Pop Rock Decca Flac

Hymn is the twelfth studio album by English soprano Sarah Brightman and first since 2013's Dreamchaser. The five-year gap between both studio albums marks Brightman's longest break between studio releases. This album marks Brightman's ninth studio collaboration with producer Frank Peterson. The album was released on 9 November 2018, entering at No. 1 on both the Billboard Classical Crossover Albums and overall Classical Albums, making Brightman the female artist with the most No. 1s in both charts.

Tom Jones - The Complete Decca Studio Albums Collection (2020) {17CD Box Set, Universal 00602537041800 rec 1965-1975}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 4.44 Gb | MP3 @320 -> 1.71 Mb
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© 1965-75, 2020 Decca / Universal Music | 00602537041800
Pop / Pop Soul / Pop Rock / Contemporary Pop / Blue-Eyed Soul / Country-Pop / Vocal Pop

Limited 17CD box set. 2020 sees Sir Tom Jones celebrating his 80th birthday and 55 years since his first UK #1 hit single 'It's Not Unusual'. For the very time ever, all fifteen of Tom Jones' Decca studio albums, along with a special expanded two CD physical package of single-only tracks, rare B-sides, and first time on CD recordings from the archives Hide & Seek (The Lost Collection) are being released together as a 17CD box set. The albums, spanning ten years (1965-1975), tell the story of the first and much celebrated period of Jones's career. In a career spanning six decades, 'Jones the Voice' never sells a song short and never short-changes his fans - the longevity of his career speaks to a talent of a very special kind.

This is a superb collection comprised of Billie Davis' singles for England's Decca Records, most of them dating between 1967 and 1970 (with four tracks from her 1963 stint with the label), and augmented with a handful of tracks from her self-titled 1970 album. It's all superb girl group-style pop, with a distinctly American, soulful edge and even an occasional psychedelic intrusion, highlighted by her spirited rendition of "I Want You to Be My Baby" and her impassioned version of "Wasn't It You," among other tracks. There's not a loser in the bunch and, in fact, the songs all show an amazing consistency despite origins as different as Joe Cocker, Carole King, Ian Anderson (yes, she covered "Living in the Past"), and Neil Diamond. Strangely enough, the appending of the four early Decca sides at the end of the CD is sort of jarring, throwing listeners back to an earlier (though still eminently enjoyable) era of British pop/rock. The sound is excellent throughout and the CD comes with an excellent career overview on Davis.

Marmalade is one of those groups that just seems to endure. They are best remembered today for one record, their cover of the Beatles' "Ob-La-Di, Ob-La-Da," although they charted number one records and even Top Ten American singles into the 1970s. The group, especially as constituted up through the early '70s, had many sides, including white soul, harmony dominated pop/rock, and progressive pop, all very much like the Beatles in their middle years. However, it was their cover of a Beatles song, oddly enough, that weighed down their reputation.
In point of fact, they did somewhat resemble the Beatles musically, having started out as a band of teenagers eager to play hard rock & roll; like the Beatles, they developed a great degree of sophistication in their singing and playing, but they never had the freedom to experiment with the different sides of their music…

Marmalade is one of those groups that just seems to endure. They are best remembered today for one record, their cover of the Beatles' "Ob-La-Di, Ob-La-Da," although they charted number one records and even Top Ten American singles into the 1970s. The group, especially as constituted up through the early '70s, had many sides, including white soul, harmony dominated pop/rock, and progressive pop, all very much like the Beatles in their middle years. However, it was their cover of a Beatles song, oddly enough, that weighed down their reputation.
In point of fact, they did somewhat resemble the Beatles musically, having started out as a band of teenagers eager to play hard rock & roll; like the Beatles, they developed a great degree of sophistication in their singing and playing, but they never had the freedom to experiment with the different sides of their music…

The Bachelors - The World Of The Bachelors (1996) {Decca–Karussell 552 017-2 rec 1962-1965}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 267 Mb | MP3 @320 -> 119 Mb
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© 1962-65, 1996 Decca / Karussell / PolyGram | 552 017-2
Pop / Pop Rock / British Invasion / Early Pop

The Bachelors took old standards from the 20's & 30's, and made these songs into their own unique sound. They were Blessed with three incredibly talented people. Con Cluskey (Lead Vcls, Guitar, & Harmonica), Dec Cluskey (Backing Vcls lower range, Guitar, Banjo,Harmonica & Musical arranger & semi producer) & finally John Stokes (Backing Vcls high range, Bass, Double Bass, & Harmonica ). Together they created the 'Sound' of the Bachelors. Their work for Decca Records in the 1960's was truly outstanding.

The Majority issued eight U.K. singles on Decca between 1965 and 1968 without reaching the British charts, though they were a reasonably accomplished band, especially in the vocal harmony department. This CD has everything from those singles with the exception of the 1967 cover of the pop standard "I Hear a Rhapsody," omitted at the specific request of the group (and described as "horrific" in the liner notes). The Majority sounded more American than the typical British Invasion band, with harmonies and, usually, material more in line with U.S. pop/rock acts like the Beach Boys and sunshine pop groups than most of their U.K. peers. While it's fairly enjoyable stuff, it's easy to hear why they became a sort of "in-between" group, with too much going for them to get dropped from their label, but not enough going for them to score hit records…