A Simple Rock Classic to Start the Day
@1973 US Pressing
The Singles: 1969–1973 is an album by the brother/sister pop duo The Carpenters. A greatest hits collection, it topped the charts in the U.S. and the United Kingdom and became one of the best-selling albums of the 1970s. Features of this compilation include a newly recorded version of “Top of the World”, “Ticket to Ride” and a number of musical introductions and segues between the songs “Superstar”, “Rainy Days and Mondays” and “Goodbye to Love”. It has been certified 7× platinum in the U.S. alone. In the UK, the album reached #1 for 17 (non-consecutive) weeks.
Richard gave the album this title because he doesn’t like the term “greatest hits" because he felt it was "an overused thing".
Individuals and groups with two or three hits all of a sudden put them on an album, use filler for the rest and title it “greatest hits”. This album contains eleven true hits and it just wasn’t slapped together. We’ve remixed a few, re-cut one and joined a couple of others. It’s simply something I believe we owe our audience and ourselves.
@1971 UK Pressing
Maybe Tomorrow was the fifth regular album released by The Jackson 5 in 1971. Released after the success of the hit ballad “I’ll Be There”, most of the tracks on the album are ballads, with few dance numbers. Maybe Tomorrow includes the hit singles “Never Can Say Goodbye” and “Maybe Tomorrow”. While not as financially successful as the Jackson 5’s first three outings, selling over 3.5 million copies worldwide,Maybe Tomorrow contains some of the most often-sampled and covered material in the group’s catalogue. It spent six weeks at #1 on the Soul albums chart.
Seals and Crofts
@1974 US Pressing
After a string of hits,was a mistake coming from the camp when it did. Blatantly anti-abortion, it did little to help their careers and nothing in the way of chart success. But one must consider that it does hold good music in its grooves, and with today’s attitudes changing, perhaps this isn’t as harsh as it first appeared to be.
Art Lande, Rubisa Patrol
@1977 Germany Pressing
Desert Marauders represents the final iteration of pianist Art Lande’s Rubisa Patrol quartet, which over its flash-in-the-pan tenure produced a solid, if modest, body of imaginative work. For this recording Kurt Wortman replaces Glenn Cronkhite on drums and provides plenty of adhesive for otherwise free-floating themes and ideas. His stop-and-start playing engages Lande in exciting conversation throughout the groovy opener. At 16 minutes, it is more main course than appetizer, but whets our expectations all the same with its vivid prime directive while offering food for thought via Mark Isham’s serpentine melodies. Bassist Bill Douglass works us back into the swing of things with consummate fortitude. After this epic journey, “Livre (Near The Sky)” feels like a piece of heaven. Driven by the fluid trumpet of its composer in the only non-Lande composition on tap, it’s a piece of and about imagination. Each piano chord is a branch to which Isham glues his own improvised leaves. We feel the entire tree swaying in the winds of an oncoming storm, the first drops of which hit our forehead in the piano of “El Pueblo De Las Vacas Tristes.” As it comes down in placid sheets, it flows at the feet of camels and worn sandals. Lande lays out the loveliness over his rhythm section in a blend of oil and chalk pastels. Douglass doubles Isham on flute in “Perelandra” for some airier moments. “Sansara” is a throwback of sorts. Its solid, infectious pianism, lively trumpeting, and tender bass solo combine for a smooth and rousing finish to a fine effort all around.
Led Zeppelin IV
@1971 US Pressing
After the lukewarm, if not confused and sometimes dismissive, critical reaction Led Zeppelin III had received in late 1970, Page decided that the next Led Zeppelin album would not have a title, but would instead feature four hand-drawn symbols on the inner sleeve and record label, each one chosen by the band member it represents. “We decided that on the fourth album, we would deliberately play down the group name, and there wouldn’t be any information whatsoever on the outer jacket”, Page explained. “Names, titles and things like that do not mean a thing.”
Page has also stated that the decision to release the album without any written information on the album sleeve was contrary to strong advice given to him by a press agent, who said that after a year’s absence from both records and touring, the move would be akin to “professional suicide”. In Page’s words: “We just happened to have a lot of faith in what we were doing." .In an interview he gave to The Times in 2010, he elaborated:
It wasn’t easy. The record company were sort of insisting that the name go on it. There were eyes looking towards heaven if you like. It was hinted it was professional suicide to go out with an album with no title. The reality of it was that we’d had so many dour reviews to our albums along the way. At the time each came out it was difficult sometimes for the reviewers to come to terms with what was on there, without an immediate point of reference to the previous album. But the ethic of the band was very much summing up where we were collectively at that point in time. An untitled album struck me as the best answer to all the critics — because we knew the way that the music was being received both by sales and attendance at concerts.
Releasing the album without an official title has made it difficult to consistently identify. While most commonly called Led Zeppelin IV, Atlantic Records catalogues have used the names Four Symbols and The Fourth Album. It has also been referred to as ZoSo (which Page’s symbol appears to spell), Untitled and Runes. Page frequently refers to the album in interviews as “the fourth album” and “Led Zeppelin IV”, and Plant thinks of it as “the fourth album, that’s it”. Not only does the album have no title, but there is no printing anywhere on the front or back cover, or even a catalogue number on the spine (at least, on the original vinyl LP release).
The song needs no introduction
Michael Jackson / One Day In Your Life
An oldie to start the day.
Sounds like the Flirtations
@1969 UK Pressing
Although they never recorded for Motown Records,should have, because they sounded like nothing so much as a more energetic version of , and by all rights, this exciting vocal trio should have been continually at the top of the pop charts during the late 1960s and early 1970s. They did have a big hit with 1969’s “Nothing But a Heartache,” a record that has had an enduring shelf life and actually might be better known now in the 21st century than it was 40-some years ago. An American singing trio who relocated to the U.K. in 1967, recorded an album, , and several singles for the Decca imprint Deram Records before leaving for Polydor Records in 1972. This set collects the Deram album and adds in four additional tracks from the same time period to make an ideal introduction to this fun group. Among the gems here are the undeniably classic “Nothing But a Heartache,” the bursting-with-energy “Need Your Loving,” the autobiographical “South Carolina” and the why-wasn’t-this-a-hit “What’s Good About Goodbye My Love,” but everything here falls into the same groove, with upbeat arrangements, spirited singing and insistent, racing and almost unhinged horn arrangements. It’s fun stuff, and fans of Motown and Northern Soul are going to love this reissue release.
Some selections from the album
Songs in the Key of Life
@1976 HK Pressing
With time, the album became a standard, and it is considered Wonder’s signature album. “Of all the albums,” he told Q magazine (April 1995 issue), “Songs in the Key of Life I’m most happy about. Just the time, being alive then. To be a father and then… letting go and letting God give me the energy and strength I needed.” Songs in the Key of Life is often cited as one of the greatest albums in popular music history. It was voted as the best album of the year in The Village Voice’s annual Pazz & Jop critics poll; in 2001 the TV network VH1 named it the seventh greatest album of all time; in 2003, the album was ranked number 56 on Rolling Stone Magazine’s list of the 500 greatest albums of all time.
Many musicians have also remarked on the quality of the album and its influence on their own work. For example, Elton John said, in his notes for Wonder on the 2003 Rolling Stone’s list of “The Immortals – The Greatest Artists of All Time” (in which Wonder was ranked number 15): “Let me put it this way: wherever I go in the world, I always take a copy of Songs in the Key of Life. For me, it’s the best album ever made, and I’m always left in awe after I listen to it.” In an interview with Ebony magazine, Michael Jackson called Songs in the Key of Life his favorite Stevie Wonder album. George Michael cited the album as his favorite of all time and with Mary J. Blige covered “As” for a 1999 hit single. Michael also performed “Village Ghetto Land” at the Nelson Mandela 70th Birthday Tribute in 1988.
R&B singers in particular have praised the album – Mariah Carey generally names the album as one of her favourites, and Whitney Houston also remarked on the influence of Songs in the Key of Life on her singing. (During the photoshoot for her Whitney: The Greatest Hits, as seen on its respective home video, the album was played throughout the photo sessions, at Houston’s request.) The album’s tracks have provided numerous samples for rap and hip-hop artists; for example, “Pastime Paradise”, which itself drew on the first eight notes and four chords of J.S. Bach’s Prelude No. 2 in C minor (BWV 847), was reworked by Coolio as “Gangsta’s Paradise”. In 1995, smooth jazz artist Najee recorded a cover album titled Najee Plays Songs from the Key of Life, which is based entirely on Wonder’s album. In 1999, Will Smith used “I Wish” as the base for his US number-one single “Wild Wild West”. The song repeated the main melody of “I Wish” as a riff and some lyrics re-formed.
In April 2008, the album was voted the “Top Album of All Time” by the Yahoo! Music Playlist Blog, using a formula that combined four parameters – “Album Staying Power Value + Sales Value + Critical Rating Value + Grammy Award Value”.
In December 2013, Stevie Wonder did a live concert performance of the entire “Songs in the Key of Life” album at the Nokia Theater in Los Angeles. The event was his 18th annual House Full of Toys Benefit Concert, and featured some of the original singers and musicians from the 1976 double-album as well as several from the contemporary scene.
There is a period in the mid 70s. Where a Cantonese soprano operatic performance are backed by a funk rhythm, and that is augmented by string and horn orchestration.
So unique that is only happened in Hong Kong.