Real Life

The three-year journey of self-discovery that led Emeli Sandé to her third album began at home. “Living with my family and seeing real life in action was so grounding,” the Scottish singer-songwriter tells Apple Music. “My sister and her partner are both teachers, and they're so responsible and such wonderful parents.” That home life has been the catalyst for 11 tracks that take in R&B, gospel and trademark widescreen ballads—all united by empowering lyrics. “When you see what really matters,” says Sandé, “I think that's when the honesty has to begin.” Let her guide you through the album, track by soul-baring track.

Live set cut in Fort Worth, TX, that presents an accurate depiction of the breadth and scope of a Gatemouth Brown concert. Switching between guitar and violin, Gate offers everything from a reprise of "Okie Dokie Stomp" to a tender "Please Send Me Someone to Love" from Percy Mayfield's songbook and personalized renditions of "St. Louis Blues" and "Frankie and Johnny."

Various Artists - Real Life Permanent Dreams: A Cornucopia of British Psychedlia 1965-1970 (2007) {4CD Castle Music CMXBX1239}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.52 Gb | MP3 @320 -> 732 Mb
Full Artwork @ 600 dpi (jpg) -> 116 Mb | 5% repair rar
© 1965-70, 2007 Sanctuary Records / Castle Music | CMXBX1239
Rock / British Psychedelia / Psychedelic Rock / Psychedelic Pop

There have been previous attempts to marshal a lot of British psychedelia into one compilation, but Real Life Permanent Dreams is a little different from those. This four-CD, 99-song box set isn't a best-of, but more like an attempt to assemble a very wide (though still representative) cross section of material, most of it pretty obscure to the average listener. For the most part, it succeeds in delivering a high-quality anthology that manages to offer a lot to both the collector and the less intense psychedelic fan, though it's by no means the cream of British psychedelia.

Gary Burton has always been notable for his ability to recognize talent in young players. The first time he regularly featured a pianist with his quartet was in the mid-'80s, when he helped bring pianist Makoto Ozone to prominence. With electric bassist Steve Swallow and drummer Mike Hyman completing the group, Burton and Ozone explore originals by Carla Bley (including the title cut), John Scofield ("The Beatles"), Swallow, Ozone, and an obscurity, plus Duke Ellington's "Fleurette Africaine." The appealing group sound and the spontaneous yet tight ensembles and solos make this a worthwhile acquisition.

Ready for the Real Life is the seventh album by German rock band Fools Garden, released in 2005. As it was recorded with a new line-up (except for singer Peter Freudenthaler and guitarist Volker Hinkel), the band's name was changed to Fools Garden. "Man of Devotion" was released as the first single. "Does Anybody Know?" and "Welcome Sun" were released as a double A-side. Fools Garden (until 2003 known as Fool's Garden) is a German musical group formed in 1991, initially named after Fool's Garden, an album recorded by Freudenthaler and Hinkel. Thomas Mangold, Roland Röhl and Ralf Wochele joined the band shortly afterwards and Once in a Blue Moon was released by the complete band in 1993. In 1995, the band released Dish of the Day which gained popularity in Europe and Asia as it included "Lemon Tree", the band's most successful single to date, reaching #1 in Germany and other countries.

During a major portion of his career, Phil Woods predominately led a quartet or quintet, so the opportunity to work with his Little Big Band gave him a special pleasure, by expanding both the brass and reeds to an octet. His third release to feature the octet includes his working quintet at the time, including trombonist Hal Crook, pianist Jim McNeely, plus his longtime rhythm section, bassist Steve Gilmore and drummer Bill Goodwin. Guests include Woods' former sideman trumpeter/flugelhornist Tom Harrell, alto and baritone saxophonist Nick Brignola, plus alto and tenor saxophonist Nelson Hill. Although the economics of touring with a band this size made it impossible to tour, the musicians dove into the difficult arrangements with plenty of gusto and end up sounding as if they had been playing them in concert for months…