Good Morning Revival is the fourth studio album by Good Charlotte and the follow up to the 2004 release The Chronicles of Life and Death. It is the first album to feature Dean Butterworth on drums, who joined the band in March 2007 after former drummer Chris Wilson departed in 2005. Billy Martin has mentioned in an interview that Benji Madden came up with the name for the album. The sound of Good Morning Revival has more of an alternative rock style than the previous Good Charlotte albums. This style can be heard in the albums third single, "Dance Floor Anthem (I Don't Want to Be in Love)", which is the most successful song on the album by debuting at #2 on the Australian charts and reaching #25 on the Billboard Hot
Fans of ELP, Gentle Giant and other early 70s prog will dig this grab bag of bright compositions featuring solo performances by Oz Noy, Nad Sylvan, Jeff Scott Soto and many others. Life Is Good - the debut album by Russian/American project RTfact - is an archaeological trove of musical nuggets, with soaring vocals, Hammond B3 wizardry, muscular guitar solos, and a supple rhythm section that grooves as hard as it rocks. Composer Yuri Volodarsky grew up in the USSR, a kind of parallel universe where limited access to Western music only increased his passion for it, while firing his musical imagination…
Here's my third and final upload by this much underated tenor player. It's from 1966 and was reissued in Japan some years ago. Good Stuff! Saxophonist Dick Morrissey towered among the finest and most innovative British jazz musicians of his generation when he teamed with guitarist Jim Mullen to spearhead the UK fusion movement of the 1970s. Born May 9, 1940 in Horley, England, Morrissey taught himself the clarinet at age 16, later mastering all of the saxophones and the flute. In his late teens, while apprenticing as a jeweler, he played with the Original Climax Jazz Band, followed by a stint in trumpeter Gus Galbraith's septet, where alto saxophonist Pete King introduced Morrissey to his chief inspiration, Charlie Parker.
They are young. Already large. And the head crowned with laurels many (first price RéZZo Focal Jazz à Vienne and Jazz Springboard La Defense in particular). But this time, the case escalates to Uptake who published his first album So Far So Good at Jazz Village. Bursting with energy and groove, this quartet from the Lyon scene is already a master in the art of interplay, the accomplice way to circulate and combine all the music in freedom … A four Bastien Brison piano and Rhodes, Pierre Gibbe on bass, trombone and Robinson Khoury Paul Bern on drums built a repertoire consisting essentially of compositions they say influenced the new generation of American musicians like Jason Lindner, Robert Glasper or Robin Eubanks.
Like Ike & Tina Turner, the Ikettes had a pretty confusing recording career, releasing numerous discs for several labels and enduring several lineup changes. They did, however, settle at Modern for a while in the mid-'60s, releasing six singles and one LP for the company. This 27-track compilation includes all of that material, as well as some solo recordings by Ikettes Venetta Fields and Flora Williams (aka Delores Johnson), adding quite a few outtakes and alternate takes not issued in the '60s. It's not, it should be a clarified, a greatest-hits compilation; it doesn't include anything not recorded for Modern, which means it doesn't have their biggest hit, 1962's Top 20 single "I'm Blue (The Gong-Gong Song)" (released on Atco), though it does have their only other Top 40 pop entry, 1965's "Peaches 'n' Cream."
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. All that's good, and plenty more – as the set's one of the most unusual records ever from free-thinking Hammond player Freddie Roach! Roach was always one of the more righteous talents of his generation – but here, he takes things even further, but playing in a "with voices" style that's similar to some of Donald Byrd and Max Roach's experiments with Coleridge Perkinson!
Good Times was a bit spotty compared to Music Is the Message, compromising Kool & the Gang's legendary funk instincts for a variety of digressions that don't turn out the way they should. There's much more good than bad though, beginning with the title track, a school's-out jam just in time for summer. "Making Merry Music" is in a similar mold and just as good, while the group leaps into wild, unhinged, horn-driven funk for "Rated X" and "Country Junky." …