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Vocal Jazz - Released November 23, 2018 | Warner Music Entertainment

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Jools Holland, the musical virtuoso, director and well-loved host of the BBC 2 programme Later… with Jools Holland since 1992, joins forces with the first-rate vocals of Marc Almond and the musicians of the Rhythm & Blues Orchestra. This musical extravaganza is full to the brim with pure entertainment, original songs as well as traditional ones (When the Saints Go Marching In) and classics from Edith Piaf (L’Hymne à l’amour), Irving Berlin (How Deep Is The Ocean) and Bobby “Blue” Bland (It’s My Life Baby and I’ll take Care Of You), not forgetting the hit single Tainted Love that Almond sang in 1981 whilst part of the duo Soft Cell. On this album, A Lovely Life to Live, the pair go on an incredible journey exploring the timelessness of rhythm’n’blues and rock’n’soul. As Marc Almond himself says: “If this album were a film, it would be a black and white film from the late 1950’s and early 1960’s, set in London with Dirk Bogarde, with a brief stopover in Paris where he would meet Deneuve and Delon in a smoky bar. Jools and I have a history of working together that goes back several years and now, on the album, we can finally show our shared love for Bogarde, London, vintage cars, afternoon tea and the blues.." © Clotilde Maréchal/Qobuz
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Pop - Released November 19, 2001 | Warner Strategic Marketing

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Pop - Released December 4, 2015 | East West Records

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Jazz - Released November 17, 2017 | East West Records

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At first glance, Jools Holland and José Feliciano don't seem like an ideal match. Jools kept the boogie-woogie torch burning in the U.K., while Feliciano crossed over in the U.S. thanks to his blend of folk, flamenco, and easy listening. Look a little closer, and it's easy to see that the two share common ground in the middle of the road. Feliciano specialized in smooth, vaguely soulful MOR pop, Holland carved out a niche as an amiable TV host, so they both know how to please a crowd, and As You See Me Now is indeed a crowd-pleaser. Containing a bit of soul, a bit of folk, some jump blues and Beatles, plus a new ska version of "Feliz Navidad," As You See Me Now covers a lot of musical territory, but it feels cohesive because both Holland and Feliciano know not to push any particular sound too hard. Consequently, the record feels loose but measured, an album designed to do nothing more than entertain, and it does a good job at that. © Stephen Thomas Erlewine /TiVo
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Pop - Released November 18, 2002 | Warner Strategic Marketing

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R&B - Released September 27, 2004 | Warner Strategic Marketing

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Country - Released November 20, 2006 | WM UK

Squeeze founder, keyboard pounder and celebrity hounder Jools Holland succeeds in packing another of his big-band albums with well-executed tunes (and Walk of Fame cameos) on Moving Out to the Country, his big-band stab at traditional country. As a guy who has explored every traditional, piano-driven style in music, Holland is more than qualified to apply his considerable technique (and slick big band) to country standards -- that's not a problem. The question is "Do these country standards really need this kind of treatment?" Moving Out to the Country is no train wrecked collection of songs -- it's not bad by any means -- it's just odd, and that odd factor comes from two things. Foremost, the big-band arrangements (that work so well in a jazzy or bluesy milieu) add little to these rarefied country numbers, mostly succeeding in sounding competently busy at their best and, at their worst, a bit overblown. Not at all bad, mind, just a few paces out of step with these (largely) intimate tunes. Everything here swings, for better or worse -- save for the two Tom Jones numbers that, inexplicably, drop the big-band ball (if you've got a big band and you've got Tom Jones, wouldn't you want to let him tear it up? Well, it doesn't happen here). Instead, there's India.Arie hollering all over "Georgia on My Mind" or Lulu belting out "She'll Have to Go" over a tepid backdrop of Late Show house band slickness. The other odd factor comes from the slight creative missteps that occur when the wrong celebrity-cameo-singer meets classic-country-song-of-all-time. Case in point (with a happy ending) is Bob Geldof's stab at Kristofferson's "For the Good Times." Geldof convulses throughout, and it is such a bizarre reading/coupling that the song begs three or four additional listenings, simply out of sheer, bewildered fascination. Geldof does redeem himself (and Kristofferson) with his much better reading of the superb "The Pilgrim." Here Geldof slides into a more Leonard Cohen, talk-singing delivery that better suits his own voice, as well as the material (but a song as strong as "The Pilgrim" could hold up to anyone's interpretation, so there's that). There's also Marc Almond's weird turn with "Games People Play," which succeeds in instilling that same feeling of bewildered fascination, but without the replay value. Odd moments, couplings, and dropped-balls aside, there are some times when Holland and his big band hit the mark. Not surprisingly, it's Holland's own vocal takes that seem the most at home. "Boogie Woogie Country Girl" gets the whole band into gear -- horns and all -- and Holland' rambunctious left hand helps bring this rocker to a full boil. "Rocket to the Moon" amps things up even more with an arrangement so freewheeling and complex that it nearly matches Roy Wood's "Rattlesnake Roll" in intensity and craftsmanship. These hefty, rollicking numbers really show off the big band in the best light but, when things cool down and the arrangements get sparse, some of that much-needed intimacy creeps in. Louise Claire Marshall's lovely "Sweet Dreams" is a real winner, and makes you wonder why they didn't do the whole album like this. Great piano work and an admirably restrained vocal take serve this song well, and probably would have worked wonderfully for every tune on the record. Lulu's helming of "I Can't Stop Loving You" proves to be way more reserved than her swaggering and overblown "She'll Have to Go," and only adds fuel to the should've-done-the-whole-album-like-this fire. Brian Eno does his dramatic, slow-builder thing on "Dreaming My Dreams with You" and seems to be channeling his Channel Light Vessel-ing bro Roger in the vocal department -- not very "country," but nice. Holland and Dr. John share bandmembers and vocals on the alternately eerie, swaggering and rousing "Dead Hosts Welcome" and their two decidedly unique voices work surprisingly well against each other. Mark Knopfler has done this kind of thing before with his Notting Hillbillies (and turns in a comfortable "You Win Again" to prove it), and KT Tunstall and Richard Hawley slide just as easily into Holland's country vibe on their respective tracks. It's not a bad outing and, barring some creative missteps, Moving Out to the Country is a well put together collection that may not satisfy the purists but does a good job for the rest. © J. Scott McClintock /TiVo
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R&B - Released November 7, 2005 | Warner Strategic Marketing

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R&B - Released December 2, 2016 | East West Records

Boogie-woogie maestro Jools Holland's work rate shows no signs of slowing as he quickly follows his 2015 release Jools & Ruby with a collection centered around his instrument of choice, the piano. The record is comprised of eight original compositions, and ten pieces by other composers whom he loves. Designed to explore his relationship with the instrument, he plays a number of different pianos over the course of the track listing, and the record also features a collaboration with Brian Eno on the final track, where he takes up backing vocal duties. © Bekki Bemrose /TiVo
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Pop - Released December 4, 2015 | East West Records

Host of the BBC's iconic music television show Later... and founder member of Squeeze, Jools Holland returns with his orchestra for another rhythm & blues adventure. Alongside him on this release is the Jamaican soul singer Ruby Turner, a very familiar name to fans of Jools' band, having been with the group for over two decades. Featured are some of their favorites from the Rhythm & Blues Orchestra's live repertoire, alongside some brand-new songs including "Christmas Song," written by Holland to accompany the poem by Wendy Cope. The album also celebrates Holland's 20th anniversary on Warner Music. © Simon Spreyer /TiVo
CD£15.49

Vocal Jazz - Released November 23, 2018 | Warner Music Entertainment

Jools Holland, the musical virtuoso, director and well-loved host of the BBC 2 programme Later… with Jools Holland since 1992, joins forces with the first-rate vocals of Marc Almond and the musicians of the Rhythm & Blues Orchestra. This musical extravaganza is full to the brim with pure entertainment, original songs as well as traditional ones (When the Saints Go Marching In) and classics from Edith Piaf (L’Hymne à l’amour), Irving Berlin (How Deep Is The Ocean) and Bobby “Blue” Bland (It’s My Life Baby and I’ll take Care Of You), not forgetting the hit single Tainted Love that Almond sang in 1981 whilst part of the duo Soft Cell. On this album, A Lovely Life to Live, the pair go on an incredible journey exploring the timelessness of rhythm’n’blues and rock’n’soul. As Marc Almond himself says: “If this album were a film, it would be a black and white film from the late 1950’s and early 1960’s, set in London with Dirk Bogarde, with a brief stopover in Paris where he would meet Deneuve and Delon in a smoky bar. Jools and I have a history of working together that goes back several years and now, on the album, we can finally show our shared love for Bogarde, London, vintage cars, afternoon tea and the blues.." © Clotilde Maréchal/Qobuz
CD£11.99

Rock - Released November 14, 2008 | Rhino

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Soul - Released January 1, 1992 | Alter Ego

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Pop - Released November 1, 1999 | Warner Strategic Marketing

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R&B - Released October 13, 1997 | WM UK

Lift the Lid is a predicable but enjoyable live affair from Jools Holland and his R&B Orchestra, finding the boogie-woogie pianist running through a number of ... well, R&B, jump blues and boogie woogie numbers. There isn't much grit to the music, but it is well-played and there are some swinging, fun moments, mainly provided by trombonist Rico Rodriguez and guest artist Paul Weller, who sings and plays on "I'm Gone." © Stephen Thomas Erlewine /TiVo
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Alternative & Indie - Released January 1, 1990 | I.R.S. Records

During his on-again off-again tenures with Squeeze, pianist Jools Holland's fondness for boogie-woogie and R&B seemed somehow out of step with Squeeze's reputation for delivering Beatlesque new wave pop. As a result, Holland often got shunted to the sidelines on the band's records. Turnabout is fair play, though, so A World of His Own features contributions from all of Holland's then-current Squeeze bandmates (as well as a crack horn section, Sting, and Holland's old Millionaires colleagues) -- and for this album, Holland's the one who is firmly in the driver's seat. For the most part, he forgoes trying to sound anything like Squeeze, and does what he does best -- he joyfully pounds his way through some polished but swinging jump tunes ("The Maiden's Lament," "Biggy Wiggy"); croons a few classic R&B sides (Percy Mayfield's "Danger Zone," Ray Charles' "In the Heat of the Night"); and generally has such a good time that it's almost impossible not to get caught up in the fun. Unfortunately, when Holland experiments with more modern sounds (such as the tedious three-part synthesizer suite "Thursday"), he gets too caught up in the mechanics of finicky multi-track production to find a groove, and the good times evaporate. Still, if you can program your CD player to skip the offending tracks, World of His Own offers up another solid helping of New Orleans-meets-South London bontemps roulez from the indefatigable Holland, surely one of Britain's greatest exponents of modern-day boogie-woogie. © Rudyard Kennedy /TiVo
CD£13.99

Pop - Released September 12, 2005 | Rhino

CD£13.99

Pop - Released November 12, 2010 | WM UK

CD£12.49

Jazz - Released January 1, 1990 | EMI Marketing

During his on-again off-again tenures with Squeeze, pianist Jools Holland's fondness for boogie-woogie and R&B seemed somehow out of step with Squeeze's reputation for delivering Beatlesque new wave pop. As a result, Holland often got shunted to the sidelines on the band's records. Turnabout is fair play, though, so A World of His Own features contributions from all of Holland's then-current Squeeze bandmates (as well as a crack horn section, Sting, and Holland's old Millionaires colleagues) -- and for this album, Holland's the one who is firmly in the driver's seat. For the most part, he forgoes trying to sound anything like Squeeze, and does what he does best -- he joyfully pounds his way through some polished but swinging jump tunes ("The Maiden's Lament," "Biggy Wiggy"); croons a few classic R&B sides (Percy Mayfield's "Danger Zone," Ray Charles' "In the Heat of the Night"); and generally has such a good time that it's almost impossible not to get caught up in the fun. Unfortunately, when Holland experiments with more modern sounds (such as the tedious three-part synthesizer suite "Thursday"), he gets too caught up in the mechanics of finicky multi-track production to find a groove, and the good times evaporate. Still, if you can program your CD player to skip the offending tracks, World of His Own offers up another solid helping of New Orleans-meets-South London bontemps roulez from the indefatigable Holland, surely one of Britain's greatest exponents of modern-day boogie-woogie. © Rudyard Kennedy /TiVo
CD£7.99

Pop - Released November 1, 1999 | Warner Strategic Marketing