Showing 1–12 of 118 results
A Perfect Circle – Mer De Noms
Mer de Noms (French for "sea of names") is the debut album by American rock band A Perfect Circle. It was certified platinum by the RIAA on October 31, 2000. The album entered the Billboard 200 at No. 4, making it the highest ever Billboard 200 debut for a rock band's first album. It sold over 188,000 copies in the first week, and stayed on the charts for 51 consecutive weeks. The album peaked at No. 27 on the Billboard Top Pop Catalog Albums on October 4, 2003, three years after the album's release. Mer de Noms has since been released on vinyl record format.
Alison Krauss & Union Station – So Long So Wrong
As usual, it is Alison’s beautiful vocals that give it that "high, lonesome sound." There are 13 vocal songs and one instrumental on this two-record set. Krauss is the lead vocalist on eight of the songs and Union Station members share the other lead vocals. The virtuoso musicians comprising the group are Barry Bales (acoustic bass), Ron Block (banjo, guitar), Adam Steffey (mandolin), and Dan Tyminski (guitar). Of course Krauss started her career as a violinist (fiddler to the bluegrass world) and she doesn’t leave that instrument out either.
Arnett Cobb – Sizzlin’
Another of Arnett Cobb's great Prestige sessions, this one from late 1960. Arnett Cobb and his tenor sax are joined by Red Garland on piano, J.C. Heard on drums and George Tucker on bass. The quartet cruises through six tunes – including two Arnett Cobb originals and a couple of old standards in 'The Way You Look Tonight' and 'Georgia On My Mind.'
Art Blakey Jazz Messengers – Caravan
This is an event: the Riverside debut of Art Blakey's assertive and stimulating band, in an album that finds the group celebrating its new affiliation by performing at top level form. The name "Messengers" has been an apt description of Art's several groups down through the years to this sextet. For the ability to communicate directly to an audience - to deliver the message - is and always has been a Blakey hallmark.
Art Pepper Quintet – Smack Up
Art Pepper left a legacy of innumerable appearances on records, but his sessions for Contemporary always seemed to find him in the best company and in the best shape. Here his impassioned alto sax is appropriately applied to the compositions of six saxophonists, among them Benny Carter, Ornette Coleman, and Pepper himself.
Bette Midler – The Divine Miss M
Oh, behave! Bette Midler’s sparkling, energy-pulsing 1972 debut features the singer honing her trademark brassy personality as well as showing off an intimate, raw edge that fell by the wayside later in her career. Witness her forlorn, melancholic, and heartbroken moods, all conveyed with supreme emotion on several riveting ballads. But this LP is no downer. Midler offsets any bleakness with playfully campy songs laced with unadulterated enthusiasm and joyous defiance. This is a diva lover’s delight. The music is astonishingly alive. A superstar is born!
Bette Midler – The Rose
Bette Midler’s first leading role in a musical remains her best. As the soundtrack for that film, The Rose spotlights The Divine Miss M’s outstanding performance as a character in the persona of Janis Joplin. Midler received an Oscar nomination for Best Actress, and while the record contains no visuals, it punctuates the raw emotion and show-stopping persuasion that the singer brings to upbeat, rollicking fare composed in tribute to the late Joplin. Her reading of “When A Man Loves a Woman” remains definitive and unique for being sung from a female’s perspective.
Bill Berry – Shortcake
This recording achieves what many never attain - it presents ensembles which have distinct personalities in themselves while at the same time projecting the individual (solo) personalities of the great jazz talents present. Can't ask for much more.
Bill Evans Trio – How My Heart Sings
Bill Evans's return to full activity in 1962 came almost a year after his celebrated trio recordings at the Village Vanguard. Just ten days after that classic 'live' session, bassist Scott LaFaro had died in a highway accident. Evans, deeply shaken, eventually re-formed his trio with the same drummer (Paul Motian) and Chuck Israels on bass.
Bill Evans Trio – at Shelly’s Manne-Hole
This is the last album Bill Evans made for his first label. That fact alone would give this at least historical significance; and there is surely also some importance to its being one of only two occasions on which the pianist was recorded for Riverside during "live" performance (the other, of course, resulted in the classic pair of Village Vanguard albums). But above all, these two nights at Shelly Manne's club in Hollywood marked the only recording by the excellent but short-term third trio; after the death of Scott LaFaro, bassist Chuck Israels joined Bill and Paul Motian; then in 1963 Los Angeles studio-stalwart drummer Larry Bunker made this brief but noteworthy contribution to the Evans legend.
Billie Holiday – Body And Soul -45
Small jazz groups brought out the best in Billie Holiday - especially groups as good as the one heard on this classic 1957 recording. Ben Webster, Harry 'Sweets' Edison and the other members of this stellar ensemble were not just gifted soloists but sensitive accompanists as well. 'Lady Day' was rarely more ably supported than she was on this program of sturdy standards, including three gems by the Gershwin brothers - and she rarely sounded more luminous. Recording: in mono
Billy Joel – Piano Man
Piano Man is the second studio album by the American singer-songwriter Billy Joel, released on November 9, 1973. Joel's first recording with Columbia Records, Piano Man emerged from legal difficulties with his former label, Family Productions, and became his breakthrough album. However, the Family Productions print logo was used until 1986. "Joel grew up playing in rock bands, but a California hiatus as a lounge pianist (under the name Bill Martin) saw him pecking out standards for lost souls. 'It was all right,' he said. 'I got free drinks and union scale, which was the first steady money I'd made in a long time.'" - Rolling Stone