Belatedly, all of Kid Creole and the Coconuts' albums can be purchased on CD, and through the Sire and Columbia years, 1980-1992, every damn one is worth it. This is something else. Though the four cuts with Creole's name on them set the tone, it assembles side projects August Darnell oversaw for ZE, and double-damn if most don't hold up–Aural Exciters, Don Armando's Second Avenue Rhumba Band, Machine's fashionably charitable "There But for the Grace of God Go I," and the long-lost prize, Cristina's neo-nihilist takeover of Peggy Lee's/Leiber & Stoller's merely existentialist "Is That All There Is?"
Recorded in Hamburg, Germany, Kid Creole and the Coconuts' The Conquest of You has more of a Euro-disco sound than the group's earlier Caribbean-styled recordings. Arranger/producer Frank Loncar, who handles keyboards, bass, and drums, is the dominant musical force, and he provides musical tracks imbued with familiar-sounding synthesizer-based dance rhythms.
Private Waters in the Great Divide is the seventh studio album released by the American musical group Kid Creole and the Coconuts. It was released in 1990 and includes the singles "The Sex of It"(written and mostly performed by Prince), and "I Love Girls".
You Shoulda Told Me You Were… is the eighth studio album released by the American musical group Kid Creole and the Coconuts. It was released in 1991 and includes the single "(She's A) Party Girl".
By the mid-’50s, when Ory started recording for Norman Granz at Verve, Ory’s second blooming was in full flower. He was touring Europe and the United States to packed houses. Audiences in France were so enthusiastic that Ory supposedly mistook their exuberance for aggression-he thought he was being jeered when he was actually being cheered. A recording of that night’s performance opens the Mosaic set, and in that hyper-charged atmosphere one will hear the closest Ory comes to the sort of raw rowdiness that is typical of so many trad trombonists today.
Kid Ory was one of the great New Orleans pioneers, an early trombonist who virtually defined the "tailgate" style (using his horn to play rhythmic bass lines in the front line behind the trumpet and clarinet) and who was fortunate enough to last through the lean years so he could make a major comeback in the mid-'40s. Originally a banjoist, Ory soon switched to trombone and by 1911 was leading a popular band in New Orleans. Among his trumpeters during the next eight years were Mutt Carey, King Oliver and a young Louis Armstrong and his clarinetists included Johnny Dodds, Sidney Bechet, and Jimmie Noone…