(2009/SUNDAZED) 1967 United Artist Debut LP Traffic was one of the most original and influential British groups of the 1960s, gathering a diverse set of individual talents in vocalist/multi-instrumentalist Steve Winwood, singer/guitarist Dave Mason, drummer Jim Capaldi and reeds player Chris Wood. The foursome´s expansive talents and formidable creative chemistry allowed the musicians to integrate an array of folk, jazz, pop and R&B elements, infusing their eclectic stylistic mix with a playfully psychedelic spirit that perfectly captured the experimental sensibility of the times. Traffic´s historic 1967 debut LP (produced by noted studio vet Jimmy Miller) was released in the U.K. as Mr. Fantasy, but initially reached U.S. shores in altered form as Heaven Is in Your Mind/Mr. Fantasy. The American edition featured an altered track listing and new cover art with Winwood, Capaldi and Wood but not Mason, who had quit the band prior to the album´s release. The U.S. LP added the British singles ´Paper Sun,´ ´Hole in My Shoe´ and ´Smiling Phases´ to the album´s running order, along with a short snippet of the U.K. single ´Here We Go Round the Mulberry Bush´ as a recurring motif between tracks. The American edition also tacked on the short closing track ´We´re a Fade, You Missed This,´ which is actually the fadeout of an alternate version of ´Paper Sun.´ The American LP´s title was quickly amended to Mr. Fantasy, and it was under that name that most stateside fans came to know the album, with the original U.S. edition becoming something of a rarity. In any form, and under any title, Heaven Is in Your Mind/Mr. Fantasy ranks as one of the most audacious and inventive rock albums of its time. Such catchy tunes as ´Paper Sun,´ ´Hole in My Shoe´ and ´Heaven Is in Your Mind´ combine stylistic adventurousness with effortless melodic appeal, while more introspective numbers like ´Dear Mr. Fantasy´ and ´Coloured Rain´ capture early stirrings of prog-rock and jazz-fusion. Sundazed´s new vinyl edition of this seminal vintage disc completely restores the album´s rare original U.S. cover art. The LP also features the album´s incredibly rare mono mix, which differs substantially from the album´s more familiar stereo mix. Pressed on pristine high-definition vinyl, Heaven Is in Your Mind/Mr. Fantasy now looks and sounds better than ever. Also available on compact disc!
A stunning debut novel of two girls raised in hardship, separated by fortune, and reunited through tragedy. Fourteen-year-old Audrey Martin, with her Poindexter glasses and her head humming the 3/4 meter of gospel music, knows she´ll never get out of Kentucky - but when her fingers touch the piano keys, the whole church trembles. Her best friend, Caroline, daydreams about Hollywood stardom, but both girls feel destined to languish in a slow-moving stopover town in Montgomery County. That is, until chance intervenes and a booking agent offers Audrey a ticket to join the booming jazz scene in Harlem - an offer she can´t resist, not even for Caroline. And in New York City the music never stops. Audrey flirts with love and takes the stage at the Apollo, with its fast-dancing crowds and blinding lights. But fortunes can turn fast in the city - young talent means tough competition, and for Audrey failure is always one step away. Meanwhile, Caroline sinks into the quiet anguish of a Black woman in a backwards country, where her ambitions and desires only slip further out of reach. Jacinda Townsend´s remarkable first novel is a coming-of-age story made at once gripping and poignant by the wild energy of the Jazz Era and the stark realities of segregation. Marrying musical prose with lyric vernacular, Saint Monkey delivers a stirring portrait of American storytelling and marks the appearance of an auspicious new voice in literary fiction. 1. Language: English. Narrator: Allyson Johnson. Audio sample: http://samples.audible.de/bk/adbl/017890/bk_adbl_017890_sample.mp3. Digital audiobook in aax.
In the early 1950s, an eleven-year-old boy in Colombo boards a ship bound for England. At mealtimes he is seated at the ´´cat´s table´´-as far from the Captain´s Table as can be-with a ragtag group of ´´insignificant´´ adults and two other boys, Cassius and Ramadhin. As the ship makes its way across the Indian Ocean, through the Suez Canal, into the Mediterranean, the boys tumble from one adventure to another, bursting all over the place like freed mercury. But there are other diversions as well: one man talks with them about jazz and women, another opens the door to the world of literature. The narrator´s elusive, beautiful cousin Emily becomes his confidante, allowing him to see himself ´´with a distant eye´´ for the first time, and to feel the first stirring of desire. Another Cat´s Table denizen, the shadowy Miss Lasqueti, is perhaps more than what she seems. And very late every night, the boys spy on a shackled prisoner, his crime and his fate a galvanizing mystery that will haunt them forever. As the narrative moves between the decks and holds of the ship and the boy´s adult years, it tells a spellbinding story-by turns poignant and electrifying-about the magical, often forbidden, discoveries of childhood and a lifelong journey that begins unexpectedly with a spectacular sea voyage. From the Hardcover edition.
(2009/SUNDAZED) 1968 Columbia Debut Album Although they would go on to become one of the most commercially successful acts of the 1970s, most observers agree that Blood, Sweat & Tears’ 1968 debut effort Child Is Father to the Man remains the ambitious ensemble’s finest and most enduring musical statement. The band’s only album under the leadership of legendary singer / keyboardist Al Kooper, Child Is Father to the Man stands with such late-’60s art-pop landmarks as the Zombies’ Odessey and Oracle and Love’s Forever Changes in capturing the period’s seemingly limitless creative possibilities. Child Is Father to the Man is a brilliant reflection of the desire of Kooper—a former member of the seminal Blues Project and a key collaborator in Bob Dylan’s early electric work—to use an expanded instrumental lineup to explore a broader range of sounds, styles and compositional approaches. Towards that end, he launched Blood, Sweat & Tears, recruiting a stellar assortment of players from the worlds of rock and jazz, including ex-Blues Project guitarist Steve Katz, former Buffalo Springfield/Mothers of Invention bassist Jim Fielder, jazz drummer Bobby Colomby and noted jazz horn players Randy Brecker, Dick Halligan, Fred Lipsius and Jerry Weiss. The resulting album (produced by fabled studio genius John Simon) was a seamlessly eclectic psychedelic-rock-jazz-classical fusion, with such diverse tracks as Kooper’s gritty compositions ´´I Can’t Quit Her´ and ´´I Love You More Than You’ll Ever Know,´ as well as his playfully arty ´´House in the Country´ and ´´The Modern Adventures of Plato, Diogenes and Freud,´ along with stirring readings of Tim Buckley’s ´´Morning Glory,´ Harry Nilsson’s ´´Without Her´ and Randy Newman’s ´´Just One Smile.´ Kooper’s expansive musical vision may have been a bit too far ahead of its time. Although it was a favorite of early FM album-rock DJs, Child Is Father to the Man barely scraped the Billboard Top 50 and failed to produce a hit single. However, in the years since, the album has been widely recognized for its expressiveness and originality, and embraced by successive generations of listeners. For instance, it received a prominent placement in Rolling Stone’s 2003 ranking of the 500 greatest albums of all time. Now, Child Is Father to the Man is back in its original vinyl format with Sundazed’s definitive new LP edition. With meticulously reproduced original cover art, this vintage musical landmark has been remastered from the original analog master tapes and is pressed on high-quality, high-definition vinyl.
Brilliantly wrought, incisive, and stirring, The Heirs tells the story of an upper-crust Manhattan family coming undone after the death of their patriarch. Six months after Rupert Falkes dies, leaving a grieving widow and five adult sons, an unknown woman sues his estate, claiming she had two sons by him. The Falkes brothers are pitched into turmoil, at once missing their father and feeling betrayed by him. In disconcerting contrast, their mother, Eleanor, is cool and calm, showing preternatural composure. Eleanor and Rupert had made an admirable life together - Eleanor with her sly wit and generosity, Rupert with his ambition and English charm - and they were proud of their handsome, talented sons: Harry, a brash law professor; Will, a savvy Hollywood agent; Sam, an astute doctor and scientific researcher; Jack, a jazz trumpet prodigy; Tom, a public-spirited federal prosecutor. The brothers see their identity and success as inextricably tied to family loyalty - a loyalty they always believed their father shared. Struggling to reclaim their identity, the brothers find Eleanor´s sympathy toward the woman and her sons confounding. Widowhood has let her cast off the rigid propriety of her stifling upbringing, and the brothers begin to question whether they knew either of their parents at all. A riveting portrait of a family, told with compassion, insight, and wit, The Heirs wrestles with the tangled nature of inheritance and legacy for one unforgettable patrician New York family. Moving seamlessly through a constellation of rich, arresting voices, The Heirs is a tale out of Edith Wharton for the 21st century. 1. Language: English. Narrator: Kimberly Farr. Audio sample: http://samples.audible.de/bk/rand/005128/bk_rand_005128_sample.mp3. Digital audiobook in aax.
(Empress) 25 tracks. original recordings Just picture the scene. The British people are celebrating VE day with a will. Throughout the country people are gathering together for street parties, pubs and bars are packed with revellers while the length and breadth of London´s Whitehall is thronged with an enormous crowd eager to slake its collective thirst, then to acclaim one of the great heroes of the hour - the Prime Minister, Winston Churchill... for he is due to speak to the mass of people who have joy in their hearts and a song in their throats. It makes for a most stirring occasion. The conflict in Europe is over, although everyone is aware that the years ahead will not be easy. Just for this one particular day they can forget their worries and enjoy one of the great days in their country´s history. Music is playing everywhere. Songs of hope, songs of sentiment; some with words looking forward to a bright future, others with a reflective backwards glance to the bitter-sweet emotions of the six long years of strife. It was a marvellous period for music. Great songs were still being written for vocalists fully capable of doing them complete justice. On both sides of the Atlantic the pre-war boom in swing and dance bands had evaporated to some extent; it was the singers who ruled in the brave new world. Vera Lynn had begun her professional career as a band vocalist, but by the early ´forties had established herself as one of the most popular solo artists in Britain. The deep sincerity of her finely tuned singing together with the memorable numbers she performed struck a chord at home and with the troops overseas. Her connection with the forces during the war has passed into the nation´s folklore. Of all the singers active between 1939 and 1945 it is Dame Vera who will forever be associated with those dark days; her records form a soundtrack to the war years. It is a tribute to Vera Lynn that her popularity has never waned, enduring to the present day more than fifty years after she recorded her big wartime hits. There´s A New World, It Could Happen To You and Jerome Kern´s beautiful Long Ago And Far Away will stir many memories. Her closest rival for the affections of the people was the much-missed Anne Shelton. When she started with Ambrose´s Orchestra as a gym-slipped schoolgirl it was hard to believe that a voice of such deep port wine resonance could come from one so young. Her sense of how to phrase and shape a song would have been considered extraordinary in an experienced artist, let alone someone only just into her teens. She was so highly regarded that, on trips to war-torn England, both Glenn Miller and Bing Crosby expressly asked her to work with them. A tremendous honour for a comparative newcomer. Just how well merited it was is demonstrated in Tonight I Kissed You and one of the only numbers to become popular in both Britain and Germany, Lili Marlene. There were other popular female vocalists besides the ´big two´. Adelaide Hall must have been one of America´s best-ever exports to the UK. Initially a wonderful jazz singer who made some classic recordings with Duke Ellington, she became an integral part of the British music scene when she moved to this country. Versatility and a fine voice coupled with a highly distinctive style were the keys to her success. Equally at home with the popular songs of the time as with mainstream jazz, her versions of the massive worldwide Julie Styne/Sammy Cahn hit It´s Been A Long Long Time and Harold Rome´s My Heart Sings are perfect vehicles for her exemplary singing. In both she is accompanied by the equally adept Norman Perry at the piano. Just like Anne Shelton the pint-sized Beryl Davis was a very young girl with a very big voice. Her teenaged assurance in I Got It Bad is a reminder of an all-round vocalist who recorded with jazz violin maestro Stephane Grappelli and with David Rose in America as well as a number of dance bands...