Moving away from the guitar histrionics of Beauty Stab, Martin Fry reduced ABC to a duo of himself and Mark White for 1985's danceable How to Be a…Zillionaire! Incorporating light hip-hop rhythms, ABC made sure Zillionaire sounded contemporary for mid-'80s dance clubs, and as a result, some of the record sounds stiff and dated. Still, when Fry's sense of melody is on, as on the catchy single "Be Near Me," or when he works in his vicious, cynical wit, as on "How to Be a Millionaire" and "So Hip It Hurts," the record rivals the peaks of Lexicon of Love.
"How to Be a Heartbreaker" is a song written and performed by Welsh singer-songwriter Marina and the Diamonds taken from the US Edition of her sophomore album, "Electra Heart". The song was written a week after finishing the UK version of the album, and therefore does not appear on that edition, but is featured as track 12 on the US version. It is due to be released as her fourth UK single from Electra Heart and her second international single.
Tupelo, Mississippi's Paul Thorn has a knack for synthesis. His father was a Pentecostal preacher, so Thorn grew up with gospel, but he noticed that, in his own words, "white people sang gospel like it was country music, and the black people sang it like it was rhythm & blues," and a mix of the two gospel styles – with some gutbucket blues, old-time rock & roll, a sharp pop sense, and a gift for good old storytelling thrown in – pretty aptly describes Thorn's own brand of inspirational roots rock. Like the professional boxer he once was, he drives his music home with patience, skill, and purpose, putting his own restless energy at the heart of things. This set of originals, which follows 2012's What the Hell Is Goin' On?, an album of covers, finds Thorn at his best, and no song here even comes close to being filler. Thorn writes about his native South and its characters with incisiveness, and that old Saturday night/Sunday morning split between the secular and the sacred has always been his favorite theme, the notion that you can mess up, fall from grace, and then still find some kind of personal redemption is what makes Thorn's blend of gospel country rock and R&B sound so naturally joyous.
A superbly atmospheric John Barry score effectively conveyed the mood of swinging London for this 1965 film by Richard Lester. Usually playing around with variations of the haunting main theme, Barry used vivacious horns, melancholic strings, and above all a groovy jazz organ (played by Alan Haven). A couple of the tracks don't work well in isolation: the vaudevillian "Something's Up!," and the vocal version of the main theme (not used in the film) by mediocre singer Johnny De Little. But overall, it's got a consistently captivating groove, rating as one of Barry's best scores.
Canned Heat's 1978 release, Human Condition, was an important one in the band's overall discography, as it was the last studio effort to feature original singer Bob Hite fronting the band (Hite would pass away in 1981). In 2006, the album was expanded with a pair of live tracks from 1985 and retitled Human Condition Revisited, and was packaged as a double disc that also featured the overlooked 1981 solo effort by Canned Heat guitarist Henry Vestine, I Used to Be Mad! (But Now I'm Half Crazy).
An epic 100 CD chronological documentation of the history of jazz music from 1898 to 1959, housed in four boxed sets. Each box contains 25 slipcase CDs, a booklet (up to 186 pages) and an index. The booklets contain extensive notes (Eng/Fr) with recording dates and line-ups. 31 hours of music in each box, totalling 1677 tracks Each track has been restored and mastered from original sources.