DAVID BOWIE - Conversation Piece [5CD Box Set] (2019)
David Bowie - Conversation Piece contains twelve previously unreleased tracks/demos from the period as well as a brand new mix of the Space Oddity (aka David Bowie) album by long-time Bowie producer/collaborator Tony Visconti. The new mix of the album now features the title track of the boxset ‘Conversation Piece’ restored to the tracklisting in its initially intended position, before it was originally dropped due to time constraints of vinyl. Of the 2019 Space Oddity album mix Visconti says “It was so much fun to find hidden gems of musicianship with more time to mix the second time around, a guitar twiddle here, a trombone blast there, Marc Bolan’s voice in a group choir and more detail in general that we overlooked all those years ago when the label gave us a week at the most to mix this album. And in the details you will find 22 year old David Bowie, who would soon take the world by storm."
The 120 page hardback book accompanying the box features exclusive memorabilia from the personal collection of David’s former manager, the late Ken Pitt, as well as from the David Bowie Archive®, and includes photos by Ray Stevenson, Vernon Dewhurst, David Bebbington, Ken Pitt, Alec Byrne, Tony Visconti and Jojanneke Claasen. The sleeve notes have been written for the release by Bowie experts Mark Adams, Tris Penna and Kevin Cann along with contributions from David’s lifelong friend George Underwood, Tony Visconti, Vernon Dewhurst, Dana Gillespie and John ‘Hutch’ Hutchinson. The 2019 mix of the Space Oddity album will also be released separately and individually on CD, standard digital, 96/24 digital and vinyl. The various vinyl configurations will be randomly distributed worldwide with a mixture of hand-numbered labels; numbers 1 to 1969 on silver vinyl numbers and 1970 to 2019 on gold vinyl, with the remainder being black vinyl.
ROD STEWART - You're In My Heart [WithThe Royal Philharmonic Orchestra] (2019)
Sir Rod Stewart celebrates 50 years as a solo artist this year. The legendary singer-songwriter is one of the best-selling music artists of all time, with more than 250 million records sold worldwide during a stellar career that includes nine #1 albums and 26 Top 10 singles in the U.K. Plus, 17 Top 10 albums and 16 Top 10 singles in the US. Rhino will honor the legendary singer-songwriter with a new album that lets fans hear Stewart’s biggest hits in a newly imagined way.
You’re In My Heart showcases Rod Stewart’s biggest hits in a newly imagined way by pairing his classic vocal tracks with new arrangements performed by The Royal Philharmonic Orchestra. The album, produced by Trevor Horn, includes new orchestral versions of US chart toppers “Maggie May” and “Reason To Believe,” alongside his #1 U.K. hits: “Sailing,” “I Don’t Want To Talk About It” and “The First Cut Is The Deepest.” Plus, a new version of the hit song “It Takes Two” featuring Robbie Williams and a brand-new song “Stop Loving Her Today.”
TONY BENNETT - Playin' With My Friends: Bennett Sings The Blues (2001)
Tony Bennett's latter-day albums tend to have themes, and this one has two, as indicated by its double-barreled title: It is both a duets album and a blues album. The duet partners include ten singers who range from his recent touring partners Diana Krall and k.d. lang to fellow veterans Ray Charles, B.B. King, and Kay Starr, and younger, but still mature pop stars Stevie Wonder, Bonnie Raitt, and Billy Joel. All sound happy to be sharing a mic with Bennett. Not surprisingly, the singer's conception of the blues does not extend to the Mississippi Delta or the South Side of Chicago; rather, he is interested in the blues as filtered through the sound of the Swing Era, particularly from around Kansas City, and as interpreted by Tin Pan Alley and show tunes. For the former, his true mentor is Count Basie, whose overt influence is heard on six of the 15 tracks. Bennett makes no attempt to hide this, leading off the album with two songs, "Alright, Okay, You Win" (a duet with Krall) and "Everyday (I Have the Blues)" (a duet with Wonder), closely associated with Basie singer Joe Williams. The Broadway and Hollywood blues style is introduced in three selections written by Harold Arlen. On about half the tracks, the Ralph Sharon Quartet is augmented by Harry Allen's saxophone and Mike Melvoin's Hammond organ, but this remains a small, intimate affair that emphasizes the singers. There are missteps -- Sheryl Crow's Billie Holiday impersonation on "Good Morning, Heartache" is unfortunate, and Natalie Cole, as usual, sounds out of her depth on "Stormy Weather." But the trade-offs Bennett enjoys with King and Charles are priceless, and the Joel duet is surprisingly effective. On the whole, this is yet another entry in Bennett's lengthening series of autumnal recorded triumphs.
THE ROLLING STONES - Big Hits (1966) & Big Hits Vol. 2 (1969) [2002 Remastered]
Big Hits (High Tide and Green Grass) is the first official compilation album by The Rolling Stones, released on 28 March 1966, on London Records in the US and on 4 November 1966, by Decca Records in the UK. The two releases featured different cover art and track listing. The front cover for the American release was used for the rear photo on the UK edition. The album cover photo for the US edition was shot at Franklin Canyon Park in Los Angeles by Guy Webster, while the UK cover photo was taken in New York City by Jerry Schatzberg.
Through the Past, Darkly (Big Hits Vol. 2) is The Rolling Stones' second official compilation album, released in 1969 shortly following Brian Jones's departure from the group and subsequent death. The album was released by Decca Records in the UK and London Records/ABKCO Records in the US. In September, Through the Past, Darkly (Big Hits Vol. 2), dedicated to Jones, appeared with an octagonal-shaped album cover. Because their first Big Hits compilation had been released in separate formats, with the Aftermath-era material appearing only on its UK edition, the American edition of Big Hits Vol. 2 included hit singles from the Aftermath period. The British track listing included the more obscure "You Better Move On", from The Rolling Stones' self-titled 1964 debut EP and "Sittin' on a Fence", an Aftermath outtake originally released in 1967 on the US-compiled Flowers album. In addition to those songs, many tracks, notably single-only releases, were collected for the first time on a UK Rolling Stones album: "Let's Spend the Night Together", "Ruby Tuesday", "We Love You", "Dandelion", and "Honky Tonk Women". Both versions of Through the Past, Darkly (Big Hits Vol. 2) proved to be popular releases, reaching #2 in the UK and US with enduring sales.
NEIL YOUNG & CRAZY HORSE - Colorado (2019)
"Colorado" is the first new Neil Young with Crazy Horse album since 2012's "Psychedelic Pill". The album will be released on October 25th and features 10 new Neil Young compositions. It includes several songs that Neil has been playing live in the past few months (eg: "Rainbow of Colors", "Green Is Blue" and "Milky Way"), and the epic 13+ minute track "She Showed Me Love". The vinyl version of the album comes with a bonus 7" single, featuring an album outtake "Truth Kills". The 7” also includes a live, solo version of "Rainbow of Colors" from Portland, OR, on May 17, 2019 - the first time Neil ever performed this song live. This incarnation of Crazy Horse is Neil Young on vocals, guitar, piano, harmonica and vibes, Billy Talbot on bass, Ralph Molina on drums and features the return of Nils Lofgren on guitar and piano, almost 50 years since he last appeared on a Crazy Horse album (1971). The album is produced by Neil Young and John Hanlon and was recorded in Colorado in April & May 2019.
Colorado received generally positive reviews from critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from critics, the album received an average score of 79, which indicates "generally favorable reviews", based on 19 reviews.
HARRY NILSSON - Pandemonium Shadow Show (1967) + Aerial Ballet (1968) + Aerial Pandemonium Ballet (1971) 
Harry Edward Nilsson III (1941 – 1994), known mononymously as Nilsson, was an American singer-songwriter who achieved the peak of his commercial success in the early 1970s. His work is characterized by pioneering vocal overdub experiments, returns to the Great American Songbook, and fusions of Caribbean sounds. A tenor with a 3˝ octave range, Nilsson was one of the few major pop-rock recording artists of his era to achieve significant commercial success without ever performing major public concerts or undertaking regular tours. The craft of his songs and the defiant attitude he projected remains a touchstone for later generations of indie rock musicians.
Three albums on two CDs. Featuring 'Pandemonium Shadow Show' (1967), 'Aerial Ballet' (1968) and 'Aerial Pandemonium Ballet' (The Remix Album) (1971). Bonus tracks, 'As I Wander Lonely', 'Miss Butter's Lament', 'Sister Marie' and 'Wasting My Time'. 2000 release. Double slim line jewel case with slipcase. 20+ years before his 1994 death from a heart attack, American singer/ songwriter Harry Nilsson released several albums that did well in the charts, spawned some hit singles, got lots of critical acclaim and won the respect of his peers (including the Beatles, who were huge fans). However, Nilsson's back catalogue has never gotten the same just reward... until now! BMG's Camden subsidiary in England has reissued all of Nilsson's best records for RCA, all digitally remastered with bonus tracks, the original cover art and specially packaged in standard jewel cases within full color slipcase covers.
DANA GILLESPIE - What Memories We Make: The Complete MainMan Recordings 1971-1974 (2019)
Dana Gillespie first made her name as a teenage singer (and songwriter) in the 1960s, with a string of memorable singles and albums for Pye and Decca. In 1971, she teamed up with David Bowie's management company MainMan, joining Bowie at RCA Records. It would be two years before her next record - but it was worth the wait. Weren't Born A Man was a wonderful amalgam of pop, soul and some wonderful songwriting from Dana. The title track, for example, wouldn't have sounded out-of-place on Dusty In Memphis, while Dana's twist on Bowie's 'Andy Warhol' (the song had actually been written for her) was unique. Dana swiftly followed up with a second album for RCA, Ain't Gonna Play No Second Fiddle. The recordings were bluesier in places than on it's predecessor but still equally impressive. Issued with the full support and involvement of the artist and MainMan, What Memories We Make is the first proper retrospective of Dana's recordings for MainMan/RCA. Many album tracks make their debut on CD and have been joined by a raft of rarities and previously unissued material. All five tracks from the legendary BOWPROMO album from 1971 are included: this was an album circulated by MainMan featuring rough mixes by David Bowie on one side (made prior to him signing with RCA) and Dana Gillespie on the other. Also present is the semi-mythical, previously unheard original demo of 'Andy Warhol' featuring backing vocals from Bowie, and the rare Libido single (issued on Mooncrest in 1973), plus sessions from late 1974 for what would have been Dana's third album for RCA/MainMan.
JIMI HENDRIX - Songs For Groovy Children: The Fillmore East Concerts (2019)
Songs For Groovy Children assembles all four historic debut concerts by Jimi Hendrix s newly assembled Band of Gypsys at New York s Fillmore East on New Years Eve 1969 and New Years Day 1970. Presented in their original performance sequence and encompassing 43 tracks across 5 CDs or 8LPs, the set boasts over two dozen tracks that have either never before been released commercially or have been newly remixed plus the full extended versions of songs originally released on the 1970 Band of Gypsys album. Measured alongside his triumphs at Monterey Pop and Woodstock, Hendrix's legendary Fillmore East concerts illustrated a critical turning point in a radiant career filled with indefinite possibilities. Earlier in 1969, The Jimi Hendrix Experience had closed a musical chapter and the guitarist assembled a new trio dubbed Band of Gypsys, consisting of Hendrix, his longtime friend Billy Cox, on bass, whom he had befriended when both were serving with the 101st Airborne Division Cox and Electric Flag drummer Buddy Miles, who would also contribute occasional lead vocals. Hendrix was inspired by his collaboration with Cox and Miles and this creative renewal drove the development of promising new material such as "Power Of Soul," "Burning Desire" and the extraordinary "Machine Gun." By the end of January 1970, the band was history, but the blend of funk, rock and soul pioneered by the trio had a profound impact. Notable devotees include funk pioneers Parliament-Funkadelic, Curtis Mayfield, the Isley Brothers and Bootsy Collins, extending all the way forward to hip-hop. Newly mixed and restored in sequence without edits, fans can finally hear Hendrix, Cox and Miles blast through their genre-defying sets that included freshly written songs like "Earth Blues" and "Stepping Stone," as well as supercharged Experience favorites inclusive of "Foxey Lady," "Voodoo Child (Slight Return)," "Wild Thing," "Hey Joe" and "Purple Haze." Additionally, exciting new versions of Howard Tate's "Stop," "Steal Away," by Jimmy Hughes and a searing "Bleeding Heart" by Elmore James highlighted the command that the trio had over blues & R&B music. The lavish package is filled with unseen photos from talent such as Fillmore East house photographer Amalie Rothschild, Jan Blom (whose iconic, color saturated images provided the original artwork for 1970's Band of Gypsys) as well as Marshall Amplifier representative Marc Franklin, who had full access to the group in their dressing room backstage. The booklet features remembrances from bassist Billy Cox and liner notes by author/journalist/filmmaker Nelson George. Songs For Groovy Children was produced by Janie Hendrix, Eddie Kramer and John McDermott - the trio that has overseen every project for Experience Hendrix since 1995. The box set was mastered by Grammy-winning engineer Bernie Grundman.
CHRIS REA - Dancing With Strangers (1987) & The Road To Hell (1989) & "On the Beach" (1996) & "Auberge" (1991) [Expanded Editions, Remastered 2019]
With a career spanning over 40 years and over 30 million album sales, Chris Rea's distinctive husky-gravel vocal and incredible body of work has seen him become one of the most loved solo artists the UK have ever produced. In September 1987, 'Dancing With Strangers' was released and it became Rea's first major success in the UK, peaking at Number two. It went on to achieve Platinum selling status in the UK and was a huge global success. Singles from this album were 'Let's Dance', 'Loving You Again' 'Joys of Christmas' and 'Que Sera'. Disc 1 in each case contains the original album while Disc 2 offers a wide spread of non-album B-sides, remixes and remakes, outtakes and period rarities etc (a generous 17 in this case). Each offering has a small smattering of Previously Unreleased material too - but more importantly the whole shebang has been transferred and remastered by Nick Robbins of Ace Records fame and he's done a fabulous job. Robbins is an Audio Engineer with literally hundreds of reissues to his name across decades and a vast network of music – so its no surprise that the audio here in great a real improvement on what went before. The booklets contain all the lyrics (not the extras) and fresh interviews conducted with Rea by noted author and former Record Collector bigwig Peter Doggett. There's a lot to wade through, so finally and if you'll forgive the pun, let's dance...
"The Road To Hell" was released in October 1989 and is Rea's most successful studio album. It topped the UK album charts for three weeks and was certified six-times Platinum in the UK. The albums lead single 'The Road to Hell (pt 2)' is also Rea's most successful song and has become synonymous with the singer.
"On the Beach" was released and broke into the UK Top 20 at number 11. The album started building Rea's international reputation with top 10 chart positions across Europe. This album went on to Platinum sales status in the UK. The album title track was the only single taken from this album.
"Auberge" was released in February 1991 and it topped the UK chart going on to achieve double Platinum sales status. The title track also gave Rea one of his biggest chart hits, reaching number 16 in the UK. Other songs released as singles were 'Heaven', 'Looking for the Summer' and 'Winter Song'.
UK released Friday, 18 October 2019 - "Dancing With Strangers", "The Road To Hell", "On The Beach" & "Auberge" by Chris Rea on Magnet Records/Warner Music Group are an 'Expanded Edition' 2CD Reissues and Remasters that plays out as follows:
BARRY GOLDBERG - Street Man (1969) + Blast From My Past (1971) 
Barry Goldberg was a regular fixture in the white blues firmament of the mid-'60s that seemed to stretch from Chicago to New York. A keyboardist (organ seemed to be his specialty), Barry was an in-demand session man he appears with Michael Bloomfield on a Mitch Ryder album, for instance along with Al Kooper and his blues-playing contemporary from the original Butterfield band, Mark Naftalin. Goldberg was a member of Charlie Musselwhite's first band, contributing great piano and organ lines to the Stand Back! album (his work on "Cristo Redentor" is moody and introspective, with a strong jazz-inflected feel, while still retaining strong blues roots) and a handful of others throughout the decade. Barry Goldberg'S career began in the early '60s playing with the likes of Howlin Wolf and Muddy Waters. In 1965 he played keyboards for Bob Dylan at the now legendary Newport Jazz Festival when Dylan went electric. In 1967, along with Mike Bloomfield he formed The Electric Flag.
Digitally remastered two-fer containing a pair of albums from the blues/rock keyboardist on one disc. Street Man was originally released on Buddha Records in 1969. Blast From My Past came out 1971 and featured special guests Mike Bloomfield, Harvey Mandel and Charlie Musselwhite.
THE BAND - The Band (1969) [50th Anniversary Edition, 2019]
The Band is the second studio album by the Band, released on September 22, 1969. It is also known as The Brown Album. According to Rob Bowman's liner notes for the 2000 reissue, The Band has been viewed as a concept album, with the songs focusing on people, places and traditions associated with an older version of Americana. The first disc also features six previously unreleased bonus tracks, while the seven studio bonus tracks previously issued in 2000 are also included on the second CD after a Live at Woodstock performance.
Dressed like 19th century fire-and-brimstone preachers and singing rustic, sepia-toned songs about America and the deep south, The Band – Garth Hudson (keyboards, piano, horn), Levon Helm (drums, vocals, mandolin), Richard Manuel (keyboards, vocals, drums), Rick Danko (bass, vocals, fiddle) and Robbie Robertson (guitar, piano, vocals) – was an enigma, unlike any group that came before or after. And their self-titled “Brown Album,” as it would lovingly be called, cemented their status as one of the most exciting and revolutionary bands in years, on the strength of now-classic songs like “The Night They Drove Old Dixie Down,” “Up On Cripple Creek” and “Rag Mama Rag.”
V.A. - The Life & Songs Of Emmylou Harris: An All-Star Concert Celebration Live (2016)
On January 10, 2015, a remarkable and diverse assemblage of artists, including Mary Chapin Carpenter, Chris Coleman, Shawn Colvin, Sheryl Crow, Rodney Crowell, Steve Earle, Vince Gill, Patty Griffin, Chris Hillman, Iron & Wine, Alison Krauss, Kris Kristofferson, Daniel Lanois, Martina McBride, the Milk Carton Kids, Buddy Miller, Conor Oberst, Herb Pedersen, Shovels & Rope, Mavis Staples, John Starling, Trampled by Turtles, Sara Watkins, Holly Williams, Lucinda Williams, Lee Ann Womack, and Emmylou Harris herself gathered together at Washington, DC’s DAR Constitution Hall to honor one of the most distinctive and deeply-admired musicians of our time. The house band, led by co-musical directors Buddy Miller (guitars) and Don Was (bass), featured Sam Bush (mandolin, banjo, fiddle), Audley Freed (guitars), Fred Eltringham (drums), Matt Rollings (keyboards), Greg Leisz (pedal steel, lap steel), and Sara Watkins (fiddle, harmony vocals).
Writing in Rolling Stone, Jonathan Bernstein observed that “The breadth and variety of the evening’s lineup — scrappy and elegant, mainstream and indie, legendary and freshman — reflected the many artistic dividing lines that Harris has straddled throughout her entire career.”
EAST OF EDEN - 1969/71 (The First Four)
East of Eden is a perfect illustration of the futility that England's Decca Records faced in cultivating progressive rock (apart from the Moody Blues). A critically acclaimed jazz-fusion band with a strong Eastern music influence, they were a natural for stardom during the late '60s; indeed, they might've taken the wind out of the sails of the Mahavishnu Orchestra very fast, but they never became more than a cult act in England, with a strong local following in London, especially on the underground scene, even as they attracted serious audiences in continental Europe. The band was formed in Bristol in 1967 by Dave Arbus (flute, sax, trumpet), Ron Caines (alto sax), and Geoff Nicholson (guitar, vocals). Caines and Nicholson had previously played together in an R&B-based band, and the Caines and Arbus had been playing together for a couple of years. Future Wings member Geoff Britton was their original drummer, although the group's rhythm section was never an essential focus of their work, and they went through quite a few musicians. Arbus had been trained in the violin, but it wasn't until he saw Jean-Luc Ponty playing on-stage in Paris that he realized the possibilities that the amplified instrument offered. He added the electric violin to his repertoire, greatly broadening the band's range and sound, and the following year, they moved to London.
The group was signed to Decca's progressive rock imprint Deram label in 1968, and cut two LPs, Mercator Projected and Snafu, of which the latter made it into the British Top 30, while a single, "Ramadhan," got to number two in France. Their one big hit in England, "Jig-a-Jig," made the Top Ten there and became something of a stylistic albatross around the band's neck, since it didn't resemble their usual sound or anything else they normally played. Caines and Nicholson left the band as the '70s began, and Arbus kept it together. They jumped to the Harvest label, but their work there never caught on, coinciding as it did with a change in style and a veering away from Eastern music to a country-ish sound. Arbus left in the early '70s and was replaced by future Rory Gallagher collaborator Joe O'Donnell. The band carried on through the mid-'70s as almost exclusively a European act, recording and releasing albums in Europe only. The three original core members reunited in 1999 for the recording and release of the album Kalipse, which was followed by two additional albums after the turn of the century, Armadillo (2001) and Graffito (2004).
STEVE MILLER BAND - Welcome To The Vault (2019)
Steve Miller Opens His Massive Vault For The First Time To Share His Treasures Welcome to the Vault is a Career Spanning 3 CD + DVD Collection containing 52 audio tracks and 21 performances on DVD With 38 previously unreleased recordings, including 5 compositions that have never been heard before, and featuring alternate versions of classic songs, live performances and more, all housed in a 100 page hard bound book of Steve’s personal photos, with a 7,000 word essay by David Fricke.
Steve Miller has never been averse to taking a stroll through his back pages. The first time he dug into his archive was with 1994's box set simply titled Steve Miller Band but the 2019 set Welcome to the Vault is something else entirely: a deep dive into the rarest corners of Miller's catalog. This doesn't mean that The Vault consists entirely of unreleased material. Over the course of the set's three discs, several well-worn standards are hauled out in their original hit single versions, including "Living in the USA," "The Joker," "Fly Like an Eagle," "Take the Money and Run," and "Abracadabra." These tracks are used as guideposts, providing context for the alternate versions and deep cuts surrounding them. Mostly, these rare tracks highlight Miller's considerable debt to the blues, a connection underscored by how the set concludes with a T-Bone Walker performance of "Lollie Lou" recorded at Miller's home in 1951 followed by a version of the same song by the SMB in 2016. Blues is a constant in Miller's music, and the live tracks and alternate versions showcase not only his chops but those of the band. Since Miller's big hits are so familiar, it's a bit of a welcome jolt to hear rougher mixes of "Jet Airliner" and "Swingtown," not to mention the long live workouts that comprise the bulk of the first disc. The accompanying DVD also highlights this kinetic element of Miller's music by featuring a full Don Kirshner's Rock Concert from 1973, two selections from Monterey International Pop Festival in 1967, a live jam with James Cotton from ABC in Concert in 1974, and two tracks from Austin City Limits in 2011. Like the rare tracks on the CDs, these live performances offer a reminder that the Steve Miller Band could really cook in concert, and that reminder is reason enough for Welcome to the Vault to be of interest to listeners who aren't hardcore fans. At their best, these rare cuts offer an explanation of why the Steve Miller Band became one of the more popular American bands of their time.
DAN McCAFFERTY - Last Testament (2019)
As the frontman of the Scottish rock powerhouse, Nazareth, Dan McCafferty was an ass-kicking “son of a bitch” who simply could not be “messed with.” His distinctive raspy vocal ability ranged from rib-cracking to glass-breaking - often within the same song. And his delivery possessed the power to invigorate female fans while also bringing grown men (myself included) to their knees - blubbering like little babies. As a result of personal health issues, McCafferty retired from Nazareth in 2013, after an impressive 45-year tenure. Now at age 72, the legendary singer / songwriter returns in 2019 with his third solo record - his first in more than 30 years. Despite his reputation as a vocal ball-buster, it can be argued that McCafferty’s talent has shined brightest over the years when he has stepped out of his perceived heavy rock comfort zone. Hence, this lighter-sounding, less guitar-oriented set shouldn’t feel completely foreign to McCafferty’s more fervent followers. However, the dominate accordion presence throughout can, at times, comprise the record’s street cred. With 15 tracks, "Last Testament" is a blistering album with a full mix of lyrical and musical styles.
MARK KNOPFLER & EMMYLOU HARRIS - All The Roadrunning & Real Live Roadrunning (2006)
All the Roadrunning is a collaboration between British singer-songwriter and guitarist Mark Knopfler and American singer-songwriter Emmylou Harris, released on 24 April 2006 by Mercury Records and Universal Music internationally, and by Warner Bros. Records in the United States. The album received favorable reviews, and reached the number one position on album charts in Denmark, Norway, and Switzerland. The album peaked at number eight in the United Kingdom, and number 17 on the Billboard 200 in the United States. "This Is Us" was released as the first single, followed by "Beachcombing". The album was the result of a longtime collaboration between the two artists. Over the course of seven years, the songs were recorded by the pair with minimal information released about the project. This lush and earthy collaboration between Mark Knopfler and Emmylou Harris may sound like it rose from an amiable weeklong studio session, but the 12 tracks that make up All the Roadrunning were actually recorded over the span of seven years. The boot-stomping "Red Staggerwing" and the gentle "Donkey Town," both of which were bumped from Knopfler's Sailing to Philadelphia record, give the ex-Dire Straits leader a chance to flex his country muscle, while the wistful title track spotlights the lovely Harris, whose playful demeanor and guarded confidence helps keep Knopfler in check during his sometimes excessive soloing. The two couldn't be more at odds vocally, but Knopfler's laconic drawl is like an easy chair for Harris' fluid pipes, and standout tracks like the 9/11-inspired "This Is Goodbye," the wistful "Beachcombing," and the infectious single "This Is Us" come off as effortless statements of vitality from both camps.
A follow-up live album, Real Live Roadrunning, was released following All the Roadrunning Tour. The album was recorded live on 28 June 2006 at the Gibson Amphitheatre in Los Angeles, at the end of their summer tour in support of their critically acclaimed album, All the Roadrunning. Real Live Roadrunning was released as a combined CD/DVD.
ALEXANDER SPENCE - Oar (1969) [Sundazed Remaster 1999]
Alexander Lee "Skip" Spence was a Canadian-born American singer, songwriter, and musician. He was co-founder of Moby Grape, and played guitar with them until 1969. He released one solo album, 1969's Oar, and then largely withdrew from the music industry. He had started his career as a guitarist in an early line-up of Quicksilver Messenger Service, and was the drummer on Jefferson Airplane's debut album, Jefferson Airplane Takes Off. He has been described on the AllMusic website as "one of psychedelia's brightest lights"; however, his career was plagued by drug addictions coupled with mental health problems, and he has been described by a biographer as a man who "neither died young nor had a chance to find his way out." Described as "one of the most harrowing documents of pain and confusion ever made", the album was recorded after Spence had spent six months in Bellevue Hospital. Spence had been committed to Bellevue following a delusion-driven attempt to attack Moby Grape bandmates Don Stevenson and Jerry Miller with a fire axe.
As described by critic Ross Bennett: "Combining the ramblings of a man on the brink of mental collapse with some real moments of flippancy and laughter, Oar is a genuinely strange record. Unsurprisingly, the journey from "Little Hands"' Grape-esque guitar grooves to "Grey/Afro"'s terrifying nine minutes of mantric drone, isn't an easy one. Even when Spence builds his songs around a familiar sound (primarily minimalist country-folk) unsettling oddities and ominous modulations creep in."
RORY GALLAGHER - Top Priority (1979)  & JINX (1982)  [Remastered 2017]
Top Priority is Rory Gallagher's tenth album. It was his fourth and final studio album for Chrysalis Records both in the UK and USA. The album was the second with his revised power trio band. Like the previous album Photo-Finish, Top Priority is a return to hard rock. The ballads, acoustic and folk influences that were seen on albums such as Calling Card are replaced by more conventional but powerful blues rock. The album title reflects the pressure that Gallagher often felt regarding the business end of making music. After the release of Photo-Finish Gallagher's band had a successful tour of the United States that resulted in good press both in the states and at home. Chrysalis was eager to keep the momentum going and encouraged Rory to release another studio album quickly, telling him they would make it their "Top Priority" and actively promote it. To remind the executives of their promise Gallagher used the phrase for the album title. The song "Philby" was based on Kim Philby who was a famous cold war British double agent for the Soviets. The song is an example of Gallagher's fascination with men on the outside of society. For the guitar solo on that song, Gallagher utilized a Coral electric sitar that he borrowed from Pete Townshend to give a feeling of the Eastern Bloc.
Rory Gallagher's ninth studio album Jinx can't reach the quality of some of his best albums but this one is an enjoyable blues rock album too. Album has some perfect blues rock like "Big Guns" for example. One of my personal favourites by Rory. "Jinxed" is another one I enjoy very much. But then there are some songs that doesn't rock so well as the others. That's pretty rare for Rory because his albums are usually very solid and you won't find any fillers. That isn't the case with Jinx unfortunately because there are some flaws in here like "The Devil Made Me Do It" and "Signals". After this album Gallagher took a few years break from releasing albums because his next studio album was Defender from 1987.
BOB DYLAN - Pat Garrett & Billy The Kid (1973) 
Pat Garrett & Billy the Kid is the twelfth studio album and first soundtrack album by American singer-songwriter Bob Dylan, released on July 13, 1973 by Columbia Records for the Sam Peckinpah film, Pat Garrett and Billy the Kid. Dylan himself appeared in the film as the character "Alias". The soundtrack consists mainly of instrumental music and was inspired by the movie itself, and included "Knockin' on Heaven's Door", which became a trans-Atlantic Top 20 hit. Certified gold by RIAA, Pat Garrett & Billy the Kid reached No.16 US and No.29 UK.
Most critics at the time responded unfavorably. Robert Christgau graded it a "C" in Creem, described the album as "two middling Dylan songs, four good original Bobby voices, and a lot of Schmylan music". Jon Landau wrote in Rolling Stone that "it is every bit as inept, amateurish and embarrassing as Self Portrait. And it has all the earmarks of a deliberate courting of commercial disaster, a flirtation that is apparently part of an attempt to free himself from previously imposed obligations derived from his audience." The album spawned a significant hit in "Knockin' on Heaven's Door", which would be covered by acts such as Eric Clapton and Guns N' Roses. Years later, "Knockin' On Heaven's Door" endured as a popular favorite among critics and fans as well as a concert staple, with its inspirational tone and lyrics regarding impending death.
ANGEL - Risen (2019)
After performing a number of shows together throughout 2018 for the first time in over 35 years, Punky Meadows and Frank DiMino from the legendary ’70s rock band ANGEL have decided to resurrect the group under the banner Angel. Joining them in the revamped ANGEL will be the four musicians that backed the duo on tour last year: Danny Farrow on rhythm guitar, Charlie Calv on keyboards, Steve Ojane on bass and Billy Orrico on drums. Founding members Punky Meadows and Frank DiMino roll back the clock to the glory days of melodic metal with 16 brand new compositions and one fantastic re-working of the band's classic song "Tower!" Classic rock fans will be excited, cause this guys still knows to rock.
Glam metal sensations, Angel, one time label mates of Kiss, adorn themselves in white and proudly present this heavenly new album!Founding members Punky Meadows and Frank DiMino roll back the clock to the glory days of melodic metal with 16 brand new compositions and one fantastic re-working of the band's classic song "Tower!"Full pubilcity and radio campaign planned!Available on both CD and in a very special gatefold 2LP set with (what else?) white vinyl
ELVIS PRESLEY - The Complete U.S. EP Collection 1955-1962 (2019)
Elvis Aaron Presley (1935 – 1977), also known mononymously as Elvis, was an American singer and actor. Regarded as one of the most significant cultural icons of the 20th century, he is often referred to as the "King of Rock and Roll" or simply "the King". Presley was born in Tupelo, Mississippi, and relocated to Memphis, Tennessee, with his family when he was 13 years old. His music career began there in 1954, recording at Sun Records with producer Sam Phillips, who wanted to bring the sound of African-American music to a wider audience. Presley, on rhythm acoustic guitar, and accompanied by lead guitarist Scotty Moore and bassist Bill Black, was a pioneer of rockabilly, an uptempo, backbeat-driven fusion of country music and rhythm and blues. In 1955, drummer D. J. Fontana joined to complete the lineup of Presley's classic quartet and RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who would manage him for more than two decades. Presley's first RCA single, "Heartbreak Hotel", was released in January 1956 and became a number-one hit in the United States. With a series of successful network television appearances and chart-topping records, he became the leading figure of the newly popular sound of rock and roll. His energized interpretations of songs and sexually provocative performance style, combined with a singularly potent mix of influences across color lines during a transformative era in race relations, made him enormously popular—and controversial. In November 1956, Presley made his film debut in Love Me Tender. Drafted into military service in 1958, Presley relaunched his recording career two years later with some of his most commercially successful work. He held few concerts however, and guided by Parker, proceeded to devote much of the 1960s to making Hollywood films and soundtrack albums, most of them critically derided. In 1968, following a seven-year break from live performances, he returned to the stage in the acclaimed television comeback special Elvis, which led to an extended Las Vegas concert residency and a string of highly profitable tours. In 1973, Presley gave the first concert by a solo artist to be broadcast around the world, Aloha from Hawaii. Years of drug abuse severely compromised his health, and he died suddenly in 1977 at his Graceland estate at the age of 42. Presley is the best-selling solo artist in the history of recorded music. He was commercially successful in many genres, including pop, country, blues, and gospel. He won three competitive Grammys, received the Grammy Lifetime Achievement Award at age 36, and has been inducted into multiple music halls of fame.
Every track from Elvis' US EPs from 1955 to 1962, including "Baby Let's Play House" from the C & W Jukebox Promotion Kit, and the "Elvis Sails" press interviews.
THE KINKS - Arthur or the Decline and Fall of the British Empire (1969) [50th Anniv. Deluxe Box Set]
The Kinks groundbreaking 1969 LP Arthur (Or the Decline and Fall of the British Empire) is being re-released on October 25th as a four-disc deluxe edition to commemorate the album’s 50th anniversary. It will feature a remastered edition of the original album in stereo and mono, bonus tracks, demos, rehearsals, remixes, BBC performances and a lost Dave Davies solo LP from the era. Arthur (Or the Decline and Fall of the British Empire) is an ambitious concept album about a British carpet-layer, who moves to Australia after World War II. It was a followup to The Kinks Are the Village Green Preservation Society, which also took the innovative step of telling a story across an entire album. “I started Arthur before the end of Village Green,” Kinks frontman Ray Davies says in a statement. “The albums piggyback one another because they are joined. I’d already written the song ‘Arthur’. I think I wrote ‘Australia’ when I was still living at 87 Fortis Green so it was quite early on. I remember taking it over to Dave, he lived in Cockfosters at the time, and playing it to him. We were laughing at the irony in the line, ‘Nobody’s got a chip on their shoulder’.”
Dave Davies began recording his first solo LP during the original sessions for Arthur, but he never finished it. “One of the reasons the album wasn’t finished was because I felt The Kinks’ management and record company were forcing me too much,” Dave says in a statement. “I felt very comfortable being in The Kinks and it seemed fulfilling to be part of a band. I didn’t really want for more. I couldn’t see the point.” The Arthur box set contains 12 complete tracks from the Dave Davies solo album along with ten alternate takes and mixes from the sessions. “Hearing Dave’s songs again after all this time,” Ray said in a statement, “I found them quite moving because they were like the back story of what The Kinks were going through at the time.” The box set will contain a 68-page book with essays about the Kinks, new interviews with the surviving members of the group, photos from the time period and the script for a proposed Arthur play that never got off the ground. The process of assembling this Arthur box set forced Ray and Dave to spend time together in the studio. Along the way, they began the tentative step of recording new songs and finishing off old ones. It might lead to their first LP since dissolving in 1996 and possibly a tour, but right now they are taking things very slowly. “Interesting question,” Dave told Rolling Stone earlier this month when we asked about a possible Kinks tour. “I really don’t know. I think its possible. It’s not out of the question. But at this stage, it’s far too early to say. It would be fun though, wouldn’t it?”
GOV'T MULE - Mad Mules & Englishmen [2011-12-30 & 2011-12-31 Beacon Theatre, New York, NY] (2012)
Gov’t Mule concerts are always rife with surprises so why think the tenth anniversary of New Year’s celebrations at New York’s Beacon Theatre would be any different? Well, for one thing because the quartet had made only few select appearances in 2011–ABB’s Wanee festival and their own Mountain/Christmas Jams–as titular leader Warren Haynes spent the better part of his time touring with his own band in support of his Stax solo album Man in Motion. By the time the two-concert five set December run was done, however, anyone in attendance had witnessed vintage Mule in the form of charged versions of long-standing entries in their repertoire combined with a variety of covers equally laden with emotion. Funkadelic’s “Maggot Brain” served as an opening salvo of fireworks that continued with brave explorations of Mule faves (from Halloween shows past) Pink Floyd ("Fearless”) and Led Zeppelin (“Since I’ve Been Loving You”). This before an entire second set on New Year’s eve itself, where a well-rehearsed presentation of Joe Cocker’s Mad Dogs & Englishmen, in its entirety, might well have served as the only homage to roots Haynes might’ve needed in his recognition of his r&b/soul influences. The opening set of December 31st was a non-stop exhibition of Gov’t Mule’s collective strength as an ensemble with a firm grasp of dynamics: even as “About to Rage” keynoted this hour-plus, the delicacy the unit displayed on the Grateful Dead’s “St. Stephen” hearkened back to the light touch Mule exhibited throughout the weekend. Such a refined approach, of course, when Haynes wasn’t leading the charge with bone-crushing riffs like that of “Slack Jaw Jezebel” or “Brand New Angel;” meanwhile bassist Jorgen Carlsson constantly fired runs amidst the improvisational din to spur on the guitarist, as well as bandmates Danny Louis on keyboards (and occasional electric guitar and trombone) and charter member Matt Abts on drums.
The latter offered a ragged but nonetheless heartfelt tribute to Bob Dylan when he sang tradeoffs with Haynes on “Girl From the North Country.” But that song of the Bard’s couldn’t compare to the stirring closer of “I Shall Be Released” in the wee hours of Sunday morning January 1st. Nor the well-wrought extended take on John Lennon’s “Working Class Hero” from the previous night, with guests in tow including Los Lobos guitarist David Hidalgo, Conan’s bandleader/fretboardist Jimmy Vivino and old Mule friend Hook Herrera on harmonica. Haynes made more than one topical reference in the latter stages of Mule & co’s presentation of Mad Dogs & Englishmen (complete with three-piece horn section and female vocalist, all kudos go to Louis for capturing without copying the signature piano style of Leon Russell). But his veiled statements of concern didn’t douse the genuinely celebratory atmosphere in the Beacon theatre, the likes of which may have transcended any other NYE party on the planet (with all due apologies to the Phish community and the fans of after show parties that occurred throughout the week around New York). Gov’t Mule left the stage on New Year’s Day 2011 with their future in general in question, not just their holiday returns to the gorgeous Broadway venue. If the tenth observation of New Year’s proved anything (besides, perhaps, their continued remembrance of the late Allen Woody), it is that this band, in whatever form it takes, can continue to connect with each other and their fanbase (not just the hard-core recognized as in attendance at 2am.
THE WHO - Meaty Beaty Big And Bouncy (1971)
Meaty Beaty Big and Bouncy has the distinction of being the first in a long line of Who compilations. It also has the distinction of being the best. Part of the reason why it is so successful is that it has an actual purpose. Meaty was designed as a collection of the group's singles, many of which never appeared on albums. The Who recorded their share of great albums during the '60s, but condensing their highlights to just the singles is an electrifying experience. "The Kids Are Alright" follows "I Can't Explain," "I Can See for Miles" bleeds into "Pictures of Lily" and "My Generation," "Magic Bus" gives way to "Substitute" and "I'm a Boy" it's an extraordinary lineup, and each song builds on its predecessor's power. Since it was released prior to Who's Next, it contains none of the group's album rock hits, but that's for the best their '60s singles have a kinetic, frenzied power that the louder, harder AOR cuts simply couldn't touch. Also, there is such a distinct change in sound with Who's Next that the two eras don't quite sound right on one greatest-hits collection, as My Generation and Who's Better, Who's Best proved. By concentrating on the early years when the Who were fresh and Pete Townshend was developing his own songwriting identity Meaty Beaty Big and Bouncy is musically unified and incredibly powerful. This is what the Who sounded like when they were a great band.
PEGGY'S LEG - Grinilla (1973)
Peggy's Leg's only album, Grinilla, heard by hardly anyone when it was issued in 1973, is a well-played but limp crossover between folk-rock, progressive rock, and late-hippie rock. Most of the six songs here are on the long side, a couple getting to the ten-minute mark, and these tend to be multisectioned works with tempo changes, kind of like a folkier Yes without a keyboard player or strong riffs. Unfortunately, the lyrics are often of the utopian, shallow sort that people who can't stand hippies love to poke fun at. It's not that the sentiments are objectionable; it's more that the way they're presented is naďve and somewhat artless. Apropos of nothing, the record closes with a faithfully unimaginative cover of Love Sculpture's arrangement of "Sabre Dance," which would have easily rated as the best (if most atypical) track of the album had it not been such an unnecessary close copy of the Love Sculpture version. The 2001 CD reissue on Kissing Spell adds an 11-minute, live hard rock instrumental bonus track that's not much of a bonus, with substandard sound and a far-too-long drum solo.
The Irish quartet Peggy's Leg issued a rare 1973 album, Grinilla, pressed in a quantity of only 500 copies, and sold primarily to fans in their region. The record's a dull fusion of progressive rock with mellower folk-rock-ish sounds, dominated by lengthy multi-sectioned tracks, and prone to some simplistic hippie-dippy lyrical philosophizing. Lead guitarist Jimi Slevin went on to join Skid Row.
HOT TUNA - Discography 1970 - 1979 (Remastered)
The name Hot Tuna invokes as many different moods and reactions as there are Hot Tuna fans — millions of them. To some, Hot Tuna is a reminder of some wild and happy times. To others, that name will forever be linked to their own discovery of the power and depth of American blues and roots music. To newer fans, Hot Tuna is a tight, masterful duo that is on the cutting edge of great music. All of those things are correct, and more. For more than four decades, Hot Tuna has played, toured, and recorded some of the best and most memorable acoustic and electric music ever. And Hot Tuna is still going strong — some would say stronger than ever. The two kids from 1950s Washington, D.C. knew that they wanted to make music. Jorma Kaukonen, son of a State Department official, and Jack Casady, whose father was a dentist, discovered guitar when they were teenagers (Jack, four years younger, barely so). They played, and they took in the vast panorama of music available in the nation’s capital, but found a special love of the blues, country, and jazz played in small clubs. Jorma went off to college, while Jack sat in with professional bands and combos before he was even old enough to drive, first playing lead guitar, then electric bass.
In the mid-1960s Jorma was invited to play in a rock‘n’roll band that was forming in San Francisco; he knew just the guy to play bass and summoned his old friend from back east. The striking signature guitar and bass riffs in the now-legendary songs by the Jefferson Airplane were the result. The half-decade foray into 1960s San Francisco rock music was for Jack and Jorma an additional destination, not the final one. They continued to play their acoustic blues on the side, sometimes performing a mini-concert amid a Jefferson Airplane performance, sometimes finding a gig afterwards in some local club. They were, as Jack says, “Scouting, always scouting, for places where we could play.” The duo did not go unnoticed and soon there was a record contract and not long afterwards a tour. Thus began a career that would result in more than two-dozen albums, thousands of concerts around the world, and continued popularity.
Hot Tuna has gone through changes, certainly. A variety of other instruments, from harmonica to fiddle to keyboards, have been part of the band over the years, and continue to be, varying from project to project. The constant, the very definition of Hot Tuna, has always been Jorma and Jack. The two are not joined at the hip, though; through the years both Jorma and Jack have undertaken projects with other musicians and solo projects of their own. But Hot Tuna has never broken up, never ceased to exist, nor have the two boyhood pals ever wavered in one of the most enduring friendships in music. Along the way, they have been joined by a succession of talented musicians: Drummers, harmonica players, keyboardists, backup singers, violinists and more, all fitting with Jorma and Jack’s current place in the musical spectrum. Jorma and Jack certainly could not have imagined, let alone predicted, where the playing would take them. It’s been a long and fascinating road to numerous, exciting destinations. Two things have never changed: They still love playing as much as they did as kids in Washington, D.C. and there are still many, many exciting miles yet to travel on their musical odyssey.
JEFF LYNNE’S ELO - From Out Of Nowhere (2019)
From Out of Nowhere is the fourteenth studio album by British rock band Electric Light Orchestra (ELO), and the second credited to Jeff Lynne's ELO. The band's first studio album in four years, it was released on 1 November 2019 through Big Trilby and Columbia Records. The title track was released as the lead single on 26 September 2019. Lynne played most instruments on the album. Lynne stated that the first track he wrote for the album was the title track, and said it was named "From Out of Nowhere" as "that's exactly where it came from". Its themes of "hope and salvation" and optimism also appear throughout the album.
Only the second album from ELO in two decades (third in more than 30 years), and right from the opening notes of starter From Out Of Nowhere it’s like Jeff Lynne has never been away. The wistfulness, the super-saturated sound, the layered harmonies and instrumentation, the timeless echo of pasts and retro-futures colliding. The humanity, the performed frailty at the heart of manufactured perfection. Lynne still has it. He still knows how to create the magic.
BILLY JOEL - Cold Spring Harbor (1971) & Piano Man (1973) [Deluxe Edition, 2017]
Cold Spring Harbor is the debut studio album by American recording artist Billy Joel, released on November 1, 1971, by Family Productions. Cold Spring Harbor was named after a hamlet of the same name in the Town of Huntington, New York. It is located on Long Island Sound near Joel's hometown. The front cover was photographed at Harbor Road in Cold Spring Harbor. His song "Tomorrow Is Today" drew from his period of depression and hospitalization the year before. Joel later released live versions of "She's Got a Way" and "Everybody Loves You Now", first included on this album, in his Songs in the Attic (1981), recorded in live performaces. "She's Got a Way" was also released as a single in early 1982, and peaked at No. 23 on the Billboard Hot 100 chart.
Piano Man is the second studio album by American recording artist Billy Joel, released on November 9, 1973 by Columbia Records. The album emerged from legal difficulties with Joel's former label Family Productions, and ultimately became his first breakthrough album. The title track, a fictionalized retelling of Joel's experiences with people he met as a lounge singer in Los Angeles, peaked at No.25 on the US Billboard Hot 100 and No.4 on the Adult Contemporary singles chart. "Travelin' Prayer" and "Worse Comes to Worst" peaked at No.77 and 80 on the Hot 100, respectively, while the album itself peaked at No.27 on the US Billboard 200. The album was certified gold by the RIAA in 1975. The new package includes a bonus CD of an entire previously unreleased 1972 live radio concert (predating Joel's Columbia signing by a year), a crucial stepping-stone in his career. Early support for Joel came from Philadelphia, specifically the top-rated FM station WMMR, which programmed a live concert series taped in the intimate Sigma Sound Studios. Billy recorded a concert for the series on April 15, 1972. Three of the 12 songs that he performed were destined for inclusion on his next album (more than a year and a half away) Piano Man: "Travelin Prayer," the Aaron Copland-esque "The Ballad Of Billy The Kid," and the notorious "Captain Jack." Tapes of the 'MMR concert made the rounds, with "Captain Jack" turning into an "underground" FM favorite. Some of those listeners happened to work for Columbia Records, and soon the groundwork was being laid for Billy Joel to come to New York and audition for the label. The rest, of course, is history but without the Philadelphia radio concert, that history might have taken a different direction indeed.
WHITESNAKE - Slip Of The Tongue (1989) [Super Deluxe Edition 2019 Remaster]
Whitesnake scored the band's third consecutive platinum record with its eighth studio album, "Slip Of The Tongue". Originally released in November 1989, it peaked at No. 10 on the U.K. and U.S. album charts thanks largely to its two Top 40 hits — "Fool For Your Loving" and "The Deeper The Love". The fan favorite turns 30 this year and Rhino is celebrating with several new versions, including a colossal seven-disc boxed set. The 6CD/DVD collection includes a newly remastered version of the album, plus unreleased studio recordings, audio and video of the band's performance at the 1990 Monsters Of Rock festival, and a new interview with Whitesnake founder and lead singer David Coverdale. It comes in a 60-page hardbound book filled with rare memorabilia from the era.
Following the 8x platinum success of its eponymous album in 1987, Whitesnake returned two years later with "Slip Of The Tongue". At the time, the band included Coverdale, bassist Rudy Sarzo, drummer Tommy Aldridge, and guitarists Adrian Vandenberg and Steve Vai. Vandenberg and Coverdale co-wrote all but one song on the album, but Vandenberg couldn't record them in the studio at the time due to a hand injury. To fill the void, Vai joined the band for the album and tour. "Slip Of The Tongue: 30th Anniversary Edition" features unreleased versions of every album track, as well as monitor mixes for the album recorded in 1989. In addition, the collection includes nearly two dozen previously unreleased tracks taken from the session tapes that highlight working versions of album tracks and more. The set also includes the CD debut of "Slip Of The Tongue: The Wagging Tongue Edition". Released exclusively on vinyl in 1989, it features Coverdale being interviewed about each track followed by the song. "Slip Of The Tongue: 30th Anniversary Edition" finishes big with Whitesnake's 1990 headlining performance at the Monsters Of Rock festival at Castle Donington on CD and DVD. The DVD also includes three music videos, all of which have been carefully restored and remixed in 5.1 Surround Sound for the first time ever. A new promo video for the track "Sweet Lady Luck", made exclusively for this set, a behind the scenes look at the making of the album, plus a newly recorded interview with Coverdale and Vandenberg rounds out the DVD.
MIKE ZITO & FRIENDS - Rock 'n' Roll: A Tribute To Chuck Berry (2019)
Mike Zito is best known as a blues musician and rightly so considering he has released some blistering blues albums. But he also has a rock n roll side, and he puts it on full display on his new album entitled Rock n Roll: A Tribute to Chuck Berry. If you’re going to do a rock n roll album, it makes sense that it would be a tribute to one of the pioneers. And if you’re going to do a tribute to Chuck Berry, you might as well enlist some great guitarists like Joe Bonamassa, Robben Ford, and Chuck Berry’s grandson Charles among others. Charles Berry appears on the opening track “St. Louis Blues”, a rollicking tune that definitely carries the spirit of Chuck Berry. It’s pretty hard to sit still when you hear the piano being pounded in this song. On top of that, the horns in this song add another layer of energy and brightness. It’s a good way to kick off the album and hook the listener into what comes next. In the span of two songs you go from a blistering version of “Johnny B. Goode” with Walter Trout to the burning blues of “Wee Wee Hours” featuring an extended guitar solo by Bonamassa. Granted, Berry never had any songs – let alone solos – as long as this one, but you won’t complain about hearing Bonamassa’s mastery of the guitar.
Every song on the album is worthy of your attention, but “I Want To Be Your Driver” catches the attention for a couple reasons. First, it’s not a Chuck Berry song you’re likely to hear on the radio. Second, on top of the amazing rhythm section and the guitar by Ryan Perry, you get an organ sound that would fit just as well in a 60s garage-rock song. The album closes with “My Ding a Ling” featuring Kid Andersen. This is very different than the original version, but it’s just as fun as ever. Andersen plays a bluesy guitar part that is accompanied by some old-fashioned rock and roll piano and a sax part that sounds straight out of a classic doo-wop song. This is an outstanding collection that takes you through a lot of your favorite Chuck Berry tunes like “No Particular Place to Go” (with Jeremiah Johnson), as well as tunes that you hear less frequently like “Havana Moon” (featuring Sonny Landreth). This album is best enjoyed with the volume cranked . Don’t be surprised if you work up a bit of a sweat dancing to all these old favorites featuring so many great guitarists.
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