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Mercy, Mercy, Mercy! - Live at 'The Club'

Cannonball Adderley

Jazz - Released January 1, 1966 | Capitol Records

Cannonball Adderley's most popular album, Mercy, Mercy, Mercy wasn't actually recorded "Live at 'The Club'," as its subtitle says. The hoax was meant to publicize a friend's nightclub venture in Chicago, but Adderley actually recorded the album in Los Angeles, where producer David Axelrod set up a club in the Capitol studios and furnished free drinks to an invitation-only audience. Naturally, the crowd is in an extremely good mood, and Adderley's quintet, feeding off the energy in the room, gives them something to shout about. By this point, Adderley had perfected a unique blend of earthy soul-jazz and modern, subtly advanced post-bop; very rarely did some of these harmonies and rhythms pop up in jazz so saturated with blues and gospel feeling. Those latter influences are the main inspiration for acoustic/electric pianist Joe Zawinul's legendary title cut, a genuine Top 40 pop hit that bears a passing resemblance to the Southern soul instrumentals of the mid-'60s, but works a looser, more laid-back groove (without much improvisation). The deep, moaning quality and spacy texture of "Mercy, Mercy, Mercy" stand in contrast to the remainder of the record, though; Nat Adderley contributes two upbeat and challenging originals in "Fun" and "Games," while Zawinul's second piece, "Hippodelphia," is on the same level of sophistication. The leader's two selections -- the gospel-inflected "Sticks" and the hard-swinging, bluesy bop of "Sack O' Woe" (the latter of which became a staple of his repertoire) -- are terrific as well, letting the group really dig into its roots. Adderley's irrepressible exuberance was a major part of his popularity, and no document captures that quality as well -- or with such tremendous musical rewards -- as Mercy, Mercy, Mercy. © Steve Huey /TiVo
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Pageant Material

Kacey Musgraves

Country - Released June 23, 2015 | Mercury Nashville

If Kacey Musgraves didn't possess a sense of irony, there'd be a sense of triumph to Pageant Material, the title of her second album. Her first, 2013's Same Trailer Different Park, caused a sensation in certain quarters, racking up accolades that outweighed its sales -- a situation reflecting country radio's systematic resistance to female artists more than the music itself. Despite this conspicuous lack of hits, Pageant Material doesn't make concessions to commercial radio. It is of a piece with Same Trailer Different Park, partially because a chunk of it was written around the same time, partially because Musgraves decides to move forward by harnessing the subtlety of "Merry Go 'Round" and "Follow Your Arrow," using their understated folk as a touchstone for her sophomore set. Despite the briskness of the near-novelty "Biscuits" -- its chorus call of "Mind your own biscuits and life will be gravy" revealing a taste for country corn somewhat at odds with a progressive reputation based on the all-inclusive "Follow Your Arrow," not to mention her fondness for weed (a predilection that resurfaces elsewhere here) -- Pageant Material favors softness, sometimes nearly swooning in its slowness, especially on the gorgeous keynote "High Time" and the closer "Fine," both so deliberate and hazy they evoke memories of lazy high-school dances. This lush sound is old-fashioned but, despite her stated rebellion and taste for weed, much of Musgraves' sensibility is fairly traditional. She and her collaborators -- usually co-producers Shane McAnally and Luke Laird, but Brandy Clark, Josh Osborne, and Natalie Hemby also bear credits -- concentrate on sculpting songs, tunes so subtle they benefit from the pretty, shaded production. Not all of Pageant Material sustains this delicately textured blend of song and sounds -- apart from "Biscuits," she stumbles when she gets lighter, particularly on "Family Is Family," where it seems like she can't wait to be rid of those leeches -- but it's hardly enough to prevent the album from being a rich, enchanting collection of stories, confessions, and the occasional joke.© Stephen Thomas Erlewine /TiVo
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Commercial Brake

Louis Lin

New Age - Released February 27, 2023 | Louis Lin

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Pageant Material

Kacey Musgraves

Country - Released June 23, 2015 | Mercury Nashville

If Kacey Musgraves didn't possess a sense of irony, there'd be a sense of triumph to Pageant Material, the title of her second album. Her first, 2013's Same Trailer Different Park, caused a sensation in certain quarters, racking up accolades that outweighed its sales -- a situation reflecting country radio's systematic resistance to female artists more than the music itself. Despite this conspicuous lack of hits, Pageant Material doesn't make concessions to commercial radio. It is of a piece with Same Trailer Different Park, partially because a chunk of it was written around the same time, partially because Musgraves decides to move forward by harnessing the subtlety of "Merry Go 'Round" and "Follow Your Arrow," using their understated folk as a touchstone for her sophomore set. Despite the briskness of the near-novelty "Biscuits" -- its chorus call of "Mind your own biscuits and life will be gravy" revealing a taste for country corn somewhat at odds with a progressive reputation based on the all-inclusive "Follow Your Arrow," not to mention her fondness for weed (a predilection that resurfaces elsewhere here) -- Pageant Material favors softness, sometimes nearly swooning in its slowness, especially on the gorgeous keynote "High Time" and the closer "Fine," both so deliberate and hazy they evoke memories of lazy high-school dances. This lush sound is old-fashioned but, despite her stated rebellion and taste for weed, much of Musgraves' sensibility is fairly traditional. She and her collaborators -- usually co-producers Shane McAnally and Luke Laird, but Brandy Clark, Josh Osborne, and Natalie Hemby also bear credits -- concentrate on sculpting songs, tunes so subtle they benefit from the pretty, shaded production. Not all of Pageant Material sustains this delicately textured blend of song and sounds -- apart from "Biscuits," she stumbles when she gets lighter, particularly on "Family Is Family," where it seems like she can't wait to be rid of those leeches -- but it's hardly enough to prevent the album from being a rich, enchanting collection of stories, confessions, and the occasional joke.© Stephen Thomas Erlewine /TiVo
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V Live

Vitalic

Electronic - Released September 24, 2007 | Different Recordings

French DJ and electronic artist Pascal Arbez, better known as Vitalic, has become one of Europe's leading artists in electronic dance music, and though he's earned popular and critical acclaim for his studio albums, he's also famed for his live DJ sets, in which he reveals his ability to move a crowd. V Live is a live recording preserving a set Vitalic spun at an event in Belgium in the fall of 2006; capturing the music as well as the excitement of the crowd, V Live includes the tracks "Bambalec," "Follow the Car," "My Friend Dario," "The 30,000 Feet Club," and many more.© Mark Deming /TiVo
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Killer (Quarantine Version)

Decadent Fun Club

Alternative & Indie - Released April 12, 2022 | Decadent Fun Club

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In the Club

DJ Project

Electronic - Released January 1, 2009 | 2009 Cat Music

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Fooled by the Fun

Katie Moore

Folk/Americana - Released August 28, 2015 | Club Roll Records

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Just Dance 2009 - Top 40 Club House & Electro Tracks

Various Artists

Dance - Released March 23, 2009 | Euro-Dancer.com

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Turn To

Coral Club

Experimental - Released January 28, 2022 | Not Not Fun

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