Against The Wind is the eleventh album by American rock singer Bob Seger and his fourth with the Silver Bullet Band. Against The Wind was an immediate commercial success, reaching No. 2 on the Billboard 200 album chart in its third week and remaining there for five weeks behind Pink Floyd's The Wall before reaching No. 1 and holding the top position for six weeks. By late 1981 the album sold 3.7 million copies in the United States and was certified 5x platinum in 2003. Bob Seger and the Silver Bullet Band won the 1980 Grammy Award for Best Rock Performance by a Duo or Group with Vocal for the album Against The Wind.
FOX BOX is an eight disc set of The Allman Brothers performing three-nights September 24th, 25th and 26th, 2004 at the Fox Theatre. The complete package contains 54 performances of 52 songs from the historic Fox Theatre in Atlanta, GA. It has never before been available digitally. Jack Pearson guests as the guitar solo on "Dreams" on the 9/24/04 recording; Derek Trucks takes the solo on "Dreams" on 9/25/04 and Warren Haynes takes the solo on "Dreams" on 9/26/04.
Robert Cray adds a bit more soul to the mix on this album, which features the Memphis Horns most prominently. Most of the songs are Cray doing what Cray does best–slow, soulful, done-me-wrong (or, alternatively, I-done-wrong) songs chock full of great guitar. No complaints there, and when he adds a bit of vocal growl here and there, as on the album opener "The Forecast (Calls for Pain)" (also featuring some excellent bass from Richard Cousins), and the slow shuffle "Holdin' Court," it keeps things interesting. This album indicates a slight shift in Cray's direction; although he's always included a touch of soul in his blues, here it's more pronounced than before, a tendency he continued in subsequent recordings.
For his first solo project after replacing Dickie Betts in the Allman Brothers Band, 23-year-old Derek Trucks pushes the stylistic envelope even further than on his last diverse release. Prodding into Latin, Indian, and fusion jazz, this stylistically varied effort exudes enough blues and funky R&B to keep the Allman Brothers Band fan's attention while expanding their boundaries – sometimes radically – beyond what the typical Southern rock fan might expect or even tolerate. It's a brave and largely successful experiment, due in part to the vocals of his guest stars, since Trucks himself does not sing…
Perhaps the most telling tune on Shoulda Been Home is the T-Bone Walker-influenced "Renew Blues," not because of the style, but because the slow blues fades out after just one tiny minute. By contrast, the mellow soul sway of "Out of Eden" stretches out to over nine minutes. Robert Cray has been heralded as a savior of modern blues, but the truth is Cray's music is much closer to the vintage soul of O.V. Wright and Otis Redding than the 12-bar form of B.B. King or Albert King. Granted, his punctuating Stratocaster guitar riffs borrow from the books of all the blues masters, but his songwriting and arranging don't. Often backed by arpeggiated guitar chords, Cray's vocals are front and center here, passionately leaning into these predominantly slow or mid-tempo tunes. By contrast, only a couple of cuts are upbeat enough to really get the knees a-shakin'. The infectious opening cut "Baby's Arms" – the best tune on the record – could have been a hit single for Stax Records, and Sir Mack Rice's upbeat "Love Sickness" was a hit for Stax Records. Meanwhile, "Help Me Forget," with its mellow, candlelight mood, could have been a hit for Barry White.
Sometimes even the most consistent artists need to shake things up a bit. In Robert Cray's case, that means shuffling his lineup – he retained longtime bassist Richard Cousins but brought in drummer Les Falconer and keyboardist Dover Weinberg – and bringing in producer Steve Jordan, who last worked with Cray on 1999's Take Your Shoes Off. There's a reason this record is called In My Soul: Jordan assists Cray in moving toward Memphis soul, dedicating the entire record to slow, sultry burners that emphasize his mellow vocals and dexterous grooves. This may primarily be a mood record but the individual songs are also quite strong, whether it's the originals ("Fine Yesterday" is so gorgeous it makes heartbreak seem welcome) or sharply chosen covers. Among the latter is a cleanly funky reading of Otis Redding's "Nobody's Fault But Mine," which features Falconer on co-lead vocals, an unusual change of pace for Cray that also signals how the veteran guitarist has been revitalized by his change in companions.