U.S. marketers have been looking for a crossover blockbuster to match Britain's parade of chart-topping teens, and they may just have found one in this quintet of well-scrubbed Utah siblings (three girls, two boys) who won separate scholarships to the Juilliard School in New York. No Boundaries is their second album, and it closely follows the pattern of their highly successful debut, minus the inclusion of a video disc. The best news is that the playing here is musically solid and the repertoire even a bit challenging – there are no five-piano arrangements of "My Heart Will Go On," but there is Lutoslawski (the Variations on a Theme of Paganini) and Ginastera (the Danzas Argentinas, Op. 2, with Ryan Brown making you believe that more than one piano is sounding).
JSP's Atlanta Blues compiles four CDs of performances by Julius Daniels, Curley Weaver, Georgia Browns, Peg Leg Howell, Henry Williams & Eddie Anthony, Macon Ed & Tampa Joe, Lil McClintock, and Lillie Mae. It's hard to go wrong with these 101 recordings cut between 1926 and 1949…
Like Memphis, Tennessee, Atlanta was a staging post for itinerant musicians and like Memphis, it was home to an impressive number of guitarists who established a very distinctive style of playing that became synonymous with the city. It was also the location for the first country blues artist, Ed Andrews, to be recorded. Three years later, Julius Daniels was the first Carolina bluesman to record. Atlanta was also a recording centre for out-of-state artists such as Blind Lemon Jefferson, Bo Carter, the Memphis Jug Band, Blind Willie Johnson and Hambone Willie Newbern. A further school of blues gathered around Peg Leg Howell and Eddie Anthony.
Two dozen rare B-sides from Stax Records’ “blue” period, many reissued for the first time. An enormous and impressive undertaking, “The Complete Stax-Volt Singles 1959-68” box set was issued in 1991. While pleased with its content, hardcore collectors were nevertheless disappointed that it was not as “complete” as it claimed to be, as it featured all the A-sides and only selected B-sides. While highly welcome, its release left more than 100 of approximately 225 “blue period” Stax and Volt B-sides un-reissued in any form. Several of those sides have since featured on CD compilations, either as individual tracks here and there or on Kent’s recent “The Other Side Of The Trax”, but that still left many awaiting reissue. Fortunately, the success of “The Other Side Of The Trax” has warranted this second volume. The 24 tracks here span almost the whole of Stax Records’ blue period, as far back as when the label was still called Satellite.