Back Stabbers is a studio album by Philadelphia soul group The O'Jays, released in August 1972 on Philadelphia International Records. Recording sessions for the album took place at Sigma Sound Studios in Philadelphia, Pennsylvania in 1972.

As the opening track, "Agony Wagon," shuffles out of the starting blocks like some sort of hillbilly klezmer chestnut, complete with violin and clarinet, you can't help but wonder if the Legendary Shack Shakers have done a 180 for their second album, 2004's Believe. Further research confirms this isn't quite the case, but Believe does find this band of hot-wired Nashville maniacs adding a few more flavors to their usual gumbo of country, blues, rockabilly, and punk. Fiddles and horns add seasoning to a few tracks, the group musters up a shade more technical finesse than they did on their blasting debut, Cockadoodledon't, and the graceful waltz-time "The Pony to Bet On" suggests this band might actually have some subtlety lurking deep down inside of them. But for the most part Believe shows the Shack Shakers's instincts remain mercifully unchanged – they're here to kick ass and get wild, and man oh man, are they good at it.

Stretch were a 1970s British rock band that grew from the collaboration between Elmer Gantry (real name Dave Terry) and Kirby (real name Graham Gregory). Gantry had been the frontman of Elmer Gantry's Velvet Opera. Kirby had been a member of Curved Air. The band was put together in 1974 with help from Fleetwood Mac manager Clifford Davis and drummer Mick Fleetwood, to perform as Fleetwood Mac on a US tour because the existing Fleetwood Mac were not in a position to fulfil outstanding contractual obligations. However, Fleetwood did not join the tour as planned, and later denied any knowledge or involvement, and partway through the tour it became obvious to audiences that there was no original member of Fleetwood Mac in the band, and the tour collapsed. Bass player Paul Martinez claimed, "Mick Fleetwood pulled out at the last minute claiming not to know who we were!"

The difference between Blood, Sweat & Tears and the group's preceding long-player, Child Is Father to the Man, is the difference between a monumental seller and a record that was "merely" a huge critical success…

Jeff Lorber shows us this magnificent production with a star of the saxophone as is Eric Marienthal. A fresh, powerful and dynamic cd with excellent arrangements. A cd with lot of life. Marienthal always intense and the recording is enriched with the vocal participation of Leroy Ousborne, Eric Jordan and Jeff Pescetto, Super singers.

Bobby Timmons - The Prestige Trio Sessions (1964) {Prestige PRCD-24277-2 rel 2003}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 422 Mb | MP3 @320 -> 169 Mb
Full Artwork @ 300 dpi (jpg) -> 35 Mb | 5% repair rar
© 1964, 2003 Prestige / Fantasy | PRCD-24277-2
Jazz / Hard Bop / Piano

This CD reissue combines two long-available Prestige LPs by Bobby Timmons, Little Barefoot Soul and Chun-King. The first date was actually the pianist's debut for the label, and it nearly didn't take place at all. A quintet session suddenly turned into a trio with bassist Sam Jones and Ray Lucas, the latter a last minute substitution on drums. Although Timmons' jazz immortality was assured with his earlier hit "Moanin'," most of the originals sound as if they were written shortly beforehand and were still evolving. The standout among them is easily.

Keith Jarrett - J. S. Bach: Goldberg Variations (1989) {ECM New Series 1395}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 403 Mb | MP3 @320 -> 148 Mb
Full Artwork @ 600 dpi (jpg) -> 30 Mb | 5% repair rar
© 1989 ECM Records | ECM New Series ECM 1395
Classical / Baroque / Harpsichord

Keith Jarrett is incredibly gifted both as a painist and as a harpsichordist. That he chose the harpsichord for his rendition of the Golberg Variations suggests that he found it capable of rendering a closer approximation of his ideal interpretation of these works. Hearing it is indeed a great joy!

Caetano Veloso & Ivan Sacerdote - Caetano Veloso & Ivan Sacerdote (2020) {Universal Music}
FLAC (tracks) - 16bit/44.1kHz - Official Digital Download (qobuz.com) -> 208 Mb | MP3 @320 -> 103 Mb | Cover | 5% repair rar
© 2020 Uns Produções / Universal Music International
Música popular brasileira / MPB / Tropicalia / Brazilian Traditions / World Music

It is difficult to find someone who owns a work as complete in Brazilian music as Caetano Veloso. The singer, acclaimed in all corners of the planet where he stepped, reaches the age of 70 in full activity and creating new stories. When it comes to reframing then, he also does well. An example of this is the album “Caetano Veloso & Ivan Sacerdote”, released this Thursday (16th).

The relationship between Oscar Hammerstein II and Stephen Sondheim is among the most confounding in the American musical theater. On the one hand, Hammerstein was Sondheim's spiritual father, the guiding force who led him to become a writer of theater songs. On the other, the optimistic, wholesome attitude expressed in Hammerstein's lyrics and librettos could not be more different from the skeptical, subversive wit of Sondheim. Mandy Patinkin confronted this dichotomy head-on in his fourth album, alternating songs by the two, following Hammerstein's "If I Loved You" with Sondheim's "I Wish I Could Forget You," Hammerstein's "Honey Bun" with Sondheim's "Not a Day Goes By." Those juxtapositions emphasized the differences, but Patinkin also found similarities in some pairings.

At first impression, post-bop pianist/composer Baptiste Trotignon looks like a newcomer to the jazz scene, though he has recorded a number of CD since the mid-'90s as a leader on the Naive label. He will likely benefit from the wider distribution of his Sunnyside debut, which features Trotignon playing 11 originals with various lineups. A gifted pianist who shows lots of promise, Trotignon's works hold up well to repeated hearings, engaging his rhythm section and telling a story in the process, highlighted by the catchy "Mon Ange," and the wild uptempo blues "Red Light District."

What does a veteran band do when it's some 25 years into its career and wants to record a new album but doesn't have any new original songs? Why, record a covers album of course! And that's exactly what Madness, the kings of British ska revival, have done for their ninth studio album, 2005's The Dangermen Sessions, Vol. 1. It's their first new album since 1999's Wonderful, but they've been active in the interim, playing gigs on a regular basis. This means that the group sounds supple and professional, even if the lack of new songs in six years does suggest that the band doesn't really have anything to say at this point, and would just rather play, relax, and have a good time while encouraging others to have a good time.