4 of a Kind is the fourth album by the American crossover thrash band D.R.I., which was released in 1988. This album marks the debut of an entirely thrash metal sound for the band, with less traces of their early thrashcore sound.
A fairly typical Dave Grusin date from the early days of GRP, this set features five of the keyboardist/producer's originals. The music is often atmospheric and a bit cinematic, with Grusin assisted by the soprano of Grover Washington and flutist Dave Valentin (along with top rhythm section players) on two songs apiece; "The Heart Is a Lonely Hunter" has Grusin's keyboards joined just by Ron Carter's bass.
Two Of A Kind was a comparatively low-key affair by Chain's standards. Of the four cuts featuring Madison and Beauford from Muddy's band, only the title track (written by Madison) and Little Walter's "Blues With A Feeling" provide any real excitement, despite the typically robust backing that Chain supplies. And some observers at the time found "Elephant" tediously self-indulgent. The album sold in only moderate numbers and by the time of its release in December, Chain had undergone further personnel shifts, Little Goose being the first to leave. He went on to considerable success with the Kevin Borich Express and later formed his own eponymous outfit. His replacement, Tony Lunt, was formerly drummer for Carson and Alta Mira, and he brought his bandmate, the in-demand keyboardist Mal Logan with him.
Two of a Kind is the soundtrack from the movie of the same name, released on 1983, on MCA Records and features songs by film's star Olivia Newton-John, as well as songs from various other artists.
Fattburger is a jazz group, best categorized in the jazz-funk, contemporary jazz, or jazz fusion subgenres. The band was formed by saxophonist Hollis Gentry, keyboardist Carl Evans Jr., bassist Mark Hunter, drummer Kevin Koch, and guitarist Steve Laury in San Diego during the early 1980s. Tommy Aros soon joined as a percussionist. One Of A Kind is the debut album of Fattburger.
One of the great jazz trumpeters of all time, Freddie Hubbard formed his sound out of the Clifford Brown/Lee Morgan tradition, and by the early '70s was immediately distinctive and the pacesetter in jazz. However, a string of blatantly commercial albums later in the decade damaged his reputation and, just when Hubbard, in the early '90s (with the deaths of Dizzy Gillespie and Miles Davis), seemed perfectly suited for the role of veteran master, his chops started causing him serious troubles.