The popularity of classic soul and 70s disco endures, and no wonder! There's little better to lift the spirit and get your feet moving. GREATEST EVER SOUL & DISCO is a fantastic collection of 80 tracks that hit the sweet spot. Classic late-70s disco by KC & The Sunshine Band, Sister Sledge, Chaka Khan, and The Trammps? All here. Soulful sounds from Aretha Franklin, Wilson Pickett, Randy Crawford and Candy Staton? Present and correct. Funky grooves by The Meters, Bootsy Collins and Earth Wind & Fire? Ah yeah! As Chic said, "these are the good times"!
Five CD box set in DVD size metal tin with PVC jacket. VERY LIMITED EDITION - 100 COPIES. Mark Wastell has been organising larger formations of musicians, collectively known as THE SEEN, for over 10 years. Using predominantly improvised material with occasional instructions or themes distributed to individual musicians just prior to performance. No formation has ever been repeated, THE SEEN never stays static. Each disc contains an entire concert given by THE SEEN spanning the years 2005 to 2009.
Easily the most important harmonica player of the prewar era, John Lee Williamson almost single-handedly made the humble mouth organ a worthy lead instrument for blues bands – leading the way for the amazing innovations of Little Walter and a platoon of others to follow…
Ween co-founder Dean Ween has unveiled full details about rock2, the sophomore studio release from the Dean Ween Group.
Mozart in Egypt is a 1997 album by various artists, and arranged by French musician Hughes de Courson. It represents a fusion of Mozart's work with the sounds, rhythms and instruments typical of contemporary Egyptian music.The album saw considerable success in continental Europe, especially France. In August 2005 a second volume was released in Europe only, entitled Mozart in Egypt 2.
Like all the great artists, Ryan Perry isn’t afraid to rip it up and start again. Since 2007, the Mississippi bandleader has blazed a reputation in the award-winning Homemade Jamz Blues Band. But when it came to his solo debut, Perry took a leap of faith and trusted his talent to land him safe on the other side. Now, High Risk, Low Reward announces the touchdown of a solo artist to treasure. “This album,” he says, “was the hardest thing I’ve done to date.”
Like any patchy but promising debut from a classic rock group, it's often easy to underrate Queen's eponymous 1973 debut, since it has no more than one well-known anthem and plays more like a collection of ideas than a cohesive album. But what ideas! Almost every one of Queen's signatures are already present, from Freddie Mercury's operatic harmonies to Brian May's rich, orchestral guitar overdubs and the suite-like structures of "Great King Rat." That rich, florid feel could be characterized as glam, but even in these early days that appellation didn't quite fit Queen, since they were at once too heavy and arty to be glam and – ironically enough, considering their legendary excess – they were hardly trashy enough to be glam.