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Daddy I Don't Want To Get Married
Micky Green
Pop - Released January 1, 2013 | Universal Music Division Label Panthéon
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Zappa In New York
Frank Zappa
Rock - Released October 29, 1977 | Frank Zappa Catalog
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Booklet
Zappa in New York was recorded in December 1976 at the Palladium and originally intended for release in 1977. It was held up due to arguments between Frank Zappa and his then-record label, Warner Bros. When the two-LP set finally appeared in March 1978, Warner had deleted "Punky's Whips," a song about drummer Terry Bozzio's attraction to Punky Meadows of Angel. The Zappa band, which includes bassist Patrick O'Hearn, percussionist Ruth Underwood, and keyboard player Eddie Jobson, along with a horn section including the two Brecker brothers, was one of the bandleader's most accomplished, which it had to be to play songs like "Black Page," even in the "easy" version presented here. Zappa also was at the height of his comic stagecraft, notably on songs like "Titties & Beer," which is essentially a comedy routine between Zappa and Bozzio, and "The Illinois Enema Bandit," which features TV announcer Don Pardo.© William Ruhlmann /TiVo
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Lady In Satin: The Centennial Edition
Billie Holiday
Vocal Jazz - Released April 3, 2015 | Columbia
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Amplified Heart
Everything But The Girl
Pop - Released June 13, 1994 | Chrysalis Records
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The Neverending Show: Live in the Netherlands
Alan Parsons
Rock - Released November 5, 2021 | Frontiers Records s.r.l.
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Evergreen
Echo And The Bunnymen
Alternative & Indie - Released July 1, 1997 | London Music Stream
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After years of departures, solo albums, strange alliances, and rapprochement, Echo & the Bunnymen returned with Ian McCulloch at the helm for 1997's Evergreen. It's clear from the first song that the re-formed band is back in all its mysterious, uplifting, and graceful glory. "Don't Let It Bring You Down" features the best elements of the group -- Will Sergeant's soaring, biting guitar work, McCulloch's majestic vocals and yearning lyrics, Les Pattinson's rock-solid bass -- and applies them to a deeply felt midtempo ballad that's as heart-tugging as it is melodic. It's a fine start, and the rest of the album follows suit. The sound of the record bypasses the cold exteriors and machine-bolstered slickness of Echo & the Bunnymen in favor of a more organic approach that puts Sergeant back out front and adds orchestral textures to many of the songs. It's a more mainstream, less operatic take on Ocean Rain that finds room for uptempo rockers -- "I Want to Be There (When You Come)," "Baseball Bill" -- and melodramatic ballads -- "I'll Fly Tonight," Just a Touch Away" -- while sounding like nothing less than a great rock & roll band on the title track and "Altamont." Like most of the rock and pop world in the mid- to late '90s, Echo had their "Wonderwall" moments; both "Nothing Lasts Forever" and "Forgiven" are plaintive, classically structured big ballads that aim for the rafters and achieve their goal magnificently. The twist the band delivers is that it isn't uplifting and laddy, it's painfully sad and deeply felt. There is a gravity and power to these songs that Oasis can't measure up to, and the rest of the album has enough of each of those two elements to knock any Brit-pop contenders to Echo's throne sideways. Evergreen is a strong, sometimes stunning, comeback for the band, one that stays true to the sounds that made them so spectacular while also adding contemporary elements in a totally organic manner.© Tim Sendra /TiVo
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69 Love Songs
The Magnetic Fields
Rock - Released September 7, 1999 | Merge Records
Distinctions
The Qobuz Ideal Discography
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She Wants Revenge
She Wants Revenge
Rock - Released January 1, 2005 | Flawless Records
Los Angeles Joy Division-obsessed duo She Wants Revenge blend electronic beats with goth pop misery on their self-titled Geffen debut. DJs Justin Warfield and Adam "Adam 12" Bravin may have crafted the post-punk equivalent of XTC alter-egos Dukes of Stratosphear's psychedelic rock tribute Chips from the Chocolate Fireball, but there is suspicion as to whether or not it was intentional. Like fellow reanimators Interpol, the Bravery, or even the mysterious Lansing-Dreiden, She Wants Revenge love early Depeche Mode, Bauhaus, and pre-Land of Rape and Honey Ministry, but what makes their impeccably crafted, highly listenable/danceable collection of angst so dubious is its utter duplicity. There's nothing wrong with honoring your influences by copping a few moves and singing in a fake British accent like Green Day with the intentions of updating a genre that many potential listeners are too young to have experienced first-hand, but it's another thing to do it without even the slightest deviation.© James Christopher Monger /TiVo
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On Tour With Eric Clapton
Delaney & Bonnie
Rock - Released June 1, 1970 | EastWest
This 42-minute, eight-song live album, cut at Croydon late in 1969, is not only the peak of Delaney & Bonnie's output, but also the nexus in the recording and performing careers of Eric Clapton and George Harrison. On Tour features Clapton performing the same blend of country, blues, and gospel that would characterize his own early solo ventures in 1970. He rises to the occasion with dazzling displays of virtuosity throughout, highlighted by a dizzying solo on "I Don't Want to Discuss It," a long, languid part on "Only You Know and I Know," and searing, soulful lead on the beautifully harmonized "Coming Home." Vocally, Delaney & Bonnie were never better than they come off on this live set, and the 11-piece band sounds tighter musically than a lot of quartets that were working at the time, whether they're playing extended blues or ripping through a medley of Little Richard songs. It's no accident that the band featured here would become Clapton's own studio outfit for his debut solo LP, or that the core of this group -- Bobby Whitlock, Carl Radle, and Jim Gordon -- would transform itself into Derek & the Dominoes as well; or that most of the full band here would also serve as the group that played with George Harrison on All Things Must Pass and at The Concert for Bangladesh, except that the playing here (not to mention the recording) is better. Half the musicians on this record achieved near-superstar status less than a year later, and although the reasons behind their fame didn't last, listening to their work decades later, it all seems justified.© Bruce Eder /TiVo
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Damn Right I Am Somebody
Fred Wesley And The J.B.'s
R&B - Released January 1, 1974 | Universal Records
Damn Right I Am Somebody captures the J.B.'s at the apex of their extraordinary powers. This James Brown-produced set is both their most fiercely polemical and their most musically daring, incorporating otherworldly electronic elements, eccentric time and rhythm shifts, and idiosyncratic studio effects to brilliantly articulate the increasing turmoil and insanity of the times. It's quite possibly the most challenging record ever released under the Brown aegis, favoring open-ended grooves and epic solos rooted in avant-jazz. The rhythms remain surgically precise and hypnotically intense, however, and every cut here, from the funk juggernaut "I'm Payin' Taxes, What Am I Buyin'?" to the righteously mellow "Same Beat," is a marvel. This is funk at its heaviest -- musically, yes, but intellectually as well.© Jason Ankeny /TiVo
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Protest Songs 1924 – 2012
The Specials
Ska & Rocksteady - Released August 27, 2021 | Universal-Island Records Ltd.
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In the middle of the punk tsunami, late-70s England was experiencing a healthy ska revival led by in part Madness and above all by the Specials. This multiracial gang from Coventry, led by Jerry Dammers, brought the syncopated rhythms of Jamaican rocksteady and its offshoot, ska, back to life. Pork pie hats, fitted black suits, checkered patterns: in the grey depths of Thatcherism, you needed the right outfit, the better to appreciate singles like A Message to You Rudy (a cover of the Dandy Livingstone number), Too Much Too Young and Gangster, and their two albums, Specials (1979) and More Specials (1980). Under the name Special Aka, they released the equally essential In the Studio With in 1984, which was topped off by the hit single (Free) Nelson Mandela... In 2019, the Specials got back together. Some were a little sceptical, as Dammers, who wrote their greatest hits, and Neville Staple were missing from the new line-up. But Terry Hall, Lynval Golding and Horace Panter all pulled it off in the end, with a ska sound that flirted with soul and even vintage disco on the album Yet. And above all, these new Specials for the new millennium are still making commentary on their social and political environment, just like in the old days. And there is plenty of both the political and the social in their well-named Protest Songs 1924–2012, a fine collection of covers ranging from blues to rock, folk, soul and reggae. These are political songs, mostly from the States, by the likes of Leonard Cohen, Talking Heads, the Staple Singers, Big Bill Broonzy, Bob Marley, Chip Taylor, Malvina Reynolds and even Frank Zappa. The trio opts here for an essentially acoustic sound, leaning on a folk'n'soul tradition that highlights lyrics and vocals. And while a touch more madness might have given the whole thing a bit more musical punch, these protest songs nevertheless retain all their historical force. © Marc Zisman/Qobuz
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The Gap Band II
The Gap Band
R&B - Released January 1, 1979 | Island Mercury
The Gap Band II has often been described as the Wilson Brothers' second album, but truth be told, it was their fourth. However, the vast majority of fans that they acquired with 1979's The Gap Band never heard the little-known albums they had recorded in 1974 and 1975. So even though that 1979 breakthrough wasn't really their debut album, it was the first Gap Band album that enjoyed a great deal of attention -- arguably, that self-titled album was to the Wilson Brothers what Meet the Beatles was to John Lennon, Paul McCartney, George Harrison, and Ringo Starr. And with the gold The Gap Band II, they continued to forge ahead commercially and creatively. Produced by Lonnie Simmons, this excellent album boasts five-star funk gems like "Party Lights," "Steppin' (Out)," "Who Do You Call," and the Parliament-minded hit "I Don't Believe You Want to Get Up and Dance (Oops)." George Clinton and the Ohio Players are both strong influences on the funk tracks, while Earth, Wind & Fire's influence asserts itself on the smooth quiet storm slow jam "No Hiding Place." But the Gap Band never sounds like it is going out of its way to emulate any of its influences; in fact, the Wilson Brothers are recognizable and distinctive regardless of who is influencing a particular song. Even when they make a surprising, totally unexpected detour into pop/rock/soft rock on "The Boys Are Back in Town," they're recognizable as the Gap Band. Not to be confused with the Thin Lizzy smash, this congenial tune wouldn't have been out of place on a Billy Joel, Elton John, or Chicago album. But R&B, not pop/rock, was the Gap Band's forte, and Gap Band II is a funk/soul album first and foremost. It is also among the Wilson Brothers' most essential releases.© Alex Henderson /TiVo
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Talkin' Blues
Bob Marley & The Wailers
World - Released February 4, 1991 | Island Records (The Island Def Jam Music Group / Universal Music)
Originally released in February 1991, this album combines material from several different sources to trace the development of Bob Marley & the Wailers between October 1973 and September 1975. The bulk of the disc comes from a 1973 radio concert performed before a handful of listeners at the Record Plant recording studio in San Francisco and broadcast by KSAN-FM. The outfit who played them was technically still the Wailers, since Peter Tosh was still with them (and sang lead on his own compositions, "You Can't Blame the Youth" and "Stop That Train"), although Bunny Livingston had declined to tour and been replaced by Joe Higgs. By 1974, when the group assembled to record their next album, Natty Dread, Tosh and Livingston had quit, and the band was reorganized as Bob Marley & the Wailers. In July 1975, the band played two shows at the Lyceum in London that would break them in the U.K., when recordings from the performances were issued as the album Live!. Finally, the musical tracks are interspersed with excerpts from an interview with Marley conducted in September 1975. While these spoken fragments provide a flavor of Marley's conversation, his heavy patois is very difficult for non-Jamaicans to understand. Still, these are valuable odds and ends for the Bob Marley fan.© William Ruhlmann /TiVo
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Don't Come Home A Drinkin' (With Lovin' On Your Mind)
Loretta Lynn
Country - Released February 6, 1967 | MCA Nashville
Distinctions
The Qobuz Ideal Discography
The title track was one of those defining songs for Loretta Lynn, not only one of the best but one of the most likeable country & western artists. She bats one home run after another in these vocals, singing her brains out and coming across as totally convincing in each role she takes on. The cynical "I Got Caught" is one of her finer originals, while she also has the knack of picking covers that suit her perfectly, such as "The Shoe Goes on the Other Foot Tonight" by the underrated Buddy Mize. No country fan will mind that she covers a number by her old sidekick, Ernest Tubb. Then there's the pickers who came along for the ride, totally tearing it up. The series of lead guitar/pedal steel interchanges that run through this album are certainly more attractive than the Nashville freeway system, and definitely contributed more to 20th century civilization. Lynn would later record the song "You're Lookin' at Country," and that pretty much sums up the view of this mighty lady. This here is stone-cold country, and it doesn't get much better.© Eugene Chadbourne /TiVo
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Joe Jackson Live 1980 - 1986
Joe Jackson
Rock - Released January 1, 1988 | A&M
A double-disc live collection, Live...1980-1986 manages to effectively trace the development of Joe Jackson's diverse career. Drawing from four different periods in the songwriter's career -- with each period featuring a new backing band -- Live captures Jackson with his original new wave trio, a 1983 quintet that was dominated by keyboards, a horn-driven group from 1984, and a 1986 quartet that specialized in straight-ahead rock & roll. The resulting album highlights his musical diversity, not his songwriting, which means the record is more intriguing as a historical document than as casual listening© Stephen Thomas Erlewine /TiVo
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One Note Symphony: Live in Tel Aviv
Alan Parsons
Rock - Released February 11, 2022 | Frontiers Records s.r.l.
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Zappa In New York
Frank Zappa
Rock - Released March 3, 1978 | Frank Zappa Catalog
Booklet
Zappa in New York was recorded in December 1976 at the Palladium and originally intended for release in 1977. It was held up due to arguments between Frank Zappa and his then-record label, Warner Bros. When the two-LP set finally appeared in March 1978, Warner had deleted "Punky's Whips," a song about drummer Terry Bozzio's attraction to Punky Meadows of Angel. The Zappa band, which includes bassist Patrick O'Hearn, percussionist Ruth Underwood, and keyboard player Eddie Jobson, along with a horn section including the two Brecker brothers, was one of the bandleader's most accomplished, which it had to be to play songs like "Black Page," even in the "easy" version presented here. Zappa also was at the height of his comic stagecraft, notably on songs like "Titties & Beer," which is essentially a comedy routine between Zappa and Bozzio, and "The Illinois Enema Bandit," which features TV announcer Don Pardo.© William Ruhlmann /TiVo
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Live At Montreux 2006
Solomon Burke
R&B - Released July 9, 2013 | Eagle Rock - Eagle Records
Suppose you have a more precise idea of what you want. If you are searching for the album "Bad" by Michael Jackson, type michael jackson bad. The album in question will be displayed at the top, as it is the most relevant.
By default, search results are sorted in order of relevance. The drop-down menu to the right of "Sort by" allows you to display the results in the desired order.