The Belgian composer Wim Mertens (born 1953) is an international recording and performing artist who has given several concerts, as a soloist and with his ensemble all over Europe, in North and Central America, Japan and in Russia. Wim Mertens plays the piano and the classical guitar. He sings in a characteristically high-pitched voice, using a carefully crafted personal language. Since 1980 he has composed many pieces in different formats, from short, accessible songs or Lieder to magnanimous and complex three and four parts cycles, and for different settings: from piano solo to chamber music ensembles and symphonic orchestra. He often writes for unusual instrumentations: twelve piccolos, ten basstrombones, thirteen clarinets. Since his recording debut in 1980, titled For amusement only, an electronic composition for pinball machines, Wim Mertens has released more than 50 albums.
Here we have a promotional only compilation sampler from Warmer Bros. Records and associated labels issued in 2004.
Commander Cody & His Lost Planet Airmen - Commander Cody And His Lost Planet Airmen/Tales From The Ozone/We've Got A Live One Here! Digitally remastered two CD set containing Commander Cody's three Warner Bros albums from 1975 and 1976. Immensely popular live, this country rock-western swing-rockabilly band couldn't quite achieve great chart success. All three albums here did make the US Top 200, but Cody decided to disband the act in 1976,We've Got A Live One Here! was recorded in England during their tour in January and February 1976.
Formed in 1971 by old schoolmates Dane Stevens and Cedric Sharpley, along with local bass player Neil Brewer, Druid spent years playing clubs as a trio before winning a competition by Melody Maker for the best unsigned band. At this point they added Andrew McCrorie-Shand, a recent London College of Music graduate. The Melody Maker prize included new instruments and a recording contract, and their debut album appeared in July 1975 among envious whispers by rival bands and music publications. The band had a difficult time shaking the charge of hype, and they were also charged in some quarters as being Yes soundalikes – Starcastle in the U.S. was later to be tarred with the same brush. (In fact, Druid was an opening act at a number of Yes concerts.) The Yes comparison, though an obvious one, is not entirely accurate…
Q's Jook Joint blends the latest in hip-hop-flavored productions with sleek urban ballads, vintage standards, and derivative pieces; everything's superbly crafted, though few songs are as exciting in their performance or daring in their conception as past Jones epics like Gula Matari or the score from Roots. Still, you can't fault Jones for his choice of musical collaborators: everyone from newcomer Tamia to longtime stars like Ray Charles, rappers, instrumentalists, male and female vocalists, percussionists, and toasters. The CD really conveys the seamless quality one gets from attending a juke joint, though it lacks the dirt-floor grit or blues fervor of traditional Southern and chitlin circuit hangouts. But no one's more knowledgeable about the spectrum of African-American music, nor better able to communicate it via disc, than Quincy Jones.
The Ultimate Bee Gees is a compilation album released to coincide with the 50'th anniversary of the Bee Gees. Though the group did not start recording until 1963 on Festival Records in Australia, they began calling themselves the "Bee Gees" in 1959 after several name changes such as "Wee Johnny Hayes and the Bluecats", "The Rattlesnakes" and "BG's". Each disc is themed with the first containing more upbeat songs, called A Night Out, and the second containing slower songs and ballads, called A Night In, though the cover art does not distinguish this theme. Liner notes were written by Sir Tim Rice.