Wild

"Smother" is the third studio album by British indie rock/dream pop band Wild Beasts released in 2011 by Domino Records. It reached #17 in the UK Albums Chart. According to the band, it represents a more synthesiser-based sound than previous efforts, influenced by "moving to Dalston", Brazilian writer Clarice Lispector, minimalist composer Steve Reich, noise pop duo Fuck Buttons, and Mary Shelley's book, Frankenstein. They've kept their distinct sound intact: oscillating falsetto and baritone vocals, lyrical wit, and a penchant for seedier topics. However, this album incorporates rich electronic textures and a subtlety of melody not heard in their earlier work. Wild Beasts fans will not be disappointed.

New Orleans is synonymous with music and Mardi Gras. The Wild Magnolias have both fronts covered. The roots of the Wild Magnolias go back to, at least, the 1950s as one of New Orleans most popular and colorful Indian Krewes . The Krewes fall under the guidance of a Chief, and Bo Dollis has been the Chief of the Wild Magnolias since the mid-60s. With a voice reminiscent of Sam Cooke and the flamboyance you d expect at any given Mardi Gras, Bo and the Wild Magnolias rose to great heights in the 70s in a reign that continues to this day.

The Wild Tchoupitoulas were originally a group of Mardi Gras Indians formed in the early 1970s by George Landry, and photographed exclusively by Paul Howrilla at the request of George Landry. With help from local New Orleans musicians The Meters, The Wild Tchoupitoulas recorded an eponymous album, which featured the "call-and-response" style chants typical of Mardi Gras Indians. The album was produced by famed New Orleans writer/musician and record producer Allen Toussaint.

The New Orleans Mardi Gras "Indian Tribe" the Wild Magnolias issued a critically acclaimed LP for Polydor in 1974. Bo Dollis, Monk Boudreaux, June Johnson, Jr., Crip Adams, Tobias Johnson, Bubba Scott, and James Smothers brought the rich, fervent flavor of New Orleans to vinyl, backed by Willie Tee's band. A second LP They Call Us Wild was released in Europe a year later but not in the US.

"A joyous blast of rollicking rock'n'roll" - Classic Rock "The open-hearted emotional clout of Randy Newman" - Mojo "Top-notch songwriting" - Evening Telegraph Fred Abbott is joined by a band of vocalists for his second post-Noah And The Whale "solo" album.

Wild Bill Davis was the stage name of American jazz pianist, organist, and arranger William Strethen Davis. With the dynamic, swirling sounds of his Hammond B-3 organ, Wild Bill Davis provided a bridge from the big band swing of the 1930s and '40s to the organ-driven R&B of the 1950s and early '60s.

George 'Wild Child' Butler is one of the last original, hard-workin' delta bluesmen. Although his career started not until the 1960s, the old times' tradition is still clearly heard on his music. You may call it blues, you may call it southern soul, you may even call it rock 'n' roll, but you just can't categorize him to any particular field. There's just one George Butler, and then there are the others.

Wild Bill Davis pioneered the Hammond Organ in the late 1940s and early 1950s. His always famous driving and swinging trio concept with organ, guitar and drums has served as inspiration for all important jazz organists including Jimmy Smith. From 1964 to 1969, Wild Bill Davis was under contract with RCA Victor and recorded a number of remarkeable albums. "Midnight To Dawn" - Wild Bill's personal favorite album - recorded on August 10 & 11, 1966 with members of the Duke Ellington Orchestra and James "Dickie" Thompson on guitar.

Wild Bill Davis was the stage name of American jazz pianist, organist, and arranger William Strethen Davis. With the dynamic, swirling sounds of his Hammond B-3 organ, Wild Bill Davis provided a bridge from the big band swing of the 1930s and '40s to the organ-driven R&B of the 1950s and early '60s.

One of the great tenor and organ dates cut for RCA in the 60's by the team of Johnny Hodges and Wild Bill Davis featuring performances recorded in 1965. The title is a play on words based on the term "console organ", a term used by the Hammond organ company to describe the type of organs favored by Davis.