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Soul - Verschijnt op 16 juli 2021 | Rhino Atlantic

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Rock - Verschenen op 14 mei 2021 | Rhino Atlantic

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During the era in which even grocery stores had large, well-stocked LP sections, it was a not-uncommon occurrence for Déjà Vu to be mistaken for a greatest hits collection. From the "family photo album" vibe of the cover (nobody at the grocery store knew who Dallas Taylor or Greg Reeves were) and the title itself, to the ridiculously front-loaded song sequence and the fact that it was often one of the only (if not the only) albums in the "CSN(&Y)" section, Déjà Vu gave the impression that it was designed to be representative of the very best that this group had to offer. Maybe in some weird, "underground" record store, a bunch more albums credited to the group could be found, but for regular folks, Déjà Vu was a sufficiently high-quality distillation of their creative output. Of course, Déjà Vu is not a greatest hits album, but one could be forgiven for making the mistake: three of the record’s 10 tracks were generation-defining top 10 hits ("Woodstock," "Teach Your Children," "Our House"), a fourth ("Carry On") was a radio staple, and four others (Crosby's "Almost Cut My Hair" and "Déjà Vu," Young's "Helpless" and "Country Girl") were iconic additions to their authors' oeuvres. Still, it was only the second album recorded by Crosby, Stills, and Nash, and the first to which Neil Young was invited to participate, so the lines were blurred between "follow-up," "debut," and "supergroup outing." And considering that each member of the ad hoc quartet brought their A-game to the sessions, it's none too surprising that the album made the impact that it did. Of course, those sessions were rough sledding—even for a group renowned for a toxic in-studio blend of extraordinary talent, high expectations, tense competitiveness, and dizzyingly poor interpersonal relationship skills, the work that went into Déjà Vu was exceptionally exhausting. This remarkable deluxe edition documents an illuminating chunk of that work, compiling demos, outtakes, and alternate takes that demonstrate how much revision and editing went into Déjà Vu. The demos disc features five of the album cuts plus a dozen songs that didn't make the record, mostly with just the primary singer and a guitar or piano, but occasionally with more players and singers; you should skip directly to the wobbly, home-recorded version of "Our House" with Graham Nash, a laughing Joni Mitchell, and a tinkly piano. A treasure trove of more fully built-out numbers comprise the outtakes disc. Notably devoid of any Young-penned tunes, many of the cuts here are Stills' ("Bluebird Revisited" would show up the next year on his second solo album; this version is looser and far superior), but Nash ("Horses Through A Rainstorm") and Crosby ("Laughing") also left some high-quality work on the table when it came to making Déjà Vu. The alternate versions of the album cuts are less enlightening, but still essential to understanding the labor that went into making this masterpiece. © Jason Ferguson/Qobuz
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Rock - Verschenen op 28 april 2021 | Rhino Atlantic

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Alternative en Indie - Verschenen op 22 april 2021 | Rhino Atlantic

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Rock - Verschenen op 14 april 2021 | Rhino Atlantic

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Metal - Verschenen op 9 april 2021 | Rhino Atlantic

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Rock - Verschenen op 31 maart 2021 | Rhino Atlantic

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Alternative en Indie - Verschenen op 25 maart 2021 | Rhino Atlantic

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Rock - Verschenen op 17 maart 2021 | Rhino Atlantic

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R&B - Verschenen op 12 maart 2021 | Rhino Atlantic

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Hip-Hop/Rap - Verschenen op 1 maart 2021 | Rhino Atlantic

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Soul - Verschenen op 26 februari 2021 | Rhino Atlantic

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Jazz - Verschenen op 19 februari 2021 | Rhino Atlantic

From the mid-'50s through the early '60s, Rahsaan Roland Kirk's multi-instrument dexterity was treated as a bit of a novelty. After all, here was a blind guy with three or four horns wrapped around his neck—some of which were exotic, modified variations like the manzello, a B-flat soprano sax, or the stritch, an E-flat alto sax—who switched between them seamlessly (or sometimes, seeming to play them simultaneously). However, Kirk's playing and compositional approach was never frivolous or goofy; in fact, it became more and more dense, daring, and mature as time went on. His work with the likes of Charles Mingus, Roy Haynes, and even John Cage eventually brought around many of his critics, and by the late '60s, he had clearly carved out his own lane of dynamic, adventurous jazz that, by the time he signed to Atlantic Records in the early '70s, had exploded into an avant-soul superhighway. Kirk's ideas were voluminous and wide-ranging during this era, careening from deeply-felt experimental albums (Root Strata) to clear-eyed nostalgia (a swinging collaboration with '40s crooner Al Hibbler) to mind-blowing feats of physical jazz prowess (he played the entirety of one album all in one breath). The Case of the 3-Sided Dream is the both the culmination and the peak of those varying impulses: a concept album spread across three sides of a double album (side four was largely blank, apart from some recordings of Kirk on the telephone) designed not only to free him from his record contract but also to expand the possibilities of what a "jazz album" even was in the mid-'70s. This was, after all, the era in which "electric jazz" had abandoned its promise of revolution and instead settled for highly polished, soul-flecked fusion. The bold experiments of the free jazz scene had returned to the underground, and most of the titans of the '50s and '60s engaged in either misguided attempts to connect with commercial audiences or retro-minded purity contests. For Kirk to come out with an album featuring bonkers spoken-word interludes, rudimentary sampling, frenetic flute solos, musique concrète experiments, funk grooves, and multiple versions of various standards ... well, it very explicitly positioned him as one of the few major jazz musicians of the era trying to keep the genre moving forward without sacrificing its sense of adventure or political and personal empowerment. It's funky and fusion-y, sure, but it's also incredibly idiosyncratic and experimental. The concept is densely inscrutable, but also completely literal—it is about a dream and thus, plays out like a dream sequence, bouncing around from idea to idea, returning to some repeatedly while abandoning others immediately. This is most obvious in Kirk's approach to the standards; for instance, Scott Joplin's "The Entertainer"—a well-trod path if ever there was one—gets visited twice, once as a familiar, bluesy blowing session and then again as a psycho-latin-funk-freakout containing one of Kirk's best flute solos. He takes a similar approach to "Lover Man" (recast here as "Portrait of Those Beautiful Ladies"), but by placing these warped touchstones next to his own pieces—weirdo groove explorations like the two-part "Freaks for the Festival" and absolutely experimental material like the Moondog-esque "Echoes of Primitive Ohio & Chili Dogs"—Kirk is evoking both the traditions and forward motion of jazz while also putting the listener in a sort of disoriented dream state. It's a remarkable work indeed, and were he to not have suffered a debilitating stroke shortly after making it, one marvels at how much further he could have continued taking his ideas. © Jason Ferguson/Qobuz
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Soul - Verschenen op 19 februari 2021 | Rhino Atlantic

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Soul - Verschenen op 19 februari 2021 | Rhino Atlantic

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Soul - Verschenen op 12 februari 2021 | Rhino Atlantic

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Soul - Verschenen op 12 februari 2021 | Rhino Atlantic

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Country - Verschenen op 23 oktober 2020 | Rhino Atlantic

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Townes Van Zandt and Guy Clark had lain waiting for some years before John Prime succumbed to Covd-19 and joined them in April 2020 at the age of 73. The great songwriter and storyteller (who is little-known on this side of the pond but is somewhat of an idolized cult figure back home in the States) began his career as a protégé to Kris Kristofferson and recorded seven albums with Atlantic and Asylum between 1971 and 1980. All are remastered in this collection: John Prine (1971), Diamonds in the Rough (1972), Sweet Revenge (1973), Common Sense (1975), Bruised Orange (1978), Pink Cadillac (1979) and Storm Windows (1980). To understand the scale of Prine’s influence, two quotes from musicians from two different generation among thousands who flooded to social media to upon the announcement of his death. Justin Vernon aka Bon Iver: “A simple majority of who I am as a person, let alone a musician, is because of John Prine.”. Bruce Springsteen: “John and I were “new Dylans” together in the early 70s and he was never anything but the loveliest guy in the world. A true national treasure and a songwriter for the ages.” These seven albums (especially the first four), prove that John Prine was one of the great portraitists of his generation. While his dark sense of humour prevented him from sounding soppy, he nevertheless had a knack for touching hearts with empathy and humility. With Prine, anti-establishment was never low on the agenda as he fused wit and emotion with rarely seen talent… © Marc Zisman/Qobuz
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Soul - Verschenen op 22 oktober 2020 | Rhino Atlantic

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Rock - Verschenen op 2 oktober 2020 | Rhino Atlantic

Op hun vierde album, All the Right Reasons, laat Nickelback elke pretentie van het willen zijn van een grungeband achterwege en geven ze eindelijk toe een rechttoe rechtaan heavy rockband te zijn. Maar, waar hun vorige albums kolkten van boosheid, loopt er een verassend sentimentele draad door All the Right Reasons die niet alleen gelimiteerd blijft tot de hart-op-de-tong powerballads. Voor een album waarop Nickelback zijn emotionele palet verbreed, proberen ze hier heel toepasselijk een aantal nieuwe dingen uit door meer piano toe te voegen, of keyboards, en door het gebruik van akoestische gitaren niet tot de ballads te limiteren, maar ook op hun grote rocksongs in te zetten. Alles bij elkaar opgeteld levert dit een gevarieerder Nickelback-album op, maar het verandert weinig aan de essentie van de band. © Stephen Thomas Erlewine /TiVo