PROCOL HARUM - In Concert With The Danish National Concert Orchestra & Choir (2008)
In Concert with the Danish National Concert Orchestra and Choir, by Procol Harum, is a live album released 2009. It was recorded in Ledreborg Castle in Denmark. This album is also noteworthy because it contains a song that Procol Harum have never released before - "Symphathy for the Hard of Hearing". This is a song about the Second World War that was previously on Gary Brooker's solo album "Lead Me to the Water".
In concert... is a masterful package capturing a phenomenal live show. Procol Harum, after all, have the kind of repertoire that naturally lends itself to the orchestral situation, and, of course, this isn't their first dive into those waters. But with less to prove than they had back in the 1970s, and with a fonder eye for their greatest material than they had when there was a new LP to push, this is a delightful walk through the band's back catalog. Recorded in 2006 against a truly spectacular open air backdrop, it is difficult to fault the track listing "Grand Hotel" opens with epic grandiosity; "Homburg", "A Salty Dog" and "Conquistador" all stand out and, of course, "A Whiter Shade Of Pale" remains one of the all-time most haunting songs. The orchestra and choir just add to the mood.
THIN LIZZY - Thin Lizzy (1971) [2010, with bonus tracks] & Shades Of A Blue Orphanage (1972) [2010, with bonus tracks]
Thin Lizzy is the debut studio album by Irish rock band Thin Lizzy, released on 30 April 1971. The album was followed by the EP New Day, produced and recorded by Nick Tauber at Decca Studios on 14–17 June 1971 and released on 20 August 1971. Eduardo Rivadavia of AllMusic described the album as "surprisingly mellow" and wrote that a number of songs sound "confused and unfinished". However, he did describe "Look What the Wind Blew In" as a "hint of things to come", and that the bonus track "Dublin" from the "New Day" EP contained "Lynott's first great lyric".
Digitally remastered edition of the band's debut album that was first released in 1971. When it was first issued on CD, it was augmented with the New Day EP. Those songs are here as well along with five more tracks to thrill any Lizzy fan! 19 tracks.
Shades of a Blue Orphanage is the second studio album by Irish band Thin Lizzy, released in 1972. The title is a combination of the members' previous bands: Shades of Blue and Orphanage. "Sarah" was written for Phil Lynott's grandmother who raised him when his mother, Philomena, was unable to do so. This song should not be confused with the 1979 song of the same name, for Lynott's daughter, included on Black Rose: A Rock Legend.
Digitally remastered and expanded edition of the band's second album featuring seven bonus tracks including BBC sessions, overdubs and remixes. Originally released in 1972, Shades Of A Blue Orphanage was the band's sophomore album. 18 tracks.
WHITESNAKE - Box 'O' Snakes [The Sunburst Years 1978-1982] (2011)
Aimed squarely at the completist, this box covers the glory years of David Coverdale’s post-Purple vehicle. Though drawing together seven studio sets and two live albums (with some unissued tracks), it doesn’t include all extant material, some of which has appeared on past remastered, expanded editions of the albums.
1978’s debut Trouble (with a line-up of Jon Lord, Neil Murray, Dave Dowle, Micky Moody, Bernie Marsden and Coverdale) contains the Deep Purple-esque powerhouse Don’t Mess With Me amid the boogie (Day Tripper with vocoder) and jazz-fusion (Nighthawks), while the title track is the blues-edged rock that the band honed thereafter. Live At Hammersmith, meanwhile (recorded in 1978; released 1980), rounds up some then-current and pre-’Snake glories. Love Hunter broke the Top 30 in 1979 with standards such as Walking In The Shadow Of The Blues and the frantic Mean Business. The following year, ex-Purple colleague Ian Paice took up the sticks for the definitive line-up’s Ready An’ Willing. It hit No 6 with gems such as Fool For Your Loving, the rousing Blindman and slide-laden Ain’t Gonna Cry No More. Live In The Heart Of The City went one better, showcasing the band’s prowess in a live best of. They were at the height of their game for 1981’s Come An’ Get It, sporting classics including the title track’s tongue-in- cheek smut, Don’t Break My Heart Again’s colossal stomp and the refined Child Of Babylon. Whitesnake fragmented before 1982’s Saints And Sinners but, with Cozy Powell and Mel Galley aboard, momentum was retained with another rollocking platter, chiefly Crying In The Rain’s studied guitar lines, the reverent screaming of Here I Go Again and overlooked belters such as the catchy Young Blood. The two Live At Reading sets from 1979/80 round up 14 cuts – some repeated, others unaired – with sporadically iffy tape sound on the ’79 outing. Still, the DVD collects 10 promo clips, four from Old Grey Whistle Test 1978/82, and the 46-minute Official Bootleg: Washington Capital Center 1980. Finally, there’s the four-track Snakebite 7” on white vinyl and a 90-page booklet. Minor flaws aside, ’Snake diehards have plenty to shed their cash over.
POTLIQUOR - Discography (1970-1979)
Potliquor had its beginning in 1969 in Baton Rouge, Louisiana and played an intriguing mix of country, blues- and southern rock. They released three excellent albums between 1970 and 1973 and on more in 1979 before finally breaking up. Yet these godfathers of southern rock never got the recognition they deserved. Potliquor was formed in the late 60´s by George Ratzlaff (keyboards, rhythm guitar, vocals), Les Wallace (guitar, vocals), Guy Schaeffer (bass, vocals) and Jerry Amoroso (drums, percussion, vocals) and soon after that signed a deal with small Janus Records label. Their debut album, First Taste was produced by the band’s manager, Jim Brown and came out in 1970.Potliquor’s sophomore effort, Levee Blues was released in December 1971 and is considered as their best album by many.
Lousiana Rock and Roll followed in 1973. Despite the Molly Hatchet type heavy boogie and horn section that occasionally reminds you of Atlanta Rhythm Section, Pot Liquor never raised to a level they deserved and stayed as a regionally touring band. In 1974 the band took a hiatus until original bass player Guy Schaeffer and drummer Jerry Amoroso put the band back together by adding Steve Sather and Mike McQuaig to guitars and Pot Liquor released one more self-titled album through Capitol Records. Fans found their new, more radio friendly approach lacking the good ol´southern groove Potliquor had on earlier albums and the band broke up soon after that.
SANTANA - The Birth Of Santana: The Complete Early Years (2003)
For more than three decades, the band Santana, led by guitar virtuoso Carlos Santana, have fused rock, blues, and Latin styles into a percussive, colorful and unique collage of sound. A 2-CD collection of the complete studio recordings from legendary rock act Santana made prior to their self-titled debut album! Features an early incarnation of the Top 40 hit Jingo plus Soul Survivor and many more! These recordings feature original Santana guitarist Neil Schon and keyboardist Gregg Rolie, both of whom would later go onto massive success with Journey!
Recorded in 1969 at Pacific Recording Studios in San Mateo, CA, the recordings on this collection are thought to be the original demo tapes that landed the band their deal with Columbia records, just a few short months prior to the band s magnificent performance at Woodstock. An early incarnation of Jingo, the Top 40 single from Santana s self-titled debut album, appears here as does Soul Sacrifice, the track performed at the aforementioned Woodstock festival. This collection features the guitar work of a young Neil Schon, who would go on to platinum success with the arena act Journey. Yes, friends, San Mateo is where it began and now fans of all ages have the opportunity to own this incredible snapshot of a band about to become a legend...Santana!
DAVE EDMUNDS - Rockpile (1972) & Subtle As A Flying Mallet (1975)
David William “Dave” Edmunds is a Welsh singer/songwriter, guitarist, actor and record producer. Although he is mainly associated with pub rock and new wave, having many hits in the 1970s and early 1980s, his natural leaning has always been towards 1950s style rock and roll.
Rockpile was the first solo album by Dave Edmunds, released in 1972. It is principally focused on remakes of late 1950s and early 1960s hits, with a few new songs included. Edmunds plays almost all the instruments except for bass and backing vocals, which are contributed by John Williams, Edmunds' former bandmate in Love Sculpture. The album included a 1970 British #1 and worldwide Top 10 single, "I Hear You Knocking". A 2001 reissue of the album includes both sides of Edmunds three pre-album singles as bonus tracks.
Subtle as a Flying Mallet was the second solo album by Dave Edmunds, principally focused on sound-alike remakes of late 1950s and early 1960s hits. All of the vocals (except on the live tracks) are by Edmunds, and many of the songs are true solo efforts in that Edmunds also plays all the instruments. The album produced two Top 10 singles in the UK, remakes of the Phil Spector hit "Baby, I Love You" and The Chordettes' "Born to Be with You".
JOHN MAYALL - Nobody Told Me (2019)
Nobody Told Me, the new studio album from Blues Hall of Fame member, John Mayall, boasts an impressive and diverse list of guest guitarists, all personal favorites of Mayall s including Todd Rundgren, Little Steven Van Zandt of The E Street Band, Alex Lifeson from Rush, Joe Bonamassa, Larry McCray and Carolyn Wonderland who will be joining the band on tour. Also, on hand are Mayall s dynamic Chicago rhythm section of Greg Rzab on bass guitar and Jay Davenport on drums, along with Billy Watts (Lucinda Williams) on rhythm guitar and Mayall s regular horn section, moonlighting from their day job in The Late Show with Conan O Brien s house band. The album was produced by Mayall and Forty Below Records founder Eric Corne at The Foo Fighters Studio 606 on the same legendary Sound City Neve console his one-time protégés from Fleetwood Mac used to record parts of the best-selling Rumors album.
MERCURY REV - Bobbie Gentry's The Delta Sweete Revisted (2019)
After four quiet years, beloved American indie masters Mercury Rev have released an album consisting of exactly its name. Bobbie Gentry’s The Delta Sweete Revisited is a reimagination of the Mississippi singer-songwriter Bobbie Gentry’s 1968 record. The 2019 revisit adds lush instrumentation, modern production and a greater focus on ambience across its 12 tracks. A slew of vocalists feature on a track by track rotation, from the powerful and emotional to the delicate and sultry. All of the vocalists neither imitate nor disregard Gentry’s unique voice, walking the line of individuality well. However, much of the immersion in the original work came from Gentry’s intimate and sincere singing style, and while the album’s ambitious arrangements add an element of grandeur to the mix, for the most part Mercury Rev’s takes aren’t capable of sustaining interest.
Mercury Rev has no female vocalist. So, they've enlisted a guest singer on each song, and the list of women contributing here is full of serious heavy hitters.
THE ALLMAN BROTHERS BAND - American University Washington, D.C. 12/13/70 (2005)
The Allman Brothers Band launch their own record label with a vintage live recording that appears to have sentimental value for at least one rabid fan, band manager Bert Holman, who, in his freshman year, booked the Allman Brothers to play two shows at the Leonard Gym at his college, American University, on Sunday, December 13, 1970, at 7:30 and 10:30 p.m. (The CD is drawn from both shows, with tracks one through five from the second set and "You Don't Love Me" and "Whippin' Post" from the first.) Holman provides liner notes that explain his involvement nostalgically, but for the listener, what is perhaps more important is that the Allmans were at a crucial stage in their development on that December night, having just returned from shows at the Fillmore East in New York on a tour promoting their second album, Idlewild South. Three months hence, they would return to the Fillmore East and perform the show captured on their epochal Live at Fillmore East album. So, the band playing at American University is near to the best the group could be. The set includes "Statesboro Blues," "Stormy Monday," and "You Don't Love Me," blues covers that would be repeated at the Fillmore and turn up on Live at Fillmore East, though the songs and the Allmans' treatment of them might have been unfamiliar to those in the audience at American University. "Don't Keep Me Wonderin'" and "Leave My Blues at Home" had just appeared on Idlewild South, and this release marks the first live versions of them to be released by the Allmans. There is little new here, but the playing is fierce, especially the interaction of Duane Allman and Dickey Betts, and with a solid 20-plus-minute version of "Whippin' Post," Allman Brothers Band fans should be pleased with the band's first self-released effort.
THE BYRDS - Mr. Tambourine Man (1991)
Mr. Tambourine Man is the greatest hits album by the American rock band The Byrds, originally released as The Byrds' Greatest Hits. It is the first greatest hits album by the Byrds and was released in August 1967 on Columbia Records. It is the top-selling album in the Byrds' catalogue and reached number 6 on the Billboard Top LPs chart, but failed to chart in the UK. The album provides a summary of the Byrds' history during Gene Clark and David Crosby's tenure with the band and also functions as a survey of the group's hit singles from 1965 to 1967, a period when the band had its greatest amount of success on the singles chart. Most of the band's U.S. A-sides from this period are included on the album, along with three of their more important album tracks: "I'll Feel a Whole Lot Better", "The Bells of Rhymney", and "Chimes of Freedom". All of the songs included on the original Greatest Hits album can also be found on the band's first four albums, Mr. Tambourine Man, Turn! Turn! Turn!, Fifth Dimension and Younger Than Yesterday. The album was first issued on CD by Columbia Records in 1985 and was later re-released in a remastered form in 1991 with alternative cover artwork. In the UK and Europe, this 1991 edition of the album was titled Greatest Hits: 18 Classics Remastered and included an additional seven bonus tracks taken from the Byrds' post Younger Than Yesterday career (a period not covered by the original album).
GEORGE HARRISON - The Dark Horse Years 1976-1992 (2004)
The Dark Horse Years 1976–1992 is a box set of albums by English rock musician George Harrison. It was released in 2004 and comprises most of the singer's output on his Dark Horse record label. The set contains Harrison's five studio albums from Thirty Three & 1/3 (1976) to Cloud Nine (1987), with bonus tracks, and his 1992 live album (spread over two discs) Live in Japan, which features a special SACD remix in addition to its original mix. The six albums were also made available as separate releases. The set's eighth disc, a DVD titled The Dark Horse Years, includes promotional videos of Harrison's singles from the 1976–88 era and footage from his 1991 Japanese tour. The box set was followed by the 2014 release of The Apple Years 1968–75, which compiles Harrison's output on the Beatles' Apple Records. George Harrison's Dark Horse material had been issued on CD in 1991, but was allowed to go out of print some years later. By 2000, he was keen to reissue his entire catalogue, but only managed to oversee the 30th anniversary edition of All Things Must Pass before his death from cancer in November 2001. Following posthumous projects such as Brainwashed and Concert for George over 2002–03, Harrison's widow Olivia and son Dhani compiled the box set for release.
GEORGE HARRISON - The Apple Years 1968-75 (2014)
The Apple Years 1968–75 is a box set by English musician George Harrison, released on 22 September 2014. The eight-disc set compiles all of Harrison's studio albums that were originally issued on the Beatles' Apple record label. The six albums are Wonderwall Music (1968), Electronic Sound (1969), All Things Must Pass (1970; spread over two CDs), Living in the Material World (1973), Dark Horse (1974) and Extra Texture (1975). The final disc is a DVD containing a feature titled "The Apple Years", promotional films from some of his previous posthumous reissues, such as The Concert for Bangladesh, and other video clips. The box set marks the first time that the Dark Horse and Extra Texture albums have been remastered since their 1992 CD release. Among the bonus tracks spread across the set is an alternative, instrumental version of Harrison's 1968 B-side for the Beatles, "The Inner Light"; a remixed version of his non-album single "Bangla Desh"; and a 1992 re-recording of "This Guitar (Can't Keep from Crying)" (featuring overdubbed contributions from Ringo Starr and Dhani Harrison) that was used to promote Dave Stewart's Platinum Weird project in 2006. Also included in the package is a book containing essays by author Kevin Howlett and rare photos. The box set was designed as a companion piece to The Dark Horse Years 1976–1992, the 2004-issued set covering Harrison's career on his Dark Horse record label. Speaking of why his father's later-period work had been repackaged first, rather than the complete Apple output, Dhani Harrison referred to "politics and legal things", while likening the non-chronological approach to that of the Star Wars film series.
MOUNTAIN - Original Album Classics 1970-1974 (2010)
The breakup of Cream in late 1968 had consequences that rippled across the rock music world in its wake were formed directly such bands as Blind Faith (whose tragedy was they never had a chance to actually become a band) and Ginger Baker's Air Force, as well as the rich solo careers of members Eric Clapton and Jack Bruce. And it yielded by way of Cream associate and producer Felix Pappalardi something of a successor band in 1969, in the form of Mountain.
The band's history all started with a Long Island-based psychedelic/garage band called the Vagrants, who'd acquired a serious local following and always seemed poised to break out, without ever actually doing so. Their lead guitarist, Leslie West, was a physically outsized figure as well as a musician extraordinaire whose playing had been completely transformed by his experience of hearing Clapton's playing in Cream. The Vagrants and West first crossed paths with Pappalardi in 1968, when he saw their potential and got them signed to Atlantic Records, where he was working as a producer. He had already made a name for himself producing Cream's Disraeli Gears album, and had played numerous background instruments on their follow-up, Wheels of Fire (and on the studio tracks that would form their Goodbye album). He did produce some of the best work that the Vagrants ever released, but none of it sold; and when West left the band in late 1968 to do a solo album, titled Mountain, Pappalardi produced it for him, as well as played keyboards and bass on the record. The results were the most impressive of West's career up to that time, a solid, blues-based hard rock workout, showing off just how profoundly he incorporated Clapton's playing into his own style Mountain sounded a great deal like the now-disbanded Cream, and was satisfying enough for the two to form a partnership, also called Mountain. Their first lineup was built around the one used on the album, with N.D. Smart on drums, and Steve Knight added on keyboards, while Pappalardi concentrated on playing the bass. Following a debut performance at the Fillmore West in July 1969, the group played its fourth live performance ever at Woodstock, in front of an audience of several hundred thousand, on a bill with the likes of Jimi Hendrix, the Who, the Jefferson Airplane, Janis Joplin, Creedence Clearwater Revival, and -- also getting their first national exposure at the same festival Crosby, Stills, Nash & Young. The event was an auspicious one, even though it was followed by a personnel shift, as Smart was replaced by Corky Laing, West's oldest friend...
JOHN MARTYN - Sweet Little Mysteries: The Island Anthology (1994)
John Martyn was Island Records' first white solo performer. Having debuted as a fresh-faced teenage folky with 1967's London Conversation, he soon embarked on a restless musical odyssey. Built on a foundation of folk, blues, and jazz, Martyn's music has ranged from effects-laden experimentation, through rock, to fusion-influenced pop. This overview of Martyn's Island recordings ignores his first two albums and two releases with then-wife Beverley, picking up with Bless the Weather (1971). Although ornate love songs from that record like "Head and Heart" remain close to Martyn's traditionalist roots, the instrumental "Glistening Glyndebourne" shows he was keen to distance himself from the Donovan-Cat Stevens orbit of twee folk-pop. Solid Air, 1973's sublime follow-up, is well represented here. On it, Martyn moved effortlessly among light acoustic tunes ("Over the Hill"), darker, jazzier numbers ("Solid Air," his ode to friend Nick Drake), and gizmo-enhanced excursions (his rendering of Skip James' "I'd Rather Be the Devil"). Martyn pursued his experimental inclinations further with the jazz-folkadelic Inside Out (1973); that album's adventurous spirit is captured by the gently droning "Eibhli Ghail Chiuin Ni Chearbhaill," which reworks a 19th century Celtic folk tune with such late 20th century rock tools as a fuzzbox and phase-shifter. Sunday's Child (1974) returned to a more focused song format, as demonstrated by the mournful "Spencer the Rover." Martyn's next studio venture, One World (1977), combined chilled-out moodscapes ("Small Hours") with slick, adult-oriented pop and rock ("Dancing"), the latter tendency even more prominent on Grace & Danger (1980) and exemplified by the delicate "Sweet Little Mystery." While Martyn's later Island releases were less memorable, those mid-'80s numbers collected here hold up well. This album provides a great introduction to John Martyn; its only weakness is the omission of his earliest efforts, a sampling of which would give a fuller sense of his work's evolution.
BROWNSVILLE STATION - No BS (1970) & A Night on the Town (1972)
A Detroit area rock & roll band formed in 1969 by guitarists Cub Koda and Mike Lutz, Brownsville Station's original members also included T.J. Cronley (drums) and Tony Driggins (bass), with Henry Weck replacing Cronley on drums in 1971. Initially influenced by Chuck Berry, Bo Diddley, Jerry Lee Lewis, and other '50s rockers, their early albums included inspired covers and genre-faithful originals, all presented in Marshall stack, double bass drum bigness. Far more effective as a live act (with Koda's on-stage banter influencing everyone from J. Geils' Peter Wolf to Alice Cooper), the group finally hit paydirt in late 1973 with its number three hit, the Koda and Lutz-penned "Smokin' in the Boys Room." After the group disbanded in 1979, Koda went on to a career as a solo recording artist (see separate entry) and as a journalist for several music magazines before succumbing to kidney disease in the summer of 2000. Lutz went on to produce artists for Atlantic and Epic/Sony Records, performed with the band No Mercy, and co-wrote songs and toured with fellow Michigan rocker Ted Nugent. Weck also went into engineering and producing, working with artists in the Atco and Atlantic Records stable, including the band Blackfoot. Lutz and Weck joined forces again in 2012, releasing a new album, Still Smokin', that same year, and then returned to the road as Brownsville Station in 2013 with a lineup that also featured guitarists Billy Craig and Arlen Viecelli.
TEDESCHI TRUCKS BAND - Signs (2019)
“Signs” is the fourth studio release from Tedeschi Trucks Band and offers another outstanding example of their ability to expand musical boundaries in ways that only a rare caliber of musician can achieve. “Signs” showcases the band at their best combining inventive musicality and provocative lyrics across eleven original tracks, running the gamut from uplifting soulful anthems, to bittersweet ballads and driving rock and roll. Like previous efforts, Signs was recorded at Swamp Raga, Tedeschi and Trucks’ home studio in Jacksonville, Florida. Trucks co-produced the album, along with Bobby Tis and Jim Scott, known for his work with the Rolling Stones and Tom Petty. The 11-track LP also features guest appearances from guitarists Warren Haynes and Doyle Bramhall II, as well as Allman Brothers Band percussionist Marc Quinones.
The album was recorded at Derek and Susan’s home studio, Swamp Raga, on two-inch analogue tape giving it a warmth and richness that recalls the ambience of the best vintage recordings.
ELECTRIC LIGHT ORCHESTRA & JEFF LYNNE - Original Album Classics (2018)
5CD package containing albums from Electric Light Orchestra and Jeff Lynne's solo career. Albums are packaged in cardboard replica vinyl sleeves and bundled in a card slipcase. Albums Featured: Armchair Theatre, Zoom, Mr. Blue Sky: The Very Best Of ELO, Longwave & Electric Light Orchestra Live.
PAUL RODGERS & FRIENDS - Live At Montreux 1994 (2011)
From his time as the lead singer of Free and Bad Company, to his most recent stint as the frontman for the ill-considered Queen + Paul Rodgers project, Paul Rodgers has always been unassailable as a singer. His smoky, bluesy voice hasn’t lost one iota of power or dexterity since the early ‘70s and he remains, even over 60, an engaging and lively performer. Unfortunately, for all his talent, he’s never been a particularly inventive songwriter, even with such talented collaborators as Paul Kossoff (Free), Mick Ralphs (Bad Company) and Jimmy Page (the Firm).
Live at Montreux 1994, recorded at the legendary jazz festival, demonstrates that Rodgers has some solid songs in his catalog but doesn’t really have much imagination in how to arrange them. Even with an army of skilled accompanists, including Queen guitarist Brian May, Journey guitarist Neal Schon, and Toto bassist Steve Lukather, Rodgers simply delivers perfunctory recitations of his biggest hits, such as “All Right Now” and “Feel Like Making Love”. There are also some obligatory blues covers, this is the Montreux Jazz Festival, after all, and while May’s ringing guitar does give an added dimension to “Good Morning Little Schoolgirl”, for the most part these renditions add little or nothing to the originals. Essentially, this set is dispensable unless you’re a completist of the artists involved. Even then, you probably won’t play it much.
DAVE DAVIES - Unfinished Business: Dave Davies Kronikles, 1963-1998 (1999) & Decade (2018)
David Russell Gordon Davies is an English singer, songwriter and guitarist. He is the lead guitarist, backing (and occasional lead) singer for the English rock band The Kinks, which also featured his older brother Sir Ray Davies. In 2003, Davies was ranked 91st in Rolling Stone Magazine's list of the "100 Greatest Guitarists of All Time".
Here's to the illustrious rock & roll foil! Extending from Keith Richards in the Rolling Stones to Johnny Thunders in the New York Dolls, from Mick Ralphs in Mott the Hoople to Mick Jones in the Clash, they're the lean and mean complements to preening frontmen. Dave Davies is a distinguished charter member of this soulful, somewhat thin-voiced bloc. Yes, big brother Ray Davies may have been blessed with a sharper pen and superior vocal range. But the Kinks without Dave's vehement leads and counter-punching compositional contributions? Perish the thought! Unfinished Business gathers 31 of Dave's signature songs on two discs, in the process earning the everlasting affection of Kinks kultists. Culled from solo recordings and group efforts, Unfinished Business is fleshed out with late-'90s rerecordings of DD recordings suspended in legal limbo. Surprisingly, the likes of the title track (from 1996, and featuring Dave's son Simon on drums) and the three numbers cut live at New York's Bottom Line in 1997 update this decades-spanning collection quite nicely. Dave was never really overshadowed by his brother, but with Unfinished Business he's finally properly illuminated.
The Seventies were a time of turmoil and triumph for Britain’s finest rock n’ roll band The Kinks beginning the decade with the eternally anthemic ‘Lola’, releasing a series of poorly received (but, as revisionism will tell us - secretly brilliant) concept albums, then returning to prominence with beauties like Sleepwalker and Misfits, this period will probably be best remembered as the decade when Ray Davies pushed the band to previously unseen levels of success on the road in the USA. Yet, behind the scenes, while Ray offered up album after album of his material in perhaps his most prolific period, brother Dave Davies was working on material that he never presented to the band - in fact, a collection of songs recorded at the band’s studio Konk, that were only very recently unearthed. Partly re-recorded, remastered and produced by Dave’s son Simon, Decade is an alternative history that throws up a ‘What If’ scenario for The Kinks in the Seventies that, had they paid more than lip service to Dave’s songwriting talents, may have led them down some quite different paths.
GLENN HUGHES - Play Me Out (1977) [2017 Expanded Edition]
Digitally remastered and expanded two CD edition. Glenn Hughes first came to prominence in Trapeze, a band featuring future Whitesnake guitarist Mel Galley, and future Judas Priest drummer, Dave Holland. With third album, You Are The Music, We're Just The Band (1972), Trapeze appeared to be on the brink of a major Stateside breakthrough, where they'd been building a large and loyal following. However, in 1973 Glenn was offered the golden opportunity to play bass and sing with Deep Purple, joined by David Coverdale for Burn, Stormbringer and Come Taste The Band. Deep Purple eventually split in 1976, with it's members following various solo and side projects. The first fruits of Glenn's post Purple career appeared with Play Me Out, issued in July 1977. In many respects, this album is the logical progression from the soul, funk and R&B influences Glenn brought to the three LPs he recorded with Purple. Although Trapeze enjoyed a short lived reunion in 1976, his bandmates did lend their support to the recording of Play Me Out, joined by Pat Travers on guitar and future Thin Lizzy drummer Mark Nauseef, the original album ends with the single 'I Found A Woman'. The album is now augmented with a second disc of bonus tracks, these include 'Smile', 'Getting Near To You' and 'Fools Condition' from 1978, originally recorded for the follow up to Play Me Out, and 'Take Me With You' and 'She Knows', recorded by Glenn in 1994. Also featured is the disco-era mini-album Four On The Floor, originally released by Casablanca (home to both KISS and Donna Summer) in 1979. The expanded booklet features liner notes by Classic Rock magazine's Malcolm Dome based on new interviews with Glenn.
THE AMBOY DUKES - Journey To The Center Of The Mind (1968) & Migration (1969)
The Amboy Dukes were an American rock band formed in 1964 in Chicago, Illinois, and later based in Detroit, Michigan. They are known for their one hit single "Journey to the Center of the Mind". The band's name comes from the title of a novel by Irving Shulman. In the UK the group's records were released under the name of The American Amboy Dukes because of the existence of a British group with the same name. The band went through a number of personnel changes during its active years, the only constant being lead guitarist and composer Ted Nugent. The band transitioned to being Nugent's backing band before he discontinued the name in 1975. The group contributed to the foundations of heavy metal and progressive rock. The group's primary genres were psychedelic rock, acid rock and hard rock.
Journey to the Center of the Mind is the second studio album released by The Amboy Dukes. It was released in April 1968 on Mainstream Records. A remastered CD reissue was released in 1992 by Mainstream Direct Ltd. with one bonus track.
Migration is the third studio album by The Amboy Dukes. It was released in 1969 on Mainstream Records. On this album, Rusty Day replaced John Drake on vocals. The song "I'm Not a Juvenile Delinquent" is a cover of the 1956 song by Frankie Lymon and The Teenagers. A CD reissue was released in 1991 by Repertoire Records with two bonus tracks. It credits the band as "The American Amboy Dukes", the name under which the group's records were released in Britain. This CD features an edited version of 'Prodigal Man' ( bass and organ solo removed) and not the full version from the original LP. (In fact, the full version has yet to see a CD release).
GRYPHON - The First 4...
Gryphon was one of the more unusual of the folk-rock groups to come out of England in the 1970s, mostly because they didn't confine their musical genre-melding to folk-rock. Spawned at the Royal College of Music, they started out making a name for themselves in folk-rock, but their classical training and their approach to composition, recording, and performance soon took them into the much bigger field of progressive rock, and eventually had them playing gigs in front of arena-size audiences. Richard Harvey (winds, mandolin, keyboards), who'd been playing music since age four, crossed paths with Brian Gulland (winds, bassoon, keyboards, vocals) Harvey had a growing interest in traditional folk music and had previously played with an ensemble called Musica Reservata, while Gulland had lately begun delving into Renaissance and medieval church music. Together with guitarist Graeme Taylor, an old friend of Harvey's, they began working as a trio, playing a brand of what might best be called archaic folk music on instruments that were decidedly pre-20th century in either origin or sound. This early trio most resembled a cross between Pentangle and Amazing Blondel, but Gryphon's members were more proficient in their musicianship than Blondel's members, who were, to a great extent, learning as they went along in their early days.
In 1972, the trio became a quartet with the addition of David Oberle as percussionist, and the following year they were signed to Transatlantic Records, which was then one of the biggest of England's independent labels, with a special emphasis on folk music in their lineup of artists (which included, not coincidentally, Pentangle). Their debut album was taken seriously enough to get them gigs at places like the Victoria & Albert Museum where they lectured as well as concertized and other venues outside the usual range of folk performances. Additionally, the group's formal musical training made it possible for them to accept a commission from Sir Peter Hall for a production of Shakespeare's The Tempest at the National Theatre. That commission, in turn, resulted in the creation of the group's first real thrust into progressive rock, with the album-side length "Midnight Mushrumps," which also became the title of their second LP, released in early 1974. The group was, by then, cultivating a dedicated audience that mixed open-minded folk enthusiasts and more serious progressive rock aficionados, their repertoire encompassing everything from medieval airs and dances to folk-based renditions of Beatles songs. Their recordings were a little more restrained, generally comprising traditional airs, jigs, and dances extended and often expanded into suites running anywhere from seven to 25 minutes. By 1974, they'd also added bassist Philip Nestor, whose presence, coupled with Oberle's switch from percussion to an actual drum kit, toughened up their sound and extended their range still further -- but they were still among the very few rock acts of this or any other period whose music was likely to feature a krumhorn or recorder cadenza. Their music could leap, in a single measure, from a piece of 15th century religious music across four hundred years, from medieval recorder to electric guitar, without skipping a beat. Yet audiences were keeping up, and even the rock audience was taking note Richard Harvey could play the recorder flute at a speed that made Ian Anderson (rock's best known flutist) look like he was working in slow motion. Later in 1974, the group released what is usually regarded as their magnum opus, Red Queen to Gryphon Three, which marked their headfirst plunge into progressive rock, eschewing vocals for the first time in their history and stretching out their playing on a quartet of extended tracks clocking in at ten minutes or more each. For that album, they added a sixth member in organist Ernest Hart, whose keyboard prowess at least rivaling Yes' Tony Kaye, if not Rick Wakeman, for boldness on a single instrument allowed the group to expand its musical canvas onto a scale matching that of Genesis, King Crimson, et al. It's questionable how closely Nestor or Hart were woven into the band, however, as demonstrated by their lack of composing or arranging credits, among those pieces credited to Harvey, Gulland, Taylor, and Oberle...
Felder was one of the group's longest-standing members (second only to founders Henley and Frey), before his abrupt ousting from the Eagles in the early 21st century. Born on September 21, 1947 in Gainesville, FL, Felder discovered rock & roll via an Elvis Presley TV appearance on the Ed Sullivan Show, which led to Felder picking up the guitar by the age of 11. Throughout his teenage years, Felder played in various groups (including the Continentals, which at separate times, also featured Stephen Stills and future Eagles bandmate Bernie Leadon). After the band split up, Felder relocated up to New York, where he appeared on an obscure self-titled debut by a group called Flow, in 1970. Although the group split up soon after, Felder kept his chops up by playing with others, and in the process, mastered several different musical styles. Tired of the New York scene, Felder relocated once more, to Boston, where he worked steadily in a recording studio for two years -- picking up pointers on how to make records via engineer work. When old friend Leadon came through town with his new band, country-rockers the Eagles, Felder joined the group for an on-stage jam session, and took Leadon's advice regarding relocating to California, where a vast amount of session work beckoned. Felder made the trip in 1972, and spent the next year recording and touring with folk singer/songwriter David Blue. Afterwards, Felder was invited to serve as a touring guitarist for Graham Nash, but when he was asked to join the Eagles, he accepted (even though he suspected the band wouldn't last for much longer, due to inter-band hostility).
Felder contributed guitar to such hit Eagles albums as 1974's On the Border and One of These Nights, but the band was still searching for the missing piece to their puzzle. The missing link turned out to be guitarist Joe Walsh, who replaced Leadon, and contributed to the Eagles' massive hit, 1976's Hotel California, which has gone on to sell a staggering 16 million copies in the U.S. alone. After an oft-delayed follow-up was issued in 1979, The Long Run, and its ensuing supporting tour wrapped up (documented on 1980's Eagles Live), the Eagles announced they were splitting up in 1982. Felder subsequently contributed solo tracks to the motion picture soundtracks for Heavy Metal and Fast Times at Ridgemont High and even issued a star-studded solo full-length in 1983, Airborne (which included contributions from Kenny Loggins, Dave Mason, and Timothy B. Schmit, among others). In the wake of the Eagles' split and his solo release, Felder kept himself busy by guesting on other artists' albums, including the Bee Gees' Living Eyes, Stevie Nicks' Bella Donna and Wild Heart, Diana Ross' Eaten Alive, Bob Seger's Distance, Joe Walsh's There Goes the Neighborhood and You Bought It, You Name It, plus Robin Zander's self-titled release. But for the better part of the late '80s and early '90s, Felder shied away from the music biz, while rumors of an impending full-on Eagles reunion tour began to circulate. The rumors eventually proved to be fact in the spring of 1994, when the group reunited for an MTV concert taping (released the same year as Hell Freezes Over), featuring old tunes alongside a pair of new compositions. The group's ensuing tour proved to be a blockbuster success, but a rumored all-new studio album by the reunited group failed to materialize. The group reunited once more for a Los Angeles show on New Years Eve, 1999, but shortly after the show, Felder was surprisingly fired from the group. Felder then sued former bandmates Henley and Frey in February of 2001, claiming he was wrongly terminated. The case went to court in July of 2002...
V.A. - All The Young Droogs: 60 Juvenile Delinquent Wrecks (2019)
From the makers of the Junkshop Glam genre defining Velvet Tinmine, Glitterbest and Boobs compilations comes this bookending box set. 60 tracks of the finest slices of JSG in it's various guises, as established by collectors around the world over the past decade. Including tracks from the USA, New Zealand, Netherlands, Sweden, Iceland, Australia as well as homegrown UK. Some previously unreleased, many first time on CD. Themed by arch JSG collector and musician Phil King into three groups; Rock Off! For the heads down boogie sounds; Tubthumpers & Hellraisers for the footstomping hand clapping pop pounders; Elegance & Decadence for the mascara masquerading gender bending weird and wonderful. The box set sweeps up a colourful array of musical renegades and nomads as they moved and shook the scene, such as: first Juicy Lucy vocalist Ray Moon, ex-New York Dolls Rick Rivets band The Brats, Baby Grande the forerunners of The Church, TV Smith pre-Adverts in Sleaze, Jimmy Edwards a cohort of Jimmy Pursey in Sham 69 in earlier solo mode and, as in house producer of Steve Elgin at Dawn, ex- Spider From Mars Woody Woodmansey, 60's northern soul chanteuse Glo Macari backed by Slowload who get their own track as produced by Vic Maile, actor Richard Strange as Kid Strange in Doctors of Madness, Angel produced by Mick and Andy from The Sweet. Plus stalwart pop auteurs Jonathan King and Mike Berry. Some further context comes from inclusion of relevant cuts by Mott The Hoople, Hello, Iggy & The Stooges, Be Bop Deluxe, Third World War. Three discs in individual wallets, housed in a clam shell box, which also includes a 36 page booklet. The booklet contains a fascinating and highly-informative 2000 word essay from an authority on the genre - Tony Barber - the bassist with the Buzzcocks.
JIMMIE VAUGHAN TRIO feat. MIKE FLANIGIN - Live at C-Boy's (2017)
Hip Blues Blast readers are in the know about who Jimmie Vaughan is and his importance to the Blues world. But, for any uninitiated, Jimmie Vaughan is one of the greatest Blues guitarist of all time. Throughout his long influential career he has been a torchbearer (along with contemporaries such as Ronnie Earl, Duke Robillard and John Primer) for clear authentic electric guitar sound. Vaughan’s Blues is a Texas hybrid of R&B, shuffling two-step and greasy Chicago, with a hint of New Orleans groove for seasoning. Jimmie developed this style early on with musical partner Kim Wilson in The Fabulous Thunderbirds and has grown and innovated since he started his solo career in the early 90’s. Mr. Vaughan is a generous collaborator and a humble band leader which is reaffirmed in his newest album Live at C-Boy’s. Attributed to the Jimmie Vaughan Trio with the subtitle “featuring Mike Flanigin” this record is a document of three Austin, TX legends chilling and having a great time communicating musically. The song selections are almost immaterial, it is the unique contributions of Vaughan, Hammond B3 master Flanigin and dearly departed drummer Frosty Smith that make this 36 minutes of organ trio Soul Jazz shine.
Recorded live in 2016 at C-Boy's Heart and Soul Club in Austin, Texas, this (36 + minutes) set has Vaughan sounding relaxed and enjoying himself playing some well known favorite tunes. The trio is Vaughan-guitar (vocal on "Dirty Work At The Crossroads"), Frosty-drums, and Mike Flanigin-Hammond B3 organ (vocals on "Hey! Baby", and "Come On Rock Little Girl"), and together they play some good 'ol small club Texas style music.
THE ROLLING STONES - Metamorphosis (1975) 
Metamorphosis is the third compilation album of The Rolling Stones music released by former manager Allen Klein's ABKCO Records (who usurped control of the band's Decca/London material in 1970) after the band's departure from Decca and Klein. Released in 1975, Metamorphosis centres on outtakes and alternate versions of well-known songs recorded from 1964 to 1970. After the release of Hot Rocks 1964–1971 in 1971, an album titled Necrophilia was compiled for release as the follow-up, with the aid of Andrew Loog Oldham, featuring many previously unreleased (or, more accurately, discarded) outtakes from the Rolling Stones' Decca/London period. While that project failed to materialise—with More Hot Rocks (Big Hits & Fazed Cookies) being released in its place—most of the unreleased songs were held over for a future project. In 1974, to give it an air of authority, Bill Wyman involved himself in compiling an album he entitled Black Box. However, Allen Klein wanted more Mick Jagger/Keith Richards songs in the project for monetary reasons, and Wyman's version remained unreleased. Metamorphosis was issued in its place.
Released in June 1975, Metamorphosis came out the same day as the band's authorised hits collection Made in the Shade and was also seen to be cashing in on The Rolling Stones' summer Tour of the Americas. While the critical reception was lukewarm—many felt some of the songs were best left unreleased— Metamorphosis still managed to reach No. 8 in the US, though it only made No. 45 in the UK. Two singles, "Out of Time" (featuring Jagger singing over the same backing track used for Chris Farlowe's 1966 version) and a cover of Stevie Wonder's "I Don't Know Why" briefly made the singles charts.
Storyville was a blues-rock band formed in 1994 in Austin, Texas, USA. Drummer Chris Layton and bassist Tommy Shannon, former members of Arc Angels and the rhythm section for Stevie Ray Vaughan's band Double Trouble, formed the band with Malford Milligan after a jam session at Antone's. After releasing an album on November Records in 1994, the band won a total of nine Austin Music awards; they became stalwarts on the local music scene and toured nationally. They subsequently signed to major label Atlantic Records, for whom they recorded two albums before breaking up. The single "Born Without You", from their 1998 release Dog Years, reached #28 on the Billboard Mainstream Rock chart.
Storyville's second album, Piece of Your Soul, is a gritty Texas blues record, but it's delivered with enough rock & roll savvy to crossover into the mainstream. That's not to say that the group has watered-down the greasy roadhouse R&B that is their stock and trade they simply inject it with a shot of feverish rock & roll energy, and that's what makes Piece of Your Soul a successful follow-up to the award-winning debut, The Bluest Eyes.
Storyville don't change their tune much on Dog Years, their first major-label effort and third album overall. Granted, the album has a slicker sound than its predecessors, but at its core it remains a hard-rocking blend of Texas blues-rock and Southern rock. The primary pleasure of Dog Years is hearing the band play. David Grissom and David L. Holt may not be distinctive guitarists, but they're solid musicians, pushing the record in the right direction. The songs themselves aren't particularly memorable, but there's enough energy in the hard rockers (the ballads fall a little flat) to make it an enjoyable, contemporary Southern blues-rock record.
TODD RUNDGREN - At The BBC 1972-1982 (2014)
The years covered on this three-CD/one-DVD set are the peak years of Todd Rundgren's stardom, when he was not only touring on his own but with his often bizarre arena-prog outfit Utopia. Todd Rundgren at the BBC: 1972-1982 tips heavily in favor of Utopia, with two of its CDs devoted to BBC Radio One In Concert sessions from 1975 and 1977, while the DVD contains two Old Grey Whistle Test appearances with the band. There is some solo Todd, though, including a lengthy Old Grey Whistle Test from 1982 (several songs here were originally not broadcast) but the most interesting thing here is the earliest material, a BBC Radio One In Concert from 1972 that captures Todd alone at the piano. He's joshing with the audience, particularly on "Piss Aaron," where he spends time discussing the verses at length, and he takes the piss out of "Be Nice to Me," claiming it's a silly song. Silliness can be heard elsewhere, including a broadly campy version of "Something's Coming" from West Side Story, and that helps lighten a load that winds up getting slightly leaden due to the long stretches of Utopia at their densest. This era of Todd remains divisive some love it, while others will never warm to it and that keeps this set from being a must for fanatics, yet there's no denying that there's plenty of endearing, enduring eccentricity from one of pop's great madmen to be heard.
UFO - The first... and the last 2...
Vocalist Phil Mogg, guitarist Mick Bolton, bassist Pete Way, and drummer Andy Parker formed the British space metal outfit UFO in 1969. Originally known as Hocus Pocus, the group, which took the name UFO in honor of a London club, debuted in 1971 with UFO 1. Both the album and its follow-up, the same year's Flying, found great success in Japan, France, and Germany, but was barely noticed in the band's native country; as a result, their third effort, 1972's Live, was released only in Japan. In 1974, Bolton left the group; after brief trial runs with ex-Pink Fairies guitarist Larry Wallis and future Whitesnake member Bernie Marsden, former Scorpion Michael Schenker stepped in as a permanent replacement in time to record 1974's Phenomenon, which sported a harder-edged guitar sound.
After 1975's Force It and 1976's No Heavy Petting brought UFO increased visibility with American audiences, keyboardist Paul Raymond joined for 1977's Lights Out. However, after 1978's Obsession, Schenker left the group, first to rejoin the Scorpions and later to form his own band. Despite the addition of guitarist Paul Chapman, the next UFO LP, No Place to Run, failed to match the success of its predecessors. In 1982, the band released Mechanix, notching a minor U.S. hit with "Back into My Life"; later that year, Way exited to form Waysted and was replaced by ex-Eddie & the Hot Rods bassist Paul Gray. After 1983's Making Contact, UFO dissolved, only to re-form two years later for Misdemeanor; however, the album was met with little response, and they again called it quits. In 1993, the group's most popular lineup -- Mogg, Schenker, Way, Raymond, and Parker -- reunited and recorded the 1995 album Walk on Water; after a tour, the members yet again went their separate ways. Mogg and Way continued to work as Mogg/Way and released the albums Edge of the World (1997) and Chocolate Box (1999).
Schenker rejoined in 2000 along with veteran drummer Aynsley Dunbar for the two-CD Covenant, which featured one disc of new studio recordings along with one disc of live recordings. Sharks came out in 2002; Schenker and Dunbar departed and were replaced by Vinnie Moore and Jason Bonham, respectively. This new band welcomed returning keyboardist Paul Raymond for 2004's You Are Here and 2005's live album Showtime. Bonham was the next to leave and was replaced by the band's original drummer, Andy Parker, for 2006's The Monkey Puzzle. The Visitor an album recorded without the participation of Pete Way due to the bassist's health problems followed in 2009. Seven Deadly arrived in 2012, and in early 2015 the group issued its 21st studio long-player, Conspiracy of Stars, which featured a lineup of core members Phil Mogg, Paul Raymond, and Andy Parker, along with Vinnie Moore and bassist Rob De Luca. Two years later, the band released the all-covers LP The Salentino Cuts.
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