The Corrs - The Best Of The Corrs

U2 - The Golden Unplugged Album (2008)

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With LESSONS TO BE LEARNED finished but still months away from release, word started to get out that something very special was in the offing and things started happening quickly for Gabriella. There were gigs around London and she was asked to record a cover version of the Martha & The Muffins’ classic “Echo Beach” as the theme song of a new British TV drama of the same name. Then, at the end of last year, the producers of Later With Jools Holland, one of the most popular and distinguished music shows on British TV, got to hear an advance copy of “Sweet About Me” and insisted that Gabriella appear on their end of year show, despite the fact that the single was still ages away from release. “That was awesome,” beams Gabriella. “I’ve always watched the show and thought I want to go on it one day. It’s the coolest music show around because it’s only about the music. It was so funny walking in there because it felt like I’d walked into my television set. It was really fun. I was just smiling all day. It was cool. I met Ronnie Wood from the Rolling Stones. He shook my hand and gave me a kiss on the cheek. I nearly died.” A taste of many extraordinary things to come, no doubt. Rest assured, “Sweet About Me” will shortly blow away everyone, everywhere. But it’s just a sampler from an extraordinary debut album from a gifted new artist. LESSONS TO BE LEARNED is the album that will make Gabriella Cilmi one of the most talked about new artists of 2008.

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Vous pensiez en avoir fini avec les commémorations ? Raté ! L'été arrive et le printemps revient, celui de 68 célébré par des chanteurs aussi divers que Stacey Kent, Rodolphe Burger, Moustaki ou Cali. C'est d'ailleurs à ces deux-là que l'on doit la chanson la plus politique de ce disque-collage, un bel hymne à la révolution entonné en duo et extrait du dernier album de Moustaki. Le reste, c'est un peu la bande-son idéale des années 60 finissantes, quand Salut les copains diffusait sur les ondes des parfums mêlés de rock, de psychédélique et de bluettes yé-yé. Où l'on entendra donc aussi bien des reprises de Dutronc ou de Françoise Hardy que de Lee Hazlewood ou des Aphrodite's Child. Aussi disparate que plaisant.

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Chris Anderson is one of the unsung heroes of modern jazz piano. A revered figure among musicians, largely for his role as mentor to a young Herbie Hancock, Anderson has long been hindered by illness from aggressively pursuing his rightful place in the jazz limelight. As Charlie Haden poignantly states in the album's liner notes, “Chris is risking his life with every chord, that's how much it means to him.” Although he has performed with everyone from Charlie Parker to Sun Ra over the course of his lengthy career, Anderson remains mostly unknown even to serious jazz fans. One hopes that this outstanding new duo effort with bass master Haden on the British Naim label helps to earn him some richly deserved acclaim.

In a genre full of tragically short-lived performers, Woody Shaw's story is exceptionally tragic. Legally blind
and beset with emotional problems, he was killed in a subway accident in 1989 without ever attaining the
recognition attentive listeners knew he deserved. The Mosaic box set of his Columbia recordings a few
years ago placed him in a linear development of trumpet players between Hubbard and Marsalis; this was,
no doubt, a highly questionable analysis (mainly because it left out Miles Davis altogether), but it indicated
the high regard and influence Shaw has had — or should have had — over other trumpet players.

Collin Walcott's tablas and sitar gesture to the deep influence of Indian classical music on Oregon's sound, while Glen Moore's bass and flute, Ralph Towner's guitars and piano, and Paul McCandless's reeds create alternately minimalist and dense sonic landscapes that continually stretch in new directions. Seifert's playing owes debts to gypsy-inflected folk and post-bop alike, and his contributions make VIOLIN a distinctive notch in the band's already impressive catalogue.

While by no means the first of Australia's outdoor rock festivals, for better or worse, Sunbury soon assumed the mantle of "Australia's Woodstock". It was held at the end of January, 1972, over the Australia Day long weekend. The venue was a natural amphitheatre site on farmland near Sunbury, a rural town north of Melbourne, Victoria. The Aztecs shared billing with Spectrum/Murtceps, The La De Das, Max Merritt & the Meteors, SCRA, Pirana, Greg Quill's Country Radio and many others.