VA – Moulin Rouge!- Music from Baz Luhrmann’s Film (2001)

FrontCover1Moulin Rouge!  is a 2001 jukebox musical romantic drama film directed, co-produced, and co-written by Baz Luhrmann. It follows a young English poet, Christian, who falls in love with the star of the Moulin Rouge, cabaret actress and courtesan Satine. The film uses the musical setting of the Montmartre Quarter of Paris and is the final part of Luhrmann’s “Red Curtain Trilogy,” following Strictly Ballroom (1992) and Romeo + Juliet (1996). A co-production of Australia and the United States, it stars Nicole Kidman and Ewan McGregor. John Leguizamo, Jim Broadbent, and Richard Roxburgh feature in supporting roles.

Moulin Rouge! premiered at the 2001 Cannes Film Festival and was released in theaters on 18 May 2001 in North America and on 25 May 2001 in Australia. The film was praised for Luhrmann’s direction, the performances (particularly from Kidman), its soundtrack, costume design, and production values. It was also a commercial success, grossing $179.2 million on a $50 million budget. At the 74th Academy Awards, the film received eight nominations, including Best Picture, and won two (Best Production Design and Best Costume Design). In BBC’s 2016 poll of the 21st century’s 100 greatest films, Moulin Rouge! ranked 53rd.

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Moulin Rouge! Music from Baz Luhrmann’s Film is the soundtrack album to Baz Luhrmann’s 2001 film Moulin Rouge!, released on 8 May 2001 by Interscope Records. The album features most of the songs featured in the film. However, some of the songs are alternate versions and there are two or three major songs that are left off. The original film versions and extra songs were featured on the second soundtrack.

The soundtrack consists almost entirely of cover versions—”Come What May”, composed by David Baerwald and Kevin Gilbert, is the only original song on the album. The opening track, “Nature Boy”, is performed by David Bowie, though in the film the song is performed by actor John Leguizamo as the character Henri de Toulouse-Lautrec. Originally by American singer-songwriter eden ahbez, the song is reprised as the last song on the soundtrack with performances by Bowie and Massive Attack, along with a dialogue by Nicole Kidman.

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“Lady Marmalade”, written by Bob Crewe and Kenny Nolan, was made famous in the 1970s by the girl group Labelle. The song contains the sexually suggestive lyric “Voulez-vous coucher avec moi, ce soir?”, which translates to “Do you want to sleep with me tonight?”[7] Labelle’s version of the song was inducted into the Grammy Hall of Fame in 2003.[8] The version for the soundtrack is performed by Christina Aguilera, Lil’ Kim, Mýa, and Pink, with production and additional vocal credits by Missy Elliott. The song topped the Billboard Hot 100 in the United States and earned a Grammy Award for Best Pop Collaboration with Vocals.

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“Because We Can” is credited to Norman Cook, with performance and production credits given to his stage name Fatboy Slim. The song contains portions of “Zidler’s Rap”, performed in the film by Jim Broadbent as the character Harold Zidler, and has been called the “‘Can Can’ for the next generation”. “Sparkling Diamonds” is performed by Kidman, Broadbent, Caroline O’Connor, Natalie Mendoza and Lara Mulcahy. The song is a medley featuring “Diamonds Are a Girl’s Best Friend”, written by Jule Styne and Leo Robin and introduced by Carol Channing in the Broadway production of Gentlemen Prefer Blondes (1949), and “Material Girl” by Madonna. “Rhythm of the Night” was made famous in 1985 by the American R&B group DeBarge. The track reached number one on the Billboard Hot R&B chart and number three on the Billboard Hot 100, and is said to have “jumpstarted” the career of songwriter Diane Warren. The soundtrack version is performed by Valeria, and includes a dialogue by Kidman.

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Moulin Rouge! Music from Baz Luhrmann’s Film debuted on the US Billboard 200 at number five on 16 May 2001. Four weeks later, the album reach its peak position at number three. The soundtrack reached number one on the Top Soundtracks chart and number 33 on the Top Pop Catalog chart. On 23 April 2002, it was certified double platinum by the Recording Industry Association of America (RIAA).

In Australia, the soundtrack debuted on the albums chart at number four on 11 May 2001. The following week, it reached number one and remained there for 11 consecutive weeks and upon the albums chart for 58 weeks. It was the highest-selling album of 2001 in Australia and has been certified five-times platinum by the Australian Recording Industry Association (ARIA). Moulin Rouge! Music from Baz Luhrmann’s Film also reached number one in New Zealand, where it remained on the albums chart for 16 weeks. The soundtrack reached the top five in Austria, Denmark, France, and Norway. (wikipedia)

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At the very least, director Baz Luhrmann has created something different here. His modern-day musical weaves new cover versions of songs from the past three decades into one story about a brothel in turn of the century Paris. Its an odd combination to begin with, and the soundtrack itself bounces back and forth between very hip, modern tracks from artists at the top of their game and big Broadway-style ballads from the cast of the film. Some of the most well-respected names in music signed on for the project, including Beck, Bono, Timbaland, and David Bowie. Fatboy Slim created a “Can Can” for the next generation with “Because We Can,” and Christina Aguilera, Lil’ Kim, Pink, and Mya teamed up for a surefire hit with their naughtier version of Patti Labelle’s “Lady Marmalade.”

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In stark contrast to these edgy tracks, the album spends the rest of its time on love songs from Ewan McGregor and Nicole Kidman. They perform big-voiced, orchestra-backed versions of sentimental favorites like Elton John’s “Your Song.” The “Elephant Love Medley” strings together some of pop’s sappiest hits, including “Up Where We Belong,” “One More Night,” and “I Will Always Love You.” Perhaps to many people’s surprise, Kidman and McGregor can really sing, and maybe in a different environment it would be easier to take these songs seriously, but standing here outside the context of the film and next to Beck covering David Bowie, they seem more comic than creative. (by Brad Kohlenstein)

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Personnel:
Many many musicians … too many to mention …

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Tracklist:
01. David Bowie: Nature Boy (Ahbez) 3.26
02. Christina Aguilera, Lil’ Kim, Mýa & Pink: Lady Marmalade (Crewe/Nolan) 4.25
03.  Fatboy Slim: Because We Can (Cook) 3.27
04. Nicole Kidman, Jim Broadbent, Caroline O’Connor, Natalie Mendoza & Lara Mulcahy: Sparkling Diamonds 2.52
04.01. Diamonds Are A Girl’s Best Friend (Styne/Robin)
04.02. Material Girl (Brown/Rans)
05. Valeria: Rhythm Of The Night (Warren) 3.49
06. Ewan McGregor & Alessandro Safina: Your Song (John/Taupin) 3.39
07. Bono, Gavin Friday & Maurice Seezer: Children Of The Revolution (Bolan) 2.59
08. Nicole Kidman: One Day I’ll Fly Away (Jennings/Sample) 3.19
09. Beck: Diamond Dogs (Bowie) 4.34
10. Nicole Kidman, Ewan McGregor & Jamie Allen: Elephant Love Medley 4.13
10.01. All You Need Is Love (Lennon/McCartney)
10.02. I Was Made For Lovin’ You (Stanley/Child/Poncia)
10.03. One More Night (Collins)
10.04. Pride (In the Name Of Love) (Bono/Clayton/The Edge/Mullen Jr.)
10.05. Don’t Leave Me This Way (Gamble/Huff/Gilbert)
10.06. Silly Love Songs (McCartney)
10.07. Up Where We Belong (Nitzsche/Sainte-Marie/Jennings)
10.08. Heroes (Bowie/Eno)
10.09. I Will Always Love You (Parton)
10.10. Your Song (John/Taupin)
11. Nicole Kidman & Ewan McGregor: Come What May (Baerwald) 4.48
12. Ewan McGregor, José Feliciano & Jacek Koman: El Tango de Roxanne 4.44
12.01. Roxanne (Sting)
12.02. Le Tango du Moulin Rouge (Mores/Luhrmann/Pearce)
13. Rufus Wainwright: Complainte de la Butte (Van Parys/Renoir) 3.07
14. Nicole Kidman, John Leguizamo & Alka Yagnik: Hindi Sad Diamonds:
14.10. Chamma Chamma (Sameer)
14.02. Diamonds Are A Girl’s Best Friend (Styne/Robin)
14.03. The Hindi (Sharples)
15. David Bowie & Massive Attack: Nature Boy (Ahbez) 4.24
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16. Christina Aguilera, Lil’ Kim, Mýa & Pink: Lady Marmalade (Thunderpuss radio mix) (Crewe/Nolan) 4.10

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Robbie Williams – Sing When You’re Winning (2000)

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Robert Peter Williams (born 13 February 1974) is an English singer, songwriter, musician, and record producer. He found fame as a member of the pop group Take That from 1990 to 1995, but has achieved greater commercial success with his solo career since 1996. His discography includes seven UK No. 1 singles, and all but one of his 12 studio albums have reached No. 1 in the UK. Six of his albums are among the top 100 biggest-selling albums in the UK, with two of them in the top 60, and he gained a Guinness World Record in 2006 for selling 1.6 million tickets in a single day during his Close Encounters Tour.

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Williams has received a record 18 Brit Awards, winning Best British Male Artist four times, Outstanding Contribution to Music twice, an Icon Award for his lasting impact on British culture, eight German ECHO Awards, and three MTV European Music Awards.[2][3] In 2004, he was inducted into the UK Music Hall of Fame after being voted the Greatest Artist of the 1990s. According to the British Phonographic Industry (BPI), he has been certified for 19.9 million albums and 8.2 million singles in the UK as a solo artist.[4] Five of his albums have also topped the Australian albums chart, and has sold 75 million records worldwide. He additionally topped the 2000–2010 UK airplay chart. His three concerts at Knebworth in 2003 drew over 375,000 people, the UK’s biggest music event to that point.[5] In 2014, he was awarded the freedom of his home town of Stoke-on-Trent, as well as having a tourist trail created and streets named in his honour.

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After a 15-year hiatus from Take That, Williams rejoined the group in 2010 to co-write and perform lead vocals on their album Progress, which became the second fastest-selling album in UK chart history and the fastest-selling record of the century at the time. The subsequent stadium tour, which featured seven songs from Williams’ solo career, became the biggest-selling concert in UK history when it sold 1.34 million tickets in less than 24 hours. In 2011, Take That frontman Gary Barlow confirmed that Williams had left the band for a second time to focus on his solo career, although he stated that the departure was amicable and that Williams was welcome to rejoin Take That in the future. Williams has since performed with Take That on three separate television appearances, and collaborated with Barlow on a number of projects such as the West End musical The Band.

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Sing When You’re Winning is the third studio album by English singer-songwriter Robbie Williams. It was released on 28 August 2000 in the United Kingdom by Chrysalis Records and in the United States by Capitol Records. Following the critical and commercial success of I’ve Been Expecting You (1998), the North American release of The Ego Has Landed (1999) and the subsequent promotional tours for both albums, Williams reteamed with producers Guy Chambers and Steve Powers to create new material for his next record. Whereas I’ve Been Expecting You used the Britpop genre for its overall sound, Sing When You’re Winning incorporates a more post-millennial dance-pop approach while utilizing classic British rock elements. The album garnered positive reviews from critics. Sing When You’re Winning debuted at number one in the UK, Germany, Ireland and New Zealand, as well as the top 10 in countries like Australia, Finland, Sweden and Switzerland. It spawned six singles: “Rock DJ”, “Kids” (with Kylie Minogue), “Supreme”, “Let Love Be Your Energy”, “Eternity / The Road to Mandalay” and “Better Man”.

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Following the 1998 release of his album I’ve Been Expecting You, and in the middle of promotion and touring in 1999, Williams found time to start the work on what would be his third studio album.

The sound of the album was described as seeing Williams move “farther away from the increasingly dated visions of Oasis-style Britpop to embrace post-millennial dance-pop, complete with the bruising beats and extroverted productions to match.” The album features a variety of styles, “conjuring a panoply of classic British rock touchstones like psychedelia, slick country rock, Ian Dury, the Who, Elton John, and Madchester.”

The album’s title is a reference to a popular football chant of the same name that goes to the tune of “Guantanamera”, Williams being a fan of Port Vale. The cover art features multiple images of Williams celebrating winning a trophy at Chelsea’s stadium Stamford Bridge.

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Initial releases do not feature Williams’ name or the album title on the front cover, nor is a track listing featured on the back cover; these were all changed for future releases. The images were taken by photographer Paul M. Smith and, along with Williams’ complete football strip, were later sold at auction to raise money for his charity Give It Sum. Williams toured the United Kingdom with Kylie Minogue in October and November 2000 to promote the album, selling out in every venue.

The album contains a hidden message put on the album for humorous intent. After 24 minutes of silence following track 12, “The Road to Mandalay” (4:08 – 28:08), a spoken message from Williams saying “No, I’m not doing one on this album” is heard, which means that no hidden track on the album. This is a reference to how Williams’ past three albums (including the compilation album The Ego Has Landed) each contain hidden tracks at the end of the album.

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When the album was released in August 2000, it immediately became a hit in the United Kingdom, debuting at number-one and being certified 2× Platinum in the first week of release. The album also topped the charts in New Zealand, Ireland and Germany, and secured top ten placings in Argentina, Austria, Australia, Finland, Mexico, Sweden, Switzerland. Sing When You’re Winning failed to reach the top 20 in Spain, reaching number 22. The album spent 91 weeks on the UK chart, going on to sell 2.4 million copies in the UK alone, being certified 8x Platinum by the BPI. The album became the best-selling album of 2000 in the UK, and the 51st-best-selling album in UK music history. The album found little success in the United States, however, peaking at 110 in the Billboard 200.

Initial critical response to Sing When You’re Winning was positive. From Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album received an average score of 69, based on 11 reviews. (wikipedia)

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Poised for global domination with his third album, Robbie Williams and producer Guy Chambers hardly dared mess with the formula of their 1998 crossover hit I’ve Been Expecting You. As such, Sing When You’re Winning has plenty of introspective balladry akin to “Angels,” and a few irresistible party time tracks in similar company to “Millennium.” The album also moves Williams farther away from the increasingly dated visions of Oasis-style Brit-pop to embrace post-millennial dance-pop, complete with the bruising beats and extroverted productions to match. And Chambers certainly knows his production playbook well, conjuring a panoply of classic British rock touchstones like psychedelia, slick country-rock, Ian Dury, the Who, Elton John, and Madchester. Despite a small drop in songwriting from its predecessor,

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Sing When You’re Winning ultimately succeeds, and most of the credit must go to Williams himself. Amidst a few overly familiar arrangements and lyrical themes, Williams proves the consummate entertainer, delivering powerful, engaging vocals — no matter the quality of the material — and striking the perfect balance between tongue-in-cheek, self-mocking humor (“Knutsford City Limits”) and genuine feeling (tender ballads like “Better Man” and “If It’s Hurting You”). The radio-ready single “Rock DJ” is a piece of immediately gratifying pop candy floss with a surprisingly endless shelf life, though “Kids,” a vivacious, vacuous vamp of a duet with Kylie Minogue, doesn’t even hold its own after one listen. Toss in a few beautiful album tracks (the opener “Let Love Be Your Energy,” “Love Calling Earth,” “Singing for the Lonely”), but then counter them with a few bland singalongs (“Supreme,” “Forever Texas”), and the result is a scattered, entertaining album whose real star is Robbie Williams’ personality. (by John Bush)

This is a nice pop album – not only for scoccer fans.

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Personnel:
Dave Bishop (saxophone on 03.)
Winston Blissett (bass on 03. + 09.)
Pauline Boeykens (tuba on 12.)
Dave Catlin-Birch (bass, guitar on 07.)
Guy Chambers (keyboards, , synthesizer, clavinet, omnichord (12), guitar on 02., 06. + 12.)
Pete Davies (keyboards on 09.)
Alex Dickson (guitar om10.), autoharp on 12.)
Melvin Duffy (pedal steel guitar (6, 12)
Andy Duncan (percussion on 01. + 02.)
Fil Eisler (bass on 01. + 10.)
Mark Feltham (harmonica on 10.)
Edgar Herzog clarinet on 12.)
Bob Lanese (trumpet on 12.)
Brad Lang (bass on 08.)
Steve McEwan (guitar on 10.)
Kylie Minogue (vocals (on 05.)
Gary Nuttall (banjo on 06.)
Phil Palmer (guitar on 02.)
Steve Power (vocoder on 03., glockenspiel on 12.)
Chris Sharrock (drums, ambient kit on 04, percussion on 05.)
Neil Sidwell (trombone on 03.)
Steve Sidwell (trumpet on 03.)
Phil Spalding (bass on 01., 04. + 05.)
Jeremy Stacey (drums on 07. + 11.)
Neil Taylor (guitar)
Robbie Williams (vocals)
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background vocals:
Crystal Adams – Andre Barreau – Andy Caine – Dave Catlin-Birch – Guy Chambers – Derek Green – Marielle Hervé – Katie Kissoon – Sylvia Mason-James – Steve McEwan – Tessa Niles – Gary Nuttall – Pauline Taylor – Claire Worrall

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Tracklist:
01. Let Love Be Your Energy (Williams/Chambers) 4.59
02. Better Man (Williams/Chambers) 3.22
03. Rock DJ (Williams/Chambers/Andrews/Pigford/Paris) 4.18
04. Supreme (Williams/Chambers/Perren/Fekaris) 4.18
05. Kids (with Kylie Minogue) (Williams/Chambers) 4.46
06. If It’s Hurting You (Williams/Chambers) 4.10
07. Singing For The Lonely (Williams/Chambers) 4.31
08. Love Calling Earth  (Williams/Chambers/Andrews) 4.05
09. Knutsford City Limits (Williams/Chambers/Andrews) 4.45
10. Forever Texas (Williams/Chambers) 3.37
11. By All Means Necessary (Williams/Chambers) 4.45
12. The Road To Mandalay (the song ends at 3:57, and includes the outro hidden track, which begins at 28:09) (Williams/Chambers) 28.15

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Anastacia – Not That Kind (2000)

FrontCover1Anastacia Lyn Newkirk (/ˌænəˈsteɪʒə/ AN-ə-STAY-zhə; born September 17, 1968) is an American singer-songwriter, producer and former dancer. Her first two albums Not That Kind (2000) and Freak of Nature (2001) were released in quick succession to major success. Spurred on by the multi-platinum, global smash “I’m Outta Love”, Anastacia was awarded as the ‘World’s Best-Selling New Female Pop Artist’ in 2001. Her commercial success continued with international hits such as “Paid My Dues”, “One Day In Your Life” and the official song of the 2002 FIFA World Cup, “Boom”. After recovering from cancer, she returned with 2004’s Anastacia which deviated from previous albums into pop-rock. Peaking at number one in 11 countries, it became Europe’s second-biggest-selling album of the year. Its lead single “Left Outside Alone” remained at number one on the European Billboard chart for 15 weeks and helped Anastacia launch the most successful European tour by a solo artist that same year. The album also provided another three singles: “Sick and Tired”, “Welcome to My Truth”, and “Heavy on My Heart”.

In 2005, the multi-platinum compilation project Pieces of a Dream was released, which spawned the chart-topping duet with Eros Ramazzotti, “I Belong to You (Il Ritmo della Passione)”. Her fourth studio album Heavy Rotation (2008) produced the songs “Absolutely Positively”, “Defeated”, and “I Can Feel You”. Her cover album It’s a Man’s World (2012) was followed by a sixth studio album Resurrection (2014), which reached the top ten of several European charts. Her Ultimate Collection was released in 2015 and peaked in the top ten of the UK charts, giving the singer her sixth top-ten album in Britain. In 2017, Anastacia released the studio album Evolution and its lead single “Caught in the Middle”. Anastacia has established herself as one of the best-selling international female singers of the 2000s and 2010s. As of 2016, she has reported worldwide sales of more than 50 million. She has had five top ten singles on U.S. Billboard’s Dance Club chart and three albums on its Top Album Sales chart.

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Known for her powerful mezzo-soprano voice and her small stature of 5 feet 2 inches (157 cm), she has been dubbed “the little lady with the big voice”. She underwent corrective LASIK surgery in August 2005, although she still frequently wears the glasses for which she became noted when she first became famous.

During her life Anastacia has battled many health problems. She was diagnosed with Crohn’s disease when she was 13, breast cancer at the age of 34, and supraventricular tachycardia aged 39. In 2013, Anastacia was diagnosed with breast cancer for a second time. In recognition of her decade-long charitable efforts in breast cancer awareness, Anastacia became the second woman ever to be presented with the Humanitarian Award at the GQ Men of the Year Awards in 2013.

Anastacia was born in Chicago, Illinois; her late father Robert Newkirk (of German descent) was a club-singer and her mother Diane Hurley (of Irish descent) an actress on Broadway. Her parents split up when she was five years old. After her father (who had bipolar disorder) left the Newkirk family, they moved to New York City when she was a teenager. She enrolled at the Professional Children’s School in Manhattan. After graduation, she worked jobs at restaurants and hair salons while pursuing a career in the music industry.

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Anastacia was diagnosed with Crohn’s disease when she was thirteen. Despite her ongoing health problems Anastacia continued to pursue her ambitions for the next decade. Anastacia started her career in 1983 as a dancer for hire. Her first claim to fame was as a professional dancer (dancer for hire), making regular appearances in the mid-1980s and early ’90s on MTV’s Club MTV. She appeared in two videos for American hip hop trio Salt-N-Pepa (“Get Up Everybody (Get Up)” in 1988 and “Twist and Shout” in 1989). In 1990, she started her musical career as a backing vocalist. She sang back-up vocals on pop star Tiffany’s New Inside album in 1990. In 1991, she featured in music video My Fallen Angel of Dominican singer/actor Coro. In 1992 she gained her first break as a solo singer on BET’s ComicView, singing Oleta Adams’ “Get Here”.

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In 1993 she moved to Los Angeles to record the song One More Chance for the producer OG Pierce, it resulted however in no record deal. That same year the singer recorded a collaboration with David Morales called “Forever Luv”. Throughout the mid 1990s producers claimed to be intrigued by her voice’s unusual tone, Anastacia would be continuously told that ‘her sound just didn’t quite fit into any category’. In 1994, she sang back-up vocals on Jamie Foxx debut album Peep This, and in 1995 Anastacia sang back-up vocals on Paula Abdul’s third studio album Head Over Heels. By 1997, Anastacia had become a member of a band called The Kraze which she remained a part of until 1999. In 1997 she also sung in the background choir for Kurt Carr’s gospel vocal ensemble called The Kurt Carr Singers on their album No One Else. She had two duet songs with Cuban composer Omar Sosa in 1998, performing “Mi Negra, Tu Bombón” and “Tienes Un Solo” in 1999. Eventually in 1998, before turning 30, Anastacia attracted the interest of record labels after making the finals of the short-lived MTV talent show The Cut hosted by rapper Lisa “Left Eye” Lopes . Anastacia signed a contract with Daylight Records, a custom label of Sony Music Entertainment’s Epic Records in March 1999.

Anastacia05Anastacia met Lisa Braude (who later became her manager) in 1997. She encouraged her to join MTV’s talent show The Cut in 1998. She made her way to be one of the ten finalists, performing her own composition entitled “Not That Kind”. Even though she did not win the contest, she had successfully impressed some notable artists, such as Elton John and Michael Jackson as well as the show’s judges that included David Foster and Faith Evans. This afterwards led her to sign with Daylight, one of Epic’s labels, by March 1999. Backed up by leading American producer/writers, she released her debut album, Not That Kind on June 13, 2000. The album reached the top ten in eight countries in Europe and Asia. It went four times platinum in Europe and triple platinum in Australia; her debut single “I’m Outta Love” was a global smash hit in 2000, topping the charts in Belgium, Australia and New Zealand, peaking at number two in France, Switzerland, Italy and Ireland as well as also reaching number six both in Germany and the UK. In the U.S., it was only a minor radio hit. The second single “Not That Kind” reached number 11 in the UK[29] and became a top 10 hit in Italy. It also entered the top 20 in Switzerland and France.[30] “Cowboys & Kisses” was released as the third single from the album, charting in the top forty in some European countries. As the last promotional only single, “Made for Lovin’ You” charted in the UK at number twenty-seven and in France at number seventy-two. While “I’m Outta Love” was a top ten hit on the Hot Dance Club Play chart in the United States, “Not That Kind” did not chart on the Billboard Hot 100; however by the end of the year Anastacia would go on to be the World’s Best Selling New Female Pop Artist at the 2001 World Music Awards.

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Not That Kind is the debut studio album by American singer Anastacia. It was released on June 16, 2000, by Epic Records and Daylight Records. The album features production by Sam Watters, Louis Biancaniello, Ric Wake, Evan Rogers, Carl Sturken, Rickey Minor, and The Shadowmen.

Not That Kind failed to make an impact in the United States, where it peaked at number 168 on the Billboard 200. Nevertheless, it was commercially successful overseas, reaching the top 10 on the majority of the charts in Europe and Oceania. By May 2002, the album had sold over seven million copies worldwide. (wikipedia)

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As revealed in the multiple pictures in the CD package and in the video featured as part of the disc’s multi-media content, Anastacia is, in appearance, yet another teen dream with cascades of blonde hair and an exposed navel (though perhaps her ever-present, and ever-changing, spectacles are supposed to signal a higher intellectual content). But her musical models aren’t Britney Spears or Christina Aguilera, they are Aretha Franklin, Tina Turner, and Martha Wash. Anastacia possesses a big, expressive alto voice that her many co-writers and producers (primarily Rik Wake;Celine Dion, Mariah Carey) and the team of ex-Color Me Badd member Sam Watters and Louis Biancaniello, though Carl Sturken and Evan Rogers, authors of ‘N Sync’s “God Must Have Spent a Little More Time on You,” have two tracks) use in updated R&B, dance, and funk tracks. “I’m Outta Love,” which just missed topping the dance charts, is an aggressive dancefloor item, and its follow-up, the title song, is in a funk style reminiscent of Aretha Franklin’s ’80s work.

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“I Ask of You” is one of those slow, deliberate big ballads that recalls “And I Am Telling You I’m Not Going” as well as that song’s singer, Jennifer Holliday. And so it goes. The only real misstep on the album is the inevitable Diane Warren adult contemporary romantic ballad, “Late Last Night,” which forces the singer to rein in her voice, though even then she doesn’t really negotiate its lyrical complexity. Despite her toothsome appearance, Anastacia may be too old school to break through in the U.S., though this album has been a commercial success overseas. (The American version has been altered from the foreign one, with a couple of tracks added and dropped.) But Macy Gray demonstrated that a broad audience may respond to an older style if the singer herself is distinguished enough. Anastacia doesn’t have the kind of unique timbre that Gray does — in fact, the minute she opens her mouth she starts reminding you of other singers, especially Aretha Franklin — but she is clearly a big talent, and that should count for something. (by William Ruhlmann)

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Personnel:
Anastacia (vocals)
Rob Bailey (guitar)
Tom Barney (bass)
Louis Biancaniello (drums, keyboards)
Vernon Black (guitar)
Chris Camozzi (guitar)
Kevin Cloud (drums)
Luis Conte (percussion)
Russ DeSalvo (guitar, keyboards)
Chris Goercke (guitar)
Rayford Griffin (drums)
Gary Haase (bass)
Loris Holland (organ)
Herman Jackson III (piano)
Paul Jackson Jr. (guitar)
Bashiri Johnson (percussion)
Richie Jones (drums)
Eric Kupper (guitar, keyboards)
Ricky Lawson (drums)
Diane Louie (keyboards)
Rickey Minor (bass)
Chieli Minucci (guitar)
John “Noodle” Nevin (bass)
Leon Pendarvis (piano)
Carl Potts (guitar)
Carl Sturken (all insruments on 04., 09. + 12.)
Sam Watters (drums, background vocals)
Steve Wolfe (drums)
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violin:
Ann Leathers – Belinda Whitney-Barratt – Joel Pitchon – Regis Iandiorio – Shirien Taylor
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background vocals:
BeBe Winans – Audrey Wheeler – Craig Derry –  Cindy Mizelle – Evan Rogers, Katreese Barnes – Kevin Owens – Valerie Pinkston – Keith Fluitt – Nicky Richards – Rob Mathes- Sam Watters – Audrey Martells – Barbara Laurie – Angela Brusegar – Sharlotte Gibson -Lynn Davis – Lynne Fiddmont-Linsey – Valerie Pinkston – Katreese Barnes

Booklet02ATracklist:
01. Not That Kind (Anastacia/Wheaton/Young) 3.21
02. I’m Outta Love (Anastacia/Watters/Biancaniello) 4.03
03. Cowboys & Kisses (Anastacia/Jive/Pennachio) 4.41
04. Who’s Gonna Stop The Rain (Rogers/Sturken) 5.00
05. Love Is Alive (Wright) 4.07
06. I Ask Of You (Anastacia/Watters/Biancaniello) 4.27
07. Wishing Well (Jive/Rich/Bieck) 3.58
08. Made For Lovin’ You (Anastacia/Watters/Biancaniello) 3.36
09. Black Roses (Anastacia/Rogers/Sturken/Ruffin) 3.37
10. Yo Trippin’ (Anastacia/Potts) 3.35
11. One More Chance (Anastacia/Pierce) 4.39
12. Same Old Story (Anastacia/Rogers/Sturken) 5.32

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More from Anastacia:
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The official website:
Website

The Corrs – In Blue (2000)

FrontCover1The Corrs are an Irish family band that combine pop rock with traditional Irish themes within their music. The group consists of the Corr siblings, Andrea (lead vocals, tin whistle, ukulele), Sharon (violin, keyboards, vocals), Caroline (drums, percussion, piano, bodhrán, vocals) and Jim (guitar, piano, keyboards, vocals). They are from Dundalk, County Louth, Ireland.

The Corrs have released seven studio albums and numerous singles, which have reached Platinum in many countries, and have sold 40 million albums worldwide. Talk on Corners, their most successful album to date, reached multi-Platinum status in Australia, and in the UK it was the highest selling album of the year. The band is one of only a handful of acts who have held the top two positions simultaneously in the UK album charts, with Talk on Corners at number one and Forgiven, Not Forgotten at number two. The latter was the year’s third highest selling album in Australia. Their third studio album, In Blue, went to number one in seventeen countries.

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The Corrs have been actively involved in philanthropic activities. They have performed in numerous charity concerts, such as The Prince’s Trust event in 2004 and Live 8 alongside Bono of U2 in 2005. The same year, they were awarded honorary MBEs for their contributions to music and charity. The band was inactive for almost ten years because Jim and Caroline were raising families, while Andrea and Sharon were pursuing solo careers while raising families of their own. According to Sharon, it was uncertain if and when The Corrs would reunite. Rumours of a reunion sparked in early 2015 and in a radio interview with Chris Evans in June 2015, Andrea confirmed that The Corrs were working on a new album and would play the BBC Radio 2 Live in Hyde Park festival.[6] Their sixth studio album, White Light, was released on 27 November 2015, and was accompanied by a European tour. After two years, their seventh studio album, Jupiter Calling, was released on 10 November 2017.

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In Blue is the third studio album by Irish pop rock band The Corrs, released in 2000 which saw the band become known in the United States. The title of the album comes from a lyric in the song “Give Me a Reason”. As well as the UK number one single “Breathless”, the album also contains new versions of “Radio” and “At Your Side”, which had appeared on their previous album The Corrs Unplugged. Mutt Lange co-wrote and produced three songs from the album.

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Several of the tracks were used in various television programmes and films: “Rebel Heart” as the theme for the TV miniseries of the same name; “One Night” in Mad About Mambo; “At Your Side” in Say It Isn’t So and the trailer for the film The Holiday; and “All the Love in the World” in the film America’s Sweethearts. As of 2017, the album has sold 9 million copies worldwide. (wikipedia)

Singles

A very straightforward release from the Corrs, who spend the majority of this outing in full-blown pop mode, with the Celtic elements mostly being relegated to the backgrounds of several songs. The one exception is the closing instrumental, “Rebel Heart,” which stirs itself up full-bloodily to provide the album with an anthem. In Blue is a bright, peppy set that bears more than a few comparisons to the work of bands such as the Bangles and Fanny, though the Corrs have an additional advantage in that Caroline Corr is an impressively muscular drummer. (by Steven McDonald)

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I’ve heard so many fans saying they dislike it. Yet the songs are catchy, the band sounds they are enjoying. For me, it is their second best album, only behind “White Light” which was also made this kind of way. When the band sounds enjoying it, I am more willing to enjoy it. Their first two albums are good but this one sounds prefessional, and there are not many fillers. The Celtic elements are not as strong as during the first albums. The music should be about melodies and vocals, and lyrics – and rhythm of course – the opening song “Breathless” has their best rhythm – my favorite song from this band.

“Give Me A Reason”, “All the Love in the World”, and “Irresistible” are songs most fans like. “Radio” is good too but the unplugged version is better.

“No More Cry”, “At Your Side”, “Hurt Before”, and “Rebel Heart” are my favorite non-hit songs. (by Reijo Piippula)

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Personnel:
Andrea Corr (vocals, tin whistle)
Caroline Corr (drums, bodhran, piano, vocals)
Jim Corr (guitar, keyboards, piano, vocals)
Sharon Corr (violin, vocals)
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Anthony Drennan (lead guitar)
Keith Duffy (bass)
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Ronan Dooney (trumpet)
Paul Duffy (saxophone)
Billy Farrell (keyboards)
Mitchell Froom (keyboards)

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Tracklist:
01. Breathless (A.Corr/C.Corr/J.Corr/S.Corr/Lange) 3.28
02. Give Me A Reason (A.Corr/C.Corr/J.Corr/S.Corr) 3.29
03. Somebody for Someone (A.Corr/C.Corr/J.Corr/S.Corr) 4.01
04. Say (A.Corr/C.Corr/J.Corr/S.Corr) 4.34
05. All The Love In The World (A.Corr/C.Corr/J.Corr/S.Corr/Lange) 4:22
06. Radio (A.Corr/C.Corr/J.Corr/S.Corr) 4.14
07. Irresistible (A.Corr/C.Corr/J.Corr/S.Corr/Lange) 3.40
08. One Night (A.Corr/C.Corr/J.Corr/S.Corr) 4.38
09. All In A Day (A.Corr/C.Corr/J.Corr/S.Corr) 3.43
10. At Your Side (A.Corr/C.Corr/J.Corr/S.Corr) 3.55
11. No More Cry (A.Corr/C.Corr/J.Corr/S.Corr) 2.59
12. Rain (A.Corr/C.Corr/J.Corr/S.Corr) 4.15
13. Give It All Up (A.Corr/C.Corr/J.Corr/S.Corr) 3.28
14. Hurt Before (A.Corr/C.Corr/J.Corr/S.Corr) 4.05
15. Rebel Heart (instrumental) (A.Corr/C.Corr/J.Corr/S.Corr) 4.06

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Emmylou Harris with Spyboy feat. Buddy Miller – Live In Germany 2000 (2011)

Emmylou Harris (born April 2, 1947) is an American singer, songwriter, and musician. She has released dozens of albums and singles over the course of her career and has won 14 Grammys, the Polar Music Prize, and numerous other honors, including induction into the Country Music Hall of Fame. In 2018 she was presented the Grammy Lifetime Achievement Award. (wikipedia)

Her work and recordings include work as a solo artist, a bandleader, an interpreter of other composers’ works, a singer-songwriter, and a backing vocalist and duet partner. She has worked with numerous artists.

12-time Grammy Award winner Emmylou Harris has, in the last decade, gained admiration as much for her eloquently straightforward songwriting as for her incomparably expressive singing. Few in pop or country music have achieved such honesty or revealed such maturity in their writing.

In this 2000 concert, Emmylou Harris combined tasteful choices from her early repertoire with newer work, often her own compositions, backed by the band she called Spyboy, which featured the hard-working guitarist and singer Buddy Miller.

Harris came as an emissary to commercial country from the 1960’s folk and rock toward which Nashville mavericks were already leaning. With her dark, natural, hippie-ish beauty, her ethereally powerful soprano, and her fascination with the grittier roots of country music, Harris broke molds established for both women and new artists in Nashville country. With the Hot Band, she brought virtuoso rock-influenced chops to country picking and helped introduce a new audience of young, college-radio fans not only to her own take on country, and to the rock-friendly work of songwriters like Rodney Crowell, but also to the virtues of great artists like George Jones, Merle Haggard, Buck Owens, the Louvin Brothers, and Dolly Parton.

She sings some of those early album favorites here: Crowell’s “I Ain’t Living Long Like This,” Gram Parsons and Chris Hillmans’ “Wheels,” and Parsons and Bob Buchanan’s beautiful “Hickory Wind.” Combined with classic songs like the Louvins “If I Could Only Win Your Love,” which gave her a top-five country hit, Harris quickly established herself as a new kind of country artist, with both radio-single and album-oriented appeal. She had number-one country hits with the chestnuts “Together Again” and “Sweet Dreams,” and her second album on Reprise, “Elite Hotel,” reached number one on the country album charts while also finding its way into many college record collections. Later albums in the vein, including “Luxury Liner” and “Blue Kentucky Girl” established Harris as a crossover star.

In 1980, she made further innovations, releasing a bluegrass album, “Roses in the Snow,” which was distinguished by placing her characteristic solo and harmony singing in bluegrass arrangements and bringing new listeners to country’s acoustic forms. For the rest of her career, Harris would remain an important exponent of older and more traditional styles in country music.

Yet this 2000 concert finds her in what was then yet another new mode. In the early 1990’s her commercial radio success had diminished, in part, and ironically, because of the rise of “new traditionalist” artists whom she’d played a strong part in influencing. Harris became a trademark of country authenticity, appearing on albums by Steve Earle and other innovators with deep respect for bluegrass and classic country. In 1995 she released the album “Wrecking Ball,” launching Spyboy as a touring band with Buddy Miller and moving fairly assertively away from traditional country, with songs like “Deeper Well,” featured here. The 2000 follow-up “Red Dirt Girl,” widely acclaimed, featured Harris’s own songs, many of them also heard here.

“Though other performers sold more records and earned greater fame, few left as profound an impact on contemporary music as Emmylou Harris. Blessed with a crystalline voice, a remarkable gift for phrasing, and a restless creative spirit, she traveled a singular artistic path, proudly carrying the torch of “cosmic American music” passed down by her mentor, Gram Parsons. With the exception of only Neil Young – not surprisingly an occasional collaborator – no other mainstream star established a similarly large body of work as consistently iconoclastic, eclectic, or daring; even more than four decades into her career, Harris’ latter-day music remained as heartfelt, visionary, and vital as her earliest recordings.” (William Hoghland)

Recorded live in Baden-Baden, Germany on October 31, 2000.

Personnel:
Brian Blade (drums)
Tony Hall (bass, vocals)
Emmylou Harris (guitar, vocals)
Buddy Miller (guitar, vocals)

Tracklist:
01. The Pearl (Harris) 5.22
02. I Don’t Wanna Talk About It Now (Cunniff/Harris/Johnson) 4.46
03. I Ain’t Living Long Like This (Crowell) 4.19
04. Raise The Dead (Harris) 3.27
05. Red Dirt Girl (Harris) 4.50
06. Love Hurts (Bryant) 3.00
07. Hour Of Gold (Harris) 5.00
08. Deeper Well (Harris/Lanois/Olney) 6.22
09. Michaelangelo (Harris) 4.50
10. Boy From Tupelo (Harris) 3.34
11. Wheels (Hillman/Parsons) 3.11
12. Born To Run (Kennerley) 4.45
13. Hickory Wind (Buchanan/Parsons) 4.55

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Savoy Brown – Live From The House Of Blues (2000)

FrontCover1Part of the late-’60s blues-rock movement, Britain’s Savoy Brown never achieved as much success in their homeland as they did in America, where they promoted their albums with nonstop touring. The band was formed and led by guitarist Kim Simmonds, whose dominating personality led to myriad personnel changes; the original lineup included singer Bryce Portius, keyboardist Bob Hall, guitarist Martin Stone, bassist Ray Chappell, and drummer Leo Manning. This lineup appeared on the band’s 1967 debut, Shake Down, a collection of blues covers. Seeking a different approach, Simmonds dissolved the group and brought in guitarist Dave Peverett, bassist Rivers Jobe, drummer Roger Earl, and singer Chris Youlden, who gave them a distinctive frontman with his vocal abilities, bowler hat, and monocle.

With perhaps its strongest lineup, Savoy Brown quickly made a name for itself, recording originals like “Train to Nowhere.” However, Youlden left the band in 1970 following Raw Sienna, and shortly thereafter, Peverett, Earl, and new bassist Tony Stevens departed to form Foghat, continuing the pattern of consistent membership turnover. Simmonds collected yet another lineup and began a hectic tour of America, showcasing the group’s now-refined bluesy boogie rock style, which dominated the rest of their albums. The group briefly broke up in 1973, but re-formed the following year.

Throughout the ’80s and ’90s Simmonds remained undeterred by a revolving-door membership and continued to tour and record. Their first album for the Blind Pig label, Strange Dreams, was released in 2003, followed by Steel in 2007. Subsequent LPs include the compilation Too Much of a Good Thing, Voodoo Moon, Goin’ to the Delta, and 2015’s The Devil to Pay. In 2017, the band returned with the full-length Witchy Feelin’, which hit number one on the Billboard Blues Albums chart. Buoyed by that success, Simmonds and Savoy Brown returned with the group’s 40th career album, City Night, in 2019. /by Steve Huey)

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And here´s a pretty good live bootleg (excellent broadcast quality) from The House Of The Blues.

Kim Simmonds & Savoy Brown were on tour to promote their “The Blues Keep Holding Me On” from 1999.

20 years after … this show is still another highlight in the history of Savoy Brown bootlegs … old songs, new songs… high class Blues-Rock !

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Personnel:
Dave Olson (drums)
Nathaniel Peterson (bass, vocals)
Kim Simmonds (guitar, vocals)

Nathaniel Peterson

Tracklist:
01. Too Much Of A Good Thing (Simmonds) 7.37
02. A Hard Way To Go (Youlden) 7.32
03. Little Red Rooster (Dixon) 11.23
04. I’m Tired (Youlden) 6.56
05. Stay While The Night Is Young (Youlden/Simmonds) 10.20
06. Mississippi Steamboat (ubknown) 7.42
07. Headline News (Traditional) 10.53
08. When You’ve Got A Good Friend (Johnson) 8.24
09. Shake For Me (Dixon) 9.50
10. Bad Shape (Simmonds) 7.11
11. Wang Dang Doodle (Doxon) 11.32
12. Little Wheel ( 10:41

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Dave Olson

Allman Brothers Band – Peakin’ At The Beacon (2000)

FrontCover1Peakin’ at the Beacon is a live album by the rock group the Allman Brothers Band. It was recorded at the Beacon Theatre in New York City in March, 2000, and released later that year.

Peakin’ at the Beacon was the first Allman Brothers Band album to include Derek Trucks on guitar and Oteil Burbridge on bass, and the last to include founding member Dickey Betts. (by wikipedia)

When Gregg Allman was asked why Dickey Betts was kicked out of the Allman Brothers Band in the spring of 2000, he is reported to have suggested the answer lay in the tapes from the group’s two-week stand at the Beacon Theatre in New York. That makes it surprising that the Allmans would turn to those tapes to assemble their first new album release in five and a half years, Peakin’ at the Beacon. Happily, however, there is no evidence of Betts’ alleged shortcomings on the disc, though it must be admitted that, since he is one of two lead guitarists (the other being Derek Trucks, making his recorded debut with the band), it isn’t always easy to tell who is playing. There is plenty of guitar work, and it is up to the Allmans’ usual standard.

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Following the instrumental opener, Gregg Allman sings lead on seven straight songs, all of which come from the band’s first three studio albums. Betts finally appears as a vocalist on the ninth track, the 1990 folk-country tune “Seven Turns.” Finally, there is a 27-and-a-half-minute version of the 1975 Betts instrumental “High Falls,” a typical extended workout complete with jazzy interludes and a lengthy percussion section. The Allmans may not have been due for another live album (two of their last three releases being concert recordings), but the series of Beacon shows has become an annual event, and the disc serves as a souvenir from the March 2000 shows. Fans who attended those shows, or who just want to be reassured that the Allmans sound much the same as ever, may enjoy the album; less devoted listeners probably shouldn’t bother. (by William Ruhlmann)

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Personnel:
Gregg Allman (keyboards, guitar, vocals)
Dickey Betts (guitar, vocals)
Oteil Burbridge (bass)
Jaimoe (drums, percussion)
Marc Quiñones (percussion, vocals)
Butch Trucks (drums, percussion)
Derek Trucks (guitar)

Booklet

Tracklist:
01. Don’t Want You No More (Davis/Hardin) 3.06
02. It’s Not My Cross To Bear (Allman) 5.13
03. Ain’t Wastin’ Time No More (Allman) 5.46
04. Every Hungry Woman (Allman) 5.57
05. Please Call Home (Allman) 4.31
06. Stand Back (Allman/Oakley) 5.45
07. Black Hearted Woman (Allman) 6.30
08. Leave My Blues At Home (Allman) 5.07
09. Seven Turns (Betts) 4.49
10. High Falls (Betts) 27.28

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More from The Allman Brothers Band:
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St. Germain – Tourist (2000)

FrontCover1St Germain is the stage name of Ludovic Navarre), born 10 April 1969 in Boulogne-Billancourt, a French musician. His style has been described as being a combination of house and nu jazz music.

Navarre’s album Boulevard was released in July 1995 and has sold over 1 million copies worldwide. His United States debut, Tourist, was released in 2000 and sold 300,000 copies in the USA and 4 million copies worldwide. Bob Marley, Toots & the Maytals, Miles Davis and Kool and the Gang are among Ludovic’s early influences. He composed his first work under the name of Sub System with friend Guy Rabiller. He has released EPs under a number of aliases, among them Deepside, LN’S, Modus Vivendi, Nuages and Soofle.

St Germain is not associated with the Saint-Germain-des-Prés Café compilation series, though his song “Deep in It” is featured on its “Volume 1”.

His song “Rose Rouge” was featured in the official movie trailer for Joss Whedon’s 2013 Much Ado About Nothing.

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His eponymous album, released on 9 October 2015, was recorded with the participation of African musicians, the album features traditional Malian instruments such as kora, balafon and n’goni, that mingle with electric guitars, pianos, saxophones and electronic loops. The first single, “Real Blues”, sets the voice of Lightnin’ Hopkins to the beat of wild, fiery drums and percussion.

The original single sleeve is decorated with a 3D mask conceived by Urban Art creator Gregos, known for his smiling and frowning faces stuck on walls throughout Paris and Europe.

St Germain was included in the line-up for Coachella 2016.

Tourist is the third studio album by French producer Ludovic Navarre, released under his stage name St Germain. The album’s musical style is described by AllMusic as “a synthesis of electronics with jazz soloing”.

As of 2018, Tourist has sold over four million copies worldwide.

Tourist formed the soundtrack of the 2001 French film Chaos. (by wikipedia)

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Since the advent of acid jazz in the mid-’80s, the many electronic-jazz hybrids to come down the pipe have steadily grown more mature, closer to a balanced fusion that borrows the spontaneity and emphasis on group interaction of classic jazz while still emphasizing the groove and elastic sound of electronic music. For his second album, French producer Ludovic Navarre expanded the possibilities of his template for jazzy house by recruiting a sextet of musicians to solo over his earthy productions. The opener “Rose Rouge” is an immediate highlight, as an understated Marlena Shaw vocal sample (“I want you to get together/put your hands together one time”), trance-state piano lines, and a ride-on-the-rhythm drum program frames solos by trumpeter Pascal Ohse and baritone Claudio de Qeiroz.

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For “Montego Bay Spleen,” Navarre pairs an angular guitar solo by Ernest Ranglin with a deep-groove dub track, complete with phased effects and echoey percussion. “Land Of…” moves from a Hammond- and horn-led soul-jazz stomp into Caribbean territory, marked by more hints of dub and the expressive Latin percussion of Carneiro. Occasionally, Navarre’s programming (sampled or otherwise) grows a bit repetitious — even for dance fans, to say nothing of the jazzbo crowd attracted by the album’s Blue Note tag. Though it is just another step on the way to a perfect blend of jazz and electronic, Tourist is an excellent one (by John Bush)

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Personnel:
Edmundo Carneiro (percussion)
Alexandre Destrez (keyboards)
Idrissa Diop (talking drum)
Edouard Labor (saxophone, flute)
Pascal Ohsé (trumpet)
Claudio De Queiroz (saxophone)
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Ernest Ranglin (guitar on 02.)

Produced and arranged by Ludovic Navarre

Booklet

Tracklist:
01. Rose Rouge 7.02
02. Montego Bay Spleen 5.42
03. So Flute 8.29
04. Land Of … 7.50
05. Latin Note 5.57
06. Sure Thing 6.22
07. Pont des Arts 7.25
08. La Goutte d’Or 6.17
09. What You Think About … 4.48

Music composed by Ludovic Navarre

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Micky Moody & Friends – Live And Rocking (2008)

FrontCover1.jpgMichael Joseph “Micky” Moody (born 30 August 1950) is an English guitarist, and a former member of the rock bands Juicy Lucy and Whitesnake. He was also a founder-member of Snafu. Together with his former Whitesnake colleague Bernie Marsden he founded the Moody Marsden Band, and later, The Snakes, having previously collaborated with unofficial 5th Status Quo member Bob Young in Young & Moody. Along with Marsden and ex-Whitesnake bassist, Neil Murray, he formed Company of Snakes and M3 Classic Whitesnake with which they mainly performed early Whitesnake songs. More recently, he has toured and recorded with Snakecharmer.Besides this, Moody has also toured with Roger Chapman, Frankie Miller and Chris Farlowe. He has also performed live alongside the likes of Eric Clapton, Alvin Lee, Mick Taylor, Bruce Dickinson, Sam Brown, Gary Brooker, Suggs, Dennis Locorriere, Paul Jones, P. P. Arnold, James Hunter, Rick Wakeman, Jon Lord, Newton Faulkner, Uriah Heep, Alice Cooper, Mark King, Alfie Boe, Sandi Thom, Brian Auger, Paul Weller, Eric Bibb, Meat Loaf, Boy George, Elkie Brooks, Nona Hendryx, Mud Morganfield and one of his early guitar heroes, Duane Eddy.

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Since 2000 he has released several solo albums: I Eat Them For Breakfast (2000), Don’t Blame Me (2006), Acoustic Journeyman (2007) and Electric Journeyman (2009). A versatile guitarist, Moody has been an active session musician and his own website lists over 100 albums to which he has contributed musically. 2006 saw the release of the autobiographical Playing With Trumpets – A Rock ‘n’ Roll Apprenticeship, a memoir about his early days on the music scene. His library music has been featured on such TV programmes as Waking the Dead, Bo’ Selecta!, America’s Next Top Model, How to Look Good Naked, Top Gear, Horizon, Jersey Shore, Mad Men, Wife Swap and Paul Hollywood’s Bread. (by wikipedia)

Hell is a village in the Lånke area of the municipality of Stjørdal in Trøndelag county, Norway. It is located in the western part of the municipality, about 3 kilometres (2 mi) south of the town of Stjørdalshalsen.

Hell currently has a grocery store, gas station, a fast food shop, and a retirement home. Until late 1995, the European route E6 highway was aligned through Hell and across the Hell bridge to Sandfærhus (nearby is the Trondheim Airport, Værnes). The new road now goes around the village.

A blues festival takes place every year at Hell Station in September, “Blues in Hell”. The original festival (Hell Blues Festival) started in 1992, then changed its name to Hell Music Festival in 2006 to open their doors for music other than blues. The Hell Music Festival in 2007 failed to attract many concert-goers, however, and the festival declared bankruptcy the same year. In 2008 a new festival was started, entitled “Blues in Hell”, going back to the original concept. (by wikipedia).

Micky Moody played many times at this great Blues Festival …

… And here´s a chance to listen to Micky Moody and Friends, recorded live at the Hell Blues Festival, Norway in 2000 … another great Blues-Rock concert !!!

Enjoy !

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Personnel:
Don Airey (keyboards)
John Lingwood (drums)
Bernie Marsden (guitar, vocals)
Micky Moody (guiar, slide-guitar, vocals)
Neil Murray (bass)

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Tracklist:
01. Medley 4.38
01.1. Hideaway (King/Thompson)
01.2. Bab You Want Me To Do (Reed)
01.3. The Stumble (King/Thompson)
02. Mixed Up Blues (Moody) 4.29
03. Come On In My Kitchen (Johnson) 5.16
04. A Mind To Get Even (Moody) 7.56
05. Key To The Highway (Segar/Broonzy) 7.04
06. Spoonful (Dixon) 6.36
07. My Happy Day (Watkins) 2.35
08. 2000 Miles To Hell (Moody/Marsden) 11.08
09. Rock & Roll Shoes (Willis) 5.11
10. Nadine (Berry) 5.04

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Sam Lay Blues Band – Rush Hour Blues (2000)

FrontCover1.jpgSam Lay (born March 20, 1935, Birmingham, Alabama) is an American drummer and vocalist who has been performing since the late 1950s. He was inducted into the Rock and Roll Hall of Fame in 2015.

Lay began his career in 1957, as the drummer for the Original Thunderbirds. He soon after became the drummer for the harmonica player Little Walter.

In the early 1960s, Lay began recording and performing with prominent blues musicians, including Willie Dixon, Howlin’ Wolf, Eddie Taylor, John Lee Hooker, Junior Wells, Bo Diddley, Magic Sam, Jimmy Rogers, Earl Hooker, and Muddy Waters. The recordings Lay made during this time, along with Waters’s album Fathers and Sons, recorded in 1969, are considered to be among the definitive works of Waters and Wolf.[citation needed]

In the mid-1960s, Lay joined the Paul Butterfield Blues Band and recorded and toured extensively with them. Bob Dylan used Lay as his drummer when he introduced electric rock at the Newport Folk Festival in 1965. Lay also recorded with Dylan, notably on the album Highway 61 Revisited (Lay drummed on the track “Highway 61”; the drummer on most of the other tracks was Bobby Gregg)

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Lay’s drumming can be heard on over 40 recordings for Chess Records, with many notable blues performers. He toured the major blues festivals in the US and Europe with the Chess Records All-Stars.

In the late 1980s Lay was inducted into the Blues Hall of Fame, in Memphis. He has also been inducted into the Jazz Hall of Fame, in Los Angeles, and the Rock n’ Roll Hall of Fame, in Cleveland. He was nominated eight times for the coveted W. C. Handy Award for Best Instrumentalist, including a nomination in 2005.

Lay made two albums with his own band, released by Appaloosa Records and Evidence Records, and two recordings for Alligator Records with the Siegel-Schwall Band. His own album, Sam Lay in Bluesland, released in 1969 by Blue Thumb Records, was produced by Michael Bloomfield and Nick Gravenites.

He was nominated in 2000 for a Grammy Award for his performances on the CD Howlin’ SamLay02.jpgWolf Tribute. He was honored by the Recording Academy in January 2002 with a Legends and Heroes Award for his significant musical contributions. He was prominently featured in the PBS television documentary History of the Blues, broadcast in seven episodes, produced by the Academy Award–winning director Martin Scorsese. Lay shot many home movies of fellow blues performers in small Chicago venues in the late 1950s and 1960s,[5] parts of which were included in History of the Blues and the WTTW television production Record Row, by the filmmaker Michael MacAlpin.

In 2009, Lay worked alongside Johnnie Marshall. In 2014, a video documentary detailing his life, Sam Lay in Bluesland, was created.

Lay was inducted into the Rock and Roll Hall of Fame, as a member of the Paul Butterfield Blues Band, in 2015. (by wikipedia)

Sam Lay deserves to have a red carpet unrolled before him when he walks away from his drum kit; he’s one of the outstanding drummers of the modern blues era. Rush Hour Blues, recorded in Nashville in 1996 under the direction of ace guitarist Fred James, is Lay’s latest effort. He sings here in a forthright manner over the rhythmic background provided by his masterful drums, Celia Ann Price’s organ and piano, James’s second guitar, and a string bass plucked by James’s sidekick Bob Kommersmith. While his singing isn’t as strong and steady as in the past, it retains all of its emotional authenticity. The album’s songs mostly concern women, nothing new there. Remakes of venerable Chicago blues numbers are more interesting than the new compositions. On Muddy Waters’s “Blow Wind Blow,” Lay and company expertly balance relaxation and exhilaration. They also inject new life into two more covers, Howlin’ Wolf’s “Baby How Long” and Big Boy Crudup’s “Second Man.” In sum, Rush Hour Blues is worth hearing. (by Frank-John Hadley)

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I had never heard of Sam Lay until driving home late one night and there he was at the far left end of the dial. It was an instrumental number called “midnight Drag”. That song prompted me to take a chance on this album and I was surprised at how good this album is. The style is Chicago blues, with an emphasis on the shuffle. Sam is one of the few singing blues drummers around, and he has been playing since the 50’s. He really works the shuffle well, and is backed by very tight band. The lead guitar work of Larry Burton is outstanding, and the keyboards played by Celia Ann Price are equally good. There is a good variety of tunes, from the classic chicago style opening number to the raucous “Rush Hour Blues”, and ending with the jazzier instrumental “midnight drag”. If you enjoy the blues this is one quality album worth getting. (an amazon customer)

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Personnel:
Larry Burton (guitar)
Fred James (guitar)
Bob Kommersmith (bass)
Sam Lay (drums, vocals)
Celia Ann Price (keyboards)
Greg “Fingers” Taylor (harmonica)
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Tracklist:
01.Baby How Long (Burnette) 3.32
02. Second Man (Cruddup) 5.55
03. I’ll Be The Judge Of That (Bradford/Fleming) 2.58
04. I Like Women (James/Brandon) 3.43
05. Blow Wind Blow (Morgenfield) 3.54
06. I Got Two Woman (Burton) 4.09
07. Somebody Gotta Do It (Smith/Whiting) 3.13
08. Mama And Papa Hopkins (Hopkins/McCormick) 5.50
09. Rush Hour Blues (Bradford/Fleming) 3.26
10. I’m Gonna Shoot Her (Reed) 4.25
11. Pure Grain Alcohol (Curry) 2.45
12. Midnight Drag (Jackson) 3.41

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