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Let Love Rule
by
Virgin Records Us (Editor)
Lenny Kravitz Photos More from Lenny Kravitz
Lenny | 
Greatest Hits | 
Are You Gonna Go My Way |
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The Köln Concert
by
Ecm Records (Editor)
A musical chameleon, pianist Keith Jarrett was at his finest when he recorded these sustained solo improvisations in a German concert hall in 1975, the first lasting 26 minutes, the second 40. Melodies and rhythmic figures arise fluidly from his fingers as he moves from one idea to another, while his strong left hand is often used for repeated motifs that generate a rolling hypnotic power. This couples with strongly consonant harmonies to impart the flavor of gospel music at times, dance musics and Debussy at others. Above all, it's Jarrett's ability to knit all of his moods and wanderings into an almost seamless tapestry of warm and tuneful ideas that gives this music its enduring appeal. --Stuart Broomer
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Led Zeppelin IV (aka ZOSO)
by
Atlantic / Wea (Editor)
Also known as the "rune" album or Zoso because of the medieval symbols adorning the inner sleeve, Led Zeppelin's fourth album, released in 1971, turned them from mere superstars into giant behemoths of the rock world. On tracks like "Black Dog," "Misty Mountain Hop," and "Rock and Roll," the combination of Robert Plant's banshee wails and Jimmy Page's frenetic guitar playing forever altered the stylistic bent of hard rock music. And the foreboding "When the Levee Breaks" demonstrated that Zeppelin could indeed play the blues fairly straight if they so desired. Still, everything here ultimately took a back seat to the album's (and, ultimately, the band's) magnum opus--the expertly constructed and deftly executed classic, "Stairway to Heaven." --Billy Altman
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Lady in Satin
by
Sony (Editor)
Limited 'Millennium Edition' reissue of classic 1958 album in a deluxe heavyweight miniaturized LP sleeve complete with inner sleeve and a Japanese-style obi strip on the spine. 12 tracks. Individually numbered. 1999 release.
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Kind of Blue
by
Sony (Editor)
This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed
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Live At The Cafe Au Go-Go (And Soledad Prison)
by
Mca (Editor)
Simply one of the greatest live blues recordings ever. Hooker plays alone at Soledad, yet the real thrill is hearing him backed at Greenwich Village's Café Au-Go-Go in 1966 by Muddy Waters and his band, including pianist Otis Spann, unsung harmonica giant George Smith, Francis Clay on drums, and guitarists Sammy Lawhorn and Luther Johnson. All are at the height of their abilities, but it's Hooker who works like a hoodoo conjurer, making misery rain down in "Seven Days" and "When My First Wife Left Me." This August night's reading of "I'm Bad Like Jesse James" ranks among the most intimidating vocal performances ever taped. His guitar and baritone singing sink to rarely heard depths of the blues--that secret place in the music (known only to its absolute masters) where it becomes an elemental force. --Ted Drozdowski
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Machine Head
by
Warner Bros / Wea (Editor)
Home of "Smoke on the Water" and "Highway Star," Machine Head blends proto-metal density with epic arrangements, resulting in a record that's far more grandiose than the sum of its parts. --Jon Wiederhorn
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Live in Cook County Jail
by
Mca (Editor)
One of the greatest concert recordings of all time. How could it be less, with B.B. King performing some of his best material before a literally captive audience in an Illinois prison? "Worry, Worry" and "How Blue Can You Get" take on deeper meanings here, although King works the latter's camp lyrics as if he were in a juke joint. His mix of down-home humility and commanding stagecraft is instantly appealing. And his guitar barks, sings, and squeals with such authority that this is a bravura performance from the first bent, soul-searing note. A true desert-island disc. --Ted Drozdowski
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L.A. Woman
by
Elektra / Wea (Editor)
Digitally remastered pressing of The Doors final release with Jim Morrison from 1971, a melodic yet dark and ominous trip through the sleazier side of life. The Doors' mixture of Rock, Blues and Jazz combined with vocalist Jim Morrison's poetic lyrics and powerful vocals created a musical Molotov cocktail that could make your senses explode...in a good way! 10 tracks including 'Love Her Madly', 'Riders On The Storm' and the groovy title track. Warner.
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