Chillout Sessions is a series of compilations released by Ministry of Sound that focus on songs from the chillout genre. Songs on Chillout Sessions compilations vary in style from lounge to electronica and are released by many different artists. The Chillout Out genre of compilations started in the UK and since 2003 Ministry of Sound has released them under different tropes such as "Chilled", "After Hours", "The Morning After…" which has shown MOS to have seemingly ended its branding of the genre as Chillout Sessions.
Sit back, relax and unwind to some of the most relaxing classical music performed by some of the finest artists. There’s over 7 hours of well-chosen music split across six CDs and featuring the world's best loved composers. Another winning collection.
If punk rejected pop history, LONDON CALLING reclaimed it, albeit with a knowing perspective. The scope of this double set is breaktaking, encompassing reggae, rockabilly and the group's own furious mettle. Where such a combination might have proved over-ambitious, the Clash accomplish it with swaggering panache. Guy Stevens, who produced the group's first demos, returns to the helm to provide a confident, cohesive sound equal to the set's brilliant array of material. Boldly assertive and superbly focused, London Calling contains many of the quartet's finest songs and is, by extension, virtually faultless.
Epic/Legacy reissued the Clash's classic third album, London Calling, in 2000, remastering the album and restoring the original artwork, much of which didn't make the original CD issue. No bonus material was added to this or any of the other Clash reissues of 2000, largely because nearly all of the B-sides and useable rare material had already appeared on compilations ranging from Super Black Market Clash to the box set Clash on Broadway…
Anyone, who has been fortunate enough to play in a band that uses Oliver Nelson arrangements, will vouch for how clever and musical they are. On this session he was asked to include electronic instruments and incorporate the rhythms they are often associated with them. This has been attempted before and usually results in the most horrible ‘hodgepodge’ of sounds that please no one. Oliver Nelson however succeeds in incorporating the newer instruments without detracting in any way from the normal quality of his work. This is a very good album; every track is an original composition with a strong melody line and an imaginative arrangement.