If you came of age in the late ‘80s/early '90s and had even a passing interest in R&B, then we have a sneaking suspicion that Keith Sweat might’ve been the soundtrack to at least a few of your coming-of-age moments, if you take our meaning. And if you don’t take our meaning, then you clearly need to listen to Keith Sweat’s Harlem Romance: The Love Collection, which is out today and is filled with 15 songs that’ll help you slow-jam your way into almost anyone’s heart.
Are you doubtful of this claim?
We understand completely – you never know who to trust these days – so to help convince you, we’ve composed a paragraph which features the titles of all 15 songs included on Harlem Romance, just to give you a feel for what kind of sexy business Mr. Sweat is getting up to on this compilation:
Little Earthquakes & Under The Pink 2-CD Deluxe Editions Featuring Remastered Audio Plus Special B-Sides, Live Tracks, & Other Rarities
180-Gram Vinyl Of Original Albums Released In The US For The First Time!
Available April 14, 2015 From Rhino
Iconic B-Side “Take To The Sky” Out Today
One of the most successful and influential artists of her generation, Tori Amos is as much a force to be reckoned with today as when she released her first solo album LITTLE EARTHQUAKES over 2 decades ago. Eschewing the trends of the time, the prodigious chanteuse touched millions deeply with her arresting melodies, riveting stage presence and personal & honest lyrics. Today, Amos announces 2-CD deluxe editions of her debut and sophomore solo albums, LITTLE EARTHQUAKES and UNDER THE PINK, each newly re-mastered and paired with an entire disc of rare B-sides and bonus tracks. The b-side from the “Winter” single, “Take To The Sky”, was revealed today.
We’re back! Did you miss us? Or did you even notice we were gone? (Given that we haven’t had a Digital Update for you since December 17, we sure hope you noticed.) A lot has happened since we were last together, including a very sad loss which, as it happens, ties directly into this week’s additions.
New this week in the Rhino Room at iTunes:
On December 22, the world of music lost the great Joe Cocker, who had the kind of unique voice that is likely never to be duplicated. Cocker had a substantial back catalog, with 22 studio albums to his credit, and three of those efforts – all of them from the mid-1980s – have at last made their way into our digital catalog.
Wow, we’re getting the strangest sense of déjà vu all of a sudden…
Yes, that’s right: yesterday our Mono Mondays release was Otis Redding’s The Dock of the Day, and today we’re issuing the very same album on 180-gram vinyl. As such, what can we tell you – besides, of course, that it’s going to sound staggeringly good when you give it a spin – that we didn’t cover in our previous piece on this classic effort?
Well, first of all, although we tackled the fact that Redding co-wrote the title track with Steve Cropper, we didn’t really get into the fact that Redding helped composed several other songs on the record, including “Let Me Come On Home,” a co-write with Booker T. Jones and Al Jacobson, Jr., and three solo compositions: “Open the Door,” “I’m Coming Home,” and “Ole Man Trouble.” In addition, there are versions of “I Love You More Than Words Can Say,” written by Jones and Eddie “Knock on Wood” Floyd, and “Don’t Mess with Cupid,” by Cropper, Floyd, and Deanie Parker, along with covers of Billy Hill’s “The Glory of Love,” Jimmy Cox’s “Nobody Knows You (When You’re Down and Out),” “Tramp,” written by Lowell Fulson and Jimmy McCracklin, and Redding’s take on “The Huckle-Buck.”
This week’s Mono Monday release is the first of what would prove to be many posthumously-released albums by Otis Redding, who had died only six weeks prior to its initial appearance on record store shelves, but there’s an eternal poignancy to its contents, as its title track proved to be the biggest hit of Redding’s career.
The 11 tracks on The Dock of the Day are taken from sessions conducted at various times between July 11, 1965 and December 8, 1967, only two days before Redding was killed when his plane crashed into Lake Monona, just outside of Madison, Wisconsin…and, yes, the title track was one of those songs that was recorded in those last sessions. Reportedly inspired by the way The Beatles had expanded their sound on Sgt. Pepper’s Lonely Hearts Club Band, Redding wanted to try something different himself, and not only was he convinced that the song – a co-write between himself and Steve Cropper – was the best thing he’d ever recorded, he believed it was destined to be a chart-topper.