ROD STEWART Some Guys Have All The Luck (2008 UK 'Deluxe Edition' 3-disc [2CD/1DVD] set - This assembled collection presents stellar tracks spanning 1971 - 1998 including a Faces favourite ['Stay With Me'], decades of solo hits, unplugged gems, soundtrack selections and more…
""Rather than make a traditional covers record, I thought it would be much more fun to create a new type of project in which artists communicated with each other and swapped a song for a song, i.e. you do one of mine and I'll do one of yours, hence the title - Scratch My Back - And I'll Scratch Yours." Peter Gabriel
Human is a studio album released by Rod Stewart on 12 March 2001 (see 2001 in music). It was Stewart's nineteenth studio album and first, and only release, on Atlantic Records (Atlantic 7567-83411-2), a sister label to his previous label Warner Bros. Records.It produced the singles "Run Back Into Your Arms", "I Can't Deny It", and "Don't Come Around Here". "I Can't Deny It" became a moderate hit and the album was certified gold by the British Phonographic Industry.
A brand new take on the most transformative force in British popular music history.
A potent and distinctive musical gumbo with rock, blues, country, rhythm & blues and psychedelia, The Ringmaster General was recorded and mixed by John McBride at the famed studio he owns with Martina McBride, Blackbird Studio. It features 13 songs including striking duets with Alison Krauss, Diane Birch and Joss Stone as well as one sung with and co-written by Jessie Baylin. The blistering guitar skills of Orianthi are featured as well. As with The Blackbird Diaries, Stewart is backed by some of the finest musicians in Nashville including: guitarist Tom Bukovac, drummer Chad Cromwell, bassist Michael Rhodes, steel guitarist Dan Dugmore and Mike Rojas on piano.
Haunting, poignant and relentlessly physical, Julia Wolfe’s Anthracite Fields is a lovingly detailed oratorio about turn-of-the-20th-century Pennsylvania coal miners, and a fitting recipient of the 2015 Pulitzer Prize for Music. NPR Music’s Tom Huizenga describes the piece as “…almost a public history project and a music project at the same time,” which hints at the work’s universal appeal.