JJ CALE - In Session At Paradise Studios, Los Angeles, 1979 (2012) & Live (2001)
Recently retrieved, but captured in 1979, in the intimacy of the Paradise Studio, with Leon Russel, Christine Lakeland and others, this performance is obviously a must have. Pretty good sound and a lot of great songs, sometimes in jazz style sometimes more country. A pure delight for the aficionados of JJ Cale. A must for any fan of JJ Cale.
TRACKS: 01. Nowhere To Run 02. Cocaine 03. Sensitive Kind 04. Corina Corina 05. Roll On 06. No Sweat 07. Crazy Mama 08. Fate Of A Fool 09. Boilin' Pot 10. After Midnight 11. Same Old Blues 12. Don't Cry Sister
Cale's live performance style does nothing to quell his reputation for laid-back but pristine guitar playing and reserved "Mississippi John Hurt"-style delivery. A man who truly appreciates the value of restraint, Cale leaves plenty of room for his immaculate guitar lines, even to the point of irony on an ambling version of the previously insistent "Mama Don't." This collection, which was gleaned from an assortment of live shows dating from 1990-1996, finds Cale allowing his songs to unfold organically. Of particular note is the lilting "Magnolia." Less nostalgic than when it first appeared on 1971's Naturally, this version, recorded at Carnegie Hall in 1996, is crisper and more clipped, replacing the original's sense of longing with the resigned confidence that permeates this entire set.
TRACKS: 01. After Midnight (Carnegie Hall, New York, Ny 1996-03-29) 02. Old Man (Carnegie Hall, New York, Ny 1996-03-29) 03. Call Me The Breeze (Carnegie Hall, New York, Ny 1996-03-29) 04. Sensitive Kind (Carnegie Hall, New York, Ny 1996-03-29) 05. Cocaine (Philharmonie, Munich, Germany 1994-09-24) 06. Money Talks (Flynn Theater, Burlington, Vt 1993-06-04) 07. River Boat Song (The Great American Music Hall, San Francisco, Ca 1994-09-01) 08. Living Here Too (Hammersmith Apollo, London, England 1994-10-06) 09. Mama Don't (Hammersmith Apollo, London, England 1994-10-06) 10. People Lie (The Great American Music Hall, San Francisco, Ca 1994-09-01) 11. Humdinger (Sommerville Theater, Sommerville, Ma 1993-06-05) 12. Thirteen Days (Sommerville Theater, Sommerville, Ma 1993-06-05) 13. Magnolia (Carnegie Hall, New York, Ny 1996-03-29) 14. Ride Me High (Park West, Chicago, Il 1990-04-20)
THE KINKS - Face to Face (1966) & Something Else By The Kinks (1967) [Extended Editions]
Face to Face is the fourth studio album by the English rock band the Kinks, released in October 1966. The album had marked the band's shift from the hard-driving style of beat music, catapulting them to international acclaim. Being their first album consisting entirely of Ray Davies' compositions; it has also been regarded by critics as rock's first concept album.
Something Else by The Kinks, often referred to as just Something Else, is the fifth UK studio album by The Kinks, released in September 1967. It marks the final involvement of American producer Shel Talmy in the Kinks' 1960s studio recordings; henceforth Ray Davies would produce recordings. Many of the recordings feature the keyboard work of Nicky Hopkins and the backing vocals of Ray's wife, Rasa. Two hit singles are included: "Waterloo Sunset" and "Death of a Clown". In 2003, the album was ranked #288 on Rolling Stone magazine's list of the 500 greatest albums of all time.
As Ray Davies' songwriting becomes more refined, he becomes more nostalgic and sentimental, retreating from the psychedelic and mod posturings that had dominated the rock world. Indeed, Something Else sounds like nothing else from 1967. The Kinks never rock very hard on the album, preferring acoustic ballads, music hall numbers, and tempered R&B to full-out guitar attacks. Part of the album's power lies in its calm music, since it provides an elegant support for Davies' character portraits and vignettes. From the martial stomp of "David Watts" to the lovely, shimmering "Waterloo Sunset," there's not a weak song on the record, and several -- such as the allegorical "Two Sisters," the Noël Coward-esque "End of the Season," the rolling "Lazy Old Sun," and the wry "Situation Vacant" -- are stunners. And just as impressive is the emergence of Dave Davies as a songwriter. His Dylanesque "Death of a Clown" and bluesy rocker "Love Me Till the Sun Shines" hold their own against Ray's masterpieces, and help make Something Else the endlessly fascinating album that it is.
CROSBY, STILLS, NASH & YOUNG - Looking Forward (1999)
By 1997, Crosby, Stills & Nash were without a label thanks to a drastic artistic slump, but they began working on a new album, paying for studio time out of their own pockets. Neil Young expressed interest in the tapes, and suddenly, a new CSNY album was in the works. Even though Young's continual tinkering pushed its release back by months, Looking Forward still feels rushed and half-finished. It's immediately apparent that the record began as a self-financed project; it sounds weirdly muted, as if all the levels weren't set accurately; similarly, it's possible to hear sometimes awkward overdubs added to basically completed tracks. While they may have named the album Looking Forward, CSNY are alternately nostalgic and haunted by the past, which colors their attempts to look toward the future. All four of Young's songs fit squarely within the Harvest tradition, as he tries to balance his restless nature with growing old. His songs aren't bad, but they feel like rough drafts for greater solo-album insights. Stills is looking backward musically on his three songs, but what's really striking is his extreme bitterness, completely misunderstanding the youth of the '90s. It's especially jarring when juxtaposed with Crosby's rosy outlook, though his "Stand and Be Counted" — a well-intentioned salute to the activist spirit of the '60s — is a flat-out embarrassment. Which leaves Nash, whose two unassuming, sepia-toned songs may seem slight, but wind up as the most satisfying because their gentle melodies and easy, assured performances recall the group's heyday. They're buried in what feels like a collection of undirected solo tracks, and to a certain extent, that's been the case with CSNY since Déjŕ Vu. But Looking Forward is even more disjointed than 1988's tepid American Dream, even if it is a better listen.
THE KINKS - To The Bone (1996)
To the Bone is a 1996 album by the Kinks. Recorded partly at Konk Studios with a small audience, and partly during their 1993 American tour and the 1994 UK tour, it was the band's final release before their breakup in 1996. Since the mid-'70s, the Kinks have not been able to stop themselves from attempting their own variations on pop music trends, taking stabs at everything from bombastic heavy metal to sleek disco-flavored pop. On To the Bone, the group became another one of the scores of veteran rock acts to record an acoustic, "unpled" album. However, the group's American popularity was at an all-time low in the mid-'90s and the band wasn't able to score a major-label record deal, let alone land a spot on MTV's prime-time ratings bonanza, Unpled. So, the bandmembers financed their acoustic greatest-hits record To the Bone themselves, releasing it on the U.K. independent label Grapevine. Naturally, Ray Davies' songs work well in such a stripped-back setting, but the album is nothing more than a pleasant diversion, featuring a lovely version of "Waterloo Sunset," possibly the most beautiful song of the rock & roll era. - allmusic.com
THE PAUL BUTTERFIELD BLUES BAND - Got A Mind To Give Up Living - Live 1966 (2016)
Thanks to the dedicated effort of the folks at Real Gone, this often bootlegged date by the Paul Butterfield Blues Band gets its first official release. These 13 tracks come from a smoking date at the Unicorn Coffee House in Boston. Nobody's sure of the exact date, but estimates put it somewhere during a two-week run in May, two months before the band's classic East-West was released. There's over an hour of music on what amounts to the first recorded document from this sextet: hard-grooving Chicago drummer Billy Davenport (Sam Lay left after the band's debut album) joined vocalist/harmonicist Butterfield, guitarists Mike Bloomfield and Elvin Bishop, organist Mark Naftalin, and bassist Jerome Arnold. Featuring takes from two sets, the material contains tunes from the self-titled 1965 date, East-West, The Resurrection of Pigboy Crabshaw, and unissued music. The sound quality is quite raw but more than suffices in presenting this band firing on all cylinders.
ALMOST BROTHERS - A Band Of Roadies (2014)
On one hand, the vibe of A Band Of Roadies comes as no surprise: after all, the band comprised members of the Allman Brothers Band’s road crew circa ’73-’74, along with some other players from the Macon, GA music scene at the time. This mix of covers and originals – infused with bluesy, jazzy grooves and adventurous jams – is exactly what you might expect from offshoots of the ABB family. What is a pleasant surprise, however, is the fact that this is a great album made by some solid players. After all, just because they led the Allmans’ gear, it doesn’t guarantee they could play it … but A Band Of Roadies stands on its own hind legs as a cool chunk of early 70s bluesrock recently rediscovered. If you’re familiar at all with ABB history, you’ll recognize some of the band members: the late Twiggs Lyndon – the Allmans’ original road manager – plays guitar; longtime road crew member Joseph “Red Dog” Campbell (who passed away in 2011) mans the drums, along with soundman Michael Artz; Buddy Thornton (who handled front-of-house sound for the Allmans) plays bass. Virginia Speed’s talents on piano earned her a job as a keyboard tech for the ABB; her killer Steinway work and lead vocals on the classic “Fever” demonstrate just how good she was. And Dave “Trash” Cole was actually working on the farm that the Allmans owned in Juliette, GA when Lyndon discovered he was also a wicked guitar picker. Cole was hired on as an ABB guitar tech – and he was a natural for the Almost Brothers lineup.
TRACKS: 01. Driving Wheel 02. Knurled Knob 03. Love You (Like A Man) 04. Stepping Out 05. Modular Motiondrifting 06. Complicated Shoes 07. Fever 08. Rainbow Chase 09. Is It Wrong 10. Compactor
OUTLAWS - Best of the Outlaws: Green Grass & High Tides (1996) & Hittin' The Road Live! (1993)
Southern rock unit the Outlaws were formed in Tampa, Florida, in 1972 by singers/guitarists Hughie Thomasson and Henry Paul, bassist Frank O'Keefe, and drummer Monte Yoho. With the 1973 addition of guitarist Billy Jones, the lineup was complete, and after a year of intense touring the band became the first act signed to Arista under Clive Davis; the Outlaws' self-titled 1975 album spotlighted their Eagles-influenced harmonies and Allman Brothers-like guitar attack, yielding the Top 40 hit "There Goes Another Love Song." In the wake of 1977's Bill Szymczyk-produced Hurry Sundown, both Paul and O'Keefe exited, with guitarist Freddie Salem, bassist Harvey Dalton Arnold, and second drummer David Dix signing on for the 1978 concert set Bring It Back Alive and the studio effort Playin' to Win. The lineup shuffles continued when Arnold announced his departure following 1979's In the Eye of the Storm, with bassist Rick Cua recruited for the next year's Ghost Riders in the Sky, which netted a Top 40 entry with its title track, a rendition of the Vaughn Monroe favorite. Yoho left to rejoin Henry Paul soon after, and with the subsequent exit of Jones, only Thomasson remained from the original Outlaws roster -- not surprisingly, the group disbanded upon completing 1982's Los Hombres Malo. A year later Thomasson and Paul formed a new Outlaws lineup, adding guitarist Chris Hicks, bassist Barry Borden, and drummer Jeff Howell; after issuing 1986's Soldiers of Fortune, Paul again quit the band, with the remaining quartet returning in 1993 with Hittin' the Road. While Paul resurfaced in 1994 in the chart-topping contemporary country band BlackHawk, Thomasson later toured with the re-formed Lynyrd Skynyrd while continuing to lead the Outlaws, releasing So Low in 2000. Sadly, Jones and O'Keefe died within three weeks of one another in early 1995. In 2005, original members Thomasson, Paul, Yoho, and David Dix reunited as the Outlaws, rounding out the lineup with three members of BlackHawk, guitarist Chris Anderson, bassist Randy Threet, and keyboardist Dave Robbins. Paul and Robbins departed a year later to concentrate again on BlackHawk, while Thomasson, the only original member of the Outlaws to make it through all of the band's configurations, kept things going, reportedly finishing a new studio album, Once an Outlaw, before his death from a heart attack in 2007.
Best of the Outlaws: Green Grass & High Tides is a comprehensive, 16-track overview of the '70s Southern rock band,featuring all their hits "There Goes Another Love Song," "Breaker Breaker," "Hurry Sundown," and "(Ghost) Riders in the Sky", plus liner notes by the band's founding members, Henry Paul and Hughie Thomasson.
Like quite a few classic rock outfits that built their career on a signature live album in the grand old '70s, every subsequent live release issued will be compared to their signature live set from the decade that brought us Afros, bell bottoms, and Star Wars. And while the Outlaws' 1978 release, Bring It Back Alive, is one of the decade's most underrated live efforts (but did manage to introduce the group to a whole new set of fans), their 1993 in-concert offering, Hittin' the Road, is surprisingly not too shabby in its own right. The playing remains inspired throughout (as does the energy level) -- which can often prove problematic at times with live releases by certain veteran rockers, who seem appear to stay set on cruise control. But the Outlaws dodge the "blah bullet" throughout, especially on the album-opening title track, "(Ghost) Riders in the Sky," and the set-closing jamfest, "Green Grass & High Tides." While most fans will deem Bring It Back Alive to be the Outlaws' definitive concert statement, 'Hittin' the Road' proved that there was still plenty left in the tank from these old codgers.
CLUTCH - Earth Rocker (2013) & Psychic Warfare (2015)
Clutch combined elements of funk, Led Zeppelin, and metal with vocals inspired by Faith No More. Formed in 1991 in Germantown, Maryland, the group included Neil Fallon (vocals), Tim Sult (guitar), Dan Maines (bass), and Jean-Paul Gaster (drums). They built a local following through constant gigging, and after just one 7" single (the classic Earache release "Passive Restraints") Clutch were signed by EastWest Records. Their debut LP, Transnational Speedway League, followed in 1993. A self-titled album appeared two years later and afforded Clutch some mainstream exposure. They jumped to the larger Columbia label for 1998's Elephant Riders, and many thought the group might join its sonic cousins Korn and Deftones in the alternative metal winner's circle. That didn't quite happen. But it didn't matter, because a quality fan base continued to thrive for Clutch. Pure Rock Fury appeared in 2001, and the similarly uncompromising Blast Tyrant came three years later as their first for DRT Records. Their seventh full-length, Robot Hive/Exodus, followed in 2005 and featured the first lineup change since the early '90s, the addition of organist Mick Schauer.
Clutch's numerous side releases included a groove-based album (2000's Jam Room) as well as Live at the Googolplex and the rarities record Slow Hole to China, both issued in 2003. Also issued in 2005, Pitchfork & Lost Needles combined Clutch's 1991 Pitchfork 7" with unreleased demos and early tracks. In the fall of 2006 the band hit the studio with producer Joe Barresi (Kyuss, Melvins) to record its next album; the resulting From Beale Street to Oblivion appeared in March 2007. In 2008 Clutch released a CD/DVD compilation of live tracks from shows in New Jersey, Pittsburgh, and Sydney titled Full Fathom Five: Audio Field Recordings 2007-2008 on their own label, Weathermaker Music. The band followed up in 2009 with Strange Cousins from the West before delivering its tenth album, Earth Rocker, in 2013. Buoyed by the success of that album (their highest-charting release ever) and eponymous lead single, Clutch continued their relentless touring through late 2015, when they released their 11th album, Psychic Warfare.
FOGHAT - Last Train Home (2010) & Under The Influence (2016)
Foghat are an English rock band formed in London in 1971. The band is known for its prominent use of electric slide guitar in its music. The band has achieved 8 gold records, one platinum and one double platinum record, and despite several lineup changes, continues to record and perform to the present day.
Last Train Home was released on 15 June 2010, under the band's independent music label Foghat Records. Since its release, Last Train Home has been met with mostly positive reviews from critics. Steven Erlewine of Allmusic gave the album three stars out of a possible five, and said that Foghat "play with a considerable amount of energy and a precision that only a veteran touring band could have, making this a nice little surprise for hardcore fans".
Back in the ‘70s, Foghat was a regular presence on the Billboard charts – on the strength of such hit albums as ‘Fool for the City’, ‘LIVE’, ‘Stone Blue’ and many others. And now, the veteran classic rock act is back where they belong - for the first time since 1983, Foghat is back on Billboard with ‘Under the Influence’ (debuting at #17 on “Hard Rock Albums,” and at #40 on “Independent Albums”). Released on June 24th, ‘Under the Influence’, produced by Grammy winner Tom Hambridge, draws from Foghat’s collective musical influences, as the band not only brought in some special guests from their past, who helped launch and inspire the Foghat story, but also invited some new friends into the mix to continue the journey of this never idle band. And to celebrate this welcome chart positioning and critical success of ‘Under the Influence,’ the band will be doing what they’ve done best for decades - hitting the road hard, and bringing their unmistakable rock to a concert venue near you.
MANFRED MANN'S EARTH BAND - Manfred Mann's Earth Band (1972); Glorified Magnified (1972); Messin' (1973) & Solar Fire (1973)
Most folks know Manfred Mann from his '60s hits, but too few have ever heard the brilliant Manfred Mann's Earth Band album. Exploring arty and progressive directions, the Earth Band was a wholly different group from Mann's earlier lineup. Unlike the heavier art rock groups that would follow (Emerson, Lake & Palmer, Yes), the Earth Band never became burdened by its own seriousness. Manfred Mann's Earth Band combines hypnotic instrumentals ( "Tribute" ), exhilarating original songs ( "Captain Bobby Stout" ), and three definitive covers all laden with hooks worthy of "Do Wah Diddy Diddy." Mann mines Dylan's basement tapes again for "Please Mrs. Henry" (see "Quinn the Eskimo" and "Get Your Rocks Off" on other releases). An obscure Dr. John song, "Jump Sturdy" nearly jumps off the record.
The second album by Manfred Mann's Earth Band to be released in 1972, Glorified Magnified is as solid a heavy rock album as you're likely to find from that era, and it still holds up three decades later, mostly because these guys are smarter than the music they're playing and don't mind indulging their taste as well as their dexterity. They can romp and stomp through "Meat" or "I'm Gonna Have You All," complete with a slashing guitar solo by Mick Rogers on the latter, or throw in a synthesizer interlude by Mann on "One Way Glass" that's so quietly and carefully executed as to be worthy of a classical piece -- and not skip a beat doing it. Between Rogers' bold yet tasteful leads, Mann's beautifully assertive yet virtuoso synthesizer and general keyboard work, and Colin Pattenden's muscular bass playing, this is a consistently inspired group, even when their material isn't as interesting as what they do with it, which is the case here.
Opening with Mike H's title track, ( Messin' (1973) which builds on Mick Rogers' intense riffing and the killer vocals of Vicki Brown, Judith Powell, Liza Strike, and Ruby James, Messin' is pretty intense and involving from its very first bars. It's also damned topical and serious, for all of the free-wheeling rock & roll spirits and the progressive rock complexities that go into the playing. And the result is a spellbinding whole, featuring some astonishing keyboard flourishes by Manfred Mann himself (who ventures into Rick Wakeman and Keith Emerson territory on "Buddah," even as the rest of the band seems to be emulating Deep Purple) and killer guitar from Mick Rogers, while Colin Pattenden and Chris Slade lay down the rhythm section like a pair of articulate pile-drivers. They pretty much stomp their way through their rendition of Bob Dylan's "Get Your Rocks Off" and do a gorgeous high-wattage blues rendition of "Black and Blue." The whole record comes out somewhere in the middle of art rock and heavy metal, along with (amazingly enough) topical folk, and does no violence to any of the genres — and the band even works in a loose-limbed version of Dr. John's "Mardi Gras Day" as a finale. In a way, it's surprising from hearing this record that it took this band another two years, and an embrace of one of Bruce Springsteen's songs, for Manfred Mann's Earth Band to become truly well known, because all of the ingredients were in place, and their genre-bending sound was only the best, most accessible kind. The album was also issued with a different cover as Get Your Rocks Off, but Messin' has become the reissue title.
After riding the worldwide pop music charts for over a decade, Manfred Mann created an even larger chapter in rock music history with his Manfred Mann's Earth Band. Created at the height of album rock radio, Manfred Mann's Earth Band landed their first three albums on the charts as they increased their loyal following throughout concert halls in the United States. 1974 proved to be a pivotal year for the band as they released their biggest selling album at that time with Solar Fire. Originally released in the States with the international hit single "Joybringer" (based around Holst's Planets Suite), this album has stood the test of time and is regarded as one of the band's strongest efforts ever. Aside from the thematic approach of rocking tracks like the title song "Solar Fire" and "Darkness, From The Beginning", this album really gained a whole new audience with the epic Bob Dylan remake of "Father Of Day, Father Of Night." This ten-minute anthem would go on to be one of Mann's most respected and most articulate works of this era. The fans dug it and have gone on to make this album one of their most enduring of the Manfred Mann's Earth Band diverse catalog.
STEAM - Na Na Hey Hey Kiss Him Goodbye (1970)
One of the strangest #1 hits in history, this song was written as a throwaway B-side, but became a cultural phenomenon used for years to come as a musical goodbye. Steam (band) was a pop-rock music group best known for the 1969 number one hit song and perennial favorite "Na Na Hey Hey Kiss Him Goodbye". The song was written and recorded by studio musicians Garrett Scott, Dale Frashuer, and producer/writer Paul Leka at Mercury studios in New York City. The single was attributed to the band "Steam," although at the time there was actually no group of that name. When "Na Na Hey Hey Kiss Him Goodbye" topped the pop charts, Paul Leka quickly assembled a band to send out on tour as "Steam." When that band broke up almost immediately, a second group was signed and toured as “Steam.” Paul Leka and the studio group recorded the first album and two additional singles. The second Steam group recorded the band’s final two-sided release and, after a year-long national tour, disbanded in 1970.
TRACKS: 01. Na Na Hey Hey Kiss Him Goodbye 02. I've Gotta Make You Love Me 03. It's The Magic In Your Girl 04. Come On Home Girl 05. Love And Affection 06. Come On Back And Love Me 07. I've Cried A Million Tears 08. I'm The One Who Loves You 09. One Good Woman 10. New Breed, Now Generation 11. Na Na Hey Hey Kiss Him Goodbye (Single Version) 12. It's The Magic In Your Girl (Mono Single Version) 13. Love And Affection (Mono Single Version) 14. Come On Back And Love Me (Mono Single Version) 15. I've Gotta Make You Love Me (Single Version) 16. Don't Stop Lovin' Me (Mono) 17. Do Unto Others (Mono)
JOAN BAEZ - From Every Stage (1976)
From Every Stage is a live double album recorded by Joan Baez on tour in the summer of 1975. The first half of the album was acoustic, with Baez accompanying herself on her guitar, and the second half features electric backup. The album was recorded on the tour supporting the release of Diamonds & Rust, but nothing of that album except the title track is represented here; rather, Baez performs five Bob Dylan songs (which get the most rousing reception), three of her better originals, including "Blessed Are" and "Diamonds and Rust," and a brace of traditional songs and covers of a handful of other composers' work, including "The Night They Drove Old Dixie Down." Apart from the opening outpouring of political venom, there's not too much controversy here -- a pair of songs, "Natalia" and "The Ballad of Sacco and Vanzett," dedicated to political prisoners and an ambitious but ultimately awkward adaptation of "Stewball" are as topical as most of the show gets. Baez is in superb voice and the backing septet, mostly heard on the second disc, has a surprisingly lean sound. Ultimately, From Every Stage is a good, albeit far slicker follow-up to Baez's two early-'60s live albums on Vanguard, though it says something about the nature of her history at A&M Records that five years into her contract with that label, all but a handful of the songs here were associated with her prior record label.
DISC 1: 01. (Ain't Gonna Let Nobody) Turn Me Around 02. Blessed Are 03. Suzanne 04. Love Song To A Strangerpart II 05. I Shall Be Released 06. Blowin' In The Wind 07. Stewball 08. Natalia 09. The Ballad Of Sacco & Vanzetti 10. Joe Hill
DISC 2: 01. Love Is Just A Four-Letter Word 02. Forever Young 03. Diamonds And Rust 04. Boulder To Birmingham 05. Swing Low, Sweet Chariot 06. Oh, Happy Day 07. Please Come To Boston 08. Lily, Rosemary And The Jack Of Hearts 09. The Night They Drove Old Dixie Down 10. Amacing Grace
THE CITY - Now That Everythings Been Said (1968)
With her marriage on the rocks and looking for a fresh start, Carole King moved to Los Angeles in 1967. More specifically, Laurel Canyon, where she fell in with the nascent singer/songwriter crowd. She and bassist/boyfriend Charles Larkey (formerly of the Myddle Class, a band she and then-husband Gerry Goffin had signed to their record label) soon formed a band, adding old friend from NYC, guitarist Danny Kortchmar. The trio spent time at King's house working on a batch of songs she had written with Goffin (some previously released by other acts, some not), plus some co-written by another member of Myddle Class, Don Palmer, and fellow Brill Building refugee Toni Stern. Thanks to their industry connections it wasn't long before they had a record deal. Adding drummer Jim Gordon and naming themselves the City, they hit the studio with Lou Adler producing. The outcome of the sessions was the thoroughly charming Now That Everything's Been Said LP. Released in 1968 on Ode Records, the album had one foot in the kind of radio pop bands like the Monkees and the Mamas & the Papas were cranking out and another in the earthy, homegrown realm of singer/songwriters like Joni Mitchell and, a few years later, King herself. The songs are unsurprisingly strong, a fact borne out by how many of them were picked up by other groups (American Spring covered the title track, the Monkees did "Man Without a Dream," Blood, Sweat & Tears had a hit with "Hi-De-Ho (That Old Sweet Roll)," and the Byrds' version of "Wasn’t Born to Follow" memorably appeared on the Easy Rider soundtrack.) The group is obviously a very talented batch of musicians, while Larkey's melodic basslines provide a beating heart to many of the songs, and Kortchmar shades things in around the edges with subtle fills
TRACKS: 01. Snow Queen 02. I Wasn't Born To Follow 03. Now That Everything's Been Said 04. Paradise Alley 05. Man Without A Dream 06. Victim Of Circumstance 07. Why Are You Leaving 08. Lady 09. My Sweet Home 10. I Don't Believe It 11. That Old Sweet Roll (Hi-De-Ho) 12. All The Time
JIM McCARTY - Jim McCarty & Friends I & II [Live From Callahan's] (2011 / 2016)
James William McCarty is an American blues rock guitarist from Detroit, Michigan. He has performed with Mitch Ryder and The Detroit Wheels, the Buddy Miles Express, Cactus, the popular Detroit rock band The Rockets, the Detroit Blues Band, and more recently, Mystery Train. He also recorded with Jimi Hendrix and Bob Seger. He plays in a heavy blues-rock style that has inspired fledgling guitar players for more than 40 years. In 2006, he participated in a Cactus reunion, performing in New York City, Sweden, Philadelphia, and Washington, D.C. It coincided with the release of a new Cactus album, Cactus V. In 2007, Cactus played a Detroit date, a McCarty homecoming, to a sold-out, standing-room-only house. In an August 2006 interview on VH1 Classic, Ted Nugent remarked "I'm the only guy in rock'n'roll that plays that hollow body jazz guitar and it's because in 1960 I saw Jimmy McCarty creating those big fat full chords like I do on "Stranglehold"; I learned that from Jimmy McCarty. Remember the name Jimmy McCarty. He is as important as Bo Diddley and Chuck Berry and Les Paul...a god on guitar." In 2005, Les Paul recorded Les Paul and Friends: American Made, World Played, with an all-star band. He covered 69 Freedom Special, an instrumental tune co-written by McCarty and recorded while in the Buddy Miles Express. In February 2006, Les Paul won a Grammy for his cover of the song, thus propelling McCarty into another award-winning arena as songwriter. In 2009, a new band, the Hell Drivers, was created. The members are Jim McCarty, Johnny "Bee" Badanjek, Marvin Conrad (bass), and Jim Edwards (vocals). A high-energy band, they play a variety of Detroit rock'n'roll from Iggy, The Rockets, Mitch Ryder, Alice Cooper, Bob Seger and more to great critical acclaim. On September 25, 2010, Jim McCarty was inducted into the Canada South Blues Society "Living Blues Museum" located in Windsor, Ontario.
Jim McCarty & Friends I (2011):01. J&A Jump (Feat. Johnny A.) 02. South Boulevard Blues (Feat. Johnny A.) 03. Help Me (Feat. Jason Ricci) 04. Hi-Heel Sneakers (Feat. Duke Robillard) 05. West Helena Blues (Feat. Duke Robillard) 06. Tell Me What's The Reason (Feat. The Millionaires) 07. No Fun (Feat. The Millionaires) 08. Strollin' With The Bone (Feat. The Millionaires) 09. Sweet Sixteen (Feat. John Nemeth) 10. There's A Train Coming Down The Track's (Feat. Johnny 'bee' Badanjek) 11. School Days (Feat. Jimmy Thackery) 12. Cristo Redentor (Feat. Mystery Train)
Jim McCarty & Friends II (2016): 01. Fannie Mae [Feat. Coco Montoya] 02. Put The Shoe On The Other Foot [Feat. Coco Montoya] 03. Let Me Love You Baby [Feat. Tommy Castro] 04. Jenny-Jenny Good Golly Miss Molly [Feat. Tommy Castro] 05. Homesick For My Baby [Feat. Nick Moss] 06. Everyday I Have The Blues [Feat. Johnny Bassett] 07. Excello Boogie [Feat. Jason Ricci] 08. I Got A Mind To Give Up Living [Feat. Joe Louis Walker] 09. Born In Chicago [Feat. Joe Louis Walker]
ZAKK WYLDE - Book Of Shadows I & II (1996/2016)
Zakk Wylde is an American musician, singer, songwriter, multi-instrumentalist and occasional actor who is best known as the former guitarist for Ozzy Osbourne, and founder of the heavy metal band Black Label Society. His signature bulls-eye design appears on many of his guitars and is widely recognized. He was the lead guitarist and vocalist in Pride & Glory, who released one self-titled album in 1994 before disbanding. As a solo artist he released Book of Shadows and Book of Shadows II.
Book of Shadows is the first solo album by the heavy metal guitarist Zakk Wylde. The album was first released in 1996, and was reissued by Spitfire in 1999 with the bonus disc containing "Evil Ways" (the Japanese bonus track from the album's original release), "The Color Green", and "Peddlers of Death" (an acoustic version of a track that features on Black Label Society's Sonic Brew). Unlike his work with Ozzy Osbourne and Black Label Society, here Zakk Wylde shows a different side to his music; an introspective and mostly acoustic style recalling many of the lighter moments from his previous project, Pride & Glory as well as classic folk rock artists such as Neil Young.
Book of Shadows II is the second studio album by American heavy metal musician Zakk Wylde. The album was released on April 8, 2016, by Entertainment One Music. Twenty years ago, Zakk Wylde showed the music world he wasn't just a he-man axe slinger wielding a bullseye-quivered Gibson Les Paul thunder stick. Wylde already proved himself a veritable songwriter fundamental to the success of Ozzy Osbourne's "No Rest for the Wicked", "No More Tears", "Ozzmosis" and "Black Rain" albums.
JEFF BECK - Loud Hailer (2016)
Loud Hailer, legendary guitarist Jeff Beck's first studio album in six years, combines fluid fretwork with topical lyrics to make a powerful statement about everything from the love of power, to the power of love. Loud hailer, which is another name for a megaphone, is a suitable moniker for an album that isn't shy about speaking its mind. The two-time Rock and Roll Hall of Famer explains, "I really wanted to make a statement about some of the nasty things I see going on in the world today, and I loved the idea of being at a rally and using this loud device to shout my point of view." To help him write the 11 tracks on Loud Hailer, Beck enlisted two fierce young females from London - singer Rosie Bones and guitarist Carmen Vandenberg. Beck produced Loud Hailer with Filippo Cimatti, who also works with Rosie and Carmen. In addition to the core trio, the album also features drummer Davide Sollazzi and bassist Giovanni Pallotti, who were both recruited by Cimatti. Bones lends her powerful voice to nine of the 11 songs on Loud Hailer, which is then rounded out by two signature Beck instrumentals.
TRACKS: 01. The Revolution Will Be Televised 02. Live In The Dark 03. Pull It 04. Thugs Club 05. Scared For The Children 06. Right Now 07. Shame 08. Edna 09. The Ballad Of The Jersey Wives 10. O.I.L. (Can't Get Enough Of That Sticky) 11. Shrine
STEVEN TYLER - We're All Somebody From Somewhere (2016)
There’s something in Steven Tyler‘s debut solo album, We’re All Somebody From Somewhere, for everyone - the die-hard Aerosmith fan, the adventurous Tyler fan and the fan fearing the worst from this country-informed project. If you’re looking for a hint of the cheeky lecherousness that powered Aerosmith’s best early songs, head straight for the title track. There’s also a slow-burn take on the band’s 1989 hit “Janie’s Got a Gun,” which emphasizes the song’s notoriously dark subject matter. And “Only Heaven” gamely attempts to revive Aerosmith’s power-ballad prowess from the same era. Too often, though, We’re All Somebody From Somewhere stumbles over Nashville’s worst impulses, trading Tyler’s considerable strengths for a down-home - occasionally even corn-pone - earnestness. Songs like “Somebody New,” “Red, White and You” and “Sweet Louisiana,” alternatively defined by heartland instrumentation and truck-commercial sentimentality, only serve to file down all of Tyler’s edges.
2016 debut solo album from Aerosmith frontman! Recorded in Nashville with local musicians adding a country tinge to his usual rock & blues grooves.
TRACKS: 01. My Own Worst Enemy 02. Were All Somebody From Somewhere 03. Hold On (Wont Let Go) 04. It Aint Easy 05. Love Is Your Name 06. I Make My Own Sunshine 07. Gypsy Girl 08. Somebody New 09. Only Heaven 10. The Good, The Bad, The Ugly And Me 11. Red, White & You 12. Sweet Louisiana 13. What Am I Doin Right 14. Janie's Got A Gun 15. Piece Of My Heart
FACES - The First Step (1970) & Long Player (1971)
The Faces were an English rock band formed in 1969 by members of the Small Faces after lead singer/guitarist Steve Marriott left that group to form Humble Pie. The remaining Small Faces - Ian McLagan (keyboards), Ronnie Lane (bass), and Kenney Jones (drums and percussion) - were joined by Ronnie Wood (guitar) and Rod Stewart (lead vocals), both from the Jeff Beck Group, and the new line-up was renamed the Faces.
First Step was the first album by the British group Faces, released in early 1970. The album is credited to the Small Faces on all North American issues and reissues. The album was released only a few months after the Faces had formed from the ashes of the Small Faces (from which Ronnie Lane, Kenney Jones and Ian McLagan hailed) and The Jeff Beck Group (from which Rod Stewart and Ronnie Wood hailed.) It is generally regarded as their weakest studio effort, recorded at London's famous De Lane Lea Studios too soon after the group's formation, and reached no higher than #119 on the Billboard charts., however it is also viewed as the most democratic of the Faces releases, affording as it does each member of the group at least one composer credit. Highlights include Ronnie Lane's "Stone", "Shake Shudder, Shiver", "Three Button Hand Me Down" (on which both Lane and Wood play the bassline, affording the track a unique sonic quality in the Faces catalogue), and the album's centerpiece, "Flying".
Long Player, from 1971, was the second album by the British rock group Faces. Among the highlights are the live cover of Paul McCartney's "Maybe I'm Amazed", the wistful "Richmond" and "Sweet Lady Mary", the rave-up "Had Me a Real Good Time" and the opening "Bad 'n' Ruin". A single version of "Maybe I'm Amazed" appeared just ahead of the album, featuring a studio version of the song of the live version presented on the album itself.
ROD STEWART - An Old Raincoat Won't Ever Let You Down (1969) & Gasoline Alley (1970)
On his debut album (titled An Old Raincoat Won't Ever Let You Down in Britain, and The Rod Stewart Album in America, presumably because its original title was "too English" or cryptic for U.S. audiences), Rod Stewart essays a startlingly original blend of folk, blues, and rock & roll. The opening cover of the Stones' "Street Fighting Man" encapsulates his approach. Turning the driving acoustic guitars of the original inside out, the song works a laid-back, acoustic groove, bringing a whole new meaning to it before escalating into a full-on rock & roll attack -- without any distorted guitars, just bashing acoustics and thundering drums. Through this approach, Stewart establishes that rock can sound as rich and timeless as folk, and that folk can be as vigorous as rock. And he does this not only as an interpreter, breathing new life into Ewan MacColl's "Dirty Old Town" and defining Mike d'Abo's "Handbags & Gladrags," but also as a songwriter, writing songs as remarkable as "Blind Prayer," "An Old Raincoat Won't Ever Let You Down," and "Cindy's Lament." The music and the songs are so vivid and rich with detail that they reflect a whole way of life, and while Stewart would later flesh out this blueprint, it remains a stunningly original vision.
Gasoline Alley follows the same formula of Rod Stewart's first album, intercutting contemporary covers with slightly older rock & roll and folk classics and originals written in the same vein. The difference is in execution. Stewart sounds more confident, claiming Elton John's "Country Comfort," the Small Faces' "My Way of Giving," and the Rolling Stones' version of "It's All Over Now" with a ragged, laddish charm. Like its predecessor, nearly all of Gasoline Alley is played on acoustic instruments -- Stewart treats rock & roll songs like folk songs, reinterpreting them in individual, unpredictable ways. For instance, "It's All Over Now" becomes a shambling, loose-limbed ramble instead of a tight R&B/blues groove, and "Cut Across Shorty" is based around a howling, Mideastern violin instead of a rockabilly riff. Of course, being a rocker at heart, Stewart doesn't let these songs become limp acoustic numbers -- these rock harder than any fuzz-guitar workout. The drums crash and bang, the acoustic guitars are pounded with a vengeance -- it's a wild, careening sound that is positively joyous with its abandon. And on the slow songs, Stewart is nuanced and affecting -- his interpretation of Bob Dylan's "Only a Hobo" is one of the finest Dylan covers, while the original title track is a vivid, loving tribute to his adolescence. And that spirit is carried throughout Gasoline Alley. It's an album that celebrates tradition while moving it into the present and never once does it disown the past.
MONTROSE [2012 Remasters]
One of the first American-bred hard rock groups to challenge British supremacy in the early '70s, Montrose are remembered as, if not the most successful, then certainly one of the most influential bands of the era. In fact, many of the personalities responsible for the group's legendary, self-titled debut (producer Ted Templeman, engineer Donn Landee, vocalist Sammy Hagar) would later become instrumental players in the formative and latter-day career of the mighty Van Halen. And to his credit, though he ultimately lacked the focus and leadership skills to consistently guide his band's career, guitarist Ronnie Montrose was a true original on the instrument. His superlative playing aside, the avid big-game hunter lived the guitar-playing gunslinger lifestyle long before Ted Nugent made the combination famous.
After cutting his teeth as a session musician with the likes of Van Morrison and the Edgar Winter Group, Ronnie Montrose decided to form his own, self-named band in 1973. Enlisting the help of fellow session pros Bill Church (bass), Denny Carmassi (drums), and a talented up-and-coming Californian singer named Sammy Hagar, Montrose soon released their eponymous first album in November of that year. Although it never broke the Billboard Top 100, Montrose eventually went platinum and was arguably the first full-fledged heavy metal album by an American band (early proto-metal efforts by Blue Cheer and Steppenwolf notwithstanding). With classics like "Space Station No. 5" and "Bad Motor Scooter" leading the charge to the nation's airwaves, it is still considered one of the finest, most influential releases of the decade to boot. But trouble was already looming, as Church quit the group soon after and was replaced by bassist/keyboard player Alan Fitzgerald for the ensuing tour. Released less than a year after their debut, the erratic Paper Money proved to be a surprisingly diverse but unfocused follow-up that failed to match its predecessor's consistency or popularity. Making things worse, escalating tensions between Ronnie Montrose and Hagar soon led to the latter's departure following the Paper Money tour. (Hagar went on to an increasingly successful solo career and eventually, of course, Van Halen.)
Hagar's replacement was relative newcomer Bob James, but it was new full-time keyboardist Jim Alcivar who quickly placed his stamp on the group's appropriately titled third album, Warner Bros. Presents Montrose! Released at the tail end of 1975 and produced by Ronnie himself, its pedestrian songwriting and generally plodding, tepid sound alienated what was left of the band's remaining faithful and led to Fitzgerald's departure soon after (he later became a member of Night Ranger). New bassist Randy Jo Hobbs performed on Montrose's last-ditch effort, 1976's Jack Douglas-produced Jump on It. Also poorly received and boasting a ridiculously ill-conceived album cover to match, it never had a chance and the musicians soon went their separate ways. Carmassi joined Hagar's solo band (also featuring Bill Church by then) and later played with Heart and many others. As for committed outdoorsman Ronnie Montrose, the guitarist took some time off to enjoy his other hobbies before releasing three albums with new band Gamma in the early '80s. He recorded under the Montrose name once again for 1987's Mean, a one-off affair featuring singer Johnny Edwards (later, briefly of Foreigner), bassist Glenn Letsch, and drummer James Kottak (soon to form Kingdom Come, and eventually a member of the Scorpions).
ELECTROMAGNETS - Electromagnets & Electromagnets II (1975)
Electromagnets are best known as the launching ground for Eric Johnson, one of the great guitarists of the '80s and '90s. Johnson was known for his clear tones and amazing technical skill -- two things that are apparent on the Electromagnets' first and only album. The group followed the path of such trailblazing fusion groups as the Mahavishnu Orchestra, creating an amalgam of rock, jazz, blues and the avant-garde. Unlike many of their peers, the Electromagnets were loose, letting themselves bend the beat and have fun. As a result, their album is more enjoyable than most '70s fusion records -- even when they venture into prog clichés, or when vocalist Chris Geppert becomes overbearing, their musicianship pulls them through. And of those musicians, Johnson stands out with his crystal clear guitar and tasteful solos. His presence makes Electromagnets the curiosity it is, but also makes it more than an odd historical item.
ERIC JOHNSON - Europe Live (2014)
Eric Johnson is an American guitarist, songwriter, and vocalist from Austin, Texas. Best known for his electric guitar skills, Johnson is also a highly proficient acoustic, lap steel, resonator, and bass guitarist as well as an accomplished pianist and vocalist. Johnson is skilled in a wide array of musical genres evidenced by the many different styles incorporated in both his studio and live performances including rock, electric and acoustic blues, jazz, fusion, soul-inspired music, folk, new-age, classical, and country and western. Guitar Player magazine has called Johnson "one of the most respected guitarists on the planet".
"Europe Live" was recorded in venues across Johnson's tour of the continent, with the majority of the album capturing his appearance at Amsterdam's Melkweg along with selections from two dates in Germany at Die Kantine in Köln and Bochum Zeche and the Paris show at New Morning. Each appearance featured a unique set list, offering Johnson the opportunity to cull this track listing from a wealth of repertoire captured.
TRACKS: 01. Intro 02. Zenland 03. Austin 04. Forty Mile Town 05. Mr. P.C. 06. Manhattan 07. Zap 08. Song For Life 09. Fatdaddy 10. Last House On The Block 11. Interlude 12. Cliffs Of Dover 13. Evinrude Fever 14. Sun Reprise
THE ELECTRIC FLAG - A Long Time Comin' (1968) & Live At The Carousel Ballroom 1968 (2015)
The Electric Flag was an American blues rock soul group, led by guitarist Mike Bloomfield, keyboardist Barry Goldberg and drummer Buddy Miles, and featuring other musicians such as vocalist Nick Gravenites and bassist Harvey Brooks. Bloomfield formed the Electric Flag in 1967, following his stint with the Butterfield Blues Band. The band reached its peak with the 1968 release, A Long Time Comin', a fusion of rock, jazz, and R&B styles that charted well in the Billboard Pop Albums chart. Their initial recording was a soundtrack for The Trip, a movie about an LSD experience by Peter Fonda, written by Jack Nicholson and directed by Roger Corman.
A Long Time Comin' is the first album by American rock band The Electric Flag, released in 1968. The meat of the album is soul along with blues and rock with a horn section. It is widely seen as an ambitious debut album by music critics. The album was somewhat of a failure in the charts, much to the disappointment of Bloomfield, who had worked hard on the album. His disappointment was worsened by the success of the Al Kooper directed Super Session, which, featuring Bloomfield, charted much higher than A Long Time Comin' despite only being recorded over a period of two days. The vinyl LP had 10 tracks, and the subsequent CD had 4 bonus tracks.
ERIC GALES - Good For Sumthin' (2014) & A Night on the Sunset Strip (2016)
Blues guitar phenom Eric Gales was born and raised in Memphis, learning to play at age four from older brothers Eugene and Manuel in imitation of their upside-down, left-handed style (a tradition actually passed down from their grandfather, Dempsey Garrett Sr., who was known to jam with the likes of Muddy Waters and Howlin' Wolf). Winning his first blues contest at 11, four years later Eric signed to Elektra to issue his 1991 debut LP, recorded with Eugene on bass; Picture of a Thousand Faces followed in 1993. Manuel (who previously performed under the alias Little Jimmy King) reunited with his siblings for 1995's Left Hand Band, credited to the Gales Brothers.
A newly matured Gales returned in spring 2001 to release his debut for MCA, That's What I Am. Often billed as the second coming of Jimi Hendrix, Gales, an adequate singer at best but a dynamite guitarist, suffered for the comparison. With Gales always influenced by Hendrix and the power trio format, his next albums, 2006's Crystal Vision and 2007's Psychedelic Underground, both released by Blues Bureau Records, seemed like facsimile Hendrix albums, right down to the album art. His next two releases from Blues Bureau, 2008's The Story of My Life and 2009's Layin' Down the Blues, found the Hendrix influence muted somewhat, but Gales, a breathtaking guitarist at times, still seemed to be looking for a way out of the Hendrix shadow and into his own voice. Gales returned in 2010 with Relentless, a collection of 13 originals, and followed it with the passionate Transformation a year later in 2011. The all-instrumental Ghost Notes arrived in the fall of 2013.
HEART - Beautiful Broken (2016)
On Beautiful Broken, Heart decide to tread a path well worn by vintage rockers: revisiting their catalog. This is an exercise often fraught with peril. That said, while Ann and Nancy Wilson do stumble, they've learned from predecessors' mistakes. Seven of these ten cuts were previously recorded, but none are considered Heart standards. Thankfully, they left the classics alone. The three new songs are uniformly excellent additions to the catalog. Co-produced by Nancy Wilson and bassist Dan Rothchild, the set kicks off with the rocking title track single, which was included as a bonus track on 2012's Fanatic. Metallica's James Hetfield adds his gruff baritone and some new lyrics too. The riff is classic Heart and the juxtaposition of Ann's clear, soaring alto with Hetfield's throaty roar works. "Two" is a cover of a new Ne-Yo song. Sung by Nancy (in inspired voice) with Ann backing, its first half is fueled by piano and a B-3, before a Moog bassline, synth strings, and electric guitars build it into a midtempo rocker. Ann's "Sweet Darlin'" (from Bebe le Strange) features an enormous string chart by Paul Buckmaster inspired by the sessions he did with Elton John in the early '70s. Her voice rises above the swelling violins, violas, cellos, piano, and drums. "I Jump," another new tune, also gets the orchestral treatment, but the counterpoint between strings and dissonant, Led Zeppelin-esque riffing in the refrain cleverly offsets the sweetness in the verses. This set marks the first time that "Heaven" has appeared on a studio album. Opening with a bowed acoustic guitar that sounds like a sarod, it's a meld of new age, folk, and East Indian open-tuned drone throughout the intro. When the drums and electric slide guitars wind in and Ann Wilson lets her thunderous voice out of the gate, it's plodding stadium rock greatness. "Down on Me," from Bebe le Strange, was originally a scorching, theatrical blues-rocker. It's been slowed here with a syncopated backbeat. The blues feel remains but is tempered by a fine soul tinge in Ann's delivery. Some tracks just don't work: the new version of "City's Burning" has been slowed and funked up, but schmaltzy strings water down the backbone riff. "Johnny Moon" and "Language of Love" are messy, unfocused "kitchen sink" approaches that can't decide what they want to be. Beautiful Broken could have used more uptempo tracks to balance out the ballads; they would have added dimension to an intriguing album. This is obviously not meant to attract new fans, but one to re-engage longstanding ones. It's a mixed bag, but its experimentation works more often than not, while the new songs sest Heart's creativity is undiminished.
CANDI STATON - Evidence: The Complite Fame Records Masters (2011)
Born in Hanceville, AL, Candi Stanton sang with the Jewell Gospel Trio as a teenager. They toured the traditional gospel circuit in the 1950s with the Soul Stirrers, C.L. Franklin, and Mahalia Jackson. They recorded several sides for Nashboro, Apollo, and Savoy Records between 1953 and 1963. In 1968 Staton launched solo career as a Southern soul stylist, garnering 16 R&B hits for Rick Hall's legendary Fame Studios and gaining the title of First Lady of Southern Soul for her Grammy-nominated R&B renditions of the country tunes "Stand by Your Man" and "In the Ghetto." In 1975 Staton saw Southern soul falling out of fashion and began collaborating with producer Dave Crawford, who propelled her into a disco diva with dance songs such as "Young Hearts Run Free" and "Victim." In 1982 Staton had been disgruntled with Warner Brothers' passing interest in her career and a career slump, so she returned to the gospel field. She and her husband, John Sussewell (drummer for Ashford & Simpson), founded Beracah Ministries in Atlanta with help from Jim and Tammy Bakker's PTL Ministries. She has since recorded eight popular gospel albums, two of which have won Grammy nominations. In 1992 she was back in the pop mainstream with a Top Ten British hit, "You Got the Love," a club-styled dance hit that sold two million copies. Since joining Intersound Records in 1995, Staton has begun to sing some of her old R&B hits again and recorded some new message-oriented pop songs while gaining a new title, the Sweetheart of Soul. In 2000, she released her 11th album, Here's a Blessing. Following the release of a well-received compilation of her Fame-era material (2004's Candi Staton), Staton returned to secular music in the form of 2006's His Hands.
This is such an amazing and essential collection. Candi's years at Fame produced some of the best music of her entire career and some of the best soul music of all time. This collection gathers together her entire output from her years there and the results are just breathtaking. Candi's passionate vocals will get down deep inside you and won't let go. No one makes music like this anymore and it is such a shame. The power and emotion throughout these sessions is what all artists strive for and Candi seems to do it with such ease and perfection. The previously unreleased tracks on this collection are such a welcome revelation and it is such shame that it took more than 4 decades for them to be heard. I cannot recommend this collection enough. It is definitely the best music purchase that I have made in quite a while.
RICHARD 'Dickey' BETTS - Highway Call (1974); Dickey Betts & Great Southern (1977) & Atlanta's Burning Down (1978) 
Richard "Dickey" Betts is an American guitarist, singer, songwriter, and composer best known as a founding member of The Allman Brothers Band. He was inducted with the band into the Rock and Roll Hall of Fame in 1995 and also won with the band a best rock performance Grammy Award for his instrumental "Jessica" in 1996. Recognized as one of the greatest rock guitar players of all time, he had early on in his career one of rock’s finest guitar partnerships with Duane Allman, introducing melodic twin guitar harmony and counterpoint which "rewrote the rules for how two rock guitarists can work together, completely scrapping the traditional rhythm/lead roles to stand toe to toe". Dickey Betts was ranked #58 on Rolling Stone's 100 Greatest Guitarists of All Time list in 2003, and #61 on the list published in 2011.
Highway Call is the debut album by Dickey Betts (under the name Richard Betts) of The Allman Brothers Band. It was recorded in 1974 in Macon, Georgia at Capricorn Studios. On this album, Betts further develops and perfects the country sound that emerged on the Allman's 1973 album Brothers and Sisters. The standout tracks are "Long Time Gone", "Highway Call", and the extended country jam "Hand Picked". Guest musicians include Vassar Clements on fiddle and Jeff Hanna on acoustic guitar. The album peaked at #19 on Billboard's "Pop Albums" chart in 1974.
Dickey Betts & Great Southern is the second studio album by Dickey Betts of The Allman Brothers Band. It was recorded with his band "Great Southern" in 1977. The standout tracks are "Sweet Virginia" and the extended-jam "Bougainvillea", which was co-written by Don Johnson of Miami Vice fame.
Atlanta's Burning Down is the third studio album by Dickey Betts of The Allman Brothers Band. It was recorded with his band "Great Southern" in late 1977, and released in early 1978. The standout tracks are "Good Time Feeling" and "Atlanta's Burning Down". The title track is a sentimental narrative about a soldier's wife being in Atlanta during the burning of the city, while he was fighting in Virginia. The Guest musicians were Bonnie Bramlett, Clydie King and Sherlie Matthews on background vocals.
ERIC CLAPTON AND GUESTS - Crossroads Revisited: Selection From The Crossroads Guitar Festivals (2016)
Every three years, since 2004, the Crossroads Guitar Festival has featured some historic performances by some of the world’s greatest guitarists, but until now these have been confined to DVD and Blu-ray compilations, with only a few of those performances having made their way to CD. That will change as Rhino introduces Crossroads Revisited, a 40 track collection packed with music from great musicians such as Clapton, Jeff Beck, Gary Clark Jr., Robert Cray, Billy F Gibbons, Vince Gill, Buddy Guy, B.B. King, John Mayer, Carlos Santana, Joe Walsh, and Ronnie Wood. Clapton is central to this release, with great performances from the guitar legend featured throughout the set, including his cover of George Harrison‘s Isn’t It A Pity and superb on-stage collaborations like playing After Midnight with J.J. Cale, performing Blind Faith’s Presence Of The Lord with Steve Winwood, who was of course in the band with Clapton. The Crossroads Guitar Festival gets its name from the Crossroads Centre in Antigua, a treatment and education facility that Clapton founded in 1998 to help people suffering from chemical dependency. The festival exists to raise funds for that facility.
KEITH EMERSON, GLENN HUGHES & MARC BONILLA - Boys Club: Live From California (2009)
An intriguing (though, unfortunately, only partial) collaboration, The Boys Club, Live From California: The Complete Concert has certainly taken a circuitous route - having long appeared as a bootleg, then belatedly as an eight-song album in America and as a 10-track official release in the UK. Still, it’s a bit of a misnomer. The genesis of this project was actually a trio of concerts billed as Marc Bonilla and Friends, which only included guest appearances by Hughes and Emerson. (Bonilla would later collaborate extensively in an on-going relationship within the regular Emerson band.) Bonilla’s then-current band Dragonchair are featured throughout, meaning Hughes isn’t on bass and Emerson isn’t always featured on keyboards. In fact, Hughes doesn’t finally make his belated vocal appearance until four tracks in - but a raw, personal version of Procol Harum’s “Whiter Shade of Pale” makes it more than worth the wait. Hughes also takes over vocals for “Cover Me” (which was co-written by Bonilla) and “Middle of a Dream” - the headlining trio’s lone composing collaboration here - but really catches fire on a rollicking update of the Allman Brothers’ “Dreams.” Bonilla, meanwhile, steps to the fore for originals like “Afterburner” and “White Noise,” each of which are sturdy enough but inevitably suffer for having been surrounded by more mythically familiar moments.
TRACKS: 01. Afterburner 02. Long Journey Home 03. Hoedown 04. A Whiter Shade Of Pale 05. White Noise 06. Cover Me 07. Nutrocker 08. Tarkus 09. Dreams 10. Middle Of A Dream
RONNIE EARL & DUKE ROBILLARD - The Duke Meets The Earl (2005)
Duke Robillard and Ronnie Earl are among blues guitar's hottest pistols, but their first studio union is no showdown. Although Robillard is steeped in all aspects of technique and Earl is a pure "soul" player, their styles overlap in the Texas and Chicago schools, which grant both giants plenty of space for elegant and biting single-note solos, daredevil string-bending, and ching rhythms. Robillard sings two numbers and "Mighty" Sam McClain, whose red-clay voice is the perfect foil for their emotional fretwork, guests on Earl's heartbroken epic "A Soul That's Been Abused." The real mojo, however, is in the instrumentals, where these virtuosos who emerged from the New England scene to achieve worldwide acclaim maintain a beatific dialogue. They both swing like T-Bone Walker on "Two Bones and a Pick" and trade sliding chords and slide guitar licks on "Zeb's Thing," which dips into down-home Mississippi grit. The highlight is "My Tears," on which Robillard sings sad and dirty, Earl turns sustained notes into Zen koans, and both players stretch their flair for dynamics and brilliant, unhurried, lyrical playing to its limit. Fans of blues guitar need to hear this album.
DUKE ROBILLARD - The Acoustic Blues and Roots of Duke Robillard (2015)
Michael John "Duke" Robillard is an American blues musician. After playing in various bands as Mike"Honey Bear" Robillard(Including legendary Rhode Island Blues Band "Ken Lyon and Tombstone") and working for the Guild Guitar Company, he co-founded the band Roomful of Blues with pianist Al Copley in 1967. He has also been a member of The Fabulous Thunderbirds which included Kim Wilson, replacing Jimmie Vaughan on guitar. Also experienced in jazz, swing, and rock and roll, aside from his preferred blues music, Robillard has been generally regarded as a guitar player keeping the blues style of T-Bone Walker. He has recorded with artists such as Jimmy Witherspoon, Snooky Prior, Jay McShann, Hal Singer, Pinetop Perkins, Joe Louis Walker, Todd Sharpville, Tom Waits and Bob Dylan.
The Acoustic Blues & Roots Of Duke Robillard presents Robillard’s love of vintage blues, jazz and swing, with a selection of vocal and instrumental cuts. This is his very first acoustic album in a career that spans over five decades. Robillard has worked with Bob Dylan, Tom Waits, Roomful Of Blues, Fabulous Thunderbirds and dozens of blues legends. He has been nominated for two Grammy Awards and has won “Blues Guitarist Of The Year” four times. Special guests include Maria Muldaur, Jay McShann and Mary Flower.
SARA K. - The Chesky Collection (2003)
Folk-Pop, Jazz-Blues, Scat-Vocals and just a hint of avant-garde: Sara K., the singer-songwriter based in Santa Fe, New Mexico (originally from Dallas, Texas), has never paid much attention to musical 'borders'. With her excitingly expressive voice and 4-string (!) guitar, she occupies a niche that is no less unique than the stories she sings. Sara has lived these stories, is right in the middle of them and relates them from the heart - warm, personal and moving. With this personal stamp, her musical and vocal versatility and the incredible warmth and clarity of her songs, Sara has created a fan-base in Germany that extends far beyond the borders of the guitar genre. Her desire for perfection, both in the studio and on stage, has also enabled her to sing and play her way into the hearts of the hi-fidelity gourmets.
“Sara K. is an international hidden treasure. She is a superb singer with a range of emotion in her voice that will melt the coldest heart. She is a superb songwriter with an endless capacity to write a song that you will know in seconds and love for years."
JANIS IAN - Best Of: The Autobiography Collection (2008)
Janis Ian is an American singer-songwriter who was mostly active in the 1960s and 1970s; her most successful song, At Seventeen, was released as a single from her 1975 album Between the Lines which reached number 1 on the Billboard chart. Born in 1951 in New York, Ian entered the American folk music scene while still a teenager in the mid-1960s. Most active musically in that decade and the 1970s, she has continued recording into the 21st century. She has won two Grammy Awards, the first in 1975 for At Seventeen and the second in 2013 for Best Spoken Word Album, for her autobiography, Society's Child (nearly 40 years later), with a total of ten nominations in eight different categories.
Released in tandem with Janis Ian's autobiography, Society's Child, this best-of compilation collects all the songs mentioned in the book, as well as several rarities. Ian's first demo, a distorted lo-fi version of "Hair of Spun Gold," makes a welcome appearance, while "Ginny the Flying Girl" arrives via a 1981 Sesame Street album. Also notable are the handful of re-recorded songs on this two-disc collection, as well as several live tracks. Perhaps this isn't the definitive Janis Ian anthology for casual fans - it's too specialized for that - but Ian enthusiasts should make it a staple of their collections.
MATTHEW SWEET & SUSANNA HOFFS - Completely Under The Covers (2015)
Limited box containing four CDs in card wallets housed inside a clamshell box. Susanna Hoffs, a founding member of The Bangles and co-conspirator Matthew Sweet released three full volumes of their Under The Covers series between 2006 and 2013, on which the two teamed up to pay homage to many of the singles (and album deep cuts) from the '60s, '70s, and '80s which informed and shaped their own musical destinies. The Beatles, Dylan, Fairport Convention, Neil Young, The Beach Boys, The Who, Grateful Dead, Fleetwood Mac, Carly Simon, The Ramones, The Clash, The Pretenders, The Smiths and Prince are amongst the 57 acts covered. With guest appearances from Lindsey Buckingham, Steve Howe, Van Dyke Parks and Dhani Harrison, this 60 song package contains all three albums and fifteen previously-hard-to-get bonus tracks plus a 48 page booklet with annotation by Sweet and Hoffs, all gathered together for the first time.
THE DOOBIE BROTHERS - Farewell Tour (1983) & Live At Wolf Trap (2004)
By the early 1980s, the Doobie Brothers had evolved from the guitar-boogie sound under original band frontman Tom Johnston to a soulful keyboard-driven AOR sound under Michael McDonald. Despite the many personnel changes in the group, Patrick Simmons remained from the original incarnation of the group. In 1982, Simmons decided to retire from the group after years of constant touring and recording. When the band decided to break up in light of his impending departure, Simmons encouraged the group to make one last tour during the summer of 1982 as a way of thanking the group's loyal fanbase. This tour became known as the "Farewell Tour." "Farewell Tour" is the first live album by American rock band The Doobie Brothers, released in 1983. It documents what they thought would be their final concert. The front cover shows Keith Knudsen cutting the strings on John McFee's guitar as a symbolic gesture. Original lead vocalist and guitarist Tom Johnston is featured on the final two songs.
The Doobie Brothers' live disc "Live at Wolf Trap" captures the band in a top-notch performance recorded on July 25th 2004 at the Wolf Trap National Park for the Performing Arts. Even after 35 years, this delightful concert proves that the Doobie Brothers have not lost their spark one bit. Included in this disc are the immortal Doobie hits "Rockin' Down The Highway", "Jesus is Just Alright", "Long Train Runnin'", "China Grove" and of course "Listen To The Music" and "Black Water". In addition to these classics, the band reaches back into its catalog for songs that have rarely been performed live in recent years including "Another Park Another Sunday", "Steamer Lane Breakdown" and the blues-driven "Snake Man", "Rainy Day Crossroad Blues" and "Don't Start Me To Talkin'" which features a superb extended jam. Hands down, this is a great album full of great music. While all the band members are up there in years, that still doesn't stop them from cranking out these timeless hits and making them sound like new all over again. If you're a Doobie Brothers fan, this CD is definitely a must.
EAGLES - U n p l u g g e d 1994 - Second Night (2016)
Following years of public speculation, the Eagles formally reunited in 1994, 14 years after splitting up in 1980. The line-up comprised the five Long Run-era members - Glen Frey, Don Henley, Joe Walsh, Don Felder, and Timothy B. Schmit - supplemented by Scott Crago (drums), John Corey (keyboards, guitar, backing vocals), Timothy Drury (keyboards, guitar, backing vocals), and Al Garth (sax, violin) on stage. For the record, we never broke up, we just took a 14-year vacation , announced Frey at their first live performance in April 94. The ensuing tour spawned the live album, Hell Freezes Over (named for Henley's recurring statement that the group would get back together when hell freezes over ), which debuted at number one on the Billboard album chart. It included four new studio songs, with Get Over It and Love Will Keep Us Alive both becoming Top 40 hits. The album - for which the live tracks were recorded at an MTV Special on 24th April 94 - proved as successful as the tour, selling six million copies in the U.S. The following night - 25th April 1994 - the Eagles returned to Warner Brothers Studios in Burbank, CA, where they had recorded the previous night, and a second show was filmed and indeed transmitted on television. This little known event however has not previously been released and rarely ever heard since. For the first time, this CD now features this relaxed and quite extraordinary event in its entirety. Captured across two discs, this delightful and rare performance will prove a must have item for Eagles fans everywhere.
...interesting facts about my uploads...
- total storage used - 290.45 GB - from 1979 files stored in 1 folders
- the oldest living link: JIMI HENDRIX - People, Hell and Angels (2013) - 06/03/2013
- the most downloaded file: TOM JOHNSTON - Everything You've Heard Is True (1979) - 25898 times
STEVE VAI - Modern Primitive (2016)
Steve Vai and Legacy Recordings are commemorating the 25th anniversary of "Passion And Warfare" with a special 2CD edition of the album which includes the first-ever release of Vai's "Modern Primitive" songs and recordings. Based on song sketches and works-in-progress penned and recorded by Vai following the release of "Flex-Able", his debut album, in January 1984, the music on "Modern Primitive" has been completed by Vai for release as a full album disc and the second CD is the bonus remastering of the "Passion And Warfare 25th Anniversary Edition". "The music on 'Flex-Able' is so vastly different from 'Passion And Warfare', one could wonder if the same guy actually made both records," Steve writes in his liner notes for the collection. "'Modern Primitive' is the missing link between these two records. It's sort of Cro-Magnon Vai." Newly remastered from the original analog tapes, the "Passion And Warfare 25th Anniversary Edition" disc includes, as bonus tracks, four previously unreleased recordings from the "Passion And Warfare" sessions. "Modern Primitive / Passion And Warfare 25th Anniversary Edition" is being released as a 2CD physical collection while each disc will be available as a separate title on all digital platforms.
DISC 1 - Modern Primitive: 01. Bop! 02. Dark Matter 03. Mighty Messengers 04. The Lost Chord 05. Upanishads 06. Fast Note People 07. And We Are One 08. Never Forever 09. Lights Are On 10. No Pockets 11. Pink And Blows Over Pt I 12. Pink And Blows Over Pt II Mars Attack 13. Pink And Blows Over Pt III
DISC 2 - Passion and Warfare (25th Anniversary Edition): 01. Liberty 02. Erotic Nightmares 03. The Animal 04. Answers 05. The Riddle 06. Ballerina 12/24 07. For The Love Of God 08. The Audience Is Listening 09. I would Love To 10. Blue Powder 11. Greasy Kid's Stuff 12. Alien Water Kiss 13. Sisters 14. Love Secrets 15. Lovely Elixir (Bonus Track) 16. And We Are One Solo #2 (Bonus Track) 17. As Above (Bonus Track) 18. So Below (Bonus Track)
STEVE HACKETT - The Total Experience Live In Liverpool (2016)
After his much celebrated 2015 studio album, “Wolflight”, which cracked the top 40 in the UK and top 50 in Germany upon release, Steve Hackett has done something unusual for his new live release - he filmed and recorded it in Liverpool. “When InsideOut told me that I could film a gig on the British leg of the 2015 tour for release, I thought that we should do it away from London. My last three DVDs have been done at venues in the city - Shepherd's Bush Empire ('Fire & Ice', 2011), Hammersmith Apollo ('Genesis Revisited: Live At Hammersmith', 2013) and the Royal Albert Hall ('Genesis Revisited: Live At The Royal Albert Hall', 2013). I felt doing it in Liverpool had a certain ring to it. This is an extraordinary city and the Philharmonic Hall is an extraordinary venue. Besides, it's not as if Liverpool is known for having any good music - there's never been a good band from there. Ha!” Hackett's love for Liverpool goes back to his time with Genesis, as he attests. “We played there a few times in the '70s, and the fans have always been very good to me there. And as a huge Beatles fans, I also know the landmarks there, such as Penny Lane and Strawberry Fields. I have been on the Magical Mystery Tour. So, the city means a lot to me from that point of view as well. The Beatles set the benchmark for all of us who have followed; we take our imagination from them.” Hackett's own career is hugely expansive, and the challenge for him was to put together a live set for last year's tour (dubbed' 'Acolyte To Wolflight With Genesis Revisited') that best represented the many facets of his acclaimed work. “We did two sets, which came to about three hours in total, with a brief interval between them. That was good for losing weight! For the past two or three years I have been concentrating on the Genesis period. But a lot of people have also been asking me to play my solo stuff, which is very gratifying. 'Wolflight' sold very well for me and got an excellent reaction, so I obviously wanted to feature songs from this in the performance. It was also the 40th anniversary of my first solo album, 'Voyage Of The Acolyte', therefore it was fitting to acknowledge that landmark. And the solo set built from there. It wasn't an easy job to decide what to include, but I think there was a good balance between old and new.”
The second set saw Hackett paying tribute to his Genesis era, and included songs he hadn't performed live for many years. “I did 'Get 'Em Out By Friday' and 'Cinema Show', for instance. The latter has been asked for by a lot of people, and it was a great workout for all of us onstage. This is such an iconic song, both rhythmically and keyboardistically! What have always born in mind when choosing the songs is what they mean to the fans. Time has a way of turning them into an emotional calendar for people. These songs take on an importance and become part of their lives. So, when I do them live, authenticity is important. I am aware that what I have to do is find a connection between nostalgia and what things can sound like in a contemporary setting. There's clearly room for interpretation, but to go for something like a jazz wig out... that would be totally wrong!”
DISC 1: 01. Corycian Fire Intro 02. Spectral Mornings 03. Out of the Body 04. Wolflight 05. Every Day 06. Love Song to a Vampire 07. The Wheel’s Turning 08. Loving Sea 09. Jacuzzi 10. Icarus Ascending 11. Star of Sirius 12. Ace of Wands 13. A Tower Struck Down
DISC 2: 01. A Tower Struck Down 02. Shadow of the Hierophant 03. Get ‘em Out by Friday 04. After the Ordeal 05. The Cinema Show 06. Aisle of Plenty 07. The Lamb Lies Down On Broadway 08. The Musical Box 09. Clocks 10. Firth of Fifth
RUSH - Chronicles (1990)
Rush is a Canadian rock band formed in August 1968 in the Willowdale neighbourhood of Toronto, Ontario. The band is composed of bassist, keyboardist, and lead vocalist Geddy Lee; guitarist and backing vocalist Alex Lifeson; and drummer, percussionist, and lyricist Neil Peart. Rush is known for its musicianship, complex compositions, and eclectic lyrical motifs drawing heavily on science fiction, fantasy, and philosophy. The band's musical style has changed several times over the years, from a blues-inspired hard rock beginning, later moving into progressive rock, and including a period marked by heavy use of synthesizers. In the early 1990s, Rush returned to a guitar-driven hard rock sound, which has continued to the present.
Though the band has since released four more albums on Atlantic Records, this double-disc set was the original, definitive Rush anthology, spanning the band's entire 15-year, 16-album relationship with Mercury Records. In fact, this set is virtually perfect, clearly illustrating the Canadian power trio's evolution from Cream/Zeppelin enthusiasts into a groundbreaking, progressive hard rock unit. Acclaimed classics like "Finding My Way," "Fly by Night," "A Passage to Bangkok," "Closer to the Heart," "The Spirit of Radio," and "Tom Sawyer" are interspersed with less-well-known, but equally vital tracks like "Bastille Day," "La Villa Strangiato," "Limelight," "Subdivisions," and "Red Sector A" to paint a literal moving picture (pun intended) of the band's career. is a testament to its excellence, Mercury was incapable of improving upon this package when releasing the nearly identical Retrospective six years later on two separate CDs.
STEPPENWOLF - Silver (1997)
Steppenwolf is a Canadian-American rock group that was prominent from 1968 to 1972. The group was formed in late 1961 in Toronto by vocalist John Kay, keyboardist Goldy McJohn, and drummer Jerry Edmonton. Guitarist Michael Monarch and bassist Rushton Moreve were recruited by notices placed in Los Angeles-area record and musical instrument stores. The essential core of Steppenwolf was John Kay, Jerry Edmonton, and Goldy McJohn from The Sparrows (originally Jack London & the Sparrows from Oshawa, Ontario, Canada). Steppenwolf sold over 25 million records worldwide, releasing eight gold albums and 12 Billboard Hot 100 singles, of which six were top 40 hits, including three top 10 successes: "Born to Be Wild", written by Dennis Edmonton, "Magic Carpet Ride", and "Rock Me." Steppenwolf enjoyed worldwide success from 1968 to 1972, but clashing personalities led to the end of the core lineup.
"Silver", 1997's double-disc Steppenwolf anthology, digs deeper into the "creme de la creme" of this classic rock band than the 1999's single-disc "All Time Greatest Hits. Steppenwolf was one of the first bands to specialize in cranked-up-to-ten anthems. These guys definitely lent a helping hand in creating heavy metal. The Steppenwolf sound is best displayed on the hits ("Born to Be Wild," "Magic Carpet Ride," "Rock Me"). These songs remain rock-radio standards. Also featured are such highlights as the mid-paced "It's Never too Late" and a pair of anti-drug diatribes, "The Pusher" and "Snowblind Friend."
TRAPEZE - Trapeze (1970); Medusa (1970) & You Are The Music...We're Just The Band (1972)
Trapeze were an English rock band formed in March 1969, by vocalist John Jones and guitarist/keyboardist Terry Rowley (who named the band), with guitarist Mel Galley, singer/bassist Glenn Hughes, and drummer Dave Holland. The band had a fairly fluid line up, finally dissolving in 1994. Several members went on to join better known bands, including Deep Purple, Black Sabbath, Whitesnake, Judas Priest, and Uriah Heep.
The core and most familiar line-up of the band was Glenn Hughes, Mel Galley, and Dave Holland. After Glenn Hughes' departure in June 1973, Galley and Holland kept the band together with constantly varying members until 1979, when Holland went on to join Judas Priest. Holland tried to revive the band in 1990, after leaving Priest, but the band finally broke up in 1994.
Their first three albums remain their best known and most commercially successful.
GLENN HUGHES - Burning Japan Live (1994)
This was the first official live solo album to be released by Hughes. It features a set-list of fifteen songs, four from his 1994 solo album From Now On..., three songs from the Hughes/Thrall album and seven Deep Purple numbers. It also features a never before heard song entitled Still In Love With You, on which Hughes plays keyboards. Hughes’ band for the concerts was the same as the band that played on From Now On..., including Europe members Mic Michaeli, John Levén and Ian Haugland (who only performed on the bonus tracks from From Now On...). It is of note that a live version of the track Kiss Of Fire (from the first Phenomena album) was recorded during the same performance and included on the Talk About It EP. There is an error in the sleeve notes for the album; they mistakenly credit the tracks This Time Around and Owed To G to Bolin/Hughes/Paice, when they should read Hughes/Lord and Bolin, respectively.
The definitive album (live or otherwise) from the former Deep Purple and Hughes/Thrall Band guitarist and songwriter. Much of the material here comes from the Purple canon as well as solo material. These shows made an indelible mark on his fans and are some of the most energetic live recordings ever.
TRACKS: 01. Burn 02. The Liar 03. Muscle And Blood 04. Lay My Body Down 05. From Now On 06. Into The Void 07. Still In Love With You 08. Coast To Coast 09. This Time Around 10. Owed To G 11. Gettin' Tighter 12. You Keep On Moving 13. Lady Double Dealer 14. I Got Your Number 15. Stormbringer
FOGHAT - Foghat (1972); Foghat [Rock and Roll] (1973); Energized (1974); Rock And Roll Outlaws (1974); Fool For The City (1975); & Night Shift (1976)
Foghat are an English rock band formed in London in 1971. The band is known for its prominent use of electric slide guitar in its music. The band has achieved 8 gold records, one platinum and one double platinum record, and despite several lineup changes, continues to record and perform to the present day. Foghat specialized in a simple, hard-rocking blues-rock, releasing a series of best-selling albums in the mid-'70s. While never deviating from their basic boogie, they retained a large audience until 1978, selling out concerts across America and earning several gold or platinum albums. Once punk and disco came along, the band's audience dipped dramatically.
With their straight-ahead, three-chord romps, Foghat's sound was American in origin, yet the members were all natives of England. Guitarist/vocalist "Lonesome" Dave Peverett, bassist Tony Stevens, and drummer Roger Earl were members of the British blues band Savoy Brown, who all left the group in the early '70s. Upon their departure, they formed Foghat with guitarist Rod Price. Foghat moved to the United States, signing a record contract with Bearsville Records, a new label run by Albert Grossman. Their first album, Foghat, was released in the summer of 1972 and it became an album rock hit; a cover of Willie Dixon's "I Just Want to Make Love to You" even made it to the lower regions of the singles charts. For their next album, Foghat didn't change their formula at all -- in fact, they didn't even change the title of the album. Like the first record, the second was called Foghat; it was distinguished by a picture of a rock and a roll on the front cover.
Foghat's second album was their first gold record, and it established them as a popular arena rock act. Their next albums -- Energized (1974), Rock and Roll Outlaws (1974), Fool for the City (1975), Night Shift (1976), Foghat Live (1977), Stone Blue (1978) -- were all best-sellers and all went at least gold.
NEIL YOUNG & THE SHOCKING PINKS - Everybody's Rockin' (1983)
By following the hi-tech Trans after only seven months with a rockabilly album, Neil Young baffled his audience. Just as he had followed the sales peak of Harvest in 1972 with a series of challenging, uncommercial albums, Young had now dissipated the commercial and critical acceptance he had enjoyed with 1979's Rust Never Sleeps with a series of mediocre albums and inexplicable genre exercises. Everybody's Rockin', credited to "Neil & the Shocking Pinks," represented the nadir of this attempted career suicide. Running less than 25 minutes, it found Young covering early rock evergreens like "Betty Lou's Got a New Pair of Shoes" and writing a few songs in the same vein ("Kinda Fonda Wanda"). If he had presented this as a mini-album at a discount price, it would have been easier to enjoy the joke Young seemed to intend. As it was, fans who already had their doubts about Young dropped off the radar screen; Everybody's Rockin' was his lowest-charting album since his 1969 solo debut, and he didn't release another album for two years (his longest break ever between records).
TRACKS: 01. Betty Lou's Got A New Pair Of Shoes 02. Rainin' In My Heart 03. Payola Blues 04. Wonderin' 05. Kinda Fonda Wanda 06. Jellyroll Man 07. Bright Lights, Big City 08. Cry, Cry, Cry 09. Mystery Train 10. Everybody's Rockin'
CRAZY HORSE - Scratchy: The Complete Reprise Recordings (2005)
Neil Young may not ever allow his Reprise outtakes to be released, but that doesn't mean there's not a lot of equally cool stuff from an orbit near his that can't be enjoyed -- and Rhino Handmade has hit a mother lode with this double-CD set, which offers a lot more than even dedicated Crazy Horse fans may expect. Thanks to their convoluted membership history and a series of label changes, Crazy Horse had one of the stranger release histories of almost any '70s band -- their stuff and, to some extent, their sound are all over the map. Scratchy: The Complete Reprise Recordings makes a strong case, however, for the primacy of the first lineup and their work on Reprise, assembling all of their released work for the label plus the equivalent of an album's worth of outtakes and radio spots, and two tracks by Danny & the Memories, the group that preceded the formation of Crazy Horse by five years or so. The group's self-titled debut album has bounced in and out of print for the last 34 years, but here it's been remastered with the kind of attention that makes it sound like one is hearing it for the first time -- the close sound of the acoustic guitars on "I Don't Want to Talk About It" and the roaring electric instruments on "Gone Dead Train," "Dance, Dance, Dance," and "Downtown" are impressive to these ears, the harder-rocking numbers now displaying the raw power and impact that the group exuded on-stage; the remastering job has undone the inevitable flattening process that went into the vinyl release, so that Billy Talbot's bass, in particular, now gets a killer showcase, and Jack Nitzsche's piano on "Carolay" gets as much play as the massed acoustic guitars that carry the rhythm figure at the center of the song. What's more, the crispness of the sound has brought the singing out in vivid detail -- if the LP could have sounded this bracing and powerful, this band might well have seen the success it deserved. The second half of the first CD is filled out with the tracks off of their second album, Loose; thanks to the ensuing lineup changes that took place, they're a bit of a letdown after the 11 gems from Crazy Horse, though not bad on their own terms -- the group plays from less melodic strength and raw inventiveness, but make up for it with a lot of enthusiasm and positive vibes in their sound, especially on the acoustic numbers such as the gorgeous "One Thing I Love" or "All Alone Now." The real treat, however, is the second disc, which opens with a string of extraordinary outtakes, including the title track -- the outtakes sound incredible and feature exceptional playing, and "Scratchy" by itself is worth the price of admission, 12 minutes of stunning electric interaction; and it's followed by the gorgeous acoustic piece "Dear Song Singer," plus a long version of "Downtown"; the first Danny & the Memories cut, "Can't Help Loving That Girl," was, in its own time, a throwback to early-'60s doo wop style, while the second, "Don't Go," was much more contemporary circa 1965. The set is attractively designed, with separate pockets for each disc and a beautifully designed booklet with extensive annotation, all in a very practical slipcase-style package. It's a bargain for any fan of this band or any of its members, and worth tracking down.
CRAZY HORSE - At Crooked Lake (1972) & Crazy Moon (1978)
At Crooked Lake was the second album Crazy Horse released in 1972, and also featured their second post-Danny Whitten lineup. Guitarist George Whitsell and keyboard player John Blanton had left, to be replaced by brothers Michael and Rick Curtis. This resulted in pretty much an entirely new band again, consisting of Rick Curtis (guitar/banjo/vocals), Greg Leroy (guitar/slide/vocals), Michael Curtis (keyboards/guitar/mandolin/vocals), Billy Talbot (bass) and Ralph Molina (drums). It was just the continuing presence of Talbot and Molina that kept the Crazy Horse name, as the album was essentially a debut from a new group. Their use of the name was probably a bad idea, as it would forever associate them with Danny Whitten and as Neil Young's backing group, when they probably had wanted to start afresh.
Six years went by between the release of Crazy Horse's third album, At Crooked Lake, and its fourth, Crazy Moon, and a lot of water went under the bridge in the meantime. Crazy Horse was, in effect, three different bands on its first three albums because the only constants were bassist Billy Talbot and drummer Ralph Molina as lead singers, songwriters, guitarists, and keyboardists came and went. The band name seemed to be retired by 1973, but in 1974 Talbot and Molina hooked up with singer/guitarist Frank Sampedro as Crazy Horse, leading to sessions with their erstwhile employer Neil Young that resulted in the Young/Crazy Horse album Zuma. At the same time, they recorded some Crazy Horse tracks that sat around for years, finally being finished off in the summer of 1978 for release here. The result is the first album since their debut, 1971's Crazy Horse, that sounds identifiable as the band that backs Young. In part, that's because Young himself is present on guitar on the tracks "She's Hot," "Going Down Again," "New Orleans," "Downhill," and "Thunder and Lighting," and brings along his production associates David Briggs and Tim Mulligan as well as his pedal steel player Ben Keith. But it's also because this is a well-realized effort on which Sampedro proves to be the first of the many successors to original guitarist Danny Whitten to fit in well with Molina and Talbot; because Molina and Talbot have upped their participation beyond providing the rhythm and some vocals, contributing to the songwriting as well; and because the guest musicians include a bevy of Crazy Horse alumni and friends including keyboardist Barry Goldberg (producer of the pre-Crazy Horse band the Rockets); Greg Leroy (Crazy Horse guitarist, 1971-1972); Bobby Notkoff (Rockets violinist); and Michael Curtis (Crazy Horse keyboardist, 1972). This is something of a Crazy Horse reunion effort, and it shows the band off at its best, or at least probably as good as it could be without co-founder Whitten, who died in 1972.
NEIL YOUNG + PROMISE OF THE REAL - Earth (2016)
Mother Earth is more than Neil Young's title heroine here; she is an instrument too. Recorded live last year with his current, youngblood combo, the 13 songs - all pulled from the ecology section of Young's library - are overdubbed with choral gleam, extra guitar drama and noisy approval by a peanut gallery of livestock, turkeys, insects and crows. There is also rolling thunder and hard rain, hinting at the payback to come. As Young sings in "Mother Earth (Natural Anthem)" from 1990's Ragged Glory, "How long can you give and not receive?"
Earth stops at songs as far back as 1970's "After the Gold Rush" and "Vampire Blues" from 1974's On the Beach. But these performances are more urgent, in point and force, than Young's 2015 studio manifesto, The Monsanto Years. In the jubilantly rough, electric stretches of "Hippie Dream" and "Big Box," it's like you're getting 1991's live Weld cut at Farm Aid with the last-stand fervor of Freedom. The applauding ducks and geese after the half-hour freakout "Love and Only Love" are Young's reminder that nature itself is music - and silence is not an option.
DISC 1: 01. Mother Earth 02. Seed Justice 03. My Country Home 04. The Monsanto Years 05. Western Hero 06. Vampire Blues 07. Hippie Dream 08. After The Gold Rush 09. Human Highway
DISC 2: 01. Big Box 02. People Want To Hear About Love 03. Wolf Moon 04. Love And Only Love
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