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In A Box III: Acoustic Recordings
Asaf Avidan
Pop - Released November 24, 2023 | Telmavar Records
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Winelight
Grover Washington Jr.
Jazz - Released March 26, 2002 | Rhino - Elektra
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Grover Washington, Jr., has long been one of the leaders in what could be called rhythm & jazz, essentially R&B-influenced jazz. Winelight is one of his finest albums, and not primarily because of the Bill Withers hit "Just the Two of Us." It is the five instrumentals that find Washington (on soprano, alto, and tenor) really stretching out. If he had been only interested in sales, Washington's solos could have been half as long and he would have stuck closely to the melody. Instead he really pushes himself on some of these selections, particularly the title cut. A memorable set of high-quality and danceable soul-jazz.© Scott Yanow /TiVo
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Songs Of Love And Hate
Leonard Cohen
Rock - Released March 1, 1971 | Columbia
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Distinctions
The Qobuz Ideal Discography
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The Name of This Band Is Talking Heads
Talking Heads
Punk / New Wave - Released April 1, 1982 | Rhino - Warner Records
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Atlantic Crossing
Rod Stewart
Pop - Released November 17, 2008 | Rhino - Warner Records
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More Hits By The Supremes
The Supremes
Soul - Released July 1, 1965 | Motown
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Its title might lead one to think this was a compilation, but it wasn't -- rather, More Hits by the Supremes is merely a valid presumption of its worth. It was also the original group's third highest charting album of their five years on Motown, and came not a moment too soon. The Supremes were doing incredibly well as a singles act, but not since Where Did Our Love Go had any of their LPs done particularly well on the pop charts; even a well-intentioned Sam Cooke-tribute album recorded early in 1965, which ought to have done better, had only reached number 75 (though it had gotten to number five on the R&B LP charts). "Stop! In the Name of Love" and "Back in My Arms Again" helped drive the sales, but those singles had been out six and three months earlier at the time this album surfaced -- listeners were delighted to find those singles surrounded by their ethereal rendition of the ballad "Whisper You Love Me Boy" with its exquisitely harmonized middle chorus; the gently soulful, sing-song-y "The Only Time I'm Happy"; and the sweetly dramatic "He Holds His Own" (with a gorgeous and very prominent piano accompaniment). The material dated across six months of work, from late 1964 through the spring of 1965 (apart from "Ask Any Girl," the B-side of "Baby Love," which was cut in the spring of 1964), and showed that Motown could put a Supremes album together piecemeal around the Holland-Dozier-Holland songwriting team and place the trio right up at the top reaches of the charts, in the company of the Beatles, the Rolling Stones, et al. Its release also opened a floodgate of killer albums by the trio -- overlooking their 1965 LP of Christmas songs, they were destined to issue three more long-players that delighted audiences a dozen songs at a time over the next two years, which was a lot of good work.© Bruce Eder /TiVo
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Gravy
BJ The Chicago Kid
R&B - Released October 26, 2023 | RTW Records - RCA Records
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The #1's
The Supremes
Soul - Released January 1, 2003 | UTV - Motown
Surprisingly, very few artists can float a digital-age collection of number one singles without resorting to trickery involving foreign countries or obscure charts. The Beatles had little trouble (The Beatles 1) and Elvis Presley managed both a disc of number ones (Elvis: 30 #1 Hits) and one of number twos (2nd to None), but Michael Jackson bent the rules so far that calling his disc Number Ones is tantamount to consumer fraud. Additionally, a collection of number one singles may not be the best representation of an artist's career; the Elvis volume included nothing from his Sun years, and the Beatles' set skipped "Strawberry Fields Forever." The #1's, Motown's collection of chart-toppers by Diana Ross & the Supremes, fares much better. It benefits from two Supremes characteristics: as a pop group through and through, their biggest hits were often their best songs, and, with the help of the solo Diana Ross, they spent a long time on the charts (nearly 20 years separates the Supremes' debut at the top from Ross' last number one single). While Motown's separate volumes on Diana Ross and the Supremes (in the Ultimate Collection series) remain the best source for a single-disc picture of either act, The #1's works remarkably well. It includes 19 number one pop singles (13 from the group, six from the solo Ross), plus various number ones on the R&B and dance charts, and there aren't any glaring omissions. Granted, fans of early Motown can't live without the girl-group chestnuts "Buttered Popcorn" and "Your Heart Belongs to Me," while those who enjoy latter-day Ross won't find "One More Chance" or "Why Do Fools Fall in Love?" -- but of course, this collection wasn't created with them in mind. For the group who recorded more hit singles during the '60s than any other act except the Beatles, and for one of the reigning solo artists of the '70s, The #1's is a worthy tribute.© John Bush /TiVo
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Howlin Mercy
John Campbell
Blues - Released January 1, 1993 | Rhino - Elektra
Slide guitarist and songwriter John Campbell was a man driven. Before his untimely death, he had pulled out all the stops to play a music that was full of mystery, pathos, dark energy, and plenty of rock & roll strut 'n' growl; it could be frightening in its intensity. Howlin' Mercy was the last of two recordings for Elektra, and is by far the heavier of the two. As displayed by its opening track, "Ain't Afraid of Midnight," Campbell was a considerable slide guitarist who owed his skill to the bluesmen like Lightnin' Hopkins (from his home state of Texas), Fred McDowell, and a few others. His solos are wrangling, loose, and shambolic; they are undeniably dark and heavy. They cut with elegance across the rhythms and melodies in his songs. This is followed by a version of "When the Levee Breaks" that is a direct counter to and traditional reclamation of the Led Zep version and places it back firmly in the blues canon. As evidenced by "Saddle Up My Pony," Campbell was equally skilled at transmuting the Delta blues and framing them in a very modern context without taking anything away from their chilling, spare power and poetry. And in the modern rock and blues idiom, he was a master, as evidenced by the stomp and roll of "Firin' Line"; "Written in Stone"; and the epic, swamp blues cum overdriven scorcher "Wolf Among the Lambs." This final moment is perhaps Campbell's greatest on record in that it embodies all of his strengths and reveals none of them to be contradictions. Campbell was living and playing in New York at the end of his life, and that city's conflicting energies are reflected in his playing and writing. They needed each other, it seems, and if ever there were a Delta blues record that visited the Texas roadhouse and settled on the streetcorners of NYC, this is it. Awesome.© Thom Jurek /TiVo
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Paris In The Rain
Sarah McKenzie
Jazz - Released December 8, 2016 | Universal Music Division Decca Records France
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The Complete Warner Bros Collection 1971 - 1977
America
Rock - Released December 17, 2013 | Rhino - Warner Records
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The OMD Singles
Orchestral Manoeuvres in the Dark (OMD)
Rock - Released September 8, 1998 | Virgin Catalogue
Looking back on 20 years of creative growth since the electro-pop band's inception, The OMD Singles is logically and chronologically arranged. The earliest recordings, 1980's "Electricity" and "Messages," prove electric messages were being channeled from such German pioneers as Kraftwerk and Neu! These English boys were enamored of melody, though, and it was not long before such dulcet, song-like structure became self-evident, as in 1984's "Tesla Girls." From then on, it is a steady climb in coherence, with synth rhythms downplayed in order to bring the melodic theme to the front. The pinnacle of this progression is OMD's memorable "So in Love" (1985) and "If You Leave" (from 1986's Pretty in Pink). The album closes with their last hit, 1996's glam-influenced autobiography "Walking on the Milky Way." The last original member, Andy McCluskey, has blessed this greatest-hits package as the final swan song for the long-lived group. Originating in post-punk synth experimentation and closing in dated, but still strong, pop productions, The OMD Singles is an excellent time line of the band whose sound covered in a single career that same territory explored by the Human League, Erasure, Yaz, New Order, and beyond.© Tom Schulte /TiVo
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Mummer
XTC
Rock - Released August 1, 1983 | Virgin Records
Mummer, the first album to follow Andy Partridge's mental breakdown, which led to XTC's retirement from touring, is very much the work of an eccentric in isolation. The album is a collection that builds on the groundwork of English Settlement with gentle, acoustic songs that evoke pastoral images and peaceful times. There are moments of real inspiration, resulting in some of the band's finest songs to date -- "Love on a Farmboy's Wages," "Great Fire," and "Lady Bird" -- and the sound sets a pleasingly consistent mood, although the sameness tends to work against the lesser material. Only the out-of-place afterthought of "Funk Pop a Roll," a tirade against the music industry, breaks things up, recapturing the abrasive Partridge of past. [When Mummer was reissued on CD, six tracks were added to the middle of the album. While "Jump," "Toys," "Gold," and "Desert Island" are welcome additions of pop confection, the atmospheric instrumentals "Frost Circus" and "Procession Towards Learning Land," from the simply bizarre Homo Safari Series, serve to disrupt the album's flow.]© Chris Woodstra /TiVo
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Cross Road
Bon Jovi
Pop - Released October 11, 1994 | Bon Jovi Profit Split (Catalog)
While Bon Jovi managed to stick a couple of killer album tracks onto all of their records, their main strength had always been writing singles. Released in 1994, Cross Road collects all of their biggest hits, adding a couple of new songs (including the international smash "Always," which helped the album go platinum in multiple countries) and Jon Bon Jovi's solo hit, "Blaze of Glory," for good measure. Even the band's detractors may not be able to resist the constant flow of big guitars, bigger hooks, and sweet melodies that pour out on Cross Road. After all, this is what state-of-the-art mainstream hard rock was all about in the late '80s.© Stephen Thomas Erlewine /TiVo
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In the Name of Love
Martin Garrix
House - Released July 29, 2016 | Epic Amsterdam
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Diabolus In Musica
Slayer
Metal - Released June 9, 1998 | American Recordings Catalog P&D
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By 1998, it seems that Slayer has fully explored the possible variations on their signature style; they've had all the influence and impact they're going to, which means that in order to keep their fans' reverence and critics' respect, it's much more advisable for new Slayer material to offer competent retrenchments rather than experimentation with current trends. And they do indeed follow the former approach on Diabolus in Musica (Latin for "the devil in music"), an album that will certainly please fans while offering little that hasn't been heard before. If Divine Intervention tried (perhaps too hard) to re-create the full-on rush of the classic Reign in Blood, then Diabolus in Musica employs more of the in-between feel of Seasons in the Abyss, albeit with a thicker-sounding production and slightly more emphasis on texture than the formerly almighty riff. It may lack some of the spark and vitality of their 1980s recordings, but it's nothing to be ashamed of either. Even if their liner art keeps getting more and more graphic, the music is still the same old Slayer, and that's pretty much what sellout-wary diehards want to hear.© Steve Huey /TiVo
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Restless Heart
Whitesnake
Rock - Released June 30, 1998 | Rhino
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Even though they were a global chart-topping, hit-making machine less than ten years prior, David Coverdale came up empty when he tried to find a U.S.-based record company to issue the group's 1997 release, Restless Heart (available Stateside only as an import). To Coverdale's credit, he did not attempt to give Whitesnake a modern-day makeover (which so many pop- metal bands of the late '80s did post-Nirvana, and failed miserably), as he follows in the same melodic rock mold of Whitesnake's previous two releases, 1987's Whitesnake and 1989's Slip of the Tongue. Unlike the late-'80s edition of Whitesnake (which included Steve Vai, Tommy Aldridge, etc.), the 1998 version is not a showcase for rock's most renowned hired guns. In addition to Coverdale, the only holdover from the group's previous album is guitarist Adrian Vandenberg, who FINALLY gets the chance to appear on a full-length Whitesnake recording (after several close calls on the aforementioned releases). Instead of walloping listeners over the skull with an album opening rocker, Coverdale kicks things off on a mellow note, with the bluesy ballad "Don't Fade Away," but harder-edged material soon follows, including the riff-rocking title track, and "Crying," which shows the singer's Zeppelin fixation remains. The times may have changed, but David Coverdale is content with his old sound -- and longtime Whitesnake fans will be pleased.© Greg Prato /TiVo
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