46 Track of unforgettable memories from the 60's & 70's.

Carolyn Malachi is an artist’s artist. Her work is the kind that deeply studied technicians instantly recognize and appreciate as one of their own. And, while her work has largely straddled the fence between the avant-garde and the commercially accessible, with Rise: Story 1, she almost completely hops over to the side of experimentation and technician play. The results are a mix of flawlessly sung, rapped, and played material that feel disjointed in their arrangements and non-linear storytelling, creating an album more impressionistic than accessibly concrete, depending on how much creative play one can tolerate or embrace from their music.

2009 two CD set. Joe Jackson was one of the pioneers of the leading British-based artists that brought a New Wave sound to the world in the late '70s. This compilation of recordings is taken from the BBC s archives, who caught a snapshot of the artist at the start of his career and charted his phenomenal rise to success. Recorded between 1979 and 1983, this collection contains 32 live recordings including Is She Really Going Out With Him Steppin Out , Real Men , Breaking Us In Two and It s Different For Girls . Certainly, Joe Jackson in his prime! Universal.

For his third album, Nighthawks at the Diner, Tom Waits set up a nightclub in the studio, invited an audience, and cut a 70-minute, two-LP set of new songs. It's an appropriate format for compositions that deal even more graphically and, for the first time, humorously with Waits' late-night world of bars and diners. The love lyrics of his debut album had long since given way to a comic lonely-guy stance glimpsed in "Emotional Weather Report" and "Better Off Without a Wife." But what really matters is the elaborate scene-setting of songs like the six-and-a-half-minute "Spare Parts," the seven-and-a-half-minute "Putnam County," and especially the 11-and-a-half-minute "Nighthawk Postcards" that are essentially poetry recitations with jazz backing. Waits is a colorful tour guide of midnight L.A., raving over a swinging rhythm section of Jim Hughart (bass) and Bill Goodwin (drums), with Pete Christlieb wailing away on tenor sax between paragraphs and Mike Melvoin trading off with Waits on piano runs. You could call it overdone, but then, this kind of material made its impact through an accumulation of miscellaneous detail, and who's to say how much is too much?