Nonetheless

VA - Kenya & Tanzania: Witchcraft & Ritual Music
EAC+LOG+CUE | FLAC: 273 MB | Full Artwork: 46 MB | 5% Recovery Info
Label/Cat#: Elektra Nonsuch # 7559-720666-2 | Country/Year: Germany 1991, 1975
Genre: World Music | Style: Field Recording, African, Sacred

"…The quality of the music is relatively good, though there are now more authentic pieces on the market, of course. Still, despite tiny bits of forgivable cultural ignorance, the album is a worthwhile soundbite into Kenyan traditional music."

Though they had their moments, Lita Ford's PolyGram albums tended to be uneven. When the graduate of the Runaways – a great but neglected '70s band that also boasted Joan Jett and Cherie Currie – moved to Dreamland/RCA in 1988, her solo career got somewhat of a boost, both creatively and commercially. On Stiletto, the input of hit producer/songwriter Mike Chapman is an asset. Though not outstanding, the album is a focused and generally enjoyable disc ranging from sweaty …

Released just over a year after their blockbuster double-platinum debut, Ratt's second album, Invasion of Your Privacy, contained all of the same ingredients that helped launch the band to MTV and radio success: a batch of commercially savvy pop-metal tunes and a half-naked model on the cover.

The Comas formed in Chapel Hill, NC, in March 1998 as a joke country band, a sort of counterweight to the hyped No Depression movement. Before long, however, both the "joke" and the "country" parts of the concept were eliminated, thus allowing the band to develop into a quirky alternative rock outfit. The Comas' respectable 1999 debut, Wave to Make Friends, was comprised of sleepy (but not lethargic) indie pop and off-kilter boy-and-girl vocal harmonies, courtesy of co-founders Andrew Herod and Nicole Gehweiler. The band's instrumental canvas proved to be larger and more eclectic than that of the typical indie group, buoying the usual guitars and rhythm section with violin, organ, and creative non-rap samples. Faced with the challenge of labeling such music, The Comas' label billed deemed the sound "stoner pop".

Various Artists - The House That Trane Built: The Story Of Impulse Records (2006) [4CD] {Impulse! Japan Edition}
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© 2006 Impulse! / Verve | UCCI-7001/4 / B0006680-02
Jazz / Avant-Garde Jazz / Bop / Afro-Cuban Jazz / Free Jazz / Hard Bop / Modern Creative

The House That Trane Built: The Story of Impulse Records is a four-disc set, compiled and annotated by author Ashley Kahn who wrote the book of the same name being published concurrently with its release. Impulse's great run was between 1961 and 1976 – a period of 15 years that ushered in more changes in jazz than at any other point in the music's history. Impulse began recording in the last weeks of 1960, with Ray Charles, Kai Windig /J.J. Johnson, and Gil Evans. While Impulse experimented with 45s 33 1/3 EPs, cassettes, and reel to reel tapes later in its existence, it was–and this set focuses on– it was the music on its LPs (with distinct orange and black packaging in gatefold sleeves containing copious notes) that helped to set them apart.

Evan Parker, Barry Guy, Paul Lytton - Live At Maya Recordings Festival (2013) {NoBusiness Records}
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© 2013 NoBusiness Records | NBCD 55
Jazz / Free Improvisation / Avant-Garde Jazz

After twenty one recordings there may not be too much more to say about the superlative English threesome of saxophonist Evan Parker, bassist Barry Guy and drummer Paul Lytton. Some 30 years on since their debut Tracks (Incus, 1983), they converse in a language entirely of their own making, which relies on a staggering density of ideas, chops to burn and a preternatural responsiveness. Live At Maya Recordings Festival, captured at Winterthur, Switzerland in 2011 forms another top notch entry into an already distinguished discography.