Sunny and improvisational, Boney James's SHINE–his 10th studio outing–finds the lite urban jazz sax maven in top form. By emphasizing the R&B side of his recipe and inviting friends like Faith Evans and the easy-listening jazz legend George Benson, James scores his most accessible album yet and crosses over to the R&B and Pop Charts in the process. The album includes a cover of Chuck Mangione's "Soft."
Retreating from the experimental tendencies of Laid and Wah-Wah, James return to straight-forward anthemic folk-rock with Whiplash. Although the album isn't a retread of Seven or Gold Mother, it is considerably more rock-oriented than its two predecessors, particularly because the group has incorporated some elements of Brit-pop into their music.
2010 mini album from the veteran Britpop outfit fronted by Tim Booth. Produced by Lee 'Muddy' Baker, The Night Before seems fearless in comparison to its predecessors, a product, no doubt, of the way it was conceived: the band set up an ftp site to which they all contributed, downloading and updating each other's efforts at various intervals whilst Baker knocked things into shape. This "virtual" recording process (which eventually led to recording sessions in Brighton and Oswestry), was presumably inspired by the band's history of working with Brian Eno and has brought out the best in James, the results proving as diverse and intriguing as anything the band have attempted before.
A selection of jazz-oriented titles made by the Isham Jones Orchestra, a fine dance band of the period. Included are rare sides by the Marigold Entertainers (a predecessor band) and a selection of titles recorded for World radio transcriptions in 1934. Extensive liner notes by Kurt Weisbecker are included in the 24 page booklet.
Collection includes all studio albums by Australian alternative rock band from Sydney. In 2010, their album Diesel and Dust ranked no. 1 in the book The 100 Best Australian Albums.
The Blues Masters series, much to Rhino`s credit, adopts an expansive definition of blues, allowing the likes of Count Basie, Blind Lemon Jefferson, Muddy Waters and even Louis Prima admission. There is none of the purist`s quibbling over strict 12-bar form or the relative significance of prewar and postwar styles.
What Rhino delivers instead is the blues in all its myriad guises. This music is old and new, black and white, acoustic and electric, folksy and jazzy, performed by women and men, and yet it is all still blues at its core.