LP: Arista's Greatest Hits: Portrait Of A Decade Arista SE Compilation LP: American Dreams  Starblend SLTD Compilation LP: Rock & Pop Diamonds Sono Cord 46 Compilation CD: Easter [Remastered] Arista 2: Album CD: Oct 14, · Product description. To say that Springsteen's live shows with the E Street Band were legendary is the height of understatement. On a good night, the set might extend to three and four hours of exhilarating, pulse-pounding rock & roll/5(). Arista AOR Sampler (VA) promo 2-LP: Arista: ALS USA: Narration on "Street Hassle" Rock And Roll Diary 2-LP: Arista: AL USA: Narration on "Street Hassle" Rock And Roll Diary 2-LP: Arista: DARTY 8: UK: Narration on "Street Hassle" Greatest AOR Hits: Portrait Of A Decade (VA) LP: Arista: AL
He toured the South with Fletcher Henderson's band in From there, he briefly led a Boston-based big band before joining Billy Eckstine's new group, with which he would remain from Eckstine's big band was the famous "cradle of modern jazz," and included at different times such major figures of the forthcoming bebop revolution as Dizzy Gillespie, Miles Davis, and Charlie Parker.
When Eckstine's group disbanded, Blakey started a rehearsal ensemble called the Seventeen Messengers, Album). He also recorded with an octet, the first of his bands to be called the Jazz Messengers. In the early '50s, Blakey began an association with Horace Silver, a particularly likeminded pianist with whom he recorded several times.
A year later, Silver left the band, and Blakey became its leader. From that point, The Messengers were Blakey's primary vehicle, though he would continue to freelance in various contexts. Blakey also frequently recorded as a sideman under the leadership of ex-Messengers. Blakey's influence as a bandleader could not have been nearly so great had he not been such a skilled instrumentalist.
No drummer ever drove a band harder; none could generate more sheer momentum in the course of a tune; and probably no drummer had a lower boiling point -- Blakey started every performance full-bore and went from there. His accompaniment style was relentless, and woe to the young saxophonist who couldn't keep up, for Blakey would run him over like a fullback.
Blakey differed from other bop drummers in that his style was almost wholly about the music's physical attributes. Where his contemporary Max Roach dealt extensively with the drummer's relationship to melody and timbre, for example, Blakey showed little interest in such matters.
To him, jazz percussion wasn't about tone color; it was about rhythm -- first, last, and in between. Blakey's drum set was the engine that propelled the music. To the extent that he exhibited little conceptual development over the course of his long career, either as a player or as a bandleader, Blakey was limited. He was no visionary by any means. But Blakey did one thing exceedingly well, and he did it with genius, spirit, and generosity until the very end of his life.
Mastered from the original mono tapes by Kevin Gray, this is not only a reissue for the multi-generational ages, it's the album's first appearance on vinyl in far too long. Now on clear wax, reproducing the original art and liner notes on an era-correct "tip-on" jacket, the project was overseen by Art's widow, Laurie Pepper, and Grammy-winning producer Cheryl Pawelski. To make this pressing even more special and unique, the alternate take of "Blues At Twilight" has been included as a bonus track.
A gem on all fronts--this is how Jazz should be experienced. All analog chain from tape to vinyl, with beautiful packaging. Art Pepper Quartet. Omnivore Recordings. Avishai Cohen - Into the Silence. Beautifully recorded, as with most studio albums by ECM.
An ideal album for those evenings of quiet introspection. On Into the Silence, charismatic Tel Aviv born trumpeter makes his ECM leader debut in a program of expansive, impressionistic and haunting compositions.
Avishai's tender muted trumpet sets the emotional tone of the music in the album's opening moments and his gifted cast of musicians explore its implications. Like Davis, he can make the trumpet a vehicle for uttering the most poignant human cries.
Now the charismatic Tel Aviv-born trumpeter has his ECM leader debut in a programme of expansive and impressionistic compositions for jazz quartet trumpet, piano, bass, drumsaugmented by tenor saxophone on a few pieces. Cohen and drummer Nasheet Waits have a hypersensitive understanding and their interaction can, from moment to moment, recall the heyday of Miles Davis and Tony Williams or Don Cherry and Billy Higgins.
Yet this music, while acknowledging inspirational sources, is very much of our time. Bassist Eric Revis, a cornerstone of the Branford Marsalis quartet for two decades, provides elegant support throughout. Avishai Cohen. ECM Records. Badbadnotgood — Late Night Tales. Their last album, the critically-acclaimed IV, turned heads and their collaborators continue to multiply: Snoop Dogg, Kaytranada and Kendrick Lamar among them. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people.
Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf.
These artists, as well as many, many others, have influenced us to create, and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation.
You can even hear little bits of BadBadNotGood through this mix, as though they are transmitting parts of themselves through the music they select. As Janis almost sang, take another little piece of my art. Badbad, indeed: so good they said it twice. On some level, BBNG understand that layer of connectivity with this audience. Their Late Night Tales entry is packed with little surprises and new discoveries, relics of American soul and obscure funk and jazz artifacts from France and Cameroon.
These are gems you might not find anywhere, much less together. Having first exploded onto the UK dance scene in 97 with the underground smash Flylife, Basement Jaxx duo Felix and Simon really hit their stride with the crossover behemoth Red Alert.
Since then, a series of quirky, fascinating, immaculate self-written, self-produced singles have followed Red Alert into the chart, from the punk-ragga menace of Jump N Shout to the buoyant, bouncy pop of Romeo and heavy electro menace of Wheres Your Head At. This essential collection gathers the finest of the A-sides together for the first time and successfully closes Chapter 1 in the Jaxxs quest for world domination. Long may they reign! Now, some years on, it's time for a comprehensive recap of the Jaxx' mindblowing A-sides.
All fifteen singles are here, scrambled by the Jaxx into the optimum track order who really cares about chronology? Selecting highlights is a futile task--just stick the disc on and let your senses be guided from the hypnotic "Red Alert" through the awesome "Where's Your Head At" and beyond "Do Your Thing"'s reinvention of dancehall swing. It's quite a trip. For those who have followed Basement Jaxx from Remedy through Rooty to Kish Kash, there's no doubt that the duo are consistent--weak album tracks are almost non-existent.
Cull the lead tracks from that trinity of essential LPs and you have a 'best of' well worthy of its role, a constant high that is about as exhilarating as modern uptempo music gets.
These are truly essential recordings. Basement Jaxx. XL Recordings. Beastie Boys — Solid Gold Hits. Solid Gold Hits is a greatest hits collection by Beastie Boys, released in In contrast to 's The Sounds of Science anthology, Solid Gold Hits consists only of tracks that were released as singles. Beastie Boys. Capitol Records. For evidence of this classic pairing look no further than these sides!
Edison also gets his moment in the sun as well on the album closer which finds Sweets playing a wonderful, even fairly modern sounding, rendition of "Embraceable You" using a Harmon mute. The ballads, enhanced by the wonderful harmonic sense of pianist Hank Jones, are the highlight of this release, and show both Webster and Sweets' unbeatable melodic sense.
Ben Webster was considered to be on of the three most important 'swing tenors' along with Coleman Hawkins and Lester Young. Known by some as "The Brute," he had a tough, raspy and brutal tone on stomps but could deliver warmth and sentiment on softer ballads. Trumpeter Harry "Sweets" Edison spent his early childhood in Kentucky where he was introduced to music by his uncle. After moving back to his hometown of Columbus, Ohio at the age of 12, he began playing the trumpet with local bands, eventually landing a spot with the Count Basie Orchestra.
Numbered deluxe laminated double gatefold jackets. Only numbered limited edition copies worldwide. Ben WebsterHarry "Sweets" Edison. Soulville is a album by swing tenor saxophonist Ben Webster, recording a session from October which Webster played with the Oscar Peterson Trio.
Webster was internationally recognized as one of jazz's elder statesman when he recorded this album inbut the youthful fire that had marked his playing with the Duke Ellington Orchestra two decades earlier was undiminished. Leading a stellar combo through a program consisting mostly of vintage pop tunes, the great tenor saxophonist is at his peak. And this reissue includes three rare recordings of Webster on piano, the first instrument he played as a young professional musician.
During a stretch from roughlythe Ellington alumnus showcased his supreme playing with both combos and string sections, swingers and ballads -- and lurking beneath his blustery and hulking sound were solo lines brimming with sophistication and wit. This date with the Oscar Peterson Trio is one of the highlights of that golden '50s run.
Known affectionately as The Brute, or Frog, he had a tough, raspy, and brutal tone on stomps with growlsyet on ballads he played with warmth and sentiment. Stylistically he was indebted to alto star Johnny Hodges, who, he said, taught him to play his instrument. Ben Webster.
When the great tenors of that time had the chance to stretch out together in the LP format, the results showed not just how rich and individual soloists' voices were but how deep a mutual affinity they could display.
Behold, then, this end-of-the-decade summit to end all summits: not just Ben Webster and Coleman Hawkins, the two greatest surviving exponents of the tenor saxophone, but a third master, the tragically under-recorded Budd Johnson. The three saxophone masters, joined by Because The Night - Various - Greatest AOR Hits: Portrait Of A Decade (Vinyl indefatigable Roy Eldridge, stretch out luxuriantly on the marathon "In a Mellow Tone" with spectacular results.
Tenor great Budd Johnson also appears here with the only other swing era tenor giant who is missing from this session being the inimitable Lester Young. This famous release is a celebration of the saxophone and the jam session, which are staples in jazz. These musicians embark on a musical journey that is as exciting as it is adventurous.
While the music sticks pretty much within the boundaries of mainstream jazz, it is apparent that these players are all inspired by their surroundings. Much of the set showcases a healthy blowing competition between the horns.
They sometimes spurn each other on; other times, they act as foil. The result is a batch of tunes five total that really swing. Highlights include the intense "Young Bean" and "De-Dar. Now in its definitive version on a numbered limited edition g 45RPM 2LP pressing mastered from the original analog tapes by Bernie Grundman. It was none other than Bill Evans. Following in his footsteps, all smiles, were drummer Jack DeJohnette and Puerto Rican bass player Eddie Gomez, his trusty touring partner of several years.
One month previously they had won a historical Grammy Award in Montreux. A consecration for Bill Evans and confirmation that his art had reached dazzling heights. Never excessive or remotely vulgar. Profound, emotional and elegant. The fascinating energy between Eddie and Bill became instantly apparent as they built up the backbone to the melody, and then let it roll as if it could no longer be controlled.
Bill, the solitary explorer, introduced this trio technique based on the freedom of each of the musicians. But it was no more than a presumption of freedom, because Bill knew full well the form the journey would take, its twists and turns, and its end. The chords played by his left hand constituted the base, as demonstrated spectacularly in Very Early, one of his compositions that abruptly plunged the audience into a smoky New York bar.
And so the tone was set: never excessive or remotely vulgar. He is widely considered to be one of the greatest jazz pianists of all time, and is considered by some to have been the most influential post-World War II jazz pianist. Evans's use of impressionist harmony, in-ventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically inde-pendent, "singing" melodic lines continues to influence jazz pianists today.
Unlike many other jazz mu-sicians of his time, Evans never embraced new movements like jazz fusion or free jazz. The iconic jazz pianist Bill Evans is joined here by none other than bassist Chuck Israels and drummer Larry Bunker for this recording. He recorded over fifty albums as leader and received five Grammy awards His inescapable influence on the very sound of jazz piano has touched virtually everybody of prominence in the field after him as well as most of his contemporariesand he remains a monu-mental model for jazz piano students everywhere, even inspiring a newsletter devoted solely to his mu-sic and influence.
Tracklist: A1. Israel A2. Elsa B1. How My Heart Sings C2. Who Can I Turn To? Come Rain or Come Shine D2. Bill Evans Trio. Yet the emotional highs came to a screeching halt shortly thereafter when bassist Scott LaFaro died in a car accident.
Devastated, Evans refrained from playing for nearly a year. If not for an inspirational collaboration of tremendous creative outpouring, one wonders what fate may have befallen Evans. Undercurrent, the outcome of two studio sessions with guitarist Jim Hall, is that project.
While Evans managed to sit down for a few one-off takes between LaFaro's passing and these April-May dates, he largely remained on hiatus and abstained from recording. Whether it owes to the intimate pairing, he and Hall's brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation - such is the level of introspective depth and quietly shaded interplay throughout.
For Evans, the duet clearly functions as therapy, a healing episode in which his partner patiently lays back, shadowing moves and suggesting others, neither musician interested in the spotlight but each striving for and achieving transcendent beauty.
In tackling standards such as Rodgers and Hart's "My Funny Valentine" and the Broadway classic "Darn That Dream," as well as the Hall original "Romain," the pair traverses complex harmonies with the astute elegance of a figure skater.
At times, Evans and Hall go for broke on a hard-swinging romps, yet it's their implied melancholy and drifting, softly struck melodic refrains on waltzes and ballads that bestows Undercurrent with a nuanced romanticism and whispered atmosphere befitting the record's title. Indeed, even the album's cover - an iconic photograph by Toni Frissell - exhibits the surreal, almost-hallucinogenic properties of the fare contained within.
Together, throughout the album, Evans and Hall sound like so much more than just a piano and guitar. Here we have minimalism stood on its head. The smallest number of musicians possible for interactive improvisation producing a sound as full and close as those big block chords in Bartok's "Concerto for Orchestra. Bill Evans with Jim Hall. Mobile Fidelity Sound Lab. Interestingly, these two recordings were made one day on either side of the summer solstice and they each seem to embody attributes of their respective seasons.
Where Some Other Time, recorded at the legendary MPS studios in Villingen, Germany, is imbued with an introspective, vernal beauty, Another Time was recorded as a live concert, and is a recording remarkable not only for the three musicians' ebullience, freedom and summer-infused heat; but notable also for its exceptional recording quality utilizing the then state of the art recording techniques of the NRU.
Indeed, before Resonance released Some Other Time, only one previous aural document existed memorializing this version of the trio, which had a life-span of only six months: a live recording made at the Montreux Festival, a concert that was held roughly a week before Some Other Time and Another Time were recorded.
Marc Myers, a Wall Street Journal contributor, music columnist, and Anatomy of a Song author, writes that Another Time "is a frighteningly flawless and dynamic work by Evans. DeJohnette and Evans, we hear clearly the sound that Evans wanted on drums going forward. I liked what was happening there.
Bill Evans. Resonance Records. Zev Feldman of Resonance Records may just be the world's greatest jazz detective. He is quickly developing a reputation as the Indiana Jones of jazz. Once again, Feldman's dogged determination in the pursuit of great jazz recordings combined with label head George Klabin's unstinting support and guidance has borne fruit in the discovery and release of this remarkable new Bill Evans album, Some Other Time: The Lost Session From the Black Forest.
Resonance Records is thrilled to bring this important addition to Bill Evans's legacy to the world, a recording that constitutes the only extant studio recording of the Bill Evans Trio in the iteration that featured drummer Jack DeJohnette together with bassist Eddie Gomez, a version of Evans's trio that only existed for six months in Feldman discovered this previously unknown recording by chance.
While comparing notes with the younger Mr. After hearing one track on a car stereo in the parking lot outside the convention hall, Feldman was bound and determined to acquire the album for Resonance. He was convinced the world had to hear this music, which represents an under-documented chapter in Bill Evans's creative journey. Bill Evans studio albums are rare in themselves and this particular make-up of the Evans trio, which was only together for six months, had never recorded in the studio; the only recording of this particular group that's been available is a live concert recording made at the Montreux Jazz Festival five days earlier that was released on Verve.
This album sat virtually unnoticed for nearly fifty years in part because of the way it came into existence in the first place. It had been recorded on the spur of the moment. The hastily thrown-together recording agreement provided that no release could be made without certain approvals.
After all, Bill Evans was under contract to another label. As time passed, contractually, no one seemed to have picked up the ball, so nothing happened. So the tapes sat. And they sat out-of-sight, out-of-mind in an archive in the Black Forest, a location far from Bill Evans's and Helen Keane's normal ambit. After some years with the tapes all but forgotten, the principals all died. By then, the album had become, in effect, a forgotten historical relic.
Fast forward to and enter premier jazz detective Zev Feldman, who never loses an opportunity to explore what unknown recordings may exist when he meets someone with a connection to jazz.
He met a member of the Brunner-Schwer family and with a little digging and a lot of determination, he found himself on the trail of another historically significant unknown jazz recording begging to be released. It wasn't a simple matter to bring this music to the public, but once Feldman knew this album existed, he was unflagging in his determination to make it happen.
When he finally heard the entire album, he describes the experience as revelatory: "It blew my mind to hear it. Bill Evans is one of the most influential pianists in the history of jazz. In his essay for the album package, journalist, author and jazz historian Marc Myers describes Evans's career as comprising four distinct periods or stylistic phases.
The first of these Myers describes as Evans's "jazz apprentice years," a period that extended from toduring which time, he performed often as a sideman, but also began recording as a leader.
The second period, which Myers styles Evans's "swinging romantic" period spanned from throughwhere he began to come into his own as a force in jazz.
This Album) followed by a period Myers calls Evans's "percussive poet" phase, which Myers maintains was propelled by the introduction of bassist Eddie Gomez into Evans's musical milieu. The percussive poet period lasted until Myers refers to Evans's artistic phase during the last four years of his life from to as his "lost soul" years.
This album captures Bill Evans at an important, yet relatively under-recorded time in his career. And although Eddie Gomez was to remain a colleague of Bill Evans's for many years and a collaborator with him on numerous recordings, because of the discovery of this album featuring the Evans trio with the addition of Jack DeJohnette, Myers believes that there is now a much more solid basis for considering this brief association as an important chapter in the Evans saga.
Myers writes:. DeJohnette, a member of Evans's trio for just six months in DeJohnette's contribution to the trio or his influence. During the musical discourse between Mr. In short, Mr. Schulz writes:. No pianist before him had such expressive power and such varied moods and feelings as Evans. Perfectly and appropriately complementing his sensitivity were bassist Eddie Gomez and drummer Jack DeJohnette.
Even Duke Ellington had come there and was persuaded to record a spontaneous session in in the same living room. Sound restoration is by Fran Gala and Klabin. The exceptional package was designed by Burton Yount.
On behalf of the Resonance Records family, Producer Zev Feldman adds, "We at Resonance are thrilled to be able to share this important new document with the world, one that sheds light on a previously little-known phase in Bill Evans's career. It was recorded at the celebrated MPS studios, famed for the quality of their work, in Villingen, Germany. And the sessions took place just five days after the trio played their ground-breaking, and Grammy-winning, set at the Montreux Jazz Festival 15 June Gomez would collaborate with him for over a decade, perhaps his longest lived musical partnership.
And DeJohnette is a drummer who represents a fascinating balance between the avant-garde and the accessible. Certainly, he was an inspiring collaborator for Bill Evans. But it proved to be a short lived collaboration. In the middle of their run, Miles Davis dropped in and promptly poached DeJohnette. Thus this great trio came to a premature end. One result of which is that these fascinating and unique sessions represent the only studio recordings the trio ever made.
This well-rounded set features the highly influential pianist Bill Evans in a set of typically sensitive trio performances. In Evans' hands, melodies and time signatures are often more whispered, more shadowed, than stated, as in the opening "B Minor Waltz For Ellaine " and the somber, reflective title track, which blossoms, after Gomez' mid-song solo.
Evans boasted such a unique, unmistakable touch—emotional and beautiful and even soft, but never sweet. As a rule, Evans could pick up the program from an elementary school chorus festival and play it inventively and beautifully. This set is no exception. B Minor Waltz is an original written by Bill Evans. It opens the album with booming bass and chiming, precise, pensive piano by Evans. Evans was very much taken with the music of Michel Legrand, whose gift for melody deeply influenced Evans, leaving its mark on this and other compositions.
Evans shows his affection and admiration for Legrand in the care and emotion with which he delineates the tune, eschewing pyrotechnics.
Bassist Eddie Gomez goes electric on this track and his gorgeous, poetic bass playing goes a remarkable way towards reproducing the vocal line of the original song. Evans plays it with a slow and expert melancholy, unearthing both pain and beauty.
Gomez and Zigmund shadow and support him, moving through the lost terrain of memory. This is an album shot through with elegiac, autumnal beauty. Music On Vinyl. Bill Withers created mellow, downhome-style soul for barely more than a decade before retreating from the industry to pursue craftsman interests. Yet over the course of the handful of albums he made for Sussex and CBS, the Appalachian native struck lasting emotional chords in legends ranging from Booker T. Jones to Stephen Stills — not to mention the millions of listeners that fell under the spell of now-standard tracks such as "Lean on Me," "Use Me," and "Ain't No Sunshine.
Pressed on g LP at RTI, our vinyl reissue of the compilation provides a transparent view of Withers' relaxing timbre and the subtle grooves underlining his arrangements. Characteristics ranging from the tension of the guitars, funky bends of the bass, whisper-soft coo of the formal strings, airiness of the backing harmonies, and sharpness of the snare drum emerge with utmost clarity and lifelike presence.
Always prized for its naked honesty and pure conviction, Withers' music positively caresses the senses on this LP, the unadulterated production and beautiful soundscapes revealed anew with each listen. Country: US.
Released: 16 Nov Incredibly, Withers almost never got a shot at recording. After receiving a deal from Sussex while laboring as a toilet-seat manufacturer, he landed in the care of Stax bandleader Booker T. Two takes from those sessions, the Grammy-winning "Ain't No Sunshine" and devotional "Grandma's Hands," are included here, and showcase the vocalist's incredible breath control, folksy drawl, and restrained phrasing.
They also indicate his penchant for converting biographical experience into eminently catchy combinations of pop, gospel, blues, and soul. There's not one forgettable moment on Greatest Hits. Covered by the likes of Fiona Apple, Mick Jagger, Isaac Hayes, Alicia Keys, and dozens more, "Use Me" rides a riveting clarinet riff and urban tempo to express the double-edged feelings associated with an edgy relationship.
For the Latin-tinged "Lovely Day," Withers holds a single note for 18 seconds and composed a song that's been sampled and rerecorded countless times by artists spanning Diana Ross to R. Secure your lowest-numbered copy of this seminal edition by ordering from Music Direct today! Bill Withers. Billie sounds like she's at the microphone in your living room. The instruments are spread out between the speakers and there is plenty of depth. A pristine original has a bit more pronounced vocal sibilance and air, and this reissue smooths that out a bit.
That aside, this is a fabulous reissue of essential music. Highest recommendation. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen! We cannot know why she stopped recording for Norman Granz after January - but the present collection is a magnificent culmination of her years with the producer.
Album) Holiday. Her soulful, unique singing voice and her ability to boldly turn any material that she confronted into her own music made her a superstar of her time. Her husky voice fits each of these tunes like a glove. Her wonderful phrasing plus that into that indefinable quality that is hers alone, elevate these tunes into the ranks of the memorable. Coarse yet war, with that unique phrasing.
She sings her bruised heart out … her shattered dreams are here for you to hear. But listen to them with your heart. For this is the greatest of them all … This is … Lady Day.
Small jazz groups brought out the best in Billie Holiday - especially groups as good as the one heard on this classic recording. Ben Webster, Harry "Sweets" Edison and the other members of this stellar ensemble were not just gifted soloists but sensitive accompanists as well. Lady Day was rarely more ably supported than she was on this program of sturdy standards, including three gems by the Gershwin brothers -and she rarely sounded more luminous. Now is the brainchild of photographer, filmmaker, musician and now promoter Danny Clinchand its inaugural lineup has just been announced for September Clinch is co-promoting Sea.
We've got some difficult days ahead, but it really doesn't matter with me now, because I've been to the mountaintop Like anybody, I would like to live a long life — longevity has its place — but I'm not concerned about that now. I just want to do God's will. I may not get there with you, but I want you to know tonight that we, as a people, will get to the Promised Land!
Martin Luther King, Jr. It's somewhere up ahead I hope so, but right now we need to protect the tool that will allow us to build the kind of country where future generations will find their opportunities, their rights and their dreams well-protected. That's our job now Let's stand together in defense of that Promised Land. Therefore it ain't exactly a spoiler to learn that there's some Springsteen music in the mix.
Billboard reports that Spielberg himself picked "Stand On It" for inclusion in his film Cline's novel contains no references to Springsteen or his music. This isn't the first time that "Stand On It" has been part of a movie soundtrack. The last time it happened was, of course, back in the s. Springsteen's song was part of the soundtrack of the comedy crime-caper Ruthless People. It also appeared on the film's soundtrack album.
The version used in Ruthless People and released on its soundtrack album was the B-side version. That version contains a full in-concert-style ending with no fade-out and an extra verse that begins, "Bobby was leadin' the pack, he settled back and he got ready for the long haul This spring, it's time for Volume 2.
May 18 brings us The Album Collection Vol 2, That includes Blood Brothers, in its first vinyl pressing, closing out the largely solo box with an E Street reunion. As with Vol 1, as stated in today's press release, "the albums were transferred from the original analogue masters using the Plangent Process playback system.
The limited edition box set will be numbered, with a certificate of authenticity, and include digital download of the remastered audio files. A page book, also exclusive to the box, features rarely seen photos, memorabilia and original press clippings from the period.
One major release from left out of The Album Collection Vol 2 box is 's Greatest Hits, which is being reissued separately — on red vinyl on April 21 for a Record Store Day Exclusive, to be followed by a standard black vinyl edition on July 6.
For even more from the era, a concurrent digital-only release will tie up some loose ends, gathering B-sides and live tracks from '90s singles that had yet to be made available on digital platforms to date recall the numerous live tracks from Joad singles, etc.
Further details will be forthcoming. Danny also discusses his photo shoot with Bruce Springsteen for the cover of last fall's Variety magazine Sandy Hook or bust and talks candidly about the day that Bruce dropped by the Danny Clinch Transparent Gallery at the Asbury Hotel. Listen below via Soundcloud. The Bruce Brunch airs Sunday mornings on Now we'll get to find out what happened after the funeral.
Click here to watch Cummings' original single-scene short, and here to listen to our archived conversation with Cummings about his unique film.
Earlier this year, Cummings conducted a successful Kickstarter campaign to finance the filming of an expanded, feature-length version of his short. The feature version, shot in just over two weeks, opens with a newly filmed version of the original short's funeral scene and then moves on to what happens next in the lives of Officer Arnaud played, as in the short, by Cummings himself, his family and friends.
Cummings tells us that there are additional Springsteen-related moments to be found in the expanded feature, as well. All of these developments put Cummings in a very good, well-deserved place for negotiating a major distribution deal.
Therefore, it's just a matter of time before the feature-length version of Thunder Road will become available for viewing by many more interested fans. When that happens, of course we'll be very happy to help let everyone know. In the meantime, you also can visit Thunder Road 's Facebook and Instagram pages to keep updated. This one-of-a-kind artwork is a collaboration between photographer Lynn Goldsmith and street pop artist Mr.
Brainwash contacted me about wanting to do something with one of my photographs of Bruce," Goldsmith tells Backstreets, "that he wanted to make out of vinyl records. I let him create this piece from my photo, knowing that it would be used to raise money and awareness for a great cause — I know people who suffer greatly from these diseases. As the item description notes, Brainwash used Goldsmith's iconic portrait of Springsteen as a basis; "the photograph is printed high contrast and then covered entirely with broken vinyl records and mounted onto wood View it hereand learn more about the cause at connectingtocure.
What a night! Springsteen on Broadway was originally scheduled for an eight-week run from October to December ; this final extension of 81 additional shows starting July 10 will keep Bruce on the boards for well over a year.
According to today's press release, December 15 will be the production's "final New York City show. As stated on brucespringsteen.
Eligible fans will receive additional information on Monday, March 26 to prepare in advance. Director Thom Zimny's two-part film, running a total of 3 hours and 15 minutes, will make its television debut next month on HBO. Both Jon Landau, who's one of the film's producers, and Bruce Springsteen comment extensively on Presley's enduring legacy throughout the film. Along with tickets to his Max Weinberg's Jukebox show, up on the block is a private drum lesson and lunch with the Mighty One, plus signed sticks, a signed drumhead, and the chance to join his Jukebox band on stage.
The Mighty Max auction ends on March 25th at pm Eastern, see all details here. Jim's one clever, funny dude and this show has plenty of laughs for sure, but he's also a very talented musician who can be deadly serious when the music calls for it.
For evidence of the latter, check out his ukefied version of "Born in the U. All shows are long past sold out — but on Wednesday night, a packed house of contest winners largely SiriusXM subscribers was treated to a special performance of Broadway's most unlikely hit since… what was that hip-hop musical about the treasury secretary?
That one. A freak evening squall made for a theatrical backdrop, snow swirling sideways down 48th Street, looking like the work of a film crew. Early arrivals took shelter in the alley beside the theater, where E Street Radio's Jim Rotolo and Dave Marsh were hosting a pre-show broadcast, interviewing fans and some only-in-New-York celebrities.
Having caught an early performance last November, I was curious how Broadway had evolved, 94 shows in. The songs, of course, remain the same, with the setlist a constant since opening night — save for a few occasions when Patti Scialfa took ill and alternate songs were swapped in for the two duets.
If you were watching the clock, which nobody was, tonight's performance was actually two minutes shorter 2 hrs 13 mins than the one I saw last fall. He's streamlined a few sections, expanded and embellished others — and while the pacing of the second half still feels hasty, overall the transitions are smoother, the impressions more developed, the dramatic pauses more dramatically paused.
Springsteen has found his comfort zone without getting too comfortable, or foregoing that man-on-a-wire balancing act between scripted and spontaneous. Like a river that knows exactly where it's flowing, he moves through Broadway with confidence and purpose, all while nodding at something deeper roiling below the surface.
Before the audience even notices, the stream will suddenly change course, shifting from joy to melancholy, present to past, light to darkness in an instant. In November it was the darker themes that stood out: the intensity of the childhood stories, the poignant ruminations on aging and loss.
The sadness is still there — enough, apparently, to reduce Reese Witherspoon to a sobbing puddle of tears — but on second viewing you realize how laugh-out-loud hilarious the show is, right alongside the melancholy, often in the very next breath. Take it from Gervais: "Just came out of Springsteen on Broadway," he tweeted after the show.
What's really annoying is how funny he is too. That's not a side of Springsteen that's been front-and-center in his music, at least not since the Ford Administration.
Springsteen the Icon was always dead-serious. But Bruce the Performer was often downright hysterical, blessed with a comic actor's timing and a stand-up's surfeit of material. Think of the legendary raps of the '70s and '80s — shaggy-dog stories and goofy cosmic tales that came off ad-libbed but were in fact carefully honed. It takes work to sound that off-the-cuff. Goddamn it, I was still just a normal guy! To those lucky enough to hear them, those live raps were an essential part of Springsteen's charming regular-dudeness, a giggly, self-effacing side few casual listeners LP been aware of.
It didn't exactly carry through to the records, or to Bruce's mythic public persona. So it's refreshing to find him rediscovering his comic gifts of late, first with the Born to Run memoir, equal parts eloquent and uproarious, and now with Springsteen on Broadway, which aims even more squarely for laughs, but never unearned ones.
Having spent years trafficking in hardcore drama, who'd have guessed that Bruce would someday look back and it would all seem funny? The '70s Sweathog staccato has now dropped to a gravelly murmur, which makes for even stronger comedy. Tonight's finessed jokes landed better than they did in the fall. The great line about having "never worked five days a week until these shows" found an even bigger laugh with the gruff addendum "And I don't like it.
Because I live in the fucking boondocks. There's no one here. And there's nobody coming down here. His physical delivery, too, has been calibrated for the small stage. He recounted his "first show," performing in the backyard for a group of local kids, fake-strumming a newly acquired, still-mystifying guitar. I shook it! Most importantly, I posed with it! With its heart-on-the-sleeve, just-shy-of-sappy sentimentality, "The Wish" feels built for this setting and guaranteed to make anyone born to a mother well up.
By the second verse I was a Reese Witherspoon-size puddle on the carpet. One other change since last fall: Springsteen's acknowledgement of his mother's seven-year struggle with Alzheimer's, which he hadn't addressed directly in earlier shows. The word hit the audience like a gut punch, shading his otherwise bright recollections of Adele's joie de vivre.
And the sweet chorus of "The Wish" — with the line "I'm older, but you'll know me in a glance" — became all the more poignant. The duets with Patti Scialfa have been a highlight of the Broadway run, benefitting from pin-drop acoustics and superb sound design. Listening to their voices intertwine, I was catapulted back to30 years ago this winter, watching Bruce and Patti share a mic and a surprising amount of personal space on "Brilliant Disguise.
But that's the miracle of any Springsteen performance, in any setting: all the years seem to gather into a single night, compressed into that "everlasting NOW" that's sustained Bruce and so many of us for so long.
For the lifelong fan, Springsteen on Broadway packs in more history than Hamilton. Some commenters have expressed surprise at how "non-partisan" the show is, given Bruce's political outspokenness, but I'm not sure that's accurate.
The introduction to "Long Walk Home" may not spell it out, but naming names isn't necessary; the message is lost on no one. Tonight's intro was longer and decidedly angrier than it was last fall:. I've seen things over the past year on American streets that I thought were resigned to other, uglier times — things I never thought I'd ever see again in my lifetime.
Folks trying to normalize hate…. We've come too far and worked too hard, and too many people have paid too high a price for us to allow that to happen…. We're going through a terrible chapter in the battle for the soul of our nation. So… good luck. Did Bruce know that Gary Cohn, Trump's recently departed economic advisor, was in the audience? No word on whether Cohn enjoyed the show. Other moments took on unexpected nuances.
The show's dreamlike final section finds Bruce outside his boyhood church in Freehold, where "the words of a very strange but all too familiar benediction" suddenly come rushing back. Rose's unwilling disciples…. But these were the words that came back to me. And they flowed differently.
He's referring, of course, to the Lord's Prayer, which he recites before the show-closing "Born to Run. For 45 years Bruce Springsteen has not only avoided phoning in the hits, but has appeared physically incapable of doing so.
For all sorts of reasons some laid bare in this showthe man can't do anything halfway. So a fan returning to Broadway, five months into the run, could legitimately wonder if the star might feel hemmed in by repetition, caught in his own scripted trap.
Can a performer known for spontaneity pull off his trickiest magic yet — making a static setpiece appear genuinely alive out there? Would he tire of playing the same gig, night after night after night? Tonight's answer: Apparently not. Sure, some moments felt rushed, and at others the narrator seemed distracted or impatient. But the setting clearly suits him, and after so many shows he's developed an easier give-and-take with the theater audience, playing off our silences, our laughter, our pent-up urge to leap from our seats and sing along.
So does it matter that the second act basically turns into a concert? Should it bother us if "Dancing in the Dark" doesn't really fit the storyline? Perhaps you were hoping for more about fame, fatherhood, New York City, the '90s, or a few more songs from this century? Hey, we all were. But this is his story, not ours, even if we each have our own too long Bruce Springsteen tale to tell.
That's the singular achievement of Springsteen on Broadway. And though we may never stand outside St. Rose of Lima Church in Freehold, New Jersey, we know exactly how it looks and feels to that eight-year-old kid with his toy soldiers and horses, and to that year-old homesick troubadour, searching the sky for his beloved copper beech tree, and for the boy he left in its branches. A perfect show? Not quite. The best a fan could hope for? But Springsteen on Broadway really is that good, and five months in, it's only getting better.
Both recordings appear on Greatest Other People's Hits. Because the Audies are coming up in May, and Springsteen's 18 hours of reading for the Born to Run audiobook could well get him the "A. Visit theaudies. It showcases an artist who thinks carefully about his work and discusses it with a critic's attention to detail. The original black-vinyl Greatest Hits 2LP is long out of print; the new release's classifcation as an "RSD First" suggests the remastered set will be more widely available a couple months later, likely back to black.
While recordstoreday. Tour, as captured in the Blood Brothers documentary. For all those waiting for Volume 2 of the Album Collection vinyl remasterings, we wouldn't be surprised if this release is a shot across the bow. We asked him for his memories of that hot August night in ' The call came from Jon Landau and Bruce's management. He's spot on, too! I also remember the tremendous applause, love, and respect for Steve Van Zandt as he came onto the stage that night, how special the vocal duet on "Drift Away" between Steve and Bruce sounded.
Impeccable performance, and I think we did pretty good too! There's no time to be looking around. But the applause that night for Steve was reminiscent of another show I performed with Springsteen at Brendan Byrne Arena, and that was the night the "Big Man" Clarence Clemons appeared on stage, June 24, Sincewhenever Bruce wanted horns he has always called me — I take it seriously and know the music.
I think I did six shows with Bruce and the band there — it may have been called the Carlton Theater at the time. When I am on that stage with the E Street Band, we are all in the same band backing Bruce Springsteen and play together as one. Both times were magical for me. Tickets are on sale now at littlesteven. Eric Deggans writes:. Ultimately, each of these editions is a serious love letter to fans, filled with enough insider knowledge and details about pivotal events to entice the devoted.
But they also provide a look at how Prince and Bruce Springsteen developed the visual styles that became integral parts of their careers — showing times when the biggest superstars in pop music needed little more than a talented collaborator with a sense of adventure and a camera to turn their innate charisma and image-consciousness into iconic photos.
While the boxed Deluxe Edition is sold out, the slipcased Collector Edition can still be obtained through Backstreet Records. One might point to the New Years' Eve show at Nassau Coliseum, an early arrival in the series, or Helsinkinow considered his longest show ever. Today's release, Brendan Byrne Arena, NJ August 20,is the last of ten nights at the Meadowlands that summer and ranks as one of those special performances.
It joins the first night of the residency, August 5 released inand reprises many of those numbers from the Born in the U. But the unquestionable star — heard officially for the first time — is "Drift Away," a cover of the song Dobie Gray made famous in Sung as a duet with Little Steven, who guested with the Miami Horns, its professional recording has long been a holy grail.
Trust me: 'Glory Days' and 'Bobby Jean' were huge. It was like he had conquered New Jersey and now owned it. He just looked different at the end of that show: the smile was wider, the laughs were louder, and he just seemed so proud. Sort of like the look of a quarterback who just won the Super Bowl.
I had never noticed that before, and I had seen him do some spectacular shows at the Palladium, the Garden, the Spectrum and the Capitol Theater.
And I'm still not sure I've explained it. I consider 'Drift Away' from that show as one of the top moments I've ever experienced at any show by anybody. We are happy to include it here, appearing in English for the first time. When Bruce Springsteen first started performing in larger venues like sports arenas, his home state didn't have one.
A TAV Curator's Pick. The Anthology is A Tribe Called Quest's greatest hits compilation spanning their entire career. The compilation contains songs from all of their currently existing full-length catalogue, including People's Instinctive Travels and the Paths of Rhythm, The Low End Theory, Midnight Marauders, Beats, Rhymes and Life and The Love Movement. A pair of Chi-Sound label releases from The Impressions – back to back on a single CD! Come To My Party is a sweet late 70s gem from The Impressions – an album of smooth grooves and soulful steppers – and one that really shows the group flourishing in a new style at the time! Some of the group's Chicago contemporaries tried to move forward at the time, but few did things . Apr 01, · Full vinyl 12" absolute classic. How are those 'Give Me The Knife' spam comments working out for you? Album Give Me the Night; Oliver Cheatham, Get Down Saturday Night (Funk
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The so-called “White Album” was innovative; the first LP cover to come out with no picture! It was creativity to the nth degree, man! Without it, AC/DC’s “Back In Black”, for example. The Night I Fell in Love, recorded in , was Luther Vandross's fourth album. But this New Yorker with the polished tenor had been in the music business since the early Seventies.
A third album, Ambition, arrived in , before Shaw turned his attention to a new project with his touring drummer Michael Cartellone, Night Ranger's Jack Blades, and Ted Nugent. Don't Tread Called Damn Yankees, this new group released a self-titled album in that went double platinum on the strength of the hit "High Enough," a power Seller Rating: % positive.
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