. And you're glad you bought a ticket.

For the first time on CD, Rev-Ola is proud to present the best of Ruth Brown's and LaVern Baker's original mid-1950s recordings which became so successful and influential to the first wave of white pop and rock singers such as Georgia Gibbs and Patti Page.
Including Top 5 R&B smashes "Oh, What A Dream", "Jim Dandy", "Mambo Baby", "Bop Ting-A-Ling", "Wild, Wild Young Men", "Play It Fair", "As Long As I'm Movin'", "Tweedlee Dee" and "It's Love Baby (24 Hours A Day)"… together with minor classics like Ruth's sexy duet with Clyde McPhatter on the old country tune "I Gotta Have You". Wild, wild women indeed!

The 40 tracks compiled on this two-disc set represent the entire span of pianist and singer Leroy Carr's recording career that spanned a brief seven years, from 1928-1935. The material represented here – all but one of these tracks were recorded for the Vocalion label – features accompaniment by guitarist Scrapper Blackwell on all but one selection, and Josh White on a handful as well. Carr's material here ranges from the classic piano blues of the era that spawned Ma Rainey and Bessie Smith to vaudeville and hokum tunes made popular by artists like Tampa Red and Georgia Tom. Carr's voice is the haunting thing here; it's higher and very clear, sweet almost, as evidenced by most of these sides. But there was an edge, too; one that belied a kind of pathos underneath even the most cheery material – check "Mean Mistreater Blues" or "Bread Baker." But the darker material such as "Suicide Blues" (one of six previously unissued performances), "Straight Alky Blues," or "Shinin' Pistol," is strange and eerie given Carr's smooth approach. Carr may not be the most well-known bluesman of the era, but his contribution is profound and lasting.

It's great to see -in perspective- how Olivia Newton-John has proved to be a great, skillful singer with the capacity to cover a wide range of different musical styles from pop/country to jazz and new age. This album of covers, produced by Phil Ramone, is a good example of the amazing voice and musical charisma of Olivia Newton-John. It's a tribute album so she, wisely, has not tried to overshadow any of the singers she's honoring but what she does is amazing, she makes the songs believable, touching and beautiful in her own way and style.