Late Night With The Devil 2024

One of the greatest stars of the rock & roll era, Elton John exploded like a supernova in the early 1970s and sustained a career that kept him at the top of the charts for the next five decades. He had a Billboard Top 40 hit single every year between 1970 and 1996, a sign that he knew how to both change with the times and mold the times to fit him. John's earliest records were part of the moody, introspective post-'60s singer/songwriter movement, but once he had a hit with "Your Song," the pianist revealed he could also craft Beatles-like pop and pound out rockers with equal aplomb. As "Rocket Man," "Crocodile Rock," "Daniel," "Goodbye Yellow Brick Road," and "Bennie and the Jets" – songs John wrote with his lifelong collaborator Bernie Taupin – climbed into the Top Ten on either side of the Atlantic, John was inescapable during the first half of the '70s. His versatility, combined with his effortless melodic skills, and flamboyant stage shows, became his calling cards, sustaining him through shifts in fame and fortune. Eventually, John reached outside of pop music, writing songs for Disney's The Lion King and collaborating with Tim Rice on Aida, yet he never abandoned the form: during the 2010s and 2020s, he balanced fashionable collaborations with emerging stars with albums that hearkened back to his moody records of the early '70s. In 2024, he joined the elite group of EGOT winners after earning an Emmy Award for his concert special Elton John Live: Farewell from Dodger Stadium.

Few female singers matched the hard-swinging Anita O'Day for sheer exuberance and skill in all areas of jazz vocals: her splendid improvising, wide range, dynamic tone, and innate sense of rhythm made her one of the most enjoyable singer of the age. O'Day's first appearances in a big band shattered the traditional image of a demure female vocalist by swinging just as hard as the other musicians on the bandstand, best heard on her vocal trading with Roy Eldridge on the Gene Krupa recording "Let Me Off Uptown." After making her solo debut in the mid-'40s, she incorporated bop modernism into her vocals and recorded over a dozen of the best vocal LPs of the era for Verve during the 1950s and '60s. Though hampered during her peak period by heavy drinking and, later, drug addiction, she made a comeback and continued singing into the new millennium. Born Anita Belle Colton in Chicago, she was raised largely by her mother and entered her first marathon-dance contest while barely a teenager. She spent time on the road and occasionally back at home, later moving from dancing to singing at the contests. After bad experiences amid brief tenures with Benny Goodman and even Raymond Scott, O'Day earned a place in Gene Krupa's band in 1941.

Few female singers matched the hard-swinging Anita O'Day for sheer exuberance and skill in all areas of jazz vocals: her splendid improvising, wide range, dynamic tone, and innate sense of rhythm made her one of the most enjoyable singer of the age. O'Day's first appearances in a big band shattered the traditional image of a demure female vocalist by swinging just as hard as the other musicians on the bandstand, best heard on her vocal trading with Roy Eldridge on the Gene Krupa recording "Let Me Off Uptown." After making her solo debut in the mid-'40s, she incorporated bop modernism into her vocals and recorded over a dozen of the best vocal LPs of the era for Verve during the 1950s and '60s. Though hampered during her peak period by heavy drinking and, later, drug addiction, she made a comeback and continued singing into the new millennium. Born Anita Belle Colton in Chicago, she was raised largely by her mother and entered her first marathon-dance contest while barely a teenager. She spent time on the road and occasionally back at home, later moving from dancing to singing at the contests. After bad experiences amid brief tenures with Benny Goodman and even Raymond Scott, O'Day earned a place in Gene Krupa's band in 1941.

Standard two-disc pressing. This 39-track pressing features all of their A-Sides and best of their B-Sides as selected by the band. 'A Rough Outline' is a collection of singles and B-sides from one of Britpop's finest bands, The Bluetones. Combining the baggy beats of the Stone Roses with the clued-up jangle pop of the Smiths, the band enjoyed great success in the mid-to-late 90's with a string of memorable singles, all of which are included here along with the best of their B-sides. Includes the singles 'Slight Return' and 'Marblehead Johnson'. 39 tracks in all.

An icon of West Coast cool jazz, Chet Baker rose to fame in '50s with his lyrical trumpet lines and spare, romantic singing. After being handpicked for a West Coast tour with Charlie Parker, he burst onto the scene as a member of Gerry Mulligan's pianoless quartet, whose recording of "My Funny Valentine" made him a star even beyond his cult jazz audience.

Rhythm & Blues vocal groups have a unique place in music history and are revered by record collectors and aficionados of the music. When Fantastic Voyage released Doo Wop: The R&B Vocal Group Sound 1950-1960 in 2011, it clearly struck a chord with collectors.

Effervescent saxophonist Louis Jordan was one of the chief architects and prime progenitors of the R&B idiom. His pioneering use of jumping shuffle rhythms in a small combo context was copied far and wide during the 1940s. Jordan's sensational hit-laden run with Decca Records contained a raft of seminal performances, featuring inevitably infectious backing by his band, the Tympany Five, and Jordan's own searing alto sax and street corner jive-loaded sense of humor. Jordan was one of the first Black entertainers to sell appreciably in the pop sector; his Decca duet mates included Bing Crosby, Louis Armstrong, and Ella Fitzgerald. The son of a musician, Jordan spent time as a youth with the Rabbit Foot Minstrels and majored in music later on at Arkansas Baptist College. After moving with his family to Philadelphia in 1932, Jordan hooked up with pianist Clarence Williams. He joined the orchestra of drummer Chick Webb in 1936 and remained there until 1938. Having polished up his singing abilities with Webb's outfit, Jordan was ready to strike out on his own.

The Modern Jazz Quartet or "MJQ", one of the most successful bands of the so called "Third Stream", was a direct outgrowth of the Dizzy Gillespie orchestra: pianist John Lewis, vibraphonist Milt Jackson, bassist Ray Brown, later replaced by Percy Heath, and drummer Kenny Clarke (the first drummer with the group) often played interludes and intermissions for Gillespie in the late 1940s. Fusing Cool Jazz and European musical forms, the quartet functioned almost like a classical string quartet, and thus brought Jazz to the concert halls around Europe and across the globe. The twenty original albums in this 10 CD-box document the group at the height of their career and include classics like "Concorde" and "Pyramid", as well as many of their acclaimed soundtracks.