2014 marks the 50th anniversary of the debut album by The Hollies, and to celebrate this momentous occasion, the band just released 50 at Fifty, a new three-disc, 50-track set which covers their career to date, including a new track – “Skylarks” – which they recorded earlier this year. If this information sounds vaguely familiar to you, it may be because we chatted about the set with Bobby Elliott, the band’s longtime drummer, a few weeks back.)
Yes, The Hollies have put out best-of compilations before, but in addition to the fact that you can’t really blame a band for wanting to celebrate hitting the half-century mark by putting out another one, this is actually quite a strong selection of tracks, including “Look Through Any Window,” “Bus Stop,” “Stop! Stop! Stop!,” “On a Carousel,” “Carrie Anne,” “He Ain’t Heavy He’s My Brother,” “The Air That I Breathe,” and “Long Cool Woman (In a Black Dress),” among many, many others. There’s also a nice bit of serendipity in the decision to kick things with the band’s debut single, 1963’s “(Ain’t That) Just Like Me,” and wrap things up with a new song that confirms that there’s still quite a bit of life left in these lads.
It’s been buzzed about for several days now that Foo Fighters would be spending a full week as the musical guests on CBS’s The Late Show with David Letterman, but we were as surprised as anyone when we found out that Dave Grohl and the gang would be bringing a few friends along for the ride, including the one and only Tony Joe White.
Last night, White joined forces with the Foos for a scorching version of his signature song, “Polk Salad Annie,” which hit #8 on the Billboard Hot 100 back in 1968, and if “Annie” has ever shown her age in the past, she sure didn’t last night.
If you came of age during the ‘70s and ‘80s, then it’s hard to imagine that the soundtrack of your life didn’t include a few Foreigner songs, be it the pleading of “I Want to Know What Love Is,” the lustiness of “Hot Blooded,” or the longing of “Waiting for a Girl Like You.” As such, you may be interested in checking out a new set that’s just hit stores: Foreigner, The Complete Atlantic Studio Albums 1977-1991, which makes good on its name by including all seven of the albums released by the band during their tenure at Atlantic Records.
There’s always been something a bit special about Spandau Ballet: even though they may have had a look and a sound that helped cement them as ‘80s artists, a surprising amount of their music had a timelessness to it that’s helped them remain in the memories of listeners long after many of their peers have faded away…and there’s no point in denying it, because you know this much is true.
After blowing away fans, critics, and casual observers during their SXSW appearance, which was their first American performance in almost three decades, and catching the eye of film festival attendees with their new documentary, Soul Boys of the Western World, more than a few journalists have dared to write the words, “Spandau Ballet is back!” For once, it’s not hyperbole: while the band’s new compilation, The Story - The Very Best of Spandau Ballet, is certainly not their first greatest-hits collection, it has three things that none of its predecessors possessed: “This Is the Love,” “Steal,” and “Soul Boy,” a trio of newly-recorded songs by the band, produced by Trevor Horn, the man who twiddled the knobs for “Instinction” way back when.
If you consider yourself a bass player and you don’t hold Jaco Pastorius in the highest esteem, then we can only presume you’ve never really listened to the man, because he’s one of those guys whose work with the instrument was so unique and groundbreaking that it’s hard to hear it without wanting to drop to your knees and begin recitation of the phrase, “I’m not worthy!”
Since we doubt if you thought for a moment that we’d suddenly started talking about him by coincidence, it probably won’t come as any sort of surprise to you that, yes, we’ve got a brand new anthology which provides both new and old fans with the opportunity to explore Pastorius’s work during his tenure with Warner Brothers Records.