Box set release from Arabesque includes their 9 original albums, a compilation album "Radio Arabesque," and a DVD "Greatest Hits" with bonus video footage. The original albums are: "Friday Night," "City Cats," "Marigot Bay," "Midnight Dancer," "In for a Penny," "Caballero," "Why No Reply," "Dance Dance Dance," and "Time to Say Good Bye." All the original albums feature cardboard sleeves faithfully replicating the Japanese LP artworks. Comes with a color booklet, lyrics, and a description.
The Hunter is the sixth studio album by American band Blondie, released in May 1982. It was Blondie's last album of new material until 1999's No Exit. It was recorded in the fall of 1981 and January and February 1982.
Released in 1976, Naked & Warm is the fifth studio album by American R&B singer Bill Withers and his second for Columbia Records.
"Making Music" is the fourth studio album by American R&B singer Bill Withers. It was also released in the UK as Making Friends. "Making Music" was released in 1975 and is Withers' first album on Columbia Records due to Sussex Records folding in July 1975. The album charted at number seven on the R&B album charts. The album was released in the UK by CBS under the title of 'Making Friends' also in 1975.
Following his high-water mark of Cardiff Rose, McGuinn's Thunderbyrd is a bit of a letdown. While most of the tracks are covers ranging from Dylan to Peter Frampton to George Jones to Tom Petty's "American Girl," the songs all have a sort of weariness to them which detracts from what should have been a great effort. His last solo disc for a long, long time.
On the surface, Roger McGuinn, the former leader and 12-string jangle-meister of the Byrds, and Mick Ronson, who contributed the wicked guitar crunch to David Bowie's Spiders from Mars period, might seem like a wildly unlikely musical combination, but the two became friendly when they both toured as part of Bob Dylan's Rolling Thunder Revue, and after that road trip came to a close, Ronson went into the studio with McGuinn to produce his next solo album.
In the liner notes to Sundazed's reissue of Roger McGuinn & Band, the former Byrds leader says, "A band should be a benevolent dictatorship," adding, "Democracy is a great form of government, but it doesn't work in rock & roll." Whether you agree with that statement or not, Roger McGuinn & Band is one album that supports McGuinn's argument pretty well; in 1975, after his first two solo albums were greeted with lackluster commercial and critical response, Columbia Records assigned producer John Boylan to McGuinn's next project, and Boylan brought along a band.
The solo career of this great rock artist took awhile to gather some steam; his 1976 album, Cardiff Rose, showed that with at least some consistent production and a tight backing ensemble, he could put across a powerful musical vision without having to rely totally on re-creating the sound of the Byrds. For this 1974 album his focus is as wandering as a glaucoma patient who has just gone through a two-hour field test. Many different influences come into his musical world, like strange cooks passing through a kitchen and dropping odd things into the stew.
Roger McGuinn's 1973 self-titled solo debut was in most respects a breath of fresh air after the final days of the Byrds, in which the group was floundering in directionless mediocrity. In a sense, it's a back-to-basics album that emphasizes much of what McGuinn does so well: his forceful reedy vocals, his guitar playing, and his skills at both writing earnest folk-rock material (usually with future Bob Dylan collaborator Jacques Levy here) and interpreting unusual traditional and contemporary songs.