Cardboard sleeve (mini LP) reissue from Peter, Paul and Mary featuring 2012 remastering, using the original master tape. Includes a description and lyrics. Part of a eleven-album Peter, Paul and Mary cardboard sleeve reissue series featuring albums "Peter, Paul And Mary I", "Moving", "In The Wind", "Peter, Paul And Mary in Concert", "A Song Will Rise", "See What Tomorrow Brings", "The Peter, Paul And Mary Album", "Album 1700", "In Japan", "Late Again", and "Peter, Paul And Mommy".
After a three-year break, Neu! members Klaus Dinger and Michael Rother buried their differences temporarily, and reunited for another go at the "motorik" sound they had developed with their debut in 1971. The strange tension and presentation of Neu! 2 and the emergence of their former band Kraftwerk may have precipitated the reunion, but, whatever the reason, the end result proved worth the time, effort, and bickering it took to crank this one out. One thing that is noticeably different on 75 is the presence of synthesizers and the preference of them, it seems, over Rother's guitar. "Isi," which opens the album, features Dinger's metronymic percussion holding down the 2/4 rhythm and a trademark one-note bassline provided by a piano, but the gorgeous sonic washes and flourishes normally handled by Rother's guitar-slinging hands are now painted with a synth.
This album further focused the classic Neu! krautrock sound, with the 11-minute "Für immer" in particular being the archetypal example of their style—a seemingly endless forward-driving vamping, propelled by Klaus Dinger's 4/4 drumming and Michael Rother's layered guitar with its fluid lines and droning harmonic structure. It also features elements of ambient music and proto-punk.
Fresh after leaving Kraftwerk in the fall of 1971 for what they perceived to be a lack of vision, guitarist Michael Rother and drummer Klaus Dinger formed their own unit and changed the face of German rock forever – eventually influencing their former employer, Florian Schneider of Kraftwerk. The 1974 album Autobahn was a genteel reconsideration of the music played here. Neu! created a sound that was literally made for cruising in an automobile. While here in the States people were flipping out over "Radar Love" by Golden Earring, if they'd known about this first Neu! disc, they would never have bothered. Dinger's mechanical, cut time drumming and Rother's two-note bass runs adorned with cleverly manipulated and dreamy guitar riffs and fills were the hallmarks of the "motorik" sound that would become the band's trademark.
After a five-year hiatus, singer/songwriter Laura Nyro returned with Smile in 1976. On this disc, Nyro's somewhat idiosyncratic writing and performance style is decidedly subdued. In its stead is a light pop and jazz feel similar to that of Maria Muldaur's mid-'70s recordings. Supporting Nyro instrumentally is virtually a who's who of New York and Los Angeles studio stalwarts. While the prowess of folks like Will Lee (bass), brothers Randy Brecker (trumpet) and Michael Brecker (flute/sax), Hugh McCracken (guitar), and Rick Marotta (drums) certainly strengthens Nyro's already laid-back material, it likewise reduces her to sounding like a Joni Mitchell ripoff. The undeniable highlight of Smile is the maturity in the songwriting. It becomes obvious that the half-decade away has done some significant good in revealing a decidedly positive evolution in Nyro's approach to her own life. What's more is that the material on this album seems to come from a place of contentment.
The Hunter is the sixth studio album by American band Blondie, released in May 1982. It was Blondie's last album of new material until 1999's No Exit. It was recorded in the fall of 1981 and January and February 1982.
Nina Simone Sings the Blues, issued in 1967, was her RCA label debut, and was a brave departure from the material she had been recording for Phillips. Indeed, her final album for that label, High Priestess of Soul, featured the singer, pianist, and songwriter fronting a virtual orchestra. Here, Simone is backed by a pair of guitarists (Eric Gale and Rudy Stevenson), bassist (Bob Bushnell), drummer (Bernard "Pretty" Purdie), organist (Ernie Hayes), and harmonica player who doubled on saxophone (Buddy Lucas). Simone handled the piano chores. The song selection is key here. Because for all intents and purposes this is perhaps the rawest record Simone ever cut. It opens with the sultry, nocturnal, slow-burning original "Do I Move You," which doesn't beg the question but demands an answer: "Do I move you?/Are you willin'?/Do I groove you?/Is it thrillin'?/Do I soothe you?/Tell the truth now?/Do I move you?/Are you loose now?/The answer better be yeah…It pleases me…." As the guitarists slip and slide around her husky vocal, a harmonica wails in the space between, and Simone's piano is the authority, hard and purposely slow.
Dream Street captures Peggy Lee at her most intimate and melancholy – a song cycle exploring love and loss in uncompromisingly frank terms, it strips away the saccharine and schmaltz so common among the singer's Decca sessions to effectively create the first truly adult music of her career. Lee occupies the same harrowing emotional territory staked out by Frank Sinatra via the landmark In the Wee Small Hours, investing the material with the kind of heartbreak and longing that belies the whole "easy listening" tag – this is music shorn of pretense and artifice, as intense as a primal scream yet beautiful in the way only art of this magnitude can be.
Laura Nyro's third Columbia effort is easily the equal of her previous two. The overwhelming strength of her song writing and distinctive arrangements fuel Christmas and the Beads of Sweat. Her unmistakable style of delivery maintains the continual examination of herself as a performer. The results are uniformly interesting and provocative as she continues to draw upon her love of jazz, folk, and R&B – which would inform Nyro's next album ,Gonna Take a Miracle, featuring the soul vocal trio LaBelle. Conceptually, this album is as potent as her previous effort, New York Tendaberry, but in a much different way. Rather than hanging together thematically, Christmas and the Beads of Sweat features two inclusive and distinctive sides of music – with different musicians and producers for each.