TOM RUSH - Tom Rush (1970) + Wrong End Of The Rainbow (1970) 
A mainstay of the '60s urban folk revival, Tom Rush would enjoy a long-running career spanning seven decades. His rich, warm voice and his knack for finding new material from gifted songwriters made him a frequent presence at folk clubs and festivals from the '60s well into the 2010s. Rush was also a talented tunesmith, and his song "No Regrets" would become a folk standard recorded by Harry Belafonte, Waylon Jennings, Emmylou Harris, and the Walker Brothers, among others. (Rush's version appeared on 1968's The Circle Game, widely regarded as his best album.) And a video of Rush performing the song "Remember?" became a viral hit in 2007, introducing him to a new audience in the 21st century. Born February 8, 1941 in Portsmouth, New Hampshire, Rush began his performing career in 1961 while attending Harvard University, where he majored in English literature. He was a frequent presence at Club 47, the Cambridge, Massachusetts coffeehouse where Joan Baez and Bob Dylan both cultivated their early followings, and he soon became a regular on the East Coast folk circuit. Rush was also regularly featured at the Unicorn in Boston, where he recorded his first album, a 1962 live set titled Tom Rush at the Unicorn. He struck a deal with Prestige Records, which issued his next two albums, 1963's Got a Mind to Ramble and 1964's Blues, Songs and Ballads. (These two albums were later reissued on a single CD under the title Blues, Songs and Ballads.) In 1965, Rush moved up to Elektra Records, then arguably America's most prestigious folk label, which released a self-titled album that year. Up to that time, Rush's repertoire consisted almost entirely of old-time folk and blues standards, but that began to change with 1966's Take a Little Walk with Me, in which he covered tunes by Muddy Waters, Chuck Berry, Buddy Holly, and Bo Diddley, as well as recording an original song for the first time, "On the Road Again." Widely considered Rush's best and most influential album, 1968's The Circle Game featured material from Joni Mitchell, James Taylor, and Jackson Browne, years before any of them would rise to stardom, as well as "No Regrets," which would become Rush's best-known original tune.
In 1970, Rush left Elektra for Columbia Records, where he cut three albums - 1970's Tom Rush and Wrong End of the Rainbow, and 1972's Merrimack County which found him moving more toward rock, while his final Columbia release, 1974's Ladies Love Outlaws, was informed by country-rock.
FEAR ITSELF - Fear Itself (1969)
Fear Itself was a short-lived psychedelic blues-rock band formed by Ellen McIlwaine in the late 1960s in Atlanta, Georgia. The band featured McIlwaine on lead vocals and playing harmonica, rhythm guitar and organ. Chris Zaloom played lead guitar, and Bill McCord was on drums. Steve Cook played bass guitar and was the bassist on the band's one album, the self-titled Fear Itself. However, Cook left, and was replaced by Paul Album on bass. The group performed at Woodstock Sound-Outs mini-festival in 1968, and eventually separated after Album was killed by a drunk driver. McIlwaine later moved to Canada and started a solo career.
For all 60's collectors who are not familiar with this masterpiece - it's a must - there a not many groups that were able to present the freewheelin' live on stage feeling on their studio album! It was the only album to be released by the band before their breakup after the death of bassist Paul Album. The album features Ellen McIlwaine, who launched a solo career after the group disbanded. The album was originally released on vinyl by Dot Records. It was re-released on CD in 2006 by World IN Sound under license from Geffen Records.
RINGO STARR - What's My Name (2019) mp3 & flac
The Beatles’ American success story began to unfold on Sunday, February 9, 1964, with the band’s performance on the "Ed Sullivan Show" before some 73 million television viewers, a figure that accounted for nearly 40% of the population of the United States at that time. In the coming days, it was drummer Ringo Starr, with his self-deprecating, aw-shucks demeanor, who emerged as the most popular Beatle. After the group’s disbandment, it was Ringo, yet again, who enjoyed a string of early successes with the record-buying public. In April 1971, he made his first major statement as a solo artist. After a pair of lackluster solo albums in "Sentimental Journey" (1970) and "Beaucoups of Blues" (1970), the ex-Beatle released the blockbuster single “It Don’t Come Easy,” a record that would set into motion an impressive series of commercial triumphs that, for a time at least, set him apart from his former bandmates.
With "What’s My Name," his 20th studio album, Starr makes a triumphant return to the greatness that marked his early 1970s heyday. Easily one of his most endearing LPs, the record finds its roots in Starr’s frequent refrain during his concerts with the All-Starr Band. “What’s my name?” he prompts his adoring fans. “Ringo!” they scream in response with unbridled joy.
CREEDENCE CLEARWATER REVIVAL - Creedence Collection Vol.1 + Vol.2 (1998)
At a time when rock was evolving away from the forces that had made the music possible in the first place, Creedence Clearwater Revival brought things back to their roots with their concise synthesis of rockabilly, swamp pop, R&B, and country. Though the music of CCR was very much a group effort in their tight, punchy arrangements, their vision was very much singer, songwriter, guitarist, and leader John Fogerty's. Fogerty's classic compositions for Creedence evoked both enduring images of Americana and reflected burning social issues of the day. The band's genius was their ability to accomplish this with the economic, primal power of a classic rockabilly ensemble. The key elements of Creedence had been woodshedding in bar bands for about a decade before their breakthrough to national success in the late '60s. John's older brother Tom formed the Blue Velvets in the late '50s in El Cerrito, California, a tiny suburb across the bay from San Francisco. By the mid-'60s, with a few hopelessly obscure recordings under their belt, the band including Tom and John with two high-school friends, drummer Doug Clifford and bassist Stu Cook signed to Fantasy, releasing several singles as the Golliwogs that went nowhere. In fact, there's little promise to be found on those early efforts; they were extremely derivative of the British Invasion and other R&B and rock trends of the day, with few hints of the swampy roots rock that would characterize CCR. The group only found themselves when John took firm reins over the band's direction, singing and writing virtually all of their material.
On their first album, 1968's Creedence Clearwater Revival, the group played it both ways, offering extended, quasi-psychedelic workouts of the '50s classics "I Put a Spell on You" and "Suzie-Q." The latter song became their first big hit, but the band didn't really bloom until "Proud Mary," a number two single in early 1969 that demonstrated John's talent at tapping into Southern roots music and imagery with a natural ease. It was the start of a torrent of classic hits from the gritty, Little Richard-inspired singer over the next two years, including "Bad Moon Rising," "Green River," "Down on the Corner," "Travelin' Band," "Who'll Stop the Rain," "Up Around the Bend," and "Lookin' Out My Back Door." Creedence also made good albums Green River, Willy and the Poor Boys, and Cosmo's Factory all rank among the best of the rock era but their true forte was as a singles band. When the Beatles broke up in early 1970, CCR was the only other act that provided any competition in the fine art of crafting bold, super-catchy artistic statements that soared to the upper reaches of the charts every three or four months. Although they hailed from the San Francisco area, they rarely succumbed to the psychedelic indulgences of the era. John Fogerty also proved adept at voicing the concerns of the working class in songs like "Fortunate Son," as well as partying with as much funk as any white rock band would muster on "Travelin' Band" and "Down on the Corner."
JULIE DRISCOLL & BRIAN AUGER - Best Of Julie Driscoll & Brian Auger (1992)
Sixties pop diva-turned-avant jazz singer Julie Driscoll was born June 8, 1947 in London. As a teen she oversaw the Yardbirds' fan club, and it was the group's manager and producer Giorgio Gomelsky who encouraged her to begin a performing career of her own. In 1963 she issued her debut pop single "Take Me by the Hand," two years later joining the short-lived R&B combo Steampacket alongside Rod Stewart, Long John Baldry and organist Brian Auger. After Steampacket dissolved, Driscoll signed on with the Brian Auger Trinity, scoring a Top Five UK hit in 1968 with their rendition of Bob Dylan's "This Wheel's on Fire." Dubbed "The Face" by the British music press, Driscoll's striking looks and coolly sophisticated vocals earned her flavor of the month status, and she soon left Auger for a solo career. Her debut solo album 1969 heralded a significant shift away from pop, however, enlisting members of the Soft Machine and Blossom Toes to pursue a progressive jazz direction. Also contributing to the record was pianist Keith Tippett, whose avant garde ensembles Centipede and Ovary Lodge Driscoll soon joined. She and Tippett were later married, and she took her new husband's name, also recording as Julie Tippetts. With her 1974 solo masterpiece Sunset Glow, she further explored improvisational vocal techniques in settings ranging from folk to free jazz. Two years later, Tippett joined with Maggie Nicols, Phil Minton and Brian Ely to form the experimental vocal quartet Voice, and in 1978 also collaborated with Nicols on the duo album Sweet and s'Ours. A decade later, she and Keith released Couple in Spirit, and in 1991 Tippett teamed with over a dozen instrumentalists from Britain and the former Soviet Georgia in the Mujician/Georgian Ensemble. The following year, she re-recorded "This Wheel's on Fire" as the theme to the smash BBC comedy Absolutely Fabulous.
Brian Auger arrived on the London scene in the early 1960s, right in the thick of the blues and R&B revival that directly led to the British Invasion of 1964. Despite his presence in Steampacket a 1965 combo featuring a pre-fame Rod Stewart, Long John Baldry, and Julie Driscoll Auger wasn't directly part of that invasion, but his swinging, jazzy keyboards remained at the fringes of rock & roll through the 1960s. Auger's roots may have been in R&B-inflected jazz a sound identified with the first two thirds of the '60s but he thrived during the late 1960s and into the 1970s by playing adventurous, progressive music, either with his Oblivion Express or as a duet with a rotating group of singers. Auger kept on this tract, swinging between jazz, rock, and R&B, for decades, playing regular gigs either on his own or as support and recording on occasion.
VAN MORRISON - Three Chords & The Truth (2019)
Three Chords & The Truth is truly something wonderful - fourteen new original compositions effortlessly encapsulate the Van Morrison sound and showcase his talents as one of our generation’s most celebrated songwriters. His sixth album in just four years, Three Chords And The Truth is further proof that Van Morrison is one of the greatest recording artists of all time and a creative force to be reckoned with. Three Chords And The Truth was produced and written by Van Morrison (except for If We Wait for Mountains which was co-written with Don Black). The album features contributions from legendary guitarist Jay Berliner and a duet with The Righteous Brothers’ Bill Medley (Fame Will Eat the Soul). Explaining what it was like to record the album, Van Morrison said:
“You’re just pling into the feeling of it, more the feeling of it… when they’re playing… It’s like reading me. So, I think there’s more of that connection.”
JOE BONAMASSA - Live At The Sydney Opera House (2019)
For those that do get to play a venue as sacred as the Opera House, you expect nothing but the very best! So when Joe Bonamassa came to Sydney to play this iconic venue, he brought a band of the world's best musicians and singers to support him as he played material from his then latest album, Blues Of Desperation. Only the best can give the venue the respect it deserves and the band brought their A-game that night. Now you can relive that celebration with this special release of Joe Bonamassa’s concert that evening.
Live At The Sydney Opera House is also Bonamassa’s newest live album, following the 2018 release of British Blues Explosion Live, which marked his milestone 20th #1 album, and preceded his latest studio album Redemption that took the blues world by storm later that year, bringing him his 21st #1 album on the blues charts.
LARRY MILLER - The Sinner And The Saint (2019)
On the first day of Larry Miller picking up a guitar, he wrote his first ever song. Larry says "I just knew immediately this was what I was put on the planet for" and he firmly believed his future was going to be in Rock music after hearing some of the guitar greats - Jimi Hendrix, Rory Gallagher, Johnny Winter, Stevie Ray Vaughan and Gary Moore. “For me, my moment of inspiration was seeing Rory Gallagher live. I had never experienced anything like it. So loud, so gloriously on the edge of total mayhem, yet Rory was still totally in control. How could I not do this too! Like Rory I’d work under my own name, with a band. I’d do all the writing, singing, producing, playing and leading.”
The album is the first new album from the blues-rock maestro in over four years. Larry’s life was put on hold when he was recording this album four years ago when he had a stroke. Since then he has been on a personal road of recovery and now he has managed to complete this double album. The Sinner and The Saint is a testimony to his determination and overwhelming desire to play the guitar and sing his own indomitable style of blues-rock stepping in the footsteps of Rory Gallagher with his energy and verve mixed with a delicate touch. This is reflected in the mix of high energy numbers to rock out with and the sensitive ballads and slow blues that nestle in your heart. The double album has fourteen Larry Miller originals that excites from the first to the last note. This is an album for lovers of blues-rock and will delight his phalanx of fans who miss him on the live scene. The album brings his energy and style into our front room, cars and wherever and whenever we listen to our music turned up loud.
DAN McCAFFERTY - Dan McCafferty (1975) + Into The Ring (1987) 
This gritty vocalist gained early experience as a member of the Shadettes, a mid-60s beat group based in Dunfermline, Scotland. By 1968, the act had evolved into Nazareth, which grew from provincial origins into a leading international attraction. McCafferty’s throaty rasp was an integral part of the unit’s best-known hits, notably ‘Broken Down Angel’ and ‘This Flight Tonight’ (both 1973), but he undertook a concurrent solo project in 1975. Dan McCafferty comprised several of the artist’s favourite songs, including ‘Out Of Time’, which broached the UK Top 50 as a single. The singer then resumed his commitment to the parent group, but re-embarked on an independent career in 1987 with Into The Ring. Under the influence of artists such as Little Richard, Elvis Presley, Chuck Berry and Otis Redding, McCafferty became one of the founding members of Nazareth in 1968. He has appeared on all of Nazareth's albums and has toured with them for 45 years.
THREE DOG NIGHT - The First 4 (1968/70)
Three Dog Night scored a succession of 21 hit singles, including eleven Top Tens, and twelve consecutive gold albums from 1969 to 1975, thanks to the slick, sometimes soulful vocal harmonies of singers Danny Hutton, Chuck Negron, and Cory Wells and an excellent ear for quality material. While often criticized as commercial, the band was noted for its creative arrangements and interpretations, and their cover choices gave exposure (and royalties) to several talented songwriters: Nilsson ("One"), Laura Nyro ("Eli's Coming"), Randy Newman ("Mama Told Me (Not to Come)"), Hoyt Axton ("Joy to the World"), Argent's Russ Ballard ("Liar"), and Leo Sayer ("The Show Must Go On").
Wells and Hutton met in the '60s while the former was the lead singer of the Enemies and the latter, a writer/producer for Hanna Barbera Records who had recorded several singles, served as producer. In 1967, Hutton conceived the idea of a three-vocalist group, and he and Wells enlisted mutual friend Negron. They took their name from an Australian expression describing low nocturnal temperatures in the outback (the colder the night, the more dogs needed to keep warm while sleeping). The three cut a few unsuccessful singles and decided to expand their range by hiring backing musicians, who included guitarist Mike Allsup, keyboardist Jimmy Greenspoon, bassist Joe Schermie, and drummer Floyd Sneed. "One" became the band's first Top Ten hit in 1969, while "Mama Told Me (Not to Come)" hit number one a year later. "Joy to the World" became the group's biggest hit in 1971, spending six weeks on top of the pop charts, and their streak continued with their final number one, 1972's "Black and White" (a U.K. reggae hit for Greyhound), and their final Top Ten, 1974's "The Show Must Go On."
By 1976, internal dissent arose in the group and Three Dog Night officially disbanded a year later. There was a reunion in the early '80s, and Hutton and Wells have since taken Three Dog Night out on the international touring circuit. In 2002 With The London Symphony was released and then, in 2004, to celebrate their 35th anniversary, the band issued The 35th Anniversary Hits Collection which featured a pair of new tracks, "Sault Ste. Marie" and "Overground." 2009 saw two more new singles in "Heart of Blues" and "Prayer of the Children" hinting at the possibility of another studio album in their future. Three Dog Night continued to tour over the next few years, though Wells eventually left the group in September 2015 due to medical complications. Just one month later he succombed to myeloma, a form of blood cancer.
The Raspberries cut through the epic pretensions and pomposity of '70s-era rock to proudly reclaim the spirit and simplicity of classic pop, recalling the heyday of the British Invasion with their exquisitely crafted melodies and achingly gorgeous harmonies. The group was formed in Mentor, OH, in early 1970 by singer/songwriter Eric Carmen and drummer Jim Bonfanti, local pop heroes thanks to the respective tenures in the hugely popular bands Cyrus Erie and the Choir; guitarist Wally Bryson and bassist John Aleksic (both Choir veterans as well) completed the original lineup, which made its live debut in mid-October. With their short hair, matching suits, and Beatlesque sound, the Raspberries ran in direct opposition to the prevailing hard rock mentality of the Cleveland scene, but after just a handful of gigs, the band was among the city's most popular live acts. However, after cutting their first demo session, Aleksic left the lineup in March of 1971, and with the addition of rhythm guitarist Dave Smalley, Carmen assumed bass duties. The Raspberries' demo tape ultimately found its way to producer Jimmy Ienner, and in the wake of a major-label bidding war, the band signed to Capitol, issuing their self-titled debut LP (complete with a raspberry-scented scratch-and-sniff cover sticker) in the spring of 1972. The debut single "Don't Want to Say Goodbye," stalled, but the follow-up, "Go All the Way," a magnificent fusion of Who-inspired guitar snarl and Beach Boys-styled vocal harmonies, went on to sell over a million copies on its way to cracking the Top Five. Carmen and Smalley swapped guitar and bass chores prior to recording the Raspberries' sophomore effort, 1972's Fresh; the record generated two more hits, "I Wanna Be with You" and the beautiful "Let's Pretend," and solidified the band's stature as critical favorites. Nevertheless, tension within the ranks -- sparked largely by Carmen's creative primacy and the shadow it cast over the songwriting contributions of Bryson and Smalley -- were beginning to boil over, and accordingly 1973's Side 3 boasted a more raw, aggressive sound than its predecessors, typified by the visceral crunch of the opening "Tonight."
Side 3 failed even to crack the Top 100, however, and following a triumphant Carnegie Hall date, both Smalley and Bonfanti exited the Raspberries to form their own band, Dynamite. They were replaced by bassist Scott McCarl and ex-Cyrus Erie drummer Michael McBride. 1974's acclaimed Starting Over continued the harder-edged approach of Side 3, yielding the band's final chart smash, the superb "Overnight Sensation (Hit Record)." A nasty post-gig confrontation between Carmen and Bryson soon resulted in the latter's departure from the group, and after playing a handful of shows as a three-piece, the Raspberries disbanded in 1975. Carmen then mounted a solo career, tapping McBride to play drums on his self-titled debut LP, which launched the number two blockbuster "All by Myself." He did not return to the upper rungs of the charts for over a decade, however, scoring a major hit in 1987 with his Dirty Dancing soundtrack contribution "Hungry Eyes." "Make Me Lose Control" reached the number three spot a year later. Bryson, meanwhile, resurfaced in the short-lived Tattoo before joining the power pop group Fotomaker for three albums during the late '70s.
In March of 1999, all four original members (Smalley, Carmen, Bryson, and Bonfanti) met up for the first time in years sparking rumors of an impending reunion. A few months later (after three of the four members played together onstage in Cleveland to celebrate the 80th birthday of rock journalist Jane Scott), a Raspberries reunion tour was confirmed as fact by Billboard Magazine. Unfortunately for fans, the reunion failed to materialize. Carmen continued to write and record as a solo artist, while Bryson, Smalley, and latter-day member Scott McCarl opted to resurrect the Raspberries as a trio, issuing the album Refreshed in 2000.
BILLY RANKIN - Growin' Up Too Fast (1984)
Billy Rankin is a Scottish guitarist and rock musician active in the 1980s and 1990s. Best known for his work with Nazareth (1980–83 & 1990–94), he also had a successful solo career, including a US hit single "Baby Come Back". Rankin was part of multimedia group "Team Rock" prior to it going into administration in 2016. Classically trained, Rankin played cello at school and was granted a Scottish Region Music Scholarship in 1971, but preferred rock music to classical as he said in an interview, 'I was probably earning more than my cello teacher and learning more than he could ever teach me just by being in a rock band.' His first band Phase played the Scottish pub circuit when he was only 15 years old and, in 1978, he joined Zal Cleminson's Zal Band, featuring members of The Sensational Alex Harvey Band. He joined Nazareth in 1980, and appeared on their albums Snaz (1981), 2XS (1982) and Sound Elixir (1983) before leaving the band.
Rankin issued a solo album Growin' up Too Fast in 1984, and had a hit single that reached #52 on the Billboard Hot 100 with "Baby Come Back", taken from the album. A follow-up album called Crankin was released in Japan only in 1985, but with little success. He rejoined Nazareth in 1990, and recorded No Jive (1991) and Move Me (1994) before leaving the band again in 1994. As well as guitar, he also occasionally played keyboards. After leaving Nazareth, he played at the Mick Ronson Memorial Concert, issued on CD in 1997. He also appears on a number of Nazareth retrospective and compilation albums, including Rock Ballads (1998), Back to the Trenches (2001), Live in Texas '81 (2004), The River Sessions (2004) and Hair of the Dog - Live (2007). His latest solo album Shake was released in 1999.
PAT TRAVERS - Swing! (2019)
After 40-plus years of slinging his six-string all over the world, you'd think Pat Travers would be slowing down, settling into his well-worn blues rock groove that has earned him great critical acclaim as well as a massive worldwide fanbase. Instead Travers appears to be ramping up and looking for new horizons to conquer. On the heels of his superb 2015 album "Retro Rocket", Travers brings what is sure to be called one of the most unique records of his distinguished career: a full album of swinging big band classics from the '40s and '50s given a whole new sound and energy courtesy of Travers's superb skill as an arranger and interpreter. The album is called simply "Swing!" and it features full band rock arrangements of Louis Prima's "Sing Sing Sing", Duke Elington's "Take The 'A' Train", Glenn Miller's "In The Mood" and many more. The result is an incredible listening experience of familiar tunes played like you've never heard them before.
Travers explains the genesis and creation of the album: "A little while ago, I had the '40s channel on satellite radio playing and I started thinking that it would be fun to get into that Big Band Swing era music. I thought that I could find a place for my guitar style in there and I asked the people at Cleopatra Records if they thought so too. They did and with Cleopatra's endorsement, I started to research the music and the bands and players from that time period.
JETHRO TULL - Stormwatch (1979) [The 40th Anniversary Force 10 Edition, 2019]
Jethro Tull released Stormwatch in September 1979, completing a folk-rock trilogy the band started with Songs from the Wood in 1977 and continued the following year with Heavy Horses. Certified gold in the U.S., Stormwatch was also the final album to feature the classic late-1970s Jethro Tull lineup, which included Ian Anderson, Martin Barre, John Glascock, John Evan, David (now Dee) Palmer and Barriemore Barlow. To celebrate the album’s anniversary, Rhino released - Stormwatch: The 40th Anniversary Force 10 Edition. Stormwatch marked the end of an era for Jethro Tull. Due to his deteriorating health, bassist John Glascock missed most of the sessions for the album and only appears on three of its songs (“Flying Dutchman,” “Orion” and “Elegy.”) Tragically, Glascock died shortly after the album was released. The lineup changed even more following the tour to promote the album as Barlow, Evan and Palmer left the group.
The recording sessions for Stormwatch stretched from August 1978 to July 1979 as the album’s ecological and maritime themes slowly came into focus on songs like “North Sea Oil” and “Flying Dutchman.” The band recorded several tracks that were left off the album because they didn’t fit the theme. Many of those can be found on the second disc of this set, including “Man Of God,” “Crossword,” “Kelpie” and “The Lyricon Blues.” In addition to those outtakes, the disc also features early versions of the album tracks “Dark Ages” and “Dun Ringill.” Stormwatch: The 40th Anniversary Force 10 Edition also includes a previously unreleased recording of Jethro Tull’s concert at Congresgebouw in the Netherlands on March 16, 1980. The career-spanning performance mixed new Stormwatch tracks (“Something’s On The Move,” “Home” and “Elegy”) with older hits, like “Locomotive Breath,” “Aqualung,” “Thick As A Brick” and “Minstrel In The Gallery.” Stormwatch: The 40th Anniversary Force 10 Edition concludes with two audio-only DVDs that feature various mixes of the original album along with the associated recordings featured in this set.
TEN YEARS AFTER - The Cap Ferrat Sessions (2019)
When Ten Years After stormed the stages of rock, they created a sensation that stunned audiences and quickly won them a coveted place among the pantheon of great British groups. Alvin Lee, one of the most charismatic guitar players and singers to emerge from the British blues boom era - deservedly ranked alongside his contemporaries Eric Clapton, Jeff Beck, Jimmy Page and Jimi Hendrix - headed a powerful team of talented musicians that included Leo Lyons, Chick Churchill and Ric Lee. They conquered America, enjoyed success around the world and became icons of the Woodstock generation.
Recorded in 1972 during the Rock & Music to The World album sessions on the Rolling Stones Mobile at Cap Ferrat, France (#1 - #4). The Cap Ferrat Sessions took place during the recording of their ' Rock & Roll Music To The World' album and first appeared on the 2017 10CD Box Set ' 1969-1974'.
VAN HALEN - Live: Right Here, Right Now (1993) + Bonus Disc
Live: Right Here, Right Now. is the first live album by American hard rock band Van Halen, released in 1993. It is the band's only live album featuring Sammy Hagar, and the only live album by Van Halen until the release of Tokyo Dome Live in Concert in 2015. The album combines songs performed over two nights in May 1992 at the Selland Arena in Fresno, CA. Most of the songs on this album were from the first night, such as the solos performed by Eddie Van Halen and Sammy Hagar. There is much debate as to whether or not the songs on this album have been doctored in the studio, as the original 1992 broadcast of these songs from Cabo Wabo were much rawer and unmixed-sounding and sounded truer to the band's live sound than the recording that was ultimately released. The album contained only four David Lee Roth-era songs (including Van Halen's arrangement of "You Really Got Me" by The Kinks), and two songs from Sammy Hagar solo years. It also featured drum and bass solos and a cover of a song by The Who. As was the case with all tours with Hagar, the band focused on songs from the new album, Hagar's solo material and covers for the tour's duration. The then-current album For Unlawful Carnal Knowledge is very well represented, with ten of the eleven songs originally featured on that album. ("The Dream Is Over" was the only track not included on the album. Though it was included on the DVD release.) On the German and Japanese versions of the album and in the Van Halen Box: 1986–1993 (only available in Japan), a bonus disc is included which includes the B-sides to the "Jump" single.
VAN HALEN - The First 4... (1978 - 1981)
Van Halen is the self-titled debut studio album by American hard rock band Van Halen. Released on February 10, 1978, the album peaked at #19 on the Billboard 200. The album became widely recognized as the band's popularity grew, selling more than 10 million copies in the United States by August 7, 1996 and being certified Diamond. Van Halen contains many of Van Halen's signature songs, including "Runnin' with the Devil", the guitar solo "Eruption", their remake of The Kinks hit "You Really Got Me", "Ain't Talkin' 'bout Love", "Jamie's Cryin'", "Feel Your Love Tonight" and their remake of John Brim's "Ice Cream Man".
Van Halen II is the second studio album by American hard rock band Van Halen, released on March 23, 1979. It peaked at number 6 on the Billboard 200 and spawned the singles "Dance the Night Away" and "Beautiful Girls." As of 2004, it has sold almost six million copies in the United States. Critical reaction to the album has been positive as well, with The Rolling Stone Album Guide praising the feel-good, party atmosphere of the songs.
Women and Children First is the third studio album by American hard rock band Van Halen, released on March 26, 1980 on Warner Bros. Records. Produced by Ted Templeman, it was the first to feature compositions written solely by the band, and is described by critic Stephen Thomas Erlewine as "[the] record where the group started to get heavier, both sonically and, to a lesser extent, thematically."
Fair Warning is the fourth studio album by American rock band Van Halen. Released on April 29, 1981, it sold more than two million copies, but was still the band's slowest-selling album of the David Lee Roth era. Despite the album's commercially disappointing sales, Fair Warning was met with mostly positive reviews from critics. The album was listed by Esquire as one of the 75 Albums Every Man Should Own.
GENESIS - Selling England By The Pound (1973) & The Lamb Lies Down On Broadway (1974)
Selling England by the Pound is the fifth studio album by the English progressive rock band Genesis, released in October 1973 on Charisma Records. It reached No.3 in the UK and No.70 in the U.S. A single from the album, "I Know What I Like (In Your Wardrobe)", was released in February 1974 and became the band's first top 30 hit in the UK. The album was recorded in August 1973 following the tour supporting the previous album, Foxtrot (1972). The group set aside a short period of time to write new material, which covered a number of themes, including the loss of English folk culture and an increased American influence, which was reflected in the title. Following the album's release, the group set out on tour, where they drew an enthusiastic reception from fans. Critics and the band have given mixed opinions of the album, though guitarist Steve Hackett has said it is his favourite Genesis record. The album has continued to sell and has reached Gold certification by the British Phonographic Industry and the Recording Industry Association of America. It was remastered for CD in 1994 and 2007. Several of the album tracks became fan favourites and featured as a regular part of the band's live setlist into the 1980s.
The Lamb Lies Down on Broadway is the sixth studio album by the English progressive rock band Genesis. It was released as a double album on 18 November 1974 by Charisma Records and their last album with frontman Peter Gabriel before his departure in 1975. It tells the story of Rael, a Puerto Rican youth from New York City who embarks on a journey of self-discovery and encounters bizarre incidents and characters along the way. During the writing and recording sessions, Gabriel temporarily left the band to work with William Friedkin which, along with his insistence to write all the lyrics, put strains on the rest of the band. The Lamb Lies Down on Broadway was released to initial mixed critical reception, though it has since received critical acclaim. It peaked at No. 10 on the UK Album Chart and No. 41 on the US Billboard 200. Two singles were released in the UK, "Counting Out Time" and "The Carpet Crawlers", while the title track was released as a single in the US. Genesis supported the album with their 1974–1975 tour across North America and Europe, playing the album in its entirety across 102 dates. The album continued to sell, and reached Gold certification by the Recording Industry Association of America in 1990 for shipment of 500,000 copies.
ROBIN TROWER - B.L.T. (1981) + Truce (1982) 
B.L.T. is a 1981 music album by Jack Bruce (formerly of Cream), Robin Trower (formerly of Procol Harum) and Bill Lordan (former drummer of Sly and the Family Stone, the Robin Trower Band and Gypsy).This is the first album to feature Jack Bruce on bass and vocals and the last to feature Bill Lordan on drums. It reached number 37 on the Billboard 200 in May 1981. It wasn't until the 1980 Victims of the Fury album, seven years into his solo career, that Robin Trower would employ former Procul Harum bandmate Keith Reid to provide lyrics (with Reid probably the only lyricist in history to get band status). Though this is officially a Robin Trower release entitled B.L.T., the marquee giving Jack Bruce and Bill Lordan equal heading above the double-sized name of Robin Trower, the project is shouldered by all talents involved and inhibited by a dreadful cover photo of a white bread sandwich: bacon, lettuce and tomato with -- if you look closely -- raw bacon. All concerned would have been better off titling this a Jack Bruce/Robin Trower project with drummer Bill Lordan.
Recorded in two days of intense sessions with Robin Trower (with Reg Isidore on the drums), Jack Bruce revels in the blues across the material on Truce while freely ranging over a musical landscape that encompasses both hard rock and elements of progressive rock (and even funk and soul), without ever losing focus (which has sometimes tended to happen with his solo projects). And in the process, the sheer virtuosity of all concerned was showcased with laser-like precision. Bruce's playing and singing are beautifully showcased, in some of the best stripped-down musical settings he'd had to work with since his days with Cream this is just a killer showcase for both of the featured players, and Reg Isidore, even if he's no Ginger Baker, acquits himself beautifully on numbers such as "Thin Ice" and "Last Train to the Stars." Trower's playing is a good match for Bruce's, and his presence seems to lend some restraint to Bruce's excursive tendencies, which have sometimes rendered his solo projects less than fully accessible. This is the kind of record that ought to have been on the to-buy list of any fans of Cream, Procol Harum, or most any of the early metal bands of the '70s (e.g., Mountain).
Digitally remastered edition with 2 original albums on a single CD. These two full lengths are the result of the collaboration of ex-Procol Harum guitarist Robin Trower with ex-Cream bassist and vocalist Jack Bruce and drummer Bill Lordan (Reg Isidore - Drums > Truce).
JACK BRUCE - Songs for a Tailor (1969) & Things We Like (1970) [Remasters 2003 +Bonus Tracks]
With a live version of "Crossroads" going Top 30 for Cream, Songs for a Tailor was released in 1969, showing many more sides of Jack Bruce. George Harrison (again using his L'Angelo Misterioso moniker) appears on the first track, "Never Tell Your Mother She's Out of Tune," though his guitar is not as prominent as the performance on "Badge." The song is bass heavy with Colosseum members Dick Heckstall-Smith and Jon Hiseman providing a different flavor to what Bruce fans had become accustomed to. Hiseman drums on eight of the ten compositions, including "Theme From an Imaginary Western," the second track, and Jack Bruce's greatest hit that never charted. With "just" Chris Spedding on guitar and Jon Hiseman on drums, Bruce paints a masterpiece performing the bass, piano, organ, and vocals. The song is so significant it was covered by Mountain, Colosseum, and a Colosseum spin-off, Greenslade. One has to keep in mind that the influential Blind Faith album was being recorded this same year (and according to the late Jimmy Miller, producer of that disc, Jack Bruce filled in for Rick Grech on some of the Blind Faith material). Bruce's omnipresence on the charts and in the studio gives the diversity on Songs for a Tailor that much more intrigue. "Tickets to Water Falls" and "Weird of Hermiston" feature the Hiseman/Spedding/Bruce trio, and though the wild abandon of Ginger Baker is replaced by Hiseman's jazz undercurrents, these are still basically two- to three-and-a-half-minute songs, not as extended as the material on Bruce's work on his John McLaughlin/Heckstall-Smith/Hiseman disc Things We Like recorded a year before this, but released two years after Songs for a Tailor in 1971. The history is important because this album is one of the most unique fusions of jazz with pop and contains less emphasis on the blues, a genre so essential to Bruce's career. Indeed, "Theme From an Imaginary Western" is total pop. It is to Jack Bruce what "Midnight Rider" is to Greg Allman, a real defining moment. "Rope Ladder to the Moon" has that refreshing sparkle found on "Tickets to Water Falls" and "Weird of Hermiston," but Bruce has only John Marshall on drums and producer Felix Pappalardi adding some vocals while he provides cellos, vocals, guitar, piano, and bass. Side two goes back to the thick progressive sound of the first track on side one, and has a lot in common with another important album from this year, Janis Joplin's I Got Dem Ol' Kozmic Blues Again Mama! Jack Bruce and Janis Joplin were two of the most familiar superstar voices on radio performing hard blues-pop. Joplin added horns to augment her expression the same time Jack Bruce was mixing saxes and trumpets to three tracks of this jazz/pop exploration. "He the Richmond" deviates from that, throwing a curve with Bruce on acoustic guitar, Pappalardi on percussion, and Marshall slipping in again on drums. But the short one minute and 44 second "Boston Ball Game, 1967" proves the point about the pop/jazz fusion succinctly and is a nice little burst of creativity. "To Isengard" has Chris Spedding, Felix Pappalardi, and Jack Bruce on acoustic guitars, a dreamy folk tune until Hiseman's drums kick in on some freeform journey, Spedding's guitar sounding more like the group Roxy Music, which he would eventually join as a sideman, over the total jazz of the bass and drums. "The Clearout" has Spedding, Hiseman, and Bruce end the album with progressive pop slightly different from the other recordings here. As with 1971's Harmony Row, Peter Brown composed all the lyrics on Songs for a Tailor with Jack Bruce writing the music. A lyric sheet is enclosed and displays the serious nature of this project. It is picture perfect in construction, performance, and presentation.
John McLaughlin (guitar), Jon Hiseman (drums), and Dick Heckstall-Smith (sax) performing post-bop and free jazz. A majority of the compositions were penned by Bruce in his preteen days of formal scholarship at the Royal Scottish Academy of Music, where he also mastered the cello and composed a string quartet at the age of 11. After having gained significant clout from Cream, Bruce assembled what was initially a trio. However, after a chance meeting with McLaughlin -- who was so broke he had to refuse an offer to fly stateside to join the newly formed Tony Williams Lifetime -- Bruce incorporated the guitarist into the fold in order to help him finance his journey, which was ultimately successful. The entire effort was recorded and mixed in less than a week during August of 1968 -- less than three months prior to the infamous Farewell Concert of Cream at the Royal Albert Hall on November 26, 1968. As a testament to Bruce's expansive musical tastes, capabilities, and horizons, this disc sounds more like a collection of Rahsaan Roland Kirk sides than anything even remotely connected with Cream. This is especially true of the frenetic pacing of the brief opener, "Over the Cliff." Heckstall-Smith's ability to perform alto and soprano saxophone simultaneously likewise lends itself to Kirk's distinct reed polyphony. "Statues" is an interesting exercise, again with Heckstall-Smith providing some excellent extemporaneous blows during the darkly toned introduction working well against the nimble melody. While Hiseman's style is decidedly less aggressive than that of Ginger Baker, his drumming helps to amalgamate the song's various sections. McLaughlin's unmistakably sinuous leads are commanding throughout the "Sam Enchanted Dick" medley, with a cover of Milt Jackson's "Sam's Sack" and a Heckstall-Smith original titled "Rills Thrills." The tempo is slowed on the smoky cover of Mel Tormé's "Born to Be Blue." This interpretation is part West Coast cool and part Chicago-style blues. McLaughlin's contributions to "HCKHH Blues" is similar to that of Robert Fripp's jazzy fretwork throughout the Islands (1971) era King Crimson. While it was the first of Bruce's solo records to be recorded, he chose to issue the more rock-oriented Songs for a Tailor (1969) prior to Things We Like, which was perhaps considered an indulgent side project rather than a permanent musical diversion. [The 2003 CD reissue contains the previously unissued track "Ageing, Jack Bruce, Three, from Scotland, England," which is another brilliant Heckstall-Smith piece with all four musicians in top form -- especially McLaughlin, who provokes a variety of sonic imagery, ranging from intense fingerpicking to chiming notes and chord augmentations.]
JACK BRUCE - Harmony Row (1971) & Out Of The Storm (1974) [Remasters 2003 + Bonus Tracks]
Harmony Row is the legitimate follow-up to Jack Bruce'excellent songs for a tailor, although 1971 also saw the almost-simultaneous release of 1968 jazz tapes entitled Things We Like by this artist. An elaborate gatefold package has a shadow photo of the artist from the back, overlooking a golden sun on the waters. The self-produced disc begins with the pop excursion "Can You Follow," which blends into "Escape To The Royal Wood (On Ice)." Jack Bruce provides the voice, keyboards, bass, and some percussion, making this very much a solo project. "You Burned The Tables On Me" takes things into a progressive rock-meets-jazz arena. The only reference to blues here is Bruce's voice, but guitarist Chris Spedding's scratchy guitar, and the percussion -- either by Jack Bruce or drummer Jim Marshall (who plays on what is not specified) make the track sound almost like Cream without Clapton. There's a rare photo of Peter Brown in the second cardboard gatefold, and one of Bruce, while all of Brown's lyrics are spread out for public consumption. A nice touch, as Peter Brown is to Jack Bruce what Keith Reid is to Procul Harum, and the cleverly obscured words are sometimes the only foundation to grasp at while one of rock & roll's most innovative bassists goes from genre to genre, combining rhythms and melodies that defy commercial categorization. Harmony Row is the album that combines many flavors of Bruce's experimentations, making it courageous, adventurous, and hardly the product for a mass audience. "Folk Song" is barely a folk song; it is a progressive pop tune with that elegant, Procul Harum-like, sweeping, mystical statement. There's a pretty piano against church-like organ and vocals, with amazing guitar embellishments by Chris Spedding. "Folk Song" has elements Bruce would examine again, on the album Monkjack; it's a song which should have made him the darling of underground FM radio. It's a far cry from the all-out assault of his forthcoming power trio, West, Bruce & Laing, which emerged a year after this. The delicacy of "Smiles And Grins" sests that hard jazz is what would have given the project with Leslie West a much needed diversion. But what happened was that Bruce embraced the trail Mountain stampeded down, while a purer blending of the two would have been re-readings of this Harmony Row material. "Post War" is a good example of how the underappreciated Leslie West could have expanded his influence -- Spedding's contributions are enormous, and like West, he is the only other musician save the drummer on Bruce's essential projects in 1971 and 1972, on the albums Harmony Row, and Why Dontcha. Drummer Jim Marshall appeared on the previous Songs for a Tailor, as did Spedding, though they didn't perform together on that disc. Here, Jack Bruce takes two players from that solo album, and moves them into another head-space. His use of the talents around him is impeccable, and yet another reason why fans should have embraced this quirky and intelligent troubadour. "A Letter Of Thanks" is so complex it borders on The Mothers Of Invention-style of non-groove, while "Victoria Sage" is more in-line with the ideas set forth on Songs for a Tailor, and with exquisite vocals by this tremendous singer. The final track, the tasty, Spanish-influenced "The Consul At Sunset," utilizes multiple percussive ideas with piano and guitars overlapping Peter Brown's words; those words are as important as the contributions from Marshall, Spedding, and Bruce. It's actually quite an amazing transition when set against the other discs released in this four-year period, and a stunning output from a major artist without yielding a Top 40 hit.
Out Of The Storm is Jack Bruce yet again taking a different path. No one can accuse this man of being redundant as he leaves behind the hard rock of Whatever Turns You On from his 1973 work with West, Bruce & Laing and takes on Steely Dan with a track like "Keep On Wondering." The problem with West, Bruce & Laing is that they should have been the back-up band providing Jack Bruce the vehicle to express his artistry. "Keep It Down" would have been a tremendous track for WBL, and Lou Reed/Alice Cooper guitarist Steve Hunter provides the tasteful licks which Leslie West would've used a sledgehammer to find. The title track is real introspection with more "I" references than found on a page in a Marie Osmond autobiography. Bruce uses the rock format to sing the poetry that he and long time collaborator Peter Brown have crafted here. When played next to his other albums, from Things We Like to Monkjack, as well as the aforementioned Leslie West collaborations, the indellible voice of Jack Bruce is found to belong, not to a chameleon, but to a true changeling. In an industry that resists change, his music evolves in relentless fashion, switching formats as efficiently and quickly as he switches record labels. While Eric Clapton achieves the acclaim, it is Jack Bruce who delivers a novel and totally original title like "One" with a vocal that moves from cabaret to blues to soul. The man has one of the most powerful and identifiable rock & roll voices, and his body of work is overpowering. "One" has the drums of Jim Gordon and another venture into the Procul Harum sound Bruce has toyed with over various albums in different ways. Out Of The Storm is another excellent chapter with Steve Hunter showing proficiency and remarkable restraint. Robin Trower, Mick Taylor, Leslie West, Eric Clapton and so many other guitar greats have put their sound next to Jack Bruce's voice, and this is Steve Hunter aiding and abetting, but not getting in the way of Bruce's creative pop/jazz.
DOUG ALDRICH - Highcentered (1994) & Electrovision (1997)
Doug Aldrich is a Los Angeles-based hard rock guitarist. He founded the band Burning Rain with Keith St. John in 1998 and has played previously with the bands Whitesnake, Dio, Lion, Hurricane, House of Lords, Bad Moon Rising and Revolution Saints. He is currently in the band The Dead Daisies. He has also released several solo albums. In 2015, Doug was touring as guitar player of former Deep Purple bassist and vocalist Glenn Hughes band. In early 2016 it was announced that he would be replacing Richard Fortus as guitarist of The Dead Daisies, as Fortus is leaving that band to perform with the Guns N' Roses reunion.
TIERRA - Tierra (1973) + Stranded (1975) 
An early-'70s spin-off group from El Chicano, Tierra kept pling away until 1980, when they scored some brief success on the R&B charts doing Afro-Latin-flavored soul covers. Guitarist Rudy and trombonist/percussionist Steve Salas had both been in El Chicano. They teamed with keyboardist Joey Guerra, bassist Steve Falomir, drummer Philip Madayag, percussionist Andre Baeza, and Bobby Navarrete on reeds. Their cover of the Intruders' "Together" cracked the R&B Top Ten in 1980 and reached number 18 on the pop charts. It was their lone big hit, although their remake of the Delfonics' "La La Means I Love You" did make the R&B Top 40 in 1981. The group returned in the early '90s with Tonight in 1993 and A New Beginning two years later. Another long break preceded the release of 2001's Two Worlds: Dos Mundos and 2005's ambitious soundtrack Welcome to Café East L.A. Two albums were issued the following year -- Tierra Live on Thump and Together Again on Boardwalk Entertainment Company. The band continued to perform with numerous personnel changes. On the Right Track was issued in 2008. Though they continued to perform, the band didn't record again until 2013's On Solid Ground. In October 2017, bandleader Rudy Salas premiered a new album on YouTube's Thee Mr. Duran Show entitled !Ya Llego? It was officially released in November on Music Access.
BAKER GURVITZ ARMY - Still Alive (2008)
Baker Gurvitz Army were an English rock group. Their self-titled debut album featured a blend of hard rock laced with Ginger Baker's jazz- and Afrobeat-influenced drumming. The lengthy "Mad Jack" was that album's outstanding track, and the album hit the US Billboard 200 chart, and peaked at number 22 in the UK Albums Chart. The two following albums contained similar material, although neither charted in the UK nor the US. When Cream split up in 1968, Ginger Baker was invited to join Blind Faith, which formed the following year. This was not such a successful venture and following its demise, Baker put together his own outfit, Ginger Baker's Air Force, in 1970. Things did not go too well for Baker after the demise of that band. Former The Gun and Three Man Army members, brothers Paul and Adrian Gurvitz were looking for a new way ahead after early successes, so they joined forces with Baker in 1974. In their first year they recorded one live and one studio album, following with two more studio albums, Elysian Encounter and Hearts On Fire. However, the death of their manager led to the band breaking up in 1976. In 2003, a compilation album, Flying In And Out Of Stardom, was released, including four new live songs.
This 2 CD set is taken directly from the masters, recordings of the band at their best during their 1975-76 tour. The thunderous drums of Ginger Baker, and the wall crumbling power of the Gurvitz Brothers make these must have CDs! This package also includes a bonus DVD concert of the band in their prime.
CREAM - Goodbye (1969) & Live Cream (1970)
Ginger Baker, one of the most innovative and influential drummers in rock music, has died at the age of 80. A co-founder of Cream, he also played with Blind Faith, Hawkwind and Fela Kuti in a long and varied career.
"Goodbye" (also called Goodbye Cream) is the fourth and final studio album by Cream, with three tracks recorded live, and three recorded in the studio. It was released in Europe by Polydor Records and by Atco Records in the United States, debuting in Billboard on 15 February 1969. It reached number one in the United Kingdom and number two in the US. A single, "Badge", was subsequently released from the album a month later. The album was released after Cream disbanded in November 1968.
"Live Cream" (also called Live Cream, Volume 1) is a live compilation album by the British rock band Cream, released in 1970. This album comprises four live tracks recorded in 1968 and one studio track "Lawdy Mama" from 1967. The instrumental track for "Lawdy Mama" is the same as heard on "Strange Brew" with a different vocal and guitar solo by Eric Clapton. Live Cream hit No. 15 on the Billboard 200, and made No. 4 on the UK Top 40.
MIKE McGEAR - Woman (1972) & McGear (1974)
Peter Michael McCartney, known professionally as Mike McGear, is a British performing artist and rock photographer who was a member of the groups The Scaffold and Grimms. He is actually Paul McCartney's brother; he changed his name in the mid-'60s shortly after the Beatles become famous, not wishing to be perceived as riding Paul's coattails.
"Woman" is the solo debut album by British musician Mike McGear (spelled Michael on the cover), brother of former Beatle Paul McCartney, who also co-wrote a song, but is credited as a "friend". Roger McGough produced and co-wrote some songs with McGear. Woman was initially released on Island Records in April 1972, failing to chart though it received receptive reviews. The cover is a black-and-white photo of McGear/McCartney's mother, Mary McCartney.
"McGear" is the second and final solo album by English singer Mike McGear, released in 1974. The album was a collaboration between McGear and his older brother Paul McCartney, who produced the record. All backing tracks on the album are performed by McCartney's band Wings, occasionally accompanied by various guest artists, although all lead vocals are sung by McGear.
JOHN PAUL JONES - Scream For Help (1985)
Scream for Help is a soundtrack album by John Paul Jones, released by Atlantic Records on 22 March 1985 to accompany the film Scream for Help. Following the Death Wish II album project, guitarist Jimmy Page was asked by his Berkshire neighbour, movie director Michael Winner, to record a soundtrack for the film Scream for Help in August 1984. Due to other commitments by Page, he instead sested to Winner that Jones, who had just completed upgrading his 24-track digital recording studio at Devon, was best placed to write and record the soundtrack. In return, Jones asked Page to help record two tracks "Crackback" and "Spaghetti Junction". The musical score differs in style from the Death Wish pentalogy of films, with Winner requesting that a minimum 70 piece orchestra backing be used for the soundtrack in addition to Jones' rock arrangements. Besides Page, folk guitarist John Renbourn assists on guitar, and Yes singer Jon Anderson sessioned on vocals as well as Madeline Bell, for which Jones had previous produced, composed, recorded, and played all the instruments for her solo album Comin' Atcha in December 1973. Jones sings lead vocals on "When You Fall in Love". Jacinda Baldwin (aka Jacinda Jones), Jones' daughter is co-writer on two tracks. It was his first full-length album release since the break-up of Led Zeppelin. The vinyl soundtrack had been unavailable in the US and UK for many years and was only obtainable on special import from Japan. The album has since been released on CD format in 2000 by WEA International.
BETH HART - War In My Mind (2019)
Beth Hart is as real as it gets. In a music industry full of glossy production and airbrushed photoshoots, this is one artist who throws down her cards, shares her darkest secrets and invites you to join her for the ride. “More than any record I’ve ever made, I’m more open to being myself on these songs,” Beth explains.“I’ve come a long way with healing, and I’m comfortable with my darknesses, weirdnesses and things that I’m ashamed of – as well as all the things that make me feel good.” The success of 2016’s Fire On The Floor album has garnered yet more critical acclaim, growing sales and sold-out shows at iconic venues from the Ryman Auditorium to the Royal Albert Hall (scene of last year’s triumphant live DVD). But as the singer reminds us, her life has always moved in cycles – “things get good then go to crap, get good then go to crap” – and it’s in these extremes that many of her best songs are born. “On this album, I’m even closer to vulnerability and openness about my life, about love, addiction, my bipolar, my dad, my sister…” War In My Mind also wraps up a frustrating strand of unfinished business for Beth. Back in 2003, the heavyweight producer Rob Cavallo (Green Day, My Chemical Romance, Dave Matthews Band, Goo Goo Dolls) was in the frame to mix the singer’s Leave The Light On album. “But the producer I was with at the time,” recounts Beth, “went ahead without my approval, turned the mix in to Rob – and he passed.” Fast-forward 15 years, and at a chance dinner party attended by Cavallo, fate intervened. The host encouraged Beth to play one of her new songs. “After I’d played them,” she remembers, “Rob came up and said, ‘You’ve grown a lot as a songwriter – and I want to record these songs with you’. And he turned out to be one of the coolest people that I’ve ever worked with.”
The sleeve shot of Beth pounding a piano below her own personal storm cloud is a fitting representation of new material that hits like a force of nature. It opens with the anti-love song Bad Woman Blues. “It’s about a woman who doesn’t have any interest whatsoever in being good, because she knows she’s not. But instead of hating herself for it, she’s very clear with the man. Like, ‘Baby, I’m an asshole and a frickin’ witch, but you are gonna have fun with me’.” A stately piano ballad that swells to an epic anthem, the title track explores the addiction-troubled years when Beth felt she couldn’t go on, Let It Grow is so emotionally honest that its mere mention brings Beth to the brink of tears. “That song is just about having so much hope in the face of being hopeless.” The hedonistic groove of Try A Little Harder evokes the tumbling dice of the Vegas Strip. “It’s me jumping into my father’s body back in the ’70s when he was a high-roller,” she explains. “So I’m using his mania for being a baccarat player and my mania for making music. My father and I are so much alike, it’s ridiculous. That song makes me feel confident, happy, and more forgiving of my bipolar disorder.” Having followed the fascinating career of Beth Hart for a quarter-century, we’ve learned not to rule anything out – so long as it’s real. And now, with War In My Mind, this songwriter has made a record that bares her soul, wears her heart on her sleeve, and makes no apology for it. “Y’know,” she concludes,“when we did the photoshoot for this new album, it was the first time that I said, ‘No makeup and no airbrushing’. It was the first time that hearing my voice back didn’t make me sick. It was just neat to be 47 and not trying to be young, and competitive, and all of these things that I’ve always felt like I’m supposed to be. On this record, something told me, just let it be what it is, man. I think I’m starting to make a little headway, getting closer to the truth. And I might not know what the truth is… but I’m OK with that.”
TOM PETTY & THE HEARTBREAKERS - Sound Stage (2008)
Tom Petty (October 20, 1950 – October 2, 2017) was an American singer-songwriter, multi-instrumentalist, record producer, and actor. He was the lead singer of Tom Petty and the Heartbreakers, formed in 1976. He previously led the band Mudcrutch. He was also a member of the late 1980s supergroup the Traveling Wilburys. Petty recorded a number of hit singles with the Heartbreakers and as a solo artist. In his career, he sold more than 80 million records worldwide, making him one of the best-selling music artists of all time. He and the Heartbreakers were inducted into the Rock and Roll Hall of Fame in 2002. Petty died at the age of 66, of an accidental overuse of drugs, one week after the completion of the Heartbreakers' 40th anniversary tour.
Tom Petty and the Heartbreakers are responsible for some of the most infectious songs and critically-acclaimed albums of all time. Join these legendary Rock and Roll Hall of Fame inductees for a blistering live performance of their hits along with rare unreleased songs in this tour de force of American Roots Music that affirms their status as rock royalty.
EDDIE NAD THE HOT RODS - Teenage Depression (1976) [Remastered & Expanded, 2000]
Eddie and the Hot Rods star Barrie Masters dies suddenly aged 63.
Teenage Depression is the first studio album released by Pub Rock band Eddie and the Hot Rods. It is mixed by Jonz:A and R Howard Thomson and produced by Ed Hollis and Vic Maile. The album contains three cover songs, The Who's "The Kids Are Alright", Joe Tex's "Show Me" and Sam Cooke's "Shake". In 2000, a reissue was released with 12 additional tracks that contains another cover, this time of the track "96 Tears" live, originally by the Mysterians. Teenage Depression is often cited as being one of the albums that is the missing link between pub rock and punk rock because of the album's fast and hard-hitting R&B sound showing the attitude of a punk band.
Digitally remastered and expanded edition of the monumental debut album from the English band that bridged pub rock with punk rock in 1976. It reached the UK Top 50 and is long regarded as a classic of the era, a forerunner of the Punk Rock movement. The tracklist of this edition includes the hit singles "Teenage Depression" and the "Live At The Marquee" EP included among the 12 bonus tracks of rare non LP b-sides.
MIKE OLDFIELD - The Complete Mike Oldfield (1985)
Michael Oldfield is an English multi-instrumentalist and composer. His work blends progressive rock with world, folk, classical, electronic, ambient, and new-age music. His biggest commercial success is the 1973 album Tubular Bells – which launched Virgin Records and became a hit in America after its opening was used as the theme for the film The Exorcist. He recorded the 1983 hit single "Moonlight Shadow" and a rendition of the Christmas piece "In Dulci Jubilo".
In 1973, Mike Oldfield burst onto the British music scene with his debut album Tubular Bells, two long instrumental suites in which Oldfield stitched together a series of melodies into a grandly scaled work in which he played the many instruments himself. The album was an audacious beginning to a career than saw him become one of the most respected artists in progressive rock, as well as a successful film composer. The Complete Mike Oldfield is a collection released in 1985 which features selections from his first ten solo albums, as well as highlights from his score for the film The Killing Fields.
TITO & TARANTULA - Live at Rockpalast (2017)
Tito & Tarantula is an American chicano rock/blues rock band formed in Hollywood California in 1992 by singer/songwriter/guitarist Tito Larriva. The band is best known for its songs, "After Dark", "Back to the House That Love Built", "Strange Face of Love", and "Angry Cockroaches", as well as for its role in Robert Rodriguez's film From Dusk till Dawn as the band performing at the "Titty Twister" nightclub.
The Rockpalast performance of June 21, 1998 at the Loreley is a significant example of the first international phase of success. It was Tito & Tarantula's third concert in Germany and it shows that their musical reputation did not crumble to dust in broad daylight at all. At that time the violinist and mandolin player Lyn Bertles gave the band a more folkloristic touch. That and the simmering mixture of blues, rock and Americana with Mexican influences put the German crowd under the same spell as the shady spectators in the famous movie scene. In the following years, Tito & Tarantula released albums in changing formations and touring regularly on our continent as well. The included bonus concert recorded in 2002 in Sarajevo certainly is one of the more unusual gigs in a musician's life. Originally intended to be a club show, the band attracted a far larger crowd than expected. The concert had to be moved to the streets and made a virtue of necessity, transforming it into a spontaneous open air show.
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