While the two previous Best of UB40 collections neatly divided the band's output between their more political early period and their later, covers-oriented pop success, they were also only ten tracks apiece. The Very Best of UB40 1980-2000 is the first comprehensive single-disc overview of the band's career, and it's a lot more generous at 20 tracks. It isn't arranged chronologically, which actually helps the programming by splitting up the covers over the course of the running order. There's a bit more toughness to the earlier songs, both in the lyrics and the punchier performances. Yet in the end, the sonic differences are subtle enough that casual fans should still be able to enjoy them (unless they only want to hear the band performing reggae-pop versions of oldies they already know).
The various releases of The Very Best of the Doors during 2001 and 2007 in the U.S. and the U.K. are very similar, both in their single-disc and double-disc permutations – as well as a limited edition that adds a DVD to the two-CD version – so it's very easy to get all three compilations confused…
The Very Best of Dr. Buzzard's Original Savannah Band compiles the highlights from the group's first two albums, which featured the kitschy, big band-influenced disco group at the height of their powers. All of the group's hits -- "I'll Play the Fool," "Whispering/Cherchez La Femme/Se Si Bon," "Sour and Sweet/Lemon in the Honey" -- are included on the collection, as well as a number of first-rate album tracks, making it not only the perfect place to start, but also the only Dr. Buzzard album any fan needs to own.
The Pasadena Roof Orchestra is a contemporary band from England that specialises in the jazz and swing genres of music of the 1920s and 1930s, although their full repertoire is considerably wider. The orchestra has existed since 1969, although the line-up has frequently changed. It has achieved success outside of the United Kingdom, most notably in Germany.
There are as many flavours of jazz as there are pebbles on a beach, but the majority combine rhythmic invention with instrumental virtuosity to create a sound that can transport the listener to a different plane. Whether your ear is caught by the saxophone of Earl Bostic or Eddie Harris, the flute of Herbie Mann, Ray Charles’ effervescent keyboards (he played sax too) or the music of Cuban-born ‘King of the Mambo’ Perez Prado, whose 1958 US chart-topper ‘Patricia’ is familiar from countless movies and television ads,one thing is certain – the jazz instrumental still reigns supreme.