„Stay Tuned“ is an Allstars-charity project, founded by austrian drummer Bernhard Welz in 2011. Bernhard Welz has been touring all over Europe with many of the performing artists before. When the idea came up to produce a record for a good cause, many of these artists confirmed to be part of it. After a while, it developed it´s own dynamics, and finally even more artists, than basically planned, contributed to the project. „Stay Tuned 1.5“ – a mix between Rock & Ballads, whose net-income will be donated to the Linda McCartney Breast cancer Trust. All these international artists on the album support the fight against cancer and are part of this project…
Lee Ritenour goes techno/pop/rock on an album originally released on the pop Elektra label – and as such is not recommended to jazz fans with a low tolerance for the stuff. Here Captain Fingers extends his reach to play keyboards and programmed electronic drums on a few tracks, along with very competent rock guitar .
Hogan’s Heroes was formed by its namesake Gerry Hogan almost 30 years ago, specifically to back Albert Lee. The band’s first gig took place in 1987 at Gerry’s annual festival for pedal steel guitar.They have played together on a regular basis since that time and as a result have become one of the tightest units in music. (…) Albert Lee, by common consent one of the world’s finest guitar players, needs no introduction to Country music & Rock fans. He has worked with some of the world’s top artists, from Emmylou Harris to the Everly Brothers, Dolly Parton to Eric Clapton. Albert is a Grammy award winning musician, whosetalents continue to be in demand by fellow performers throughout the world.
1976's Thoroughbred was Carole King's last album for Lou Adler's Ode Records imprint, and it's clearly a transitional release. Change was afoot in the musical air in 1976, and while there's no hints of punk or disco on Thoroughbred–which is a good thing–King is definitely moving away from the solo piano sound of her earlier solo albums. King's thumping, percussive piano playing is still all over the album, but guitars play a more prominent role than ever before. At times, the instrumental interplay resembles that of Fleetwood Mac, particularly Waddy Wachtel's Lindsey Buckingham-like solo on "Only Love Is Real." The songs themselves are in the eclectic style of 1973's all-over-the-map FANTASY, with the country-tinged "We All Have To Be Alone" and "Ambrosia" sitting comfortably between the slinky pop of "I'd Like To Know You Better" and the soulful "Still Here Thinking of You." The album charted at US #3.
John Lee Hooker's greatness lies in his ability to perform the same songs the same way yet somehow sound different and memorable in the process. He operates at maximum efficiency in minimal surroundings with little production or assistance. That was the case on a 1969 session for Black and Blue; it was just Hooker and his guitar moaning, wailing, and narrating on 10 tracks which included familiar ditties "Boogie Chillen," "Love Affair," "Big Boss Lady," and "Cold Chills." Evidence has now not only reissued these 10 but has added another six bonus cuts, bringing the CD total to 16. If you have ever heard any Hooker, you will not be surprised or stunned by these renditions; you will simply enjoy hearing him rework them one more time, finding a new word, phrase, line, or riff to inject.
Hooker was already being hailed as a living legend in the '60s, but by the time of this 1986 release he was a larger-than-life figure, his iconic stature unquestioned. From his earliest collaborations with Canned Heat and on through the '70s and '80s, the rock world never got tired of trying to endear Hooker to a crossover audience. JEALOUS is an attempt to adapt Hooker's lonesome blues to full-band arrangements. Unlike his band recordings of the '50s, though, there's a decided rock edge to his accompaniment here, providing a sharp contrast to the down-home, earthy sound of Hooker's voice and guitar. Organ, electric guitar, and a forceful rhythm section baked in reverb back Hooker on JEALOUS. Instead of overpowering Hooker, though, these new arrangements place the bluesman on a sonic pedestal, from which he sounds like the voice of God dispensing wisdom through the blues.