Grant Greeen

Grant-Lee Phillips' latest album, Lightning, Show Us Your Stuff, is a turbulent and highly musical rumination that finds the veteran singer-songwriter at his most inspired. His tenth solo release bears the markings of his prolific output, a melodic prowess and an ear for lyric in everyday conversation. The album is grown from the same rich soil that Phillip's long career, from Grant Lee Buffalo to his solo work has sprang from. The result is a beautifully human musical tapestry. The warm, live on the floor, instrumental bed is the perfect support for Phillips' inimitable voice. This spontaneous approach has become a tradition among his solo works. This record is supported by peerless drummer, Jay Bellerose (whose many credits include Raising Sand by Alison Krauss and Robert Plant) and bassist Jennifer Condos (heard on Bruce Springsteen's Ghost of Tom Joad and other classics).

Broadening his musical palette, Grant Green detoured into a number of "theme" sessions in 1962 - the light Latin jazz of The Latin Bit; the country & western standards of Goin' West; and the best of the bunch, the old-time gospel album Feelin' the Spirit. For Feelin' the Spirit, Green takes five traditional, public-domain African-American spirituals (plus the CD bonus track "Deep River") and gives them convincing jazz treatments in a quartet-plus-tambourine setting. Green's light touch and clear tone match very well with the reverent material, and pianist Herbie Hancock is tremendous in support, serving the needs of the music and nailing the bright gospel style perfectly. Similarly, Green's playing never gets too complicated or loses sight of the melodies, yet he never runs short of ideas - which goes to show that Feelin' the Spirit is indeed a labor of love…

Grant Green's debut album, Grant's First Stand, still ranks as one of his greatest pure soul-jazz outings, a set of killer grooves laid down by a hard-swinging organ trio. For having such a small lineup - just organist Baby Face Willette and drummer Ben Dixon - the group cooks up quite a bit of power, really sinking its teeth into the storming up-tempo numbers, and swinging loose and easy on the ballads. The influence of the blues on both Green and Willette is strong and, while that's far and away the dominant flavor of the session, Green also displays his unique bop phrasing (learned by studying horn players' lines, rather than other guitarists) to fine effect on his high-octane opener, "Miss Ann's Tempo," and Willette's "Baby's Minor Lope"…

In the late '70s and early 80s, Amy Grant enjoyed little exposure outside of Christian circles. But that started to change in the mid-'80s, when A&M promoted her aggressively in the secular market. And in the '90s, secular audiences accounted for the vast majority of her sales. Christians were hardly the only ones buying Heart In Motion, one of Grant's biggest sellers. Even though she wasn't beating listeners over the head with her beliefs, Grant's wholesome, girl-next-door image was a big part of the appeal of perky pop-rock offerings like "Every Heartbeat," "Galileo" and the major hit "Baby Baby." And it's certainly a key element of another huge single from the album, the idealistic ballad "That's What Love Is For." Grant was a major star, and best of all, she wasn't acting like one.

Following the runaway success of his last LP, Boy From Michigan, which crashed the UK Top 10 back in July 2021, legendary singer-songwriter John Grant returns with his hugely-anticipated sixth album, The Art Of The Lie.

After the worldwide success of Killer on the Rampage, Eddy Grant took a three-year sabbatical to build his own studio. By the time he returned in 1987, the rest of the world had caught up, and wandered off down the road into the sterility of disco/synth-pop. Still, that doesn't explain why Grant felt obligated to follow suit. Of course, Born Tuff isn't "pure" club: "Melody of the Night" has a hint of Bruce Springsteen and the title track a touch of Bob Marley, while there's a soca flair here and Afro-beats there (most of the underlying rhythms are reggae-based). The problem was, Grant fell into the same trap as the rest of the synth scene, believing it possible to overcome the soul-lessness of the genre, and failing miserably.

Walking on Sunshine is the second studio album by Guyanese-British musician Eddy Grant, originally released in 1978 by Ice Records. Recorded at Grant's Stamford Hill recording studio, the album was the follow-up to his solo debut Message Man (1977) and fuses styles of Caribbean music like reggae, soca and calypso with other genres, including funk and pop. The musician played most of the album's instrumentation himself, and described the record as reflecting his joyousness. However, some songs feature tough cultural themes, particularly those on the first side.