Mirage Sessions

Mirage is the thirteenth studio album by British-American rock band Fleetwood Mac, released on 2 July 1982 by Warner Bros. Records. This studio effort's soft rock sound stood in stark contrast to its more experimental predecessor, 1979's Tusk. Mirage yielded several singles: "Hold Me" (which peaked at number four on the US Billboard Pop Chart, remaining there for seven weeks), "Gypsy" (number 12 US Pop Chart), "Love in Store" (number 22 US Pop Chart), "Oh Diane" (number nine in the UK), and "Can't Go Back" (number 83 in the UK). A deluxe edition of Mirage was released on 23 September 2016. This expanded reissue features a remaster of the original album, 13 live tracks, B-sides, outtakes, plus other songs that did not make the final cut. Some of these songs include "Goodbye Angel" and "Teen Beat", which were both released on 25 Years: The Chain, and "Smile at You", later released on Say You Will. and "If You Were My Love" later released on Stevie Nicks' solo album 24 Karat Gold: Songs From The Vault. The DVD-Audio disc contains both the 5.1 Surround and 24/96 Stereo Audio mixes of the original album.

‘C’est La Vie’ adds more of a lilt and carefree bounce to the cosmic Americana sound and feel of ‘Imploding The Mirage’, but finds frontman Brandon Flowers in his full vividly poetic flow as he sings “it’s not about how you get lost, it’s what you do to find the trail, sometimes you’re Ahab, and sometimes you’re the whale“.

"The Hot Record Society, a New York-based group of jazz recording enthusiasts organized in 1937 by Stephen W. Smith, quickly evolved from a clearinghouse and auction outlet for collectors into a real recording organization. … HRS recorded such outfits as Pee Wee Russell's Rhythmakers (an ad hoc group formed by members of Count Basie's and Eddie Condon's bands), Sidney Bechet and Muggsy Spanier, Rex Stewart's Big Seven, Brick Fleagle's Orchestra, Sandy Williams' Big Eight, Jimmy Jones, J.C. Higginbotham, Joe Thomas, Harry Carney, Buck Clayton, Trummy Young, the Billy Taylor Quartet, Russell Procope, Dicky Wells, Babe Mathews and Joe Thomas, and Billy Kyle. It's all here, 124 tracks encompassing everything from prewar New Orleans jazz to the early bop period of the mid-'40s, and while there are gaps … it's a good account of what happened with jazz over the decade represented here. Some of the selected material is a little odd, owing to choices made based on copyright accessibility (or nonexistence), and there are perhaps too many alternate takes for the novice listener. On the other hand, the sources are excellent, the recording venue was very fine, and the Mosaic people have done their usual excellent remastering job, so that, say, Budd Johnson's tenor sax and Jimmy Jones' piano on "Sunny Side Up" and "Strollin' Easy" sound incredibly clean and close, and Freddie Green's guitar gets one of its better showcases of the era. And the Brick Fleagle sides, starting with the extraordinary "Brick's Boogie," are almost worth the price of admission by themselves, just to hear what this overlooked, prodigiously talented musician had to offer in his prime, 60 years earlier."

"The Hot Record Society, a New York-based group of jazz recording enthusiasts organized in 1937 by Stephen W. Smith, quickly evolved from a clearinghouse and auction outlet for collectors into a real recording organization. … HRS recorded such outfits as Pee Wee Russell's Rhythmakers (an ad hoc group formed by members of Count Basie's and Eddie Condon's bands), Sidney Bechet and Muggsy Spanier, Rex Stewart's Big Seven, Brick Fleagle's Orchestra, Sandy Williams' Big Eight, Jimmy Jones, J.C. Higginbotham, Joe Thomas, Harry Carney, Buck Clayton, Trummy Young, the Billy Taylor Quartet, Russell Procope, Dicky Wells, Babe Mathews and Joe Thomas, and Billy Kyle. It's all here, 124 tracks encompassing everything from prewar New Orleans jazz to the early bop period of the mid-'40s, and while there are gaps … it's a good account of what happened with jazz over the decade represented here. Some of the selected material is a little odd, owing to choices made based on copyright accessibility (or nonexistence), and there are perhaps too many alternate takes for the novice listener. On the other hand, the sources are excellent, the recording venue was very fine, and the Mosaic people have done their usual excellent remastering job, so that, say, Budd Johnson's tenor sax and Jimmy Jones' piano on "Sunny Side Up" and "Strollin' Easy" sound incredibly clean and close, and Freddie Green's guitar gets one of its better showcases of the era. And the Brick Fleagle sides, starting with the extraordinary "Brick's Boogie," are almost worth the price of admission by themselves, just to hear what this overlooked, prodigiously talented musician had to offer in his prime, 60 years earlier."

"The Hot Record Society, a New York-based group of jazz recording enthusiasts organized in 1937 by Stephen W. Smith, quickly evolved from a clearinghouse and auction outlet for collectors into a real recording organization. … HRS recorded such outfits as Pee Wee Russell's Rhythmakers (an ad hoc group formed by members of Count Basie's and Eddie Condon's bands), Sidney Bechet and Muggsy Spanier, Rex Stewart's Big Seven, Brick Fleagle's Orchestra, Sandy Williams' Big Eight, Jimmy Jones, J.C. Higginbotham, Joe Thomas, Harry Carney, Buck Clayton, Trummy Young, the Billy Taylor Quartet, Russell Procope, Dicky Wells, Babe Mathews and Joe Thomas, and Billy Kyle. It's all here, 124 tracks encompassing everything from prewar New Orleans jazz to the early bop period of the mid-'40s, and while there are gaps … it's a good account of what happened with jazz over the decade represented here. Some of the selected material is a little odd, owing to choices made based on copyright accessibility (or nonexistence), and there are perhaps too many alternate takes for the novice listener. On the other hand, the sources are excellent, the recording venue was very fine, and the Mosaic people have done their usual excellent remastering job, so that, say, Budd Johnson's tenor sax and Jimmy Jones' piano on "Sunny Side Up" and "Strollin' Easy" sound incredibly clean and close, and Freddie Green's guitar gets one of its better showcases of the era. And the Brick Fleagle sides, starting with the extraordinary "Brick's Boogie," are almost worth the price of admission by themselves, just to hear what this overlooked, prodigiously talented musician had to offer in his prime, 60 years earlier."

Milk & Sugar are entering the spring with a new Mix-Compilation "Miami Sessions 2017" and are simultaneously leading their twentieth anniversary as DJs, producers and label makers. When the Winter Music Conference in Miami opens its doors again this March, the next chapter will cover the worldwide success of electronic music. The show, which has been held in parallel to the Springbreak in Florida since 1985, turns Miami into a never-ending party for a week - the perfect place to discover new music trends, or dance to the music of its favorite DJ's day and night under palm trees .