Hits+&+rarities

"I Wanna Love Him So Bad: '60s Pop Hits & Rarities" is a compilation album that takes you on a nostalgic journey through the enchanting world of 1960s pop music. This meticulously curated collection brings together some of the most iconic hits of the era, along with rare and forgotten gems that will captivate your senses and rekindle the magic of a bygone age.

One of the all-time great tenor saxophonists, Stan Getz was known as "The Sound." He possessed one of the most beautiful tones in all of jazz, and was among the greatest of melodic improvisers. His main early influence was Lester Young, but he grew to influence generations of players himself and never stopped evolving as a musician. Getz was an extraordinary improviser who created a distinctive sound and vocabulary.

Count Basie was among the most important bandleaders of the swing era. With the exception of a brief period in the early '50s, he led a big band from 1935 until his death almost 50 years later, and the band continued to perform after he died. Basie's orchestra was characterized by a light, swinging rhythm section that he led from the piano, lively ensemble work, and generous soloing. Basie was not a composer like Duke Ellington or an important soloist like Benny Goodman. His instrument was his band, which was considered the epitome of swing and became broadly influential on jazz.

Herbie Hancock will always be one of the most revered and controversial figures in jazz, just as his employer/mentor Miles Davis was when he was alive. Unlike Miles, who pressed ahead relentlessly and never looked back until near the very end, Hancock has cut a zigzagging forward path, shuttling between almost every development in electronic and acoustic jazz and R&B over the last third of the 20th century and into the 21st.

Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, as always, an unquenchable urge to swing, Benson's inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format; skills he first garnered attention for as a member of Brother Jack McDuff's band in the early '60s.

Vocal virtuoso Bobby McFerrin ranks among the most distinctive and original singers in contemporary music – equally adept in jazz, pop, and classical settings, his octave-jumping trademark style, with its rhythmic inhalations and stop-on-a-dime shifts from falsetto to deep bass notes often sounds like the work of at least two or three singers at once, while at the same time sounding quite unlike anyone else.

Oscar Peterson was one of the greatest piano players of all time. A pianist with phenomenal technique on the level of his idol, Art Tatum, Peterson's speed, dexterity, and ability to swing at any tempo were amazing. Very effective in small groups, jam sessions, and in accompanying singers, O.P. was at his absolute best when performing unaccompanied solos. His original style did not fall into any specific idiom. Like Erroll Garner and George Shearing, Peterson's distinctive playing formed during the mid- to late '40s and fell somewhere between swing and bop. Peterson was criticized through the years because he used so many notes, didn't evolve much since the 1950s, and recorded a remarkable number of albums. Perhaps it is because critics ran out of favorable adjectives to use early in his career; certainly it can be said that Peterson played 100 notes when other pianists might have used ten, but all 100 usually fit, and there is nothing wrong with showing off technique when it serves the music.

When talking about bossa nova, perhaps the signature pop music sound of Brazil, the first name that comes to mind is that of Antonio Carlos Jobim. With songs like "The Girl from Ipanema" and "Desafindo," Jobim pretty much set the standard for the creation of the bossa nova in the mid-'50s. However, as is often the case, others come along and took the genre in a new direction, reinventing it through radical reinterpretation, be it lyrically, rhythmically, or in live performance, making the music theirs. And if Jobim got credit for laying the foundation of bossa nova, then the genre was brilliantly reimagined (and, arguably, defined) by the singer/songwriter and guitarist João Gilberto.

The winners of the 1981 Eurovision Song Contest, British quartet Bucks Fizz were, throughout the early '80s, regarded among the most successful bands of their era, chalking up no less than nine Top 20 hits between 1981-1983, including three chart-toppers, "Making Your Mind Up" (their Eurovision winner), "The Land of Make Believe," and "My Camera Never Lies." The band's total chart record includes 20 Top 40 entries, and it was 1988 before Bucks Fizz finally stopped scoring hits – not a bad record for a group that did not even exist before the Eurovision Song Contest.

STEVIE NICKS - COMPLETE STUDIO ALBUMS & RARITIES. 10CD boxed set combining all of Nicks’ solo studio albums in a new, career-spanning set. It comes with all 8 of her studio albums: Bella Donna (1981), The Wild Heart (1983), Rock a Little (1985), The Other Side of the Mirror (1989), Street Angel (1994), Trouble in Shangri-La (2001), In Your Dreams (2011), and 24 Karat Gold: Songs from the Vault (2014). The collection also features Rarities, a new 2CD compilation of hard-to-find tracks only available with the set.