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.
With most classic R&B acts, we feel lucky to get one genuine live recording – in the case of Ike & Tina Turner, by contrast, we have an embarrassment of riches in the way of concert recordings from the early- to mid-1960s, and it started with this Kent Records release. Issued in 1964, soon after they left Kent, it captured 35 minutes of their live act, from the Club Imperial and the Harlem Club in St, Louis. In addition to Tina Turner in an extended rap attached to "Please, Please, Please," we also get Jimmy Thomas in a rousing version of "Feel So Good," Venetta Fields' mournful, magnificent "The Love of My Man," Bobby John on the smooth, soulful, soaring "Think," Stacy Johnson doing "Drown in My Own Tears," Robbie Montgomery's "I Love the Way You Love," and Vernon Guy singing "Your Precious Love".
Some of the finer CTI recordings of the late '70s were those led by flugelhornist Art Farmer. Although the emphasis was generally on obscure material (in this case Farmer plays one original, two songs by Dave Grusin and one piece by pianist Fritz Pauer) and often featured musicians who did not normally play together, the results were generally quite rewarding. For this CTI LP (long out-of-print), the focus is almost entirely on Farmer who is joined by keyboardist Grusin, guitarist Eric Gale, flutist Jeremy Steig, either Will Lee or George Mraz on bass and drummer Steve Gadd. The moody music holds one's interest throughout.
The result of the meeting of Michael McCartney (brother of Beatle Paul), who would work as Mike McGear to avoid accusations of coat-tailing, and Post Office engineer John Gorman, the Scaffold took a blend of absurd humor and catchy songs to chart-topping glory throughout the 1960s. Their lineup filled out with Roger McGough and Adrian Henri, the group was briefly known as the Liverpool One Fat Lady All Electric Show, to the horror of everyone around them. Henri soon departed. A change of name later, they were gaining a reputation as one of the most amusing outfits on the scene, with a residency at Peter Cook's Establishment Club (where the Bonzo Dog Doo-Dah Band also held court). The Scaffold's biggest successes were their cheerfully silly singles, starting with "Thank U Very Much" and continuing with "Lily the Pink" (a sterilized adaptation of an old rugby song, featuring Jack Bruce on bass) and the somewhat incomprehensible "Gin Gan Goolie," all of which had a knack for sticking in the mind on endless repeat without causing undue annoyance. These three songs, in particular, are well remembered even as the 1990s draw to a close.
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.