In early 1967 Rick Hall’s Fame set-up was missing a vital ingredient. Despite all the success he had achieved as a producer, studio-owner, publisher and record label boss, he had yet to sign an enduring artist. That was about to change. The previous year a duo who recorded as Clarence & Calvin hired the studio to cut a self-financed single. They had been working together for five years and had just left a deal with Houston-based Duke Records. As he watched them, Hall thought he had found his stars and urged them to come back and sign with him. When the day came, only Clarence Carter appeared. At first, Hall was dismissive of the singer’s pleas to be signed as a solo act but eventually relented and gave him a go.
In a perfect world, Lucy Reed would have been much better-known and would have built a large catalog. But regrettably, the obscure Midwestern jazz singer never became well-known, and she only recorded a few albums. Recorded at various sessions in January 1957, This Is Lucy Reed is the second of two albums she provided for Fantasy. This album, which Fantasy reissued on CD in 2001, finds Reed backed by some of bop's heavyweights, including trumpeter Art Farmer, trombonist Jimmy Cleveland, bassist Milt Hinton, arranger George Russell (who is heard on drums), and arranger Gil Evans (who plays piano on four selections).
Taken from Columbia's multi-volume jazz primer, this is not bad for a single-company compilation. The selections split down the middle between George Benson's early 1965-1966 Columbia albums and his 1971-1976 CTI output that Columbia now controls; the gaps are obvious but the title of the series neatly narrows the scope of the survey. We hear the young, eager Benson in four cuts from It's Uptown and only two from the superior George Benson Cookbookincluding the spectacular "The Cooker" – before sampling a cut apiece from CTI's Beyond the Blue Horizon, Bad Benson, Good King Bad, and In Concert-At Carnegie Hall…
This Is Jazz, Vol. 2 isn't an ideal overview of Chet Baker's seminal Columbia recordings, but it isn't bad, either. Many of the featured 16 songs are among Baker's very best, giving novices a good idea of the sound, style, and depth of his music, even if it doesn't provide an ideal context. Nevertheless, This Is Jazz doesn't intend to provide context, which will undoubtedly frustrate collectors and jazz purists…
Though purists will find Maynard Ferguson's This Is Jazz, Vol. 16 frustratingly incomplete, it isn't designed for them. The entire This is Jazz series is targeted at casual fans and neophytes, who only want a sampling of a famous jazz artist. In that sense, this disc does its job quite well, featuring both his crossover hits ("Gonna Fly Now," "McArthur Park") and his stabs at big band and bop. Of course, this only is the tip of the iceberg as far as Ferguson's work goes – after all, it only features his music for Columbia – but it's enough to spark the interest of anyone wanting to explore his catalog.
This is Music: The Singles 92–98 is a singles compilation album by the English alternative rock band The Verve. The compilation was released in November 2004 and included two previously unreleased tracks: "This Could Be My Moment" and "Monte Carlo". The album was named after a track by the same name off their 1995 album A Northern Soul. The album cover is based on the cover of their 1992 single, "She's a Superstar".
Florida Georgia Line (Georgia's Tyler Hubbard and Florida's Brian Kelley) broke onto the contemporary country scene in the spring of 2012 with the infectious summer single "Cruise," a song that blended cruising country back roads and farm towns with ragged drums and layers of rock guitar, and sounded a bit like an amped-up, next-generation Brooks & Dunn. The duo seems poised for stardom going into the second decade of the 21st century, a time when country seems to be as much AC/DC as it is George Strait or George Jones (although both Georges get name-checked a lot these days in country songs one can hardly imagine either of them singing).