Lady in Satin is an album by jazz singer Billie Holiday released in 1958 on Columbia Records, catalogue CL 1157 in mono and CS 8048 in stereo. It is the penultimate album completed by the singer and last released in her lifetime (her final album, Billie Holiday, being recorded in March 1959 and released just after her death). The original album was produced by Irving Townsend, and engineered by Fred Plaut.
Esoteric Recordings are pleased to announce a newly re-mastered edition of the classic 1972 album by Chicken Shack. "Imagination Lady" was the fifth album by the group and the band had undergone changes to the line-up, instigated by band leader, guitarist Stan Webb, prior to the recording of the album. Now a trio featuring John Glascock (Bass) and Paul Hancox (Drums), the album saw Stan Webb head in a hard rock direction, albeit with Blues influences, resulting in a fine album featuring such classic tracks as ‘Crying Won’t Help You Now’, ‘Daughter of the Hillside’ and the epic ‘Telling Your Fortune’. This Esoteric Recordings reissue has been newly re-mastered from the original master tapes and includes two bonus tracks, previously unreleased on CD, taken from two respective singles. The reissue features a booklet that fully restores all original album artwork with a new essay.
Mike Mareen was born on November, 9th 1949 in Berlin (West Germany). First, he was a drummer, but later he was the singer of the group Cemetery Institution (non-disco) and performed in Hamburg´s legendary 'Star Club', where The Beatles used to play in their beginnings. Apart of Mike Mareen, he also sang using pseudonyms like Amadeus Liszt with such smash hits like: "Win The Race" and "The Devil Win", but his successful career have been with the Mike Mareen releases. Mike like many disco artists has wrote and produced tracks released by other artists. He produced hit like: "Birthday Girl" by ITALO-DISCO star Dj's Project.
This was Billie Holiday's penultimate album, recorded when her body was telling her enough was enough. During the sessions with arranger Ray Ellis she was drinking vodka neat, as if it were tap water. Despite her ravaged voice (the sweetness had long gone), she was still an incredible singer. The feeling and tension she manages to put into almost every track set this album as one of her finest achievements. "You've Changed" and "I Get Along Without You Very Well" are high art performances from the singer who saw life from the bottom up.