America/Brasil is a rollicking, celebratory album that keeps Herbie Mann on the winning streak he started with the release of Peace Pieces in 1995. Recorded during a week of concerts to mark his 65th birthday in April 1995, this disc is much stronger than its immediate predecessor, Celebration, also taken from the same week of live concert performances at New York's Blue Note jazz club. The material here is superb, and the playing top-notch. As the title implies, the emphasis here is on Mann's Brazilian side, but there are touches of the non-Brazilian with Bill Evans' "Peri's Scope" and Miles Davis' "All Blues." "Summertime" is recast in an Afro-Cuban mode with Paquito D'Rivera sharing the solo space on alto sax. However, lengthy Brazilian showstoppers are placed at the beginning, middle, and end of this wonderful disc. The opening "Keep the Spirits Singing" is propelled by the polyrhythmic pulse of percussionists Cyro Baptista and "Café," and the 17-minute title track finale features trumpeters Randy Brecker and Claudio Roditi, trombonist Jim Pugh, and guitarist Romero Lubambo.
Charlie Musselwhite continues his prolific four-decade career jumping over to Telarc for his first album of the millennium after spending the '90s recording for Alligator and Virgin. A recap of his formative Memphis roots, Musselwhite receives substantial assistance from guests Robben Ford on guitar (Musselwhite provided Ford with his first gigs when the guitarist was in his late teens), Texas vocalist Kelly Willis, and guitarist/mandolin player Marty Stuart; the last two bring a rootsy, laid back country feel to the album that effectively fuses the swampy C&W, R&B, and blues of Memphis into a cohesive statement. Musselwhite blows unamplified harp on every track, but it's his weathered, understated vocals that infuse these songs with down-home charm. Covers from Jimmy Reed, Los Lobos (the album takes its title from their "One Time One Night"), Ivory Joe Hunter, and Kieran Kane flow beautifully into each other as the artist masterfully blurs the lines between genres.
Formed in 1969 by Gerry Beckley (guitar, piano, vocals), Dewey Bunnell (guitar, vocals) and Dan Peek (guitar, keyboards, vocals) who were all sons of US Servicemen stationed in England. They achieved success with their debut single "A Horse With No Name" which showcased their pop rock vocal harmony style. Further appearances in the singles charts followed with "Ventura Highway" and "Tin Man" along with album hits. The band has seen various reincarnations as anything from a duo to a 7 piece outfit, with Dan Peek leaving in 1977 (although he did rejoin for a few live appearances)…
This is an electrical and fantastic soundtrack of the wonderful fantasy movie of 1986, starring Jennifer Connoly and DAvid Bowie, Labyrinth. From start to finish it is electrical and rich in fantasty rock and some electronic instrumental music too. This album includes the beautiful song of loneliness and hope, Underground, the catchy and super Magic Dance, the fun and cheeky Chilly Down, the gentle As The Wall Falls Down and the romantic Within You. This album was proof that Bowie was still one of the greatest talents of the musical world by 1986, and had lost none of his ability to create beautiful and enchanting music.
The King's Singers are a British a cappella vocal ensemble founded in 1968. They are named after King's College in Cambridge, England, where the group was formed by six choral scholars. In the United Kingdom, their popularity peaked in the 1970s and early 1980s. Thereafter they began to reach a wider international audience, appearing frequently on The Tonight Show Starring Johnny Carson in the U.S. In 1987, they were prominently featured as guests on the Emmy Award winning ABC-TV special Julie Andrews: The Sound of Christmas.
This soundtrack to the popular 1982 animated film based on the acclaimed children's book by Peter Beagle was scored by songwriter/composer Jimmy Webb ("Wichita Lineman," "MacArthur Park") and features performances from the soft rock duo America. The score itself, an appropriately somber and sentimental blend of fairy tale motifs and dark, Wagnerian cues, reflects the story's achingly beautiful tale of a unicorn who attempts to overthrow a maniacal king determined to rid the world of the magical creatures, while the songs are far more creative, daring, and eloquent than all of the cookie-cutter balladry that would eventually replace their type in future animated films. Like Watership Down, The Hobbit, and even Robert Altman's live action, Harry Nilsson-scored Popeye, this hard to find soundtrack is a gem from another age.